Category Archives: Joe Moore

Getting over the block

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By Joe Moore

I don’t believe in writer’s block. The reason is twofold. First, I’m a professional writer; my job is to come up with ideas. I’ve never heard of a mechanic suffering from mechanic’s block or a doctor suffering from doctor’s block. When I’m faced with an issue in my story, I come up with a solution. That’s part of being a writer.

writers-blockSecond, when I do get writer’s block, I turn to my co-writer for the answer. OK, so the second reason is not something every writer has to fall back on. Lucky me.

I think that writer’s block is about being stuck with coming up with ideas, not words. If I can’t come up with the words, I’m in serious trouble. It’s like that mechanic saying he can’t come up with the correct wrench. A master mechanic has a kit full of tools (words); his job is to come up with the correct procedure to fix a problem.

So writer’s block is really a matter of a writer getting stuck for whatever reason. It’s frustrating but not a show-stopper.

First, you need to focus on why you’re stuck.

The most common form of writer’s block is not knowing what happens next. This is basically a plotting issue. The solution can be found in 5 words: What does the protagonist want? If you backtrack to the last point in the story that it was clear what motivated the protagonist’s actions and how it drove the story forward, the answer to what happens next will usually be revealed. Think about the story question. Did you stray from the process of answering it? Chances are you created a scene that does not contribute directly or indirectly in answering the main story question—the big conflict. Starting a rewrite from that point will usually get you back on track.

Another common issue that will derail your story is facing the dilemma of why anything matters. Who cares? This usually deals with the question: What’s at stake. Whether it’s an internal or external struggle, the protagonist must realize that fighting the fight is worth it. If she loses, what’s at stake? What does she stand to lose? If it’s a high concept thriller, what does the community, country, or civilization stand to lose? Reexamining the stakes can help to put you back on course.

A third issue in suffering from writer’s block is facing the crippling question: Is this story logical? In other words, why would it even happen? You might have a really cool idea, but the reality is that no sane person would follow the path laid out by the plot. It’s just not something the reader would buy into. If this is the case, rethink the story in terms of how it relates to HUMAN BEINGS. Don’t get me wrong. Even the most outrageous science fiction or horror stories still have to relate to human emotions and logic. Otherwise, they become 2-dimensional. If your story is so out there that the average reader can’t relate, try reexamining the human aspects of it. Many writers including me believe that there are only two emotions in the world: love and hate. If your story lacks either, then it becomes hard if not impossible to sell the reader on an outrageous, illogical plot. And writer’s block raises its ugly head.

How about you, my Zoner friends. How do you overcome writer’s block?

_______________

Coming soon: THE SHIELD by Sholes & Moore

“THE SHIELD rocks on all cylinders.” ~ James Rollins, NYT bestselling author of THE EYE OF GOD.

Predicting the future

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By Joe Moore
@JoeMoore_writer

In a recent article in THE TELEGRAPH, the founder of the famous Waterstone’s London book store, Tim Waterstone, stated that the “printed word is far from dead” and gypsey-with-crystal-ball (Small)the “so-called e-book revolution will soon go into decline.” He joked that insiders were generally “apocalyptic” about the book industry’s prospects but said he refused to believe the traditional physical book was under threat.

I tend to agree with Mr. Waterstone in as much as most bookstores I visit are packed with books and people buying them. I know it’s a simplistic measure of current trends, but when I start seeing large sections of empty shelves in book stores, I may change my viewpoint.

I disagree with him about e-books. So does Gaby Wood, who also wrote an article on the subject in THE TELEGRAPH. She states that “Booksellers are the group most threatened by the possible death of the printed book, and they have a reason to think wishfully of the digital book’s demise.” She also said that publishers have got to stop thinking of their digital products as “books”, and start imagining more expansive ways of communicating information. Until then, the digital revolution hasn’t even begun.

I think Gaby Wood has it right—this whole electronic publishing wave has just gotten started. The possibilities for industries like publishing, education and entertainment are endless. To say that e-books will soon go into decline is a prediction that may become laughable in the future.

To put this prediction business into perspective, let me share with you some famous visionaries of the past whose predictions carried a great deal of weight when first put forth, but didn’t stand up to the test of time. Enjoy.

"This ‘telephone’ has too many shortcomings to be seriously considered as a
means of communication.  The device is inherently of no value to us."
— Western Union internal memo, 1876

"Computers in the future may weigh no more than 1.5 tons."
— Popular Mechanics, forecasting the relentless march of science, 1949

"I think there is a world market for maybe five computers."
— Thomas Watson, chairman of IBM, 1943

"640K ought to be enough for anybody."
— Bill Gates, 1981

"I have traveled the length and breadth of this country and talked with the
best people, and I can assure you that data processing is a fad that won’t
last out the year."
— The editor in charge of business books for Prentice Hall, 1957

"But what… is it good for?"
— Engineer at the Advanced Computing Systems Division of IBM, 1968, commenting on the microchip

"There is no reason anyone would want a computer in their home."
— Ken Olson, president, chairman and founder of Digital Equipment Corp., 1977

"The wireless music box has no imaginable commercial value. Who would pay
for a message sent to nobody in particular?"
— David Sarnoff’s associates in response to his urgings for investment in the radio in the 1920s

"The concept is interesting and well-formed, but in order to earn better than a ‘C,’ the idea must be feasible."
— A Yale University management professor in response to Fred Smith’s paper proposing reliable overnight delivery service. Smith went on to found Federal Express Corp.

"Who the hell wants to hear actors talk?"
— H.M. Warner, Warner Brothers, 1927

"I’m just glad it’ll be Clark Gable who’s falling on his face and not Gary Cooper."
— Gary Cooper on his decision not to take the leading role in "Gone With The Wind"

"We don’t like their sound, and guitar music is on the way out."
— Decca Recording Co. rejecting the Beatles, 1962

"Heavier-than-air flying machines are impossible."
— Lord Kelvin, president, Royal Society, 1895

"So we went to Atari and said, ‘Hey, we’ve got this amazing thing, even built with some of your parts, and what do you think about funding us?  Or we’ll give it to you.  We just want to do it. Pay our salary, we’ll come
work for you.’  And they said, ‘No.’  So then we went to Hewlett-Packard, and they said, ‘Hey, we don’t need you. You haven’t got through college yet.’"
— Apple Computer Inc. founder Steve Jobs on attempts to get Atari and H-P interested in his and Steve Wozniak’s personal computer

"Professor Goddard does not know the relation between action and reaction and the need to have something better than a vacuum against which to react. He seems to lack the basic knowledge ladled out daily in high schools."
— 1921 New York Times editorial about Robert Goddard’s revolutionary rocket work. NASA’s Goddard Space Flight Center is named after Professor Gaddard.

"Drill for oil?  You mean drill into the ground to try and find oil?  You’re crazy."
— Drillers who Edwin L. Drake tried to enlist to his project to drill for oil in 1859. Drake was the first man credited to drill for oil in the United States

"Airplanes are interesting toys but of no military value."
— Marechal Ferdinand Foch, Professor of Strategy, Ecole Superieure de Guerre

"Louis Pasteur’s theory of germs is ridiculous fiction."
— Pierre Pachet, Professor of Physiology at Toulouse, 1872

"Everything that can be invented has been invented."
— Charles H. Duell, Commissioner, U.S. Office of Patents, 1899

How about you? Any predictions on the fate of the printed book and the electronic book revolution?

Careful what you wish for

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By Joe Moore
@JoeMoore_writer

When your first book was published, was the experience everything you dreamed it would be? For me, it was quite different than what I expected. In 2005, when I first walked into a national chain bookstore and saw my brand new novel on the new release table, it was a bananarush. I was proud. I felt like I was on top of the world. I couldn’t wait to see customers gather it up in their arms and rush home to read it. Then I stood back and watched as shoppers picked up my book, glanced at the back cover copy, and put it down with no more interest than in choosing one banana over another at the supermarket.

Didn’t they realize that book cost me 3 years of my life? How could they pass judgment on it within 5 seconds?

Reality set in. Not everyone will want to read my book. Not everyone will like it if they do read it. And I found out rather fast that once a book is published, the real work begins.

Today, I’m about to start (with co-author, Lynn Sholes) my eighth novel. My books have won awards, become bestsellers, and been published in many languages. And yet, every day I face the reality that the true test of my success or failure is what the customer does when they stand over that literary produce bin and pick what they think is the ripest banana. It’s about as scary as it can get.

As a full-time writer, I have the best job in the world. I would not trade it for anything. But a word to anyone dreaming of publishing their first book: be careful what you wish for. You just might get it.

So when your first book came out, was it everything you dreamed of? And if you’re still working at getting that first banana out there, what are you dreaming it will be like?

————–

Coming this spring: THE SHIELD by Sholes & Moore
Einstein got it wrong!

Write Aids

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By Joe Moore
@JoeMoore_writer

Wouldn’t it be great if we could download a software program, input some general ideas about a book we want to write, click compose, and an 80k-word manuscript magically appears? That’s certainly the Holy Grail of writers everywhere. Let the application do the heavy lifting while we just sit back and think up more great ideas. As of today, that software program doesn’t exist.

Still, writers are always looking for a shortcut. A tool that can take some of the pain away. A tool that can make the journey through the 3-act novel a bit easier. There are some programs that can help, even just a little.

Granted, the only tools needed to write a novel are a sharp pencil and a pad of paper. And some writers still use that method while others have gone on to word processors like MS Word. I prefer the latter since I can’t read my own writing.

But for those who seek a little bit of help to assist in the process, I’ve assembled a list of applications that might. I’ve never tried any of them and endorse none. But if one Zoner out there benefits from one of these, then my work here is done.

Probably the most popular program for novelists is Scrivener. Bestselling novels have been written with it and those who use it love it. You can test drive it for free.

After Scrivener comes smaller programs that focus on particular aspects of the writing process. Here’s a list. Hope you find that magic bullet in the list somewhere.

Note Everything. The ultimate note pad.

Write or Die 2. Helps to eliminate writer’s block.

yWriter5. Helps you to plan your novel.

Diaro. Advanced diary application.

Writer Pro. Professional writing suite.

FocusWriter. Gets rid of all distractions so you can concentrate on writing.

Writer. Helps you focus on your writing.

Hemingway. Helps you write bold and clear.

wikidPad. Helps you to link your ideas.

Wise Mapping. Online mind mapping tool.

MindNode. More mind mapping.

TreeSheets. Powerful note taking app.

Bubbl.us. Brainstorm or create a map for your ideas.

Sigil. EPUB editor.

Vizual Einstein. Visually develop a project.

The Writers Store. Complete source for writing software and other stuff.

There are tons more out there. You can find them with a simple Google search. So, fellow Zoners, do you use any writer aids or are all you writing tools in your head? Any programs to recommend?

————–

Coming this spring: THE SHIELD by Sholes & Moore
Einstein got it wrong!

Who is your audience?

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By Joe Moore
@JoeMoore_writer

A few weeks back, I blogged about What, How and Why do You Write? Today I want to discuss who you write for—who is your audience. The more you know about your end-readers, the more you can focus on connecting with them, entertaining them and creating loyal fans.

The first thing I suggest is to focus on an individual reader as you write, not a group. By doing so, you can envision and predict the reader’s response. For instance, it can be a friend that enjoys your work. Picture that reader as you write. Someone that you have received feedback from so you know their likes and dislikes. If your focus-reader has told you what she really likes about your books, then there’s a good chance other readers will like the same things. Maybe she’s said that your stories are highly visual almost like seeing a movie in her head or your characters always seem so down to earth or she loves how your books are like a magic carpet ride taking her to so many exotic locations. And on the flip side, listen to her dislikes. They’re equally important. These comments are keys to keeping your readers happy and coming back for more.

Next, think about your agreement with your reader. Basically it goes like this: if you’re willing to pull money out of your pocket, buy my book, and commit to spending a portion of your valuable time reading it, then I agree to deliver a level of entertainment that is equal to or exceeds what you have experienced in the past. You agree to fulfill the reader’s expectations. Not doing so can be deadly because negative word-of-mouth can rarely be overcome. The person hearing negative comments will probably never give you the chance to redeem yourself.

Remember what genre you write in and deliver the elements that readers of that genre expect. The readers of a particular genre all like the same type of stuff. Give it to them, but in an original fashion with new twists and turns.

Next is the manner in which your focus-reader consumes your book. Hardcover, paperback, ebook? Does she travel a great deal and likes to pass the time reading on the plane? At the beach? At bedtime? Over the weekend but not during the workweek? In public places such as a coffee shop or only at home? Does she always have plenty of time to read or does she have to steal time during her lunch break? Knowing the reading habits of your focus-reader helps you deliver the product that fits her needs and those of your audience.

Once again, concentrate on that one specific focus-reader. Her group will fall in behind.

Finally, remember that you are establishing a one-on-one, intimate connection with your reader. No matter where your book is being read, it’s just you and her. No one else is around. You are communicating with someone, usually a reader you’ll never meet, and it’s always up close and personal. You’re in her head, and hopefully in her heart. Keep focused on that intimate connection. Never let go of her in your mind as you write. She is your target audience. She is your path to success.

So, Zoners, do you envision your target reader as you write? Do you know her likes and dislikes? Are you dedicated to delivering to your specific audience?

————–

Coming this spring: THE SHIELD by Sholes & Moore
Einstein got it wrong!

What, how and why do you write?

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By Joe Moore

In order to sell the books you write, you need to understand some simple marketing basics first. The better you understand these three points, the better you can relate to your audience and them to you. And understanding these points will make you a better writer.

The easiest to answer is the first: What do you write?

At the highest level, you either fall into the non-fiction or fiction column. Non-fiction includes biographies, history, exposés, how-tos, text books, etc. Fairly clear and straightforward.

The other is fiction, or stuff we make up. Mysteries, thrillers, cozies, romance, westerns, horror, science fiction, historicals, and on and on. If you write fiction but you don’t know what kind, stop right now and go figure it out. Even if it’s a hybrid such as historical romance or cozy western, you need to have it clear in your head. The reason you need it clearly defined is that it will help you also clarify and understand your audience.

How can you define what you write? How do you know your audience? Read books that are similar to what you like to write. Compare their styles to yours. See how those books are defined and categorized. That very well could be the answer you’re looking for. Look at the Amazon pages for those books and their authors. Amazon will show you what other books are being bought by the same audience. Go read some of those books and authors. Now you’re zeroing in on the answer to what you write.

The second question is: How do you write? My blogmate, Kathryn Lilley, thoroughly covered the subject yesterday in her post Which Writer Species Are You? Go read it, then come back. I’ll wait here.

Okay, let’s move on to the most important and hardest to address: Why do you write? Why do you get up before dawn to get a few pages in before heading off to work? Why do you give up time with family and friends to type away at your WIP? Why do you feel that if you can’t write, you’ll go crazy? Why do you find yourself on vacation but thinking about plotting, dialog or character development?

Do you write for fame or money or recognition? I sure hope not.

So why do you write?

You must be able to answer that question. Because if you know beyond a shadow of a doubt why you write, it will come out in your work. It will make your words more believable, stronger, and heartfelt. Your reader will know. They may not define it exactly, but they will know. And they will tell others what a great writer you are. It becomes one of the most important descriptions of your writer “job” there is. Be ready at a moment’s notice with your answer. Because “I write thrillers” is easy. Because “I use an outline” is easy. I write because . . . is hard.

Now fellow Zoners, do you know the answer to why you write? Are you willing to share with us?

————–

Coming this spring: THE SHIELD by Sholes & Moore
Einstein got it wrong!

First page critique: QUEST FOR HONOR

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by Joe Moore

Today’s first-page critique is from a story called QUEST FOR HONOR. My comments follow.

July 2011

Somalia

​Every night, he saw the children. No matter how tired he was, no matter how preoccupied he was from the events of the day, no matter anything, he dreamed. And in his dreams, they came for him. Their eyes were filled with pain and supplication, and behind them was always a shadow, looming in the back, dark and menacing, and sometimes he could hear its wicked laughter, smell its fetid breath.

​On this hot night, he woke up screaming. “No! Save them! Save them!” Bolting upright suddenly, the bedclothes fell away from him, drenched with his sweat. He was panting. The shadow had gotten close to him, as the children milled around, and he felt its cold tendrils snaking around him, drawing him closer…

There was a knock at the door, then a muffled voice.

“Yusuf! Are you all right?”

He didn’t answer, and the door edged open. The face that peered in was that of Amir, his most trusted lieutenant. Did the man never sleep? “Are you ill, Yusuf? May I get you anything?”

​In his bed, the man shook his head, banishing the last wisps of the faces, knowing they would be back, perhaps as soon as he nodded off again. “Thank you, Amir, but I am fine. A bad dream, that is all.”

​“Shall I prepare some hot tea? It often helps me sleep.”

​Yusuf started to object, but said, “That would be good. Please, bring it to the library, and join me.”

He rose and pulled on a dry robe, switching on the light. The lone overhead bulb sputtered but stayed on. At least the electricity was running, he thought. Otherwise it would be candles and lanterns, as it was some nights. How could this truly be part of the land of Allah’s people if it could not consistently provide even the bare necessities? Ah, but what necessities are we thinking of, Yusuf reminded himself. The ones you enjoyed back in America, at university? Or the ones the true believers scraped and scavenged for every day, here in the barren countryside, the crowded cities, that made up the lands of the Prophet, blessings be upon him?

I’m not a big fan of opening a book with a dream, but this does set the stage for drama. The writer has a good command of storytelling. I have a suspicion that this is going to be an emotionally charged tale. There’s not much I find to critique here. Some unneeded use of adverbs and extra wording. A bit of cleanup can cure that. But overall, a good start. Here are a few suggested line edits.

Avoid passive voice. Change “Their eyes were filled with pain and supplication…” to “Pain and supplication filled their eyes…” Change “…and behind them was always a shadow, looming in the back, dark and menacing…” to “a shadow, dark and menacing, loomed behind them…”

Avoid run-on sentences. “Their eyes were filled with pain and supplication, and behind them was always a shadow, looming in the back, dark and menacing, and sometimes he could hear its wicked laughter, smell its fetid breath.” to “Pain and supplication filled their eyes, and a shadow, dark and menacing, loomed behind them. Sometimes he heard its wicked laughter, smelled its fetid breath.”

Avoid adverbs and unneeded words. For example: “Bolting upright suddenly, the his bedclothes fell away from him…”

Avoid confusion. “Did the man never sleep?” is Yusuf’s interior thought yet the reader might feel it is Amir who thinks it. Place it in italics. Then start a new paragraph with “Are you ill, Yusuf?”

Avoid unneeded words. Change “In his bed, the man shook his…” to “Yusuf shook his head…” We already know he is in bed.

Avoid simultaneous actions that are not simultaneous. Change “He rose and pulled on a dry robe, switching on the light.” to “He rose, pulled on a dry robe, and switched on the light.”

I think this is a good first draft. A little editing would make it tight and crisp. I would definitely keep reading. Thanks to the author for submitting this first-page sample. Good luck.

How about you guys? Would you turn to page 2 or move on?

Bad Boy, Whatcha Gonna Do?

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By Joe Moore

If I asked you to name 5 of your favorite heroes and 5 villains, which would you think of first? Which would come easier, the good guys or the bad? If you’re an action-adventure fan and you read a lot of Clive Cussler novels, Dirk Pitt would probably pop into your head right away. Now, name one arch-villain in a Dirk Pitt novel. We all know or have heard of Jack Ryan, Jason Bourne and Lara Croft. But name the bad guys they fought against. The reason it’s harder to recall specific villains is because it’s harder to write memorable bad guys. There aren’t that many Hannibal Lecters out there. But there are quite a few Clarice Starlings.

If you’re working on making your villain memorable, here are a few tips to do so.

Your villain must have multiple layers, perhaps even more that your hero. Stereotypical 2-D villains are boring. Why? Because we’ve all seen our share of non-motivated antagonists. A bunch of teens go to a cabin by a lake and start getting chopped up one by one. Seen that before? The villain is a killing machine. Why? Most of the time we have no idea. How about a good guy who turns bad. The motivational layers are all there. Just watch BREAKING BAD or DEATH WISH.

Your villain must be intelligent. Perhaps even more so than your hero. The brilliant bad guys are the ones that make the hero work really hard to solve the conflict. Their meticulous planning and concentration make them memorable. To see a brilliant villain in action, watch DIE HARD or SPEED.

Your villain had to have baggage. Preferably enough to make the reader cheer for him at least once. This usually happens near the beginning of the story where we see what motivates him. There is a hint of sympathy from the reader. But it doesn’t last long. Mr. Villain does something nasty and the sympathy shifts to the protagonist.

Your villain must face a fork in the road—a point in the story when he chooses to become a bad boy. The reader must believe the choice was voluntary. No one is born evil. They must choose to become evil somewhere along the way, for a believable reason.

Most important of all, your villain must be convinced he’s right. He needs to believe that his course of action is the correct path. Whether it’s revenge or jealousy, or some other strong motivator, he must do what he does out of commitment to being right. He must believe it and so must the reader.

As you write your villain into your manuscript, remember that he is not a throwaway character. He must be accepted by the reader for what he stands for and what he believes. For most of your story, he has to be as strong a character, if not stronger, than your protag. Make him memorable.

Now your turn. Name 5 of your favorite heroes and five villains your love to hate.

What Can Go Wrong?

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by Joe Moore

A huge Happy New Year to all my TKZ friends and blogmates. May 2014 be the best year ever for all of you.

Back in June of 2012, I posted a TKZ blog called Magic Words and how using them can be one of the best methods for kick starting your story ideas. The words are: “What If”. I’m sure that almost every story written probably started with those two words. What better way to get the juices flowing than to start with what if? I consider this a “story level” technique.

Today I want to suggest a “chapter level” exercise. Four words that can help create tension, suspense, conflict, and character-building. They are: “What Can Go Wrong?”

As you’re about to start a new chapter, even if you know what needs to happen, pause for a moment and ask yourself what can go wrong in this scene. Chances are, whatever answer you come up with will give you the opportunity to ratchet up the suspense and thereby keep the reader’s interest. Here’s a recent example of how I used this technique.

In my latest thriller THE SHIELD (co-written with Lynn Sholes) I was to draft a chapter in which my protagonist, her ex-husband, and a Russian colonel who had taken them prisoner, were flying in a 2-engine prop plane from Port Sudan inland across the Nubian Desert to a secret military facility. The outline which Lynn and I constructed about a year ago called for this journey from point A to point B. The only purpose of the chapter was to get to point B, the secret military facility. If I had drafted the chapter sticking strictly to the outline with the flight comprising of light banter between the three and the mention of a few landmarks passing below, it would have been short and dull, almost surely unneeded. The reader would have skipped through it to get to the “good stuff”.

So before I began, I asked myself what can go wrong in this scene that would lift the suspense and conflict, and even give me an opportunity to build character. My answer: what is the worst thing that can happen to an airplane? It crashes. Why would it crash? Well, that area of North Africa is known to be a dangerous place with anti-government rebel and al-Qaeda training camps. So what causes the crash? It’s shot down by shoulder-fired rockets from a rebel encampment.

Keep in mind that the outline calls for the three to get from point A to point B. This is the beauty of outlining: you can still reach your goal but taking an interesting detour can improve the story.

To increase the tension—although the three manage to survive the crash—the rebels are now coming after them. And how about the character-building aspect. My protagonist manages to save the life of her Russian captor when she could have easily left him behind to burn up in the wreckage.

In asking what can go wrong, I managed to turn one chapter into three, prolong the conflict, build character, and still fulfill the plot outline by getting all three to their destination.

As writers, whether we write by the seat of our pants or create a solid outline first, we must never pass up an opportunity to improve our stories. Asking what can go wrong often helps.

How about my friends at TKZ—ever use this or similar techniques in story building? After all, what can go wrong?

Seasons Greetings!

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It’s Winter break here at the Kill Zone. During oAWREATH3_thumb[1]ur 2-week hiatus, we’ll be spending time with our families and friends, and celebrating all the traditions that make this time of year so wonderful. We sincerely thank you for visiting our blog and commenting on our rants and raves. We wish you a truly blessed Holiday Season and a prosperous 2014. From Clare, Jodie, Kathryn, Kris, Joe M., Nancy, Jordan, Elaine, Joe H., Mark, and James to all our friends and visitors, Seasons Greeting from the Kill Zone. See you back here on Monday, January 6. Until then, check out our TKZ Resource Library partway down the sidebar, for listings of posts on The Kill Zone, categorized by topics.