Category Archives: Terry Odell

When A Panster Has to Plot

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When A Panster Has to Plot
Terry Odell

red brick wall with jagged edgesMany authors talk about hitting a wall at about the 30K mark, and I’m no exception. At that point, I usually wonder if I’m going to have enough story for a whole book. Since I’ve finished over 30 of them, the answer seems to be yes, but that doesn’t stop the doubts from creeping in.

person in a yellow raft navigating rapidsI hit another wall somewhere in the 60K neighborhood, which is where I am now in the current WIP. “Wall” is probably the wrong term. Raging river is probably a better term, because now, the nagging question becomes whether the book is ever going to end. This is where I need to get into my version of plotting.

Since I didn’t follow an outline, or much of a roadmap beyond, “They’re going from A to Z and know a few stops along the way, but they haven’t decided exactly which route to follow.” I’ve tried the plotting thing, and 3 chapters is as far into the future as I can go. Maybe if I’d taken writing courses instead of just seeing if I could write a book, I’d be more into plotting and hitting all the plot points at the right spot in the book, but I didn’t.

I’m not recommending my writing process, but it works for me. I have no problems with going back and adding things in earlier chapters because I discovered the one I’m working on needs a piece of information. Or foreshadowing. Or, the opposite. Sometimes I find that I’ve included something that is better cut. Too much mundane conversation. Or just plain too much mundane.

Doesn’t that make for a lot of extra work? I say no. Work yes, extra, no. My first draft can be compared to someone else writing a detailed outline, or a list of scenes, or whatever they need so they can write the book. Jeffrey Deaver spends 8 months doing this. I’ve finished my draft in less time than that.

One thing I strive for is making my chapters end so the reader wants to turn the page. Often, end up sticking something in from out of the blue. A phone call. A character showing who creates a problem for the protagonist. A question. I confess that sometimes these are questions I don’t know the answer to, or a character who shows up out of nowhere. Sometimes my subconscious is laying groundwork. Other times, nothing comes of it and I have to decide whether it’s worth keeping.

Then, because the current WIP is a romantic suspense, I have certain conventions—reader expectations, if you will—that need to be followed. In this case, it’s alternating POV characters. Heroine in one chapter, hero in the next. If both characters are in the scene, then one chapter will flow into the next, and whatever that page-turning (I hope) ending was, will lead to answering the question, or dealing with the problem.

Sometimes, as seems to be happening a lot with this book, my characters aren’t both in the chapter. In that case, that page-turning question won’t be addressed until the characters get together again, or until the reader gets through the alternate POV chapter.

Here, the author hopes that both characters are dealing with whatever I’ve thrown at them and that the reader is sticking with both hero and heroine. Not always easy, but nobody said this gig was a walk in the park. Fun, yes. Easy, not always.

So, here I am, at about 65K, thinking about getting to “the end.” The journey has to be satisfying, which means I can’t rush things, although there are days where it’s tempting. “The bad guy was caught and they decided to try the relationship thing.” Nope, that’s not fair to the reader.

Lined paper with red writingAt this stage of the process, I look at my “notes” file to see if I had any ideas that need adding, fleshing out, or cutting. I also get out my handy legal tablet and make handwritten, almost legible notes of threads that I have to deal with. That means for the last 10-20 thousand words of the book, I’m plotting.

Going back and laying groundwork for things that show up later is relatively easy, operative word being relatively. I write tight, so fitting in the new bits means finding the right place, and then getting out the Spackle so the transitions are smooth. What’s harder is discovering that the character you introduced in Chapter 15 to add conflict to the heroine’s arc, ends up being a good guy and where’s the conflict in that? Cutting that thread means making sure any references to that character are gone. Completely gone. Which can end up messing with chapter lengths, which can end up in a lot of rewriting so there aren’t gaping holes. A lot more Spackle is needed for these types of edits.

And then, because my characters don’t have any official authority, how far do I let them go before they do the sensible thing and let the experts take over? Will it make my “ordinary people” heroes less heroic if they give the cops the evidence they’ve found? There’s a limit as to how much disbelief I think my readers are willing to suspend.

manuscript text laid out in 2 columnsEventually, everything gets addressed. At that point, I’m ready to print the whole thing using my “fool the eye” technique, and see how it holds together.

 

 

 

 

All right, TKZers. I’m now officially on deadline, so this is all for today. Anyone want to offer their process, suggestions, or general comments? The floor is yours.

Squirrels, Rabbit Holes, and Other Writing Obstacles

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Squirrels, Rabbit Holes, and Other Writing Obstacles
Terry Odell

squirrel on a bare pine branch against a blue skybrown rabbit in green grassThere are always interruptions to the writing process, even when you’re diligently writing.

In my never-ending challenge of naming characters, unless “Mr.” is an acceptable first name, I’ve managed to go over 55K without mentioning my protagonist’s boss’s first name. Now, the story demands he have one. In perusing my character naming spreadsheet, I look for initials that haven’t been used, or have been used only for secondary or tertiary characters. “G” seems to be a reasonable choice. Glenn, perhaps.

Does it matter that in another book, a character has this name? The current wip is a stand alone (so far), so it’s unlikely there would be confusion. In fact, the character who already has this name goes by a nickname almost all the time.

I could use an alternate spelling on the rare chance someone who’s read the other book even remembers that character’s first name. Or spend more time looking for other “G” names.

Normally, rather than spend time going down rabbit holes or chasing squirrels, I’ll simple use my standby placeholder, [name].

Okay, that’s tabled for later. Back to the “real” writing.

Something I learned at a RWA chapter workshop came from an author who was talking about kinds of scenes. They should carry over to any genre, not only romance.

  • Prologue – not required. In fact, unless there’s a huge time gap between this and the opening, it should probably be Chapter One. There’s also a difference of opinion as to whether agents want to see prologues when you’re submitting.
  • Opening – should draw the reader in.
  • Set-up — foreshadows something to come
  • Validation – shows the character at work
  • Conflict
  • Push – moves characters apart
  • Pull – moves characters closer together
  • Reaction – also referred to as “sequel” (or shower scene, where the character would reflect on what just happened). These can slow the pace, so they’re falling out of favor. If you need one, make sure it’s important, and don’t linger too long.
  • Flashback – use sparingly – they’re often found in reaction scenes
  • Flash forward—rarely used in romance; author intrusion. Tends to be omniscient POV, which can intrude as well.
  • Reversal/Black moment – everything goes wrong
  • Climax – characters must make choices
  • Conclusions – wrap up those dangling threads

I’ve been dealing with “validation” scenes. If your characters have a profession, eventually you’re going to have to show them at work. My female protagonist—Evvie—is a photographer. I’m far from a professional, but I can fake my way through scenes of her at work, and if I have questions, my son is a professional photographer, and (since I’m the Mom), he feels obligated to answer me. Most of this is handled via email or phone calls, so I don’t have to deal with the eye rolls.

Evvie’s male counterpart—Colton—is an insurance claims adjuster. Don’t ask me where I came up with that one, other than it seemed to have potential for conflict, but at this point, I’m stuck with it. I can’t fake my way through his validation scenes, so it’s research time.

I’ve found that using an AI helper can speed up the research process by summarizing things that would require going to numerous websites and separating the wheat from the chaff. Of course, you can’t take everything your helper says for granted, so there’s some checking to make sure it hasn’t made stuff up. I had a vague idea of what conflict I could throw Colton’s way, but had to validate what would happen.

You need details to bring characters to life. They didn’t spring into being on page one. Then, because Only Trouble is Interesting, snips of tension have to show up. Evvie calls Colton “Colt” and she knows he doesn’t like it, so using the nickname says something about their relationship at that point in the story, which is in Chapter 2.

In Chapter 17, Evvie asks Colton about his past. He says he grew up in on a ranch in Wyoming where they raise cattle but also have horses, and now it clicks that he doesn’t like being called Colt because it reminds him of his childhood. Did I know that in Chapter 2? Nope. But it made sense in Chapter 17.

Then, in Chapter 31, circumstances have him returning to the ranch, and he invites Evvie to come with him. I’d already set the book in Colorado, an area I’m familiar with. I’ve never been to Wyoming. A placeholder saying [research ranching in Wyoming] wasn’t going to cut it. This was more—a lot more—than waiting to decide on a character’s name.

First research tip: Whenever possible, narrow the search. Instead of asking about cattle ranching in Wyoming, I asked what would be happening during the timeframe of the story. I’d arbitrarily set the time of year to mid-April when the book started, but when I asked what was happening on a Wyoming cattle ranch in April, I was “informed” it would be the tail end of calving season. I also learned that calving season was a very busy and high-pressure time in the ranching business. Perfect for adding trouble. Coming in at the tail end would make things too easy—so after checking to how many April references I’d included in the book—only one—I shifted the date to March. Easy-peasy. But the weather’s different, so I need to watch what my characters have been wearing.

While I wasn’t going to stick with my character round the clock, I still needed to know what the ranchers would be doing during calving so I could include that validation scene, showing my character at work. More squirrels and rabbit holes.

One question led to another, and I ended up with pages of information. I had the perfect opportunity to get this information on the page because Colton had been away from the ranch for a number of years, and things would have changed. But should it be there? If so, how much?

Iceberg showing how much is above and below the waterThat’s always a problem with research. You pick up fascinating tidbits like the Sandhills Calving System and include it in a family discussion. But will it move the story forward enough to justify those 135 words? Nope. It’s in my “snips” file in case it turns out to be needed, but research should follow the iceberg rule. Most of it’s under water, and shouldn’t show on the page.

These are some of the topics I’ve researched so far for this book.

  • Broken ribs
  • Punctured lungs
  • ICU
  • Website Contact Form tracing
  • Email tracking
  • Deep fakes
  • Insurance procedures
  • Insurance fraud
  • Ranching (with lots of rabbit holes to get lost in)
  • Slow detonation for explosives
  • Children testifying in court

Somewhere along the line, I have to crawl out of the rabbit warren and get back to writing. Our dog brought me a squirrel the other day, something she hasn’t bothered with in years, so maybe she thinks she’s being helpful.

So, TKZers. What’s your approach to research? How do you avoid spending too much time with those squirrels and rabbit holes?

Find me at Substack with Writings and Wanderings

Deadly Ambitions
Peace in Mapleton doesn’t last. Police Chief Gordon Hepler is already juggling a bitter ex-mayoral candidate who refuses to accept election results and a new council member determined to cut police department’s funding.
Meanwhile, Angie’s long-delayed diner remodel uncovers an old journal, sparking her curiosity about the girl who wrote it. But as she digs for answers, is she uncovering more than she bargained for?
Now, Gordon must untangle political maneuvering, personal grudges, and hidden agendas before danger closes in on the people he loves most.
Deadly Ambitions delivers small-town intrigue, political tension, and page-turning suspense rooted in both history and today’s ambitions.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

Beware of Dog and Other Things to Remember

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Beware of Dog and Other Things to Remember
Terry Odell

black and white dog with its face poking out underneath a blue fence with peeling paint and a sign saying Beware of Dog

Image by Kev from Pixabay

People like dogs. Readers like dogs. So, when I was starting my current wip, without much conscious thought, this appeared in the first 400 words of the manuscript:

“Evvie snatched the envelope from Roger’s hand, wrestled the cart to the door, and not waiting for him to offer to help, pushed the cart—none too gently—against the door to open it. She maneuvered the cart, fighting the universally requisite out-of-alignment-wheel, down the sidewalk to her SUV. After arranging her photos on the towels she kept in the back for Baxter, not concerned about his sheds of black dog hair, she slammed the hatch. She left the cart next to the nearby red maple—let Roger come get it—and drove home.

As she entered the kitchen of her little house near downtown Colorado Springs, Baxter greeted her. Bouncing, shimmying, his stump of a tail wagging as if she’d been gone a month, not thirty minutes.”

Okay, so Evvie has a dog. Dog loving readers will connect.

Then what? First, this isn’t a cozy, and these dogs don’t talk or have a POV role. The book is a romantic suspense, which means it’ll fall into the romance category. That means a hero. And they have to meet. Per reader expectations, very soon. Being a good dog parent, Evvie takes Baxter for a walk, and they end up at the neighborhood dog park. Enter the expected hero. With his dog, a golden retriever named Sammy.

All should be good. Hero and heroine have a connection. Their dogs. Although they’re not in a relationship at this point (Chapter 2), the hero has a dog, he likes dogs, and that scores points with Evvie.

Now, here’s the problem. It’s a romantic suspense, which means Bad Stuff Has to Happen. Whether they’re working independently or together, if they go anywhere, they (meaning me) can’t forget about the dog.

I’ve read books where a dog was introduced, and then hardly shows up on the page again. This is unacceptable. You put a living, breathing being on the page, and it has needs. Food. Water. Walks. And you have to take this into account in Every Single Scene. How much time has elapsed since the last scene? Where were the dogs?

In my writing, I try to keep time moving forward in real time, more or less. If I jump ahead, I make sure that’s noted. Here, I give readers credit for assuming that if it’s much later in the day, or the next day, or three days later, that the characters have gone about the normal day-to-day events, and that the dogs have as well.

Now, if I’m with my characters, then all those normal day-to-day events need to be covered somehow. Not a minute-by-minute, but at least a mention to readers can keep track of elapsed time. “After lunch” is good enough unless something important happens that moves the plot forward.

Since my characters are in the ‘getting to know each other’ stage, they need to be together. I don’t know about you, but back in my day, that was usually along the lines of dinner and a movie. Movies don’t make for good page time, but as long as some plot advancing happens, I have no trouble showing them in an eatery, where they’ll interact with servers—because how else will their food appear?—ordering, eating, etc., along with discussing those plot advancing topics.

But now I have to remember that they’ve got dogs at home. Did I skip the time where they were tending to them? It’s okay to tell rather than show everything—“After feeding and walking the dog…” but you put them on the page, so you can’t neglect them.

Likewise, if your characters have children, or are caring for an elderly parent, you can’t pop them in and out when you think of it. They’re part of the story and can’t be neglected.

JSB talks about the shadow story to keep track of other characters, especially the villain. Most of my books don’t have the kind of villains that more traditional “murder mysteries” have, so any tracking of bad guys tends to be minimal for me. However, secondary characters both human and otherwise, require tracking.

So, when the Real Trouble starts and my characters have to leave town in a hurry, they (meaning me) have dogs to deal with. Kennel them? Do they have dog sitters? Or do the dogs have to come along?

A sticky note on my computer saying “Don’t forget the dogs!” is the equivalent of my dog coming into my office and staring at me when one of her daily routine boxes needs to be checked.

(Side note, along similar lines. If you say a character needs to pee, I want to see that they’ve had a chance to hit a restroom. I’ve seen authors ignore this step, too. Drives me nuts.)

Basic “rule.” If you mention anything, it becomes a thread that has to be followed. Don’t leave readers hanging. Or thinking your characters are less than likeable because they’re not taking care of the dogs (or people) they’re responsible for.

What about you, TKZers? Do you avoid pets because of the complications they throw into the work? If your characters have pets (or other humans they’re responsible for), how do you deal with the requisite “care and feeding”?

Find me at Substack with Writings and Wanderings

Deadly Ambitions
Peace in Mapleton doesn’t last. Police Chief Gordon Hepler is already juggling a bitter ex-mayoral candidate who refuses to accept election results and a new council member determined to cut police department’s funding.
Meanwhile, Angie’s long-delayed diner remodel uncovers an old journal, sparking her curiosity about the girl who wrote it. But as she digs for answers, is she uncovering more than she bargained for?
Now, Gordon must untangle political maneuvering, personal grudges, and hidden agendas before danger closes in on the people he loves most.
Deadly Ambitions delivers small-town intrigue, political tension, and page-turning suspense rooted in both history and today’s ambitions.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

Marketing, Algorithms, and Tropes

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Marketing, Algorithms, and Tropes

Terry Odell

Image by Inn from Pixabay

Marketing is, for most authors, a necessary evil. Even traditionally published authors are expected to share the burden of making their books visible, and with the thousands of books published to Amazon a day, this is a daunting task. Before I go any further, let me remind readers here that the best marketing effort is to write the next good book. That being said, it’s still a game of whack-a-mole trying to find the next best marketing tool.

How is your book discovered? It used to be readers went to their bookstore of choice and searched using keywords, the author’s name, genre, whatever. Now, it’s places like BookTok and other social media platforms that readers, especially younger ones, are gravitating to.

Even publishers are partnering with BookTok influencers to get the word out about their publications.

Word of mouth is still huge, but a lot of those mouths are digital. Book clubs on Discord, Goodreads lists, and Reddit threads are growing. Subscription services let readers find books without paying for individual titles.

Overall, there’s a split between algorithmic and social discovery, which is fast, and often viral, and the intentional, curated discovery, which is slower, more personal, and trust-based.

And what about those algorithms? Recently (no surprise), Amazon came up with a new one. Authors who had figured out how to ‘beat’ the system are having to start all over.

A recent podcast on Written Word Media summarized the changes as they relate to Amazon. Since Amazon doesn’t reveal how their algorithms work, they’ve done research to try to figure it out. Are they right? Is it foolproof? That remains to be seen.

First, optimization of your book product page is more important than previously. Keyword stuffing is out; natural language is in. Include tropes and subgenres in your description.

Next, focus on your A+ content. Make it longer and make your images match the genre and themes of your books. Getting readers to stay on the page as long as possible is a plus.

External traffic is more important than it used to be. Your ads, your social networks, newsletters—driving traffic to you page from non-Amazon sources also means more than it used to.

Finally, they mention consistent traffic. One day spikes of sales isn’t as effective as seeing increased sales over several days. Amazon isn’t updating rankings hourly anymore. It’s more like once a day.

Something mentioned in their advice is tropes.

Dictionary.com defines trope as “a recurring theme or motif, as in literature or art; a convention or device that establishes a predictable or stereotypical representation of a character, setting, or scenario in a creative work.”

Tropes make it easier for readers to find books they know they’ll like within their genre of choice. Ad graphics and memes are including tropes along with book images. Here’s a quick one I put together as an illustration.

Tropes are the new search terms. They are sharable shorthand. They build loyal, repeat buyers. They drive the long tail, not just launch work.

They’re not without risk, however. BookTok hypes aren’t substance driven. The hype is probably short-lived. You also have to be careful about making sure all aspects of your marketing reflect what’s actually in the book.

Bottom line: tropes work commercially because they reduce uncertainty for readers. In a market flooded with books, knowing a book contains your favorite trope functions like a quality signal — it tells you roughly how it will feel to read it. That reduces friction all the way from discovery to purchase.

Did I do anything with this tropification advice?

With 35 books out there, doing anything that means making changes to all of them fills me with dread. How long will it take? How much work will I have to do?

I decided to start small. I’d modify the book pages on my own website, a few books at a time. How was I going to find the tropes when I can hardly remember what many of my books are about, especially the older ones.

I turned to my more-or-less trusty assistant, Claude, and I asked it to give me marketing tropes for  Deadly Bones, one of my books. I didn’t feed it my book. It came back with data it gleaned from my website, from my Amazon pages, from reviews, from all over the interwebs.

This is what it came up with:

  • Cold case / buried remains — the bones-in-the-ground setup is a classic cold case entry point, used here with a cozy sensibility rather than a forensic thriller one
  • Accidental discovery — the mystery begins with something entirely mundane: a couple of dogs on the loose, which is perfectly in keeping with the series’ warm, small-town tone
  • Obstructionist authority figure — the mayor functions as an antagonist not through villainy but through bureaucratic shortsightedness, a distinctly cozy genre device
  • Seemingly unrelated crimes converging — the break-ins and the bones appear disconnected until they aren’t, a classic mystery plotting technique
  • Recurring detective as frenemy — Tyler Colfax returns from Book 1 as a necessary but prickly collaborator, building on the series’ ensemble continuity
  • Protagonist’s loved ones in danger — Gordon’s personal stakes are raised in the final act, pulling the story from procedural into something more urgent
  • Slow-burn series romance — Gordon and Angie’s relationship continues its gradual, warm development without overwhelming the mystery plot

I took these, chose the ones I though were most likely to show up in searches (as if I know), condensed them, then added a “Tropes” section to the basic book information on the Deadly Bones book page on my website.

Then, rinse, repeat as needed.

Am I going to take that information and add it to the book description for all my books on all my sales channels? Not right away.

Am I going to update all my A+ content, which I haven’t touched since I wrote that above post? I’ll have to see.

And, in closing, another reminder.

The best marketing is writing the next good book.
Which is what I’m in the middle of, so that’s taking priority right now.

What about you, TKZers? Are you moving with the trends, or sticking to your own methods? Any successes, less than successful methods to share?

Find me at Substack with Writings and Wanderings

Deadly Ambitions
Peace in Mapleton doesn’t last. Police Chief Gordon Hepler is already juggling a bitter ex-mayoral candidate who refuses to accept election results and a new council member determined to cut police department’s funding.
Meanwhile, Angie’s long-delayed diner remodel uncovers an old journal, sparking her curiosity about the girl who wrote it. But as she digs for answers, is she uncovering more than she bargained for?
Now, Gordon must untangle political maneuvering, personal grudges, and hidden agendas before danger closes in on the people he loves most.
Deadly Ambitions delivers small-town intrigue, political tension, and page-turning suspense rooted in both history and today’s ambitions.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

 

Tales of an Author Event

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Tales of an Author Event
Terry Odell

Display of Terry Odell's books

This past weekend, I had the opportunity to participate in a library’s annual “Mountain of Authors” event. I’ve been part of this event for quite a number of years, but this year, things were different. There was a new event organizer, which might have accounted for some of the changes, but I doubt she was working alone.

In the past, as in this year, the event includes two programs: a panel discussion and a keynote speaker with time in between to encourage library patrons to visit the authors’ tables. It takes place in the library’s meeting room and is open to the public at no charge. Tables for authors who’d been approved to participate were set up in the periphery of the room. My guesstimate, since I never actually counted the tables, was somewhere in the neighborhood of thirty author tables. They also used to include lunch for the authors, given the event ran from noon to five, not counting setup and breakdown time. This year, only water and a couple of packaged snacks.

Also this year, they decided to accommodate more authors. Authors were also permitted to bring their own tables, which increased the number of participants even more. Over eighty. And they spread them out through the entire upper level of the library, which is a huge space. A few authors were inside the program room, but most tables were set up outside the venue, including mine. My guess is traditionally published authors got priority for premium space, but that’s just a guess. Given that was one of the questions on the application form, I’m calling it an educated guess.

They tried to assign tables based on genres and my space was in the “Mystery Authors” section. That being the case, I decided to focus on my Mapleton series when deciding which books to bring. When I checked my inventory, I realized I had only the three newest Mapletons, so I added some stand alone romantic suspense books as well.

Events like this are a time investment. It’s an hour drive down the mountain for me. Then it’s unloading everything and setting up my table. The program was scheduled to start at noon, and I arrived at eleven to set up. My assigned section turned out to be in an area adjacent to … nothing. A couple of activity rooms, but nowhere near any books, which is what library patrons are most interested in. Thus, there was very little traffic to the tables in that section, and what traffic there was consisted primarily of the other 79 authors wanting to see who was there, say hi, get ideas for their own tables.

Many of us were repeat attendees, so it was nice to see familiar faces. It was nice to chat with the authors on nearby tables. The author to one side of me was there with his first book and were excited to go to events. They had a huge stand up banner with quotes of all the great reviews his book had gotten. His wife was the “talker-upper” and did the book pitching.

On the other side of me was a man who’d brought the most recent book in his series because it was the only one he’d indie published and the only one he could get copies of. His table was the first one on our side of the “aisle” and as people entered, he jumped up from behind his table and walked up to everyone coming in, and gave his sales pitch. I got the feeling that a lot of those people felt they were being encroached upon, so I stayed behind my table and, after they’d left him, invited them to partake of some of my swag to get a conversation started.

The types of people I encountered,no different from those I’ve encountered at every event I’ve ever been part of:

  • “If I make eye contact, I’ll have to buy something, so I’ll scan the table and walk by.”
  • “I like these books, but I didn’t bring any money today.”
  • “Do these come in ebook?”
  • “Can I get it in audio?”
  • “I need to check all the tables before I buy anything.” (After reading the back cover copy on every book I had on display).
  • And then there was the guy who wanted to read a sample, so he picked up the book and opened it to a random page about 1/4 of the way through. So much for hooking readers on page one!

On the bright side, nobody asked where the restrooms were.

My overall takeaways?

The setup was too large, and some areas were VERY low traffic.

People who come to libraries tend to borrow books, not buy them, which was no different this year. Attending these functions is more about meeting people, getting your name out there.

Chatting with people instead of staring at a computer screen is a healthy change of pace.

Did I sell any books? Yes. Two of my stand alone romantic suspense books, so if you’re all about the money, this was a loss. On the other hand, people did pick up my post it notes and business cards, so my name is in front of a lot more people.

The author and wife pair sold one. The get up and grab-’em guy swapped books with another author and I think he had one sale. What was interesting was one woman he’d approached had been an exchange student in the town in Italy where one of his books was set. He didn’t have that book with him, but she went to the nearest Barnes & Noble and bought it, then brought it back to the venue so he could sign it.

Would it have been better had my table been somewhere else? Maybe. Peeking into the program room showed mostly empty seats, so maybe the program wasn’t a draw to begin with. The other side of the library (where the books are) might have been a better location.

Would I do it again with the same setup? I don’t know, but I have a year to think about it.

What about you, TKZers? Any stories to share?

Find me at Substack with Writings and Wanderings

Deadly Ambitions
Peace in Mapleton doesn’t last. Police Chief Gordon Hepler is already juggling a bitter ex-mayoral candidate who refuses to accept election results and a new council member determined to cut police department’s funding.
Meanwhile, Angie’s long-delayed diner remodel uncovers an old journal, sparking her curiosity about the girl who wrote it. But as she digs for answers, is she uncovering more than she bargained for?
Now, Gordon must untangle political maneuvering, personal grudges, and hidden agendas before danger closes in on the people he loves most.
Deadly Ambitions delivers small-town intrigue, political tension, and page-turning suspense rooted in both history and today’s ambitions.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

Cruising Along

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Cruising Along

Terry Odell

view of red paddle wheel on American West river boat

Today, if all goes as planned, I’m going to be climbing the 164 steps to the top of the Astoria Column while on a Columbia & Snake River vacation, cruising on a paddle wheeler. Oh, and I’ll have to get down, too. I wouldn’t be too concerned if not for my annoying gluteal tendinopathy, which has been creating new challenges in doing things involving walking, stair-climbing, and the like. Age ain’t for the faint of heart.

Astoria column against a blue sky and green pine trees

But (and I’m writing this well before we leave), I’m looking forward to having some FUN on this trip. To that end, I figured why not have some fun here at TKZ today. Hope you get a few smiles.

Hope you got at least one smile from these. Any of them stand out for you?

And, before I leave you, here’s a brain teaser, taken from Tom Scott’s “Lateral” podcast.
What do the following have in common?

    • Bar soap
    • Acoustic guitar
    • World War I

Talk amongst yourselves. I’ll check in when and if I can. Have a great day.

Find me at Substack with Writings and Wanderings

Deadly Ambitions
Peace in Mapleton doesn’t last. Police Chief Gordon Hepler is already juggling a bitter ex-mayoral candidate who refuses to accept election results and a new council member determined to cut police department’s funding.
Meanwhile, Angie’s long-delayed diner remodel uncovers an old journal, sparking her curiosity about the girl who wrote it. But as she digs for answers, is she uncovering more than she bargained for?
Now, Gordon must untangle political maneuvering, personal grudges, and hidden agendas before danger closes in on the people he loves most.
Deadly Ambitions delivers small-town intrigue, political tension, and page-turning suspense rooted in both history and today’s ambitions.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

When You’re Right, You’re Still Wrong

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When You’re Right, You’re Still Wrong,
Terry Odell

top of a bald man's head

I’ve been dealing with writing stuff I know little about recently, and I’ve turned to reliable sources for research. As so often happens, I end up relying on “It’s FICTION” as I write. My philosophy is it has to be plausible for the situation.

This brought to mind something from years and books ago. I had written the following:

Touching base about the accident. I noticed a couple of units pulling away from the scene not long ago. Wondered if you had anything you could share. The Yardumians are concerned about the missing woman. Told them I’d see where things stand.” Okay, so that was a boldfaced lie. But he figured the Yardumians were concerned, and if they’d asked him to, he’d have called.

When my critique partners got their eyes on it, one suggested either barefaced or bald-faced, which he thought were the “right” usages.

I’d thought I’d used a correct term, so I looked it up. I discovered all 3 usages could be considered correct. (You might like to read the article for yourself.) Curious, I posed the question on my Facebook page, and a short time later, I’d had over 1000 views of that post, and over 40 comments. (To put this in perspective, if I get 150 views of a post, and a dozen comments, that’s a lot.) Granted, Facebook isn’t a scientific sample by any means, but I found the results worth thinking about. It wasn’t the number of hits that was of interest to me, or the number of comments—rather, it was that there was no consensus. Boldfaced and Bald-faced were almost tied with 18 and 16 “votes” respectively, while Barefaced had 7 people saying that’s what they were used to hearing.

What does this mean for a writer? Clearly, no matter which term I used, there would be a whole lot of readers who thought I got it “wrong.” And, as my first critique group used to say, “Just because it’s right doesn’t make it good.”

This can happen a lot, given how many regional differences we have in our language. But it’s not only language; sometimes it can be a ‘fact’ that you get right but readers believe the truth lies elsewhere. Getting police investigation and forensics procedures right when your readers believe what they watch on television is reality can make them think you don’t know your subject.

An author friend who wrote historical novels used the term technology in her book, and her editor called her on it. Although she could document the word’s usage in that time period, she decided to change it simply because readers probably wouldn’t take the time to look up the word’s etymology.

When I was writing Finding Sarah, I wanted to thwart her efforts to get away, so I made the only car she had access to one with a manual transmission. People who drove stick shifts years and years ago (myself included) know that you can start the car by “popping the clutch.” I made sure the car was parked facing a tree so Sarah would have to use reverse, which complicated that solution. However, in reality, in modern cars with manual transmissions, you can’t even start the car unless you’ve got the clutch depressed. Sarah didn’t know that, but critique partners who’d driven stick shifts back in the day thought I was “wrong” when the car didn’t start.

What are the solutions? For Sarah, I had Randy explain it to her later. Readers might have thought I was ‘wrong’ at the beginning, but I hope they understood when it was explained. For cop procedures, it’s nice if you can have either another character or some internal monologue to explain that “life doesn’t work like television.”

As for my bold, bald, bare dilemma? Rather than have over half my readers think I’ve got it wrong no matter which word I chose, I did a write around and said ‘blatant lie’ instead.

How do you deal with people thinking you’re wrong when you’re right?

Find me at Substack with Writings and Wanderings

Deadly Ambitions
Peace in Mapleton doesn’t last. Police Chief Gordon Hepler is already juggling a bitter ex-mayoral candidate who refuses to accept election results and a new council member determined to cut police department’s funding.
Meanwhile, Angie’s long-delayed diner remodel uncovers an old journal, sparking her curiosity about the girl who wrote it. But as she digs for answers, is she uncovering more than she bargained for?
Now, Gordon must untangle political maneuvering, personal grudges, and hidden agendas before danger closes in on the people he loves most.
Deadly Ambitions delivers small-town intrigue, political tension, and page-turning suspense rooted in both history and today’s ambitions.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

Does it Really Matter?

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Does it Really Matter?
Terry Odell

Recently, I made some major changes to the wip. As in totally abandoning one thread of my female protagonist and replacing it with another. I’d written 14 chapters and was at the 13K word mark when I realized my heroine’s back story wasn’t working, and I was heading down a dark, winding road that didn’t seem to lead where I needed it to go. I knew the main conflict she was going to be dealing with, but the path we’d started on wasn’t getting there.

My keyboard has a delete key, and I know how to use it, but this wasn’t a matter of making some adjustments. This was ripping out huge chunks of chapters, and rewriting them.

My process here isn’t a “try to fix it” one. I open a new document and rewrite the offending chapters more of less from scratch. I have the original open on my second monitor, and if—and it’s a BIG IF—there is a paragraph or a section that works in both the old and new version, I’ll copy it, but this time, it was almost all new material.

I was happier with what was going on with my heroine. As for the hero, I wasn’t having any trouble with his story, but … where the two characters interacted didn’t work anymore. For most of his chapters, I could make modifications rather than start from scratch.

I’d been very proud of the fact that I’d kept up my chapter summaries on my spreadsheet. But now, other than the first 2 chapters, I had to start over. Doing summaries isn’t my favorite writing chore task, but I finally bit the bullet and worked on the requisite changes. Not as easy as I’d hoped, because as I redid the summaries, I discovered that time had ceased its unidirectional course. Results were happening before causes. Characters were reacting to, or talking about things that hadn’t happened yet.

More fixes.

And then, as I decided I should be noting whose POV each chapter was in (color coding cells comes in handy), I noticed that during the revision process, I’d ended up with two chapters in the same character’s POV. I used to have two POVs in a chapter, but with the trend to readers preferring shorter chapters, I’d switched to making each POV switch its own chapter.

Did it matter? Would readers get confused? Would they even notice? Note: I’m a stickler for establishing the POV character in the first paragraph—preferably in the first sentence—of each chapter, so I didn’t think reader confusion would be an issue. But I’m also anal when it comes to sticking to patterns, so I had to decide how to “fix” it, even if it wasn’t technically “broken.” Could I combine both those chapters into one? Maybe, but then it would be twice as long as all the rest, and anal me doesn’t like that, either.

Does chapter length matter? Back when I was a green newbie at the gig, I belonged to a RWA chapter, and the question of “How long should a chapter be?” came up. One answer was “as long as a cat’s tail,” which translated to “as long as it needs to be.” A recent read had chapters as short as a page and a half, to well over twenty pages. The book was published in 1994, so no telling whether an editor today would have “suggested” more uniform lengths, or would have gone with the “long as it needs to be” approach.

Could I tighten both chapters enough so the length wouldn’t be outside the “norm” for the book? A quick perusal of the text said “nope.” But a closer look gave me a semi-solution. I could reverse chapters 13 and 14, make some adjustments (that time thing again), and then I’d be ready to move into “new” territory.

Not saying it’s all smooth sailing from this point forward, but at least the first 15 chapters are working together. Except for those two characters who showed up. Who are they, and what are they doing here?

What about you, TKZers? Do you strive for something approaching uniformity in chapter structure, or don’t you care?

The floor is open.
TKZ:

Find me at Substack with Writings and Wanderings

Deadly Ambitions
Peace in Mapleton doesn’t last. Police Chief Gordon Hepler is already juggling a bitter ex-mayoral candidate who refuses to accept election results and a new council member determined to cut police department’s funding.
Meanwhile, Angie’s long-delayed diner remodel uncovers an old journal, sparking her curiosity about the girl who wrote it. But as she digs for answers, is she uncovering more than she bargained for?
Now, Gordon must untangle political maneuvering, personal grudges, and hidden agendas before danger closes in on the people he loves most.
Deadly Ambitions delivers small-town intrigue, political tension, and page-turning suspense rooted in both history and today’s ambitions.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

Descriptive Words of Wisdom

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If plot is the muscle of your fiction and structure is the bones, description is the skin. Today’s Words of Wisdom takes a look at the “skin” of your story, presenting two superb, longer excerpts from the TKZ archives dealing with description. The first, by James Scott Bell, gives advice on how to help the reader feel your description. The second, by Terry Odell, looks at how to handle character descriptions in both first person and deep third POVs.

You describe a scene not so the reader can see it, but so the reader can feel it. And the way they feel it is by knowing how the point-of -view character feels about it.

That’s why I’ve developed a seven-step checklist for myself for writing a setting description. It takes a little extra time, but I’ve determined that the stylistic ROI (return on investment) is worth it. Here we go:

  1. How do you want your character to feel about the setting?

This is the crucial first step, and it’s a strategic one. You know where you are in your story and what the character’s attitudes and emotional landscape are. You know what’s going to happen in the scene (note to pantsers: you’ve at least got some idea). Now you’re going to set the scene through the character’s perceptions about it. Your decision can be as simple as: I want my character to feel intimidated. 

Note that you don’t have to name the emotion when you write the scene. In fact, it’s better not to. Let the setting itself create the feeling.

  1. Using the sense of sight, describe the things the character notices.

The items that come into your mind will now be filtered through the POV character. If you want to locate a picture via the Internet, go ahead. But as you look at it, pretend you are the character and try to feel what she feels. Make a list of the items your character doesn’t just see, but notices. This is a crucial distinction. We focus on different things depending on our mood. If you’re unhappy and you walk into a sunny hotel foyer, you might ignore the fancy art and notice instead a droopy plant.

Do a little voice journaling. Have the character talk to you in her own voice, expressing her feelings about what she notices.

  1. Use the other senses to add to the feeling.

Imagine what the character might hear, smell, touch, or even in some cases taste. Make a list.

  1. Look at the items from Steps 2 & 3 and highlight the ones that work best.

That didn’t take long, did it? Five to ten minutes. But if you’re having fun, do more!

  1. Bonus Supercharger: What is the character’s personal interpretation of the place?

Here is a powerful technique used by some of our best writers: when the character offers his own interpretation of the setting, it not only creates a sense of place, but also deepens the character for the reader. Double score!

Here are a couple of examples. This is from Robert B. Parker’s first Spenser novel, The Godwulf Manuscript:

The Homicide Division was third floor rear, with a view of the Fryalator vent from the coffee shop in the alley and the soft perfume of griddle and grease mixing with the indigenous smell of cigar smoke and sweat and something else, maybe generations of scared people. 

Parker uses sight and smell, but also adds generations of scared people. That’s from inside Spenser. That’s his own impression of the place. It tells me as much about Spenser as it does the setting.

Here’s a longer impressionistic description from John D. MacDonald’s Travis McGee mystery, The Quick Red Fox. These are McGee’s feelings about San Francisco. (I apologize to all my friends in the City by the Bay!)

And so we drove back to the heart of the city. San Francisco is the most depressing city in America. The comelatelys might not think so. They may be enchanted by the steep streets up Nob and Russian and Telegraph, by the sea mystery of the Bridge over to redwood country on a foggy night, by the urban compartmentalization of Chinese, Spanish, Greek, Japanese, by the smartness of the women and the city’s iron clutch on culture. It might look just fine to the new ones.

But there are too many of us who used to love her. She was like a wild classy kook of a gal, one of those rain-walkers, laughing gray eyes, tousle of dark hair –– sea misty, a little and lively lady, who could laugh at you or with you, and at herself when needs be. A sayer of strange and lovely things. A girl to be in love with, with love like a heady magic.

But she had lost it, boy. She used to give it away, and now she sells it to the tourists. She imitates herself … The things she says now are mechanical and memorized. She overcharges for cynical services.

I think it’s fair to say we know how McGee feels about San Francisco! One of the things that made this series so popular was passages like the above, where McGee riffs on such matters as setting, social mores and current events.

  1. Write the description using active verbs and concrete images.

At this point, let me advise you to overwrite the description. Don’t try to get this perfect the first time through. Feel it first.

  1. Let the scene rest, then edit.

I don’t do heavy edits as I’m writing a first draft. But I do go over my previous day’s work for style and obvious fixes. So come back to your scene the next day, or at least after a time away from it, and keep the following in mind as you edit

James Scott Bell—August 7, 2016

Today’s focus is on dealing with character descriptions in First Person or Deep/Close/Intimate Third (which are almost the same thing.)

I am a deep point of view person. I prefer everything to come from inside the character’s head, However, I will read—and enjoy—books written with a shallower point of view. It all comes down to the way the author handles things.

What are authors trying to convey to their readers with physical character descriptions? The obvious: hair color, length, style to some extent. Eye color. Height, weight, skin color. Moving forward, odds are the character is dressed, so there’s clothing to describe. This is all easier in a distant third POV. Using that POV, you can stop the story for a brief paragraph or two of description, a technique used by John Sandford. In a workshop, he said he didn’t like going into a lot of detail, and listed the basics that he conveys in each book, usually in a single paragraph. Here’s how he describes Lucas Davenport in Chapter 2 of Eyes of Prey, one of his early Davenport books:

Lucas wore a leather bomber jacket over a cashmere sweater, and  khaki slacks and cowboy boots. His dark hair was uncombed and fell forward over a square, hard face, pale with the departing winter. The pallor almost hid the white scar that slashed across his eyebrow and cheek; it became visible only when he clenched his jaw. When he did, it puckered, a groove, whiter on white.

But what if you want to write in deep point of view? Staying inside the character’s head for descriptions is a challenge. Is the following realistic?

Sally rushed down the avenue, her green-and-yellow silk skirt swirling in the breeze, floral chiffon scarf trailing behind her. She adjusted her Oakley sunglasses over her emerald-green eyes. When she reached the door of the office building, she finger combed her short-cropped auburn hair. Her full, red lips curved upward in a smile. 

You’ve covered most of the “I want my readers to see Sally” bases, but be honest. Do you really think of yourself in those terms?

There are other ways to convey that information. First, trust that your reader will be willing to wait for descriptions. Make sure there’s a reason for the character to think about her clothes, or her hair. Maybe she just had a total makeover and isn’t used to the feel of short hair, or the new color, or the makeup job. Catching a glimpse of herself as she passes a mirror and doing a double-take is one of the few times the “Mirror” description could work for me.

Even better, use another character. Some examples of how I’ve handled it:

Here,  an ex-boyfriend has walked into Sarah’s shop and says to her:

“You look like you haven’t slept in a month. And your hair. Why did you cut it?”

“Well, thanks for making my morning.” Sarah fluffed her cropped do-it-yourself haircut. “It’s easier this way.”

Note: there’s no mention of the color. Someone else can bring it up later. Neither of these characters would be thinking of it in the context of the situation.

Later, Sarah is opening the door to Detective Detweiler. We’re still in her POV, but now we can see more about her as well as a description of the detective, and since it’s from her POV, there’s none of that ‘self-assessment’ going on.

She unlocked the door to a tall, lanky man dressed in black denim pants and a gray sweater, gripping several bulky plastic bags. At five-four, Sarah didn’t consider herself exceptionally short, but she had to tilt her head to meet his eyes.

Sometimes, there are compromises. My editor knows I don’t like stopping the story, especially at the beginning to describe characters, but she knows readers might want at least a hint.

This was the original opening paragraph I sent to my editor:

Cecily Cooper’s heart pounded as she stood in the judge’s chambers, awaiting the appearance of Grady Fenton, the first subject in her pilot program, Helping Through Horses. She’d spent months working out the details, hustling endorsements, groveling for grant monies, and had done everything in her power to convince her brother, Derek, to give Grady a job at Derek’s Triple-D Ranch.

This was my editor’s comment to that opening: Can you add a personal physical tag for Cecily somewhere on the first page—hair, what she’s wearing? There’s a lot of detail that comes later, but there should be something here to help the reader connect with her right away.

So, I figured there’s a good reason I’m paying her, and added a bit more.

Shuffling footfalls announced Grady’s arrival. Cecily ran her damp palms along her denim skirt, wishing she could have worn jeans so she’d have pockets to hide the way her hands trembled.

My reasoning: I mentioned the skirt was denim, because the fabric helps set the “cowboy” theme for the book, but there’s no more detail than that. Not how many buttons, or whether it’s got lace trim at the hem. Now, let’s say she was wearing Sally’s “girly” skirt. For Cecily, that would be far enough out of character  for her to think about it, BUT, I’d make sure to show the reader her thoughts. Perhaps,

“She hated wearing this stupid yellow-and-green silk skirt—jeans were her thing—but Sabrina told her that skirt would impress the judge.”

See the difference between that and Sally’s self description earlier?

Terry Odell—May 12, 2021

***

How do you help the reader feel your scene descriptions? If you write in first person or deep third, any additional advice on character description?

Back from Left Coast Crime

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Back from Left Coast Crime
Terry Odell

As I mentioned in my last post, Left Coast Crime is a reader conference, where the goal for authors is to make reader connections. There’s very little how to and a lot of this is how I handle (insert panel topic) in my book.

But, before I recap the conference, I want to point out that a gentleman approached me, introduced himself as CR Foster, and said he wanted me to know how much The Kill Zone had helped his writing, and he’d just published his first novel, Dead by Monday. He thanked TKZ, and notably Sue Coletta, who critiqued his first page, in his acknowledgments. Always good to hear that we’re helping writers. image of CR Foster holding his book, Dead by Monday

(If you’re reading this, CR, my husband is enjoying the book.)

And on with my experiences.

I arrived a day early because … travel unpredictability. Actually, a evening and a day early, but I always prefer to have time to settle in before needed to have my brain fully engaged. I took time on that pre-conference day to wander around the hotel and the nearby streets around the Ferry Building. I didn’t bring my camera, just my phone, but I enjoyed taking pictures. If you’d like to take a look, you can find my gallery here.

(Note: someday I’ll learn to take pictures of the conference, but I took very few during the sessions.)

The first panel I was on got off to an interesting start. The moderator’s latest book had released the day before, and things were understandably hectic. She’d already broken one of my moderator “rules” which is not to use the program bio as an introduction to the panelists. Her “reasoning” was that since it was the first day of the conference, attendees wouldn’t have read the program yet.

However, when she got to me (the last one at the table), she was giving information about a book I’d never heard of, calling my writing humorous, at which point I interrupted saying “That’s not me.”

She apologized, and let me introduce myself, which was probably a better marketing ploy. I was now memorable, and I could talk about my two new releases, neither of which was mentioned in my program bio.

Our panel was called “Perils of Small Towns.” Since I don’t write thrillers or anything dark, my small town’s perils are all on the author’s end. Avoiding Cabot Cove/Jessica Fletcher syndrome. Being realistic about crime. (Another pet peeve is why when you say “mystery” everyone inserts “murder” in front of it.) There are other crimes, and in a small town, where everyone probably knows everyone else, they can be just as interesting. Mapleton, my made-up small town is patterned after the one I live in where the entire county has investigated a total of three homicides since 2008: one in 2013 and one in 2011. I’m sure the moderator was frustrated that my answer to many of her “peril-focused” questions was “I don’t deal with that.”

For me, the moderator I actually walked out on was bouncy, peppy, singing, and said, “We’re not going to clap in this panel. We’re going to chant the author’s names as I introduce them.” More than I could take.

My next panel, the one where I was the moderator, wasn’t until the last day, so I was more or less free to choose my panels, mingle, and, as has been pointed out by others here at TKZ, hang out at the bar. Not to meet agents and publishers, but to meet readers.

Then there’s the promotional materials table. It’s filled with swag from just about every author in attendance. I talked about good and not so good swag in another post. My offerings were gone before the last day. I brought lip balm (none left; sorry JSB), post-it notes and some copies of my short story collection, Seeing Red. All of those were gone, too, which left room in my suitcase to bring home books (they give away a lot of these) and swag.

The panels I attended included:

  • Rural Settings
  • Knives, Swords, and how to use them
  • Getting the Details Right (lots of tips on things writers get wrong by using television as a reference. Also per DP Lyle, “You can’t kill a drunk.”)
  • Importance of Setting
  • Challenges of Rural Settings (which would have been a better spot for me)
  • Law Enforcement
  • Lawyers, which served as a reminder that the Supreme Court can’t go after cases; they have to be brought to the court.
  • Labels: Cozy, Traditional, Suspense, or Thriller?
  • Liar’s Panel, where author panelists told stories about things that happened to them, and the audience had to choose which one was telling the truth.

“My” panel, Romance, Love, Sex, & Crime was the last panel of the conference. It was Sunday morning, the morning after the awards banquet, and I was pleased that there were more than a dozen people in the room. I followed my own rules, we kept things casual, and based on comments afterward, we did a good job.

Overall takeaways. I still need to work on getting out of my introverted self, but I did manage to meet and mingle at least as much as I retreated to my hotel room.

I like Left Coast Crime. It’s small enough so you don’t feel lost. I’ve already signed up for next year, which will be in Santa Fe—an added perk is that it’s driveable, so I’ll be able to bring more swag, and donate something to the silent auction where the proceeds go to a literacy charity. This year it was the Literacy and Learning Fund, administered by the Friends of the San Francisco Public Library.

Your turn. Any conference tales to share?

Find me at Substack with Writings and Wanderings

Deadly Ambitions
Peace in Mapleton doesn’t last. Police Chief Gordon Hepler is already juggling a bitter ex-mayoral candidate who refuses to accept election results and a new council member determined to cut police department’s funding.
Meanwhile, Angie’s long-delayed diner remodel uncovers an old journal, sparking her curiosity about the girl who wrote it. But as she digs for answers, is she uncovering more than she bargained for?
Now, Gordon must untangle political maneuvering, personal grudges, and hidden agendas before danger closes in on the people he loves most.
Deadly Ambitions delivers small-town intrigue, political tension, and page-turning suspense rooted in both history and today’s ambitions.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”