Branding. It’s Not Just for Cows.

Branding. It’s Not Just for Cows.
Terry Odell

Author BrandingWhat is author branding? When I attended a SleuthFest conference, one of the invited guests was Neil Nyren, a top gun at Penguin Putnam. I did a workshop on Point of View, and served on several panels. My latest releases that year were my three Triple-D Ranch books, and when I was “working” I wore my cowboy boots and hat. (I live in Colorado: the boots are my dress shoes, and the hats are common attire.)

The next day, I wasn’t on any panels, and I’d left my hat in the room. I strolled across the lobby, and Mr. Nyren called out, “Terry. Where’s your hat?” (First shock was that he knew my name, because I was too far away for him to read my nametag.) I said it was in my room, because I wasn’t on any panels, and he said, “It’s your brand. Wear it.”

Needless to say, when a top gun at a major publishing house gives you advice, you take it. So, I went upstairs, got my hat, and wore it through the rest of the conference. Side perk—saves time and trouble messing with your hair.

Author branding can be how an author dresses. But that’s not all, especially now that we’re not getting out and about much.

Used to be, you looked at books in a bookstore window, on special displays, or on the shelves, where the ones placed face out could catch your eye. If you were looking at spines, perhaps a title caught your eye, or the name of a familiar author. If the cover enticed, you’d move to the back cover copy, or the jacket flap copy, and then maybe flip through the book. But, odds are, it was the cover that started the process.

Now, even though many book purchases are made from on-line bookstores, the cover is still vital, because books have an everlasting shelf life. Even “old” books are new to many readers. And the cover is just as important, if not more so, than in the brick and mortar stores.

If your publisher creates your cover, you probably have very little input on covers. For most traditional publishers, their stand is usually, “Did we spell your name right? Is the title right?” Beyond that, you learn to live with it.

But if you’ve got rights back, or are creating an original title to publish yourself, you have to understand the importance of good, professional-looking cover art.

I published three books in a romantic suspense series for a traditional publisher that sold primarily to libraries. Although they employed an art department, the tended to look at each book as an island unto itself. This is what they did for my three books with them:

Author BrandingAlthough there’s nothing “bad” about any of the covers, there’s no continuity. No author branding. Nothing that says ‘This is a Blackthorne, Inc. book by Terry Odell.’ And with all the competition out there, you need that author branding.

As digital rights for each book became available to me, and as I continued the series as an indie author, I hired a cover artist to try to make them look more connected, while keeping the same overall design. (And, it never hurts to get an award noted on the cover.)

Author BrandingAn issue I discovered came after Amazon added an “Action Adventure” category under the romance umbrella. I was picking up readers who were unaware they were getting a romantic suspense, and they were leaving reviews saying they didn’t approve of the sex. Romance readers not only don’t mind, most expect it. Thus, it’s important that the cover reflect the genre.

Even though these were romantic suspense books, I wasn’t a romance reader, and didn’t care for covers with couples embracing, or, as was popular at the time, the “floating heads.” (See Where Danger Hides in the first iteration.) I had my cover artist get rid of that right away.

It’s a hard lesson, but authors need to learn that a book cover is a marketing decision, and requires an entirely different skill set from writing. Finding that perfect scene to depict on the cover isn’t necessarily a wise move.

So, even though I had my cover artist redesign my first three Blackthorne books to connect all of them, and do an original cover for the 4th, it wasn’t until I wrote book 5 that I accepted  the reality that a “hunk” on the cover was more indicative of a romance, plus, research showed that readers liked to connect with a “character” so I followed that for subsequent books.

After all, the cover needs to clue the reader in to the genre of the book, and based on reviews, a lot of people weren’t expecting the romance–and they were vocal about it. (They could have read the book description, but we won’t go there!)

My concern before changing any covers, which is why I delayed the process as long as I did, was I didn’t want readers to think I’d put out a new book and then be upset when they found out they’d already bought it. However, for the sake of author branding, I decided it was time to take the plunge, and I would add a note to the book descriptions of all the titles with revised covers that it was simply a new cover, not a new book.

Decision made, I asked Kim Killion of The Killion Group to bring things up to speed, and she revamped the first four in the series to bring them up to speed with the last four. I wanted the romance angle more up front, and for the books to say “series.”

Author BrandingAny authors whose branding resonates with you? What’s your brand?

**After Debbie’s great post about character interviews yesterday, I thought I’d share a couple of auditions I did with my characters for their roles in When Danger Calls. It was a freebie for newsletter subscribers a while back. If you’re interested, you can find it here.


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

Deadly OPtions e-Reader
Are Gordon’s Days in Mapleton Numbered?

Now available for pre-order. Deadly Options, a Mapleton Mystery/Pine Hills Police crossover.

Beware the “ING” Construction

Beware the “ING” Construction
Terry Odell

ING constructionI know this topic was mentioned recently, and apologies for not being able to find the post to credit the author. Perhaps it came up in the comments. No matter the source, I thought this craft topic worth another look, especially after a recent read.

We all have our favorite sentence construction. For the author in question, the book was overrun with sentences starting with gerund phrases – those “ing” words.

At the very first writer’s conference I attended, an agent said she would reject a query with more than 1 sentence beginning with the “ing” construction. Her explanation—it’s too easy to make mistakes with that sentence structure.

What mistakes? We’ve been told that construction with “was/ing” is a sign of weak writing. He was running. She was dancing. It’s stronger to say “He ran” (or sped, or rushed). Or “She danced” (or pirouetted, or waltzed, or sashayed) But there are more ways overusing gerunds can get you into trouble.

Dangling and misplaced modifiers. (Note. You don’t have to be able to know which is which, as long as you know they’re wrong and how to fix them.) A misplaced modifier is too far away from the thing it’s supposed to modify, while a dangling modifier’s intended subject is missing from the sentence altogether.

First, the misplaced modifier. In my first crit group, I held the prize for creating an answering machine that gave neck massages. I’d written, “Rubbing her neck, the blinking red light on the answering machine caught Sarah’s eye.” Ooops. (But I would like a machine with that function!)

Make sure the noun or pronoun comes immediately after the descriptive phrase. Thus, the above example could be “Rubbing her neck, Sarah noticed the blinking red light on the answering machine.”

And example of a dangling modifier: “Walking into the room, the smell was overpowering.” Corrected, it could become, “Walking into the room, they encountered an overpowering smell.”

Next, and the one this post-inspiring author was most guilty of: the non-simultaneous action. “Running across the clearing, John dove into the tent.” Or, “Opening the door, Mary tripped down the stairs.”

John can’t be getting into the tent while he’s running across the clearing. And Mary needs to open the door before she goes downstairs.

When you’re looking over your manuscript, you might want to flag words ending in “ing” and take another look to be sure you haven’t made any of these basic errors.

ING Construction

If you’re using Word, you can do a “find” using wild cards to flag words ending in “ing.” In Word, which is what I use, it’s Edit/Find/More. Then check the “use wildcards” box, and then special, where you’ll find the command for end of word, which is the > symbol.

That means, you should type ing> into the search box. Then you can either look at them one at a time, or check the “highlight all items found in:” box. True, you’ll get words that aren’t gerunds that end in ‘ing’ – thing, building, etc., but it’ll give you a place to start.

Any examples to share–from your own reading or writing?

OK, one more thing, a brag moment. The Mapleton Mystery Novellas was selected as a top pick for 2020 at Kings River Life Magazine.

 

 


Deadly OPtions e-ReaderAre Gordon’s Days in Mapleton Numbered?

Now available for pre-order. Deadly Options, a Mapleton Mystery/Pine Hills Police crossover.

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

Playing Tricks With Editing.

Playing Tricks With Editing.
Terry Odell

Playing Tricks With EditingFirst–Happy New Year, everyone, and welcome back to TKZ.

Over the break, I finished my personal edits on the manuscript of my next Mapleton Mystery, and I thought I’d share some of the tips I’ve discovered over the years for that final pass before turning the manuscript in.

We want to submit the cleanest possible manuscript to our editors, agents, or wherever you’re submitting. By the time most of us hit “The End”, we’ve been staring at the manuscript on a computer screen for months. We probably know passages by heart, we know what it’s supposed to say, and it’s very easy to miss things.

What we need to do if fool our brain into thinking it’s never seen these words before.

Editing TipsTip #1 – Print the manuscript. It’s amazing how much different it will look on paper.

Tip #2 – Use a different font. If you’ve been staring at TNR, choose a sans-serif font. In fact, this is a good time to use the much-maligned Comic Sans.

Tip #3 – Change the format. You want the lines to break in different places. I recommend printing it in 2 columns, or at least changing the margins. That will totally change the line scan, and it’s amazing how many repeated words show up when the words line up differently.

Tip #4 – Read away from your computer. Another room, or at least the other side of the room.

The above are all “Fool the Brain” tricks. Moving on to my basic process.

Tip #5 – Read from start to finish.

As I read, I have a notepad, highlighters, red pen, and a pad of sticky notes. This pass isn’t where I fix things; it’s where I make notes of things to fix. I don’t want to disrupt the flow of the read by stopping to check out if the character drove a red Toyota or a green Chevy. I have a foam core board by my chair, where I’ll post my sticky notes. Also, because it’s a hard copy, there’s not simple “Find” function.

When repeated words or phrases jump out, I note them on a sticky for a future search-and-destroy mission. I’ll circle or highlight words that could be stronger, or places where I might be able to come up with a metaphor that doesn’t sound writerly.

I’m also critical of “does this move the story?” as I’m reading. The beautiful prose might not be all that beautiful when reading it in the context of the entire novel. Don’t be afraid to use that red pen. On the flip side, you can also note where a scene needs more depth, or something needs foreshadowing. Are characters behaving consistently? Or do their personalities change because the author needs them to do something for the plot.

Another thing I look for is named characters. Naming a character tells the reader “this is an important person.” Do they play enough of a role in the story to earn a name? Can they be deleted, or referred to generically?

Once I’ve reached the end, I’ll go back to the computer and deal with the notes I’ve made.

The last pre-submission editing chore for me—and it’s a tedious one—is to let the computer point out all the clunkers I’ve missed. Because, despite all the ‘trickery,’ the story is still familiar enough that I don’t catch everything.

For this, I use a program called “Smart Edit.” (I might do a full post on this software another time.) I use the version that’s a Word add-on, and run its checks. I know I have my standard crutch words, but it seems that every manuscript brings a few new ones that I lean on too heavily.

Once I’m finished with the Smart Edit purges, the manuscript goes off to my editor. My work up front means she should be able to spend more time looking at the story, and less time dealing with clunky prose.

The last step for me, which comes right before I’m ready to publish, is to let Word read the manuscript to me. I’ve talked about that before, and using ears instead of eyes is another way to trick the brain into thinking the story is new. And yes, I still find things to fix.

What about you? How do you deal with whipping your manuscript into shape before submitting it?


Heather's ChaseMy new Mystery Romance, Heather’s Chase, is available at most e-book channels and in print from Amazon.

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

Dreams, Goals, and a Gift

Dreams, Goals, and a Gift
Terry Odell

This is my last official post of 2020, but the official TKZ Winter Hiatus doesn’t start until December 21st, so don’t stop visiting.

Is it too early to think about the New Year? Are you already thinking about the tradition of making resolutions? With a new year come new beginnings. Fresh starts. We all enter a new year filled with hope and promises to make it better than the last one.

And, usually, by the end of January, all those good intentions have gone by the wayside. I gave up making resolutions long ago (although I occasionally make them for the Hubster—less chance of me breaking them that way). What I’ve learned, is that if you want to see success, you have to narrow your focus.

These resolutions don’t work:

  • I resolve to be a best-selling author.
  • I resolve to write three novels this year.
  • I resolve to make $100,000 selling my e-books.

Why don’t they work? They’re dreams.

Dreams are wonderful. Dreams are things you’d love to have, but they’re also things over which you have no control, because they depend on other people. You need goals.
Goals have to be measurable. I learned that way back in college when I was getting my teacher certification. The course was “Behavioral Objectives” and we learned to set ways to measure whether we were getting through to our students. We could set a goal that at least 90% of our students would score at least 80% or better on an exam. This was a measurable outcome. If they didn’t, we’d have to go back and figure out why. And, frankly, the usual answer would be “because I didn’t teach the material effectively”, NOT “the students were lazy slackers.”

Another thing I learned in that course was that you had to take small steps. You had to figure out what skills were required for a student to answer a question on that exam correctly, and then work on practicing those skills. (Not teaching to the test—teaching skills.)

How do you turn those dreams into goals? Break them down into things you can do in small increments, and that you can measure. Being a best-selling author isn’t measurable. (Can I call myself a best-selling author if I pay for an ad and my books hit the number 1 slot on a very small niche at Amazon for a week? Some authors do, but that’s not something I’m comfortable with.)

Those who say, “I’m going to write three books this year” are likely to fail if that’s as far as they go. What does it take to finish the book? You take that lofty goal, break it into small pieces, and then figure out what you can do to achieve each piece.

Write X words/pages a day/week until you’re done. That’s something you can track. You can see your success. You have a specific goal each day/week.

And, most importantly, you can reassess and adjust these goals over the course of the year. Are you making your word count goal by 10 AM? Maybe it’s too low. Are you staying up until 3 AM and still failing? Don’t be afraid to lower it. Of course, you’ll want to take a hard look at why you’re not meeting your word count goals. If it’s because you’re spending 8 hours a day on Facebook, you might want to cut back on your social media time!

As for making $100,000? That’s a dream that depends on others. You have no control over who buys your books. You can develop a marketing plan, a budget, hire a publicist, but the sales are out of your hands. The one thing you can do, however, is to use the best marketing tool out there. Write the next book!

Whatever you’re looking for in the new year, I wish you the best in attaining it.

(Did you forget about the word “Gift” in the title? If you’ve read this far, I’ve got one for you.)

TP MenorahTomorrow is the first night of Hanukkah, which is the winter holiday my family celebrates, although there’s likely to be a different slant on the retelling of the “miracle” this year.

Because I consider everyone at TKZ, on both sides of the site, my family, I thought I’d offer you a gift as my last TKZ offering of 2020.

Deadly Production by Terry OdellMy gift to you: Enjoy a free download of Deadly Production, Book 4 in my Mapleton Mystery series. You can find your gift at Book Funnel. You can download an epub, mobi, or PDF file. If you have trouble, the wonderful folks at BookFunnel will be happy to help. (Download deadline is December 18th.)

Have a wonderful and safe holiday season.


Heather's ChaseMy new Mystery Romance, Heather’s Chase, is available at most e-book channels. and and in print from Amazon.

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

That’s That

That’s That
Terry Odell

First, for those of you who celebrate Thanksgiving, this year presents special challenges. I wish all of you a safe and sensible holiday.

That's ThatAh, those overused words. Little ones. Almost invisible ones. Ones we take for granted. One of my critique partners pays her editors by the word, so getting rid of unnecessary words is high on her priority list.

One word that creeps into our prose is “that.” An obvious reason is that there are different ways it can be used (you’ll notice I used it in this sentence). That can be a pronoun, an adjective, an adverb, or a conjunction. It’s the pronoun usage that can cause problems (and there’s another that!). When I finished the first draft of one of my Mapleton novels, I found 902 instance of that. And yes, I did look at each one to see how it was used, and if it was needed. Here’s one example of a before and after:

The mayor interrupted. “I’ve assured Marianna that you will provide traffic and crowd control for any of her shooting. In return, she’s assured me that there will be as little disruption as possible to the normal, everyday routines of the citizens of our city.”

The way McKenna said city belied that Mapleton was hardly more than a small town. But one thing Gordon had learned was that regardless of the political head of the city, it was all about revenue. He imagined that some heavy-duty discussion of financial arrangements had already taken place, and that his life was about to become much more complicated.

Here’s the version after I went through zapping that:

The mayor interrupted. “I’ve assured Marianna you will provide traffic and crowd control for any of her shooting. In return, she’s assured me there will be as little disruption as possible to the normal, everyday routines of the citizens of our city.”

The way McKenna said city belied that Mapleton was hardly more than a small town. But one thing Gordon had learned was that regardless of the political head of the city, it was all about revenue. He imagined heavy-duty discussions of financial arrangements had already taken place, and his life was about to become much more complicated.

In my editing pass, I eliminated 4 of the 6 usages in those two paragraphs. Rule of thumb is to read the sentence with and without the that. Is the meaning as clear without it? Could I have deleted the remaining two? Maybe. My editor hasn’t seen this yet, and she might decide they can go as well. Or, maybe she’ll put some back. The rules here aren’t cut and dried.

Here’s another sentence where I kept the that.

We’ve found that locals are generally receptive to appearing as background characters, and property owners are well-compensated for any disruptions to their lives or livelihoods.”

When reading it without that, it’s easy to read it as finding locals, as if they were lost. When you read the rest of the sentence, you have to readjust your thinking, and you don’t want to slow a reader down.

Here’s another place where that helps clarify:

Gordon didn’t have the heart to tell Angie that Cassidy Clarke had little, if any, authority in deciding where scenes would be shot and who would be in them.

Without the that, it would read Gordon didn’t have the heart to tell Angie Cassidy, and with the names Angie and Cassidy Clark right next to each other, a reader might be confused and have to read the sentence twice.

The goal of an author is to keep the reader engaged in the story. Anything that pulls the reader away while they figure out what that sentence really means should be avoided.

But there’s another use of that I’ve seen lately that goes against everything I was taught in school, and I’ve been seeing it in books published by major publishing houses, and written by best-selling authors.

I was taught that for things and who for people. Now, admittedly, it can get tricky with nouns that don’t refer to specific people, but in my head, if that noun is made up of people, then you use who, not that. Examples: doctors, police officers, teachers, etc.

Here are a few examples from recent reads:

  • But maybe you’ve seen strange people around. You know, shady characters that might be involved.
  • I thought it was the girl’s father that was the real worry.
  • Older guys that we know.
  • Are you an author that has more than one book in a series?

And, what about this one?

I know rules can change, so I sent my editor a couple examples and asked her whether I was somehow behind the times.

Here’s what she said:

I’m not surprised that the books were published with “that” in the sentence. It’s becoming more and more common. A lot of authors don’t use “who” when they should. I think it may be partly because of today’s current English language and the way we talk today, and how authors write their stories. “That” is familiar. It’s a passive word and is overly used in most writing, so it’s a comfortable word. “Who” on the other hand is becoming a more formal choice, so it’s not used as often.

In 90% of the manuscripts I work on, “that” is used in similar examples in the original unedited version of the manuscripts. Is it the right thing to do? No, “who” is the correct choice. Unfortunately, or fortunately, depending on your perspective, I don’t think many readers notice the “that” versus “who” issues, so what happens is “that” becomes transparent within the manuscript in these types of examples whereas “who” sometimes stands out more in the sentence, making it less transparent and possibly “stopping” the reader in their read.

What’s your take? Does something like “John was a man that loved to fish” bother you? Do you even notice? Is this another gray area of grammar?


Heather's ChaseMy new Mystery Romance, Heather’s Chase, is available at most e-book channels. and and in print from Amazon.

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

What Winnie the Pooh Taught Me About Writing

What Winnie the Pooh Taught Me About Writing
Terry Odell

First, on this Veterans Day, a thank you to all who have served.

Winnie the Pooh and WritingWhen I was a child, my dad would read Winnie the Pooh (the REAL one, not the Disney version) to me and my brother. I loved his voices (Years later, when an old movie was playing on the television, I heard Eeyore’s voice. I ran out to look and it was a W.C. Fields movie. I didn’t know my dad had been doing “real” voices when he read—but I digress.)

Another thing I remember from my dad’s reading was the way he began each chapter in a Very Important Voice. And the way each chapter was titled, “In Which…” followed by a few words telling us what the chapter was about.

Winnie the Pooh and Writing

(Kind of like “circles and arrows and a paragraph on the back of each one…” but I digress again.)

Although I certainly don’t title my chapters, the “In Which” approach helps make sure I’m putting something on the page that belongs there.

Too often, it’s easy to get carried away with description, or dumping in some back story, or including that “wonderful” scene that came to you when you overheard a conversation at the coffee shop, or salon, or when you were people watching and saw someone who just had to be in the book. So you write it, and it’s wonderful, and you’ve captured the moments perfectly. But is it moving the story. Is it something worthy of including in your “in which” summary of the scene.

Because you should be summarizing the scenes, either before or after you write them. And there need to be plot points (which is the official writerly term for “in which”). You’ll notice I used the plural. A scene had better be carrying more than one. While there’s no rule, and no exact number, I’d recommend shooting for three. Scene length, of course, can cause variations, but whatever happens in that scene needs to relate to the story.

Which brings me to kinds of scenes. Here’s a quick summary, gleaned from a RWA workshop, although most will carry over to any genre.

  • 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
  • Epilogue – not required. Common in romance (although I’m not fond of them, personally)

Do you ever find scenes in books you’re reading, even very well-written scenes, that leave you wondering what they’re doing there? Have you found them while writing your own books?


Heather's ChaseMy new Mystery Romance, Heather’s Chase, is available at most e-book channels. and and in print from Amazon.

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

Tips for Distant Settings

Things I’ve learned about setting a book in real places, especially distant ones.

Distant SettingsWhen the Hubster and I decided to celebrate our 50th anniversary with a trip to the British Isles, of course I had “book” in the back of my mind. However, an international setting wouldn’t have worked with any of my existing series, and since I never plot in advance, I decided to enjoy our tour, taking pictures and notes of what we were seeing and doing and just wait and see what might bubble to the surface.

Distant SettingsOur trip began in Northern Ireland with a visit to our daughter, who had pointed out that she moved there 12 years ago and we’d never visited. From there, we had a couple days in London where I got to meet one of my critique partners face to face for the first time. Given we’d been in our little group for about 15 years, that was another “it’s about time” moment.

From there, we visited Scotland, and then Ireland. When we got home, I decided I’d write a short and sweet romance. Write it quickly, understanding that it’s not my true “brand” but that I had to publish something to justify writing off at least part of the trip.

Well, I soon discovered I’m not a short and sweet romance author, and mystery elements insisted on working their way into the story. What I ended up with is Heather’s Chase: an International Mystery Romance which is closer to my brand, although it’s a stand alone and still a bit of a one off. Nevertheless, it was an educational experience.

My Tips

Distant SettingsLess is more. My first drafts went into phenomenal detail about absolutely everything. Airports. Train stations. Hotels. Food. All the places we stopped, what we saw on the drives. Given we were traveling for well over two weeks, that would have been a LONG book. A sense of place is good. Overwhelming readers is not. I had to keep reminding myself to make sure everything related to the plot and characters. I wasn’t writing a travelogue.

Stay true to time. Readers familiar with the area will know that you can’t get from A to B in two hours, or that when you’ve had your characters on their bus for five hours, it’s really a twenty-minute drive.

Distant SettingsYou’ll always miss something. Unless you’ve got your plot mapped out before your trip, once  you start writing, you’ll have a scene to write and—lo and behold—you missed taking a picture, or didn’t take the right notes. I spent a LOT of time on the internet rechecking facts, looking at maps, and refamiliarizing myself with some of the attractions we visited. If I couldn’t find exactly what I needed, I reminded myself I was writing fiction—another reason not to name real places. On the occasions where my characters were eating in real, named places, I made sure I had pictures and menus. Same for attractions.

Distant SettingsDon’t make up real stuff. One of the reasons I made this book a stand alone was because our trip didn’t include visits to police departments (although I snapped a picture of a vehicle in Ireland, “just in case”). Also, it would be unrealistic for my American characters to have any access to law enforcement in several different countries.

Be nice. I also opted not to name the specific hotels or restaurants (mostly). For one thing, it gave me the freedom to change the décor, layout, amenities, or the restaurant menus. And, if something “bad” happened, I wasn’t going to incur the wrath of those establishments.

It’s about flavor. Although my characters didn’t visit Northern Ireland, I did include a character from the same town we’d visited when we stayed with my daughter. I made sure she vetted all his dialogue. For example, people in Northern Ireland use the word “wee” as a meaningless adjective. I was asked for my wee credit card, given a wee receipt, offered a wee bag for my purchases. My British critique partner was very helpful with vocabulary as well.

All in all, I had a great time ‘revisiting’ my trip to the British Isles while I was writing the book, and being able to incorporate my experiences into Heather’s Chase.

Want to see more pictures? Click on the book cover below, then scroll down to “Special Features.”


Heather's ChaseMy  Mystery Romance, Heather’s Chase, is  available at most e-book channels. and in print from Amazon.

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

Using Apostrophes

Using Apostrophes
Terry Odell

apostrophesA pet peeve of mine is incorrect apostrophe usage, something I see all the time while driving around, or scrolling the internet. I’m sure everyone here at TKZ is well aware of the rules, but just in case someone needs a refresher course, I thought I’d mention it. If you’re starting out, or get confused, I hope this helps.

Use 1. It shows possession. Something belongs to someone or something.

The man’s hat. The dog’s leash. My biggest trouble-spot with this is dealing with plurals. There’s a difference (as my crit partner loves to point out) between the Detective’s office and the Detectives’ office. But then, I can never remember if I’ve given each of my detectives his own office.

I also have to stop and think about housing. You know, like when you go to the house that belongs to Mr. and Mrs. Smith. Since it belongs to both of them, it’s the Smiths’ house, not the Smith’s house. Our neighbors across the street have a lovely carved sign that says “The Cochran’s.” I cringe every time I walk by.

Words that already end in “s” can be a problem. I go out of my way to avoid naming characters with names ending in “s” to bypass the head-scratching. And here, I’ve seen it both ways. In my first book, my editor, whom I fear was overworked, didn’t catch that I’d written both Doris’ and Doris’s throughout the manuscript. Luckily, I noticed it in edits. She really didn’t care which one I used as long as they were all the same. My inclination is to leave off the final ‘s’ after the apostrophe simply because it looks cumbersome and when I read it “aloud in my head” I keep added “s” sounds.

Okay, that’s one use of the apostrophe. The other:

Use 2. Replaces other stuff.
apostrophes

Apostrophes are used in contractions to show you’ve combined two words and taken away some of the letters.

Examples: Don’t. I’ve. Shouldn’t. He’d. We’ll.

I taught apostrophes when I was tutoring in adult literacy. It was very common for students to see the word don’t and read it aloud as do not. They knew what the apostrophe meant even if they couldn’t use one when writing.

Use 3. THERE IS NO USE THREE

You CANNOT use an apostrophe to create a plural.

One last point:

apostrophesA major hangup for people seems to be with its and it’s. I know it’s very easy to have the fingers outpace the brain, and first-draft typos are common, but if you remember it’s = it is, you’ll be fine. The apostrophe stands for a missing letter.

Which means its is possessive, which is the exception to Rule 1.  The tree lost its leaves. The leaves belonged to the tree.

The only other ‘exception’ I can think of is one I discussed with my editor (not the one who missed my Doris inconsistencies). My characters can mind their Ps and Qs. But when it comes to dotting I’s , she prefers the apostrophe because it avoids the confusion with the word Is. And, for consistency, she included the apostrophe with crossing T’s. So, it’s dotting I’s and crossing T’s. The caps, I think, are a matter of preference.

But PLEASE. Don’t kill any more puppies!

One more hint, related to formatting:

There’s a difference between an apostrophe and a single quotation mark. Trust me.

If you’re using Word, when you want to start a word with an apostrophe because it’s a contraction, abbreviation, as when you’re using dialect, Word assumes that you want a single quote there, because that’s how the program works.

Thus, if your character uses em for them you’re going to get ‘em. What you want is ’em. There are codes, or keystrokes for getting that apostrophe instead of the single quote, but I’m lazy and forgetful, so I just copy an apostrophe from another word and paste it where it needs to be.

To find them, you can search on a space before a single quote/apostrophe, and that should bring them up.

I’m sure you have some apostrophe observations to share. The floor is yours.

Heather's ChaseMy new Mystery Romance, Heather’s Chase, is now available at most e-book channels. and in print from Amazon.

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

Men Are Not Women With Chest Hair, Part 2

Men Are Not Women With Chest Hair, Part 2

Men are not women with chest hairIn Part 1, I talked about physiological differences in the way males and females are hard wired.

Note: Much of the information in these posts comes from workshops by Eileen Dreyer from a RWA conference, and Tracy Montoya’s presentation at a Southern Lights Conference.

This time, I’ll discuss some of the social differences between men and women. Again, these differences are based on physiological differences in the brain, but there are always going to be individual differences. There’s a basic framework, but there are also individual modifications to the finished product. Think of all those apartment complexes, or housing developments with virtually identical houses. Eventually, the owners put their own touches into their homes giving them some individuality. However, some of the broad, sweeping generalizations we make about men and women does have a basis in the differences in the way their brains work.

In Social Situations:

Men are goal oriented.
Women are community builders.

Men are the lone hunters.
Women are communal.

Men are problem solvers.
Women are problem sharers.

A woman will come home from a day at work and complain about something that happened. To a women, sharing troubles is a friendship ritual. To a man, talking about a problem is asking for advice. Thus, the man will offer suggestions as to how to fix it. The woman really doesn’t want his help, she just wants to vent. Men consider talking about a problem a step down in the hierarchy.

Men are likely to explore an idea through argument. Women will shut down, because they want to keep connections open.

Montoya mentioned a study where two men were brought into a room with two chairs facing the front, and told to wait until they were called for an interview. The men sat and talked. When the subjects were two women, the first thing they did was move the chairs so they faced each other.

This ingrained wiring leads to frequent “discussions” where the woman accuses the man of not listening to her when she’s talking to him because he’s not looking at her.

Men define themselves by achievements.
Woman define themselves by relationships.

In the workplace, our hard-wired brains still see the differences between male and female behaviors. Perhaps the reason men don’t see women as “equals” in the workplace is because they simply can’t. They’re perceived as too emotional to be authority figures. Their wiring does make them emotional. But that doesn’t mean they can’t make the necessary decisions. But a woman is more likely to say, “We’re going to talk about “the” rules,” which is ingrained in the nurturing wiring, whereas a man would say, “We’re going to talk about “my” rules,” which fits his hierarchical wiring. Women soften statements, men give orders.

Men and women have different approaches to problem solving.

Men are linear thinkers.
Women think in clusters.

Men compartmentalize.
Women churn things over until the problem is solved

Men are emotionally divorced from problem solving.
Women are emotionally involved in the process.

Men are solitary.
Women are communal.

Men give space.
Women wants a hug.

Men want answers.
Women want support.

For men, help means failure.
Women want to help.

I hope these posts have provided a little insight you can apply when writing characters outside the familiarity of your own gender. If they shed a little light on your own personal relationships, consider that a bonus.

All right, TKZers. The floor is open for discussion.


Heather's ChaseI’m pleased to announce that my Mystery Romance, Heather’s Chase, is now available at most e-book channels. and in print from Amazon. Note: in honor of my daughter, I’m sharing royalties with the National Multiple Sclerosis Society.

(If you’d like to see some of the pictures I took on my trip, many of which appear as settings in the book, click on the book cover and scroll down to “Special Features.”)


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

If They Buy the Premise

If They Buy the Premise …
Terry Odell

A comment from my editor on my current manuscript, saying “This should have come up 200 pages ago” was a good reminder about using foreshadowing.

If they buy the premiseIn talking about comedy, Johnny Carson said, “If they buy the premise, they’ll buy the bit.”

The same goes for fiction. You have to sell the premise early on. You can’t stop to explain a character’s skill set, motivation, or fear at the height of the action. Nor can you bring in great-uncle Phineas in the last chapter of your mystery and reveal him as the killer. No fair using the deus ex machina method of resolving your story.

Consider Raiders of the Lost Ark. If the movie had opened with Indy in the classroom, would viewers have “bought” that he was really capable of everything he’d have to do in the movie? No, but by showing him in the field in a life-and-death situation first, we’ll accept that he’s a lot more than a mild mannered college professor.

Before James Bond pulls off his miracles, we’ve seen Q show him the gadgets that will save his life. We know MacGyver has a strong background in science, so he’s got the theory and knowledge to pull off his escapes using duct tape and a Swiss Army knife.

Foreshadowing isn’t only for the “Big Stuff,” though. You should consider making sure you’ve set things up for the “Little Stuff” as well. Think of setups as breadcrumbs you scatter for readers to follow.

You should set things up early on, and in a different context. Setup Scenes should occur throughout the book, and should set up minor plot points as well as major ones.

Example. In a scene from my When Danger Calls, my stalwart hero has been tasked with supervising two little girls who are playing with dolls. They come downstairs and show their mom the fancy braids he’s created.

Would my macho covert ops guy really know how to braid a doll’s hair, or did I stick it in because I thought it would be a cool way to move his relationship with the mom along? Would I have to stop the story to explain where he acquired the skill? Not if I’ve shown it, and better to do it in an entirely different context. Earlier in the book, readers see this:

Ryan leafed through the snapshots while he waited for the earth to start revolving again. He knew which one he wanted as soon as he saw it. He remembered the day it had been taken, right after he’d won third prize at the fair with Dynamite, his pony. He’d been so sure he’d get the blue ribbon and hadn’t wanted to pose for the family picture his grandfather insisted on taking. He saw the look in his mother’s eyes. So proud, she’d made him feel like he’d won first prize after all.

There’s no mention of him actually braiding the horse’s mane or tail, but it shows that he’s had experience with horses, all couched in a scene that’s about something entirely different—his emotional reaction to seeing old family photos.

Then, later in the book, when the girls display their dolls’ hairdos, Mom asks where Ryan learned to braid. One of the girls responds, “On real horses. He used to braid their hair. For shows.”

You’ve set the premise, so reader should buy the bit.

We know Indiana Jones is afraid of snakes at the very beginning of the movie. Because of that opening scene, we know to expect something with snakes, which adds to the tension.

Lee Child foreshadows almost everything he shows in his books. In Gone Tomorrow  a fellow passenger rambles on about the different kinds of subway cars in New York. That tidbit shows up front and center later on in a high-action climactic scene. And even the little things, that might not be significant plot points, such as the origin of the use of “Hello” to answer the phone will appear, letting the reader know that the character was paying attention, too.

What will lead to book-throwing by readers? How about this?

Hero and heroine are hiding and the villains are closing in. (Since I write romantic suspense as well as mystery, the genre requires both as protagonists, but it could be your hero and partner, or someone he’s been charged to protect.)

The hero is injured. He hands the heroine his gun and asks her if she can shoot. She says, “Of course. I’m a crack shot,” and proceeds to blow the villains away (or worse, has never handled a gun before, but still takes out the bad guys, never missing a shot). Not only that, but she is an expert in first aid and manages to do what’s necessary to save the hero’s life. Plus, she’s an expert trapper and can snare whatever creatures are out there. Or, maybe she has no trouble catching fish. And she can create a gourmet meal out of what she catches. All without disturbing her manicure or coiffure.

Believable? Not if this is the first time you’ve seen these traits. But what if, earlier in the book, the heroine is dusting off her shooting trophies, thinking about how she misses those days. Or she’s cleaning up after a fishing trip. Maybe she has to move her rock climbing gear out of her closet to make room for her cookbooks. You don’t want to dump an entire scene whose only purpose is to show a skill she’ll need later. Keep it subtle, but get it in there.

When you’re writing, it’s important to know what skills your characters need to possess. You might not know when you start the book, but if you’re writing a scene where one of these skills will move the story forward, and there’s no other logical way to deal with the plot, then you owe it to your readers to back up and scatter those breadcrumbs.

What about you? How do you make sure you’re not entering into deus ex machina territory? What kind of breadcrumbs do you scatter? How do you hide the clues?



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