Blurbs and Pets Revisited

Book Blurbs and Pets Revisited

Terry Odell

head shot of black, white, and gray cat lying on its side

Image by Pexels from Pixabay

The cruise portion of our vacation ends today. I’ll be homeward bound soon, but we’re spending a few days in Barcelona first. I mean, we’re here, and not likely to come back.

Since I couldn’t know what kind of access to cyberspace I’d have on the trip, (not to mention my decision that this trip is a vacation), I opted to revisit another post for today. This one from August of 2021.


My previous editor asked if I would read one of her debut author’s upcoming releases and provide a one-or-two-sentence “blurb.” She said it was a romantic suspense, which is a genre I’m familiar with.

Now, I don’t put much stock in author recommendations. I had to grovel for them for that first Blackthorne book, and dreaded doing it. I was an unknown with a couple of books out from a digital-first publisher. (No Amazon yet.) One author acquaintance said, “Sure. Send me three quotes and I’ll cobble something together.” Never even asked to read the book. Another said she read just enough to see that I knew what I was doing.

Nevertheless, I agreed to give the book a try.

I was reading along, my internal editor refusing to shut up, but overall, the writing was clean and easy to read. It was a little slow-moving for my taste, as the suspense element wasn’t brought in until later than I would have expected, but then … about ¾ of the way through the book …

The protagonist, who by now had received threatening emails and phone calls, came home to find a box on her doorstep. Upon opening it, she discovered the mutilated body of a cat. Not just any cat, but a stray she’d semi-adopted.

Mind you, this was not a serial killer, dark mystery/thriller type book. This was, overall, a romance with some suspense elements. And a mutilated cat.

Very early in my writing career (2004 according to my files), I attended my first writer’s conference. At a workshop given by the late Barbara Parker, she said she’d made the unforgivable mistake of having a mutilated cat show up in a box on the doorstep at the protagonist’s house. And, even worse, the protagonist had a young daughter. Parker said readers sent hate mail, and warned that killing a pet was an absolute no-no. Her book was a legal mystery, so her audience wasn’t romance-oriented, yet they still screamed.

I told her my manuscript included a character with 2 cats, and I had poisoned them (you’ll never know the delight you can light up in someone’s eyes until you holler between your office and the Hubster’s and say, “I need a way to kill a cat,” which is an entirely different story that I won’t go into here.)

My plan was to have one survive. The incident would 1) force my character to deal with emotions he’d denied; and 2) provide a critical clue for solving the overall mystery.

She gave me an emphatic “NO.” So, in the final version, both cats survived.

I passed this information on to my editor, who said she was warned against harming children or dogs, but nobody’d ever mentioned cats, and that she would bring it up with the author.

At this point, I asked a couple of my best-selling authors of romance and romantic suspense friends what they thought. I’d been slow in my read, and I knew my editor wanted my quote to appear in the soon-to-be-published book, but I was very uncomfortable putting my name on a book that would likely anger readers.

One said she refuses to blurb books anymore, saying there’s nothing to gain. (She also suggested I have my assistant be the one to tell my editor, but my dog can’t type.) The other author said “never recommend a book that you don’t love madly.” Until the cat incident, the book was good, but I wasn’t madly in love with it.

Ultimately, I told my editor I wasn’t comfortable putting my name on the book, and she said she understood, and another author she’d asked to read it said something similar. In the end, the author deleted that thread.

All right, TKZers. Floor is open for discussion, either on the harming pets topic or book blurbs in general. I know of numerous authors, who when asked, “What do you read?” will say, “About all I get to read these days are books my publisher sends for blurbs.” Are their recommendations enough to sway you to buy books? Or do you think they’re writing what their publishers want to hear? If you were asked to blurb a book, where would you draw the line?


Find me at Substack with Writings and Wanderings

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Beyond the Frame
Beyond the Frame by Terry OdellWhen the camera lies, who do you trust?

When deepfake photos threaten their careers, dog-park friends Evvie and Colton become each other’s only allies. Evvie, who vanished behind her camera years ago to escape a painful past, uncovers humiliating fake images of herself.

Colton, an insurance adjuster with ranch roots, trusts her eye on a suspicious claim. A family emergency pulls them to Wyoming—where Evvie’s own dangerous secret waits.


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

Colorful Author Johnny Worthen

by Debbie Burke

 

Johnny Worthen author photo

Multi-genre author Johnny Worthen is a colorful character, both literally and figuratively. For his talk at the October Colorado Gold conference, he appeared barefoot, wearing a bright tie-dyed t-shirt reminiscent of the psychedelic ’60s. The tie-dye theme repeats on his business card and website, complete with photos and video of him goofing around.

It’s not a stretch to imagine Johnny in school as the class smartass. I’m guessing he drove his teachers crazy yet also earned their grudging respect because of his obvious intelligence and insatiable hunger to learn.

He graduated magna cum laude from the University of Utah and recalls: “Armed with two humanities degrees, I naturally gravitated to the food service industry.”

Similar ironic humor comes through his entire presentation along with his social media posts.

His website logline states: “I write what I like to read. That guarantees me at least one fan.”

At a later-in-life crossroads, he chucked his previous careers and experience to take up writing professionally. His work spans multiple genres: sci-fi, YA, humor, horror, mystery, and upmarket fiction. His appetite for continuous learning also led him back to his alma mater where he now teaches creative writing, sparking similar desires in his students.

Johnny’s opinions are as vivid as his tie-dyed wardrobe yet also down to earth and well-grounded in classical literature.

To open his talk, he immediately punctured glamorous illusions about writing: “Writing is not a profession. It’s a trade.” A trade, he says, that one learns by doing, not studying.

The topic of his presentation was subtext, exploring the meaning that lies beneath the surface of what’s being said on the page.

He cites surprising statistics: only seven percent of communication is verbal; 38% is tone of voice; 55% is body language, adding up to 93%. The overwhelming weight of communication is non-verbal.

His teaching style demonstrates those statistics. He asks a question. Next, he darts to and fro around the room, scanning for people who raise their hands. Then he stops in front of a person, pins them with an intense gaze, and gestures for them to answer. When they respond, he rewards them with a fist-bump or other non-verbal encouragement.

He likens subtext to Hemingway’s “iceberg theory” about dialogue. It’s the “theory of omission,” where implied elements and negative space convey the meaning of a story more effectively than words on the page.

The example he cited was the short story, “Hills Like White Elephants,” where a couple talks about a number of subjects while avoiding the most critical topic: the abortion they’re considering. The words pregnancy and abortion are never spoken out loud, but they permeate every sentence.

Johnny believes reading has never been a passive endeavor. A book requires interaction: writers create scenes that readers in turn visualize. Those scenes come to life in the reader’s own imagination.

He contrasts that experience with videos that require no interaction. A movie or TV show can play in the background whether or not anyone is watching.

Subtext can be direct or indirect, shown with irony and contrast. He refers to The Godfather as a classic example. During the baptism ceremony, while Michael Corleone vows to renounce Satan and all his works, at the same moment, jump cuts show Michael’s henchmen carrying out his orders to exterminate his gang rivals.

In the mystery genre, subtext contains clues and pieces that will ultimately solve the crime. Part of the reader’s enjoyment of mysteries is trying to fit the disparate pieces of the puzzle together. When they figure out the puzzle, they feel smart. When they don’t figure out the solution, they admire the author’s skill at misdirecting them. Either way, they’re satisfied.

Johnny laments that today’s readers often want to be spoon-fed. He’s annoyed that they don’t want to do any work to understand the meaning of a story. They want to be TOLD what’s going on, rather than figure it out for themselves based on what the author SHOWS.

He attributes much of that lack of attention to “second screen viewing.” People are often watching a film or TV show at the same time they’re scrolling on their phones. Because they’re distracted by the second screen, they need to be constantly reminded what’s going on in the film.

Johnny believes humans are “meaning-making machines.” Asking the question why is uniquely human. Animals simply accept circumstances and find ways to survive them. In contrast, humans are driven to ask why circumstances happened. Why did someone behave that way? What is the meaning behind actions and events? Why does one exist in this universe? What is the meaning and purpose of one’s life?

Early in his life, Johnny recognized words not only led him to answers but also more questions in a never-ending chain reaction. Curiosity leads to learning that leads to answers that lead to new questions.

Today, he asks those questions of others, guiding them to find their own answers in their own words.

At the bottom of Johnny’s website, he poses one last burning question:

“Why Tie-Dye? I was told at my first Grateful Dead show that you wear tie-dye not for yourself but for your friends. You’re welcome.”

Thanks, Johnny, for asking questions that caused me to ask more questions!

***

Learn more about Johnny Worthen, his books, appearances, teaching, and his tie-dyed wardrobe at his website.

***

TKZers, do you include subtext in your stories? How do you handle the deeper meaning behind the written word?

***

Learn how to master subtext for villains and antagonists in Debbie Burke’s award-winning book:

The Villain’s Journey-How to Create Villain’s Readers Love to Hate.

 

Can Giving Books Away Pay Off?

“No one has ever become poor by giving.” —Anne Frank

* * *

I occasionally give books to friends or acquaintances or as a prize for some contest or other, but I had always said I wouldn’t set my books to free on any of the retail sites. After all, I work hard to create a compelling story. I thought setting a book’s price to zero would lower its esteem in the eyes of readers.

But I hadn’t done any promotions for a while, and sales of my books had been slow, so I began rethinking the strategy of selling a book for nothing.

Understanding the Strategy

I found a post by Jane Friedman entitled “The Strategic Use of Book Giveaways and How They Can Increase Earnings Potential.” Even though the article was originally posted in 2015, it had been updated in 2025, so I took a look.

Jane references the A-I-D-A classic sales strategy when considering a give-away:

“First, get people’s attention—whether through an ad, a freebie, traditional media coverage, whatever. That creates interest. And if all goes well, you have desire and action to make a purchase later.”

She goes on to look at how you get that attention.

“The giveaway is one of the more powerful tools in the new author’s arsenal because it’s a way to get attention when you may not have anything else going for you.”

And even established authors may want to consider a freebie:

“But should established authors do giveaways? The “permafree” strategy is well-documented as an effective marketing tool—which means you make the first book in a series permanently available for free, as a gateway drug to the rest of your work.”

Making the Decision

I’m not yet convinced about setting one of my books to permafree, but the idea of attracting more readers by setting the price of the first book in my Watch Mystery series to zero was getting more appealing.

To add to my decision-making, I discovered that BookBub recently began a new type of promotion called “Free Reads,” and those promos are priced lower than their “Featured Deals” promos. That got me thinking maybe it was time to give it a try, so I submitted The Watch on the Fencepost, the first book in my Watch Mystery series, for a Free Reads deal, and BookBub selected it.

Preparing for the Promo

My books are available “wide”, on a range of retailers including Barnes & Noble, Kobo, Apple Books, Google Play as well as Amazon. The first step was to set the price to zero on all platforms, but that presented a problem. Amazon’s KDP doesn’t allow you to list a book for 0.00, so how was I supposed to change it to be free? The solution is to set the price on all the other sites to 0.00, then contact KDP and request a price match for the Kindle book on Amazon. Amazon will comply, but it may take several days.

The Results

The Free Reads promo for The Watch on the Fencepost went out on October 12, and it resulted in close to 5,000 downloads on that day on Amazon alone. And I sold a few of my other titles at full price.

As the week went on, I glanced at the Amazon book detail page and found The Watch on the Fencepost ranked #1 in Christian Suspense, #2 in Cozy Mysteries, and #10 in all free books on Amazon. And the other book sales were mounting up.

I had intended to end the freebie after a week, but I was still getting a lot of downloads, so I decided to let it go for a while longer. Although I don’t have all the data from the other sites, it appears as of today a total of more than 10,000 downloads of the book will have been completed over all five book retailers. Since I’m still getting a lot of downloads and selling other books in the process, I’m going to wait a while longer before changing the price back.

* * *

Was it worth it?

Yes. For my goals and the price I paid for the promotion, it was well worth it. Several things stand out to me:

  • Discoverability: A lot more readers know my work and my name.
  • Ratings and reviews: The Watch on the Fencepost has received more than one hundred additional ratings and reviews on Amazon since the Free Deals ad. Clearly, people are not just downloading, but many are reading and rating the book. Positive ratings and reviews plus sales volume impact Amazon’s recommendation and search algorithms
  • The sale of the other books in the series implies folks like the first one. Although I haven’t added up all the royalties yet, it appears that the income from book sales may pay for the promo.

Is this strategy for everyone?

With all the positives I mentioned above, here’s a word of caution from Jane Friedman:

“Where I think indie authors run into trouble is when they only have 1 or 2 books to sell, and they have nothing else to offer readers …  So there is no funnel or path for readers to follow. It is a dead-end road. The potential fan finishes the book, and then … you lose them. Maybe they’ll find your next book, if and when it comes, maybe not.”

Like everything else in life, making this decision depends on multiple criteria. Each of us has to weigh our writing goals against the cost and anticipated rewards from offering a freebie.

* * *

So TKZers: Have you ever offered one of your books for free? What was your experience? Do you have plans for doing a freebie in the future?

* * *

 

Why would someone leave an expensive watch on a fencepost? Grab your FREE copy of The Watch on the Fencepost and find out. Click the image to go to the Amazon book detail page.

Enjoy!

Dumb Criminals On Halloween

Since Saturday is Halloween, I thought I’d post a few crimes involving dumb criminals celebrating the holiday, whether it’s Halloween or not. Here’s the first one:

One clown shy of a full load.

AI generated

On July 20, 2019, motorists in Westminster, California, a black BMW drove north along the fast lane of the 405 freeway at a mere 2 to 3 miles per hour. On the roof of the car was a clown. More specifically, a man in a clown mask and a green wig, sat on top of the car. Police soon came to pull the luxury clown car over, but that’s when the clown decided to speed up. He fled up 405 at around 70 miles per hour, pursued by California Highway Patrol officers. The clown drove onto the 90 freeway before deciding to make for Venice Beach. At one point during this part of the chase, he climbed back onto the roof of the BMW and “began gesturing” at the police officers chasing him. Finally, the car stopped on the Ocean Front Walk, and the clown fled the vehicle, heading onto the beach. There, he interacted with unaware beachgoers, even stopping to help bury someone in the sand. After that, he took off his shirt and headed into the water. It was at this point that the police caught up with the clown and arrested him.  A woman who was also in the BMW was questioned but ultimately released, and the chainsaw turned out to be a toy. The man’s motive for the bizarre incident was unclear. His bail was set at $75,000 while he awaited a court date.

What is it with clowns dressing like it was Halloween?

On the evening of February 6, 2016, a Jefferson County, Alabama, deputy was flagged down by a passing motorist. The concerned citizen had just witnessed a red Ford SUV lurching and weaving all over the road. The deputy soon caught up with the loopy Ford and pulled it over. At the wheel, he found a tipsy clown.

The driver was clearly quite drunk. He claimed that he’d only had a few drinks at a nearby restaurant. It remains uncertain what his definition of “a few” was. The drunk driver provided no explanation for why he was dressed as a clown.

He was arrested, and it turned out that he also had an outstanding felony warrant for theft. Despite his troubles, when he was photographed for his mugshot, he smiled for the camera. The chief deputy just shook his head and said, “I thought I had everything, but obviously I haven’t seen it all.

No clown here, just a unicorn

created with AI

March 16, 2019, a young man set out to rob a convenience store in Baldwin, Maryland, a small community not far from Baltimore. He presumably knew surveillance cameras would capture the incident, so he needed a disguise. He chose a pink and white unicorn costume.

At 5:00 AM, he walked into High’s Dairy Store, dressed in costume and brandishing a crowbar. He used the crowbar to smash a register before leaving with cash and cigarettes. After obtaining the loot, Rogge ditched the unicorn costume and got into a silver Hyundai Elantra driven by his accomplice. The car fled the area.

This daring escape was not to last, however. The two men hadn’t gone far before the driver crossed into oncoming traffic at an intersection. As a result, the car managed to make contact with mailboxes, a Baltimore Gas and Electric pole, shrubs, and a boulder before finally hitting a tree.

The two men were taken to nearby hospitals and upon release, both men were charged with theft, robbery, and armed robbery, destruction of property and first- and second-degree assault. Baltimore County police were able to recover the unicorn suit.

So there you have it, TKZer…dumb criminals, dumb crimes, and they don’t wait until Halloween to show out. Readers, what’s a dumb crime you’ve read about? Or, dare I ask — what was the craziest thing you did on Halloween?

Change One Word And
The Whole World Opens Up

Original The Beatles <I>Yesterday and Today</I> Album Cover

“Scrambled eggs, oh, my baby, how I love your legs” — original lyrics for opening of Yesterday, as written by Paul McCartney.

PJ Parrish

My husband is a Tom Petty freak. So in the interest of marital bliss, I have come to know alot about Tom Petty and The Heartbreakers. Alas, never saw him in person but I have been dragged to more Petty cover groups than I can remember — including a really fabulous tribute band called The Traveling Milburys.

I’ve come to really like Petty’s music. And I now recognize that he is one of rock’s greatest lyricists.  As his biographer Warren Zanes wrote, Petty was not “the intellectual gymnast that Elvis Costello was, never as grandly romantic as Springsteen. Petty nonetheless got in there a little deeper than the others.”

I’ve come to envy Petty’s way with words. He had an emotional economy, packing more punch with fewer lines than even Dylan. As Zanes says, he was the kind of writer who “could set up a story in a couple of words.”

She was an American girls, raised on promises…

And this one’s dear to my wrtier’s heart: He had a true love of ambiguity, never hitting you over the head, never telling you what to feel. He gives the listener (or reader) more space to breathe and imagine. I always liked Petty’s song “A Room At The Top,” When I first listened to it, I felt uplifted. Until I really listened.

I got a room at the top of the world tonight
I can see everything tonight
I got a room where everyone
Can have a drink and forget those things
That went wrong in their life

Petty called it the most depressing song he’d ever writtten. But you know, it depends on your mood when you hear it.

Petty also had a gift for channeling his own life and North Florida background. This came to fruition in the Southern Accents album, where he felt free to leave behind “good rock and roll songs…and push beyond.”

There’s a Southern accent where I come from/ The young-uns call it country, the Yankees call it dumb/ I got my own way of talking but everything is done/ with a Southern accent where I come from.

Don’t we all need to push beyond? Don’t we all need to write with our own accents? And if you’ll allow me, one more note about the song “Southern Accents.” In it, the bridge is a visitation in which his dead mother arrives to her grieving son:

For just a moment, I was dreaming/ For just a moment it was oh so real/ For just a moment she was standing there, with me.

That was the power of Petty’s poetry — its emotional universality. I relate to that song not because I am Southern. But because I once had a transcedent visitation from my mother not long after her death. And I used that feeling to write a scene in one of my books when my protagonist is trying desperately to come to terms with his mother’s passing.

Petty also had an uncanny habit of finding the right word. And I know we all struggle with that. We might slip in a “holding” word or phrase until we can get unblocked. We’ve all slipped some scrambled eggs into our books. But Petty didn’t like to settle,

The other night, my husband and I drove through a pouring rain to Elk Rapids to see yet another Petty cover band. They played a song I didn’t know called “You Wreck Me.” It’s an exuberant rocker that ends the show. Petty originally wrote it as “You Rock Me.”  He realized what a pathetic cliche that was and changed ONE WORD.

It completely shifted the emotional weight and meaning of the song into a raw ode to a turbulent, high-energy romance. He did something similar with his iconic song “Mary Jane’s Last Dance”

His original lyrics were: “Hey, Indiana girl, go out and find the world.” After coming to the conclusion that “Indiana girl” was too clunky and awkward, Petty changed the lyrics to “last dance with Mary Jane, one more time to kill the pain.” Is Mary Jane a forgotten love or something else that kills the pain?

Well, shoot, Enough about Tom Petty. Because, as you can see, I have become an acolyte. And there is nothing more boring than the newly converted.

Let’s have some fun. Here are other examples of songs that were saved from the scrapheap — and from themselves.

Little Richard was no stranger to potential censorship. He changed the original, hypersexual lyrics of his signature hit, “Tutti Frutti”, to be more modest and radio-friendly. The original lyrics were “If it don’t fit, don’t force it / You can grease it, make it easy” became “Tutti Frutti, aw rooty / Tutti Frutti / aw rooty.”

While working on the Let It Be album, Paul McCartney was disgusted by the racist rantings of a British politician Enoch Powell. He wrote his frustations into the song “Get Back”

“Meanwhile back at home too many Pakistanis/ Living in a council flat/ Candidate Macmillan, tell us what your plan is/ Won’t you tell us where you’re at?”. 

He wrote it as an attempt at satire, but the verse was cut and the song defanged into a vague track about a guy named Jojo. The episode illustrates how tough it was (still is?) for artists to navigate social commentary.

On a lighter note, McCartney and Lennon often clashed as collaborators. Paul could be cloyingly pop and John stubbornly obtuse. But John did, early in their partnership, save Paul some cringy embarrassment. Here’s Paul’s original opening from “I Saw Her Standing There:”

“She was just seventeen, she’d never been a beauty queen.”

John changed it to: “She was just seventeen. You know what I mean.”

Which is great, because we DON’T know what he means. Or do we? Again, ambiguity can be your friend.

I’ll give the last word to Petty’s biographer Zanes: “That’s a writer’s genius. Just change one word [or phrase] and the whole song opens up.”

Keep that in mind, crime dogs, as you go rewrite chapter 15.

__________________

Postscript: The photo opening the post, as many of you will recognize, is the infamous “butcher” cover for The Beatles album Yesterday and Today. It was considered too grotesque at the time (Lennon wanted it as a statement against the Vietnam War). So they scraped it. If you happen to have a pristine sealed copy, it’s now worth $100,000.

 

Movies About Writing

We spend our days plotting murders, planting clues, and torturing characters, and yet the hardest scene to stage is the one where a writer just sits there writing. Nothing blows up. Nobody gets shot. It all happens inside our heads. That’s why so few movies are really about writing, even though plenty of them have a writer in the lead. Here are my favorites, the ones that capture what it feels like to drag a story out of your head and onto the page. (Mystery fans, there’s even a gangster and an Agatha Christie whodunit in the mix.)

Bullets Over Broadway

Bullets Over Broadway (1994), comedy written by Woody Allen. A young playwright (John Cusack) wants to make deep Art and doesn’t care whether audiences are entertained. His play’s backer is a gangster who insists his mistress gets a part, so the playwright has to compromise to get the show made. Meanwhile the gangster’s henchman (Chazz Palminteri) turns out to have a real flair for story. He starts making suggestions, proves to be the true talent, and is willing to kill a bad actress to save “his” play. Two creative truths here: writers can be pretentious and untalented, and good ideas can come from anyone.

See How They Run

See How They Run (2022), comedic mystery written by Mark Chappell. A fictional murder mystery set around Agatha Christie’s real play The Mousetrap, full of the drama of turning a hit play into a movie, including the writer battling the director over the script. Better still, the mystery is packed with Christie tropes that echo the play. Fun fact: The Mousetrap has run continuously in London’s West End since 1953, apart from the lockdowns.

Wonder Boys

Wonder Boys (2000), comedy written by Steve Kloves from Michael Chabon’s novel. Once-promising novelist Grady Tripp (Michael Douglas) doesn’t do much writing on screen, but he nails the mania of trying to live up to your own book, and the fear of being eclipsed by a younger, more talented writer.

Shakespeare in Love

Shakespeare in Love (1998), comedy written by Marc Norman & Tom Stoppard. Shakespeare falls for Viola, who is disguised as a man so she can act. The romance inspires him to rework his latest play into Romeo & Juliet. It’s a delight to watch this made-up origin story for one of his most famous works.

Sweet Liberty

Sweet Liberty (1986), comedy written by Alan Alda. An author (Alda) watches his nonfiction book get turned into a movie, and the Hollywood folks change it left and right. He fights to protect his book while trying to make the screenplay good. An overlooked gem, with great turns from Michael Caine and Michelle Pfeiffer as temperamental movie stars.

Adaptation

Adaptation (2002), black comedy written by Charlie Kaufman. Kaufman struggled so much to turn The Orchid Thief into a movie that he wrote the screenplay about his struggle. It perfectly captures the agony of not being able to crack a story while everyone around you seems to be sailing along.

The Muse

The Muse (1999), comedy written by Albert Brooks & Monica Johnson. A blocked screenwriter (Brooks) hires a kooky professional muse (Sharon Stone). She may be crazy, but there’s method in her madness. She helps him find a new idea and gives his wife the confidence to start a business. If only we could all have a muse on call.

Sunset Boulevard

Sunset Boulevard (1950), film noir written by Billy Wilder, Charles Brackett & D.M. Marshman Jr. A desperate, broke screenwriter meets a desperate, unhinged movie star, while a sweet assistant writes her first screenplay. Sometimes being a writer is deadly.

Stranger Than Fiction

Stranger Than Fiction (2006), comedy written by Zach Helm. IRS agent Harold Crick (Will Ferrell) suddenly hears narration and realizes he’s a character in someone’s novel. What happens when he tries to break out of the plot and falls in love?

Authors Anonymous

Authors Anonymous (2014), comedy written by David Congalton. A group of dysfunctional, unpublished writers welcomes inexperienced Hannah (Kaley Cuoco) into their writers’ group, and they never see her overnight success coming. A comedy about competition and creativity.

Something's Gotta Give

Something’s Gotta Give (2003), romantic comedy written by Nancy Meyers. Diane Keaton plays a playwright who turns the heartbreak of falling for her daughter’s boyfriend, a man her own age, into her next hit play. The scenes of her sobbing as she types are hysterical and relatable.

Paris When It Sizzles

Paris When It Sizzles (1964), comedy written by George Axelrod. Honestly, it’s a mediocre movie. The fun is watching secretary Audrey Hepburn act out each of screenwriter William Holden’s scenarios as he tries to figure out what kind of movie to write.

The Purple Rose of Cairo

Bonus: The Purple Rose of Cairo (1985), romance written by Woody Allen. It isn’t about writing but about the fantasy of living inside your favorite movie. Downtrodden Depression-era waitress Mia Farrow’s life is turned upside down when the romantic lead of her favorite film steps off the screen.

So, TKZers: what does it say about the writing life that nearly all of these are comedies? And where are the great thrillers about writers? Tell me in the comments which writing movie I left off the list.

Sell Your Book to Hollywood: How to Pitch Your Book, Find the Right Producer, and Navigate the Deal by Lindsey Hughes This is the playbook I’ve built from 30 years in the business: what producers want, how deals get made, and the mistakes that kill great projects. Join the list to get a launch day discount!

Reader Friday-Worst Place Ever

Have you ever been stuck somewhere? An airport, a hospital, a school, or in that place called The Middle of Nowhere? You couldn’t leave, couldn’t find your way…

 

This poor apple tree, near our home, grows every year in the middle of this ancient concrete slab.

It wants to be out with all of the other trees (I’m sure) producing delicious fruit. But it’s stuck.

 

I’ve been in airports, hospitals, schools, even in The Middle of Nowhere. But the one place I went—voluntarily, I might add—that was my Worst Place Ever was Vietnam, in 2007. I’ve talked about that here in these halls. Yes, it was the Worst Place Ever, but in some ways it was the Best Experience of my life.

I was there for a couple of weeks with a medical team, helping people who had little resources. That part was good—I learned gratitude in a new way.

But the heat, the bugs as big as barns, strange traffic patterns in the more populated areas, and—last but not least—the plates of dog in the open air marketplaces…all of that made me long for home.

But I was stuck there. Couldn’t leave until the job we came to do was done.

So, TKZers, what is Your Worst Place Ever you were stuck in? And what was one thing you learned from being stuck there?

Thoughts on Thoughts Revisited

Thoughts on Thoughts Revisited
Terry Odell

I’m on the road—or the seas. According to my itinerary, I should be on a boat anchored at Mykonos today. I’m revisiting a post from May, 2022. Since I’m scheduling this before I leave, I have no way of knowing what kind of internet service I’ll have, so forgive me if I don’t respond to comments right away. And, I intend to go ashore and do some sightseeing!

A recent read with the way a debut author handled characters’ thoughts triggered this post. This author handled things differently from my preferences, which pulled me out of the story. Not to say the author was wrong, but it slowed the read. The subject has made it to these pages before, but here’s my take.

I’m a Deep POV person. Doesn’t matter if I’m writing first (rarely, but I’ve done it) or third (where I’m most comfortable, and which is almost first). I want readers to be inside the characters’ heads. The basic 5 senses are obvious, but how do we show what they’re thinking?

**Note: If you’re following the one POV character per scene “rule”, the reader should be well grounded and know who the POV character is, making it easy to know who’s thinking, but there are still techniques that can help.

When I auditioned narrators for my audiobooks, I gave them passages with dialogue, narrative, and internal monologue and told them I wanted it to be clear which was which for listeners. I had one auditioner come back with a “technique” he was very proud of that made it sound like the characters was in a tunnel for thoughts. I gave both that narrator and his technique a pass.

When I was learning the writing craft, having no formal education in the subject, I went to workshops and conferences. One book that showed up on almost every presenter’s Suggested Reading list was Self Editing for Fiction Writers by Browne and King. Another handy booklet I picked up was Going Deep with Point of View by Suzanne Brockmann. Together, they laid the foundation for my approach to handling thoughts (among many other things).

What are my thoughts about writing thoughts? My two biggies:

  1. Don’t use speaker attributions/tags to tell the reader someone’s thinking.

If you’ve put the reader in the character’s head, it should be obvious they’re thinking. Per Browne & King, removing “he thought” makes them “unobtrusive to the point of transparency.”

Example:
Had he meant to kill her? Not likely, he thought.
Becomes
Had he meant to kill her? Not likely.

The second gets the same point across and is more effective.
They also suggest using the question technique.

Example:
He wondered why he always ended up killing them.
Becomes
Why did he always end up killing them?

Brockmann says “Anytime you interject she thought, she reflected, she guessed and so forth in this way—that’s you speaking, taking on the voice of the narrator, and your doing this takes the reader outside of the character’s head.”

  1. Beware italics

Italics do have their place, but italicized thoughts should be short—a sentence or two.

My ‘rule of thumb’ is to use italics when the character is talking to himself, and set them off in their own paragraph. Browne & King also suggest it as a useful technique to show a character’s thoughts in the middle of an action scene. Action doesn’t have to be fights and explosions. Here’s an example from my Identity Crisis. The following passage is a mix of narrative and Brett’s thoughts, but there’s only one bit in italics.

After the helicopter had deposited the team five miles down the mountain from the cabin, he, Adam—their team leader—and Fish had hiked up, then taken their positions surrounding the cabin. Since they couldn’t see each other, the only way to communicate was via radio. Then Adam had put the stupid radio silence rule into effect. What did he think? They were all telepathic?

Brett shifted, tightened and released his muscles in an attempt to keep warm. Toes, feet, ankles, calves. Quads, butt, shoulders. After two hours of lying on his belly in the cold, he had doubts he’d be able to move when the order came down. He was an endurance athlete. Not moving wasn’t part of his regimen.

Of course you’ll be able to move. Could be worse. Could be snowing.

Did he detect motion inside the cabin? He adjusted his binoculars. Nothing different. Curtains shifting as the wind blew through rotting walls and broken windows. Brett itched to crawl closer. Hell, just to move, keep the blood flowing.

What does Command know? We’re halfway up a bloody mountain somewhere in Mexico, while they’re sitting on their asses at Ops—where the building was heated, damn it—in San Francisco looking at computer terminals.

Some more examples of the way I handle the technique. Your mileage may vary.

From Falcon’s Prey. Fish is the POV character in this scene. First, a ‘clunky’ version.

“You two are free to get back to whatever you were doing,” Dalton said. “We’ll call if anything changes. Let’s move our seventeen hundred sitrep to eighteen hundred.”

Get back to what they were doing? What did that mean, Fish wondered. Dalton couldn’t think Fish was getting things on with Lexi, could he?

He told himself to chill. He was reading his own thoughts into a casual remark.

He didn’t think he would mind a little diversion. No, for the duration of this assignment, Lexi was the principal. They had plenty to talk about, plenty to catch up on, but getting things on wasn’t one of them.

Fish admitted to himself he had considered it.

Now, the streamlined version, the way it appears in the book. Thoughts should be obvious to the reader.

“You two are free to get back to whatever you were doing,” Dalton said. “We’ll call if anything changes. Let’s move our seventeen hundred sitrep to eighteen hundred.”

Get back to what they were doing? What did that mean? Dalton couldn’t think Fish was getting things on with Lexi, could he?

Chill. You’re reading your own thoughts into a casual remark.

Not that Fish would have minded a little diversion. No, for the duration of this assignment, Lexi was the principal. They had plenty to talk about, plenty to catch up on, but getting things on wasn’t one of them.

Don’t kid yourself. You’ve considered it.

What would the second, cleaner passage look like if all the thoughts were in italics?

“You two are free to get back to whatever you were doing,” Dalton said. “We’ll call if anything changes. Let’s move our seventeen hundred sitrep to eighteen hundred.”

Get back to what they were doing? What did that mean? Dalton couldn’t think Fish was getting things on with Lexi, could he?

Chill. You’re reading your own thoughts into a casual remark.

Not that Fish would have minded a little diversion. No, for the duration of this assignment, Lexi was the principal. They had plenty to talk about, plenty to catch up on, but getting things on wasn’t one of them.

Don’t kid yourself. You’ve considered it.

I don’t know about you, but I find all those italics hard to read—even harder when I’m using my e-reader.

Does this mean you should never use “he thought” in your books? Of course not. It’s only when you’re using them as speaker attributions that you want to be careful. There’s nothing wrong with the “I thought” here:

The bus driver took the corner on two wheels. I was going to die. I thought of all the time my mother had urged me to go to church.

What about you, TKZ peeps. How do you handle character thoughts?


Find me at Substack with Writings and Wanderings

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Beyond the Frame
Beyond the Frame by Terry OdellWhen the camera lies, who do you trust?

When deepfake photos threaten their careers, dog-park friends Evvie and Colton become each other’s only allies. Evvie, who vanished behind her camera years ago to escape a painful past, uncovers humiliating fake images of herself.

Colton, an insurance adjuster with ranch roots, trusts her eye on a suspicious claim. A family emergency pulls them to Wyoming—where Evvie’s own dangerous secret waits.


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

Forget Rain Man – Neurodivergent Authors Bust Stereotypes

 

by Debbie Burke

 

The 1988 Dustin Hoffman movie Rain Man introduced autism to a wide audience and won four Oscars: Best Picture, Best Director, Best Actor (Hoffman), and Best Screenplay.

It also created a stereotype for the face of autism as a humorless savant with uncanny abilities and a flat affect.

Three neurodivergent authors, Oliver Blakemore, V.L. Andromeda, and Mariah Ankenman, shredded that stereotype during their panel at the recent Rocky Mountain Fiction Writers Colorado Gold conference in Denver. They were articulate, intelligent, animated speakers who kept the audience laughing with wild, outrageous humor.

Oliver Blakemore author photo

Oliver gestured at the other two and himself, saying, “We’re like aliens.”

At the beginning of their panel, each shared their various diagnoses.

Oliver calls himself “a recovering intellectual and an undiagnosed neurodivergent” with anxiety disorder and a little autism.

V.L lives with OCD (obsessive-compulsive disorder), ADHD (attention deficit hyperactivity disorder), and PTSD (post-traumatic stress disorder), along with anxiety, depression, and “some other little things.”

Mariah deals with OCD, autism with anxiety, and audio processing disorder—difficulty making sense of what she hears despite normal hearing. “My mother always said I didn’t listen to her.”

The isolation and disruption of previous routines caused by Covid affected all three. That led to their increasing self-awareness of variations of neurodivergence.

Oliver requires structure and needs to schedule every hour to keep him from totally losing track of time. Each hour’s alarm is a specific musical piece that he associates with a particular task.

He describes his soon-to-be-published book City Song as: “Punk rock noir urban fantasy. Dealing with hard questions like, ‘What if I don’t believe in magic anymore?’”

His published short story collection Ragged Museum: Untidy Stories are wildly imaginative, off-kilter fantasy tales that could be called literary in style.

He works in marketing and communication with clients ranging from “baby rock bands” and authors to bars and large startups.

V.L Andromeda author photo

In contrast, V.L. doesn’t function well with routine and structure. Although her actions may seem scattered and disorganized, she says, “My least productive day is usually more productive than most people’s productive days.”

I can personally attest to her productivity. As a conference volunteer and Published Author Liaison, V.L. quickly, efficiently, and graciously accommodated my last-minute request to be included at the Saturday night book sale/signing.

V.L.’s Marks of the Broken series is a “nobledark, romantic fantasy.” Another series is a contemporary thriller romance. The first book Terabytes and Temptation is set in the complex world of cyberhacktivists and espionage where justice is achievable by unconventional means.

Mariah Ankenman author photo

Mariah depends on routines and structure. She creates “fake deadlines” for herself to complete tasks. She’s a plotter who uses photos to visualize her characters and plans out scenes with Dungeons and Dragons precision.

Her routine is obviously effective: she has more than two dozen published books she dubs as “sassy and swoon-worthy romance” from billionaire love stories to dark supernatural daemons.

The panel offered their opinions on TV and film depictions of neurodivergence. They all enjoyed “The Big Bang Theory” series. “Monk” turns his disability into a superpower to solve crimes. Mariah thinks “Scrubs” does a good job representing OCD, where Michael J. Fox continually washes his hands, saying “I haven’t done it right yet.” Oliver talks about “disability villains” but thinks authors shouldn’t blame the disability for bad behavior.

They joked about their challenges when writing neurotypical characters or “normies.” V.L. says, “Dealing with normies is annoying,” and adds the DSM (Diagnostic and Statistical Manual of Mental Disorders used by health professionals) is changing. Many formerly set diagnoses are moving toward a “spectrum” of various disorders.

In their own fiction each has a particular style when crafting neurodivergent characters.

Mariah intentionally writes neurodivergent characters and goes deep with them. Her website even features a page of “Disability Reps” and book titles that include them.

V.L. plays off stereotypes, making divergency funny with punchlines that sum up certain behaviors. Her characters with PTSD are featured as heroes with strong moral compasses struggling to do the right thing in a world that doesn’t value ethics.

Oliver strives for a “holistic understanding.” Neurodivergent characters play roles in his story worlds the same as they do in real life but are not necessarily spotlighted. He views stories as an opportunity to build empathy with readers about different ways of thinking than they’ve encountered before.

Even though all are high functioning productive artists, guilt was a surprising common theme expressed by them.

Mariah is trying to be forgiving of herself when she’s not as productive as she thinks she should be.

V.L. feels no matter how much she accomplishes, it’s never enough.

Oliver’s anxiety requires constant reminders to keep himself on task. He must be succeeding because he’s the 2026 honoree of the prestigious Jasmine Award for exceptional service to Rocky Mountain Fiction Writers.

The hour sped by. Afterward, I heard attendees talking about their own experiences with neurodivergence and how reassured and heartened they were by this open, forthright, articulate discussion.

Oliver, V.L., and Mariah are all savants with uncanny abilities whose intelligence and humor energized the room.

Not a stereotype in sight.

~~~

TKZers: Do you include neurodivergent characters in your fiction? Please share in the comments.

Your Favorite Short Story

“Brevity is the soul of wit.”  —William Shakespeare

* * *

We’re all familiar with Shakespeare’s take on the subject of brevity. But in the 21st century, brevity may be the soul of more than wit as attention spans contract and readers look for instant gratification in their reading material.

An article on wordsrated.com states what we all suspected:

The digital age brought a huge increase of various types of content fighting for people’s time and attention. People have more options than ever on how to spend their time. This variety of things to do alone is one of the reasons why reading time is in decline over the years.

With these factors in mind, our hypothesis was that readers are choosing to buy shorter books as the years go by. Results of our analysis suggest that this is the case, as best-selling books got 11.8% shorter over the last decade.

So, if readers are looking for shorter fiction, why not try writing short stories? There’s a post on Jane Friedman’s site entitled 20 Reasons Why Everybody Should Write Short Stories by Elizabeth Sims that addresses that very question.

* * *

If a novel is a marathon and a novella is a half-marathon, I’d define a short story as a 400-meter race. Even though it’s only once around the track, the runner can’t run at full speed because he/she will slow down dramatically in the home stretch. The race requires a strategy and a punchy ending just like a short story.

And just how short is a short story? It can be anywhere from 1K to 10K words, depending on who you ask. Some say they can even be longer. But whatever the length, the story has to impact the reader in a forceful way.

TKZ’s own James Scott Bell wrote a book entitled How to Write Short Stories and Use Them to Further Your Writing Career. In his book, Jim identifies the one thing a short story must do: “The most important part is emotional impact.”

To that end, here are a few of my favorite short stories that pack an emotional punch:

The Gift of the Magi by O. Henry – This story is probably on most people’s lists of favorites. With a theme of selfless sacrifice that defines true love, the story ends with both a surprising and satisfying twist for the reader.

The Shepherd by Frederick Forsyth – This Christmas story keeps the reader engaged by following the lonely flight of a fighter pilot as modern technology fails and he finds help in a very untechnical form. The surprise ending delivers an emotional jolt the reader won’t forget.

The Apple Tree by John Galsworthy – This is perhaps my favorite, although it comes in at around 17K words which is approaching novella territory. Still, it tells the poignant tale of young love and, sadly, betrayal.

* * *

Here are some short stories I’ve written:

Lady Pilot-in-Command, the Short Story – A young pilot decides on the airway less taken and does the right thing, even though it’s dangerous.

The Clutter Busters – A woman begins to clean her attic, but with the help of some uninvited guests, finds the real clutter is in her own mind.

The Money Tree – A prideful woman learns humility and finds a new purpose in life when the easy money disappears.

Willow Tree Farm – This story is based on the Biblical proverb “If your enemy is hungry, give him food to eat; if he is thirsty, give him water to drink. In doing this, you will heap burning coals on his head, and the Lord will reward you.” —Proverbs 25:21-22

* * *

So TKZers: What are your favorite short stories? Have you written any? Tell us about them.

* * *

 Cassie Deakin is a talented and experienced private pilot who loves being in the air. But when she agrees to fly a handsome stranger to a meeting in the Nevada desert, she lands in the middle of a drug bust gone wrong, and she’s the only one who can save the day.

Should she fly away from danger? Or listen to the memory of her father’s words to “Never stand idly by when you see another pilot in trouble.”

Click the image to go to the Amazon page and grab a copy of this 99¢ short story.