Category Archives: Writing

Manuscript Surgery Revisited

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Manuscript Surgery Revisited
Terry Odell

I hit “The End” on the current WIP, which is really “The Beginning.” Because I’m on deadline now, I’m revisiting a post that appeared several years ago.

I think in surgical terms when I tackle my draft. First, the major medical. The current manuscript came in longer than I wanted. Although I firmly believe that a story should be as long as it needs to be, the operative word is needs, and I check to make sure that every scene pulls its weight and advances the story. I confess that as a non-plotter, I often find things that never got followed up on, or were just fun scenes to write. If they don’t connect to the overall story, they get cut.

  • Purely practical note. At Amazon, there’s a “delivery fee” for ebooks based on file size. Longer books, bigger cut for them. Example: for my three-book box sets, they slice from 25 to 27 cents per book. They take about a dime from my “normal” length books. For those who go wide, B&N, Kobo, and Smashwords don’t have these fees. D2D keeps about 10% regardless of book length.
  • In print, the cost to produce the book via KDP is based on page count. More pages, bigger cut. I don’t sell enough print books to check out the other distributors, so I can’t speak for them.
  • For the indie author: Editors often charge by the hour or by the word. Cutting excess can save you money.
  • If you’re going to produce the book in audio and pay a narrator, the longer the book, the greater the cost.

These, to me, justify excising ugly fat. If you want more advice from the real experts, check this out.

Back to cutting plot threads. Should be easy, right? Patient has appendicitis, you cut out the appendix. In the manuscript, you find the threads that don’t need to be there and remove them. My characters often meet at a neighborhood dog park. I’d originally included two scenes where they met new people and their dogs there, thinking it might be strange to have them be the only two there. One of those new people might have been involved in shady dealings that affected my characters. The other did nothing more than show the dogs playing. The shady dealings never transpired, so I cut both of scenes. Easier to pop in a line about how the dog park was usually empty at the time my characters were there.

Threads don’t exist in nice, tidy packages. There will be places where you’ve foreshadowed, places where you’ve followed up, and places where you’ve made a reference, almost in passing, to something that happened or a character who appeared in that now defunct thread. Like the time my character apologized for being late because of a flat tire and explained how he had to get it repaired due to a nail. At the time, it foreshadowed a bad guy tampering with his car, but that never happened. I cut that paragraph. But a page later, he was thinking that the flat had put him behind schedule. Had to get rid of that, too.

A tip: Watch your transitions. It’s more than likely the scene before the one you cut led into it. That will have to be adjusted. Likewise the one after it. If you ended the scene with a page-turning cliff hanger, that cliffhanger now sends readers into an abyss with no bottom.

If you want the patient to recover, you have to make sure nothing’s left behind when you close him up.

Deleting a paragraph can create a dominoes effect. Watch what happens right before and after, and smooth out the edges. Critique partners, beta readers, and editors are helpful here, because they haven’t read the manuscript seventy-eleven times.

Moving on to the microsurgery.

Words that don’t add anything to the story need to go. They might even add distance, keeping a layer you don’t want between your readers and the characters. Or, there might be awkward bits.

I’ve talked about using SmartEdit before. It’s great for finding those pesky adverbs, repeated words and phrases, and another source of extra words: redundancies.

As with any automated program, you have to review every “suggestion” it makes. These programs don’t write genre fiction. SmartEdit suggests possible redundancies. I’ve run chapters and scenes through Grammarly as well, and find the same problem. Many of their suggestions don’t apply in context. However, they deserve a second look. Fortunately both programs show you where each “offense” occurs, so you can move through the manuscript quickly. Some examples of my overused phrases:

  • Outside of
  • Whether or not
  • Ask a question
  • Advance warning
  • Off of
  • Open up
  • Shut down
  • Temper tantrum
  • Major breakthrough
  • Basic essentials
  • Stand up
  • Fall down
  • Advance notice
  • Burning embers
  • Shrug a shoulder

I remember my high school Latin teacher complaining about advertising wording. “From its earliest beginnings to its final completion.” Or “Free gift.” He also said “up” is an overused word. I’ll never forget class clown Leon saying, “So what’s the bank robber supposed to say? This is a stick?”

Then there are the clunkers. Sometimes the eye catches them, but having Word (or your program of choice) read the book aloud to you will help you find them.

Listening calls attention to repeated words. Plus, you can hear words that aren’t really repeats, but echoes, such as this passage I discovered:

His mouth dropped. “You’re saying you’re going to wash my clothes?”
She sighed. “Apparently.”
It took several heartbeats for his mouth to close….

Did you spot the ‘clunker’? If not, read it out loud.

OK, TKZers: What are your tips for performing surgery on your manuscript?

Find me at Substack with Writings and Wanderings

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

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

Farmers Market Fun and a Memorable Connection

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by Debbie Burke

Whitefish park and historic train station before Farmers Market

Every Tuesday afternoon in summer, the park across the street from the historic Whitefish (Montana) train station becomes a hive of activity as the weekly Farmers Market sets up. The tree-shaded grass park occupies an entire city block in the resort town. The perimeter fills quickly with food trucks and vendors setting up stalls to sell produce, artwork, handcrafted goods, and…books by local authors.

Shayla Paradeis, the energetic new president of the Authors of the Flathead, came up with the terrific fresh idea of connecting with the community via a stand at the Farmers Market. We introduce people interested in writing to our weekly meetings and invite them to the annual conference. Plus, we members can showcase our books for sale.

The past few Tuesdays, Shayla, Sue Purvis, and I display our books for hundreds of tourists and locals who stroll by, munching on corn dogs, huckleberry pastries, and Flathead cherries. Kids run around playing games and petting friendly dogs while a local musician sings classic rock hits. The atmosphere is carefree and cheerful despite a light haze of wildfire smoke that turns the sun orange.

We chat with visitors from around the US along with other countries. Thanks to Zoom, our meetings are open to interested writers from anywhere in the world.

You quickly learn to spot avid readers. They stop on the grassy walkway to stare at our book displays. Sometimes they hang back for a moment, scanning. Their gaze may home in on Shayla’s eco-spiritual journey of walking across the country five times; or Sue’s memoir of training a search dog to find the lost and herself; or my mystery-thriller series set in Montana. Then they beeline to a certain book, pick it up, and start asking questions.

Their reactions show how important a good eye-catching cover is. 

This past Tuesday, we hit the trifecta with one delightful family of enthusiastic readers who bought books from all three of us.

Tourists often want souvenirs of their Montana vacation and books are a good memento to read on the plane. Travelers without extra room in their suitcases picked up bookmarks, saying they’d buy the ebook instead.

A pleasant surprise: we enjoyed conversations with several pre-teen boys and their parents. That demographic isn’t known for being big readers, but these young guys talked with animation about stories, videos, and games they found exciting and interesting. One seemed especially interested in my thriller, Instrument of the Devil, about a terrorist who targets the electric grid. About a half hour later, his dad returned alone and bought the book as a surprise for his son. Sweet!

The highlight of the evening came from two girls, about 10 or 11, who are best friends and share a love of books. Accompanied by one girl’s parents, they stopped and talked with me for quite a while. I asked them what they liked to read. The dark-haired one said, “True crime!” She’d just finished a bio of Lizzie Borden and didn’t believe Lizzie was the killer. Wow!

When I was that age, I found children’s stories boring and always hung out in the adult  section of the library. These young readers were kindred souls.

We talked about crime stories in general. The blond one asked what my books were about and showed interest in Deep Fake Double Down, where the villain uses deep fake video to create false evidence against an innocent woman. They thanked me for talking with them, wandered down the aisles, but returned several times to ask more questions.

Finally, the blond came back by herself and wanted to buy Deep Fake Double Down. I asked her if she’d like me to sign it. She practically wiggled with excitement and told me her name is “Paige.”

I’m always surprised but humbled and honored when people react as though my signature is a big deal.

Then Paige paid and additionally handed me a one-dollar bill. She said, “This is a tip.”

I about busted out crying.

Through the lump in my throat, I told her that wasn’t necessary, but she insisted.

If I never sell another book, that experience is payment enough. Thank you, Paige.

Reading and writing are all about connections between people. Nothing can match a face-to-face, heart-to-heart relationship between an author and a reader.

Will I be back to meet more readers at the Whitefish Farmers Market next Tuesday?

You betcha.

Winning Words of Wisdom

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Best seller status, glowing reviews, a legion of fans, a movie deal, even “just” getting published, none of these are within our control. We might be able to influence such external outcomes, but we can’t guarantee any of them will happen, as much as we might wish otherwise.

However, we can win at the actual writing, and today’s Words of Wisdom provides three different ways with excerpts from posts by James Scott Bell, PJ Parrish and Joe Hartlaub. As always, the original posts are very much worth reading in full, and are date-linked at the end of their respective excerpts.

What makes a winner?

Is it going on a web cam and shouting Winning?

Is it having a lot of money?

Is it owning a lot of things?

Let me contrast a couple of writers for you. (These writers are composites, BTW, so don’t ask me to name names).

The first writer has had a couple dozen New York Times bestsellers in her career. She is not shy in saying she found a formula that sells a lot of books. And she keeps cranking them out, two or three a year now. Her publisher is very happy about this.

But her readers are beginning to feel like she’s just “mailing it in.” And in secret she’ll tell you she can virtually sneeze out a book, and does. She spends a few hours a week writing and never edits her stuff. She just turns it in and lets the publisher do the rest. Which gives her plenty of time to travel to her chateau in Gstaad. Or to go to conference appearances, where she plays the diva in a way that even Joan Crawford would have applauded.

She has money. She owns things.

But is she a winner?

The other writer is someone you probably haven’t heard of yet, but those who have read her books have not been able to forget them. While she writes in a certain genre, and is prolific, her novels never have a cranked out feel. That’s because she cares about the writing too much. She cares about her readers too much. She could mail it in, but there’s something inside her that makes her constitutionally incapable of putting out junk.

She doesn’t have as much money as the first writer. Nor does she own as many things.

Is she a winner?

I’ll tell you what, you can’t get away from ancient wisdom. Buddha, Confucius, The Bible, the great philosophers . . . they have all been telling us that just having money and owning things does not make you a winner. In fact, if you’re not careful, they can shrivel you up into a thing that blows away like dried grass in a windstorm.

But this second writer, she can feel things the first writer no longer does (or perhaps never did). She feels the intense pleasure of working and caring and crying and laughing over her writing, of seeing things happen on the page that she knows are worth more than a million cranked out passages that exist just to earn more money so the author can own more things.

Is she a winner? Oh yes. And so is any writer in any genre who does more than just mail it in.

I’m talking about a writer who is courageous enough to have some skin in the game, and who isn’t in this business just to make money and own things. If the money comes, that’s great, that’s awesome. We’re not turning that down. But this kind of writer will never let it go to her head or her keyboard. She will refuse to do that to her readers.

James Scott Bell—May 8, 2011

So how does Team Parrish feel coming out of this half-time locker room break and strategy session? Full of cautious confidence. We started out this book full of hope and ambition. But as the game wore on, we just sort of flailed and fumbled around out on the field, hoping we could make progress by blind luck and maybe a last-minute field goal.  This is how the Jets play every single year. Or the Browns, whose fans show up at games carrying banners saying “We Still Have LeBron.”  You want to be Seattle. Or the Pats, who find a way to win even with Brady on the bench for four games.

What am I trying to say here? Well, it’s a variation on what all the good folks here at TKZ preach. Have a good work ethic. (you don’t want to be giving up in mid-season just because you’re a little gassed).  Have a good strategy going in. (a great idea or at least a fresh take on an old one). Devise a game plan and keep to it. (that means for some of you out there outlining). Stop at each quarter or at least half-time and see what has gone right and what had failed. Be flexible enough to make adjustments. Don’t quit, because as the great sports sage Yogi Berra said,  it ain’t over til it’s over.

And with that, I leave you with a few classic football cliches that are actually good advice for us writers:

You gotta work with what’s working. This is a variation on the more erudite “You go with what brought you to the dance.” If you’re a hard-boiled type at heart, maybe you shouldn’t try YA romantic zombie fiction just because it’s hot. Yes, stretch yourself, but don’t be crass. Readers smell insincerity a mile away.

It’s important to give the ball right back to the guy who lost it. Yes, you can make mistakes. In fact, they help you grow. If you’ve had a setback, be it a rejection letter, a bad review or just loss of confidence, don’t let it defeat you.  Favre is the leading career fumbler of all time. You think that when he put the rock on the ground, he thought about quitting? Heck no. The guy took risks. (Though the Killer Chihuahuas never forgave him for that last season…)

He heard footsteps. This is the wide receiver who feels a defender gaining on him so he takes his eye off the ball. For you, this means, don’t let distractions cripple you.  This can mean anything from the little — social media, chores, research — to major distractions — envy over other’s success, people who tell you that you’ll never get published.

He ran east and west instead of north and south. Or as Dan Dierdorf put it: “You gotta keep the axis of your body perpendicular to the goal line.”  For writers, this means always moving forward and maintaining momentum. This is my biggest problem because I become stalled in an insane quest for perfection when I should be grinding out that first draft.  I spent too much time running east and west instead of heading toward the goal line. Don’t be like me.  Be a downhill runner.

It’s a game of inches. Success in publishing almost always comes hard and gradually. You pound away at that keyboard, bang your head up against big forces that feel like they are bent on keeping you back. You spend months, years, on your WIP and only manage to move a few yards forward.  But this is how it’s done. Slow and steady. And you never, ever, come prepared to play only one game because you must…

Take it one game at a time. Finish that book, get it out there somehow and then start the next one. And as you do this you will…

Leave it all on the field. You gave it everything you had because, of course…

There’s no tomorrow.

PJ Parrish—September 13, 2016

 

My suggestion is to write every day. That is not new or original advice. I am offering it particularly, however, to those of you who have no intention of or inclination toward starting or completing a story or having it revealed in the harsh light of day. Writing something every day because you want to, instead of when you have to, is good for you. I truly believe that writing regardless of length or motive makes one smarter — whatever that is — and yes, happier. Writing even one sentence of a few words per day enables you, the unintentional writer, to say, “I wrote this.” It may not give you an adrenaline rush but I submit to you that it will produce, at the least, a drop of it in your cup. It’s the difference between doing an action because you are required to (for reasons from within or without) and doing it because you want to. It can crack the ice that freezes your thinking, whether you write on a post-it, a computer, or your hand. It is an activity that you can do without prompting, or the desire of future reward, other than that occasioned by performing the act itself. I have mentioned this before, but the television series Miami Vice was born as the result of two words handwritten on a piece of paper. The words were “MTV cops.” Your results may differ. That’s the point. There are those who may keep a diary or journal for a similar reason. What I propose is not as involved.

This post is but one example of “wanting to” as opposed to “being compelled to.” I started this post with one sentence, though it is not the introductory sentence that you see above. I wrote a few words to get rolling and then took off, as John Coltrane said, in both directions at once. It was because I wanted to. “The Kill Zone” name notwithstanding, no one here writes with a gun to their head. We are all here because we want to be, whether to write or to read what is written.

Joe Hartlaub—May 29, 2021

***

What are your thoughts about “winning” at writing? Any advice or tips?

True Crime Thursday – You Could Be Breaking the Law if You…

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by Debbie Burke

 

Getting arrested in a foreign country can ruin a summer vacation. Here are five obscure laws you don’t want to violate, courtesy of Sydney Criminal Lawyers.com.au

1. Milan, Italy – Put a Big Smile on Your Face

Credit: Picryl

A city regulation dating from the Austro-Hungarian era requires residents and visitors to smile at all times. A grim expression could get you fined, unless you’re attending a funeral, working in a hospital, or visiting sick family members.

2. Sarpourenx, France – Die in the city limits and face severe punishment

Not the site of the actual crime. Photo credit: Eli Duke, CC by SA-2.0

The mayor of the city issued an edict “prohibiting people from dying within the city limits unless they had previously purchased a plot in a local parish cemetery.” So, what are they gonna do??? Kill ya???

3. Singapore – No Juicy Fruit, Spearmint, or Dubble Bubble

In 1995, Singapore enacted the “Anti-chewing Gum Regulation” to “promote cleanliness and avoid the costly problem of gum getting stuck on sidewalks.” And they’re serious. Penalties can be fines up to 200,000 Singapore dollars (approximately $155,000 US dollars) and/or three years in prison.

4. Oshawa, Canada – Hey, you! Get outta that tree!

Public domain, credit glenncarstenspeters

In 2008, the city passed legislation to protect trees on municipal property, prohibiting damage to a tree or any part of it. That includes “any interference with trees on municipal property, including climbing or attaching objects to them.”

Honeymooners, beware. Don’t carve your initials in trees owned by the city of Oshawa.  

5. Thailand – No topless driving

Credit: Chris Beckett

In Thailand, neither males nor females are permitted “drive a motorbike, car, or tuk-tuk without a shirt on.” Fines are apparently minimal, but do you want to take a chance of ruining your vacation?

 

Now relax and enjoy your visit to these countries, secure in the knowledge you won’t run afoul of obscure violations.

Bon voyage!

~~~

Cover by Brian Hoffman

 

In Dead Man’s Bluff, a romantic Florida vacation goes sour for Tawny Lindholm and Tillman Rosenbaum when an old friend disappears during a hurricane. Their search for him takes them deep into treacherous floodwaters where human predators prove more dangerous than reptiles. Buy at online retailers or ask your favorite indie bookstore to order for you.

The Homme Fatal

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In a Lonely Place review – Bogart still captivatingly cynical in noir classic | Thrillers | The Guardian

“I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me.” — Dix Steel In A Lonely Place.

By PJ Parrish

I was sleepless in unsettlement — it had been a rough week what with apocalyptic smoke-sulphuric skies and gut parasites — so as usual I turned to my private Ambien — Turner Classic Movies. Eddie Muller was just coming on to introduce In A Lonely Place.

Two hours later, I was still wide awake and in awe. How in the world had I missed this movie? I devour old noir films yet this one had somehow always eluded me, even though it’s considered a classic. I come to you today, fedora in hand, deeply ashamed.

Humphrey Bogart, in what might be his finest performance, sheds his heroic armor to play the boozy, trigger-temper screenwriter Dix Steele, suspected of murder and captivated by his failed-starlet neighbor Gloria Grahame (who can say more with one raised eyebrow than most of today’s actresses can do with their lines.)

This isn’t your conventional noir. It’s more a psychological thriller and a heartbreaking love story. There’s no happily-ever-after, just what one writer called “an epitath for love.” It’s also a meditation on movies and screenwriting, and male cruelty. In the end, it also has an oddly feminist undernote.

I was so entranced by the movie that the next morning, I hied over to my library where I found the source material — Dorothy B. Hughes’ 1947 book. (It was re-issued three years ago by Penguin Modern Classics). Okay, again I confess shame, as I had never read the book. I’ve been making my way through the oldies for years now, But this one…wow.

I’m not alone here in my ignorance. The critic John Powers wrote:

It’s something of an axiom that good novels make bad movies, but one of my favorite exceptions is In A Lonely Place. For years, I lazily assumed that [director Nicolas Ray] had turned a lousy pulp thriller into a silk purse. Then one day, I finally read it. And I discovered that the novel is more groundbreaking than the film. And that Hughes belongs in the crime writing pantheon with male icons like Dashiell Hammett and Raymond Chandler.

Now I have to turn to crime novelist Megan Abbot, who wrote the afterword for the re-issue::

Reading In a Lonely Place for the first time is like finding the long-lost final piece to an enormous puzzle. Within its Spanish bungalows, its eucalyptus-scented shadows, you feel as though you’ve discovered a delicious and dark secret, a tantalizing page-turner with sneakily subversive undercurrents. [Its]  influence on crime fiction is unsung yet inescapable. From Patricia Highsmith and Jim Thompson to Bret Easton Ellis and Thomas Harris, nearly every “serial killer” tale of the last seventy years bears its imprint—both in terms of its sleek, relentless style and its claustrophobic “mind of the criminal” perspective.

But its larger influence derives from Hughes’s uncanny grasp of the connection between violence and misogyny and an embattled masculinity. And its importance extends beyond form or genre and into cultural mythos: the birth of American noir.

That last part about toxic masculinity is important. Because while that aspect is present in the movie in the form of Bogart’s seething anger, the book is where the violence really boils over.

I was taken by how different the film is from the book. (Yes, we can name dozens of cases where this is true in crime fiction — and please feel free to weigh in here). But it’s really striking here.

In the book, Dix Steele is an actual serial killer, but in the movie he is a mere suspect in one hat-check girl’s death. In the book Steele is a true psychopath, who fakes being a crime novelist so he can sponge off a wealthy uncle. An ex fighter pilot, Steele is frustrated that his post-war life is so lifeless and emasculating, Steele turns to stalking and killing women for kicks. “They were all alike, cheats, liars, whores,” Steele says in the book. “Even the pious ones were only waiting for a chance to cheat and lie and whore.”

In the movie, Steele is still hot-headed but more as a screenwriter poisoned by temper and his desperation for another hit. And he is fatally capable of falling in love.

As Megan Abbott sagely noted, Hughes has always been fascinated by the loners who lurk on society’s edge. Hughes’ 1963 thriller The Expendable Man tackled American racism. With In A Lonely Place, she plunges us deep into Dix’s warped psyche. It reminds me somewhat of Patricia Highsmith’s Tom Ripley, in that we almost want to root for the guy because he’s so damaged.

Then there’s that feminist note I mentioned. The book, unlike the movie, is a scathing indictment of toxic masculinity.  And while the movie ends on plaintive note, the book is a twisty paen to post-war girl power. Again, I’ll quote Megan Abbott:

Dix’s story reveals the essence of being a violent hater. He tries to control his feelings of sadness and powerlessness, not through self-knowledge or personal change, but by finding someone to blame and erase — in this case, women. But far from bringing him salvation or even relief, his hatred turns out to be the loneliest place of all.

To his mind, the enemy is not the war, its trauma, but what men face upon their return: staid domesticity, the strictures of class, emasculation. And these threats are embodied wholly in women. Women, whose penetrating gazes are far mightier than his sword.

In case you haven’t seen or read either, I won’t give them away the two endings. I’ll leave that for you enjoy.

So, which is better — book or movie? I loved them both, for different reasons. The central theme is there in both, that the lonely place is not without, but within. Well, let’s let Hughes, via Dix Steele, tell you what that feels like:

Fear wasn’t a jagged split of light cleaving you; fear wasn’t a cold fist in your entrails; fear wasn’t something you could face and demolish with your arrogance. Fear was the fog, creeping about you, winding its tendrils about you, seeping into your pores and flesh and bone. Fear was a girl whispering a word over and again, a small word you refused to hear although the whisper was a scream in your ears, a dreadful scream you could never forget. You heard it over and again and the fog was a ripe red veil you could not tear away from your eyes.

In A Lonely Place. Watch it. Read it. You’ll thank me.

 

Use the Rule of Three to Triple the Impact

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The Rule of Three is a storytelling technique that makes writing more engaging, memorable, and impactful. (See! I used three adjectives.) It works because three is the perfect balance. One feels incomplete, two feels like a coincidence, but three? Three is a pattern, a rhythm, a satisfying payoff. Why does this work? Because humans are wired for patterns, and three is the smallest number that creates a full-fledged pattern. It builds expectation and then delivers on it.

Let’s dive into the Rule of Three and how you can use it in your writing.

The Power of Three in Story Structure

For screenwriters and novelists, the classic three-act structure (Beginning, Middle, End) is the foundation of storytelling. Act One sets up the world and problem. Act Two complicates everything. Act Three delivers the resolution. It’s storytelling in three neat parts.

💡 Try this: When structuring your story, think in threes. Give your protagonist three major obstacles to overcome. Have their character arc evolve in three key moments. Use three emotional beats to deliver that gut-punch ending.

The Power of Three Protagonists

Storytelling loves a good trio. Three examples:

  • Harry, Ron, and Hermione – Harry Potter Series
  • Luke Skywalker, Princess Leia, and Han Solo – Star Wars Original Trilogy
  • The Three Musketeers: Athos, Porthos, and Aramis – The Three Musketeers
  • Buffy, Willow, and Xander – Buffy the Vampire Slayer
  • Kirk, Spock, and McCoy – Star Trek: The Original Series
  • Alvin, Simon, and Theodore – Alvin and the Chipmunks
  • The Powerpuff Girls: Blossom, Bubbles, and Buttercup – The Powerpuff Girls
  • Charlie’s Angels: Sabrina, Jill, and Kelly – Charlie’s Angels
  • The Three Stooges: Moe, Larry, and Curly – The Three Stooges
  • Jerry, Elaine, and George – Seinfeld
  • The Three Bears – Fairy Tale
  • The Three Little Pigs – Fairy Tale
  • The Three Wise Men – The Bible

Trilogies

We see the rule of three in the popularity of trilogies. We love a good story with three parts.

  1. The Lord of the Rings
  • The Fellowship of the Ring (2001)
  • The Two Towers (2002)
  • The Return of the King (2003)

2. The Godfather

  • The Godfather (1972)
  • The Godfather Part II (1974)
  • The Godfather Part III (1990)

3. The Dark Knight

  • Batman Begins (2005)
  • The Dark Knight (2008)
  • The Dark Knight Rises (2012)

The Rule of Three in Comedy

Like we talked about with witty banter, comedy loves the Rule of Three because it sets up an expectation—and then subverts it for laughs. The first two items in a sequence establish a pattern, and the third surprises.

  • “I came, I saw, I… forgot what I was doing.”
  • “She’s smart, she’s charming, and she once tried to order a taco at a bank drive-thru.”
  • “For our picnic, we packed sandwiches, fruit, and a live chicken.”

Think about classic comedic sequences: a character tries to do something and fails twice before succeeding—or failing spectacularly. It’s why slapstick works in three beats. The first two build anticipation; the third flips it on its head.

💡 Try this: If you’re writing humor, use a list of three with a twist on the third. Play with expectations and reversals to keep your readers laughing.

The Rule of Three in Dialogue

Ever notice how the best lines in movies and books often come in threes? It creates a rhythm that sticks in the audience’s mind.

  • Jaws: “You’re gonna need a bigger boat.” (Three parts: You’re gonna / need / a bigger boat.)
  • Julius Caesar: “I came, I saw, I conquered.”
  • The Dark Knight: “Some men just want to watch the world burn.”

The Rule of Three in Description

In description, three is the magic number:

  • “Her dress was red, flowing, and impossible to ignore.”
  • “He had a voice like gravel, whiskey, and bad decisions.”
  • “The house was rambling, ramshackle, and ivy-covered.”

The Rule of Three in Pacing & Repetition

Repetition is powerful. It’s why speeches, slogans, and mantras use three.

  • “Location, location, location.”
  • “Stop, drop, and roll.”
  • “Blood, sweat, and tears.”

💡 Try this: When writing dialogue or descriptions, test out the Rule of Three. It adds balance, impact, and memorability.

Triple Your Writing Power

The Rule of Three isn’t just a gimmick—it’s a time-tested technique that makes stories more compelling, humor funnier, and messages more memorable. So next time you’re stuck, ask yourself: Can I use the Rule of Three in this moment?

Now go forth and write in threes—because one isn’t enough, two is close, but three? Three is just right.

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Reader Friday-Mickey Mouse or Hannibal Lecter?

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Scary title this morning, yes?  🙂

Just a quick, non-scary question for this Friday morning.

Who is the one fictional character you relate to most? Can be from your own writing, or another author, or even from a movie. And please tell us why…

 

 

Here’s a few more to get your juices flowing…

 

 

 

 

 

(Fun fact: if you do a search on this morning’s question, there are links to websites where you can take a quiz to find out the character you’re most like.)

 

 

 

 

 

 

 

 

 

When A Panster Has to Plot

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When A Panster Has to Plot
Terry Odell

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 

 

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

The Power of a Rant – Guest post by Leslie Budewitz

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Leslie Budewitz wins 2013 Agatha for Best First Novel

 

It’s always a pleasure when my good friend and Agatha-winning author Leslie Budewitz visits TKZ for a guest post. Today, let’s welcome Leslie with her “rant” about “The Power of a Rant.” 

The Power of a Rant, or How Letting My Main Character Cut Loose Powered a Winning First Novel

by Leslie Budewitz

I love me a good rant. In April 2012, I attended Don Maass’s Breakout Novel Workshop in Hood River, OR, a week that changed my writing life. I had a three book contract with Berkley for the Food Lovers’ Village series. The first manuscript was due August 1. I went to the workshop with more than half a first draft, and felt pretty good.

I came home and started over. Death al Dente won the 2013 Agatha Award for Best First Novel.

What changed? I didn’t change the plot. I do outline, and I had created character sheets where I focused on learning what my characters most wanted and what they would do to get it. I knew where the story was going.

But my writing was too passive. Not bold enough. Not enough tension. My main character didn’t drive the story. Don suggested I let Erin go on a rant. Now, he meant that as a character discovery exercise, not as a way to open the story, but that’s what I did with it.

I told this story a few weeks ago at the Writers’ Rodeo in Helena, Montana, and a writer in attendance asked if I could read the original opening—good enough to sell the proposal—and the version I submitted. We didn’t have time then, so I promised to write a blog post comparing the openings. Debbie Burke was presenting at the same conference—here’s her roundup—and kindly offered me a guest spot.

In Death al Dente, a classic cozy mystery, Erin Murphy’s mother, Francesca, has asked her to come home and take over the Merc, the shop she’s been running in the family’s century-old grocery in the heart of the village of Jewel Bay, Montana. Erin, now 32, left home for college months after her father was killed a hit-and-run that has never been solved. She’s had a successful career as a buyer for SavCo, my fictional warehouse grocery chain headquartered in Seattle. Coming home wasn’t in her plans, but when your mother asks, what can you do?

The difference between the two drafts is mainly in attitude and micro-tension. Our main character has a problem, and you know she’s going to find a way to solve it. You know we are going to have a good, old-fashioned mother-daughter tussle in the form of conflict over a family business—two classic situations—and it’s going to matter to solving the murder, which hasn’t occurred yet. All that from the rant on the first two pages.

In the first draft, Francesca—aka Fresca—is more interesting than Erin, the main character. Fresca drives the scene. As revised, Erin takes center stage, and we know we’ll be following a strong, capable woman as she reshapes a struggling business, and solves a crime.

Rants are also a good way to give dialogue subtext, that is, to get at what the characters are saying underneath the words they’re using. In this scene between Erin and her mother, you’ll detect issues of trust, fear of change, and control over family business.

Rants can also be a great way to explore what’s actually driving a character, whether it’s your protagonist or a secondary character. In my standalone suspense novel, Blind Faith (Crooked Lane, 2022, written as Alicia Beckman), I let my main character, a lawyer facing a crisis of conscience, go on a rant about justice. Little of it made the page, but the process helped me get at the heart of her internal conflict and figure out what she would do in response to injustice.

If you are struggling with your main character, if she’s not quite coming alive for you, give her a rant. It may not make the final edit—but it will help you find out who she is, and find her voice.

Death al Dente, draft one:

CHAPTER ONE

“Oh, smell this Genovese basil, darling.” My mother waved a bouquet of fresh herbs about three inches in front of my nose. “Isn’t it heavenly?” She closed her eyes, breathing deeply, an expression that could only be called rapture on her face. Maybe I’d finally discovered her secret for looking youthful at sixty-one.

“You’re making me hungry, Mom.”

“Then eat.” She waved the basil again and the sweet-green scent nearly made me swoon. “Slice up some of those Early Girls from Rainbow Lake Gardens, with that mozzarella from the new Creamery.”

Caprese salad. My favorite. “Mom, there’s too much to do before the Festa opens tonight. We haven’t even started decorating.” The Merc, formally known as The Glacier Mercantile, shared a courtyard with Red’s Bar, the setting for tonight’s kick-off dinner for the First Annual Jewel Bay Festa di Pasta. But Old Ned Redaway–aka Red–didn’t want us to “doll the place up,” as he put it, until his Friday burgers-and-beer lunch crowd had cleared the door. Which would be soon. Which meant I couldn’t give in to my mother’s tempting suggestions, no matter how much my tummy gurgled at the thought.

“Mangia, mangia. All work and no food makes a girl dull and scrawny.”

“Ha.” I’d inherited my late father’s “black Irish” fair skin and dark hair along with enough of my mother’s good genes to avoid most weight problems. But scrawny I would never be, not as the manager of a market specializing in local artisan foods and the daughter of a woman who sold handmade pasta and sauces for a living.

“I’ll wash these up and find a platter and that herbed olive oil,” she said. “You slice a few for each of us.”

“Ah, the truth comes out,” I said, and stepped outside the front door to the produce cart. A cattail reed basket held the season’s first tomatoes–greenhouse, necessarily, in mid June in northwest Montana, but ripe and juicy nonetheless. I plucked two and headed back in. “You want me to eat so you can eat.”

“No good Italian girl ever eats alone,” she called over her shoulder as she headed for the demonstration kitchen at the back of the shop.

Ouch. Okay, I was only half-Italian, but I’d spent too many nights eating alone for far too long. Still did on occasion, though now by choice.

She stopped and turned, gripping the peppery-sweet basil. “What I should have said, Erin, darling, is that when you eat good food, grown and prepared with love, you’re never alone, even if no one else is at the table with you.”

“Nice recovery, Mom.” I grinned.

In the kitchen, I drew out one of the locally-made hardwood cutting boards we sold, honed a chef’s knife on a steel, and started slicing. Working together, we stacked layers into a caprese antipasto appetizer: a thick slice of firm tomato topped with a slab of fresh mozzarella and a large basil leaf, drizzled with a fruity olive oil. Too impatient to grab a plate and fork, I picked one up and savored the smells before taking the first bite, my other hand cupped to catch any stray juices. “Mmm. The taste of summer.”

My mother was too preoccupied with eating to bother chiding me for talking with my mouth full.

Death al Dente, as published

CHAPTER ONE

“Who put these huckleberry chocolates on the front counter?” I grabbed the stack of purple boxes crammed with gooey huckleberry-filled chocolate wannabes swathed in purple foil and shoved them onto an open shelf on the side wall, next to the herbal snoose.

“I did, honey,” my mother said. “Our customers love them.”

“Our customers,” I said, “buy one for seventy-five cents and walk around the store, so preoccupied with unwrapping it and indulging their sweet tooth that they can’t fathom buying Montana-made goat cheese, or buffalo jerky, or your pastas and sauces. Then they grab a napkin that costs us five cents apiece to wipe the drool off their fingers, and half of them drop it on the floor. There goes our profit.”

My mother scowled. “Erin, what on earth has gotten into you? Why do you hate huckleberry chocolates?”

“I don’t hate huckleberry chocolates. I love huckleberry chocolates. But we can’t rebuild this business on fake food and chemical sugar.”

She picked up the boxes I’d just moved and carried them back to the cash register. “We have always had huckleberry chocolates right here, where the customers can see them.”

“Mom, you hired me to run the place, remember? To shake things up.”

“Some things shouldn’t be changed.”

“Mom, we agreed. The Merc will die if it’s just another knickknacky gift shop. But an artisan market for local and regional foods—”

“Those are local. They’re made five miles from here, by a woman you’ve known half your life.”

“With high-fructose corn syrup and milk chocolate that tastes like rancid Hershey’s. If we find a vendor using fresh berries, real sugar, and high-quality fair trade dark chocolate, sixty percent cocoa solids or better, I will build the Great Pyramid of huckleberry chocolates right here.” I jabbed at a spot on the oak floor, ten feet inside the Merc’s front door, little changed in the hundred years since my grandfather Murphy built the place and opened the town’s first grocery. “I will worship at her kitchen stove. I will put an ad in the paper and a post on Facebook offering a free huckleberry truffle to everyone who walks in that door. And if they aren’t wrapped in purple paper, I will even consider raising the price split.”

My mother stared as though she didn’t recognize me. Not for the first time since I’d returned to Jewel Bay, Montana, the hometown I couldn’t wait to leave after high school, fourteen years ago, to take over her struggling business so she could focus on building her own product line.

And not, I was sure, the last.

(Excerpt from Death al Dente, published by Berkley Prime Crime 2013, copyright Leslie Ann Budewitz)

Does Erin ever find the perfect huckleberry chocolate? I’ll let you read the book to find out. And don’t fret over that luscious business about basil. It finds its rightful place later in the scene. Because a Caprese salad made with sun-ripened tomatoes, creamy mozzarella, and basil so fresh it’s practically still growing is—like an honest rant—too good to waste.

***

Thanks, Leslie, for a terrific before-and-after comparison with excellent lessons from a winning first chapter!

***

Leslie Budewitz tells stories about women’s lives, seasoned with friendship, food, a dash of history, and a heaping spoonful of mystery. She writes the Spice Shop mysteries set in Seattle’s Pike Place Market and the Food Lovers’ Village mysteries set in a fictional version of Bigfork, Montana, where she lives. Her latest books are Lavender Lies Bleeding, the ninth Spice Shop mystery, and All God’s Sparrows and Other Stories: A Stagecoach Mary Fields Collection, historical short fiction set in Montana. As Alicia Beckman, she writes moody suspense set in Montana. She is a former president of Sisters in Crime.

Find her books in print, ebook, and audio across the US and Canada, wherever you shop for books.

Revisited: How Did I Get Here?

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Kay DiBianca is away from TKZ for a bit longer, so today I am sharing her post on the journey of being a novelist.

How Did I Get Here?

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When I sat down at my desk a few days ago, the room suddenly turned dark, and there was a loud buzzing sound. I realized I had entered a wormhole, and I was being transported back in time to a day several years ago.

* * *

I was running on a dirt trail in a park near my home and I was listening to an audiobook on my iPod Shuffle. The book was one of the Rabbi Small mysteries by Harry Kemelman, and I was enjoying the story. As I jogged by a fence and around a turn, a thought lit a fire in my brain. I could write a mystery as good as the one I was listening to! It would be fun to write a novel just to see what it would be like. I finished my run, returned home, showered and dressed. Then I sat down in a recliner in our living room with my computer on my lap and began to type.

* * *

The wormhole suddenly closed, and I was back at my desk, a relatively new, six-foot-long testimony to my dedication to this writing journey. Desk-reorg day is later in the week, so the desk is messy, piled with papers and post-it notes – reminders of upcoming events and to-dos I shouldn’t ignore.

Two whiteboards sit on the back of the desk, leaning against the wall with lists of books to read and others I’ve read and need to review. A map of the Hero’s Journey is magnetically tacked to one of the whiteboards along with a few inspirational sayings. Reminders to Make Haste Slowly, Be Intentional, Make It Count.

My writing calendar is just inside the middle drawer of the desk. A glance at the page tells me about my obligations this month for blog posts, book promotions, meetings, and everything else that’s writing-related.

The Windows 10 laptop in front of me on the desk houses dozens of directories containing information from branding to short stories, from newsletters to marketing graphs.  This is where I handle email, write articles, post to social media, create jpgs and pngs to market books and share thoughts on writing.

A second laptop, a Mac, sits on the desk’s pullout shelf to my left. It’s owned by the publishing company my husband and I formed in order to publish our own works. I use it to format and publish the final copies.

A third laptop, another Mac, stays on the bar in the kitchen where I can glance over an occasional news story while I eat breakfast. Scrivener lives on that Mac, and it accompanies me to my office recliner, along with a glass of sparkling water when I sit down to spend serious time on my WIP.

A list of writing goals is taped to the back of my office door so I see it every time I close the door to begin work.

Bookshelves against the wall next to my recliner are filled with books on the craft of writing, constant reminders of how much I still have to learn. The bottom shelf contains copies of my three published novels as well as my husband’s recently published debut novel. Three-ring binders contain pages of notes on each of my books as well as several works-in-progress.

Other bookshelves in my office and throughout the house contain favorite tomes. (I really should spend some time reorganizing so I don’t have to go on safari just to find what I’m looking for.)

* * *

How did I get here? I was going to write just one novel. It was going to be fun, an act of exploration, like climbing a mountain. Do it once for the experience.

But then I discovered the craft and the joy of writing.

So TKZers: When did you decide to write that first novel? How did you get to the present moment? Were you surprised by the journey? Are you going to stay the course?