Frank Sinatra via Wikimedia Commons

It’s time for my final curtain, dear friends. This is my last official post for TKZ. It’s with a heavy heart that I write this, because I’ve had a blast with you the past several years.

TKZ was the first and only group blog for which I’ve written regularly, and I couldn’t have chosen a better one. I can’t think of a more experienced group of writers writing about writing on the Internet. While many other group blogs have become weighed down with self-promotion and infighting and prima donna grandstanding, TKZ has only gotten better with time.

You, dear readers, are our better halves. You’re talented and curious and smart. You make it a pleasure to show up–whether it’s to post or join in the comments. Please give yourselves a big round of applause.

It’s often a challenge for me to come up with blog topics about writing that I think will interest you. My interior life is chaotic, and writing fiction is still a mystery to me after three decades of writing. When I finish writing a book or story, the memory of how I did it dissolves with time like Kool Aid mix in water–and nearly as quickly. It’s tough to delineate a process that I can’t precisely recall. While I am a person of a certain age, it’s not that I’m going dotty. It’s just the way my ADHD brain works. I can hyperfocus on something so that it becomes a delicious experience that engages my senses so fully that I find it difficult to return to reality. It’s a dreamlike state, and, like a real dream, it dissipates and disappears. When things are going well, a dozen pages of writing is left behind. The challenge is dodging all the shiny objects that seem to throw themselves at me when I’m trying to get back to the dream again.

If it sounds like I’m telling you that writing is magic that can’t be taught, I promise I’m not. I attended writing classes and workshops during the first six or seven years I was writing. (And I have to tell you that if you pay attention to the craft and critique pages here, and you write regularly, and read, you will get a solid writing education without paying a dime. Just sayin’…) Writing is not magic. It’s a combination of art and craft.

So, I hope you’ll forgive me for all the posts I didn’t write about how to plot, or create a character, or remind you to number those pages. (Seriously, Manuscript Rule 1 is number your pages!) We all have different strengths, and different gifts.

You know I love a list. Here’s a list of a few thoughts about writing and the writing life I’d like to leave with you.

— Read indiscriminately. Read the stories that you know will please you, and read stories and writers that will challenge you. Read out of your preferred genre and your culture and your comfort zone. Good writing is everywhere. Learn from it.

— Write bravely. I won’t lie. Brave is hard. The more of yourself–your feelings, your experiences, your ideas, your imagination–you put in your work, the better it will be. It may seem that both publishers and our contemporary society are currently offering writers very narrow lanes in which to write. It’s tough to be brave when you’re feeling pressured and walled in. Be brave anyway. That’s where your best work lies: beyond the walls.

–Let yourself be envious, then let it go. Too much envy is poisonous, but it’s a totally normal feeling. If you feel it, that’s okay. Let it motivate you to write better, be better. But use it and let it go before it turns on you. The phrase love and light sounds like the stuff of an SNL skit, but it’s kind of useful. Pile coals of kindness on the heads of those who make you itch with irritation. Their journey is not your journey, so keep your eyes on your own paper and do your own work. (Did I get enough platitudes in that paragraph?)

–Don’t be a dick. If you achieve any kind of success–from being the first in your writing group to sell a story, to being the only one at a table full of established writers to have made the bestseller lists–don’t be arrogant. Retain (or cultivate) some humility, if only because you never know when you’ll get surpassed or taken down, or by whom. Otherwise, it’s just a good idea to be nice. Cheer others’ successes. It’s true that someone might forget that you offered them congratulations on their Facebook page, but they won’t ever forget if you only ever talk about yourself.

–Don’t bore your reader. If you’re writing and you find you’re getting bored, stop what you’re doing immediately and try something different. If you’re feeling bored, chances are your reader would already have wandered off.

–Publishing is a crapshoot, and there’s an element of luck involved. Raise your odds by submitting (to an agent or publisher or beta reader) your best writing, packaged as a clean manuscript, and ask for help, advice, or representation in the most polite and charming way possible. Keep in mind that there are a huge number of not-very-well-written books alongside terrific books released every week. Just because you get a rejection doesn’t mean your writing is bad.

–Write what brings you joy. Or scares your pants off. Or makes you cry in a good way. That way lies authenticity (always good) and personal fulfillment (even better).

That’s it. I’m done. In Frank’s immortal words: I did it my way. Thank you, thank you, thank you for your kind attention. Stay in touch. Write like the wind!  xx Laura

By Debbie Burke

@burke_writer

Photos courtesy of Kat and Larry Martin

Today I’m delighted to chat with bestselling authors Kat Martin and L.J. (Larry) Martin, who’ve been together for 34 years. Between them, they have written well over a hundred novels.

Kat has written more than 75 historical and romantic suspense novels that have sold many millions of copies all over the globe. Larry crosses multiple genres, with bestselling westerns, thrillers, and nonfiction. He is also a founder and former owner of Wolfpack Publishing.

Here’s the inside scoop from Kat and Larry on their successful, long-lasting relationship.

DB: For most households, one author is quirky enough. How do two authors married to each other make it work?

Kat Martin

Kat: Actually, it has some advantages. We have the same friends, travel to the same conferences, are interested in a lot of the same subjects. We also understand the frustrations of being a writer, which are difficult for a non-writer to understand.

Larry: Ditto to Kat’s answers, plus we can read each other’s work and comment. For instance one time she was reading some female dialog I’d written and then drew a little mustache in the margin…I got it, my lady sounded like a dude.

DB: You met each other while working in the real estate industry. How did you each make the huge career change from real estate to writing?

Kat: Larry had already written a historical novel when we met.  He continued to work while I wrote my first book and we ended up selling both novels within six weeks of each other.

L.J. Martin

Larry: I had a giant year in the R.E. biz and never wanted to work that hard again. We had a little financial cushion, and needed it, and Kat was enthralled with my writing and said, “Hell, I can do that.” And did, far better. We’d always been avid readers, which is the basis of great writers.

DB: You are both exceptionally prolific authors. Do you have systems or routines for keeping up high production?

Kat: I don’t have kids, which gives me a lot of free time. Larry’s boys are grown. So that gives us a real time advantage. Also, we like what we are doing so mostly we would rather be writing than anything else. Well, I do enjoy traveling, staying in nice hotels and eating in gourmet restaurants. But we manage to work that in.

Larry: It’s productive to have “in-house” competition and an example to follow. Kat’s a voracious worker. I’m distracted by yard work, garden, photography, hunting…but her dedication always pulls me back. And both of us love to write.

DB: Do you brainstorm with each other on story ideas? Can you describe the process?

Kat: Larry writes his own books, his own way. No input from me. I appreciate his help with plotting and he also reads my action scenes and gives me input. Other than that, we pretty much work separately.

Larry: Neither of us slows down enough to get much input from the other. I help her occasionally with the male aspect: fistfights, firearms, survival, but that’s about it. I’m also preoccupied with publishing nonfiction, and enjoy that part of the biz.

DB: You often combine travel with research. This may be a chicken and egg question but do you visit locations with a plot already in mind, or do story ideas spring out of new places?

Kat: A little of both, I think. Sometimes we go places because one of us is working on a story.  Sometimes when we are traveling a new idea comes from the experience we are having at the time. Larry just finished a novel called The Blue Pearl, a high action thriller set around a cruise ship being taken over by terrorists. Our cruise was already planned. The story came to him before we left and the cruise helped with his research.

Larry: Most action books are a quest of some kind so the cruise was ideal with the addition of some really bad guys in exotic locations. I was able to interview the captain and security people and go everywhere on board other than the engine room. My prior thriller, The K Factor, was set primarily in North Korea and trust me, I didn’t go, and the cruise and great sights and wonderful restaurants in France, Spain and Portugal was more fun than researching lots of North Korean trials and tribulations…as much as I enjoy research.

DB: Describe a typical work day for Kat.

Kat: My day starts around 7 a.m. I enjoy my morning till around nine o’clock, when we either head to the gym for an hour, or I start going through email and doing some promotion. I like to be writing by 11:00, no later than noon, then write till the end of the day. After that I do some Facebook and a little more promo, then pour myself a glass of wine and relax for the evening.

DB: Describe a typical work day for Larry.

Larry: I hit the machine early, usually by six at least. When I smell the blood sometimes by four as I can’t sleep as my mind is plotting. Cup of coffee, sweatsuit, and I write until it’s time to shower and three days a week hit the gym to keep the brain blood flowing, then back to the word processor. Often in the P.M. I’m in the garage or outdoors, but I’ve already got my eight or ten in.

DB: How do you balance your individual creative idiosyncrasies in a long-term relationship?

Kat: Mostly he does his thing; I do mine. We overlap at the end of the day. He has a lot more diversified interests than I do. I’m fairly well consumed by my writing. Though currently, I’m on a remodel project for our new winter home, which has been agonizing and exhilarating.

Larry: It’s more than merely nice to have a beautiful, intelligent, woman with like interests seldom more than one story away. Most of the idiosyncrasies are left in characters in our books. We both love to cook, love a good glass of wine, love good dramas on TV or the theater, and each other’s company. What could be better?

DB: Is there anything else you’d like to share with readers of The Kill Zone?

Kat: I’ve got more Maximum Security novels coming out, including a new novella called Come Daybreak, which is one of my personal favorites. I’m hoping readers will be on the lookout for the books and that they enjoy them.

Larry: And I’m supporting Wolfpack Publishing, a company I co-founded and sold to my former partner, who still publishes my Westerns, and now that my non-compete has expired I’m into another aspect of publishing. No one does a better job with Westerns, and other fiction, than Mike Bray. Buttonwillow Books, my new effort, publishes my nonfiction and some for others. I’m currently enjoying publishing educational books by T. Michael Traser, an internationally recognized educator and a friend. If you’re a teacher, particularly one with English challenged students, check out the series ESL – Fun Games for the Classroom. Immigrant children who don’t master English are destined to be trapped in barrios and enclaves, and that’s not a good thing. And while you’re at it grab a copy of Rugged Trails, my latest western, suitable for young adults. Thanks for taking the time to chat with us.

~~~

Thank you, Kat and Larry, for opening up about your writing lives to TKZ readers.

Check out Kat’s books at katmartin.com and Larry’s books at ljmartin.com

~~~

3 Books for 3 Bucks – Special sale February 7-14, 2020. Debbie Burke’s thriller series is only $.99 each.  Click on title for “buy” link. 

Instrument of the Devil

Stalking Midas

Eyes in the Sky

By PJ Parrish

Why is January feeling like it’s lasting forever? And I don’t even have to deal with snow.  I just wanted to get that off my chest. Now, let’s have some fun and read a First Pager.  Thank you, dear submitting writer, for giving me some diversion this week as I fill out the scary questionaire in preparation for possible grand jury duty next week. If you don’t see me for a couple months, send out the search party to the Tallahassee courthouse.

THE FALSE CURTAIN

A suspense novel

The small, windowless room felt more like a place for an interrogation than a meeting.

Although two plastic chairs sat side-by-side in the middle, I stood. Actually, I paced. It’s what I do whenever I’m uneasy. Mimi had said there was nothing to be nervous about. My appointment with Mr. Smith, the man she owed money to, should be simple and quick.

Finally I heard the doorknob turn. I watched as the door opened. It took a moment for me to realize who stood in the doorway.

I had no idea Mimi’s Mr. Smith was Davey Smith. I never would have put the two together.

I recognized Davey only because I saw him at our 25th high school reunion last year. Back in the day he’d been the quiet, studious kid who tutored math dummies, like me. Someone said he’d done well for himself and he looked it. Seeing him again—now—totally surprised me. He showed no indication of feeling the same.

He took a couple steps forward, stopping just inches away. He cupped my face with both hands and tilted it upward. I watched his face come close. His kiss was soft and persuasive.

After releasing me, he said, “Good to see you again, Lindsey. Sorry we didn’t get to talk at the reunion.”

“Davey, I—”

“I prefer my friends call me David.”

“David. I—.”

“…and my business associates call me Mr. Smith. I haven’t decided which category you’ll be in.” He smiled, just a little, then abruptly turned and walked to the door. “About that kiss. Don’t take it too seriously. You still have to do everything I say. If you don’t, you won’t like what happens to your cousin. You also won’t like what will happen to you.” With that, he left.

I stared at the closed door, stunned.

Davey was no longer the sweet boy I knew in high school.

His attitude….

His threats….

I wanted to start pacing again, but I was too scared to move.

***

After a while, I sat. I don’t know how much time passed because I didn’t have my purse or phone. A man had taken them before I was shown into the room. That was my first clue the meeting wasn’t going to be simple or quick.

My meeting with Mr. Smith was supposed to be a discussion of how I could pay back Mimi’s debt—

________________________

I’m back. Well, what do we think? I think there’s some good stuff here that, with a little tweaking, could be the beginnings of what the writer subtitles “A suspense novel.” (Which I think is superfluous, by the way. Your back copy can carry that load for a potential reader. But that’s a nit.)

What’s good here: We’re picking up the story in a good active moment — a somewhat mysterious meeting that has the protag on edge. There is just enough backstory hints to ground us but no info dumps. I like the way the writer told us who Mimi is — not through a narrative tag (“My cousin Mimi had told me…”) but letting the relationship emerge through dialogue a couple beats later. Smoothly done.  I think the dialogue itself is handled cleanly and reads as believable. David’s kiss is a big creepy surprise, especially when he backs it up with a threat. (More on that in a sec). So, all in all, not a bad opening at all. I would read on.

But…

And this is a caveat I often give. When the writing is solid, I want it to be better. Because good isn’t good enough in today’s market. When you’re as close as this submission is, you need to push yourself even harder to make your story stand out  from the madding crowd.

I try not to rethink a writer’s approach or question their style. But here’s a few suggestions, just one reader’s perspective.

The opening line isn’t bad. But it’s a good example of telling instead of showing. I think you could use a few more choice details to SHOW us this room rather than TELL us it “felt more like a place for an interrogation than a meeting.”

Windowless, small, plastic chairs is not enough, imo. Use description to enhance the MOOD, the apprehension she feels. You won’t lose your momentum by slowing down just a little. How big is this room, exactly? (Calling a room small is like calling a man handsome — It has no currency in our imaginations). What’s the lighting — glaring fluorescent with maybe one bulb giving off that annoying buzzing just before it dies? Industrial carpeting with an odd stain? What color are the walls? Does it smell? It also might not be a bad idea to hint somewhere where we are exactly. Your description is so spare we could be in anything from downtown Houston skyscraper to an anteroom in a airplane hangar meth lab. Make your description make us FEEL something.

Ditto when you get to Davey/David. I like this line: “Someone said he’d done well for himself and he looked it.” But again, that’s telling instead of showing. Does this mean he has money? Is he wearing a Brioni suit and silk tie? Again, you’re missing an opportunity to not only ground your reader in detail but to reveal something about your protagonist by filtering description through her PERCEPTIONS and BACKGROUND. You can tell us a lot about your protag (and help us bond with her) at the same time you tell us something about David. Don’t let these opportunities go by.

Because…right now Lindsey is sort of a cipher. Granted, it is hard for you the writer to give us a sense of her physically when you’re in the first person. But a simple line like “I watched his face come close” gives you a chance to add detail — a small shaving nick on his chin? The smell of clove after-shave? Are his hands, cupping her face, rough or smooth?

One thing that kind of doesn’t make sense. She seems to be surprised by his appearance (ie, the line, someone had said he had made good for himself…). But she saw him herself just a year ago at a reunion. So she would already know he was successful and/or handsome? People at reunions talk about who made it, who failed, who died, etc. You say they didn’t talk at the reunion but did she see him from afar? You say he is NOT surprised to see her. You need to reconcile this.

The kiss is interesting. But the fact she has no reaction or thought (other than saying it was “soft and persuasive”) struck me as odd. Unless these two have a romantic past, it comes across as somewhat unrealistic and weirdly submissive on her part. What is “persuasive” about it? It made me flash back to the dynamic between Christian Grey and Anastasia Steele in Fifty Shades of Ickiness. Lindsey is, given the 25th reunion time line, about 43 years old and there on some kind of financial mission (ex math dummie or not). Do you really want to paint her as so passive?

That passivity is echoed, too, in these lines after David leaves:

Davey was no longer the sweet boy I knew in high school.

His attitude….

His threats….

I wanted to start pacing again, but I was too scared to move.

The guy just planted a predatory kiss on her, threatened her and her cousin, and left the room with nothing resolved. And this is all she feels and thinks? Now, maybe this is a calculated character arc for Lindsey on your part. Mousy CPA encounters a mystery man from her past and she eventually grows and rises to some challenge? (You titled this a suspense novel, not a romance).  But Lindsey, in this opening at least, doesn’t strike me as a woman who will take her destiny into her own hands. She recalls all the tropes of a bad 1950s bodice ripper).

Which leads me to the last paragraph. (By the way, you don’t need the * * * designation. It is used only when you have a legitimate scene break, not when you don’t know how to transition from one moment in your story to another)

After a while, I sat. I don’t know how much time passed because I didn’t have my purse or phone. A man had taken them before I was shown into the room. That was my first clue the meeting wasn’t going to be simple or quick.

Why did she just sit there? Again, this is passive and not very interesting. And the fact that someone took her phone and purse when she came in should have been in the first graph — it ups the stakes immediately. But unless you set this up better, it isn’t believable. Maybe if you had described this place better in her thoughts — that when she entered the building, she went through a metal detector or given us details about the circumstances of surrendering her purse and phone, I might buy it. But again, she does this without question or even a thought — which makes her passive and almost juvenile.

So, there we are, alone in a windowless room, with a faceless protagonist. Where does Lindsey — and this story — go from here? As I said, I think this set-up has potential and the writer has a decent grasp of craft.  But it doesn’t read real and it feels unnatural, like the weird kiss and threat came out of nowhere, not organically from the situation. Also, we need some flesh on these bones. Create a mood. Give us some details to fire up our imaginations. And most important, give us good reason to want to follow Lindsey for 300 suspenseful pages.

Thank you, dear writer, for letting us see your work. I hope you find this one person’s opinion this helpful. And others here, as always, might have different takes. What say you all?

It is happenstance that I follow the excellent question posed by James Scott Bell yesterday in this space about the concept for writers of “Failing Up” with some thoughts on success and how to achieve it. The collection of individuals known as “writers” and “authors” have any number of motives for writing. One of the ones at the top of this list hopefully would be that each and all of them want to do so. Those of us who show up every week or two at this space with a post that we have written do so because we want to do it. We seek to help others, hope to entertain, and/or wish to sound off, among other things. The big one, however, is that we want to write. 

Some authors have reached the enviable point in their careers where they are under contract and must write in order to fulfill a contractual obligation, but wanting to do it is hopefully still their primary motivation. Sitting in front of a screen trying to fill a space beats looking forward to a day where a shovel and a ditch constitute the primary scenery and the scenery never changes. Others are trying to get to the point where someone is willing to pay them to write. They are honing their work in hope of piercing the hardened heart and mind of an editor. Again, however, they have to want to. And so it goes. In each case, a writer assembles the tools, skills, and ideas at hand and gets to work. 

It sometimes helps, however, to sit back for a moment (as opposed to a week, or a month, or longer) to discern what is one’s prime motivator, regardless of what they are trying to accomplish. I was reminded of this last week as I listened to a lecture titled “Counseling Your Client to Reduce Stress & Succeed in Litigation” given by Alan S. Fanger, Esq., as part of the lawline.com legal education series. Mr. Fanger, the president of EmpowerLegal, Inc. touched upon many subjects dealing with how to prepare a client for trial.  My major takeaway from his presentation, however, was a discussion concerning how to successfully accomplish a task. Mr. Fanger put forth the proposition that it is more important to focus upon what needs to be done to perform the task successfully than upon the consequences of the failure to do so. He concluded that focusing on consequences rather than how to do the job will guarantee failure.  

Mr. Fanger used an example from the world of professional football to illustrate his point. You don’t have to be a football fan to appreciate it.  There was a cringe-inducing moment during the 2016 NFC Wild Card playoff between the Minnesota Vikings and Seattle Seahawks. A Vikings player named Blair Walsh was tasked near the end of the game with kicking a field goal which would have, all other factors being equal, won the game for Minnesota. It was a short kick (for a professional football player) of twenty-seven yards. Walsh missed it, in front of God and everybody. It wasn’t as if Walsh was pulled out of the stands to make the effort, either. The game in question was a low scoring one. Walsh had actually scored all nine of Minnesota’s points during that game by kicking field goals from longer distances. He missed that last one, however. It was indeed a bitter pill to swallow, one that some football fans remember to this day. While none of us can accurately predict what goes through anyone’s mind in the moments before making an attempt at a task, Mr. Fanger submitted that perhaps Blair Walsh was more focused on the enormity of what would happen if he failed — losing the game and thus failing to advance to the Super Bowl that year — than upon what he needed to do to succeed. 

That conclusion may or may not be true. It makes sense, however. You may have heard of something which is currently called “analysis paralysis.” It’s a term applied to overthinking, which is easy to do because in a very subtle way it delays the need to make a decision as to what to do. Let’s look at a very famous incident that required immediate decision and focused implementation. I am sure that the name Chesley “Sully” Sullenberger is familiar to all of you. Captain Sullenberger was piloting a commercial airliner when a bird strike shortly after takeoff from LaGuardia Airport disabled his aircraft’s engines. Captain Sullenberger, a veteran Air Force and commercial pilot, made some calculations and concluded that landing at an airport wasn’t an option. He made a decision and told his control tower, “We’ll be in the Hudson.” That is where he landed his plane. The conclusion of that particular incident would have been quite different if Captain Sullenberger had focused upon and overwhelmed by the consequences of failure — job loss, destruction of property, and, oh yeah, loss of life — instead of upon the best method (under the circumstances ) of landing the plane and the passengers with which he had been entrusted. He made a decision and acted on it, focusing on what he needed to do to succeed. “We’ll be in the Hudson,” Just so. 

Think about Captain Sullenberger the next time you sit down to write and find that the old bugaboo — “I gotta finish this” — gets in the way. You probably have near at hand everything you need to succeed, including writing instruments, a command of language, imagination, the will to start, and your own mind.  I had all of those within reach when I began writing today’s post. I didn’t consider what would happen if I didn’t. It was more constructive and more fun, actually, to start writing and see, to paraphrase Dorothy Sayers, where my whimsy would take me. The finished product is just a bit different than what I had envisioned it would be, but that’s okay, too. I’m happy with it. I don’t know if I kicked it between the goalposts, but I think I landed in the Hudson, and I hope I didn’t lose anyone.  

Thank you for stopping by. Enjoy your weekend.