Category Archives: #writers

The Christmas gifts all writers need

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By P.J. Parrish

See that picture at left? That is my dog Bailey. The antlers are photoshopped on but I dress her up in Santa outfits every year and she’s a good sport about looking silly. Dogs can teach us writers something this holiday season. We need to lighten up.

This epiphany came after yet another of my sleepless nights. I was worrying about a plot pothole in our novella-in-progress, and about not finishing it, and then what if nobody downloads it from Kindle Select…you get the idea, right?

As usual, I retreated to the sofa and the remote. Nothing on except “The Da Vinci Code.” I know, bad movie, but I hadn’t seen it so I figured it would at least put me to sleep. And then that creepy Albino monk starts screwing barbed-wire anklets to his legs and beating himself bloody with cat ‘o nine tails. And I started thinking about all the pain we writers inflict on ourselves. Self-doubt, exhausting promotion tours, crippling envy, three-books-a-year contracts, flop-sweat fear. Hell, we don’t need Kirkus. We’re killing ourselves.

So I have some Christmas presents for you.  They are the exact things you probably won’t give to yourself. But you need them. My gifts to you are…

1. Permission to write badly. I give this to myself every year because I am one of those perfectionist nuts who gets paralyzed trying to make every word sing. It has taken me a decade to understand that to get to the good stuff, you have to well, poop out a lot of crap.

2. The ability to know when you are brilliant. And you are. Even if it is just for one page, one paragraph, one sentence. You know when you’ve hit that sweet spot. You can feel it. Cherish it. You’re not going to do it every time, but you don’t need to. Brilliance, like diamonds, shines best when you think quality not quantity.

3. A friend to celebrate the good news. Even if it’s as small as you finished chapter two. Even if it’s as big as a six-figure book deal and Ridley Scott on your speed dial. Success is nothing without someone to share it.

4. An honest critic. You need that one true friend who can tell you when you have lost your way. Your mother loves you too much to tell you the truth about your book. Treasure the one who can look you in the eye and say, “this sucks, you can do better.”

5. The courage to question your agent or editor. Blind loyalty is dangerous. In politics, love…and publishing. A great agent or editor can be your biggest ally. But it is YOUR responsibility to steer your career.

6. A week off. Leave the laptop. The cell can go to hell. Find someplace to which you can truly retreat, where the world cannot intrude. I recommend St. Barts if you can afford it. But your backyard deck will do. Drink good wine. Read trash. Eat too much. Make love. Dance in the snow. Breathe in pink…breathe out blue.

7. The courage to talk to a writer “bigger” than you and know you have something to offer. The first time I found myself standing next to Lee Child I turned into the third verse of Janis Ian’s song “At Seventeen.” Years later, I still cringe but now I can talk to Lee without blathering. I just picture him naked.

8. A few extra bucks to attend a conference so you know you’re not alone. You need to get periodic infusions and if you approach cons right, you come away replenished and eager to work.

9. A walk in the woods to clear your head. You’ve got to quiet those shouting voices of doubt in your brain. This happens only in quietude. Or maybe during a drive on I-95 with “Bohemian Rapsody” blaring.

10. The clarity to recognize the seed of inspiration in the smallest things. You’re stuck. You’ve painted yourself into a corner with the plot. Take a step back and look for small things. Open your brain and all your senses. You never know where the answer will come from.

11. Time to appreciate your family for appreciating how hard you work. Your people are important. Tell them. Often.

12. Kindness to reach down to someone who admires you. No matter where you believe you are on the writer food chain, no matter how low you think you are, someone is looking up to you. Be nice to them. Karma, baby, karma…

13. Permission to spend some of that advance money or Kindle royalty check on yourself. Buy a great bottle of Meursault. Rent a red convertible. Get botox. Splurge on Celtic tickets. A friend of mine just got a new agent, signed a six-book contract with a new publisher — this after years of bad luck. She bought herself a diamond ring.

14. Courage to venture out of your comfort zone. This is a tough one because sometimes you can get wacked alongside the head for your trouble. But there is no growth without chances taken. You just have to believe you are right. Even when everyone else — and maybe even the sales — are telling you otherwise.

15. And lastly, I give you the gift of faith. Faith that someone will love your book enough to buy it. That you have another good story still inside you. That no matter how tangled your book might feel, you will find the way home. That you are….brilliant.

Peace, dear friends.

Kick starting your story

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By Joe Moore

Have you noticed that everyone is writing a book? Whenever I disclose to someone that I’m an author, the response is pretty much the same: “I’ve always wanted to write a book.” Or “I’ve got a great idea for a novel.” Despite all the would-be authors out there, not every potential novelist actually gets to the writing stage. And even fewer produce a finished product. But for the ones who not only have an idea but are burning up with a desire to put pen to paper, I’ve put together a basic outlining technique that might help get things started—a simple list of questions to kick start a book. Answering them can give writers direction and focus, and help keep them going when the wheels sometimes come off the cart along the way. Here goes:

  • What distinguishes your protagonist from everyone else?
  • Does she have an essential strength or ability?
  • How could her strength cause her to get into trouble?
  • Most stories start with the protagonist about to do something? What is that “something” in your story, and what does it mean to her?
  • Is that “something” interrupted? By what?
  • Is there an external event or force that she must deal with throughout the length of the story?
  • How is it different from the original event?
  • How will the two events contrast and create tension?
  • Does she have a goal that she is trying to achieve during the course of the story?
  • Is it tied into the external event?
  • Why does she want or need to obtain the goal?
  • What obstacle does the external event place in her path?
  • What must she do to overcome the obstacle?
  • Does she have external AND internal obstacles and conflicts to overcome?
  • How will she grow by overcoming the obstacles?
  • What do you want to happen at the end of your story?
  • What actions or events must take place to make the ending occur the way you envision?

This outline technique has less to do with plot and more to do with character development. Building strong characters around a unique plot idea is the secret to a great book. Once you’ve answered the questions about your protagonist, use the same technique on your antagonist and other central characters. It works for everyone in the story.

These are general questions that could apply to any genre from an action-adventure thriller to a romance to a tale of horror. Answering them up front can help to get you started and keep you on track. Armed with just the basic knowledge supplied by the answers, you will never be at a loss for words because you will always know what your protagonist (and others) must do next.

Can you think of any other questions that should be asked before taking that great idea and turning it into a novel?

A Silent Society

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Few people seem to make personal phone calls anymore just to say hello. In the old days, I would call my girlfriends and we’d spend hours chatting on the phone. But today, I’m lucky to get a terse email from my acquaintances asking if I want to meet for lunch.

What does this have to do with writing? Those of us who are full-time writers sit home alone all day. Our characters might keep us company, but it’s not the same as hearing a human voice. How long can you go without yearning to have a real conversation?

telephone

Despite having my retired husband at home, I still wonder why so few of my girlfriends pick up a phone anymore. Is it that they’re so involved with their busy lives? Is it because they’re afraid of interrupting my muse? Or do people nowadays consider it an inconvenience and a waste of time to talk on the phone? Our children are grown, so we don’t have to compare notes on child rearing. We’re not school kids, so we can’t moan about homework assignments or share high school angst. But in those days of starry-eyed youth, we would discuss the meaning of life, our knotty relationships with others, our fears and doubts. Do we writers just talk about them with our fingers on the keyboard now instead of our voices?

Email

There’s great comfort in picking up the phone and hearing someone say, “I was just wondering how you’re doing.” Or, “I called to say hello.” What’s happened to those days? Is it my friends, or my attitude that’s off kilter? I still have intimate conversations with distant relatives on the phone. But that doesn’t apply to local friends. Is the telephone an outmoded device for social interaction? Are online social networks replacing real, live conversations? Texting and email are too impersonal and brief to count.

Or maybe it’s that cell phones are not as comfortable to talk on for any length of time as a landline. When speaking with this device close to my ear, I’m aware of the invisible rays boring into my head and the possible link to brain tumors. Or can it be a matter of economics, that people don’t want to use up their precious cell phone minutes on a frivolous call?

I still like to hear another human voice. Maybe that relegates me to the age of the dinosaurs.

receiver

What about you? Do you still have conversations with friends on the telephone?

Writing under a pseudonym

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by Joe Moore

A couple of weeks ago, my Kill Zone blog mate, Kathleen Pickering, posted her thoughts on Brand Marketing. In it she discussed among other things using a pseudonym or pen name in relation to building a writer’s brand. One of the reasons Kathy gave for creating an alter ego and using a pen name is liability. Today I want to expand on other reasons for writing under a pseudonym.

Lets start by dropping some names. Ever heard of Samuel Langhorne Clemens, Alisa Zinov’yevna Rosenbaum, Harry Patterson, Charles Lutwidge Dodgson, Eric Arthur Blair, David John Moore Cornwell, and Jim Czajkowski? Chances are you have. They’re all world famous writers. But you probably know them by their pen names because they all write under pseudonyms.

Why would a successful author (or any novelist) write under a pseudonym? And should you consider using one?

By definition, a pen name is a pseudonym used in place of the real author’s name. Here are some reasons to use one.

Pro. Let’s say you’re a well-established writer who wants to change genres. You normally write young adult science fiction but now you want to write cozy adult mysteries. Admittedly, the audience is different and your SF fans might not follow you. Plus, your potential cozy audience might not accept you if they’re aware of your previous work. So changing genre can be a good reason to use a pen name. Also, abandoning a failed book series or moving to a new publisher might be a reason to take on a new identity and start over.

Pro. Your real name doesn’t market well to your genre. The action/adventure novel TANK COMMANDER FROM HELL by Mandrake Slaughter would probably attract more fans of that genre than TANK COMMANDER FROM HELL by Percival Glockenspiel. And Mandrake Slaughter is easier to pronounce.

Pro. For whatever reason, you need your identity to remain anonymous and protected. Let’s say you’re a high-ranking government official who decides to write a thriller that comes uncomfortably close to reality. To reveal your true identity would create a totally different spin on your book, one you might want to avoid.

Pro. Your name is too long or it’s hard to pronounce. In the case of James Rollins, his real name is Jim Czajkowski. A wonderful name, but not easy on the eyes. BTW, Jim also writes fantasy novels under the name James Clemens. Also keep in mind that the shorter the name, the larger it can appear on the cover. Just ask Brad Thor.

Pro. Your real name just happens to be Ernest Hemingway or F. Scott Fitzgerald or Dan Brown. Start thinking about a pen name.

Pro. Sex. By that I mean that you’re the wrong gender. You want to write romance and you’re a guy. Plus, your real name is Mandrake Slaughter. Or your main character is a black female and you’re a white male with an unmistakable WASP name. The marketing starts when the reader first sees the title followed by your name. It has to make sense to them that you’re qualified to write the book.

Pro. There are two of you. Sometimes keeping the real names of writing teams works such as Douglas Preston and Lincoln Child. In their case, both authors write individually under their real names, too. Other times, choosing a single pen name makes more sense.

Now for a big reason to not use a pen name: It will always come out at some point that it’s not your real name, either in a book review, or at a writer’s conference, or during an interview, or in your Wikipedia bio; the truth will be revealed that your real name is Percival Glockenspiel. But if you don’t mind the inevitable, then go for it. The best advice is to discuss it with your agent and editor. Weigh all the marketing pros and cons. It works well for some, but not for all. Have a really compelling reason before you make the commitment and it gets embossed in gold on your book cover.

So, did you know the real names of the authors mentioned at the start of this blog? Here they are:

Samuel Langhorne Clemens is Mark Twain

Alisa Zinov’yevna Rosenbaum is Ayn Rand

Harry Patterson is Jack Higgins

Charles Lutwidge Dodgson is Lewis Carroll

Eric Arthur Blair is George Orwell

David John Moore Cornwell is John le Carre

Jim Czajkowski is James Rollins

Do you writer under a pen name? Have you ever considered it?

Show Me The Body

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This question came up on one of my writer loops: how long do you wait for the body to appear in a mystery? Assume we’re talking about a traditional whodunit. Does it make a difference to you as a reader when the murder occurs? How about when plotting your own books?

Based on my experience, if you’re a new author, it’s best to get the body up front and center. Once you’re established, you have a bit more leeway with the characters. But even if your setting is quaint and the story is more of a crime novel than a whodunit, action engages the reader.

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I’ve had several rejections over the years to mystery proposals wherein the criticism essentially said to move up the dead body. In my latest project, the initial first chapter had the heroine enter the scene, play mah jong with her friends, go to lunch, and then the person dies. I’ve changed it so that she meets her friends for lunch first, and in the midst of their meal, the murder occurs. Later, they gather to talk about it and automatically play out the motions of their mah jong game. As this is the first book in a proposed new series, I have to get the action moving as quickly as possible.
I should have seen this when writing the first draft, but often we need some distance from our work before we can see it clearly. Or we need someone else to point out what is blind to us in our closeness to the material. Also keep in mind that readers can download the beginning of your book nowadays and so you want it to be an attention grabber.

Yes, there are books I read where the characters and setting are so appealing that I just read on for pleasure, and it may be 100 pages or so before someone is killed. But I do find myself saying, “All right, where’s the dead body already? This is supposed to be a mystery.” So genre conventions come into play as well.
What’s your take on the subject: murder them now, or introduce your characters gradually and slide into the crime after the story is in motion?
HAPPY ANNIVERSARY to The Kill Zone Blog! I am proud to be part of this illustrious group!

Your First Mystery

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How did you get started writing mysteries or thrillers? Assuming you were an avid reader of the genre, did you outline the plots of your favorite stories? Study structure and pacing? Attend writing workshops by seasoned authors? Or did you use a how-to book?
Keeper of the Rings, my fourth sci fi romance now available in digital format, is the story wherein I learned how to plot a murder mystery. It has all the elements for a cozy: a limited number of suspects, most of whom know each other and who have a motive for the crime, a confined setting, and an amateur sleuth.
Here’s the story blurb:

Taurin is shrouded in black when Leena first meets him, his face shaded like the night. At first she believes him to be a simple farmer, but the man exhibits skills worthy of a warrior. With his commanding presence, he’s an obvious choice to be the lovely archaeologist’s protector on her quest for a stolen sacred artifact. Curious about his mysterious background, and increasingly tempted by his tantalizing touch, Leena prays their perilous journey will be a success. She must find the missing relic, or dangerous secrets will be revealed that may forever change her world.

KeeperoftheRings_400px

Who stole the sacred horn that must be blown to reset the annual cycles of Lothar, the god worshipped by the people of Xan? Only the members of the ruling priesthood, the Synod, had access to the holy artifact. Was it Zeroun, the ambitious Minister of Religion? Perhaps Karayan, a friend of Leena’s family and the Minister of Justice, is involved. Or maybe Sirvat is guilty. As Minister of Finance, she has something to hide. So does everyone on this twelve person council, including the Arch Nome himself.

While Leena’s brother is assigned the task of investigating the Synod members, her mission is to retrieve the artifact. Here the story becomes Indiana Jones meets Star Wars. Leena and Taurin survive one peril after another on a desperate quest that takes them around the globe and deep underground beneath the ruins of a holy temple. Do they find the horn before disaster ensues? Is the thief unmasked? Was he responsible for the accident that killed Leena’s mother?

Here’s an excerpt where Leena and Taurin discuss the suspects with her brother, Bendyk, and his assistant, Swill.

Swill tugged at the long sleeves of her burgundy blouse, tucked into a black skirt that hugged her hips. “Magar makes regular unexplained entries in his receipts, which Sirvat deposits into the Treasury. Magar refuses to elaborate on the source. Sirvat’s financial records are impeccable, but the odd thing about her is these trips she takes every so often, returning with a new piece of jewelry each time. The items are created with rare gemstones. Usually, she’s not one to adorn herself.”

“I’ll bet I know where she gets them.” Taurin related what he and Leena had learned about Grotus and Sirvat’s relationship.

“I don’t believe it.” Bendyk shook his head. “She seems so strait-laced.”

Leena gave a small smile. “Perhaps she hides a passionate nature. She certainly has a peculiar bent to fall for a man like Grotus.” Her face grimaced in disgust at the memory of the smuggler. “You know, some of those items I saw in Grotus’s mansion are similar to pieces in Karayan’s house.” She pursed her lips in thought. “Karayan has quite an extensive art collection.”

“Are you implying that he buys his art works from Grotus?” Bendyk asked with a horrified expression.

“Not really. They just share the same kind of artistic taste, although Karayan is a much better dresser.”

Beside her, Taurin snorted. “We’re not here to discuss anyone’s preference in art or clothes. Did you investigate Zeroun? As Minister of Religion, his department is responsible for administering the Black Lands. Someone there has granted the Chocola Company illegal rights.”

“We’ll check into it,” Swill assured him. “We’ve cleared most of the other Synod members but weren’t sure about Sirvat’s trips and Magar’s secretive dealings in his trade commissions. I still feel he’s withholding information from us.”

“You’re wasting your time with Magar,” Taurin snapped. “I suggest you check out Zeroun. The Minister of Religion would also be responsible for—” He held his tongue; he’d nearly said for excising any records of the Temple of Light. “—for the Black Lands,” he finished.

*****
They could easily be discussing suspects in a murder. This was the last romance I wrote before switching to mysteries, but it taught me everything I need to know about plotting a whodunit. How did you learn the craft?

The Self-Pub Adventure

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I am about to dive in where others have gone before. I’ve finished revising my last backlist title. It took me quite a while, as the doc file is over 500 pages and I made lots of changes. Now comes the next stage, which is to hire a cover designer.
Wait, not so fast. First, I need to determine the back cover copy. That’s not so hard. I can use the same one that’s on the original paperback with a few heading changes. But inside the book are more challenges. There are several introductory pages containing an excerpt, review quotes, and a dedication. I ditched the latter, as those people no longer apply to my current career. The excerpt and quote are reusable with some slight modifications. But what now? Do I add them to the front of my doc file? Should I include a title page? Maybe on Smashwords, these things are delineated, but I haven’t gone there yet to read the requirements. First I have to get a cover.
Getting a cover will probably necessitate filling out a description of the hero/heroine and a suggested background scene. I already have a list of cover artists garnered from other authors’ online posts. But now I must prepare these materials for when I contact one of them. Hopefully the artist will determine the proper fonts and where to put my name and book title. And I have to remember to state somewhere that this book was previously published and written under a pseudonym.
This whole process seems daunting, but I’d like to use this book as an experiment. Because who knows, if my current works on the market fail to sell, I may choose to go this route. Or I may just get tired of waiting for a response and then waiting another year or two for the book to be published.

It’s a scary thought for an author who has only sought traditional publishers or legit e-book pubs before. Plus, self-published works are still not accepted by many reviewers or booksellers for signing events, so there is a certain loss of prestige.
I know some of you have already cast off the shackles of print publishers and ventured into this new territory. Are you happy with your choice? How many of you have done it for original works?