Naming the Baby

 

By Elaine Viets

I just turned in my latest Angela Richman, Death Investigator mystery. You know the hardest part of that novel? Coming up with a title.
Without a good title, the book can’t go forward – there’s no cover, no editing, nothing – without the title.
Here’s a brief teaser:
“Everyone in Chouteau Forest knows the legend of the Cursed Crypt. It’s claimed that the restless spirit of a professor nicknamed Mean Gene Cortini, buried in Chouteau Forest University’s crypt, has been causing death and destruction in the Forest for almost two centuries.”
My publisher’s contract calls this novel Untitled Angela Richman Mystery #8. Doesn’t sing, does it?
I gave the novel this working title, The Cursed Crypt.
But my editor didn’t like that name. Others dismissed it as “too Nancy Drew.”
So I spent the next couple of weeks trying to find a new title. This was serious work. I batted titles around with readers, friends and my agent. Finally, far I had:
A Cryptic End
Murder Most Cryptic
Murder at the Tomb
The Dead of Night
Death in the Night
Death Comes at Night
A Grave Ending
Money, Murder, and Madness
After much discussion, it was whittled down to one title. I checked Amazon and other online databases to make sure someone else wasn’t using that title. This was an important step. One New York publisher released two books with the same title. In the same year. I can’t imagine the confusion that caused both authors.
At last, the title was approved by the publisher’s editorial board.
The new novel would be called The Dead of Night, and it has this gorgeous cover.

But there’s still one pitfall.
Choose the wrong title, and my book could wind up on the Goodreads list of “Worst titles: Some titles don’t go with the books.” About 227 books made the list. Here are two obvious examples:
Truth, Dare, or Handcuffs or Threeway.

Not as catchy as Fifty Shades of Grey, is it?
It addresses this dilemma: “When two men love the same woman, what are they to do?”
Then there’s this one: Such a Pretty Fat: One Narcissist’s Quest to Discover If Her Life Makes Her Ass Look Big, or Why Pie Is Not the Answer.

I expected to be hit by lightning just for reading this title: Jesus Potter Harry Christ: The astonishing relationship between two of the world’s most popular literary characters: a historical investigation into the mythology and literature of Jesus Christ and the religious symbolism in Rowling’s magical series.


This next example is a truly terrible title for a romance novel: How To Catch Crabs.
It’s not about those crabs. It’s about a seagoing man who catches crustaceans: “A tale of crabs, cricket bats and catching your heart’s desire in Jazz Age Western Australia.”

And here’s a really trashy novel: Dumpsterotica: How Dirty Are You? Described as an “erotic comedy series,” this short story “puts the ‘rot’ in erotica; after reading this you’ll never look at a Dumpster the same way again.”I’ve already changed my mind about Dumpsters.
I was surprised to see big-time titles on this list, including all four books in the Twilight saga: Twilight, New Moon, Eclipse and Breaking Dawn.

The Guernsey Literary and Potato Peel Pie Society also made the list. I liked the book and the movie, but the cover has nothing to do with the title.
Some titles on the list are so disgusting I won’t print them. Others have one or more F-bombs. But I was sorry to see Walter the Farting Dog there. If you’re not familiar with William Kotzwinkle’s children’s book, here’s the story:
“Walter is a fine dog, except for one small problem: he has gas. He can’t help it; it’s just the way he is. Fortunately, the kids Billy and Betty love him regardless, but Father says he’s got to go! Poor Walter, he’s going to the dog pound tomorrow. And then, in the night, burglars strike. Walter has his chance to be a hero. A children’s beloved classic, this story will have kids rolling on the floor with laughter. Adults are permitted to laugh too.”
I have my own story about Walter. I was working behind the register at a Barnes & Noble, when a dignified woman in a Chanel-style suit (in Florida, yet!), came up to the counter holding the Kotzwinkle book by one corner, as if she couldn’t bear to touch it. She was livid. Her voice was cold, soft and deadly. “Someone. Gave. This. Book. To. My. Child.”
She didn’t have a receipt, but the store took it back. I felt sorry for the poor kid, but Kotzwinkle and his crepitant canine didn’t need my sympathy. There’s a new book in the saga: Walter The Farting Dog Farts Again.

****************************************************************

The Dead of Night will be published April 4. Preorder your copy now.
https://tinyurl.com/2c4qzlb6

ProWritingAid Premium How-To

Terry’s last post spurred spawned this one. With many editing softwares available, it’s difficult to decide on the one that will work for you. I use ProWritingAid Premium, though like Terry, I take the advice that resonates and ignore what doesn’t. The worst thing a writer can do is to depend on automated software to do all the heavy lifting, or it’ll strip out your voice and style choices. The nice part of ProWritingAid is its ability to learn. The more you use it, the less it flags nit-picky things. You can also tell it not to check for certain things.

For example, I include quotes with some chapter headings as a subtle POV signal to the reader. Only one character has quotes in his chapter headings. Every single time, ProWritingAid flags the quotation marks for not being closed at the end of each line, even if it’s mid-quote. I don’t want to tell the software to ignore the quote rule or it won’t catch places in the narrative where I may have forgotten the end quote. See what I’m sayin’? Be careful of which rules you set to ignore. You may need that second pair of eyes later.

Whether you use the free or paid version, the first step is to download the software (available for Mac or PC). Once the software downloads directly into MS Word, it’ll add a new button to the top ribbon. Also available for Google Docs, Scrivener (desktop), or as an extension for Chrome, Firefox, Safari, or Edge.

Here’s what it looks like in Word.

(click to enlarge)

When you want to use the software, click the button. Easy peasy. If you don’t want to download the software, you can use the app instead, which opens in a new tab/window. In the app, you’ll have to upload a doc. When downloaded to Word, the software will read whatever document you’re in.

Once you open the software, click the dropdown menu. Since I write thrillers, I keep it set to Thriller, but you can choose any genre of fiction, formal or business writing, other nonfiction, or even email.

 

 

 

 

 

 

 

 

After PWA processes the document, it’ll show you suggestions for improvement.

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Because I’m using the software as I write this post, it’s showing suggestions for all of it. LOL

If I click the first suggestion, it looks like this…

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The program didn’t like the spaces between ProWritingAid, so I accepted the revision by clicking the highlighted suggestion. Boom — it corrected the spelling for me. The next suggestion was “nice” in the opening paragraph of this post. I clicked “ignore,” but check out the alternatives…

 

 

 

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Let’s move on to fiction… For this post, I pasted a few paragraphs from the WIP. Keep in mind, I’m in the drafting stage. 😉

A gunshot coiled through the dark forest, and he ducked, the bullet sailing over him. Not that I could pinpoint something that small, but it sure didn’t hit him. Before the scumbag had time to fire a second shot, Mr. Mayhem dove on top of him, tackling him, wrestling in the dirt, arms, legs, and fists flailing.

My breath stalled somewhere in my chest. Where’s the third guy?

Through the binoculars, I scanned left.

The software suggested I add “the” before “left,” but it reads fine without it. If my editor suggests the same, then maybe I’ll change it.

No beam of light. I swung the binoculars to the right. No light-beams. Where the hell did he go? Once I lowered the binoculars, my blood turned to slush. Camouflage boots clomped through thick underbrush—twenty feet from the oak tree!—a sawed-off shotgun rested on linebacker shoulders. Behind him, Poe emerged, divebombing the intruder, crow feet stomping on his head.

 

PWA caught the missing hyphen in dive-bombing. I accepted the change by clicking the green highlighted area. (click to enlarge)

 

 

The mobbing technique allowed me enough time to climb down, Shicheii’s quiver slung on my back, his bow held tight in my hand.

Shicheii means maternal grandfather in Diné, so I added his name to dictionary like this..

 

 

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At fifteen feet away, I stopped, reached behind me, and slid out an arrow. Aimed low to avoid Poe. Fired. The razor-tipped arrow sailed through the air, striking the scumbag in the thigh.

Shoot. Missed my mark.

I reloaded. Aimed a scooch higher. And fired. This time, the arrow zipped right past him, missing his hip by an inch, maybe two.

Since scooch is a word, and it’s spelled correctly, I added it to dictionary.

 

 

 

 

 

 

“Screw this.” I dropped the bow, squirmed my arms out of the quiver straps, and charged straight at him, bellowing a deep, raspy roar, my voice coiling through the trees, boomeranging right back as I lunged at him.

Arms spread like wings, I flew through the air without considering the consequences. If he raised that shotgun, he could kill me. Didn’t matter. Everything within me screamed for me to protect my family, and sheer animalistic instinct took over. I landed on his chest, and we both tumbled backward. 

I ignored the suggestion to remove “through the air” after “flew” because it doesn’t sound right to my ear.

Here’s where you need to be careful. Don’t accept that the software knows better than you. Since this is an early draft, I’ll probably end up rewriting the sentence to use swan-dive instead of flew (paints a better picture), but that’s irrelevant. The point is, question every change to remain true to your voice, your style.

While straddling his hips, I threw a mean right hook, sucker-punched him—almost broke my friggin’ knuckles on his blocky nose—and I swear he laughed. Over and over, I hammered his face in rapid succession, first the right, then left, alternating between the two to keep him off-balance.

“Who’s laughing now, asshole?”

Probably shouldn’t’ve gotten cocky, because he muscled me onto my back. Drilled me in the right temple with his fist, and tiny specks of bright, white light danced before my eyes. That only pissed me off more, and I chomped down on his forearm, my teeth sinking into his flesh.

 

Valid suggestion, PWA. The comma is unnecessary after “bright.”

 

<– At the bottom of that pane, it says Open Full Editor.

When I click that button, it opens in a new window.

 

 

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Notice the side column. I’ll scroll through for you…

 

 

 

 

 

 

 

 

Everything looks good, except dialogue tags. But I don’t have any dialogue tags in the excerpt. Hmm, let’s see what it says by clicking the dialogue box in the top-right corner.

 

 

 

 

 

 

 

 

Okay, it’s just explaining why “said” and “asked” are best to use. Not sure why it says 100% in the negative. There are no dialogue tags. Perhaps that’s why. See what I mean about not blindly trusting editing software? You—the writer—need to weigh each suggestion. If it works, accept the change. If it doesn’t, ignore and move on. Your human editor should flag it again if there’s a problem.

Now, if you’re just beginning your writing journey, click each dialogue box for a full explanation of why to remove things like weak adverbs from your writing.

Here’s what it says under “Weak Adverbs”:

 

 

 

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Check out the top ribbon of the full editor. You can tell the software to search for anything. Overused Words, anyone? We’re all guilty of littering the first draft with crutch words.

 

 

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Check out the Thesaurus. Not only does it tell you how many nouns, verbs, adjectives, and adverbs the document has, but look at all the suggestions it offers for the word “different”.

 

 

 

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This software checks for everything, from sticky sentences, homonyms, echoes, and alliterations, to structure, pacing, and a visual representation of sentence length. Seriously, you could spend hours dissecting your prose. I don’t, but if you’re just learning the craft of writing, spending time learning the basics is time well-spent. I love ProWritingAid Premium because it catches typos, commas, grammatical errors, awkward sentences and/or phrases, or clunky words written when your soul’s on fire and your fingers are sailing across the keyboard. You know what I’m talkin’ about, that sheer passionate writing that made so much sense in the moment, but in the cold light of day, needs tweaking.

Let’s talk about money for a minute. I pay yearly, but they also have monthly plans. I buy yearly plans at Christmastime, because it’s, like, $60 compared to $120 ($10/mo). Or try the free version first. There are some limitations to the free plan. You can only upload five or six chapters at a time, rather than uploading an entire 90K word novel, and you won’t have access to everything in the Full Editor ribbon. But at least it’ll give you the feel of how it works. I’ve used Grammarly, too, and ProWritingAid offers a lot more bang for your buck, IMO.

So, that’s a sampling of ProWritingAid Premium. Hope you found it useful! Do you use editing software? If so, which one?

 

Writers’ Longitude

“at sea” – an idiom meaning “confused” or “lost”

* * *

I recently read a book entitled Longitude by Dava Sobel. It’s the story of an invention that first made it possible for sailors to pinpoint their location at sea. According to Sobel,

“Lines of latitude and longitude began crisscrossing our worldview in ancient times, at least three centuries before the birth of Christ. By A.D. 150, the cartographer and astronomer Ptolemy had plotted them on the twenty-seven maps of his first world atlas.”

Knowing one’s position on the face of the earth is just a matter of knowing the latitude and longitude. . (You’ll remember latitude are the horizontal lines around the earth, all parallel to the equator. Longitudinal lines (meridians) are lines drawn from the North Pole to the South Pole.)

During the Age of Exploration, roughly from the 15th to the 18th centuries, one of the major seafaring problems was the inability to establish the ship’s position on the high seas. Latitude was fairly simple to determine by the height of the sun as it progressed across the sky or by the position of certain stars, but there’s no similar way to determine longitude. Once a ship sailed out of the sight of land, it had no reference point for which to understand its east/west position.

Since longitude is a measure of time, not distance, an easy way to determine it is to compare the time of day on board ship with the time at the home port from which the ship sailed. This can be accomplished by setting a clock to the home port time before sailing and keeping that clock on the ship. The actual time aboard the ship is determined by the position of the sun and compared to the clock. Each hour of difference corresponds to fifteen degrees of longitude. Sounds easy, right? Unfortunately, there were no clocks in existence during the early days of the great explorers that would keep accurate time on board a ship. The movement of the ship and the changes in temperature, pressure, and humidity affected the clocks’ mechanisms, and the results were unreliable.

Some of the best minds of that era, including the great Sir Isaac Newton, had tried to find an astronomical solution to the problem, but the quest seemed out of reach. (Pun intended.)

It was such a big problem that in 1714 the British Parliament passed the Longitude Act which offered a lucrative prize for the first person who could deliver a practical means of determining longitude at sea.

Into this environment stepped John Harrison, a carpenter and self-taught clock maker, whose skill and determination were just the attributes needed. Harrison solved problem after problem in his dogged persistence, and finally in 1736, his first clock, unimaginatively named the H-1, sailed aboard the HMS Centurion to Lisbon and returned aboard the HMS Orford. The clock performed admirably, and the Longitude commissioners asked Harrison to continue his work.

Over the course of the next twenty-five years or so, John Harrison created a total of three more clocks. The fourth one (you can guess the name: H-4) was actually a watch, and it was the H-4 that sailed to Jamaica in 1765 and performed within the limits required by the Longitude Board for the prize. John Harrison had solved one of mankind’s thorniest problems, and he likely saved the lives of many sailors in the process.

John Harrison is revered in England for his work. All four of his sea-faring clocks reside in the Royal Observatory in Greenwich, England. In 1884, the Prime Meridian (longitude 0°) was defined as the longitudinal line that runs through the Royal Observatory in Greenwich. Hence, our definition of Greenwich Mean Time (GMT) from which all other time zones are offset. If you visit the Royal Observatory, you can have your picture taken astride the Prime Meridian, one foot in each hemisphere.

* * *

As I was reading about the longitude problem, I couldn’t help but notice the similarity to writing. PJ Parrish quoted Walter Mosley in her Kill Zone Blog post last week:

Writing a novel is like taking a journey by boat. You have to continuously set yourself on course. If you get distracted or allow yourself to drift, you will never make it to the destination.

So how do we as authors keep ourselves on course? It’s easy to feel like you’re “at sea” when you’re in the second act muddle, not sure how to get to your destination, or even exactly where your destination lies. But there are experts who can help us find our writing longitude. I have a stack of craft books I love to refer to. Here are a few:

  • Plot and Structure by James Scott Bell
  • Self-editing for Fiction Writers by Renni Browne and Dave King
  • Bird by Bird by Anne Lamott
  • Fire Up Your Fiction by Jodie Renner
  • Writing Novels That Sell by Jack M. Bickham
  • Techniques of the Selling Writer by Dwight V. Swain
  • On Writing by Stephen King

 * * *

So TKZers: What resources do you use to chart your course across the great ocean of writing a novel?

 

And speaking of time … 

The Watch Mysteries is a box set of three complete novels in which clocks, watches, and time play an important role.

 

 

 

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Write What You’re Passionate About

It isn’t easy to expose your heart, but the rewards far outweigh the risks. Let me say up-front, there’s nothing wrong with writing to entertain, to allow readers to escape their lives for a while. That’s not what I’m saying at all.

For me, I wanted more. I write to touch lives. I write to make a difference. The latter of which compelled me to write Unnatural Mayhem, my new psychological thriller. The underlying message—the pulse, if you will—strikes at the core of who I am, what I care about, and who I aim to protect. Writing this story required me to peel back even more layers of my heart and soul. I thought, if that’s what I had to do, then so be it. I set out to write a book that matters, a book that could help protect the voiceless, the most innocent among us.

Here’s a snippet:

Imagine a world without animals? No pattering of paws, no wingbeats, no singing in the treetops, no howls at the moon, no buzzing in flower blossoms, no slithering through garden beds, no sympathetic eyes begging for a treat, no unconditional love or companionship, and the oceans, ponds, and lakes devoid of life. The Natural World as we know it would forever be silenced. For eternity.

That passage still kills me, because I can’t even fathom living in a world without animals. I don’t know about you, but that’s not a world I want any part of. Yet here we are, with numerous species on the brink of extinction.

Writing about subject matters you’re passionate about doesn’t mean slamming your reader over the head with your message. Your passion may influence the story, but we must let readers come to their own conclusions in their own time, even if those conclusions differ from ours. Hence why the story needs a compelling plot, or all the passion and heart you infuse into the story won’t make a dang bit of difference.

In Unnatural Mayhem, I focused on the trophy hunting of crows as a starting point for where I’m taking the series. I don’t need to remind you of my undying love for crows, right? Needless to say, the quest shredded my soul, but it also drove my characters through a complicated maze to stop this senseless killing—by any means necessary—before one black feather hit the earth, my passion and their passion intermingled on such a deep, personal level.

Writing about subjects you’re passionate about is also spiritually fulfilling. When I finished Unnatural Mayhem, a wave of accomplishment washed over me, like I’d written the right story at the right time to effect change, and destiny tapped me on the shoulder and said, “Well done.” Like I was always meant to write this story. Like I was always meant to take my Mayhem Series in this direction. Fate.

Have you ever felt this?

Here are a few tips to keep in mind when writing about subjects you’re passionate about:

#1: Find a subject you’re passionate about. Construct the plot around it. Create a cast of characters that would be most affected by it. In my case, I already had the perfect characters to tell this story.

#2: For hot button issues, like trophy hunting and poaching, you need to decide what to show the reader and what to leave out. No one likes dead animals in books. Most of all, me! The trick is to find ways to tiptoe around obvious triggers while still remaining true to the story.

#3: Balance and forethought are key. For every emotional, spiritual, or suspenseful scene, I balanced with some of the most hilarious scenes I’ve ever written. That balance gives the reader time to breathe and makes the book more enjoyable. ARC readers tell me they experienced all the feels, from heartbreak to joy and every emotion in between.

#4: The ending always matters, but it becomes even more important when writing about subjects you’re passionate about. We can’t leave the reader heartbroken. What fun is that? If we leave them uplifted, they’ll look forward to the next book in the series.

#5: When your emotions are tangled up in your characters, let the words just flow. Don’t worry about editing, word choice, or sentence structure. You’re in the zone, emotions spilling on the pages, fingers trying to keep up with your brain. Write first, edit later.

This is my last post of 2022. From my family to yours, Happy Holidays!

 

With the fate of the Natural World at stake, can a cat burglar, warrior, and Medicine Man stop trophy hunters before it’s too late?

Explosive news of a crow hunt rings out in the White Mountain Region of New Hampshire, and one hundred crows gather to put an end to it. With so many lives at stake — including Poe’s — Shawnee and Mayhem must work together to stop the trophy hunters before they obliterate the local murder.

Taking on twenty-five experienced hunters armed with shotguns is no small feat. If they fail, Poe may lead his brethren to their death.

No matter what it takes, this group must be stopped. But what if Shawnee and Mayhem aren’t seeing the full picture? What if these men have secrets worth killing over?

Unnatural Mayhem is on preorder for $1.49. Releases tomorrow (Dec. 13, 2022).

The Nearly Impossible Triple Jump

Most writers hope we’ll have long-running series: John Sandford has written 32 Prey thrillers, featuring Lucas Davenport. Sue Grafton’s alphabet series has 25 mysteries, and with her untimely death, the alphabet ended at the letter Y. And Marcia Talley has written 19 Hannah Ives mysteries since 1999. She’s managed to take her series to three publishers, a nearly impossible feat.
Booklist magazine said this about her latest mystery, Disco Dead, which debuted in November, “Some long-running series have their ups and downs, but the Ives series has been remarkably consistent.”
We’ve asked Marcia about her long-lasting series, and how she’s kept up the quality.
– Elaine Viets

Elaine: Who is Hannah Ives, and why did you create her?

Marcia: I don’t have to tell you that the real world is a messy, violent, frequently unjust place. Mysteries can be a respite – in my fictional world I call the shots. Justice is served and the villain suitably punished. I love the puzzle aspect of the mystery, planting clues and dropping red herrings. As for me personally, there have been a lot of people in my life who needed to die. In a mystery, I can bump them off with a stroke of my pen, and it’s cheaper than a therapist. I’ve bumped off former bosses, an ex-brother-in-law, a real estate agent, a crooked developer (the list goes on!) and even my husband a couple of times.

Elaine: How much of you is in Hannah?

Marcia: Is she my alter ego? Yes and no. She reminds me a bit of what Nancy Drew would be like at 55 or so. Like me, Hannah is a breast cancer survivor who enjoys sailing and is married to a professor at the Naval Academy. She’s funnier than I am, though, and braver—I would never break into a doctor’s office and riffle through his medical records, but Hannah would. Hannah’s younger and prettier, too, although just as curious and fiercely independent.

Her name was always Hannah, by the way, but I didn’t realize until my first editor emailed to inquire about it that my heroine didn’t have a last name. In a semi-panic, I called a friend who suggested the name Ives. I found out later that my friend’s phone was mounted on a kitchen wall next to a Currier & Ives illustrated calendar, so Hannah might well have been named Hannah Currier.

Elaine: How was your first Hannah mystery received?

Marcia: It still amazes me! Sing It to Her Bones won the Malice Domestic Grant for unpublished mysteries, then, after it was published by Bantam Dell, was nominated for an Agatha Award for best first novel. At the Malice Domestic conference that year, I appeared on a panel with the other nominees that was moderated by Margaret Maron (I was such a fan girl!). Hannah lost out to Donna Andrews and her wrought-iron flamingos, but the boost the award gave me spurred sales. Reviews were uniformly positive – “a shining new talent” OMG! – and I was thrilled to get cover blurbs from mystery authors I admired tremendously like Margaret, Laura Lippman, Sujata Massey and Deborah Crombie.

Elaine: Cancer is a grim topic. How do you keep Hannah entertaining?

Marcia: With humor and pragmatism. The opening lines of Sing It to Her Bones are:

“When I got cancer, I decided I wasn’t going to put up with crap from anybody anymore.”

And over the course of the next nineteen novels, she certainly doesn’t.

Take this example in a scene from the first chapter of Sing It to Her Bones. Here, Hannah is receiving the devastating news that she’s being laid off from the prestigious D.C. accounting firm she’s worked at for years:

While Coop oozed on about severance pay and maintenance of health benefits, I stared at Fran, who sat straight-backed and immobile, like an ice sculpture. I willed her to look at me, but she focused on his reflection in the tabletop. If Jones of New York had issued shotguns along with its suits, I thought, Old Cooper’s shirtfront would have been a sodden mass of red and we would have been picking bits of lung and rib out of the oriental carpet. I concentrated on the way his yellowish hair sprouted from his upper forehead in spiky clumps and how his earlobes wobbled when he talked. Frankly, when he laid the news on me, I didn’t know whether to run out and hire a lawyer to sue his ass or fall down and kiss his feet.

Elaine: Who was your first publisher and why were you dropped?

Marcia: My first contract was a three-book, mass-market paperback deal with Bantam Dell, a division of Random House. At some point between Unbreathed Memories and Occasion of Revenge, Random House was bought out by the German publishing giant, Bertelsman and their whole mass-market paperback mystery line was axed. Up until that time, B/D had been publishing two paperback mysteries a month; twenty-four authors were instantly orphaned. I remember (barely!) commiserating with a bunch of homeless B/D authors around the bar at Bouchercon Denver in September of 2000.

Elaine: Were you expecting your series to be canceled? What did you do when you got the news?

Marcia: I was completely blind-sided. My then editor had already told my agent that they would be wanting a fourth book in the series. I got the bad news on my cell phone, directly from my editor while sitting in a parking lot outside a Shaw’s supermarket near my sister’s home in Gorham, Maine. After sulking for a while, I marched into the store and bought a pint of Haagen Dasz rum raisin ice cream and ate it all by myself.

Elaine: Conventional wisdom says when publishers drop writers, these authors have two choices: indie publish their series, or start a new series. Did you consider either alternative?

Marcia: Back in 2001, indie publishing was about as respectable as printing your manuscript out at Kinko’s and selling it out of the trunk of your car, so it was never a consideration for me. Conventional wisdom at the time was to Keep Your Name Out There. So, I began to write short stories, the first of which, “With Love, Marjorie Ann” was short-listed for an Agatha award. Fans of my Hannah Ives mysteries will be surprised to learn that I am also a serial novelist. I wrote novels with other women. And not just one woman either. TWELVE other women.

My then agent called shortly after the aforementioned rug had been pulled out from under me, to say he’d heard that some publisher had paid Big Bucks for a serial novel about golf. He suggested I write a novel set in an exclusive health spa, with, say, a greedy owner, a star-struck daughter, a drunken senator, an aged rock star … and Naked Came the Phoenix was born. Naked was followed by I’d Kill for That, my second expedition into collaborative serial novel territory. For the uninitiated, let me explain that the novel, like its predecessor, was written in round-robin style: one author writes the first chapter then passes it to the second who picks up the story where the first author left off, then passes it on to the third, and so on.

For me, coming up with the scenario – murder in an exclusive gated community — and creating a smorgasbord of fascinating characters for the others to play with was just the beginning. The fun really started when I turned it all over to my fellow authors, sat back and waited to see where my dream team would run with it, and they didn’t disappoint.

Under the talented pen of Gayle Lynds, the “greedy real estate developer” suggested in my proposal leapt to life “with a clash of cymbals and a drum roll” as Vanessa Smart Drysdale, a petite, chestnut-haired beauty in black leather slacks who possesses all the compassion of Cruella de Vil. Little did I know what Lisa Gardner had in store for poor, tormented Roman Gervase, and Julie Smith’s take on Sunday services at St. Francis of Assisi Interfaith Chapel had me chuckling for weeks. Other equally delightful chapters were penned by Rita Mae Brown, Linda Fairstein, Kay Hooper, Kathy Reichs (lending her customary forensic expertise, of course), Heather Graham, Jennifer Crusie, Tina Wainscott, Anne Perry, Katherine Neville and, ahem, me.

The authors seemed to enjoy the game, too. The rules were simple. Each chapter was to be written in the third person, with a definite solution in view, even thought we were well aware that subsequent authors might take – indeed were expected to take – the plot in divergent directions. Speaking of her chapter in Naked Came the Phoenix, which was set in a luxury health spa in the Blue Ridge Mountains of Virginia, Nancy Pickard said, “It was dangerously liberating to know I didn’t personally have to deal with the consequences of whatever I put in my chapter.” Good thing, too, as she left our heroine struggling to extract the body of the spa owner from a mud bath.

Although writers were cautioned to avoid cliff-hanger endings that would require Houdini-like efforts on the part of the next author, the “real fun” comes, according to Laurie R. King who wrote the final chapter of Naked Came the Phoenix, “in seeing thirteen sweet-tempered lady crime writers stab each other thoughtfully in the back.” Judy Jance gleefully ended her chapter in that novel with Phyllis, the spa’s resident psychic, floating face down in a lake. Fortunately, however, someone in Faye Kellerman’s chapter knew CPR and revived Phyllis long enough for her to deliver a critical clue before lapsing into a coma.

As you might guess, my job as editor/contributor resembled a cross between tour guide and traffic cop as I assembled the team and worked out the intricacies of scheduling – each author had just a month to complete her chapter – and made sure, for example, that each author received packets of background information and copies of the chapters that preceded hers. Timing was critical. We met at conferences, spoke on the telephone and exchanged emails at a furious rate. As we raced to the finish line, Anne, Katherine and I kept the trans-Atlantic telephone lines hot as we brainstormed and worked out plot details – Anne Perry pointed out that the novel needed a love story, and she was right – so we put one in. And Val McDermid vowed she would not participate unless she could use the word “incarnadine,” a request I happily granted. Often we found ourselves revisiting an earlier chapter to plant a clue or clear up a discrepancy, and it fell to the amazing Katherine Neville – who volunteered for the job, I should point out – to tie up all the loose ends as our novel sprinted to its stunning conclusion.

Elaine: How many books did you do with your second publisher, and why did you jump to a third?

Marcia: My second publisher was Morrow/Avon. I don’t think it’s any coincidence that the very night I won the Agatha Award for my short story, “Too Many Cooks” in 2002, I was approached at the awards banquet by Caroline Marino, a senior editor at M/A who was well aware of the bloodbath that had taken place over at B/D and said, “I have someone I’d like you to meet.” Caroline was already familiar with the Hannah series and introduced me to editor Sarah Durand. Within a week, my agent received an offer of a 3-book deal. In Death’s Shadow, This Enemy Town and Through the Darkness were all published by Morrow/Avon until they met the same fate as my first three books: the victim of a corporate takeover, this time by Harper Collins, and a decision to ax the mass market mystery line in favor of trade paper format. I was already well along with Dead Man Dancing, set in the world of competitive ballroom, which was immensely popular at the time with TV shows like “Strictly Come Dancing” in the UK and “Dancing with the Stars” in the US, so that may have been one reason the series was picked up by Severn House. I’ve been with them ever since.

Elaine: How has Hannah changed since your first book?

Marcia: If I had known when I was writing Sing It to Her Bones that I was writing a series, I would have made Hannah much younger. At the end of the first book, we learn she’s about to become a grandmother. My novels are roughly contemporaneous—Occasion of Revenge, for example, climaxes during New Year’s Eve celebrations in 1999, the eve of the New Millenium – so Hannah must be at least twenty-two years older than she was back then, but, uh, let’s not mention it.

Elaine: What do you do to keep your series fresh?

Marcia: Every time I finish a book, I think, “I’ll never get an idea for another one.” But all one needs to do these days is pick up a newspaper or watch television to find something that gets the creative juices flowing. The first thing I ask is how do I get Hannah believably involved in this? Writers of mystery series call it avoiding the Cabot Cove Syndrome. After twelve seasons of “Murder She Wrote” and years in syndication, there can’t be anyone left alive in Cabot Cove, Maine, and would you risk having tea with Jessica Fletcher? Once I figure out how to involve Hannah – and her network of cancer survivors is a big help there – I hop on the Internet and begin researching the issue. In Mile High Murder, for example, Hannah is invited to go on a fact-finding trip to Denver, Colorado by a Maryland state senator in their cancer support group who is looking into legalizing recreational marijuana in Maryland. In Tangled Roots, I explored what happens when Hannah’s Ancestry.com DNA test comes up with totally unexpected results. The expertise she gained with forensic genealogical research in that novel and the subsequent one, leads her to being invited to join a small group of quirky “citizen detectives” dedicated to solving cold cases in my latest novel, Disco Dead.

Marcia and her husband Barry are sailors, and spend winters in the Bahamas. Here’s Marcia (with a broken finger, no less) writing her novel on their boat, Iolanthe.

Elaine: Thank you, Marcia for an informative interview. TKZers, you can buy Sing It to Her Bones here: https://www.amazon.com/Sing-Bones-Hannah-Ives-Mystery/dp/0440235170?ie=UTF8&qid=1464306300&ref_=tmm_mmp_swatch_0&sr=1-1
And this is the link for Disco Dead: https://www.amazon.com/Disco-Dead-Hannah-Ives-Mystery/dp/1448307953/ref=sr_1_1?crid=AUSQ28331C5Y&keywords=disco+dead+marcia+talley&qid=1670508658&sprefix=disco+dead%2Caps%2C1810&sr=8-1

Redux: Does Creativity Pass Through Generations via DNA?

With a deadline nipping at my heels, and losing two days to the holiday, I’m sharing a post I wrote in 2018. Still as fascinating today, IMO. Enjoy!

This video sent me down a rabbit hole of research.

As you can imagine, my writer brain lit up. Turns out, the research was even more fascinating than the video. A scientific study showed that a traumatic event could affect the DNA in sperm or eggs and alter the brains and behavior of subsequent generations. This breakthrough is an important discovery in the fight to treat phobias and anxiety.

Do you fear spiders, heights, or small spaces for no apparent reason? This may explain why.

Neuroscientists trained mice to fear a cherry blossom scent prior to copulation. While breeding these mice, the team at the Emory University School of Medicine looked at what was happening inside the sperm. Incredibly, the sperm showed a section of DNA, responsible for sensitivity to the cherry blossom scent, was indeed more active.

The mice’s offspring, and their offspring — the grand-mice, if you will — were all extremely sensitive to cherry blossom and avoided the scent at all costs, despite never experiencing a problem with it in their lives. They also found changes in brain structure.

In the smell-aversion study, scientists believe either some of the odor ended up in the bloodstream, which affected sperm production, or the brain sent a signal to the sperm to alter the DNA.

The report states, “Our findings provide a framework for addressing how environmental information may be inherited transgenerationally at behavioral, neuroanatomical and epigenetic levels.”

Environmental change can also critically affect the lifestyle, reproductive success, and lifespan of adult animals for generations. Exposure to high temperatures led to the expression of endogenously repressed copies of genes — sometimes referred to as “junk” DNA. The changes in chromatin occurred in the early embryo before the onset of transcription and were inherited through eggs and sperm. In mealworms, they traced the DNA changes through 14 generations.

Why mealworms? It’s quicker to test generation after generation on an animal with a short lifespan.

Another study showed that a mouse’s ability to remember can be affected by the presence of immune system factors in their mother’s milk. Chemokines — signaling proteins secreted by cells — carried in a mother’s milk caused changes in the brains of their offspring, affecting their memory later in life.

Memories are passed down through generations via genetic switches that allow offspring to inherit the experience of their ancestors. These switches, however, can be turned on and off, according to Science Daily. Scientists have long assumed that memories and learned experiences must be passed to future generations through personal interactions. However, this research shows that it’s possible for some information to be inherited biologically through chemical changes that occur in DNA.

Creativity counts as a learned behavior, but I also believe it goes deeper than that. Think about how deeply you feel about your writing. For most writers I know, when we’re “in the zone” our soul does the writing. One could argue we’re merely vessels who type. Have you ever read a passage that you don’t remember writing? Our ability to create burrows into the core of who we are, and thus, leaves an indelible mark. How, then, can we not pass that part of ourselves to future generations?

How many of you have creative folks in your family tree, be it writers, artists, musicians, singers, or other forms of creativity?

To test my theory, I asked the same question to my fellow TKZ members. Please note: this revelation occurred to me yesterday, so I’ve only included the members who saw the email in time. Hopefully, the others will add their responses in the comments.

For those I did catch on a Sunday, check out what they said …

Elaine Viets said, “My late cousin Kurt was a talented wood carver, and my grandfather was known as a great story teller in the local saloons.”

I love wood-carved pieces. The smell, the texture, the swirl to the grain. It’s not an easy creative outlet to master.

Jordan Dane comes from a long line of creative people. Here’s her answer: “My paternal grandfather was a writer for a Hispanic newspaper. My dad was an architect and artist (painter), my older brother went into architecture too, specializing in hospital design. My dad is a real renaissance guy. He could sculpt, paint, draw and he has a passion for cooking. My older brother Ed and I share a love for singing. I sang in competitive ensemble groups. He played in a popular area band and has sung in barbershop quartets. My mom was the original singer in our family. She has a great voice.”

Joe Hartlaub has two talented children. Here’s what he said, “Annalisa Hartlaub, my youngest daughter, is a photographer. My oldest son Joe is also a highly regarded bass guitar player locally.”

He’s being modest. When I checked out Annalisa’s photographs on Facebook and Instagram they blew me away. A photography project she created at 15 years old also went viral.

When I prodded further, Joe added, “My maternal grandfather played guitar, but we never knew it until we came across a picture of him taken at a large Italian social club gathering where he was strumming away. He was in his twenties at the time. As far as the source of Annalisa’s talent goes…her mother is a terrific photographer. The conclusion is that Annalisa gets the form of the art from her mother and her creativeness from me.”

Laura Benedict stunned me with her answer. “Someone doing genealogy linked my maternal grandfather’s family to Johann Sebastian Bach.”

Talk about a creative genius!

Laura added, “I remember a few very small watercolors that I believe my maternal grandmother painted. Trees and houses. But while we were close, we never talked about art. My aunt also did some drawing.”

John Gilstrap also came from a long line of creative people. Here’s his answer…

“My paternal extended family has always been fairly artistic.  My grandfather, I am told–he died long before I was born–had a beautiful singing voice, and for a period of time worked whatever the Midwest version of the Vaudeville circuit was.  My father, a career Naval aviator, wrote the Navy’s textbook, The Principles of Helicopter Flight, and had two patents on helicopter cargo handling operations.  He passed away in 2006.

My brother, four years older than I, plays a number of instruments, but his primary proficiency is the piano.  His daughter is a very accomplished cellist who makes her living as the director of a high school orchestra that consistently kills at competitions.
Closer to home, my only musical talent is to be a passable tenor in the choir.  For years, I sang with a choral group that performed all over the DC area, including a number of gigs at The Kennedy Center.  As a high schooler, our son was a pretty good cellist, but he walked away from it in college and never really looked back.”

Although I wasn’t able to catch her in time, PJ Parrish is the sister team of Kris Montee and Kelly Nichols.

As for me, my maternal grandfather was a highly regarded artist (painter) in his time. My mother was a beautiful writer, even though I never knew it while she was alive. After she passed, I discovered notebooks full of her writing. UPDATE: In 2020, two years after I wrote this post, I found out she worked as an editor for many years.

So, can creativity be passed through our DNA? Judging by this small pool of writers, I find it hard not to entertain the possibility.

I’m betting the same holds true if I expand the test subjects to include you, my beloved TKZers. How many of you have creative folks in your family tree?

Wings of Mayhem by Sue Coletta

FREE on Amazon.

When the cat burglar and the serial killer collide, HE looks forward to breaking her will, but SHE never gives up. Not ever. And especially not for him.

Negotiation Secrets for Writers

 

By Debbie Burke

@burke_writer

 

“Make him an offer he cannot refuse.”
Vector image CC BY 4.0

Whether you’re buying a car, arguing with a boss, or making a deal with your kids to do their homework, most interactions in life are negotiations. Each of us wants to get our own way.

Humans live in a constant state of imbalance, jockeying back and forth to gain the upper hand.

That usually translates into attaining power over someone else. That power can be immense or tiny.

Learning to exploit power imbalances is an effective technique for writers to ramp up the tension in fiction.

In most stories, one character has certain goals while another character has different, conflicting goals. That leads to negotiations between characters that can be physical, verbal, social, or psychological.

The goal can be large scale (world domination) or small scale (spouses arguing whether the toilet seat should be up or down).

One character usually starts out dominant; the other is in an inferior position and wants to rise to the superior position. Their struggle creates tension and suspense as the reader wonders who will prevail.

Each scene in a novel is a micro power struggle between characters. Those struggles can be shown in different ways:

  1. A character has superior knowledge, ability, or position that the other character attempts to gain.
  2. One character wants to control another.
  3. A character takes action that appears to mean one thing but actually means something different.
  4. A character’s dialogue is different from what they’re actually thinking.

Seller says: “I’m offering you a fabulous deal on this 911 Porsche.” Seller thinks: The price is ten grand higher than market but he’s salivating. He won’t leave without the car.

Buyer says: “Forget it. I won’t pay a dime over $$.” But Buyer thinks: I’ve always wanted a 911. If he comes down a grand, I’m snapping it up.

Boss says: “Management told me to cut expenses ten percent across the board including your salary.” Boss thinks: With three kids, she doesn’t dare quit. A ten percent cut means a bigger bonus for me.

Worker says: “That’s unacceptable. Besides, I have a better offer with a twenty percent increase and three weeks paid vacation.” Worker thinks: Can she tell I’m bluffing? What if she fires me?

Anyone who’s ever been a parent can fill in their own examples of negotiations with their kids!

In thrillers, mystery, suspense, sci-fi, and fantasy, typically the antagonist is stronger, richer, smarter, more ruthless, or more determined than the protagonist. The protagonist spends much of the story trying to keep from being squashed and defeated.

Character A may start out in control at the beginning of a scene but Character B has leverage because of superior knowledge or ability that reverses the power by the end of the scene. Then in subsequent scenes, A must scramble and come up with new strategies to regain control while B fends off efforts to topple him/her.

One of my favorite stories is O. Henry’s “Ransom of Red Chief,” first published in the Saturday Evening Post. [Note: some language from 1907 is no longer acceptable today]. It is a detailed blueprint of negotiation among characters who jockey back and forth for power. Demands are made. Counteroffers follow. Demands change, resulting in counter-counteroffers and counter-counter-counteroffers.

Here’s the story premise: Two ruthless criminals, Sam and Bill, decide to kidnap the only son of wealthy Ebenezer Dorset and hold him for a ransom of $2000. Surely Mr. Dorset will immediately cave into their demands and pay. Sam and Bill believe their scheme can’t lose.

When the redheaded ten-year-old victim beans Bill in the head with a brick, that physical act is the first hint of a potential power shift. Nevertheless, Sam and Bill are still in control as they subdue him and spirit him off to a cave hideaway.

However, in the cave, the kidnappers discover their hostage is a handful and they must maneuver to maintain physical and verbal control over him. Bill plays a game of make-believe with the boy, who’s dubbed himself “Red Chief.” In the game, Red Chief captures Bill and ties him up. Soon the kid “…seemed to be having the time of his life. The fun of camping out in a cave had made him forget that he was a captive himself.”

“Red Chief,” says I to the kid, “would you like to go home?”

“Aw, what for?” says he. “I don’t have any fun at home. I hate to go to school. I like to camp out. You won’t take me back home again, will you?”

We weren’t afraid he’d run away.

Although Red Chief remains their prisoner and no longer resists, he has verbally prevailed over Sam and Bill.

Red Chief’s physical harassment of them escalates. The kidnappers’ confidence begins to crack.

During the first night, Sam has a dream that illustrates Red Chief’s growing psychological power: “I had been kidnapped and chained to a tree by a ferocious pirate with red hair.”

Later, terrified screaming wakes Sam.

“Red Chief was sitting on Bill’s chest, with one hand twined in Bill’s hair. In the other he had the sharp case-knife we used for slicing bacon; and he was industriously and realistically trying to take Bill’s scalp.”

Red Chief’s attack demoralizes Bill who asks Sam, “Do you think anybody will pay out money to get a little imp like that back home?”

Their prisoner has taken psychological control of the situation.

Sam leaves the hideout and returns to town, expecting to find villagers in an uproar and frantically searching for the missing boy. He had anticipated the kidnapping would give the criminals social control over the community. Instead, all is calm. Their original premise, that Mr. Dorset will be desperate to get his son back, isn’t happening as planned.

Uh-oh.

Back at the cave, Sam finds Red Chief has further injured poor Bill. Sam tries to regain physical and verbal control.

I went out and caught that boy and shook him until his freckles rattled. “If you don’t behave,” says I, “I’ll take you straight home. Now, are you going to be good, or not?”

Red Chief appears contrite and apologizes. Sam believes he and Bill are back in the driver’s seat.

But the kidnappers’ determination falters when Bill, who can’t take any more abuse, begins to negotiate with Sam to reduce the ransom terms.

“…it ain’t human for anybody to give up two thousand dollars for that forty-pound chunk of freckled wildcat. I’m willing to take a chance at fifteen hundred dollars. You can charge the difference up to me.”

They agree to lower the ransom. Their foolproof, get-rich scheme is losing ground.

Next, Sam delivers the threatening note:

If you attempt any treachery or fail to comply with our demand as stated, you will never see your boy again. If you pay the money as demanded, he will be returned to you safe and well within three hours. These terms are final, and if you do not accede to them no further communication will be attempted. Two Desperate Men.

Although battered, the disheartened criminals are still holding onto their victim and believe Red Chief’s father will agree.

Instead, Mr. Dorset responds with a counteroffer:

I think you are a little high in your demands, and I hereby make you a counter-proposition, which I am inclined to believe you will accept. You bring Johnny home and pay me two hundred and fifty dollars in cash, and I agree to take him off your hands. You had better come at night, for the neighbours believe he is lost, and I couldn’t be responsible for what they would do to anybody they saw bringing him back. Very respectfully, Ebenezer Dorset.

With a classic O. Henry twist at the end of the story, Bill and Sam are out-negotiated. The kidnappers become the victims and must pay Mr. Dorset to take back Red Chief.

To incorporate negotiation in your own stories, ask these questions:

  1. What are each character’s goals?
  2. Which character is in a stronger position and which is weaker?
  3. How do they negotiate with each other to shift power to achieve their goals?
  4. Do they ask, plead, implore, barter, demand, or threaten?
  5. Do they slyly seduce their opponent? Or beat the snot out of them?
  6. Do they feign defeat to fool their opponent into dropping their guard?
  7. Do they bluff and posture, claiming strength or power they don’t actually have?

The more your characters negotiate with each other, the more the power shifts between them, raising tension and suspense. Readers turn pages to find out who wins. When you keep readers interested, they become fans who buy your next book.

Make your readers an offer they cannot refuse. 

~~~

TKZers: Please share negotiations and power struggles between fictional characters that made an impression on you. Use examples from published stories, films, or your own WIP.

~~~

Debbie Burke is making an offer you can’t refuse:

For only $.99, try out the award-winning Tawny Lindholm Thriller series.

Special price for Thanksgiving week only. 

Amazon sales link

Killer Deadlines

By Elaine Viets

Throughout my writing career, I’ve lived by deadlines. I started as a newspaper reporter and then became a columnist, where I often had four deadlines a week – with no time off. When the holidays rolled around, I had to write my columns ahead of time. That meant six or even eight deadlines a week.
As a mystery writer, I still have deadlines, but the pace seemed easier. Newspapers moved swiftly, like a cold through a kindergarten. Publishing seemed slower than a Manhattan traffic jam.
At first, I wrote two novels a year. Now I’ve cut back to one a year.


No problem with deadlines, right?
Wrong. No matter how much time I have to write a novel, the last week is always jammed up.
This August 31, I turned in my new Angela Richman, death investigator mystery to my London publisher, Severn House. This time, I spent that final stretch writing twelve-hour days, trying to finish. As I read through the book, a straggling subplot had to be cut. Its crabgrass-like tendrils were deep in the book. I dug them out.
Errors popped up – difficult characters deliberately changed their hair color and didn’t tell me. One nasty customer gave himself two different names. Typos appeared out of nowhere.
As I struggled to finish on deadline, I wrestled with my recalcitrant manuscript. I could feel it squirming. It refused to settle neatly in place.
I read and reread it until my eyes were blurry. Finally, I pressed the button and emailed it off to London, hoping all was well. I couldn’t read the book one more time.
Exhausted, I slept for two days.
Then I waited and worried, my head buzzing with questions:
Would my editor like the new book? Would she want a rewrite? What if she rejected it?
Finally, I got a brief note two weeks later – that’s lightning speed for publishing. My editor was reading the manuscript and “enjoying it hugely.”
Whew. I felt so much better. What was I going to do while I waited?
I could write a short story. Clean off my desk. Answer my emails. Plot my next book.
I could do that, but I didn’t. I couldn’t get up the energy.
My editor didn’t like the working title, so I came up with a new one – “The Dead of Night.”
I didn’t do much else. I just need to lie fallow, I told myself. I was so fallow I was turning into a puddle of goo. I moped around my home. I’ll get my energy back soon, I thought.
Soon.
I got it back this Tuesday. My editor emailed me the copyedited manuscript. It needs some tweaking and a small rewrite. And I have one week to finish. It’s due next Tuesday.
Suddenly I was awake. Galvanized. Ready to work. I quit moping. I had a purpose.
Better yet, I had a deadline.

What about you, writers? Do you need deadlines?

PS: I’m also working under another deadline. Hurricane Nicole is heading this way, and I’m going to drag in the plants on the balcony. Wish us luck.

8888888888888888888888888888888888888888888888888888888888
I’m celebrating! My short story, “We Are the People Our Parents Warned Us About,” in the anthology, “The Great Filling Station Holdup: crime fiction inspired by the songs of Jimmy Buffet,” edited by Josh Pachter, won Silver at the Royal Palm Literary Award.
Buy the anthology here: https://tinyurl.com/4nr7a9pm

Dream Hacking

By Debbie Burke

@burke_writer

The paranoid hairs on the back of my neck stood up when I read several articles by scientists from MIT, Harvard, and University of Montreal about emerging techniques for manipulating dreams.

Search engines are already scary-smart at reading our minds and predicting our behavior. Type a few letters into the search bar and instantly the rest of the word or phrase appears. Google is like a long-time spouse who finishes sentences for you.

Soon, similar mind reading may be extended into your dreams as you sleep.

Disturbing? Yup.

According to an article by Rob Pegoraro in Forbes.com, as a 2021 Superbowl promotion, Coors Beer offered people free beer in exchange for their participation in a study of “targeted dream incubation,” billed as “The World’s Largest Dream Study.” Subjects were shown Coors’s videos of snowy mountain views and crystal streams several times then fell asleep to the soundtrack of those ads.

https://youtu.be/tU_0jU0mMLw

Upon waking, the subjects reported dreams of waterfalls and being in snow. The most telling—and chilling—reaction of all came from one woman: “I think it was… something to do with… Coors.”

Subliminal advertising in commercials first became a hot topic way back in 1957. Marketer James Vicary claimed sales of popcorn and Coca Cola increased because of messages inserted into ads. The messages supposedly flashed so quickly the eye could not see them. He later admitted his study was a gimmick not supported by evidence.

According to Chron.com, consumer concerns prompted the FCC to issue a statement:

The FCC stated that all broadcasting licensees should not use subliminal advertising techniques because the techniques are deceptive, which runs counter to the purpose of the FCC. The statement is still on the FCC’s website as its stance on subliminal marketing.

Nevertheless, the concept caught on. This article from Business Insider cites examples.

Aboriginal cave painting-Jabiru dreaming
Photo credit: Wikimedia.com CCA SA-4.0

Dream manipulation is nothing new. Ancient peoples as far back as 5000 years and perhaps longer recognized the enormous power of dreams.

Cultures around the world, from Babylonia, Egypt, Greece, Rome, and even remote isolated islands, developed practices to guide dreams toward a specific goal. Some goals included:

  1. Connection with a deity;
  2. Seeking solutions to problems;
  3. Overcoming traumatic events;
  4. Predicting the future.

To attain these goals, different rituals included:

  1. Rubbing ashes or paint-like substances on a person’s face;
  2. Eating raw flesh of a particular animal before sleeping;
  3. Inflicting pain, e.g. Native American Vision Quests;
  4. Going to sacred locations to sleep.

Today, many conditions, including anxiety, PTSD, poor school or work performance, eating disorders, etc., are commonly treated by using suggestions during sleep.

Here at TKZ, we frequently talk about how authors can solve story problems by using prompts before they go to sleep. Writers often dream their way through roadblocks.

Watch tracker
Photo credit: Wikimedia.com CC A-2.0

Technology already tracks our physical activity, heart rate, exercise, location, proximity to stores, and far more. Some years ago, while shopping for a new smartphone, I was shocked to find an app that monitored vaginal secretions. Whoa, guys, that is way too intrusive.

When such monitoring goes beyond the physical body and digs into the deepest recesses of the mind, the slope gets downright slippery.

What if a person’s dreams can be manipulated so businesses can profit from them?

With marketers now seeking high-tech ways to manipulate consumers in their sleep, concerned scientists are sounding ethical alarm bells.

In open letter signed by more than 40 scientists in June, 2021, Robert StickgoldAntonio Zadra, and AJH Haar wrote:

TDI [targeted dream incubation]-advertising is not some fun gimmick, but a slippery slope with real consequences. Planting dreams in people’s minds for the purpose of selling products, not to mention addictive substances, raises important ethical questions. The moral line dividing companies selling relaxing rain soundtracks to help people sleep from those embedding targeted dreams to influence consumer behavior is admittedly unclear at the moment.

Futurism.com says:

…it’s only a matter of time before tech companies that make watches, wearables, apps and other technology that monitor our sleep start to sell that data for profit, or use those tools to hack our dreams while we slumber.

Our dreams might turn into nightmares we can’t wake up from.

This technology opens a vast plot playground for authors of sci-fi, crime, and thriller writers to explore nefarious uses for dream hacking.

TKZers, please name books or films where dream manipulation is used.

How would you incorporate dream hacking into a plot?

Do you give yourself pre-sleep suggestions?

~~~

 

Debbie Burke’s books won’t hack your dreams but many reviewers say they keep them awake at night. Please check out Tawny Lindholm Thrillers with Passion, for sale at this link

(Mis)Adventures at the Montana Book Festival

By Debbie Burke

@burke_writer

 

In September, my friend Cathy Raven was a featured speaker at the four-day Montana Book Festival in Missoula. Her first book is a nature memoir entitled Fox and I, about her friendship with a wild fox. It won the PEN award, among other honors.

Cathy and I met more than 20 years ago when we took a workshop from Tim Cahill, travel writer and founder of Outside Magazine.

After Cathy moved across the state, we lost touch but recently reconnected via Twitter. On Sunday morning, I drove 120 miles to Missoula for her festival talks and to congratulate her in person.

I’m somewhat acquainted with Missoula so I had an inkling about what was in store.

The streets of Missoula were originally laid out in the 1880s by feuding landowners who each wanted their own hunk of real estate to dominate. Diagonal “Slant Streets” were created for a proposed new town called South Missoula. But political maneuvering stymied the new town and slant streets were surrounded by parallel and perpendicular byways, as shown in this photo.

When drivers try to navigate the off-kilter convergence of Brooks Street, Russell Street, and South Avenue, they can thank (or curse) the early citizens who created the notorious Malfunction Junction.

As if diagonal streets and triangle-shaped blocks weren’t confusing enough, routes in Missoula are required to have more than one name—preferably three or four. Brooks Street is also Highway 93 and Highway 12, at least part of the time…until it changes.

Then there’s East and West Broadway. East Alder Street merges with East Spruce Street, which crosses North Second Street East, then eventually runs into West Greenough Drive. Throw in boulevards that are one-way part of the time and two-way other times. Add thoroughfares that dead-end in the Clark Fork River, or at the railroad tracks.

And there you have the mishmash of Missoula.

If Siri had accompanied me, I suspect she would have jumped off the Higgins Street Bridge and drowned herself in the river.

I had printed out several pages of Google maps and have a reasonably good sense of direction. Plus my rearview mirror has a nifty little built-in compass.

I rolled into town about 1 p.m. and missed the motel on Brooks Street because I stayed on 93 which is supposed to be the same as Brooks Street…except when it isn’t.

The Book Festival was at the four-story Missoula Public Library—a skyscraper by Montana standards. While cruising blindly along East Broadway, I happened to spot the towering glass library on the next street over. East Main is a one-way street that amazingly was going the right way.

Success!

Cathy’s phone went to voicemail so I had time to poke around. After the two-plus hour drive, I was glad to climb four flights of stairs to stretch out a bit.

On the top floor, an outside deck around the building featured 360-degree views of the city, rolling hills, and mountains. A volunteer at the book sales table gave me the schedule and, surprisingly, didn’t charge an admission fee, perhaps because it was the afternoon of the festival’s last day.

I peeked into several rooms where presentations were going on but didn’t see Cathy. Back down at street level, I happened to glance over at several people reading at a table.

There was Cathy, deep in her book and writing on a notepad, preparing for her talk.

We hugged like long-lost sisters and visited until she needed to get back to work on her talk.

Her panel was more than an hour later so I figured I’d try again to find my motel.

Missoula is home of the University of Montana. It has winding river walks, bike trails, beautiful historic buildings, and lovely old homes. I know because I saw all of those as I spent the next half-hour totally lost. 

The motel was to the south west but, Missoula streets being the way they are, you can’t get there from here.

My mirror compass said I was going the right direction but the street names (aliases, actually) didn’t jibe with Google maps. At last, I found the motel, hiding on a slant street not far from Malfunction Junction.

As I pulled into the parking lot, a woman was getting out of her car, putting a hardback book in her bag.

Turned out she was “Parker,” the evening desk clerk at the motel. We had talked the day before when she made my reservation over the phone.

She said she was an avid reader who spent lots of time at Barnes & Noble.

I told her I was a writer.

That admission is always a bit embarrassing because people’s eyes widen, they smile broadly, and shake your hand as if they’re in the presence of someone important.

We writers know better—the unglamorous reality is we wear sweat pants, sit hunched over computers all day long, play with imaginary friends, and make up stuff. Sane, normal people don’t do that.

Parker took my card, said she loved thrillers, and would look up my books. Cool!

After I checked in, she gave me clear, easy-to-follow directions how to get back to the library. Thanks to Parker, I arrived there in under 10 minutes. 

Cathy was on the so-called critter panel—authors who’d written books about wildlife including kingfishers, grizzlies, golden eagles, and Cathy’s Fox and I.

Despite many awards, stellar reviews, and glowing mentions in Time and People magazines, she’s suffering first-book jitters.

Cathy is Mensa-brilliant with a PhD in biology but also shy. She’s much more at home in nature than around people, even though she’s a professor who’s taught hundreds of students over many years.

Her wry, quirky humor quickly won over the audience. Without trying to be funny, she’s very funny.

After the panel, a lot of books by other authors remained on the table but Cathy’s sold out. She fretted about that until I reminded her that selling books was the whole point. Running out meant success.

People mentioned they had ordered multiple copies of her book as gifts.

Her solo talk was an even bigger hit, especially considering it was Sunday evening at 6 p.m. when most festival attendees had already left.

She described her solitary life in the Yellowstone Valley where she’d hand-built her home. As she did research on the area’s botany, weather patterns, and animal behavior, weeks would pass without speaking to another person.

However, a sociable red fox started showing up every day to visit the introverted, reclusive human. They forged an unconventional but close friendship. Trust developed to the point where Fox brought his four kits for Cathy to babysit while he went a distance away to take a nap.

At the end of Cathy’s talk, a woman in the audience presented her with a dazzling sunflower that looked too perfect to be real. But it was.

Dr. Catherine Raven

We headed out for dinner, assured by locals that Missoula has many great restaurants.

Few, however, are open on Sunday night.

For a college town, they roll the streets up early. After a half-hour quest, we found a place, enjoyed a good meal, and had a great catch-up visit.

But, following dinner, we lost our bearings roaming through the dark, deserted downtown and didn’t know how to get back to Cathy’s motel. We drove around looking for a familiar landmark or street name but found none.

Then we spotted a Missoula police cruiser parked alone on a street. I pulled to the curb in front of him and Cathy and I jumped out of the car to ask him directions.

In hindsight, that wasn’t a smart move. But, as a child, I’d always been told if you get lost, ask a policeman.

A young cop jumped out of his rig, talking rapidly into his lapel mic, wearing a wide-eyed deer-in-the-headlights expression. I’m not sure if he had his hand on his weapon because he was standing behind his open car door for cover.

Two women—old enough to be dangerous, from out of town, lost in Missoula, asking directions to a motel whose name we couldn’t remember but was near a McDonald’s—utterly befuddled this poor young cop. I’m sure he thought we were impaired even though we hadn’t had a drop or a toke.

He finally collected his wits (and probably heard back from the dispatcher that there was NOT an APB out on an old white Toyota Highlander with two female occupants). Still looking flummoxed, he managed to direct us to Broadway where we found Mickey D’s and the motel.

Cathy and I said goodbye, resolving not to let another 20 years go by without seeing each other. I headed for my motel on the other side of town.

By this time, I’d driven enough of the mysterious streets of Missoula to be fairly confident of finding my way back until…the southwest section of town went black.

A power outage shut down street lights, buildings, traffic signals, and the sign for the motel. For several blocks, I drove in total darkness except for my headlights. By luck, I spotted the motel just in time to turn into the shadowy parking lot.

In the office, two lanterns glowed. I had a flashlight but, rather than enter a completely black, unfamiliar room, I opted to hang out in the dim lobby with my new friend Parker. A couple of motel workers wearing headlamps checked the property and muttered about buying a generator.

The electric company’s text updates estimated the power would be restored by 9:30 p.m. It was now 9:45. The power had been off long enough that the computer battery backups in the office had run out of juice.

Parker said, before the power went off, she’d looked up my books. She wanted to read them but didn’t have cash with her and I can’t take credit cards.

We spent the next hour, shooting the breeze and solving the world’s problems. She gave me directions to Barnes & Noble, where I planned to go the next morning before heading home.

Finally the lights popped back on.

Whew.

The motel is independently owned, not a chain. Its tagline is “Nice rooms for nice people.”

I went to my room and thought about how nice Parker had been, giving me directions that carried me safely through Malfunction Junction. She’d kept me company during what could have been a nervous hour in an unfamiliar dark place.

I grabbed a copy of Instrument of the Devil (which, fittingly, is about a terrorist targeting the power grid), signed it, and gave it to her.

The next morning, I visited Barnes & Noble. The manager is very supportive of Montana authors, even independently published ones. She ordered a few copies and we talked about my doing a signing there next spring (they’re scheduled months ahead with author appearances).

Despite getting lost repeatedly, inadvertently scaring a cop, and surviving a power outage, the trip to Missoula was a success.

I reconnected with an old friend and watched her bloom as she talked to audiences about her book. I met a lady who gives better directions than Siri and Google Maps combined, whom I hope will become a fan. And I have a future book event to look forward to.

Not a bad day’s work for a writer.

~~~

TKZers: Have you ever gotten hopelessly lost but found a better reward than what you were originally looking for? Please share your wanderings in the comments.