Which of your books, past or present, turned out to be the biggest challenge for you? Share what made it harder to write and what you learned from the experience.
Which of your books, past or present, turned out to be the biggest challenge for you? Share what made it harder to write and what you learned from the experience.
By SUE COLETTA
When we first begin our writing journey, our dreams often overshadow the realities of working as a professional writer.
Which publishing path we chose (self-publishing or traditional) doesn’t make a difference. The products we produce do.
For those of you who are at the early stages of your career, let’s take a look at 7 Hard Truths of Working as a Professional Writer.
For the professional writers in our TKZ family, please add your truths.
Writing consumes us. We decline more offers for lunch than we accept. We could analyze one sentence ad nauseum, and still not be happy with it. To an outsider, at times we may look like we’re staring into space, but our mind is whirling with ten different scenarios after a character did something unexpected or our storyline banged a hard right instead of a left, even though we’d planned the milestones in advance.
When you work from home, friends and family assume you have time to chitchat. No matter how many times you mention your deadline, book launch, or any “author” subject, many will breeze right over it with, “Yeah, so, anyway …”
I’ve tried using signs or mugs as a clear signal not to interrupt me (see above pic), but there are those who still barge right in, whether by phone, text, or (gasp!) in person. Not in a callous way; it’s because they don’t understand the amount of brain-power required to plot and successfully execute a novel.
Writers always have multiple balls in the air at once. Yet, from the intruder’s perspective, they think there’s no harm in breaking our concentration for a minute or two (or five or ten), that we can simply return to where we left off as though the disruption never took place.
Easy-peasy, right? Wrong. Interrupting a writer should be punishable by death! At least fictionally. 😉
Writers spend hours alone in our fictional worlds, and we like it that way. To write professionally, we must be comfortable behind the keyboard. Buy a nice comfy chair; you’re gonna need it. Many professional writers work six or seven days per week, and some hold down full-time day jobs as well. Not everyone has a supportive spouse or makes enough money to write full-time yet.
Our writing process won’t make sense to anyone but other writers. Don’t even try to explain how a certain song transports you to fictional place or why you have two tiny squares (no more, no less) of chocolate every day as your reward while you read your new favorite thriller.
Writers, did you know daily chocolate* is good for your health? It certainly is, and here’s why:
*I’m referring to a small amount of daily chocolate. Everything in moderation. Too much of anything is never a good idea.
Our debut is just that, a starting point. It’s where our publishing journey begins. For the first time, the public will read our words, and it’s a terrifying experience akin to standing naked for all to judge. I’d love to say it gets easier, but it doesn’t. I’m as nervous for my thirteenth book to release as I was for my debut. Maybe more so, because the dream of becoming the next “overnight success” isn’t still obscuring reality.
Many professional writers have health problems. Our bodies weren’t meant to hunch over a keyboard all day, every day. This position can lead to slipped discs, narrowing of nerves in the neck and back, joint issues, carpel tunnel … the list goes on and on.
Remember to take good of yourself! Buy the proper tools of the trade, like an ergonomic chair, a keyboard and/or mouse with wrist support, a sit/stand desk or have the option of switching from the desktop computer to a laptop. Exercise breaks help, too.
Write for love, not money. The sad truth is, until we build a backlist, writers can’t survive on royalties alone. We can supplement our income in a variety of ways. Some writers coach, some appear on panels or do guest speaking, others offer online courses or webinars. My favorite is mingling with readers at book signings. I make most of my income from May to December. Memorial Day through Labor Day are my busiest time of year, with book signings every weekend.
By studying my area, which is a hotspot for vacationers, I’ve learned where I should appear and when. Year after year, I return to the same venues around the same date. Gone are days of sitting around an empty library, hoping for reader to approach my table, but it took time, consistency, and patience.
There are no shortcuts. Anyone who claims otherwise is lying to you.
I haven’t even broached the subject of marketing, piracy, or endless “buy my book!” emails from total strangers who expect you to promote “the book that’ll change the world!” to your audience. You might be surprised by how many new writers believe that, and I seem to attract all of them.
All that said, I love this profession. There’s nothing else I’d rather do.
What are some other hard truths of working as a professional writer? If you’re beginning your writing journey, is there something you’ve wondered about but never had the chance to ask? Now’s the time.
Books have influenced my life since I was in elementary school. I remember summer afternoons where my mother would take us to the library and we’d spend hours roaming the aisles looking for a handful of books to read. My senses still respond with joy when I enter a library. But it wasn’t until I read Robert Ludlum’s Bourne series that I noticed Ludlum’s page turning skills and got the itch to write my own original work. What about you?
What author or book got you hooked on the idea of writing your first novel? Tell us about it and your journey.
After Sue Coletta’s post “When Real Life Collides with Fiction,” I wondered how many other TKZ members have stories about the many ways an author can abuse family and friends for the sake of a book. I’ve heard of wild stories at writer conferences where authors talk about staging a crime scene using friends as attackers & victims or cornering a relative to brainstorm a murder over Thanksgiving pumpkin pie.
In what ways have you used the people in your life for research or to develop a book plot?
By Sue Coletta
Being a writer can be traumatizing.
Back in October I finished writing Silent Mayhem, a book that deeply affected me.
Sure, I was passionate about the story — I wouldn’t have written it otherwise — but it morphed into more than that; it slashed open another part of me.
I’m still not sure if I’m feeling my own emotions or my character’s, the line between reality and fiction blurred beyond a rational explanation.
While writing, I became the vessel and something else inside me wrote the story, my soul taking it places I hadn’t foreseen in the planning stage. This sounds like a good thing on the surface, but something occurs in the story that wounded me on such a deep personal level. Was it the best thing for the Mayhem Series? Absolutely. This series of events became the catalyst for the next book. And yet, I was still grappling with how to move past it.
The holidays rolled around, and I reverted back into my happy-go-lucky self again. During that time, I started writing Book 4 of my Grafton County Series, but even this new storyline pierced several layers of my heart, illuminating the fact that I may never escape emotional turmoil.
Fast-forward to the beginning of February. My publisher and I worked with the cover designer for Silent Mayhem. On the day the final cover popped into my inbox, my editor sent back the first round of edits.
No big deal, I told myself. I’m a professional. I’ll just leapfrog into the story, bang out the edits, and then plunge back into my WIP. Easy peasy, right?
I read the story one last time from start to finish, making my corrections along the way. Well, I soon found myself in the same quandary, the storyline almost crippling me emotionally.
Friday night I finished my edits and had planned to reopen my WIP on Saturday morning, but as I sat at my desk, I wasn’t able to let go of Silent Mayhem, the storyline tearing open scars I didn’t even know existed. No matter how hard I tried, I couldn’t shake off the emotional upheaval. This isn’t the first time it’s happened, either. Unlike before, though, I don’t have the luxury of processing my feelings ad nauseam, or even take a well-earned break. Grafton County, Book 4, is due in March.
So, what do you do? Exercise, read, watch a movie … anything to take your mind off the story, right? But what if you still can’t flip the emotional switch to off?
I turned to our ol’ friend Google for the answer. Surely other writers have experienced the same thing. One brave soul must have written about it, right? Surprisingly, I couldn’t find one post. Not one! I read about specific emotions that may lie at the heart of my unrest … grief, betrayal, uncertainty, vengeance, etc. etc. But nowhere could I find advice on this topic as a whole.
What would you even call it, Wounded Writer Syndrome?
Psychology Today has a fantastic article about trauma and how writing about it can help heal us. Writer’s Digest also advocates using a traumatic experience to fuel our writing. Harvard Medical School uses the term “expressive writing” when writing becomes cathartic after a difficult life event. But what if writing caused the trauma?
After a lot of soul-searching, I came up with my own way of coping.
The first step is the hardest of all. It requires us to delve deep within our psyche and unearth the root cause. At what point in the story did our emotions entangle with the character’s? Where did we lose control? Is there a certain scene or chapter that arouses a physical reaction, like crying, shaking, or squirming in the chair? If we’re able to pinpoint the exact moment that first had a profound effect on us, the healing process can begin.
Expressive writing may hold the key to healing a wounded writer’s soul, even if the trauma’s self-inflicted. Expressive writing is also beneficial to our overall well-being. Researchers studied the effect of expressive writing on everything from asthma and arthritis to breast cancer and migraines.
They conducted a study in Kansas, where women with breast cancer experienced fewer symptoms and went to fewer cancer-related appointments in the months following expressive writing. The aim of the study wasn’t to combat the disease, and the authors of the paper don’t claim the actual cancer cells were affected. However, the study shows other aspects of the women’s health improved faster than the control group, who merely stated facts rather than expressing the emotional impact of the disease.
What does the act of committing words to paper do? Initially it was assumed this simply happened through catharsis, that people felt better because they’d let out their pent-up feelings. But then Pennebaker began looking in detail at the language people used in their writing.
He found that the types of words people used changed over the course of the four sessions. Those whose wounds healed the fastest began by using the word “I” a lot, but in later sessions moved on to saying “he” or “she” more often, suggesting they were looking at the event from other perspectives. They also used words like “because”, implying they were making sense of the events and putting them into a narrative. So Pennebaker believes that the simple act of labelling your feelings and putting them into a story is somehow affecting the immune system.
I propose the same holds true for those of us afflicted by Wounded Writer Syndrome. Find the exact moment in your story and write about how that scene, or scenes, affected you, the writer. At that point, we can then piece together our shattered spirit … just in time to traumatize ourselves all over again with the next book. 🙂
Have you experienced Wounded Writer Syndrome? What are some ways that helped you heal?
By SUE COLETTA
Lately, I’ve been consumed by my WIP. It happens with every book. You know the drill. At a certain point something inside takes over. No more struggling, no more hair-pulling, no more research trips down endless rabbit holes. Instead, we spend more time “in the zone” than out of it.
Keep that in mind while I share this conversation between me and my husband, Bob — with pics!
He’d just stretched out after a long day doing tile work as a favor for a friend, so exhausted he didn’t have the energy to take his boots off yet.
I’m sitting across from him. And within seconds, I’m enthralled by his boot treads. I can’t tear my gaze away, my mind whirling with endless scenarios of how I might use them in my WIP.
Bob: Why’re you staring at my boots?
Me: How long have you had those? Didn’t I buy ‘em, like, two Christmases ago?
Bob: Yeah. Why?
Me: Two years … gee, I woulda thought you’d have more of wear pattern by now. You must walk fairly even.
Bob: Thanks, I think.
It was more of an observation than a compliment, but he didn’t need to know that.
Eyes in a squint, I lean in to study the details of each tread, searching for any anomalies I could use.
Bob: What’s so fascinating about my boots?
I thumb the camera on my iPhone and aim at the treads. “Straighten your feet.”
Bob: In your mind, they’re bloody, huh?
Me: Why do you always assume the worse?
Okay, fine. Maybe I was envisioning blood in the grooves, but nobody likes a show off. 🙂 My main focus, however, was the type of impression these specific boots would leave in snow. At a crime scene, if footwear evidence is found and collected, examiners can compare these unknown impressions to known impressions, collected from other crime scenes and stored in databases.
To do this, examiners use three main characteristics for analysis …
Class characters result from the manufacturing process and are divided as “general” —characteristics that are standard for every item of that make and model — or “limited” — any variations that are unique to a certain mold. Two boots may have identical tread patterns but may also hold slight differences due to imperfections in the molds during manufacturing.
Back to Bob’s boots for a moment. This time, let’s zoom in …
See that tiny dot on the “S” in Sorel? On his right boot it’s on the bottom. On his left, it’s at the top. The “O” is filled in on the left but not on the right. Also on the right, it almost looks like there’s an apostrophe after the O, as if the brand spells its name as So’Rel. These imperfections are the perfect example of class characteristics.
Individual characteristics are unique to a particular shoe that’s worn from use, not manufacturing. Suppose someone steps on a nail. That nail hole is there for the life of the shoe, and that mark will show in the impression. Same holds true for a cut or gouge from stepping on something sharp, like broken glass. Even a small stone or twig stuck in the grooves of the tread will transfer to the impression.
Wear characteristics result from the natural erosion of the shoe caused by use. Specific wear characteristics include the wear pattern, the basic position of tread wear, the wear condition, the amount of depth of the wear, and the damage to, or destruction of, the tread pattern. The location and amount of tread loss varies for each individual, wearing that particular brand and style of shoe, based on how and where they’ve walked and the length of time they’ve owned the shoe.
Footwear impressions provide valuable information for investigators …
Prints are divided into three types …
A visible print is exactly like it sounds. These prints can be seen by the naked eye. Think: bloody shoe prints across a linoleum floor.
A plastic print is a three-dimensional impression left on a soft surface, like in sand, mud, or snow.
A latent print is one that’s not readily visible. It’s created through static charges between the sole of the shoe and the surface. Examiners use powders, chemicals, and/or alternative light sources to find latent prints. Think: a burglar’s shoeprint on a window sill.
The FBI compiles and maintains a footwear (and tire tread) database, which contains manufacturers’ information, as well as information from previously submitted evidence. But did you know the National Institute of Justice also maintains various forensic databases? They sure do. Which is perfect for an amateur sleuth character who doesn’t have access to the FBI’s database.
For print impressions, the NIJ maintains three databases called …
For detailed information about how each database works, here’s the link to help with your research.
Knowing the basics of footwear impressions, I thought I was all set to write my scene. But if experience told me anything, it’s that a hands-on exercise trumps imagination. Hence why I’ve trapped myself in a steel drum to experience my character’s terror. And why, after spotting the boots, I dragged my poor husband outside to make prints in the snow.
Turns out, he had more of a wear pattern than I thought. After close inspection of several prints, worn spots in the grooves of the heel, toe, and instep revealed themselves. Guess someone doesn’t walk evenly after all. 🙂
If Bob hadn’t stretched out after work with his boots still on, and I wasn’t sitting across from him, consumed by my WIP, my story wouldn’t’ve taken a hard-right turn and led to several intense, gripping scenes. And I probably wouldn’t have written this post, either. Isn’t it amazing how that works?
We writers need to remain open to outside stimuli. If your short on ideas, you’re not paying attention to the world around you. Look through the writer’s lens at all times. That’s the biggest takeaway from this post (outside the helpful info. re: footwear impressions ;-)).
Our experiences bleed through every page we write. So, go ahead and drag your spouse/neighbor/friend into the snow to make prints, if that’s what you need for research. Or pause to listen to the throaty rattle of a raven, if you need a moment of clarity. Life is our greatest ally. Don’t squander the gift of perception by ignoring her.
Has real life ever collided with your fiction? Are you viewing the world through a writer’s lens? Please share a brief sliver of time. Like when a raindrop catches kaleidoscope colors as it rolls down a windshield or how the neighbor’s cat only limps when his owner’s watching.
I really liked TKZ contributor Debbie Burke’s Feb 5th post “Eight Tricks to Tap into your Subconscious for Better Writing.” The mind is an interesting resource for writers. I’ve heard other authors say they dreamed a plot or how certain insights come to them while they sleep. I’ve personally had strange experiences in what I call “twilight sleep,” the realm between sleep and fully awake.
Many experts on dream studies say that dreams exist to help us solve problems we’re experiencing in our lives, or can help us tap into memories and process emotions. It’s possible that if you go to bed with a troubling thought – like a plot point that’s implausible or a character motivation that doesn’t feel right – sleep will allow your mind to come up with a resolution by the time you wake up.
Our own James Scott Bell has a term for this phenomenon. He calls the working brain at night – the boys in the basement. They don’t need to sleep. I’ve experienced this many times. That’s why I keep notepads near my nightstand or jot down ideas on my phone when they come to me after I wake up.
Have you ever sensed you were dreaming INSIDE of a dream? You might’ve experienced a “lucid dream.” Research has shown that lucid dreaming is accompanied by an increased activation of parts of the brain that are normally suppressed during sleep. Lucid dreaming represents a brain state that falls between REM (rapid eye movement) deep sleep and being awake.
Some people who are lucid dreamers are able to influence the direction of their dream, changing the story, in a manner of speaking. While this may be a good tactic to take, especially during a nightmare, many dream experts say don’t force it. It’s better to let your dreams occur naturally.
Hypnagogia is the transition between wakefulness and sleep. It’s what I call “Twilight Sleep” and it has nothing to do with sparkling vampires. It’s a state of mind where you may experience lucid dreaming.
In this state, you can tap into all the good ideas you have stored up, uninhibited by rational thought and insecurities. You’re open to all things. It’s how authors can go to bed knowing our manuscript has a flaw, but not knowing how to fix it. Our mind (or the boys in the basement) come to our assistance during the night when we are open to ideas.
Hypnagogia can also manifest in other ways, like when we may hear strange noises in our house–at the moment we wake up–and we KNOW someone has broken in. This could explain the monsters in our closet when we were kids or how we see dangers hidden in the shadows of our room. We’ve tapped into the primitive primal fear that animals experience where they trust their instincts (in order to survive) and react on pure reflex.
I have an experience like this and never forgot it. It happened in the afternoon while I was napping after a long exhausting day at work. I had the sensation that I was dreaming inside a dream, but I was certain someone was in the empty room with me. I even felt the bed move when they sat next to me. I got the sense they were staring down at me. I was so terrified (my body reacted with the fear – my heart raced and my lungs heaved) that I refused to open my eyes. I was so sure my nightmare would be confirmed. I sensed being touched, but still, I didn’t open my eyes. I never did. But I never forgot the feeling of abject, paralyzing fear and have written it into my stories.
Hypnagogia might possibly be one of the mind’s most vital tools for creativity and for tapping into the words to describe the high tensions or emotions we need to write a scene we may never had experienced personally.
I believe it takes time to train our minds to open like this, but it could be a good exercise. I know that when I first started writing, I had to tap into my brain to hear dialogue from my characters and visualize each scene. Over time I got better at it. Now it’s impossible for me to be in public. I have no filter between my brain and my mouth. Have any of you experienced this? Oy. It can be a curse, but no regrets. I love how it works when I write–so worth it.
Some authors use image boards to trigger their imagination for the world they are creating, but what if you could tap into twilight sleep and manipulate ideas in your mind – to imagine them more deeply? Find a dark room in the afternoon and relax. Shut your eyes and clear your mind. I sometimes visualize numbers floating in the darkness behind my closed eyelids and count down until I am completely relaxed.
You don’t want to fall asleep, so you might consider holding something that will wake you if it falls. Salvador Dali used to hold steel balls that would make a noise when they dropped. Thomas Edison used to hold a metal ball over plate tins that would cause a racket if he let them drop. Test what works best for you in this process.
Does it help to record your results immediately after? A nearby notepad could help solidify your ideas visually as you write them down. Try these sessions for a short period and make the most of them as you get better. I find that if nothing else, the quiet time is good for the soul.
If you are a sound sleeper and don’t wake up until the morning, you are less likely to remember your dreams compared to people who wake up several times in the night. Try these tips to improve your ability to remember your dreams:
1.) Wake up without an alarm. You are more likely to remember your dreams if you wake up naturally than if you use an alarm. An annoying alarm can shift your focus to turning the blasted thing off and away from your dream.
2.) Tell yourself to remember. If you want to recall your dreams and make a fully aware decision to do so, you are more likely to remember your dreams in the morning. Before you go to sleep, tell yourself that you want to remember your dream. It may take practice.
3.) Dream playback. If you think about the dream right after waking, it may be easier to remember it later. Which has worked best for you? Making note of it immediately after or is it better to have patience and recall it later?
SUMMARY – This may seem odd if you hadn’t considered it before, but if you’ve been writing for years, can you recall how much your imagination has grown since the beginning? How has your process changed over the years? Have you noticed the changes? As I write, I find it easier to tap into my imagination now than when I first started out. Like I said, my mouth has no filter, by design. This is a good thing as a writer. Not so much if you hang around normal people.
1.) Has anyone experienced Hypnagogic writing? What were the results?
2.) Do you know anyone who has experienced dreams that they used in their writing? Has it happened to you? Tell us about it.
by Debbie Burke
The subconscious is the writer’s superpower. Ideas, imagination, and inspiration live in that vast reservoir.
The goal is to open a channel between the conscious mind and the subconscious to allow free flow between them.
Like a physical muscle, the subconscious is a mental muscle that can be made stronger with exercise. Many writers don’t use it enough because they don’t understand its value or don’t know how to tap into its depths.
The mind is often compared to an iceberg—only a small part shows as “conscious” while the unseen majority is “subconscious.”
What is the subconscious? Novelist/writing instructor Dennis Foley reduces the definition to a simple, beautiful simile:
The subconscious is like a little seven-year-old girl who brings you gifts.
Unfortunately, our conscious mind is usually too busy to figure out the value of these odd thoughts and dismisses them as inconsequential, even nonsensical.
The risk is, if you ignore the little girl’s gifts, pretty soon she stops bringing them and you lose touch with a vital link to your writer’s imagination. But if you encourage her to bring more gifts, she’s happy to oblige.
Sometimes the little girl delivers the elusive perfect phrase you’ve been searching for or that exhilarating plot twist that turns your story on its head.
At those times, she’s often dubbed “the muse.”
The trick is how to consistently turn random thoughts into gifts from a muse. Here are eight tips:
#1 – Be patient and keep trying.
Training the subconscious to produce inspiration on demand is like housetraining a puppy.
At first, it pees at unpredictable times and places. You grab it and rush outside. When it does its business on the grass instead of expensive carpet, you offer lots of praise. Soon it learns there is a better time and place to let loose.
Keep reinforcing that lesson and your subconscious will scratch at the back door when it wants to get out.
#2 – Pay attention to daydreams, wild hare ideas, and jolts of intuition. Chances are your subconscious shot them out for a reason, even if that reason isn’t immediately obvious.
Say you’re struggling over how to write a surprise revelation in a scene. Two days ago, you remembered crazy Aunt Gretchen, whom you hadn’t thought about in years. Then you realize if a character like her walks into the scene, she’s the perfect vehicle to deliver the surprise.
#3 – Expect the subconscious to have lousy timing.
That brilliant flash of inspiration often hits at the most inconvenient moment. In the middle of a job interview. In the shower. Or while your toddler is having a meltdown at Winn-Dixie.
Finish the task at hand but ask your subconscious to send you a reminder later. As soon as possible, write down that brilliant flash before you forget it.
#4 – Keep requests small.
Some authors claim to have dreamed multi-book sagas covering five generations of characters. Lucky them. My subconscious doesn’t work that hard.
Start by asking it to solve little problems.
As you’re going to bed, think about a character you’re having trouble bringing to life. Miriam seems flat and hollow but, for some reason you can’t explain, she hates the mustache on her new lover, Jack. Ask your subconscious: “Why?”
When you wake up, you realize Jack’s mustache looks just like her uncle’s did…when he molested Miriam at age five.
Until that moment, you didn’t even know Miriam had survived abuse…but your subconscious knew. That’s why it dropped the hint about her dislike for the mustache. She becomes a deeper character with secrets and hidden motives you can use to complicate her relationship with Jack.
#5 – Recognize obscure clues.
This tip takes practice because suggestions from the subconscious are often oblique and challenging to interpret.
You want to write a scene where a detective questions a suspect to pin down his whereabouts at the time of a crime. You ponder that as you drift off to sleep. The next morning, “lemon chicken” comes to mind.
But you start typing and pretty soon the scene flows out like this:
“Hey, Fred, you like Chinese food?”
“Ever try Wang’s all-you-can-eat buffet?”
“That’s my favorite place. Their lemon chicken is to die for.”
“Yeah, it’s the best.”
[Fred relaxes] “But not when it gets soggy. I only like it when the coating is still crispy.”
“Right you are. I don’t like soggy either.”
“Detective, would you believe last night I waited forty-five minutes for the kitchen to bring out a fresh batch?”
“Wow, Fred, you’re a patient man. About what time was that?”
“Quarter to eight.”
“So you must have been there when that dude got killed out in the alley.”
[Fred fidgets and licks his lips] “Um, yeah, but I didn’t see anything. I had nothing to do with him getting stabbed.”
“Oh really? Funny thing is, nobody knows he got stabbed…except the killer.”
Lemon chicken directed you to an effective line of questioning to solve the crime.
#6 – Tiny details pay big dividends.
You’re writing a story about a woman, Susan, searching for her dead grandmother’s missing diamond. In the description of Granny’s garden, an empty snail shell appears. Seems kind of silly but it’s first draft so you leave in the detail. You can always cut it later.
In the second draft, you realize, when Susan was little, she and Granny used to collect snail shells.
Now Susan goes outside and picks up that empty shell you’d left earlier in the garden. The diamond falls out.
Before she died, Granny hid the diamond where only her beloved granddaughter would think to search because of her long-ago interest in snail shells.
Like the mustache mentioned earlier, you didn’t know the story needed that detail but your subconscious did. It planted the seed, sat back, and waited for you to recognize it.
#7 – Bigger problems need more time.
In my WIP (working title: Eyes in the Sky), an unseen mastermind is pulling strings to cause harm to the main characters. At page 100, that antagonist is revealed to the reader but remains unknown to the protagonists.
A beta reader suggested keeping his identity secret until even later to increase suspense. It was a great point but would require major rewriting.
For several weeks, I pondered the problem both consciously and subconsciously.
At last, my muse offered a different solution. The mastermind is still identified at page 100. But now suspicion additionally falls on a minor player. That secondary character has an even more compelling motive to harm the protagonists. I simply hadn’t recognized it until my subconscious brought it to my attention.
Rather than withholding the identity longer, instead I beefed up the additional suspect to make the reader wonder which antagonist is the ultimate villain.
Tip #8 – Practice trigger activities.
Whenever a story gets caught in a corner, I go for a walk. I stretch out stiff muscles, breathe fresh air, and let my mind wander.
Before long, the solution pops up from my subconscious and I rush back to the keyboard.
Walking is my trigger activity. It works. Every. Single. Time.
That’s because, for years, I’ve conditioned my subconscious. Like a bell at a factory that signals the start of the shift, a walk signals my subconscious that it’s time to go to work.
Through experimentation, you can find a trigger activity that opens the channel between your conscious and your subconscious. It might be listening to music, reading, playing basketball, meditation, skydiving—what you do doesn’t matter, as long as it works for you.
Once you find your best trigger, use it whenever you need your subconscious to produce. The more often you use it, the stronger the reinforcement between the activity and the results.
That little seven-year-old girl wants to please you. She is happy to bring gifts as long as you keep encouraging her.
When the channel between the conscious and subconscious flows freely, the deep well of imagination bubbles up.
Your writing will show the difference.
TKZers, do you have favorite tips to access your subconscious?
Post script: recently Joe Hartlaub blogged about improving creativity by writing with a font called “Comic Sans.” Sounded pretty woo-woo but I always trust Joe’s advice so I tried it while drafting this post. It works. Thanks, Joe!
“Very easy to apply. Great instructions…Product works great just like the expensive ones you buy at the store.”
It’s available on Amazon here.
Debbie and I were surfing the same wavelength this week. If you didn’t get a chance to read her post, be sure to check it out.
As technology has become more integral to daily life, authorities have increasingly sought evidence from mobile phones, laptops, social media, and even a video game.
Last summer, I heard about a murder case in Arkansas. The high-profile defense attorney, Kathleen Zellner — best known as Steven Avery’s attorney in season two of Making a Murderer — petitioned the court for Amazon Echo recordings.
The Amazon Echo entered the November 2015 murder case after Victor Collins (47), a former Georgia police officer, died in the suspect’s hot tub. An observer told police he’d heard music streaming through the device that evening.
Zellner’s client, James Bates, invited two friends to his Bentonville home to watch college football, drink beer and shots of vodka. After the game, the three men slipped into Bates’ hot tub. Around 1 a.m., Bates said he went to bed. When he woke in the morning, Collins was floating face-down in the hot tub.
The defense contended the death was a tragic accident, stemming from high levels of alcohol. At the time of death, Collins’ blood-alcohol content was at .32, four times the legal limit to drive in Arkansas.
Investigators believed Collins’ body showed evidence of strangulation prior to drowning. Signs of a struggle they’d seen in the house, including a broken shot glass, dried blood on the floor, injuries to both Collins and Bates, and indications that someone hosed down the patio and hot tub before police arrived. They further contended Bates’ water heater, another smart device, recorded an exorbitant amount of water used in the early morning hours, in what investigators believed was an attempt to conceal the crime. The defense argued the same amount of water had been used 12 hours prior to the night in question.
After Amazon released the recordings, the prosecution dropped all charges against Bates. Why? The DA stated, “They cannot meet the legal requirements to proceed.” No further mention of the Echo recordings, but writers don’t need the outcome to envision the story Alexa might tell.
See where I’m going with this? We could spin the recordings anyway we want. Keep that in mind while you read this next case.
Fast-forward to January 27, 2018, when Amazon Echo recordings could solve a brutal double homicide.
In my home state of New Hampshire — a 30-40 minute drive from where I live — two slayings rocked the quaint Farmington community. In the early morning hours of January 29th, Dean Smoronk returned home after a trip to Florida. When he arrived, his live-in girlfriend, Christine Sullivan, and a friend, Jenna Pellegrini, who was staying with the couple at the time, were both missing. He called 911 around 3 a.m., and said he thought there’d been a murder.
When officers arrived at the scene, Smoronk pointed out a large blood stain on the mattress in the upstairs bedroom and dried blood in the kitchen, with a blood smear on the refrigerator. Hours later, New Hampshire State Police found the two women cocooned in tarps, stuffed under the porch. Eight stab wounds littered Sullivan’s body, her skull fractured by a blunt object. Pellegrini’s head, face, and chest showed 48 stab wounds.
During the search, investigators also found several knives wrapped in a flannel shirt — the same flannel shirt worn by Timothy Verrill, caught on the home’s surveillance footage that night. Verrill was a known drug dealer in the area. At the time of the killings, he was friends with Sullivan and Smoronk. Some speculate he was also Pellegrini’s boyfriend, but there’s some conflicting evidence on whether that’s true. Allegedly, Verrill feared the two women were working with authorities on an undercover sting, of which he was the intended target.
State Police seized an Amazon Echo from the crime scene. Had Alexa recorded the murders and subsequent cover-up?
On Oct. 30th, Senior Assistant Attorney General Geoffrey Ward asked the judge to direct Amazon.com to produce any recordings made between Jan. 27 and Jan. 29, 2017, suggesting evidence of the murder and/or hindering prosecution could be found on the device.
In the motion, made in lieu of an application for a search warrant, Ward wrote, “As part of the normal functioning of an Echo electronic device, activated either intentionally or accidentally by ‘wake up words,’ audio recordings are made from the moment when the device is activated. Specifically, when the Echo detects a ‘wake up word(s),’ the device begins audio recording through its integrated microphones, including recording the fraction of a second of audio before the ‘wake up word(s).’”
Wake up words include Amazon and Alexa, but as Debbie pointed out, Alexa records even when those words aren’t mentioned.
Ward’s motion also asked for a wider scope in order to identify cellular devices that paired with the smart speaker within the same time period.
The judge ordered Amazon to hand over the recordings. No word yet on what Alexa overheard that night. The trial begins in May, 2019.
So, TKZers, if you were writing these stories, what would you reveal in the recordings? Get your creative juices pumping by including a jaw-dropping twist!
WINGS OF MAYHEM is on sale for 99c.
“The story spins ahead with escalating velocity and well-rendered literary layers, always leaving the reader pleading for more information while delivering just enough with exquisite timing, always nailing a clear and rationale dissection of what seemed in the moment like insanity or illogic. The craft of the writer is on display from page one, with intense pacing, deeply drawn characters and a matrix of plot elements that never lets you see the big picture as completely as you think you do, thus setting up an ending that demands you stick with it until the final, unexpected twist.” ~ USA Today Bestselling Author Larry Brooks
I’m shy/not shy about discussing my writing “process.” I actually dislike the word “process” when it comes to writing because it makes writing sound both vaunted and ridiculously precious at the same time.
I’m often shy sharing mine here because the posts on TKZ are created by professional, grown-up writers. Most have regimented schedules, produce work, reward themselves, and move onto the next project. They support families and/or themselves. Writing is a job. They also have other jobs, whether they be at home, or working outside the home. They blow me away every day with their dedication, creativity, and professionalism.
Weirdly, I’m also a professional, grown up writer. Though I’m a professional writer who has resisted schedules all her life. The ADHD is an issue. My brain can truly hyper-focus, but when it’s not hyper-focusing, it’s constantly on fire. It can’t be still at all. It constantly searches for novelty and stimulation. ADHD meds clamp down my creativity like an empty yogurt carton trapping a spider in the front hallway. Oh, and the yogurt carton has the Complete Works of Shakespeare on top of it. No more web-spinning, fly-sucking, or terrorizing the kiddies for that spider! (Hmmm. That about describes my creativity, though I’ve never actually drained a fly. I found myself weirdly desirous of eating a dead one once–but that’s another blog.)
Every so often, I dive into schedules and calendars and self-help books and organization projects. They delight me! The future immediately looks so bright! I love the idea of not writing at two in the morning because I couldn’t settle down all day to the work. (I don’t enjoy overnight writing, but I often do it out of necessity.) Schedules discourage writing right up to deadline. What a brilliant concept. I’ve actually done it a few times and it was AMAZING. Like Graeter’s Ice Cream amazing. First kiss amazing. (Actually, my first kiss was kind of awful. But that’s also another blog. Or not.) Finding six Hershey’s kisses from last Christmas at the back of the cabinet when you’ve been out of chocolate for an entire day amazing. Dang, that’s a great feeling, isn’t it?
I’ve been in next-book mode for months and have restarted it three times. We’re talking between 30 and 50 pages started. I just couldn’t figure out WHERE the book needed to start because it’s a story with a higher number than my usual amount of turning points. (Hey, I used one of those professional writer terms here. Woot.) This is a big book, a big story. It’s opened in different time periods and with different characters. Also different POVs. Many (more sensible) writers would’ve moved on to another idea by now. Another writer might have been at their desk daily at 8:30 a.m. and gone through the three restarts in a few weeks.
Did I mention I’m 56.5 years old? I’ve been writing for thirty years. Honestly, my meandering process has changed little. I’ve written ten novels (eight of which have been published, 2 will remain unseen), anthologies, short stories, essays, blogs, articles, book reviews. There were even several profitable copywriting gigs. Somehow I’ve produced a reasonably significant amount of work.
But I still hunger for the right schedule. The right way to work. The right amount of finished pieces. I still imagine there’s a Platonic Ideal of Laura’s Writing Career out there.
Perfectibility is the eternal illusion. A quest at least as old as the first cave artist who sketched an Ibex that came out looking like a prairie dog, scraped it off and tried again. And again. Funny how we look at so many of those cave paintings now and think them wondrous. Are they perfect? Who’s to say? By what standards can we judge ancient art? We can classify it. Trace developments over time by looking at similar work. Say one artist’s work is somehow better than another. But each effort stands alone. Human creations are imperfectible, just like humans. (My opinion, y’all. I’m not itching to argue religion or philosophy here…) Here’s the cool thing I’ve discovered about the desire for perfection, though: It keeps me striving. As long as I don’t constantly kick myself for not ever being perfect, I still get plenty of satisfaction.
I will probably die with the notion of the Platonic Ideal of Laura’s Writing Career in my head. Oh, well. It’s definitely far less difficult to live with than it used to be.
Every time I post on Facebook these days, I get some stupid message about how people really respond better to posts with pictures. “Posts with pictures are more popular than posts without pictures, Laura Benedict. Why don’t you include some pictures in this post? And, by the way, you can go ahead and add your photos to this post, and we will automatically remove any preview links you’ve already included in the post, thus completely destroying it. You may then add pictures to your new post.”
So I’m going to add some pictures here. This is what my life has been like over the past five days in which I was hyper-focusing on the third start on this novel. I’m pretty sure I got it almost right this time, in the tradition of horseshoes and hand grenades.
They’re not lovely pictures. But in my life, creation is messy, and occasionally people have to make their own dinner.
After the photos: Tell us about your process. Or your quest for perfection. Or creativity/work habits that really work for you. We are always open to new ideas here!