Category Archives: #writerslife

Sugar Daddies: Sweet Treats or Sticky Situations?

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By Elaine Viets

Long before “sugar daddy” was a popular term, rich, older men gave pretty young women money and expensive presents for companionship or sex.

Call them protectors, benefactors or Santa baby, sugar daddies have been celebrated in operas, pop songs, movies, and television.

Puccini’s 1898 opera, La Boheme, has two sugar daddies. The Viscount is Mimi’s protector and rich, old Alcindoro keeps the brassy Musetta in fine clothes. Movies from “Breakfast at Tiffany’s” to “Pretty Woman,” are variations on the sugar daddy theme.

Where did the term come from?

The Ginger website says, “The word ‘sugar’ has been slang for money and luxury since the mid-19th century, and defines the nature of the relationship between the couple. The word ‘daddy’ was slang among prostitutes for an older man since the 16th century, and refers to the age difference between the two.

“Sugar daddy” has been used since the beginning of the 20th century, supposedly when Adolph Spreckels, heir to the Spreckel’s sugar fortune, married a woman 24 years younger, who called him “Sugar Daddy.”

That’s one theory, anyway. In the 1920s, a candy called Papa Sucker, (no, I’m not kidding) was born. In 1932, the sucker was renamed Sugar Daddy to suggest “a wealth of sweetness” according to Tootsie Roll Inc.

Yeah, right. I’ll ignore the fact that a Sugar Daddy is a sucker

The company didn’t try to explain the smaller, chewy Sugar Babies.

By that time, it was pretty clear that sugar daddy and sugar baby had nothing to do with candy.

About ten years ago, sugar daddies went online, and there are many sites where wealthy, older men can meet sweet young things. It’s called sugaring, or sugar dating. Some young women claim they’re sugar babies to pay for college, or enjoy luxury travel.

Is sugar dating prostitution?

Depends. A Texas law firm says, “Dating partners of all ages often exchange gifts or help each other with financial obligations. This does not break the law. However, many sugar baby relationships do blur the lines between relationships and prostitution. In Texas, it is illegal to offer sexual conduct for money. It is also illegal to pay a fee for sexual conduct.”

I use this modern twist on sugar daddies in “A Scarlet Death,” my new Angela Richman mystery. Selwyn Skipton, a rich, respectable old man, is found strangled on black satin sheets.

Turns out Selwyn had a secret life. He was a sugar daddy. Here’s a section from “A Scarlet Death” where death investigator Angela Richman tried to explain sugar dating to a sceptacal Det. Jace Budewitz. They are in a Chouteau Forest coffee shop, reading the late Selwyn’s computer files.

Jace brought another round of coffee, and we read in silence for about half an hour until I hit pay dirt. “Jace, you won’t believe this. Selwyn was a sugar daddy.”

“You mean like in the movies? A rich old guy who buys diamonds and gifts for pretty young women?”

“Sort of. Sugar daddies don’t have to wait by the stage door to pick up blondes any more. Now they can find them on the internet.”

“Of course they can,” Jace said.

“Selwyn used a site called DatingDaddies.com. From what I can figure out, he’s dated several sugar babies. The website says, ‘Sugar babies are young, attractive women paid to provide “companionship” to their daddy.’

“That word, ‘companionship’ is in quotes,” I added. “Here’s the rest: ‘Daddies may give their sugar babies presents or help pay their rent. The degree of intimacy is between the daddy and his sugar baby.’

“I can almost see the wink,” I said.

“Here’s an ad Selwyn saved for a sugar baby named Tammi.”

I read it out loud:

‘“I am twenty-one, a sweet, fun-loving business major. I want a Daddy with a kind heart. I prefer mature Daddies. I don’t smoke, but I do enjoy champagne and good conversation. Color me passionate about art. I love to talk about it, especially nineteenth-century artists. Or, if you want to have a quiet evening, Daddy, I’m a terrific listener. I’ll do my best to make you happy. I would love to find a business-savvy Sugar Daddy. In my free time I like to read and go for long walks.’

“Get this, Jace. Her username is Clover Honey.”

“Is this for real?” Jace asked. His eyes were round.

“Definitely. There are a zillion sugar baby websites. Tammi uses a pretty standard headline for her bio. It says, ‘Let’s have a secret.’ I see that one a lot.”

“What’s the difference between a sugar baby and a prostitute?” Jace asked.

“Not much,” I said. “But I’m old-fashioned. Sugar babies who charge outright often have ‘P2P’ in their ads. That means ‘pay to play.’ Most just want gifts or rent money.”

“If those men give their sugar babies money, that’s prostitution in my book,” Jace said.

“I’m not arguing with you, but sugar babies seem to be good at rationalization. Supposedly, many of them are college students trying to avoid student debt.”

“Right,” Jace said. “And strippers have hearts of gold and only take off their clothes to help their sick old mothers.”

Jace was usually more open-minded. I shrugged and said, “Just passing on the information.”

“Any photos of this Tammi sugar baby?”

“Yes, but her face is either hidden or in shadow in all three photos. In one photo she’s hugging a big chocolate Labrador, and all I can see is her long, blonde hair. In another, she’s wearing a teeny red bikini, and her face is shadowed by a big straw sunhat. In the third photo, she’s peering through palm tree fronds. About all I can see in any of the photos is long blonde hair, long legs and a big bust.”

“How can a sugar daddy make a decision, if he can’t see the woman’s face?”

“From what I’ve read, if a daddy is serious, the sugar baby will send photos so the man can see her face.”

Jace shook his head. “Sounds dangerous for both parties.”

“It is,” I said. “Sugar daddies have been blackmailed and some were murdered when they quit forking over cash. Sugar babies have been raped when they didn’t put out, and even killed.”

“That’s what I thought,” Jace said. “So these sugar babies have the same risks as hookers.”

“Seems like it. The sugar babies are paid well for it,” I said. “This file says Selwyn paid Tammi $85,000 in six months.”

Jace whistled. “I bet none of the women in the Forest are sugar babies.”

“Ha. You’d be surprised. I’m guessing some are. Sugar babies can be rich, bored, young women who want a short walk on the wild side, or their real daddies have cut off their allowance and the women want designer clothes.”

“That’s just greedy,” Jace said.

“May I ask why you seem to hate sugar babies?”

“I don’t hate them,” Jace said. “I have more respect for women who just say they’re sex workers. They don’t play games.”

What do you think about Sugar Daddies and Sugar Babies, TKZers?

 Reviewer Cynthia Chow calls my new Angela Richman mystery, “an outstanding procedural that depicts Angela’s death investigations while also delving deep into class structures and the behavior of the entitled.” Win a copy at Kings River Life. https://www.krlnews.com/2024/06/a-scarlet-death-by-elaine-viets.html

 

Emotional Trigger Words + The Id

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A trigger word is a word that evokes a strong emotional reaction to compel someone to act. The reaction could be anything from clicking an article, opening an email, or buying a product. Like with most things in life, we don’t want to abuse trigger words. If used ethically, trigger words can help our books/newsletters/blog/articles reach a wider audience.

How are Emotional Triggers Formed?

The same way we trigger emotion in readers—tickle the senses. Some of our most powerful memories include the smell, sound, or taste of certain things when associated with a positive or negative connotation. But trigger words work differently.

All decisions made by us or others consist of multiple conscious and subconscious emotions. By delving into the psychology behind human behavior, we can increase sales and visibility.

4 Emotional Triggers

#1) Belonging

It’s human nature to want to belong to something. The writing community, a family, book clubs, critique groups, a religious organization, or other social groups. Giving people a sense of belonging works remarkably well. For example, I write “join my community” rather than “subscribe (which has a negative connotation) to my newsletter.” That little tweak makes a huge difference in how the message is received.

Trigger words for belonging

  • Community
  • Join
  • Become a member
  • Mutual
  • We
  • Together
  • Society
  • Neighborhood

#2) Fear

I can’t see why authors would want to use a fear tactic, but it’s listed as a marketing ploy. Though you could use fear triggers as keywords or in a book description.

Trigger words for fear

  • Worry
  • Anxiety
  • Concern
  • Terror
  • Death
  • Toxic
  • Mistake
  • Embarrassed
  • Nightmare
  • Doubt
  • Phobia
  • Horrific
  • Disastrous
  • Plummet
  • Warning
  • Danger
  • Looming
  • Shattered

#3) Guilt

Guilt is a powerful emotion, right? Charity organizations overuse this tactic. For us, triggering a guilt response would not be an effective way to market books. But we can use the trigger words in book descriptions or as keywords/key phrases for better targeting.

Trigger words for guilt

  • Goodwill
  • Humane
  • Disgrace
  • Shame
  • Disgusting
  • Charity
  • Donation
  • Mercy
  • Kindness
  • Empathy
  • Generosity
  • Compassion
  • Bleed for
  • Sympathize with
  • Feel for
  • Grief
  • Sorrow
  • Understand

#4) Trust

Trust is important for building a long-term business. When readers trust you to deliver the same quality in each book, article, or newsletter, you’ll build a loyal audience. Don’t try to fake this emotion, or it’ll backfire.

A few ways to show you’re trustworthy

  • Be transparent
  • Display reviews from other readers
  • Be genuine
  • Show you’re human, not perfect

In one newsletter, I wrote, “I have no words of wisdom for you today. The well is dry. I left all my emotions on the page.” I never once tried to fake it. And y’know what? I received the sweetest responses. Being emotionally spent is something we’ve all experienced, so we relate. We empathize.

Trigger words for trust

  • Caring
  • Fair treatment
  • Quality
  • Competency
  • Apologize
  • Sorry
  • Change
  • Never
  • Always
  • Privacy

The Pleasure Principle

In Sigmund Freud’s psychoanalysis, he described the pleasure principle as the instinctual force that motivates people to seek pleasure, to satisfy biological and psychological needs, and to avoid pain. The id resides in a primitive part of the psyche and is the only part of the personality that’s present at birth. Which explains the terrible twos. The ego doesn’t develop till age three or four.

Three major components of personality

  • The id – impulsive part of one’s personality that is driven by pleasure and repulsed by pain
  • Ego – conscious part of one’s personality that mediates between the id and superego and makes decisions
  • Superego – judgmental and morally correct part of one’s personality

Freud conceived the id as the unconscious mind’s primary source of motivation for all human behavior, from basic wants and needs (think: hunger and thirst) to emotional expression, impulses (think: aggression), and sexual desires. The id acts according to the pleasure principle — it seeks to fulfill its needs and desires in any way possible while avoiding pain or discomfort.

We live in a world of immediate gratification. No longer do we need to wait for the stores to stock a new album or novel. We can download it in seconds.

Can you guess how social media might affect the balance of the three components of personality? Likes, comments, and shares feed the id while making it difficult for the ego to mediate the feud with the superego. Hence why some people feel the need to condemn others and cast judgment.

TKZers, have you considered using psychology in your marketing? Do you use trigger words in book descriptions, keywords, and/or marketing?

Please note: I’ll be on the road today and will respond to comments later this afternoon. Hope you all have a fabulous day!

Reader Friday-What’s Your AKA?

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By Deb Gorman

A nickname is a substitute for the proper name of a person, place or thing. It is commonly used to express affection, amusement, a character trait or defamation of character. It is distinct from a pseudonym, stage name or title, although the concepts can overlap. Nicknames are typically informal. Wikipedia

Doing just a cursory search on the internet of the word nickname yielded some doozies–especially those from the middle ages. It might be worth a laugh or two for you to take a look.

Benjamin “Bugsy” Siegel (Image courtesy of Wikipedia)

 

 

I came across Benjamin Siegel, AKA Bugsy. I tried to discover why he acquired that moniker, but couldn’t find the origin. I did find out that his killer was never brought to justice.

I guess a cool nickname doesn’t mean much when you’re a bad guy.

***

I had a couple when I was a wee lass. My siblings called me Debo (pronounced Dee-bo), and my dad called me Housemouse–because I preferred being in the house reading instead of out of the house playing. My dad and brother still call me those names on occasion.

Or, just these . . .

And this one from a way long time ago!

 

 

 

 

 

How about you, TKZers? Did you ever have a nickname growing up, cool or otherwise? Does anyone still call you by that name? And, do you give your characters nicknames?

Do tell  . . .

Running and Writing
  and the Marathon

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Come what may, all bad fortune is to be conquered by endurance.  –Virgil

* * *

Writing a novel is often compared to running a marathon, and my experience dealing with the unexpected in the London Marathon in April 2010 was a good rehearsal for my later efforts in writing.

I’ve never been a good marathon runner. I’m better suited for the half-marathon. But in 2009, having completed three marathons (San Antonio, Vancouver, and Toronto), I decided I’d go for just one more. And I wanted to run one of the big marathons for that once-in-a-lifetime experience.

I told my husband I’d like to celebrate our anniversary in 2010 with a trip to the UK where I would run the London Marathon in honor of our marriage. Then we could spend a week or so vacationing. Frank was supportive, and for some unknown reason, I was convinced everything would go my way.

Hmm.

The major marathons are so popular that they can’t admit everyone who wants to enter. If you’re a very good runner and can meet the qualifying time for your age group, you’ll be entered. But if you’re like most runners (me, for instance) and can’t meet the qualifying time, they’ll put your name into a lottery and it’s just a matter of chance.

So when they opened the online registration in April 2009, I jumped in and registered along with 150,000 other runners. Although only about a quarter of those would get places, I was ridiculously confident. Around October, I received an email from the London Marathon notifying me that I wasn’t chosen. Rats.

But they held out another possibility. I could run for a charity. “That’s even better,” I thought. I could do a good deed as well as run the marathon. So I applied to several of the charities that I thought I’d like to support, and a few weeks later, one of them called. With about four months to go, I had cleared the first hurdle. I was in the race.

I was sure that from then on everything would be smooth sailing. (You can smile now.)

My running buddies at work were all excited that I was going to run the London, and that made me even more determined to do well. When they asked what kind of time I was planning on, I spouted off a near-impossible-for-me number. But if everything went perfectly, maybe I could make it.

Everything did not go perfectly.

  • Our treadmill, on which I was doing almost half of my training, broke. We needed a new one anyway, so we bought a bigger, better model. A few days of training lost.
  • I injured my knee in a tempo run. A couple of weeks of training lost.

I had stumbled over those first hurdles, but my excitement continued to ramp up as the days ticked closer to the race. Since I suffer from jetlag on international trips, we planned to fly to London six days prior to the marathon to allow my body to adjust to the time change before the race. But then…disaster.

  • A few days before our scheduled departure, I woke up to the news that a volcano in Iceland had erupted, volcanic ash was drifting over western Europe, and airports were closing. Heathrow was one of them. Our flight was cancelled.

You can overcome a lot of obstacles. But a volcano? Time to throw in the towel.

But then the winds shifted, and airports reopened. We managed to get on a flight that put us in London in the early morning hours of Friday before Sunday’s race day. Okay, so my jetlag would be a problem, but the excitement of the race would probably overcome that. (Are you laughing yet?)

I dragged myself out of bed on race day after just a few hours of sleep to discover there were more obstacles: the weather was warm (not good) and it was drizzling rain (super not good). Frank and I agreed on where we’d meet after the race, and he walked me to the starting area to join the other thirty-seven thousand people who had paid perfectly good money to punish their bodies for 26.2 miles.

But at least I had made it to the starting line. Now all I had to do was finish.

The London Marathon is unique. It’s a big party, and many of the marathoners wear costumes. One guy was dressed in a full suit of armor and someone else was carrying a huge replica of the Angel of the North sculpture on his back.

As time ticked down to the start, you could feel the buzz in the air. After an entire year of waiting, hoping, training, and planning, the starter’s pistol fired, and we were off.

I wish I could say everything went well.

  • For the first time ever, my GPS watch malfunctioned. Bad omen.
  • Another first: I got a side stitch. At least now I can describe in a book what it feels like to be stabbed just below the ribs.
  • As the miles went on, fatigue set in, and I realized I was getting a blister on one of my heels.
  • By the time I got to the eighteen-mile mark, I was starving. I guess the time change had messed up my body clock. Honestly, if I had seen a child holding a sandwich by the side of the course, I probably would have snatched it out of the kid’s hand and run away before anyone could catch me. But there were no sandwiches, my back and foot hurt, and I was run-walking so slow that I knew I was going to turn in a terrible time.

* * *

That’s when I had THE THOUGHT. I could quit. I could just step off the course, find a volunteer to give me a cart-ride to the finish, and it would be over. I wouldn’t suffer the embarrassment of a poor showing. I’d just tell everybody I was injured and couldn’t finish. I could bandage my foot and take an Advil and eat a steak dinner and forget this stupid marathon. The whole thing was wrong from the start. Why hadn’t I seen that? Why did I have to be so stubborn when there were just too many problems to overcome?

That little exercise in self-pity and frustration got me through the next mile or two. Then I had the SECOND THOUGHT. I would cross the finish line even if I had to crawl. Even if I was the last person across. Even if they had taken down the banners and all the volunteers had gone home and I didn’t get a medal or a T-shirt. Even if my feet were bleeding so profusely that I was leaving a trail of blood behind me on the course. (Self-martyrdom can be useful in certain situations.)

And I knew no matter how long it took, Frank would be waiting for me, and I knew exactly what he’d say when he saw me. After all, this was the race to honor our marriage, not to show off my great (ha!) running talent.

Those reflections got me through another mile or two, and then I was within just a few miles of the finish, so it didn’t make sense to quit.

I crossed the finish line. I didn’t crawl, and I wasn’t the last person in the race. There were still a couple of thousand people behind me, including angel sculpture man and the guy in the suit of armor. A volunteer hung a medal around my neck and someone else handed me a T-shirt that said “LonDONE 25.04.10.” Then I walked into the meeting area and saw Frank waving. As I limped toward him with my hair frizzy from the rain and my clothes damp with sweat, he jogged over and put his arm around me. “Great race, honey.”

* * *

So yeah. Writing a novel, especially a first one, is a lot like running a marathon. You start out with all this enthusiasm and confidence, but then things get hard, much harder than you thought. There are unexpected challenges, and it’s discouraging when agents and publishers don’t immediately see your genius and rush to sign you to a life-long contract.

That’s when many people give up. They hit the wall and decide it’s not worth all the pain and disappointment. According to selfpublishingus.com, only about 3% of people who start writing a book actually finish it. And of those, even fewer have their book published. But for those of us who stay in the race, there’s a satisfaction of accomplishment few have known.

I learned some lessons from the London Marathon that I believe apply to my writing.

  • Life (and running and writing) is more about what you put into it than what you get out.
  • It’s more about fighting the good fight than winning.
  • It’s more about the journey than the destination.
  • You value what you earn more than what someone gives you.

And in the long run (pun intended), whether it’s running or writing or living, endurance is more important than talent.

* * *

 

This has been a very long TKZ blog post, and if you made it to the end, you deserve a medal. Maybe you should consider running a marathon.

 

 

* * *

So TKZers: Have you ever run a marathon?
Have you faced obstacles when writing your books?
How do you deal with the setbacks?

* * *

 

Kathryn Frasier is training for her first marathon, but murderers keep getting in her way.

Run with Kathryn in The Watch Mysteries. The ebook boxset is on sale at  Amazon, Barnes & Noble, Kobo, Google Play, or Apple Books.

Slipstream — A Unique, Hybrid Fiction Cross-Genre

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Recently, I was Zoom chatting with a writer friend. She asked me how it was going with my current work-in-progress—a project titled City Of Danger. I chuckled and said, “I’m intentionally breaking all the rules.”

“What genre is it in?” she asked.

I kept chuckling. “Hard to put a finger on it. It’s kind of a dog’s breakfast. Part hardboiled/noir detective crime fiction. Part thriller and suspense. A lot of historical nostalgia from the 1920s. And some sci-fi from a dystopian future. It involves malevolent AI and time travel. I might even throw in a touch of romantic comedy.”

“Really?”

“Yeah. I’m not doing what every editor, agent, and publishing guru always says to do. ‘Strictly write to one genre.’ Nope. I gotta be different.”

“Sounds like Slipstream.”

“Slipstream? What’s that?”

“It’s a unique, hybrid fiction cross-genre. The style has been around awhile, but it’s really gaining traction. Slipstream pushes creativity boundaries. It explores the depths of human experience, the human condition, in novel ways.”

“Damm. I thought I was inventing something new.”

She laughed, and we moved on to other things. When we were done, she’d piqued my interest. I Googled “Slipstream” and asked Chat about it. Did I ever get my eyes opened, and it fit exactly with what I stumbled upon while building City Of Danger.

Among other information, I found a great article in The Write Life titled How to Write Slipstream Fiction—Full Guide and Definition. Here’s the link and the piece’s opening words which don’t need me rephrasing:

In the ever-evolving genres of fiction, Slipstream emerges as a genre that defies the traditional boundaries of storytelling, offering a unique blend of the real and the surreal. This genre, sitting at the crossroads of speculative fiction and literary fiction, challenges our perceptions of reality, inviting readers and writers alike into a world where the ordinary becomes extraordinary.

If you’re intrigued by the idea of crafting narratives that transcend conventional genres, Slipstream fiction may be the creative avenue you’ve been searching for. This article is your comprehensive guide to understanding, appreciating, and ultimately writing Slipstream fiction that captivates and resonates.

What is Slipstream fiction?

Slipstream fiction is a genre that thrives on ambiguity, challenging both writers and readers to explore the spaces between the known and the unknown. Let’s dive into the core aspects that define this intriguing genre.

Our Slipstream fiction definition

Slipstream fiction is notoriously difficult to pin down with a single definition, but at its core, it represents a narrative that straddles the line between the speculative and the literary, often blurring the boundaries of reality and the fantastic. This genre is not just about fantastical elements or futuristic settings; it’s about invoking a sense of wonder, unease, or the uncanny through stories that feel both familiar and deeply strange.

Slipstream challenges our everyday understanding of reality, pushing readers to question what they know about the world around them.

It is this unique blend of the real and the surreal that sets Slipstream apart from more conventional genres, making it a fascinating field for writers who want to explore the depths of human experience in novel ways.

What are the key characteristics of Slipstream fiction?

Before we delve into the characteristics that define Slipstream fiction, it’s important to understand that these traits work together to create a distinctive reading experience that defies easy categorization. Here are the seven most important characteristics of Slipstream fiction:

  1. Ambiguity: Stories often leave more questions than answers, challenging readers to find their interpretations.
  2. Cognitive dissonance: The narrative may combine elements that traditionally don’t coexist, creating a sense of unease or perplexity.
  3. Surreal atmosphere: The setting or events have an otherworldly quality, even if rooted in the familiar.
  4. Emotional resonance: Despite the fantastical elements, the core of Slipstream fiction lies in its ability to evoke deep emotional responses.
  5. Intellectual stimulation: These narratives encourage readers to think deeply about themes, ideas, and the nature of reality itself.
  6. Genre blending: Slipstream fiction often incorporates elements from various genres, refusing to be boxed into a single category.
  7. Metafictional elements: There’s often a self-awareness within the narrative, playing with literary conventions and reader expectations.

Keep in mind that Slipstream fiction is by its nature a genre that blends elements and influences from a wide range of sources. As a result, feel free to use or ignore whichever characteristics of Slipstream depending on what your story requires.

———

So, now I was really intrigued. I spent the better part of a day digging into Slipstream, and I did what I do with most things that intrigue me. I encapsulated it visually on an 11×17 inch sheet. It came out looking like this:

Some of the takeaways from my research were the terms cognitive dissonance, cognitive equilibrium, and cognitive consonance. I wasn’t quite sure what they meant and how they meshed with the Slipstream style. Here’s what my little AI friend said:

Combined, these three terms encompass aspects of cognitive psychology related to the harmony, conflict, and resolution of beliefs, attitudes, and behaviors:

Cognitive Dissonance highlights the discomfort that arises when there is inconsistency between beliefs, attitudes, or behaviors. It emphasizes the tension that individuals experience when they hold conflicting cognitive elements.

Cognitive Equilibrium refers to the state of mental balance or harmony that individuals strive for, wherein their beliefs, attitudes, and understanding of the world are consistent and coherent. It reflects the desire for stability and coherence in one’s cognitive processes.

Cognitive Consonance underscores the psychological comfort that individuals experience when their beliefs, attitudes, or behaviors are in agreement with one another. It signifies a state of alignment and consistency in cognitive processes.

Together, these concepts provide insights into how individuals navigate the internal conflicts and seek harmony in their cognitive processes, whether by resolving inconsistencies (cognitive dissonance), striving for balance and coherence (cognitive equilibrium), or experiencing comfort in consistency (cognitive consonance).

The concepts discussed in this thread—cognitive dissonance, cognitive equilibrium, and cognitive consonance—can intersect with the genre of Slipstream in intriguing ways.

In Slipstream literature, there’s often a deliberate blending of genres, a crossing of boundaries between the familiar and the strange, resulting in narratives that defy conventional categorization. This blending can mirror the cognitive tension of cognitive dissonance, as readers encounter elements that challenge their expectations and beliefs.

Moreover, Slipstream narratives often disrupt traditional narrative structures, creating a sense of cognitive imbalance akin to cognitive dissonance. The stories may provoke a sense of unease or uncertainty, inviting readers to question their assumptions and perspectives, much like cognitive dissonance prompts individuals to confront conflicting beliefs.

At the same time, Slipstream literature can evoke a sense of cognitive equilibrium through its exploration of the surreal and the ordinary coexisting. Just as individuals seek cognitive balance by assimilating new information into their existing frameworks (cognitive equilibrium), Slipstream narratives integrate disparate elements into a cohesive whole, inviting readers to find meaning in the juxtaposition of the familiar and the unfamiliar.

Cognitive consonance also finds resonance in Slipstream, as readers may experience a sense of satisfaction or resonance when seemingly incongruent elements in the narrative coalesce into a coherent whole. This alignment of disparate elements can evoke a feeling of harmony, akin to the psychological comfort of cognitive consonance.

In summary, the concepts of cognitive dissonance, cognitive equilibrium, and cognitive consonance offer a lens through which to explore the cognitive dynamics at play in Slipstream literature. The genre’s blending of genres, disruption of narrative conventions, and integration of disparate elements can evoke cognitive tensions and resolutions reminiscent of these psychological concepts.

———

Me — This is all well and fair, because the object of all fiction is to suspend disbelief in the reader and take them on an exciting, memorable journey. Mixing genres has been successfully done by many writers with many stories over time. Here are some of the Slipstreams that made it big:

Ficciones by Jorge Luis Borges.

The Night Circus by Erin Morgenstern

Station Eleven by Emily St, John Mandel

Cloud Atlas and The Bone Clocks by David Mitchell

The Handmaid’s Tale by Margaret Atwood

Hardboiled Wonderland and the End of the World by Haruki Murakami

The City & the City by China Mieville

The New York Trilogy by Paul Auster

The Arrival by Shaun Tan

Her — the movie by Spike Jonze

However, the granddaddy of Slipstream, and one of the early ground breakers, was The Metamorphosis by Franz Kafka. It’s about a guy who wakes up one morning and finds that he’s turned into a giant insect and has to deal with a situation that truly sucks. Here’s the opening paragraph:

Kill Zoners — Who has heard of the Slipstream style? Has anyone read Slipstream, and what do you think of wildly mixing genres? And has anyone written anything that resembles Slipstream? Let’s get a discussion going and share experiences.

The Case of the Bird-Brained Witness

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By Elaine Viets

   The witness to the murder could repeat every word the killer and the victim said during the fatal confrontation.  The witness was alive, but not human.

          What was the witness?

          A parrot. An African grey to be exact.

          While researching A Scarlet Death, my new Angela Richman, death investigator mystery, I learned about parrots as murder witnesses. This information has been compiled from news stories.

          Consider the 2017 case of the woman in Michigan convicted of her husband’s murder, thanks in part to his parrot. Police first thought someone had murdered the husband and tried to kill the wife. The woman survived being shot in the head. But the parrot repeated the husband’s last words. The parrot said, “Don’t f—-ing shoot!” in the husband’s voice. Turns out the woman murdered her husband and then tried to kill herself. The details of the shooting were remarkably vivid, as reported by the parrot. It was an African grey.

          In 2018, another parrot witnessed the rape and murder of a woman in Argentina. Her parrot repeated the whole terrible crime, saying, “No, please. Let me go,” which investigators believe were the last words of the woman.

          My favorite case was the parrot who knew too much. In the mid-1990s, Echo was put into witness protection. The New Orleans parrot belonged to a crime boss who was suspected of child abuse, among other crimes. Late at night, the bird would sometimes cry like a child, then sound like it was moaning in pain, and then make a noise like whack, or thwack! as if someone was being hit. The bird had to be hidden because it knew too much and wouldn’t shut up.

        When an animal seriously harms or kills a person, it’s often put down. But in past centuries, the beast was given a trial.

          Pigs for instance. Whether you think pigs are cute little animals, or pork chops on the hoof, they have a bad reputation. People who live in farm country know the stories of farmers who had heart attacks out by the pig pen and were eaten by their animals.

          In the Middle Ages, pigs were tried for murder. In 1386, a sow mauled a child so badly, it died. The pig was arrested, imprisoned and stood trial for murder. The homicidal hog was found guilty and executed by hanging.

Weirdly enough, the sow was dressed in men’s clothes when it was hanged. There’s no record if the defendant was eaten.

          In my new book, A Scarlet Death, Buddy, a murder victim’s African grey parrot seems to recount details of its owner’s brutal death.

          Chouteau Forest death investigator Angela Richman and attorney Montgomery Bryant are discussing the parrot’s testimony over dinner.

          “Let’s go back to the parrot,” Angela said. “Any chance that talking birds will be allowed to testify in court? They’re very smart.”

          “Too many problems,” the lawyer said. “How do we know Buddy the parrot actually heard the victim being murdered?”

          “Because of what he said. And Buddy’s words match the facts.” Angela speared a tender piece of chicken breast.

   “But what if we don’t know the facts?” Monty asked. “Or what if Buddy is imitating something he heard on TV? People could be convicted on the word of a parrot that watched CSI.”

          “But Buddy said the killer’s name.”

          “He did. How do we know the parrot didn’t just drop that name in there because he heard his owner say it on the phone?”

          “OK, I get it,” l said. “But I wish we knew what animals were saying to us, don’t you?”

          “Some of them, like cats and dogs.”

            Monty finished his last bite of burger and said, “However, I’d just as soon not know what this cow was saying on the way to the slaughterhouse.”

           So, did Buddy the parrot help the police solve his owner’s murder? You’ll have to read A Scarlet Death to find out.

Enter my contest to win a free ebook of A Scarlet Death. Send your name and email address to WinEVbooks@aol.com. Contest closes midnight, May 31.

 

 

Yes or No Questions in Dialogue

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Image by <a href="https://pixabay.com/users/geralt-9301/?utm_source=link-attribution&utm_medium=referral&utm_campaign=image&utm_content=973992">Gerd Altmann</a> from <a href="https://pixabay.com//?utm_source=link-attribution&utm_medium=referral&utm_campaign=image&utm_content=973992">Pixabay</a>The other day, I stumbled across writing advice that was only half-true. The advice said to never use yes or no questions in dialogue. The writer made a valid point that yes/no questions stop the action. True. But that’s only half right.

If the MC asks a yes/no question, the action doesn’t need to stop if it’s in the right context, with body language that screams the opposite, or includes hints the character might be lying. We can also use “Yes/No, but” to maintain pace and the trajectory of the story and to create more conflict.

Let’s look at a few examples. I wrote these quick so no judgments. 😉

“Junior, did you steal another cookie from the jar?”

The little boy dragged the back of his wrist across chocolate-covered lips. “No, Mama.”

The story continues because the kid’s body language tells us he’s lying.

Big Dan stroked his daughter’s back. “Are you excited to marry Tommy?”

“Yes, but not today.”

“We’re in the church!”

The wedding song blared from the speakers.

“Tell me what you want to do, honey.”

“Hide?”

There’s more to that story, right?

“Why didn’t you come home last night, sis?”

“I stayed at a hotel.”

“Which one?”

“Why? What’s it matter?”

“Jason didn’t come home, either.”

“You think I slept with your husband?”

“Did you?”

“Are you seriously asking me if I’m having an affair with Jason?”

Notice how she responds with another question? Sounds a lot like guilt. Or maybe it’s anger. We’ll keep reading to find out.

“Is that blood?”

Silent, he wiped his cheek.

“You promised me.”

He strode into the kitchen, with the nag on his heels. “I did not kill our babysitter.”

“Then where is she? I won’t go through it again. The cops, the jury, the reporters.” A continual tap of her foot clenched his jaw. “If you’re innocent, give me the basement key.”

“No.” He sniggered. “But it’s about time I gave you a private tour.”

Will he kill her, or is he innocent? We’ll keep reading to find out.

This last example I borrowed from one of my novels. The “no, but” construction is in bold. For clarity, Poe is a crow.

“You bought Poe a necklace,” he said as a statement, not a question. “After eleven p.m.”

“Yep.”

“And you paid for the necklace?”

“Cost me three hundred bucks.”

“If you bought the jewelry, you could produce a receipt. Correct?”

Crap. “Not exactly.”

“Be honest with me. Did you steal the necklace?”

“No, sir. I swear I didn’t. Ask Poe if you don’t believe me.”

“Perhaps I should rephrase.” Praying hands tapped his lips. “Was the store open when you allegedly paid for the jewelry?”

I picked at my cuticles. “No, but I swear I didn’t steal it.”

“And the reason you couldn’t wait for the store to reopen is…?”

“Because Pissy Pants over there”—I jutted a thumb at the little diva—“wouldn’t even gimme twenty-four hours. If anyone should be in trouble, it’s him. Unless you condone blackmail?”

He rocked back on his heels. “Blackmail?”

So, can we use a yes/no question in dialogue? Absolutely… if it leads to more conflict. Otherwise, we’ve wasted precious real estate.

Thoughts? There is a ton of terrible or incomplete writing advice online. Have any new ones to share? Please explain why the advice doesn’t make sense.

Writing Quotes, Inspiration, and Life Advice From Famous Authors

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I love writing quotes. Recently, I stumbled across new-to-me writing, inspirational, and life advice quotes from famous authors. Too much spot-on advice not to share here on TKZ. Plus, I’m writing eighteen different articles to spread the news about my new eco-thriller. 😉

Writing Quotes

“The purpose of a writer is to keep civilization from destroying itself.” — Albert Camus

“As a writer, you should not judge, you should understand.” — Ernest Hemingway

“To produce a mighty book, you must choose a mighty theme.” — Herman Melville

“As for ‘Write what you know,’ I was regularly told this as a beginner. I think it’s very good rule and have always obeyed it. I write about imaginary countries, alien societies on other planets, dragons, wizards, the Napa Valley in 22002. I know these things. I know them better than anybody else possibly could, so it’s my duty to testify about them.” — Ursula K. Le Guin

“You should write because you love the shape of stories and sentences and the creation of different words on a page. Writing comes from reading, and reading is the finest teacher of how to write.” — Annie Proulx

“Find out the reason that commands you to write; see whether it has spread roots into the very depth of your heart; confess to yourself you have to die if you were forbidden to write.” — Rainer Maria Rilke

“A good writer possesses not only his own spirit but also the spirit of his friends.” — Friedrich Nietzsche

“Your writing voice is the deepest possible reflection of who you are. The job of your voice is not to seduce or flatter or make well-shaped sentences. In your voice, your readers should be able to hear the contents of your mind, your heart, your soul.” — Meg Rosoff

“Do not hoard what seems good for a later place in the book, or for another book. Give it, give it all, give it now.” — Annie Dillard

“If there’s a book that you want to read, but it hasn’t been written yet, then you must write it.” — Toni Morrison

“Tears are words that need to be written.” — Paulo Coelho

Inspirational Quotes by Writers

“You cannot find peace by avoiding life.” — Virginia Woolf

“The strongest principle of growth lies in the human choice.” — George Eliot

“Focus more on your desire than on your doubt, and the dream will take care of itself.” — Mark Twain

“Jump off a cliff and build your wings on the way down.” — Ray Bradbury

“I hope that in this year to come, you make mistakes. Because if you are making mistakes, then you are making new things, trying new things, learning, living, pushing yourself, changing yourself, changing your world. You’re doing things you’ve never done before, and more importantly, you’re doing something.” — Neil Gaiman

“Don’t bend. Don’t water it down. Don’t try to make it logical. Don’t edit your own soul according to the fashion. Rather, follow your most intense obsessions mercilessly.” — Franz Kafka

“Keep away from people who try to belittle your ambitions. Small people always do that, but the really great make you feel that you, too, can become great.” — Mark Twain

“Maybe it’s not about having a beautiful day, but about finding beautiful moments. Maybe a whole day is just too much to ask. I could choose to believe that in every day, in all things, no matter how dark and ugly, there are shards of beauty if I look for them.” — Anna White

“Trust our heart if the seas catch fire, live by love though the stars walk backwards.” — E. E. Cummings

“One day I find the right words, and they will be simple.” — Jack Kerouac

“I can be changed by what happens to me. But I refuse to be reduced by it.” — Maya Angelou

“The most common way people give up their power is by thinking they don’t have any.” — Alice Walker

Life Advice From Writers

“To live is the rarest thing in the world. Most people exist, that is all.” — Oscar Wilde

“That it will never come again is what makes life so sweet.” — Emily Dickinson

“It is never too late to be what you might have been.” — George Eliot

“To be yourself in a world that is constantly trying to make you something else is the greatest accomplishment.” — Ralph Waldo Emerson

“Pain is inevitable. Suffering is optional.” — Haruki Murakami

“Be kind, for everyone you meet is fighting a hard battle.” — Plato

“Unable are the loved to die for love is immortality.” — Emily Dickinson

“Let me live, love, and say it well in good sentences.” — Sylvia Plath

“Don’t let your happiness depend on something you may lose.” — C.S. Lewis

Are you inspired yet? Great! Get to work. 😉 Do you have a favorite?

Amidst the wild and unforgiving landscapes of Yellowstone Park, eco-warriors Mayhem and Shawnee race against the clock to protect an American Buffalo herd from the ruthless Killzme Corporation.

With a massive bounty on their heads and an army of killers on their trail, Mayhem and Shawnee risk it all to preserve the sacred lineage of the Innocent Ones.

There is no line Shawnee and Mayhem won’t cross.

Even murder.

As the danger intensifies and the clock winds down, will they be able to save the herd? Or will this be the mission that finally breaks them?

Preorder for 99c. Sale ends on release day, April 11, 2024.

Full Circle – From First Page Critique to Publication

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by Debbie Burke

@burke_writer

Let’s flashback to September 2020 when an anonymous Brave Author submitted a first page entitled The Recruiter for critique. I was fortunate to be the critiquer. The page demonstrated excellent craft skills. The first-person voice was both funny and grim, reminding me of Raymond Chandler, my all-time favorite author.

It was also a difficult page to critique because there was almost nothing wrong with it. Comments from other readers were overwhelmingly positive.

I’m always glad when a Brave Author steps forward and responds to feedback. This BA shed his cloak of anonymity and introduced himself as Gregg Podolski.

Gregg Podolski

A subject we often discuss here at TKZ is the right place to begin a novel. Gregg recognized this scene, although action-packed, was not the best beginning.

Another frequent TKZ subject is “Killing your darlings.” This is always a difficult decision for authors to make. Fortunately, Gregg realized that, as much fun as he had writing the scene, and, despite favorable feedback comments, this page had to go.

Other readers and I asked Gregg to let us know when the book was published.

But…from first page critique to publication is often a loooooong journey. I wasn’t holding my breath because many good novels unfortunately don’t see the light of publication.

Then, in 2022, Gregg emailed me to say Blackstone Publishing would release The Recruiter in July 2024.

Wow! Wonderful news!

He also mentioned I was the first person outside his family to read and offer feedback on the story. That made me feel good because it’s especially rewarding to see a piece I’d admired come to fruition.

Several weeks ago, Blackstone sent me an ARC (advanced review copy) which I’d requested.

I’m pleased to say the book far exceeded the potential shown back in 2020 in that original first page.

The Recruiter is a tense, gritty, contemporary noir thriller with hard-boiled echoes of Philip Marlowe and Sam Spade. It’s in the first-person point of view (POV) of Rick Carter, a world-weary alcoholic who deserted his wife and children. He earns a living by recruiting assassins, gun runners, and assorted unsavory thugs to do dirty work for wealthy, powerful clients concerned with preserving their upstanding reputations.

Yeah, I know. Rick Carter sounds more like a villain. Yet Gregg managed to infuse enough humor and humanity into this anti-hero to keep me reading and fascinated.

I invited Gregg to discuss his journey from first page critique to publication in today’s interview.

Debbie Burke: Gregg, welcome back to TKZ and big congratulations on the upcoming release of The Recruiter! Where did the idea of an executive recruiter for criminals come from?

Gregg Podolski: Thanks so much for having me, Debbie! As far as the idea, I’ve been a professional recruiter for the last 17 years, and it dawned on me that there really wasn’t a lot of books about my profession in the fiction world. I didn’t just want to do a John Grisham book but with recruiters instead of lawyers, though. Instead of writing about a recruiter who was a good guy caught in a bad situation, I thought it would be more unique—and more fun—to write about a guy who recruits bad people to help other bad people do bad things. See if I could turn a character who would be a secondary villain in a typical thriller into the protagonist of an entire novel.

DB: How long have you been writing? Have you attended classes, workshops, or conferences? Any previous publications?

GP: My first short story, “The Horse Raised by Wolves,” was published in Highlights Magazine when I was 7 years old. Six years later, in 8th grade, I wrote my first thriller novella, “Poison 101,” which my dad submitted to Reader’s Digest, but was rejected with a very nice letter from their editor who encouraged me to keep writing. Both stories are available to read on my website, greggpodolski.com, for anyone who’s interested. I’ve been writing ever since, with no specific training or extra classes. I wrote two full novels, half of another one, and a collection of humorous essays before writing The Recruiter during the early days of the pandemic in 2020. None of those earlier works were published, though a few got some mild interest from agents.

DB: Your lead character Rick Carter starts off as a big jerk. When you originally envisioned the story, did you have his entire character arc/transformation in mind? Or did he evolve during the writing process?

GP: I always knew this book was going to be about Rick reconciling the man he used to be with the man he’s become, but how he accomplished that definitely evolved as I wrote. The biggest change is evident if you compare the first page you critiqued with the character he is in the finished novel. The guy you met in that since-discarded first page was a little tougher than the guy he turned into. I just really liked the idea of writing a book in which the action hero is kind of bad at the action stuff.

DB: The plot of The Recruiter has many reversals, course changes, and surprise twists. I gotta ask—are you a plotter, a pantser, or a combination?

GP: Definitely a combo. I always know how a book will begin and end before I start, and then the connecting story beats come to me as I go. My phone is filled with notes ranging from a single line of dialogue to an outline for an entire scene. I type them up as they come to me and then try to work them in wherever they make sense. So, in a way, I sort of plot as I pants.

DB: Can you share the process you went through to get The Recruiter accepted for publication?

GP: I always knew I wanted to go the traditional publishing route, as I am far too lazy to self-publish. The Cliff’s Notes version is that I wrote the first draft from March-June of 2020, revised it twice, then started querying agents in September. By June of 2021, I had racked up around 50 rejections/no responses and two offers. I picked the one who I felt best connected with both me and my manuscript, then we revised it again over the summer. We went out on sub right before Thanksgiving and I received the offer from Blackstone Publishing in March of 2022.

DB: In the epilogue, you left the door open for more adventures with Rick Carter. Is another Recruiter book in the works?

GP: Not only in the works but written and submitted to Blackstone, waiting for their approval! I would love nothing more than to turn this into a book-per-year series, for as long as readers are interested in seeing what Rick gets up to next.

DB: Anything else you’d like to add?

GP: Just to say how appreciative I am of you and the entire TKZ community. I’m more of a lurker than a commenter, but I check the site every day as part of my morning routine, and recommend it regularly to anyone looking for writing advice. The feedback you provided on my first page critique and the wealth of knowledge and encouragement in the comments section was exactly the boost of confidence I needed as I dove into the query trenches, even if that first page remains in my Deleted Material file. That’s why this interview is so special to me, and is without a doubt one of the most meaningful I have done or will do. Thank you all!

~~~

TKZers: I coaxed Gregg out of lurking in the shadows. Feel free to ask him questions in the comments and he’s happy to answer.

Investigating Agatha Christie

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I specialize in murders of quiet, domestic interest. –Agatha Christie

* * *

Agatha Christie is the best-selling novelist of all time. Her sales are exceeded only by the Bible and the works of Shakespeare.  According to her website at agathachristie.com, “She is best known for her 66 detective novels and 14 short story collections, as well as the world’s longest-running play – The Mousetrap. “

Agatha Christie’s books have sold over two billion copies worldwide!

Given Ms. Christie’s extraordinary success, it might be a good idea to see if we can discover some of her secrets.

* * *

A few years ago, I watched a documentary entitled “The Agatha Christie Code” (available on Youtube)  in which researchers examined various aspects of Christie’s writing. These researchers included

Dr. Richard Forsyth, Research Fellow in Applied Linguistics at the University of Warwick

Dr. Pernilla Danielsson, Academic Champion of Communications at the University of Birmingham

Dr. Marcus Dahl, Research Fellow at the School of Advanced Study – London University

They used computer technology to analyze Christie’s work, and they found interesting patterns in her stories that may give us a clue as to why she’s so popular.

Word Choices

Christie used simple language in her books, so readers were free to focus on the plot rather than the language. For example, the researchers found she used “said” often in an attribution rather than other words like “responded” or “answered.”

Christie also often repeated words within a short section of prose – something I’ve been warned against. Here’s an example from the novel Sad Cypress that was used in the video. (My notations in red.)

The researchers thought the repetition cemented the information in the reader’s mind. My editor would probably faint if I sent something like that to her, but maybe we should rethink the multiple uses of a word in a short section of prose.

Verbal Structure

The most interesting part of the video for me was when one of the researchers evaluated Christie’s works on the three criteria of

  •             Word length
  •             Word frequency
  •             Sentence structure

Dr. Danielsson plotted information about these aspects on a three-dimensional graph and plotted the same criteria from Arthur Conan Doyle’s works on the same graph. Christie’s books exhibited a consistency shown visually by her plotted points being clustered together while the points of Doyle’s stories were spread farther apart indicating his works were more dissimilar when compared to each other. This indicated that Doyle’s style had changed through the years while Christie’s had remained remarkably consistent.

Plot

Christie’s mysteries almost always create a world where

  •             There is a dead body
  •             A closed group of suspects are introduced
  •             A detective (either professional or amateur) is a character
  •             Red herrings are spread throughout
  •             There is a denouement scene where the detective identifies the murderer and brings closure to the story.

Some critics claim Christie wrote the same story over and over, but that’s not fair. For example, The Murder of Roger Ackroyd, Murder on the Orient Express, and And Then There Were None introduced novel twists to the standard murder mystery although they used a typical Christie template.

However, this general structure reassures the reader that there will be a logical puzzle that will be solved in the end, and that contributes to the sense of satisfaction.

Characters

While some famous characters appear in multiple books and are popular with the reading public (e.g., Hercule Poirot, Miss Marple, Captain Hastings), the number of characters in each novel may be just as important. This prompted an interesting theory by David Shephard, Master trainer in Neuro-Linguistic Programming.

Mr. Shephard pointed out that people have a limited focus and a conscious mind can only concentrate on five to nine things at a time. When presented with more information than that, a person will enter a sort of hypnotic trance.

Since Christie’s stories often have more than nine characters and several plot lines, Shephard thinks the reader’s mind can’t handle the overload of information, so he/she begins to “feel” the book rather than just think about it. This emotional connection makes readers want to return to Agatha Christie’s books again and again.

I’m not sure I can buy that explanation, but it’s very interesting and makes me think I should count the characters in my future books to see if I can put my readers into a trance.

Content & Style

As we all know, Agatha Christie’s mysteries contain no explicit sexual scenes and no explicit violence. So why do so many readers still buy her novels? Readers of Christie’s books know there will be a logical solution to the murder, the killer will be caught, and the clues are all available to solve the mystery.

David Suchet, who played the part of Hercule Poirot in the television series Agatha Christie’s Poirot, compared Christie’s books to sudoku puzzles. He believes readers enjoy the books because they’re completely absorbed in figuring out the solution to the puzzle.

Length

Although I found a site with the number of pages in each of Agatha Christie’s novels, I only found a reference to the word count on https://thewritepractice.com/word-count/. That site had an article that states Agatha Christie’s mystery novels average between 40,000 and 60,000 words. That’s a little short for most novels today, but it could explain why people found them easy to read.

 

Pacing

Agatha Christie controlled the speed at which her books were read by laying out more descriptive passages at the beginning, but picking up the pace of the story as it progressed. Hypnotist Paul McKenna had an interesting take on this. He felt her particular pattern of writing caused certain brain chemicals to be released, resulting in a sort of addiction in the readers. This theory goes a little beyond my pay grade, but I do think picking up the pace is a technique that works well in mystery writing.

* * *

So there you have it. While I’m sure there are other reasons for her success, these aspects of Agatha Christie’s writing are worth considering.

* * *

So TKZers: Have you read many of Agatha Christie’s books? Why do you think they’re so popular? Have you viewed “The Agatha Christie Code” video?  Is there anything you think we can glean from the data in this post that will help with our own writing?

* * *

 

“Very few of us are what we seem.” –Agatha Christie

Private pilot Cassie Deakin lands in the middle of a mystery and discovers things are not always what they seem.

Buy on Amazon, Barnes & Noble, Kobo, Google Play, or Apple Books.