Category Archives: #writetip

What Writers Can Learn from Hugh Hefner

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Regardless of your views on Playboy magazine or its brand, Hugh Hefner was a trailblazer, an inspirational creator who wasn’t afraid of shattering societal norms. Writers can learn a lot from him.

Hefner didn’t only compete with existing magazines like Esquire or GQ — he created a new market by combining intellectual, serious journalism with adult entertainment. He created the magazine he wanted to read.

Lesson: Rather than follow trends, bring your vision to life. Write the book you want to read.

Despite being known for nude photographs, Playboy was a major platform for literary giants like Ray Bradbury, Kurt Vonnegut, and Margaret Atwood.  

Lesson: Quality writing attracts a loyal, discerning audience. It also elevates the book, series, and your entire portfolio of publications.

Hefner was the audience for his own magazine. As a “child of popular culture,” he lived his brand (the robe, the mansion, the Playboy bunnies and playmates), making his persona integral to his success.

Lesson: When the writer is the brand, it builds deep audience connection and loyalty.

Hefner leveraged Playboy to fight censorship, obscenity laws, segregation, and many other injustices. During the times of segregation, Hefner invited Aretha Franklin, Sammy Davis, Jr., Ray Charles, Miles Davis, and Stevie Wonder to perform at his Playboy Club. One stipulation: Walk through the front door like everyone else. Most business owners made Black entertainers enter through the kitchen or back exit.

The mere mention of mixing races became such a controversy, the South threatened to ban Playboy from all newsstands if Hefner followed through with his plan. Nearly 80% of sales came from southern regions at that time, but the aforementioned entertainers were also Hefner’s close friends. Which put him in an impossible position.

Do you put profits above friendship? Most business owners did. As someone who opposed segregation and other injustices of the times, Hefner could not. So, he ignored the threat. Once he made the decision to stand up to “The Man,” he doubled down and invited all entertainers, regardless of skin color, to enjoy the club before and after their performances —  for the first time, Whites and Blacks socialized in public.

The South followed through with the ban, costing Hefner a hefty loss in revenue. Didn’t matter. He stood firm in his beliefs. Segregation was a barbaric act, and Hefner refused to fall in line.

This is just one example of a creator trusting in themselves enough to bet others felt the same.

Lesson: Stay true to your beliefs and values, even if they’re not the popular opinion. Please don’t misread that advice. I am not suggesting you should commit career suicide by screaming on social media about hot-button issues. Let readers learn who you are through the style, theme(s), voice, and tone of your books. No one needs or wants to be slammed over the head with your personal opinions.

Behind the partying playboy image, Hefner was a relentless workaholic who often slept at his office. Later, he moved his workspace into his bedroom, often working from his oversized circular, rotating bed.

Lesson: Success in competitive media requires dedication, a strong work ethic, and a never-say-die spirit.

Hefner often cited his restrictive, “Midwestern Puritan” upbringing as the catalyst for his liberating and revolutionary content. Though men enjoyed the visual stimulation, they also enjoyed the articles. Probably still do.

Lesson: Use your background and life experience — negative and positive — as fuel for your unique, compelling, emotion-infused writing.

Hugh Hefner scratched and crawled his way to the top.

He fought for free speech.

He fought for free choice.

He fought haters, religious groups, and feminists, who all vowed to take him down.

He fought the State of Illinois and the courts.

Hefner trusted his vision for a better, more inclusive and less sexually repressed tomorrow.

Through the years, he started multiple companies — all built around the Playboy brand.

Lesson: When people trust a brand, they’ll follow its creator anywhere if the new company or product delivers the same quality and standards. Readers fall in love with a writer’s voice and style. Stay true to your brand and you can write whatever you want, without the need for an alias. Step outside your brand, and you may encounter difficulties.

For example, a cozy mystery writer probably shouldn’t venture into smut and expect their audience to stick around. Some may stay. Most will not. Why? Because the writer veered too far off-brand.

Could a thriller author write narrative nonfiction or memoir? Absolutely. Could they sell a children’s series to their existing audience? Sure, if it aligns with their brand.

Allow me to use myself as the example. My environmental thrillers focus on wildlife conservation (Oh, how I love to kill poachers! 😉 ). The children’s book series I’m working on has the same focus, only geared toward young conservationists of the future — the children or grandchildren of my existing audience.

I’ve also written psychological thrillers/serial killer thrillers, mystery, and true crime. By the time I ventured into environmental thrillers (aka eco-thrillers), the new genre didn’t surprise my readers. No matter how grisly some of storylines are, my love of animals shines through my work. All the pets are fully fleshed characters that readers adore. The genre switch (in the middle of the series, no less) still delivers the type of books readers expect from me.

Staying true to audience expectations is also how Hefner expanded his brand worldwide.

Write the book you want to read.

Write the book that’ll resonate with your target audience.

Be genuine.

Dig deep into your well of emotional truth and touch lives.

Build, and keep building, a brand you’re proud of.

Be the Hugh Hefner of your generation.

Creative Quirk or Signature?

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When I first strolled through my new house with the realtor, I noticed a lot of unfinished work. For example, the previous owner painted the barn to match the house but left the tip of the peak untouched. Support posts on the covered porch were all painted, except the top of one. It baffled me. Why wouldn’t she paint those spots? Higher areas, she’d painted.

I could tell she’s creative. Painted butterflies, hummingbirds, and flowers dotted the landscape.

Did I buy the house from an emerging artist?

The support beam in the new addition (living room) has pallet wood wrapped around two sides, with the third side only painted. Gorgeous wood frames the back mudroom ceiling except for one tiny missing piece. The underside of an outside railing has new paint, one bare space, then continues to the barn loft. Four solar motion detectors line the back fence, with one blacked out with tape.

After I moved in, the closer I examined small details, the more my curiosity piqued. What’s going on here? The previous owner clearly has a fondness for 3s (as do I). Or maybe, she knows the importance of the number 3.

The number 3 often appears in nature and fundamental structures:

  • Atoms: protons, neutrons, electrons
  • Dimensions: length, width, height
  • Cycles: birth, life, death
  • Time: past, present, future
  • Essential survival needs: air, water, food
  • Geometric strength: The triangle is the simplest and most stable shape — it’s represented in everything from molecular structure to human-made architecture
  • Monocots: many flowering plants (monocots) have flower parts in multiples of three
  • Tree structure: roots, trunk, canopy
  • Primary colors of light: red, blue, yellow
  • States of matter: solid, liquid, gas
  • Layers of skin: epidermis, dermis, hypodermis
  • Types of muscle: skeletal, cardiac, smooth
  • Germ layers during development: ectoderm, mesoderm, endoderm
  • Circulations: Systemic, Pulmonary, Portal
  • Trinity: Earth, sun, moon… body, mind, spirit
  • Genetic code: DNA instructions are read in triplets (codons) to build proteins
  • Sensory Perception: Human color vision is trichromatic, based on three types of cones in the eyes sensitive to red, green, and blue light
  • Survival “Rule of 3”: Humans can typically survive 3 minutes without air, 3 hours without shelter in harsh environments, and 3 days without water
  • Geographic regions: land, sea, air
  • Insects: adult insects are characterized by a 3-part body: head, thorax, abdomen.
  • Dietary groups: herbivores, carnivores, omnivores

The number 3 represents universal patterns of stability and completeness.

Did the emerging artist find comfort in the power of 3? The mystery haunted me as I surveyed my new property.

Then one morning, I was admiring the sunrise from the back mudroom, when I noticed she’d painted only three sides of a window frame. The floor she tiled, except for one square in the corner by the water heater.

A ha! It’s an intentional act. Her creative signature, if you will.

Kind of a pain for the new buyer (me) to touch up all these spots but I also respect her creativeness — she left her signature on every improvement she made. And helped create the quirkiness I love about the property.

To her credit, she also left the supplies to finish every project. Maybe I’ll leave one or two minuscule signatures in a corner that’s not visible to others, as an homage to her creative spirit. Not the living room beam — that blank side drives me crazy. What she probably never considered was that buyers deduct money from their offer for unfinished projects. It’s automatic. The more a buyer must do, the less they want to spend.

The same could be said for readers.

If a reader runs into too many writing tics, they’ll either:

  • Never read that author again
  • Deduct stars for the annoyance
  • Give the author one last chance; they better deliver in the next book

Writing tics could be seen as a creative signature of sorts, I suppose, but not in a good way. Readers don’t want to be yanked from the story. They want immersion. They want you to sweep them away, to transport them into the scene and hold them captive. Writing tics do the opposite.

Even in my new home, some might look at the unfinished spots in a negative way. Not me. Though I’ll complete most of the projects for continuity, I love the quirkiness of the understated ones. With the mystery of why she did it solved, I appreciate her creative spirit.

The same cannot be said for writing tics. If you made no other writing resolutions this year, add this: Tighten your prose, TKZers!

What a Difference a Day Makes

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Mindset, clarity, control, and/or opportunities can all change in a single day. Think of how many plot twists could occur in a 24-hour period. Characters run full force into danger, narrowly escape, and end the evening in a hot tub with a cocktail. Or they don’t escape. Imagine how grueling every second of captivity must feel?

Entire novels that take place in a single day include:

  • Saturday by Ian McEwan follows a neurosurgeon through his Saturday, dealing with personal and national anxieties.
  • The Hours by Michael Cunningham interweaves three women’s lives across different eras, all connected by Virginia Woolf’s Mrs. Dalloway, with events occurring in one day. Albeit in different years.
  • The Flight Attendant by Chris Bohjalian is about a flight attendant who wakes with a dead man in a Dubai hotel. The MC must piece together the previous night before her next flight.
  • Rock Paper Scissors by Alice Feeney: A couple’s anniversary trip to a remote Scottish castle turns sinister as secrets unravel in a single, stormy weekend (more than one day but still a condensed timeframe).
  • Supremely Tiny Acts by Sonya Huber explores the small moments of a single day in a woman’s life.
  • The Mezzanine by Nicholson Baker focuses on a man’s lunch hour and his detailed observations of office life.
  • The Sun Is Also a Star by Nicola Yoon is a romance novel that follows two teens who meet and fall in love in a single day in New York City.

The above list demonstrates this technique isn’t limited to thrillers. A condensed timeframe could work with almost any genre.

Movie Examples:

  • Collateral shows how a cab driver’s night turns deadly as he’s forced to drive a hitman around LA for one wild night of murder and mayhem.
  • Ambulance focuses on two robbers who hijack an ambulance, and leads to a city-wide chase.
  • Unstoppable is about a runaway train that threatens a city, with a veteran engineer and young conductor racing to stop it in hours.
  • The Taking of Pelham 123 shows how a subway dispatcher must outwit hijackers holding passengers hostage in a lone NYC subway car.

All these stories use the compressed timeframe to heighten tension and force characters to make immediate decisions, which often leads to more conflict and higher stakes. Compressed timeframe novels are almost impossible to put down. The movies? Forget about it. They demand your full attention — keep the pause button handy for bathroom breaks. You won’t want to miss a second!

Crafting a novel set within a 24-hour period requires tight plotting, a strong central conflict, and a heightened sense of urgency.

Tips to Write Compressed Timeline Novels

Use a chronological structure that follows the progression of the day, from sunrise to sunset or from the inciting incident through the next 24-hours. If you begin each chapter with a heading to mark the hour, it’ll emphasize the ticking clock and add even more intensity.

Anchor the story around a major time-sensitive event, like a party, heist, or sudden disaster. The main character’s journey through this event provides a natural narrative arc. A strong inciting incident is a must. Whatever event kicks off the quest should happen early and be urgent enough to force the MC to act. For example, in Ian McEwan’s Saturday, the MC witnesses an accident that disrupts his peaceful day.

Use backstory strategically through dialogue, internal thoughts, or quick flashbacks. All must relate to the main storyline and reveal important tidbits and/or character traits. Since time is limited, be intentional with your dialogue. Conversations between characters can reveal relevant backstory and propel the plot forward.

Avoid unnecessary subplots. With such a tight window of time, every scene, conversation, and action should serve the storyline. You could weave in a subplot between dueling protagonists, like unreciprocated romantic feelings or a divorced couple forced to work together. Both would cause even more conflict and obstacles.

Word of caution: Don’t let the subplot destroy the pacing of the novel or detract from the main storyline. Let’s use my two quick suggestions as examples. The awkward moments of unreciprocated love could be used as comedy relief to give the reader a break from the tension. A divorced couple could also add hilarity if one spouse nitpicks the other at the worst possible time.

A countdown structure, where the plot builds toward the climax, heightens stakes, builds tension and conflict. Keep raising those stakes — challenge your characters! They cannot escape their fate by waiting for tomorrow, thus the pressure escalates throughout the day.

Use the setting to your advantage. Saturate the narrative with sensory details to create a strong sense of place, mood, and atmosphere. Take advantage of the time of day, traffic, weather, and location to reflect the characters’ changing moods and emotions.

Limit your cast. With less time to develop characters, a smaller cast allows for more intimate and detailed dynamics.

There isn’t much time for massive external changes, so trigger character flaws early and focus on internal changes to create a strong character arc. Show how the day’s events force them to change strategy, perspective, or arrive at a new understanding.

Also, the compressed timeline allows the perfect place to demonstrate the three dimensions of character through action and reaction under pressure. Give readers direct access to their inner lives with a deep POV. An omniscient narrator won’t be as effective.

Hope you all had a joyous holiday season, TKZers!

Have you written a story with a limited timeframe? What’s your favorite “crunch time” movie or novel? Why did the tight timeline work for you?

#WriteTip: The Stubborn Elephant

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Writing a novel is a huge commitment. It takes time and consistency and perseverance from beginning to end.

Imagine, if you will, a rider on the back of a stubborn elephant. The rider is excited to head out on a new adventure, but the elephant wants no part of it. The rider tries everything to make the elephant move — coercion, threats, bribes, begging, and bargaining — but nothing works. The elephant refuses to budge. And rightfully so. They’re majestic animals, with thoughts and feelings and families who love them, not amusement rides.

The frustrated rider jumps off the elephant, tugs the reins, shoves him from behind. Nothing works. If a two-to-seven-ton animal doesn’t want to budge, good luck trying to change their mind.

What if I told you this same struggle continues to play out in a writer’s mind while drafting a novel?

It’s true. Our brains have two independently functioning systems responsible for completing tasks: the rational side and the emotional side.

The rider is rational.

The elephant is emotional.

When these two sides clash, the writer accomplishes nothing. They may work all day, but they’re spinning their wheels. It’s an awful feeling.

The rational rider is small and insignificant compared to the emotional elephant. We can lie to ourselves about fame and fortune or whatever the big dream is, but unless we’re emotionally invested in our goals, it’ll never happen. The field of broken dreams is littered with stubborn elephants.

Numerous scientists have studied productivity, and they all agree on one thing: Having fun makes us more productive.

Pro Tip: Don’t worry about your word count. If you keep checking to tally your words, you’ll add unnecessary stress. Enjoy the journey of crafting a storyline. Block out all distractions and have fun with your characters.

The closer the reward, the harder we work.

We live in a world of immediate gratification. It’s why we’re told to use a universal link for our books. No one wants to click twice.

The coffee drinker will buy more coffee when their loyalty card is about to run out. Why? To score a free coffee.

This behavior is known as the goal gradient hypothesis, first discovered in rats and other animals in 1932 by Clark Hull PhD. The same holds true for humans. The bigger the task (crafting a novel), the harder we must work to get the reward (a complete first draft) and the easier it is to give up.

Pro Tip: Break the WIP into small goals. “I will have one piece of chocolate when I finish this chapter.” By rewarding yourself for reaching smaller goals, it builds confidence and joy and momentum.

Making Visible Progress Improves Motivation

Researchers offered participants two types of loyalty cards: a ten-point card and a twelve-point card with the first two spots already stamped. Can you guess which one they chose?

Even though both cards required the participants to buy ten coffees, the twelve-point card was the clear favorite. Why? The two stamps created the illusion that the participants would receive a free coffee sooner. While the distance to the goal was the same, those stamps showed visible progress.

Visible progress boosts motivation.

Pro Tip: End every writing session mid-scene. Doesn’t matter if the words are flowing. Stop. The next morning, it’s much easier to finish a scene than stare at a blank page.

I play mind-games with myself all the time. Once I’ve written the final page of the manuscript, I mark it with *** and keep going. Everything after the asterisks becomes the hook for the next book. That way, I never start a new manuscript with a blank page.

Productivity Fluctuates Throughout the Day

Researchers found that memory, perception, and problem-solving skills fluctuate according to a person’s chronotype, the natural inclination for your body to sleep (i.e., early bird vs. night owl).

I’m most productive in the mornings and between 7 p.m. – 8 p.m. It’s strange, I know, but for some reason new ideas pop into my mind between those hours, so I write in Notes on my phone.

Consistency trains the brain.

Pro Tip: Take note of when you’re most productive during the day. If you can’t write at that time, train yourself to write at the second most productive time of day for you.

Surprising Facts Improve Learning and Memory

Moments of intellectual surprise can boost memory, curiosity, and make you a more effective learner. Also, those who are curious about the world — like writers — and learn on a regular basis (i.e., research) extend their longevity and lower their risk of brain-related diseases like Alzheimer’s or dementia.

A few fun facts that may surprise you:

  • Jays are not blue. There are no blue feathers in the Animal Kingdom. What we see is an optical illusion. Blue Jays are gray.
  • A Greenland shark born before Isaac Newton was still alive in 2020.
  • Polar Bears are not white. Though polar bear fur appears white, it’s actually transparent. Long hollow hair shafts reflect light much like ice does, making polar bears appear white or yellow. Beneath their thick coats, polar bears have black skin that absorbs the sun’s warmth. To a deer, polar bears look green.

Pro Tip: If you’re stuck, research other elements of the story. You might be surprised by what you find. Never stop learning.

All these actionable tips and tricks will help you move the elephant in the right direction.

Post-Mortem on the Flathead River Writers Conference – Part 1

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Attendees at Debbie Burke’s Villain’s Journey workshop

by Debbie Burke

Al Solum and Kathy Dunnehoff wearing a hoodie with her book cover

Last weekend, the 35th annual Flathead River Writers Conference in Kalispell, Montana, was like an exuberant family reunion…except there were no drunken squabbles!

With many repeat attendees, emcee Kathy Dunnehoff compared the gathering of 100 writers to the dog park: we’re off the leash of ordinary life, happy to see each other, and eager to play.

Keynote Shelley Read glowed with warmth and enthusiasm, radiating encouragement as she talked about the Cinderella story of her debut novel Go as a River. Published in 2023 when she was 56, the novel became a mega-bestseller worldwide with translations into many languages. Shelley was stunned and thrilled with how the book’s theme of deep connection to the land resonates with readers around the globe. So far, she’s toured 19 states and 11 countries.

She relates the story of her proud mother creating what she laughingly calls a “shrine” in the living room, featuring her awards and reviews. Also displayed is Shelley’s first novel, written at age nine, entitled Peter the Porcupine, a two-page school assignment that grew to 66 pages and includes a hand-scrawled copyright symbol.

During her decades as an educator, wife, and mom, Shelley describes writing her book “in the margins of my life.” The story “marinated and percolated” inside her head, taking 13 years to finish.

Shelley believes grief and sorrow in the heart are universal, spanning across all cultures. Tapping those emotions could be the “great unifier” for humanity. She urged the audience to “write as a witness” to chronicle and preserve life’s experiences for others to read and learn from.

Cindy Spiegel, Spiegel and Grau publisher, and author Shelley Read, keynote speaker

Another guest speaker was Cindy Spiegel, CEO of Spiegel and Grau, the respected independent press that published Shelley’s book and numerous groundbreaking bestsellers. Cindy shepherds books and authors in the grand tradition of Maxwell Perkins.

She spent decades in the industry leading imprints and building a reputation for high-quality books. When multiple mergers of publishing companies changed the industry’s focus solely to quick profits, in 2020 she and Julie Grau struck out on their own. Their mission is to publish books that earn money but also change the world.

Cindy chooses books with enduring themes and helps them build lasting momentum rather than publishing ones that make a brief splash on social media then quickly disappear.

She understands most authors are introverts and believes part of her job is to help them with platforms. She clearly values a strong rapport with her authors and says, “I won’t publish someone if we don’t have the same vision.”

Agent Abby Saul and publisher Cindy Spiegel.
Photo credit David Snyder

Literary agent Abby Saul is celebrating 10 years of The Lark Group, the agency she founded to represent commercial adult fiction.

She recommends before submitting to an agent that the writer “takes the manuscript as far as you can” and perfects the first 50 pages. “Make the best first impression because that is often the only impression.” She usually only reads two pages of a submission but, if she gets engrossed and finds she’s read 20 pages, “Oh my gosh!”

After Abby and a client agree to representation, she puts together a list of editors she thinks will be interested in the project. Unlike agents who only make contact when the book is sold, she keeps the author fully informed throughout the submission process. If an editor gives reasons for rejection, she lets the author know so they can make changes if warranted. She also advises them to start writing their next book while waiting for an answer. “I’ve sold books in two days or in two years.”

In a query, she likes comps but advises writers not to brag about “being the next Dan Brown.” Rather use phrases like “In the vein of…” or “For fans of…”

When asked about AI, she isn’t concerned because there is “an art to writing and AI can’t compare. Readers are smart and they’re here for real books.”

YA novelist Jess Owen, romantasy author J.D. Evans, and Debbie Burke

The conference highlights are too many to fit into today’s post. Come back in two weeks for the next installment featuring more terrific speakers including Robert Petrone talking about memoir; Jake Arrowtop, Native-American poet; Jonathan Fetter-Vorm, artist and author of graphic novels and graphic nonfiction; a panel with YA novelist Jess Owen, romantasy author J.D. Evans, and me about our traditional and indie publishing paths.

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TKZers: Have you attended a recent writing conference? Which speakers impressed you?

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At the conference, I gave a day-long workshop. If you missed it, you can find the same information in The Villain’s Journey-How to Create Villains Readers Love to Hate.

Craft a Raptor Hero Not Villain

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Raptors are some of the most successful predators on the planet. From owls, eagles, and vultures to hawks, falcons, and other birds of prey, raptors are skilled hunters with incredible senses, like binocular vision, that help them detect prey at far distances.

The secretary bird even carries mouthfuls of water back to the nest for her young — one of the few avian species to quench a chicks’ thirst.

If a raptor was a character in a book, they seem like the perfect villain on the surface. After all, they kill and consume adorable critters like chipmunks, squirrels, mice, monkeys, birds, fish, and old or injured animals. As readers, we’d fear the moment their shadow darkened the soil.

What we may not consider right away is how tender raptors are with their young, or that they only take what they need to feed their family and keep the landscape free of disease from rotting meat and sick animals, or what majestic fliers they are. Raptors have many awe-inspiring abilities.

Take, for example, the Andean condor, the largest flying land bird in the western hemisphere. In the highest peaks of the majestic Andes, the largest raptor in the world hovers in the sky in search of its next meal — a carcass or old/injured animal to hunt. Andean condors have a wingspan of over ten feet. If one flew sideways through an average living room with eight-foot ceilings, the wings would drag on the floor!

How could we turn a massive predator like the Andean condor into a hero? It’s difficult to offset their hunting abilities and diet with the innocence of their prey, but not impossible.

A layered characterization holds the key. It doesn’t matter who your protagonist is or what they do. With proper characterization, a raptor or killer can play any role.

Go Deeper than the Three Dimensions of Character

1st dimension: The face they show to the world; a public persona
2nd dimension: The person they are at home and with close friends
3rd dimension: Their true character. If a fire broke out in a cinema, would they help others get out safely or elbow their way through the crowd?

A raptor-type character needs layers, each one peeled little by little over time to reveal the full picture of who they are and what they stand for. We also need to justify their actions so readers can root for them.

A perfect example is Dexter Morgan, vigilante serial killer and forensic blood spatter analyst for Miami Dade Police.

Why did the world fall in love with Dexter?

What makes Dexter so fascinatingly different is that he lives by a code when choosing his victims – they must, without a doubt, be murderers likely to strike again. But he didn’t always have this code. In the beginning, he killed to satisfy the sick impulses from his “dark passenger.” If it weren’t for Dexter’s adoptive father and police officer, Harry Morgan, who educated his son to control his need to kill and established tight guidelines for Dexter to follow (the code), he would have been the villain.

Readers accept his “dark passenger” because he’s ridding the world of other serial killers who could harm innocent people in the community. And that’s enough justification for us to root for him. We’re willing to overlook the fact that he revels in each kill and keeps trophies. We even join him in celebrating his murders — and never want him caught.

Jeff Lyndsay couldn’t have pulled this off if he showed all Dexter’s layers at the very beginning. It worked because he showed us pieces of Dexter Morgan over time.

The Characterization for Vigilante Killers Cannot be Rushed

When I created this type of character, he started as the villain for two and half novels while I dropped hints and pieces of truth like breadcrumbs. It wasn’t until halfway through book four that the full picture of who he really was and what motivated him became evident.

So, go ahead and craft a raptor as the protagonist of your story (as an antihero). When characters are richly detailed psychologically, readers connect to them. Perhaps a part of us wishes we could enact justice like they do.

If crafted with forethought and understanding, your raptor may become your most memorable character to date. Just go slow and really think about how much of their mind to reveal and when. Who knows? You may create a protagonist readers will analyze for years to come!

*Perhaps it’s unfair to draw a parallel between raptors and vigilante killers but the idea came to me while watching a nature documentary. Make no mistake, I adore raptors.

Have you ever crafted a raptor character aka antihero? Who’s your favorite antihero (movies or books)? And why?

 

Writing for Children

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When you’ve spent your entire career writing adult thrillers and true crime, switching to a children’s chapter book takes some getting used to. Jumping back and forth between the two is even more difficult. After struggling with both projects, I decided to stick with one till completion, then finish the other.

Because my chapter book is meticulously outlined and half-written, I chose to concentrate on that project first. Plus, a chapter book’s optimal range is 10,000 words — a fraction of the word-count of an environmental thriller.

When I read the opening sequence of my chapter book, it seemed too advanced for young readers. I needed to stop, home in on my target age group, and relax the language and pacing. After all, early readers don’t have the same mental acuity as adults. They need easier wins.

Children’s books are separated into three categories, all with different guidelines for word choices, pacing, viewpoints, and the amount and style of illustrations.

  • Picture books
  • Chapter books
  • Middle Grade

Picture Books

A standard picture book is 32 pages long.

Picture books follow a compact story arc with a beginning, middle, and end. Jump into the action quickly, introduce a problem, and have the main character solve it by the end. The “rule of three,” where a problem recurs three times before a solution is found, is a common and effective technique. Illustrations will convey much of the emotion and setting, so your text should focus on the action and dialogue. Avoid using words to describe what the illustrations show. A picture book is meant to be read aloud, so the language needs to have a natural rhythm and flow.

Ages 3-5: Around 500 words, these stories have simple language and relatable topics like starting school, picky eaters, or a nighttime routine. Illustrations consume the pages—big, bright, and fun.

Ages 4-8: These picture books can be slightly longer, up to 800 words, with a slightly more complex plot. Still, you’re limited, because the illustrations take center stage.

As a visual medium, the writer must consider how the story will unfold across two-page spreads.

Chapter Books

To write a chapter book, you need to develop relatable characters, create a simple yet engaging plot, and break the story into short, purposeful chapters that build a new reader’s confidence. A typical chapter book is aimed at the 7-10 year age group and has a word count between 5,000 and 15,000 words. The sweet spot is 10,000. This allows the writer more freedom than a picture book.

Chapter books fall between early readers and middle-grade novels. The target audience is a new independent reader who’s often supervised by an adult. A solid, unique story idea is the foundation of a successful chapter book—especially since many are written as a series—that includes the main plot and core theme(s).

If you include an ill-advised subplot, be careful not to divert focus from the main plot. The young reader is just beginning to get comfortable reading on their own. Making the story easy to understand and follow is essential. Sure, many chapter books are read aloud to an adult, but don’t rely on that. What if the child is reading alone?

A chapter book must have a full narrative arc. If you watch a plethora of animated films, you’ll see they’re all structured like an adult novel or movie. And so, that’s exactly what I did. The story should be action-packed with lots of dialogue to hold a new independent reader’s attention, but never leave the main character and sidekick in trouble for long. A flip of the page is more than enough suspense.

Around 48-80 pages, chapter books often include black-and-white illustrations at the beginning of each chapter or where you want to show the new reader what’s going on. For example, when I introduce a new animal character, I’ll include an illustration to cement that picture in the reader’s mind. Because the illustration is in black-and-white, I need only mention color rather than a detailed description.

Middle Grade Novel

Most middle grade novels are geared toward ages 8-12. They are the in-between books for readers who have outgrown chapter books and are too young to emotionally handle or enjoy themes and ideas found in young adult novels. Middle grade novels run about 30,000-55,000 words.

Young readers need to relate to the characters, but they don’t mind “reading up.” Meaning, the main cast should be in the upper range of the target age group. For some reason, 13 and 14 year-old characters are considered a no-no. They’re too old for middle grade novels (perhaps due to puberty?) and too young to star in YA.

If you choose to write in this genre, you may want to read this article about middle grade novels. In it, the author includes an important distinction:

“What may work for an 8-year-old likely won’t work for a 12-year-old. So although we bundle it all into middle grade, the genre actually has two sub groups. This is important to understand in order to know your audience when writing, and thus appropriately adjust your themes and word count.

Two Sub-Categories

  • Lower Middle Grade

Lower middle grade novels tend to be read by kids aged 8 to 10 years old. There may be a sub plot or two, but the main plot will dominate the focus, and all themes will certainly be G or PG rated.

  • Upper Middle Grade

Upper middle grade novels can have a higher word count, and will be read by children aged 10 to 13 years old. There will likely be a subplot or two that help to carry the story in a substantial way. Themes may be a bit more complex, or PG or PG-13 rated.”

Even though I spent quite a bit of time researching techniques for my new target audience, I enjoy the challenge of writing a children’s chapter book. It’s rewarding, fun, and exciting.

Have you ever considered writing for children? Do you write children’s books now? If so, for what age group? Any tips to share? Categorize your favorite children’s book and tell us why you loved it as a child.

ARGGH! Words We Love to Hate

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By Elaine Viets

You know, some words and phrases are getting on my nerves. Most people would say it is what it is and at the end of the day, let it go. I know, right? But I’ve been doing some online research. There are certain sayings that tick people off. And readers are people, too. You don’t want to turn off your readers with annoying phrases. Just sayin’.
These outstandingly irritating phrases are garnered from various corners of the web.
Think carefully before you use them in your writing. You may want to save them for your most hateful characters.

Just sayin’. The winner! Nearly everyone hates this redundant phrase. I mean, you’ve already said what you were going to say, right?

Literally. I confess I’ve used this one and thought it was pretty clever – the first time. Then I noticed that word in every novel I picked up – literally.

It is what it is. This meaningless phrase is enough to send me screaming into the night. Please don’t use it.

At this moment in time. What’s wrong with “now”? Can this pretentious phrase.

Everything happens for a reason. Usually said after some meaningless tragedy, and meant as consolation. If you don’t have that comforting belief system, this phrase triggers an urge to slap that person silly. Also avoid this phrase: Whenever God closes a door, he opens a window. I had a roommate like that. Very annoying.

Honestly. Often a trigger word indicating the person using it is lying. Use it carefully.

My bad. A cutesy way of glossing over a mistake. This phrase says, “I know I did something offensive and I don’t care.”

I want 110 percent. Right, boss. Except your math doesn’t add up.

No worries. Some people find this phrase a little passive-aggressive. In other words, when someone says, “No worries,” they’re really telling you that you should be worried.

At the end of day. As in, “At the end of the day, getting a new CEO won’t make any difference. This company is doomed.” This crutch will cripple any sentence.

With all due respect. The warm-up to an insult. “With all due respect, even in your prime you weren’t that good.”

That’s my list, and it’s pretty good, in IMHO (oops, there’s another one.) Now’s your chance. What tired words and phrases would you like to see retired?

Now hear this! SEX AND DEATH ON THE BEACH, my new Florida Beach mystery, is now an audio book. https://tinyurl.com/9amkzaf4

First Page Critique – Fallen Starr

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by Debbie Burke

Welcome to another first page submitted by an anonymous Brave Author. Please read then we’ll discuss on the flip side.

 ~~~

Fallen Starr

Thriller

Starr’s gaze followed the barrel of the gun clenched in the mobster’s trembling white-knuckled grip, her eyes crossing from the effort. Deep shadows enveloped her in the narrow alley off St. Petersburg’s Nevsky Avenue, while the dim, jaundiced glow from the solitary streetlight bled into the darkness.

Crumbling brick walls and weathered cobblestones, slick from a recent downpour, boxed her in. Dripping water reverberated into the twilight, interrupted only by the distant cry of some poor soul. Echoes of fading footsteps sparked her fear that someone might stumble into the alley before she got what she wanted.

Her assailant’s eyes widened, pupils blown out to the edges with a glimmer of paranoia, most likely a result of the street drug Krokodil. He blinked slowly as if the action required immense effort, each movement sluggish and delayed. Sweat beaded on his forehead, and his skin glistened under the faint light. As his trigger finger twitched, Starr’s heart hammered against her ribcage as she swallowed a bitter taste of dread.

“Traitor.” His voice dripped with contempt.

That one word pierced harder than it should. Traitor. She could almost laugh at the irony. If the world only knew how far she’d already fallen. As her chosen name suggested, like a falling star, she had blazed a meteoric path from the heavens alongside one-third of the angels who’d foolishly followed Lucifer’s glorious but doomed light. But after her burning descent, her journey had become a slow, winding climb, as she searched for redemption.

“Long is the way and hard that out of hell leads up to light.” John Milton’s epic poem rang in her ears. But right now, she was far from any light.

Starr turned down the corners of her lips and tilted her head. “Traitor? That hurts my feelings.”

It did indeed. In her quest for redemption, she had made tough choices, turning her back on the other fallen angels. Her current situation in this foul alley had sunk to a similar low.

The air was thick with the stench of rancid garbage. Twisted shadows cast by an old wrought-iron fire escape danced across an overturned dumpster spilling its contents onto the cobblestones. The shade of the bars concealed—was that a headless rat?

A writhing heap of maggots feasting on the rodent forced her to part her lips and take shallow breaths through her mouth.

~~~

First off, kudos to the Brave Author (BA) for a clean submission free of typos.

This is a solid action start, landing the reader smack in the middle of a frightening situation. A gun is aimed at the protagonist, brandished by a man who appears to be a twitchy addict.

It’s nighttime and the location is described with an abundance of sensory detail: sights (“jaundiced glow”), touch (slick cobblestones), sound (dripping water reverberating, a cry, fading footfalls), taste (“bitter dread), and smell (“rancid garbage”).

Nevsky Avenue is a good specific detail, but I wondered whether it referred to St. Petersburg in Florida or in Russia. I googled Nevsky Avenue and discovered a live webcam that shows real-time action on the Russian street.

BTW, TKZers, live webcams are helpful tools for writers to visualize locations, as are street views on Google Earth. If you’re unfamiliar with the lay of the land or need to refresh your recollection of a place you visited in the past, check these out.

BA does a good job of grounding the reader in a few paragraphs. We know where and when the action is taking place. There’s an immediate threat—an armed assailant who has a serious beef with the hero.

Starr is not only in physical danger. She describes what may be metaphorical or spiritual danger. She says she’s a fallen angel struggling on a path to redemption. That makes me wonder if the story has fantasy elements, although it’s categorized as a thriller. Mashups between genres can work well and are popular with current readers.

BA has packed a lot into one page and therein lies the problem. It’s too much, too soon.

While attempting to immerse the reader immediately in the story, BA instead threatens to drown us. It felt like trying to drink from a firehose—a cliche but an apt one.

Slow down and dribble information rather than deluge the reader. Make the reader thirsty for more.

My suggestion is to limit descriptions to a couple of senses rather than all five at once. Choose the best image to sum up the setting and delete the rest. It’s night in a dark cobblestone alley after a recent rain, and there’s a headless rat with maggots feasting on it. That does the job. The reader’s imagination fills in the rest.

Strong verbs are generally good, but here they’re overused. In the first two paragraphs: enveloped, bled, boxed, reverberated, sparked. They draw attention to themselves and pull the reader out of the story. Again, choose the best one and skip the rest.

The description of Starr’s assailant also overwhelms the reader with too many details. I suggest you pare it down to the most vivid, telling detail. Here’s a possible rewrite:

His eyes widened, pupils blown out to the edges with a glimmer of paranoia, most likely from a result of the street drug Krokodil, the cheap Russian homebrew version of heroin.

I had to look up Krokodil. It’s apparently common in Russia but not so much in other countries. That’s why I suggest adding a bit more explanation to clarify it’s not just another street drug. It’s somewhat unique to the location and cooked by the user, rather than purchased as a finished product from a dealer.

That detail is important because it makes the reader curious about Starr. How does she know about Krokodil? Is she a user, a dealer, an undercover officer?

The character of Starr as a fallen angel is intriguing but again it’s overdone. Let’s take another look at this paragraph of inner monologue.

That one word pierced harder than it should. Traitor. She could almost laugh at the irony. If the world only knew how far she’d already fallen. As her chosen name suggested, like a falling star, she had blazed a meteoric path from the heavens alongside one-third of the angels who’d foolishly followed Lucifer’s glorious but doomed light. But after her burning descent, her journey had become a slow, winding climb, as she searched for redemption.

How much of this does the reader need to know at this stage of the story? An accusation that she’s a traitor is intriguing. So is that she’s a fallen angel struggling for redemption.

What the world knows about her fall, the significance of her name, a meteoric path with one-third of other fallen angels who followed Lucifer, a burning descent, and a slow, winding climb—all this information can be saved for later.

Simply using dialogue shows enough about her character to make the reader curious.

“Traitor,” he said (get rid of the cliche “dripped with contempt”).

Starr turned down the corners of her lips and tilted her head. “Traitor? That hurts my feelings.”

What is her tone of voice? Is she being sarcastic? Cocky? Trying to provoke him? Saying something, anything to distract him from shooting her?

Instead of overexplaining her guilt complex, keep the reader wondering and turning the page.

“Long is the way and hard that out of hell leads up to light.” John Milton’s epic poem lingered in Starr’s mind. But right now, she was far from any light.

These lines struck me because they establish Starr’s conflict without overwhelming the reader. However, the current placement confuses the reader because it appears to continue earlier dialogue between the assailant and Starr.

What if you used these lines as the opener instead?

It’s a difficult judgment call to choose which details are important enough to be on the first page and which can be saved until later. The goal is to intrigue the reader, to tease them into wanting to learn more, but not overpower them.

Ask yourself: how much does the reader need to know and when do they need to know it? Don’t get rid of extra info. Save it for later. Decide when to slip in a detail here or a hint there.

As you review this page, also watch out for cliches and delete them. White knuckles, sweat beaded on the forehead, heart hammering her ribs, voice dripping with contempt—these don’t add to the story and detract from the interesting fallen angel concept.

Brave Author, please don’t be discouraged by this critique. You have a compelling idea, an unusual, exotic setting, and a character with an immediate problem. You start with dramatic action. Those are all positive qualities.

Please realize you don’t have to explain everything at once. Take your time.

Thank you for submitting this first page and best of luck with your story!

~~~

TKZers: As a reader with fresh eyes, what is your reaction to this page? What suggestions do you have for the Brave Author?

~~~

Debbie Burke’s new reference book The Villain’s Journey-How to Create Villains Readers Love to Hate is now available in print as well as ebook.

Amazon: Print book   Ebook

Barnes & Noble: Print book   Ebook

Apple: Ebook

Kobo: Ebook

Steinbeck on Writing

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by James Scott Bell
@jamesscottbell

I read Of Mice and Men in high school and was wiped out for a week. I’ve seen the 1939 movie adaptation only once, in college, and I can’t watch it again.

That’s storytelling power. John Steinbeck had it.

So I thought it might be of interest here to share some of his writing advice via an interview in The Paris Review. I’ve added some comments, which is rather cheeky considering Mr. Steinbeck is a Nobel Prize ahead of me. But here goes anyway:

  1. Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.

JSB: I like this. It’s similar to what Ann Lamott counsels in Bird by Bird, i.e., the “one inch frame.” Just face your daily writing, with full attention. If you do this faithfully, at some point you’ll look up and see a full novel. And that’s a very nice feeling.

  1. Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.

JSB: I somewhat agree. I am a planner, and once I get going I want to finish that first draft as rapidly as I can. However, I do edit my previous day’s work. I sharpen it, and it gets me back in flow.

  1. Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.

JSB: I don’t think about readers, plural or singular, when I write. I think about the characters. I think about the market when I nurture and idea. I want a concept that will appeal to sizable slice of folks who have discretionary income to spend on books. But once I’ve put that concept into motion in a novel, I’m involved only with the characters and how they get out of trouble.

  1. If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.

JSB: This is good advice, so long as  you’re not doing it a lot. If you do, there’s going to be a much bigger mess at the end than there was at the beginning. If you have too many scenes that are not “working,” the problem may be in the structural foundations or in scene writing itself.

  1. Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.

JSB: I believe “out of drawing” is an art term which means an element that doesn’t fit. “Kill your darlings” is another way to put it. But this advice has always puzzled me. Maybe that scene that’s dear to you is the best one in the book. I think the only test is, Does it work in the story? Does it slow things down? Are you showing off?

JSB Axiom: Don’t write to impress your readers. Write to distress your characters.

  1. If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.

JSB: I prefer to write dialogue and let it flow. When I edit the dialogue, that’s when I might say it out loud, or listen to the text.

So what do you think of this advice, TKZers?
Have you read much Steinbeck? How does he rate with you?