Category Archives: #writetip

What We Can Learn From
Ballet and ‘The Big Sleep’

Posted on by

“The average detective story is probably no worse than the average novel, but you never see the average novel. It doesn’t get published. The average — or only slightly above average — detective story does…. Whereas the good novel is not at all the same kind of book as the bad novel. It is about entirely different things. But the good detective story and the bad detective story are about exactly the same things, and they are about them in very much the same way.” — Raymond Chandler

By PJ Parrish

Okay, it’s time to talk about the F-word.

But before we do, I have to back up a little and first talk about ballet.

Back in my newspaper days, I spent 18 years as a dance critic. I was privileged to see every great ballet company in the world, and interview wonderful dancers. I also took a lot of classes, starting when I was a tubby little 12-year-old to around 35 when I finally hung up the toe shoes. I didn’t know it at the time, but ballet was really good training for becoming a crime novelist. Because both are based on finding magic within the formula.

A quick primer for all you ballet-adverse types out there. Bear with me, because you will need this when I get to Raymond Chandler:

iballep002p1

Everything in ballet can be boiled down to five positions. There are only five ways to position your feet, five ways to hold your arms. But…

Everything in ballet -– from the classical precision of Swan Lake (1875) through the sassy sweep of Twyla Tharp’s Nine Sinatra Songs (1982) — flows out of this. Think about that for a second: Within one strict formula can be found myriad unique opportunities for self-expression.

One of my favorite ballets is George Balanchine’s Serenade. Balanchine was a genius. He sort of did for dance what Raymond Chandler did for the detective novel, building a bridge between the 19th and 20th centuries, finding new permutations within the old formula, and changing everything that came after forever. Serenade was the Rosetta Stone for a new kind of dancer. Philip Marlowe, likewise, held the DNA for a new kind of hero.

The opening of Serenade is breathtaking in its simplicity and promise. Seventeen dancers stand motionless on stage, one arm raised, feet parallel. Then, slowly, their arms come down together in first position, and a beat later, their feet turn out. With that one motion, they mutate from mere women into dancers, standing in the first position from which all movement flows. Go watch it and come back. It will only take 53 seconds.

Now, here’s the opening of Chandler’s The Big Sleep.

It was about eleven o’clock in the morning, mid October, with the sun not shining and a look of hard wet rain in the clearness of the foothills. I was wearing my powder-blue suit, with dark blue shirt, tie and display handkerchief, black brogues, black wool socks with dark blue clocks on them. I was neat, clean, shaved and sober, and I didn’t care who knew it. I was everything the well-dressed private detective ought to be. I was calling on four million dollars.

 

Like Serenade, this opening is breathtaking in its simplicity and promise. Right away, we know we are beginning a journey with a very special guide. And oh, those telling details. Who but a man who’s been on too many benders would point out that he was sober this time? And that last line? A lesser writer would have been content with: “I was going to see a rich guy.” Such delicious sarcasm and attitude!

Both Serenade and The Big Sleep are exemplars of two master artists working within the confines of their genres even as they explore and expand the formula.

So back to the F-word. Let’s talk about formula. I think it’s become a dirty word in our crime writing world, tossed around as a pejorative by folks who want to put us in our place. Some want to draw distinctions between genre fiction and literature. (“Her novel transcends the blah-blah-yada-yada.”) And some, even within our own circle, want to diminish writers who hew too closely to the bones. (“He’s working the tired old formula.”)

Years ago, I was on a panel about the future of the PI novel. There was a strange undercurrent to it, like it was put on the program almost as an apologia. It was like the conference organizers were accommodating the private eye novelist as the goofy cousin you seat at the kid’s table at Thanksgiving. Chandler himself, in a great interview with Ian Fleming put it this way: “In America, a thriller, a mystery writer as we call them, is slightly below the salt.” (Click here to hear the entire fascinating exchange.)

But I think the PI formula — and indeed, the entire crime fiction blueprint — has much to recommend it. Mainly because, as with ballet, once you master its fundamentals, once you understand the underlying structure and learn the basic “rules,” you are freed to swing for the fences.

I guess we should stop and take a hard look at that word “rules.” It’s a scary word because some of us think we don’t know the rules and others think the rules are there only to be broken. There have been a lot of rules doled out over the years regarding crime fiction. S.S. Van Dine’s “Twenty Rules for Writing Detective Stories,” written in 1928, might be the most famous. Van Dine prefaced his rules thusly:

The detective story is a kind of intellectual game. It is more—it is a sporting event. And for the writing of detective stories there are very definite laws—unwritten, perhaps, but nonetheless binding; and every respectable and self-respecting concocter of literary mysteries lives up to them.

My favorite Van Dine-ism: “There simply must be a corpse in a detective novel, and the deader the corpse the better.”

A year later,  Ronald Knox wrote “The Ten Rules of Detective Fiction” My favorite Knox sin: “No Chinaman must figure into the story.”

T.S. Eliot was a big fan of detective novels, and was compelled to publish his own set of rules, in 1927 in his literary magazine The Criterion:

  1. The story must not rely upon elaborate and incredible disguises.
  2. The criminal’s motives should be fairly predictable. “No theft, for instance, should be due to kleptomania (even if there is such a thing).”
  3. The solution should not involve the supernatural or “mysterious and preposterous discoveries made by lonely scientists.
  4. Elaborate and bizarre machinery is an irrelevance. Detective writers of austere and classical tendencies will abhor it.
  5. The detective should be highly intelligent but not superhuman. We should be able to follow his inferences and almost, but not quite, make them with him.

Even Raymond Chandler himself couldn’t resist laying some laws. Here are his Ten Commandments For the Detective Novel:

  1. It must be credibly motivated, both as to the original situation and the dénouement.
  2. It must be technically sound as to the methods of murder and detection.
  3. It must be realistic in character, setting and atmosphere. It must be about real people in a real world.
  4. It must have a sound story value apart from the mystery element: i.e., the investigation itself must be an adventure worth reading.
  5. It must have enough essential simplicity to be explained easily when the time comes.
  6. It must baffle a reasonably intelligent reader.
  7. The solution must seem inevitable once revealed.
  8. It must not try to do everything at once. If it is a puzzle story operating in a rather cool, reasonable atmosphere, it cannot also be a violent adventure or a passionate romance.
  9. It must punish the criminal in one way or another, not necessarily by operation of the law….If the detective fails to resolve the consequences of the crime, the story is an unresolved chord and leaves irritation behind it.
  10. It must be honest with the reader.

Now of course you can see that Chandler’s “rules” are more in tune with our own modern sensibilities. He, like ballet’s Balanchine, pointed the way to the future. He, like Balanchine, took the old formula and made it new. Which is why we still read him today and we don’t read S.S. Van Dine or Ronald Knox.

It’s often said that we writers only recycle the same plots over and over. There are, in fact, only seven stories in the world,  according to the writer Sir Arthur Thomas Quiller-Couch. Here they are:

  1. man against man
  2. man against nature
  3. man against himself
  4. man against God
  5. man against society
  6. man caught in the middle
  7. man and woman

So Romeo and Juliet is reborn as West Side Story.  Moby Dick resurfaces as Jaws. King Lear becomes A Thousand Acres in the hands of Jane Smiley. And don’t get me started on what Bram Stoker unleashed on us.

This post was inspired by Larry Brook’s post here last week on concept vs premise. Go back and read it if you haven’t already. As I said in my comment there, the current hit movie The Martian is really just an old plot, one Sir Arthur himself would recognize as Man vs Nature but transported to Mars.  Before The Martian, we had Robinson Crusoe, The Swiss Family Robinson, PD James’s Children of Men,  Laura Ingalls Wilder’s The Long Winter, Cormac McCarthy’s The Road, and Richard Matheson’s  I Am Legend,  which was recycled into the cheesy Charleston Heston movie Omega Man.

Formulas are not, in themselves, bad things. And given the long and glorious history of the crime novel, it is something we should honor, not disdain. The “trick” for us is to find within the universal human experience, fresh things to say about our own times and situations.

viewimage_story

The ballet Serenade ends on a mournful note, a man borne off by a female dancer who, to my mind, is a symbolic angel.

And then, there is the equally elegiac ending paragraphs of The Big Sleep.

I went quickly away from her down the room and out and down the tiled staircase to the front hall. I didn’t see anybody when I left. I found my hat alone this time. Outside, the bright gardens had a haunted look, as though small wild eyes were watching me from behind the bushes, as though the sunshine itself had a mysterious something in its light. I got into my car and drove off down the hill.

 

What did it matter where you lay once you were dead? In a dirty sump or in a marble tower on top of a high hill? You were dead, you were sleeping the big sleep, you were not bothered by things like that. Oil and water were the same as wind and air to you. You just slept the big sleep, not caring about the nastiness of how you died or where you fell. Me, I was part of the nastiness now. Far more a part of it than Rusty Regan was. But the old man didn’t have to be. He could lie quiet in his canopied bed, with his bloodless hands folded on the sheet, waiting. His heart was a brief, uncertain murmur. His thoughts were as gray as ashes. And in a little while he too, like Rusty Regan, would be sleeping the big sleep.

 

On the way downtown I stopped at a bar and had a couple of double Scotches. They didn’t do me any good. All they did was make me think of Silver Wig, and I never saw her again.

There is nothing new. Just new ways of making us feel.

Evocative Suspense Author Sue Coletta on VOICE

Posted on by

Jordan Dane
@JordanDane

WingsOfMayhem

I’m proud to have longstanding TKZ member, Sue Coletta as my guest today. This is her first time here as a featured author. Not only is she usually one of the first to comment on each post, but I’ve seen her grow as a writer. I enjoyed her first book MARRED, with its strong voice and dark eerie tone, and I’m currently reading WINGS OF MAYHEM and thoroughly enjoying the voice of her protagonist, Shawnee Daniels. Take it away, Sue, and welcome!

Sue Coletta on VOICE

When we first begin our writing journey voice is one of things that’s nearly impossible to define, never mind discover. For years I kept hoping to find my writer’s voice, but I had no idea where to look. Deep within myself? Through hours and hours of practice would it suddenly appear? What was this mysterious “voice” everyone spoke about? And why didn’t I have one?

Perhaps what agents and editors were referring to was that perfect blend of style, rhythm, and cadence that make up the mysterious writer’s voice. Maybe it’s like trying to define the difference between graffiti and street art. I may not be able to put it into words, but I’ll know it when I see it.

When I look back on those days I wish someone would’ve told me, with a clear definition, how to develop my voice. And then one day something magical happened. I was reading the most amazing craft book I’d ever encountered, the book that transformed my writing life in an instant. I’m referring to Story Engineering by TKZ’s own Larry Brooks.

When I learned about the three dimensions of character I found my writer’s voice. I couldn’t believe it. Why didn’t anyone tell me this before?

Today, I would describe voice as the combination of syntax, diction, punctuation, dialogue, sentence rhythm, and character development within one story or across many novels. It’s unique to you. Just as a flute doesn’t sound like a clarinet, neither does one writer from another.

How awesome is that?

We all use the same 26 letters, and yet, no two authors will write the same scene the same way. One writer might use run-on sentences that go on for miles. Whereas another loads the story with short, punchy fragments. Neither is wrong; it’s a matter of personal style.

But style isn’t the only thing that makes up the writer’s voice.

By knowing our characters intimately, by understanding their hopes, their dreams, their backgrounds, scars, flaws, nervous ticks, religious beliefs, world views, what they fear, what they strive for, what they want more than anything else…we can slip into their skin and write using their voice. Not only in dialogue, but in the narrative as well—also known as narrative voice.

Take, for instance, my protagonist in Wings of Mayhem. Shawnee Daniels is a wise-cracking, snarky chic who was raised on the city streets. The way she views the world is much different than her librarian best friend, Nadine. Shawnee is overly cautious. She swears, has huge trust issues, and in a lot of ways, she’s her own worst enemy. Where Shawnee might see danger, Nadine, who was raised in a loving and often sheltered environment, would see an opportunity. Nadine never swears. Instead, she uses words like “ship” and “fleakin’”. She’s a glass-half-full type of girl. Shawnee’s glass barely has a drop in it.

Nadine’s dialogue is filled with words like “Woot!” She waves jazz hands and bounces on her toes when she’s excited. Shawnee is her polar opposite. She would never be caught dead waving a jazz hand in the air and she certainly would never use the word “Woot.” Because she’d never do these things in the dialogue, I can’t let her do it in the narrative, either, or the story would lose its narrative voice.

In Wings of Mayhem I alternated chapters between Shawnee, Detective Levaughn Samuels, and Jack Delsin, my antagonist. Each have their own way of viewing the world around them and, more importantly, the situation they’re in. I couldn’t write the narrative in the same way or it wouldn’t be unique to each character.

Where Shawnee believes everyone is after her, Detective Levaughn Samuels is more level-headed. In his narrative I used contractions like I did with Shawnee, but the tone is different. He views the world with a calm, rational, detective’s perspective. When he looks at a crime scene his stomach doesn’t scream in protest. But Shawnee’s does.

While examining a murder victim, Levaughn would narrate the facts, the wounds/injuries, his theory of the case, etc. Shawnee would be too distracted by the blowflies. She might gape at the victim’s smeared mascara, or narrow in on the thick, bluish film veiling the victim’s eyes. But Levaughn wouldn’t mention that because all corpses develop corneal clouding. It’s a natural occurrence that develops 2-3 days after death, depending on the environment in which the body is found.

By remaining true to our characters in dialogue as well as narrative we breathe life into the story. Thus, filling it with voice.

For Discussion:
Over to you, TKZers. What tips have helped you develop your writer’s voice?

Sue Coletta

Suspense Author Sue Coletta

BIO – Member of Mystery Writers of America, Sisters in Crime, and International Thriller Writers, Sue Coletta is always searching for new ways to commit murder…on the page. She’s the author of Wings of Mayhem, Marred, Crime Writer’s Research, and 60 Ways to Murder Your Characters. She’s published in OOTG Flash Fiction Offensive, Murder, USA anthology, InSinC Quarterly, and in the upcoming dark fiction anthology, RUN. The founder of #ACrimeChat, which takes place every Wed. on Twitter, Sue also runs a popular crime resource blog, where she shares her love of research…forensics, police procedures, serial killers, and true crime stories. You can learn more about Sue and her books at: www.suecoletta.com

Buy links:
Amazon Barnes & Noble  Apple iTunes  Smashwords  Google Play
Print and audio coming soon from Crossroad Press!

Social Media links:
Website/blog   Goodreads   Twitter   Facebook

What Happens After The First Draft

Posted on by

Sometimes I come across posts on writing blogs that I feel compelled to share with everyone at TKZ. One such informative post deals with what happens once you finish your first draft. With permission from its author, the great writer and teacher, Joanna Penn, here is a repost of her advice on the subject. Enjoy. – Joe Moore

——————————-

Many new writers are confused about what happens after you have managed to get the first draft out of your head and onto the page.

manuscriptI joined NaNoWriMo (National Novel Writing Month) this year and ended up with 27,774 words on a crime novel, the first in a new series. It’s not an entire first draft but it’s a step in the right direction and the plotting time was sorely needed.

Maybe you ‘won’ NaNo or maybe you have the first draft of another book in your drawer, but we all need to take the next step in the process in order to end up with a finished product.

Here’s my process, and I believe it’s relevant whether you are writing fiction or non-fiction.

(1) Rewriting and redrafting. Repeat until satisfied.

For many writers, the first draft is just the bare bones of the finished work and often no one will ever see that version of the manuscript. Remember the wise words of Anne Lamott in ‘Bird by Bird‘ “Write shitty first drafts.” You can’t edit a blank page but once those words are down, you can improve on them. [More books for writers here.]

editing arkane

I love the rewriting and redrafting process. Once I have a first draft I print the whole thing out and do the first pass with handwritten notes. I write all kinds of notes in the margins and scribble and cross things out. I note down new scenes that need writing, continuity issues, problems with characters and much more. That first pass usually takes a while. Then I go back and start a major rewrite based on those notes.

After that’s done, I will print again and repeat the process, but that usually results in fewer changes. Then I edit on the Kindle for word choice. I add all the changes back into Scrivener which is my #1 writing and publishing tool.

(2) Structural edit/ Editorial review

I absolutely recommend a structural edit if this is your first book, or the first book in a series. A structural edit is usually given to you as a separate document, broken down into sections based on what is being evaluated. You can find a list of editors here.

I had a structural edit for Stone of Fire (previously Pentecost) in 2010 and reported back on that experience here. As the other ARKANE novels follow a similar formula, I didn’t get structural edits for Crypt of Bone and Ark of Blood. However, I will be getting one for the new crime novel when it is ready because it is a different type of book for me.

Here’s how to vet an independent editor if you are considering one.

(3) Revisions

When you get a structural edit back, there are usually lots of revisions to do, possibly even a complete rewrite. This may take a while …

(4) Beta readers

Beta readers are a trusted group of people who evaluate your book from a reader’s perspective. You should only give them the book if you are happy with it yourself because otherwise it is disrespectful of their time.

This could be a critique group, although I prefer a hand-picked group of 5 or 6 who bring different perspectives. I definitely have a couple of people who love the genre I am writing in as they will spot issues within the boundaries of what is expected, and then some people who consider other things.

My main rule with beta readers is to make changes if more than one person says the same thing. Click here for more on beta readers.

(5) Line edits

Editors Notes ExodusLine editor’s notes for Exodus

The result of line editing is the classic manuscript covered in red ink as an editor slashes your work to pieces!

You can get one of these edits before or after the beta readers, or even at the same time. I prefer afterwards as I make broader changes of the book based on their opinions so I want the line editor to get the almost final version.

Line edits are more about word choice, grammar and sentence structure. There may also be comments about the narrative itself but this is a more a comment on the reading experience by someone who is skilled at being critical around words.

The first time you get such a line edit, it hurts. You think you’re a writer and then someone changes practically every sentence. Ouch.

But editing makes your book stronger, and the reader will thank you for it. [You can find a list of editors here.]

(6) Revisions
You’ll need to make more changes based on the feedback of the beta readers and line editor. This can sometimes feel like a complete rewrite and takes a lot of detailed time as you have to check every sentence.

I usually make around 75% of the changes suggested by the line editor, as they are usually sensible, even though I am resistant at first. It is important to remember that you don’t have to change what they ask for though, so evaluate each suggestion but with a critical eye.

(7) Proof-reading

By this point, you cannot even see any mistakes you might have made. Inevitably, your corrections for line editing have exposed more issues, albeit minor ones.

So before I publish now, I get a final read-through from a proof-reader. (Thanks Liz atLibroEditing!) After Crypt of Bone was published, I even got an email from a reader saying congratulations because they had failed to find a single typo. Some readers really do care, for which I am grateful and that extra investment at the end can definitely pay off in terms of polishing the final product.

(8) Publication

Once I have corrected anything minor the proof-reading has brought to light, I will Compile the various file formats on Scrivener for the ebook publishing platforms. I will then back the files up a number of times, as I have done throughout the whole process.

(9) Post-publication

This may be anathema to some, but the beauty of ebook publishing is that you can update your files later. If someone finds a typo, no problem. If you want to update the back matter with your author website and mailing list details, no worries. If you want to rewrite the whole book, you can do that too (although some sites have stricter rules than Amazon around what is considered a new version.)

time and moneyBudget: Time and money

Every writer is different, and there are no rules.

But in terms of time, your revision process will likely take at least as long as the first draft and probably longer (unless you’re Lee Child who just writes one draft!). For my latest book, Exodus, the first draft took about 3 months and the rewriting process took about 6 months.

In terms of money, I would budget between $500 – $2000 depending on what level of editing you’re looking for, and how many rounds. You can find some editors I have interviewed as well as their prices here.

I believe editing at all these different stages is important, because it is our responsibility to make sure our books are the best they can be. But if you can’t afford professional editing, then consider using a critique group locally or online. The more eyes on the book before it goes out into the world, the better.

What’s your editing process? Do you have a similar approach or something completely different?

photo

Joanna Penn is a New York Times and USA Today bestselling author of thrillers (as J.F.Penn) and non-fiction, a professional speaker and award-winning entrepreneur. Her site, TheCreativePenn is regularly voted one of the Top 10 sites for writers. Connect with Joanna on Twitter @thecreativepenn

First Page Critique of MOONSTONE

Posted on by

Jordan Dane
@JordanDane

Cry baby Truss ZF-9327-85193-1-001

 

Another courageous author has submitted the first 400 words of a work-in-progress anonymously for critique. Read and enjoy. See you on the flip side with my comments, then join me with yours.

PROLOGUE

Waterford, MN
June 4, 1994

By the light of the moon you can catch fireflies, or sit by a campfire watching the embers drift upward toward the stars. By the light of the moon you can stroll down a dirt road, or just sit on a back porch with a tall glass of iced tea. By the light of the moon you can propose marriage, or just leave your lover.

And by the light of the moon, if you have a shovel, you can try to bury your past.

That’s exactly what Jack Cicero had in mind, on this night in early June. The sun had already dipped below the horizon, and the full moon was threatening to make an early appearance. As he ducked under the oak trees, darkness shrouded him, causing him to have to use his flashlight which lit up the area like a beacon. All of his senses went into high alert. He pushed his thick eye glasses tighter on his nose. He strained his ears to listen for the sounds of approaching cars. The night was silent except for sounds of the Snake River choking itself on the rocks in its path; and the pounding of his own blood in his head.

He pushed on not willing to test his luck. He spied a large rock under the trees, and set the flashlight down in such a way as to shield its light from the road. If he heard anything, he could grab it in an instant and kill it.

He picked up his shovel, and cursed and groaned as he stabbed the soft earth at the base of the rock. He had to hurry, because this moon was a reluctant, silent witness rising higher in the sky, threatening to expose him. Although she tried, the full moon failed to penetrate the thick oaks overhead. But that didn’t make Jack feel any better. Despite the cool night air, he was breaking a sweat. He swore and picked up the pace. He was in a race to put everything behind him, closing one chapter so that he could open another.

With a groan, he hefted one final shovelful. Then he patted the dirt down and scraped some of last fall’s dead leaves over his handiwork. For a moment he thought that he might actually vomit. He dropped to his knees, leaning against the large rock and bent his head. A single tear rolled down his cheek, soaking into the sandy soil below. A final act of contrition. He wiped his face with his sleeve, pushed off of the rock and stood up. It was done. But Jack knew that no matter how much he could try to hide the past, it could come back to haunt him. He’d always be looking over his shoulder for someone to figure out his secret and expose him. Considering he knew just about everyone in Waterford, the list of possibilities was longer than the river itself.

FEEDBACK

OVERVIEW: At first reading, I liked this introduction because it stuck to the action (for the most part) and did not slow the pace with back story or explanation. That takes discipline for an author to do this. The narrative is simple and pulls the reader into the story with its mystery. Well done. But as I got into this on a 2nd and 3rd read, I found things I would edit if this were mine. This author shows promise and if the following items are addressed, I would keep reading.

THE START: I understand what the author intended with the first paragraph – to set the stage with a light and breezy beginning of harmless imagery before the reader is shocked once they realize the story will take a dark turn. Who’s POV is this? No one’s. It’s omniscient before the POV becomes that of Jack. This tactic–and the use of YOU–pulled me out. If the story is set up properly, where we see Jack in the dark with a shovel, he could be doing ANYTHING until we learn what’s happening and the mystery begins. The shock factor would be presented in another way, without the need for the faux lead-in.

THE ACTION: What is Jack doing? He’s got a shovel and a flashlight, but it doesn’t appear as if he’s burying a body because he’s not carrying anything else. Is he digging something up? He starts by digging into the ground with his shovel but ends by patting down a mound of dirt and pushing leaves over the pile to hide what he did. The transition from start to finish didn’t describe enough for me to understand what he’s actually doing. With the vagueness, the reader might make an assumption that would prove false later on, and the author takes a chance of alienating the reader if this is not made clearer. I also wondered why Jack would pick a spot by a road where he can be seen with his flashlight. If he’s got a choice and wants to be secretive, why risk a location where he can potentially be seen? I know the risk of getting caught adds to the tension, but maybe there would be a way for the author to explain why Jack picked the spot (even if it meant risk of discovery) and still leave an element of mystery.

WORD CHOICES: In 3rd paragraph, “The night was silent, except for the sounds of….” If there are sounds, the night can’t be silent. The night might be “still” or “quiet,” but not silent if noise is heard.

In 5th paragraph, calling the moon “she” pulled me out and made me wonder if another character had stepped into the scene.

In 5th paragraph, the moon can’t be a “reluctant” witness to anything, but in one line the moon is shining on him, threatening to expose him, then in the next sentence, that description is contradicted by this – “the moon failed to penetrate the thick oaks overhead.” (Oaks are usually ‘overhead’ too. Directional words like up, down, overhead should be scrutinized during the edit process. They can usually be deleted.)

I’m not a fan of the word THAT. It’s often unnecessary and can be eliminated.

DESCRIPTIONS: This might be nit picky, but this phrase pulled me out of the narrative and made me wonder if there would be a better way of describing what is happening. This comes across as TELLING to me and could be more effective.

As he ducked under the oak trees, darkness shrouded him, causing him to have to use his flashlight which lit up the area like a beacon. 

“The area” is actually the ground but what’s on the ground? How does the light play across it? it might be a more effective line if the author could get the reader to actually see the effect of the light, rather than merely saying it “lit the area.” Do the shadows of spindly grasses elongate and move as the light passes over it? The effect could add a creep factor. What sound do they make in the wind…for a guy who is already nervous?

PASSIVE VOICE: One of my favorite TKZ posts of all time came from Joe Moore in Jan 2012 – Writing is Rewriting. A great overview of the draft and edit process. Below are some examples of passive writing. My first pass at editing is to delete and tighten my sentences into succinct and clearer writing. Many readers might not pick up on the passive voice, but authors should strive to hone their craft and challenge themselves with each new project.

3rd paragraph: “was threatening” should be ‘threatened.’

5th paragraph: “was breaking” should be ‘broke.’

Last paragraph: “could try” should be ‘tried.’

PARAGRAPH LENGTH: I prefer to give the reader some white space so the paragraphs don’t appear laden and heavy as they look ahead. A heavy paragraph could encourage a reader to skim. As Elmore Leonard (RIP) once said – “Try to leave out the part readers tend to skip.” I often break up longer paragraphs into 3-4 sentences and change the length of those sentences to create a natural cadence if the words were spoken aloud.

FOR DISCUSSION:

What about you TKZers? What constructive criticism would you give this author?

 

HotTarget (3)

HOT TARGET – AMAZON Kindle World $0.99 – DISCOUNTED (Book 1 of 2)

Rafael Matero stands in the crosshairs of a vicious Cuban drug cartel—powerless to stop his fate—and his secret could put his sister Athena and her Omega Team in the middle of a drug war.

Croco Designs

Croco Designs

TOUGH TARGET – AMAZON Kindle World $1.99 – (Sequel Book 2 of 2)

When a massive hurricane hits land, SEAL Sam Rafferty is trapped in the everglades with a cartel hit squad in hot pursuit—forcing him to take a terrible risk that could jeopardize the lives of his wounded mother and Kate, a woman who branded him with her love.

Zoning in the Zone

Posted on by

By Joe Moore
@JoeMoore_writer

Someone once asked: “I’ve heard writers talk of being ‘in the zone’ regarding their writing, which I take to mean being in an altered state of extreme creativity. But how, without drugs or other stimulus, do they get into that state?”

In fact, we hear the term in the zone used often, not only with writers, but athletes, artists, and just about any activity that requires skill, creativity and especially concentration.

So what is “the zone” and how do we enter it? Why is it so hard to remain there for extended periods of time?

zone_cleanedBeing in the zone can last for a few minutes, a couple of hours or a whole day. For those that never seem to enter the zone, it might be because they try too hard to do so. Sort of like when we stop trying to solve a problem, the solution suddenly comes to us through our subconscious—what Jim Bell calls the boys in the basement.

Let’s try to define what being in the zone means, especially when it relates to writing. For me, it’s a mental state where time seems to disappear and my productivity greatly exceeds normal output. It might start after I’ve finished lunch and sat down at my PC to work on a new chapter. Without any feeling of the passage of time, I suddenly realize a couple of hours have gone by and I’ve produced 1000 words or more. I don’t remember the passage of time or anything that deals with my surroundings. I only remember “living” or becoming immersed in the story’s moment, having the words flow from a deeper source, and “awakening” from the writing zone as if only a few moments have passed.

I’ve never been hypnotized, but I can assume that being in the zone is somewhat like self-hypnosis. My body remains in the here-and-now, but my creative senses somehow find a hidden room inside my mind, a place normally under lock and key. And I’m able to enter it for a short time to let what’s there emerge into the light of day.

It can also feel like driving down the Interstate on a long trip deep in thought and suddenly realize I can’t remember the past few miles.

I’ve also never been athletic, but I bet it’s a similar scenario: a pro golfer is able to tune out the surrounding crowd of tournament spectators, the dozens of network cameras, the worldwide audience, the cheers from the distant gallery as his opponents make a great putt, and he’s able to enter a place where only his game stretches out before him. The rest slips by in a blur. Personal mind control.

So what is a good method for getting into the zone? Some writers use the “running start” technique by reading the previous day’s work or chapter. It gets them back into the story and hopefully the new words start to flow.

Others listen to music. This is something I often do. Nothing with lyrics, though. I listen to movie scores or piano and guitar solos. I find that it can help set a mood or become background “white noise” that blocks out other audible distractions. That’s because, for me, the biggest obstacle is distractions. It’s important to reduce interruptions and distractions by creating an environment where they are minimized. This means shutting my home office door, closing the drapes on the windows, unplugging the phone, disconnecting Internet access, and most of all, choosing a time to write when those things can be fully managed. Doing away with distractions is no guarantee that I will enter the zone at will, but it does give me a fighting chance to at least knock on the door to one of those dark, hidden rooms upstairs and let my story flow out.

So, my fellow zoners, have you ever entered the zone? Do you have a secret method that you’ll share with us?

John D and Me…And All The
Other Writers I Owe Big Time

Posted on by

First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you’ve been to college. ― Kurt Vonnegut

By PJ Parrish

I had been storing this blog to run around Thanksgiving, but John D. MacDonald forced my hand this week, so I’m posting early. I want to take a moment to acknowledge the books and thank the authors who have helped me along the way.

1127818

Recently, I was asked by a writer friend Don Bruns to contribute to an ongoing series that has been running in the Sarasota Herald-Tribune called “John D and Me.” Cool beans, I thought, since other contributors included Stephen King, Lee Child, Dennis Lehane, Heather Graham, JA Jance, David Morrell…the list went on and on. Click here to read my article. Don’t worry…it’s short. I chose to write about MacDonald’s short stories because, truth be told, I hadn’t read many of the guy’s novels back then. But I had found a yellowed dog-earred copy of his short story collection The Good Old Stuff in a used book store, and at that time, I was struggling mightily to write my first short story.

Actually, it wasn’t my first.  My first short story was way back in eighth grade. I was an inattentive student, but I had a lovely teacher Miss Gentry, who made us write a short story. The only touchstones in my little life at that point were The Beatles and my only dream was to run away to London. So I wrote about a lonely cockney boy who painted magic pictures. It was called “The Transformation of Robbie.” I got an A on it.

Miss Gentry

After class, Miss Gentry pulled me aside and said, “you should be a writer.” Twenty-five years later, I dedicated a book to her.

It should be noted that my sister and future co-author Kelly was also churning out short stories in those days. Her most notable effort was called “The Kill.” It was about a serial killer who knocks off The Beatles, one by one. We joke now that nothing much has changed: She still likes to write the gory scenes, I like doing the psychological stuff. I don’t have my early efforts, but she kept hers – see photo below right for the stunning cover she designed at age 11.

THE KILL KELLY

Fast forward to 2005. I am trying to write a story for the Mystery Writers of America’s anthology, edited by Harlan Coben. In addition to the big-name writers the editor invites, the anthology holds out 10 spots for blind submissions from any MWA member. I had a good idea for my story and four published mysteries under my belt. But I couldn’t get a bead on the short story’s special formula. What came so easy at age 14 wasn’t coming so easy at age 54.

So I cracked open The Good Old Stuff. Maybe it was because I had been reading Cheever and Chandler and was getting intimidated. But MacDonald made it look effortless. His stories, culled from his pulp magazine career, had an ease and breeze as fresh as the ocean winds. I realized I had been fighting an undertow of expectations, so I flipped over on my back and floated. The words flowed, the story formed. My first adult short story, “One Shot” got picked for MWA’s anthology Death Do Us Part. It was the second proudest moment of my writing life, right after Miss Gentry’s A.

Writing about MacDonald this month got me thinking about the debts I owed to other writers. Here are a couple I should thank:

E.B. White. Charlotte’s Web remains my favorite book of all time. I love it as pure story, but it taught me a very valuable lesson that all novelists should take to heart: Sometimes, you just have to kill off a sympathetic character.

Joyce Carol Oates. Lots of lessons from this woman about productivity and having the courage to write outside the boundaries of whatever box they try to put you in. But one book of hers had a huge impact on me — Because It Is Bitter and Because It Is My Heart. From this murky violent story of murder and race, I learned about the power of ambiguity, about the need to leave room in a story for the reader’s imagination to breath, to resist the urge to tie everything up in a neat bow. Also, she just makes me want to write with more metaphoric power. Check out her opening paragraph:

“Little Red” Garlock, sixteen years old, skull smashed soft as a rotted pumpkin and body dumped into the Cassadaga River near the foot of Pitt Street, must not have sunk as he’d been intended to sink, or floated as far. As the morning mist begins to lift form the river a solitary fisherman sights him, or the body he has become, trapped and bobbing frantically in pilings about thirty feet offshore. It’s the buglelike cries of the gulls that alert the fisherman – gulls with wide gunmetal-gray wings, dazzling snowy heads and tails feathers, dangling pink legs like something incompletely hatched. The kind you think might be a beautiful bird until you get up close.

The-Road-Cormac-McCarthy

Cormac McCarthy’s The Road. I still think about this story years after I read it. From it, I learned about spare writing and especially the power of one indelible image. Michael Connelly talks about this, too, about how one gesture, word or image can have so much more impact than an avalanche of description. Connelly talks about how he wrote about a cop who seemed the paragon of cool, how nothing about the horrors of his job seemed to bother him. Except for one telling detail – the stems of his glasses were chewed down to the nubs. In The Road, the image I can’t get out of my head, the one thing that stands in my mind as the symbol of post-apocalyptic survival, is canned peaches.

In the story, a man and the boy discover a cache of supplies in an abandoned farmhouse. Among them is canned peaches. Yes, it’s a delicacy in a time of starvation, but McCarthy also uses it as a symbol marking the split in the world between the fruit-eating “good guys” and the cannibalistic “bad guys.” Here’s an exchange between man and boy:

He pulled one of the boxes down and clawed it open and held up a can of peaches.
“It’s here because someone thought it might be needed.”
“But they didn’t get to use it.”
“No. They didn’t.”
“They died.”
“Yes.”
“Is it okay for us to take it?”
“Yes. It is. They would want us to. Just like we would want them to.”
“They were the good guys?”
“Yes. They were.”
“Like us.”
“Like us. Yes.”
“So it’s okay.”
“Yes. It’s okay.”
They ate a can of peaches. They licked the spoons and tipped the bowls and drank the rich sweet syrup.

I can’t eat canned peaches anymore because of this. I want to cry just thinking about.

Neil Gaiman. When I was working on our latest book She’s Not There, I needed to find just the right children’s book that resonated with my adult heroine. It was happenstance that I found Gaiman’s The Graveyard Book. It follows the adventures of a boy named Bod after his family is murdered and he is left to be brought up by a graveyard. Which metaphorically is what happened to my heroine. I just started  Gaiman’s The Ocean at the End of the Lane, which, like my own book, is about the fragility of memory. I think what I am learning from Gaiman is the need to be original, to not follow the pack, to be true to yourself as a writer. He sums it up in this quote:

Start telling the stories that only you can tell, because there’ll always be better writers than you and there’ll always be smarter writers than you. There will always be people who are much better at doing this or doing that – but you are the only you.

David Morrell. Several years ago, David was the guest of honor at our writers conference  SleuthFest here in Florida. This talented teacher, prolific writer, and editor of the anthology Thrillers: 100 Must Reads, and creator of Rambo no less, had tons of great advice. But here is the single line that impacted me as a writer.

Find out what you’re most afraid of, and that will be your subject for your life or until your fear changes.

David credits this lesson to another writer Phillip Klass (pen name William Tenn) who told David that all the great writers have a distinct subject matter, a particular approach, that sets them apart from everyone else. The mere mention of their names, Faulkner, for example, or Edith Wharton, conjures themes, settings, methods, tones, and attitudes that are unique to them. How did they get to be so distinctive? By responding to who they were and the forces that made them that way. And all writers are haunted by secrets they need to tell. David talks about this in his book The Successful Novelist: A Lifetime of Lessons about Writing and Publishing. Click Here to read the first chapter.

And last but not least…

Unamed Romance Novel. I read this eons ago as part of my education back in the days when I thought I was going to make a million bucks writing for Harlequin. This novel (I won’t use the title here) taught me perhaps the most valuable lesson of all, one that every writer – published or un – should take to heart. Here is the line from the book that did it:

She sat on the sand on Miami Beach and watched the sun sink slowly into the ocean in a blaze of orange and pink.

When I read that line, I threw the book across the room. But then I picked the book up and put it on my shelf, where it still sits today. (Well, on my bathroom shelf). Because this book taught me that no matter how brilliant your metaphors, how original your story, how beguiling your prose, how deep your unexplored fears, if you have the sun setting in the east, nothing else is gonna work.

So who were your teachers, what were their books, and what did you learn?

Infusing Emotion into Every Scene and Chapter

Posted on by

Jordan Dane
@JordanDane

is

Creating a book is inventing a believable world the reader can step into and escape. Your characters must seem real, as if the reader can hear them and see them. The conflict and what’s at stake must be strike a chord with readers. Readers are voyeurs who want to be taken on a journey. Since emotion is a key way to pull readers into your book and keep them there, I thought that should be the topic for today.

10 Key Ways to Infusing Emotion into Each Scene

1,) Put the reader into the scene using the senses – If you expect your reader to “feel” the world you’ve created, put them into every scene. If your protagonist is walking down a dark alley with gun drawn, you have to be there alongside him, author. What sounds can he hear? What does he smell? What are his physical reactions to his surroundings and how does that play on his fear that’s building? Anticipation is a key element in creating suspense and building on tension. Have patience to let the tension mount.

2.) SHOW don’t TELL – If you truly write the scene as if the reader is looking through the eyes and body of your relatable character, that will put them into the scene. If you only “report” what the character is thinking, it distances the reader from your character. ‘Telling’ takes all the unexpected discoveries from the reading experience and it stifles what the reader can imagine. The reader doesn’t have to think. They’re ‘told’ what to think and imagine. Focus on the action of your character and give them a physical reaction. Rather than ‘telling’ the reader that your character is afraid, show how that fear manifests itself in trembling fingers, trickling sweat, and a punishing heart beat.

“Don’t tell me the moon is shining. Show me the glint of light on broken glass.” Anton Chekhov

“Good writing is supposed to evoke sensation in the reader—not the fact that it is raining, but the feeling of being rained upon.” E. L. Doctorow

3.) Make your characters relatable and sympathetic – Dare to give your villain an odd sense of humor or have her fight for a cause she cares deeply about, so her wicked obsession feels real. Your mercenary could be a loner, but give him a dog to take care of. Load up the emotional baggage in your character’s past and force him or her into a conflict where they have to face their worst fear. Dare to make your perfect hero vulnerable. All these human frailties create relatable and sympathetic characters and will have readers rooting for them.

4.) Reach for the emotion/Make it over the top – Milk the scene for every drop of emotion. It’s not just about choosing the right words. It’s about creating effective imagery triggers that will connect with readers. If you think you’re done with a scene, go back over and layer in MORE of what that scene is about. Ratchet up the emotion beyond where you might normally go. The added touch pays off when you’re using words to put the reader into the scene.

5.) Foreshadow the danger or the obstacles ahead – If anticipation ramps up the suspense, foreshadowing helps the page turning pace of your novel and keeps the reader invested. It creates ‘flow’ between scenes and chapters. Don’t waste a scene ending or a chapter ending. Make it work for you. If a scene or chapter ending fizzles to a close, that gives the reader a chance to put the book down. Tease them with a hint of things to come and they won’t want to let go of the story.

6.) Pepper each scene with descriptive words and choose wisely – Word choices have always mattered to me. I take great pains to squeeze every ounce of emotion or sensation from the words I choose. I particularly like words that enhance the scene by the sound or imagery of the word: slither, sizzle, skitter, hiss, bam, punch, clang, klunk, snap, splat, etc. You can almost ‘see’ the action with the ‘sounds’ of these words. I didn’t realize this was one of my things until readers started to point it out as a good thing.

7.) Make the stakes high enough and make them real – Give your character something meaty to fight for. What would he or she die for? It’s not enough to ‘battle evil or fight for the good.’ Make their reason come from a personal place or sprout from their worst vulnerability. Force your protagonist to give up something he or she values most in the world in order to earn the status of hero in your book. Give your character a journey through your book so there is real change in him or her.

8.) Make your reader fear for your character as time slips away – If you’ve set the foundation for a reader to care about your protagonist and the world you’re creating, now introduce a short fuse burning—and suddenly pull the rug out and make that time table shorter. It will make for a breathless plot but will force the reader to care even more about what will happen.

9.) Savor the Twist – Do the unexpected. If the story appears to be going a certain way, surprise the reader with a well-planned twist that will force the protagonist to rise to the occasion with added conflict or will showcase his or her brilliance. Readers love to be surprised by a plot they didn’t see coming. I enjoy setting the reader up in different ways, especially when the clues were always there. Again, word choice or well-positioned elements of mystery, like red herrings, can enhance the effect of a good twist. Readers get excited when they are fooled and often will go back to reread passages. This is another way to trigger many levels of emotion in your reader.

10.) Wrap it all up and make the ending satisfying – A well-written ending, where the characters have been through hell and have come out of a very dark tunnel, can force the reader into that same feeling of having survived along with them. If there needs to be closure at a grave site, where someone didn’t make it, squeeze out every tear and make the ending a satisfying experience. Don’t squander the opportunity to leave your reader with a fulfilling ending to the

For Discussion:
1.) Did your writing tips (on layering emotion into your scenes) make the list? If not, share what works for you.

2.) What books have stuck in your mind as unforgettable emotional journeys?

Croco Designs

Croco Designs

Tough Target – The Omega Team series (Book 2 of 2) launches May 24th as part of Amazon Kindle Worlds. Read book 1 – Hot Target – and catch up. Both ebooks are priced at a bargain of $1.99. (The book page for Tough Target won’t be posted by Amazon until May 24.)

When a massive hurricane hits land, SEAL Sam Rafferty is trapped in the everglades with a cartel hit squad in hot pursuit—forcing him to take a terrible risk that could jeopardize the lives of his wounded mother and Kate, a woman who branded him with her love.

Omega Team Launch – Facebook Party with GIVEAWAYS on May 24 at this LINK.- I’ll be online at 5pm CST. Join the other Omega Team authors most of the day.

Lisa Black On Writing

Posted on by

Today I welcome back to TKZ my friend and fellow ITW member, Lisa Black. I’ve asked Lisa to share her writing techniques with us. Enjoy! – Joe Moore

————————————–

L BlackI don’t know why we never get tired of hearing about another author’s writing habits, whether we’re looking for that one trick that will make our lives so much easier, or if it’s the voyeuristic thrill of seeing how someone else washes their dishes or packs their suitcase (“You do what? Seriously?”)

At any rate, here is mine:

I am a plotter, not a pantser, so before I start writing at all I have to know how the book begins, how it ends, and the major incidents which will take place. These points begin as amorphous thoughts rattling around in my skull for a day or a few years or a lifetime. I write a series, thus my character tends to be the same—a female forensic scientist in Cleveland, Ohio—so the rest of the book might stem from a new character, a puzzle, an incident or, in one case, simply a snarky comment I wanted my character to make. Most often I start with a building, something visual and brooding and a little intimidating—a skyscraper under construction, a wind-swept observation deck, the opulent and historic Federal Reserve building.

Then a theme: what am I going to be talking about? What new world is my character going to explore? I’ll research, looking for ideas, and come up with things I want to have happen. Then I have to think of links that tie those things together, what carries my character from one to the next.

Eventually I’ll have enough for an outline. It won’t look like an outline, more like a freestyle poem.

This happens
Then this happens
Then this happens and my heroine really doesn’t like it
Then this happens
Etc.

And penciled in between the second and third line will be scribbled addendums such as “oh wait, this happens too.”

Then I’m ready to start writing.

I have always been obsessed with word count, so I set a daily goal—whatever works for you, whether it’s 100 words or 3,000. You’ll feel a sense of accomplishment each day without overtaxing yourself. I’ve done 1,000 words/day, 2,000 words/day 5 days/week, lately I’ve been doing 1000 words/day on the days I work and 2,000 words/day on the days I don’t. I used to write the total down every day so I knew how far I had to write the next day, but for the past few books I’ve made it easy on myself and kept it at a round number. If I write extra on one day, that’s a few less words I have to write on the next. I don’t rewrite until I’m completely done, except for minor fixes or things that I’m afraid I won’t remember if I don’t do them right away. Then I keep going until I have a full length completed first draft, minus vacations and major holidays…I’m not a total slave driver.

(I never take writing on vacation with me. I won’t want to do it, won’t do it, and then feel guilty all week because I’m not doing it. If I don’t take it along, conflict resolved.)

A schedule may not work for you, but unless your system totally rebels, I strongly suggest it. The most important factor is that writing becomes, like death, taxes and aerobics class, not optional. There are authors who write when inspiration strikes, who will then hole themselves up in their room and write for 16 hour days, but they seem to be the minority.

Since I started out writing at (she whispered) work, I’m not fussy about where or when I write. I prefer to write at home when my husband is at work and the house is quiet, but the disadvantage to writing at home is that there are so many opportunities for procrastination—laundry, bill paying, the newspaper, chocolate…. Sometimes it’s better to have laptop and will travel. I have written in restaurants, witness waiting rooms at the courthouse, next to a sleeping hospice patient while the caregiver gets a few hours off, and, of course (she whispered) at work.

When I finish the first draft, I take myself out to lunch and take a few days off before starting the second draft. According to industry wisdom I should put it in a drawer for six months and then rewrite, but who has that kind of time? When that is done I’ll send it to my sisters to read, and then do a third draft before sending it to my agent and biting my nails lest she say “This stinks. Throw it out and write something else.” Which has happened.

revisionsBy this point I’m sick to death of the thing and never want to see it again, but have to deal with whatever changes my agent suggests, and then, when I’m really sick of it and provided she doesn’t say ‘throw it out’, I go through the same kind of round with my editor.

When I’m not writing a book, I don’t write—other than personal letters, which I send out constantly and obsessively (my friends and relatives know much more about the minutia of my life than they care to). I don’t write short stories or blog posts or novellas. I wish I did, but my brain just doesn’t work like that. At this moment I haven’t written a thing in nine months and it’s starting to freak me out.

That’s my system. It seems to work for me. If it sounds great to you feel free to adopt it. If it sounds bizarre than keep doing whatever you’re doing. There are as many different writing styles as there are writers.

And that’s a good thing.

that darkness coverPlease share your writing method with us.

Lisa Black has spent over 20 years in forensic science, first at the coroner’s office in Cleveland Ohio and now as a certified latent print examiner and CSI at a Florida police dept. Her books have been translated into 6 languages, one reached the NYT Bestseller’s List and one has been optioned for film and a possible TV series.

Inspiratus Interruptus

Posted on by

I have a home office. I love it. There’s no commute. I can get a couple of hours of work in while most people are still asleep. I have a secretary named “Joe,” a gofer named “Joe,” and a personal manservant named “Joe” who makes me coffee and breakfast and lunch. What a team we are. We all get along just fine. I don’t have anyone hassling me about “Rrrrr, rrrr, rrrr, your billable hours are down, rrrr rrrr rrr, what about rrrr, rrrr, and why are you on the internet again, rrrr?” Yep, it’s a sweet deal. I can do my big boy job, write a bit, do my big boy job, lather, rinse, repeat.

The only problem I have (for purposes of this discussion) is having to deal with non-work, non-personal interruptions. I have my office line and my home line in the same room. I have been getting a lot of calls on my home line because I will be turning 65 in a few short months. Yes, I know, I know, you wouldn’t expect someone of my countenance, libido, and good cheer to be that old but it is so. Here is a warning: when you are about to turn 65, everyone starts calling you to 1) tell you what’s what about Medicare and 2) sell you the exact policy that you need. I began acquiring all sorts of new imaginary friends, such as “Medigo,” “WhatsMedicare,” “Medsuppins,” “Marketplace,” and the alluring, mysterious “Name Not Found.” Ignoring them didn’t help because the phone would ring four times before sending the call to voicemail. That’s a distraction, even when you are screening your calls. And we haven’t even talked about the fine folks from the help desk at Windows Security who have detected a ‘wiwus” on my computer, or the guy who is willing to give me a free vacation if I’ll just watch a short demonstration video, or the woman who keeps calling me to ask if I’m interested in my cable company’s latest product. Uh huh. The “do not call” list?” It’s pretty much a joke. Muting the ring isn’t an option for me, either, as I have a daughter in college and a granddaughter in grade school, both of whom need me at unexpected times.

My life was changed for the better, however, when I came across an article in a newsletter from the Community Senior Center which my wife belongs to (and, no, I’m not a member. That stuff is for old people). The article touted a gentleman by the name of Aaron Foss, the designer of a called “NoMoRoBo.” Foss is GIVING this thing away. No strings, no deposits, no nothing. It’s a true public service. What it does is block robo calls — those things that dial five thousand numbers at a time — and telemarketers. You go to the “nomorobo” website, watch the very short video, click on “get started now” button, fill in the blanks, and within a day or so you’ll see results. Your phone rings once, gives a little purr, and “pfttt”…the annoying caller doesn’t even have a chance to leave a voicemail. They are gone. “Nomorobo” doesn’t work with every landline phone service, or every cell phone service provider, but it works with mine, and they’re adding more and more constantly. Oh. Oh. And. It supposedly will not block or divert political fundraisers or surveys, but I’ve had several blocked already (“Poll_Quest,” to name but one). “Nomorobo” constantly learns new numbers to block and you don’t have to do a thing, other than write your next bestseller without interruption (other than for that initial ring). And every time the phone rings once and disconnects during dinner, my wife and I look at each other, and smile.

Authors, readers, doctors (Hi Steve!) and all who fight the good fight on all fronts each day: try this out. I have absolutely no interest in this, financial or otherwise. It is free and it does work and no one puts your name or number on a mailing list, either. And Aaron Foss? I’d stand in front of a tank for him.

Having shared this marvelous invention with you, I want something in return (Aaron Foss, I am not). Please tell us: what devices do you use to give yourself privacy, and to keep yourself from being interrupted? And what is your favorite personal story that concerns dealing with telemarketers, solicitors, and the like?

Give your manuscript a running start

Posted on by

By Joe Moore
@JoeMoore_writer

Whenever I disclose to someone that I’m an author, the response is pretty much the same: “I’ve always wanted to write a book.” Or “I’ve got a great idea for a novel.” Despite all the would-be authors out there, not every potential novelist actually gets to the writing stage. And even fewer produce a finished product. But for the ones who not only have an idea but are burning up with a desire to put pen to paper, I’ve put together a basic outlining technique that might help get things started—a simple list of questions to kick start a book. Answering them can give writers direction and focus, and help keep them going when the wheels sometimes come off the cart along the way. To continue my Writing 101 series, here goes:

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

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

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

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