Getting to Jack Reacher, or Someone Like Him

Posted on November 21, 2015 by Joe Hartlaub

I am reading an extremely interesting book which will see the light of day next week — Tuesday, November 24, 2015, to be exact — everywhere books are sold. It is titled REACHER SAID NOTHING: Lee Child and the Making of Make Me. It is written by Andy Martin, who teaches at Cambridge but is nonetheless capable of writing a fun book, and more so, a fun book about the writing process. What occurred is that Martin approached Child via email in August 2014 about writing a book that would take the reader from the very beginning of the process by which Child does what he does so well to the very end. Martin’s timing was perfect, given that Child was about to start writing what ultimately became MAKE ME, his latest Jack Reacher novel.

I’m not going to present my review of REACHER SAID NOTHING now — you’ll have to go here next week over the Thanksgiving weekend to see that — but I can tell you that if you have ever thought of writing a novel you need to get a copy of REACHER SAID NOTHING and sit down and read it. You’ll feel better about the process, for sure. I can assure you that, whatever problem you may have had with completing your work, Child has had it as well, and yes, still has it and works to overcome it year in and year out. You will find within the pages of REACHER SAID NOTHING how he does it, as well as the very first thing that Child did when he started writing the very first Reacher book, lo those many years ago. Child utilizes many tools — copious amounts of coffee and cigarettes among them — but you don’t have to have move into Starbucks or have access to a secret stash of Chesterfield Kings to have similar results, with “similar results” being finishing your book, and then writing another, and another. And no, I’m not going to give away the specifics. Martin gave up a year of his life following Child around with proximity and access that would make a proctologist jealous, and then compiled it all into something readable, so it would be neither fair nor right. I will tell you in one general word, however, how Child does what he does: discipline. That’s it. He sits down (among other things) and gets it done. The process of doing that is a part of Martin’s book, and so far, that book is an entertaining hodgepodge of an account consisting of emails, diary entries, and transcripts of conversations.

Will reading REACHER SAID NOTHING help you to write a bestseller or a critically acclaimed work? No. No. No. Life is not fair. Equity is not equal. If you want justice go to theology school and cross your fingers; maybe you’ll get it. But, if you model your work ethic after Child, you’ll finish your book, The rest is a combination of luck and ability and timing. As far as writing goes, remember that just because you like sausage doesn’t mean you want to make it. Have at it, by all means, but know what you are getting into. And if you still want to by the time you finish REACHER SAID NOTHING, by all means: start, and never stop until the job is done.

From my house to yours: Happy Thanksgiving! I’m old and grumpy and experiencing a health issue that is more an inconvenience than a herald of mortality but it’s a reminder that the sand is running, ever running, through the hourglass. Still, I have much to be thankful for, and you would be very high on that list, for stopping by The Kill Zone and spending a few minutes with us. Thank you.

Reader Friday: The Best “Bond Girl”?

Posted on November 20, 2015 by Kathryn Lilley

Last week, we polled TKZers about which actor best portrayed Ian Fleming’s James Bond character. In the interest of equal gender-time, today let’s say who we think played the best Bond Girl. (Although I choke on the word “girl.” But it is what it is, as they say.) This was a tough assignment–turns out there have been about a bazillion Bond Girls–the Good, the Bad, and the Very Good When They’re Very Bad. I’ve only skimmed the surface of some of the better known Bond Girls in this post. Add your nominations for any I missed in the Comments.

Have at it!

Dr. No

Dr. No had almost too many Bond gals to keep track of. Here are some of the top Bondesses.

I mean, come on. Can anything beat Ursula Andress emerging from the waves as Honey Ryder in Dr. No? (Well, maybe Bo Derek topped that Venus rising moment in Ten, but as a non-Bondess, Bo doesn’t count.) Eunice Gayson (as Sylva Trench) also appeared in Dr. No and several other Bond films. She is famous for introducing herself to Bond as “Trench. Sylvia Trench.” Bond picked up that intro line and made it his mocking trademark way of introducing himself. Zena Marshall also appeared in that film as Miss Taro, Evil Spy Extraordinaire.

From Russia With Love

Daniela Bianchi, hot Russian chick turned reluctant spy “Tatiana Romanova”, who winds up falling for Bond. What could be more fun?

Goldfinger

Pussy Galore, Goldfinger, you get the idea. Played by Honor Blackman. “Jill Masterson”, played by Shirley Eaton, also played a doomed Bondess in the film. She died Midas-like, covered in gold paint.

Thunderball

Claudine Auger played Domino Derval, mistress of an evil SPECTRE agent.

You Only Live Twice

Mie Hama played Kissy Suzuki, who had a mock wedding with Bond during the film.

On Her Majesty’s Secret Service

James Bond fell in love with Teresa di Vicenso, played by Diana Rigg in this film. Can you blame him?

Diamonds Are Forever

Jill St. John played Tiffany Case, a diamond smuggler. And Trina Parks played judo Bondess Thumper. Wowzer.

Seriously, there are so many Bond Girls, I can’t profile all of them in one shot. Here are some other notable Bond Girls:

Britt Ekland as Mary Goodnight in The Man With The Golden Gun.

Barbara Bach as Anya Amasova in The Spy Who Loved Me.

Lois Chiles as Holly Goodhead (!) in Moonraker.

Maud Adams as Octopussy in Octopussy.

Grace Jones as May Day in A View To A Kill.

Izabella Scorupco as Natalya Simonova in Goldeneye.

Teri Hatcher as Paris Carver in Tomorrow Never Dies.

Halle Berry as Jinx in Die Another Day.

Last but not least, we have a character who didn’t get a name; she was simply called “Bond’s lover” in Skyfall, played by Tonia Sotiropoulou. I guess people were too busy freaking out about James Bond as a blond to give her character an actual name. Bond Girls nowadays need to “lean in” and get some better stature in Hollywood, I’m thinking.

Phew! There are many, many more Bond Girls in films that aren’t mentioned here. Are any of these your favorite, or is it one that I missed? Now let’s all go over to Netflix and binge out watching Bond flicks. Happy Friday!

First Page Critique: Fallen From Grace

Posted on November 19, 2015 by Jordan Dane

Jordan Dane
@JordanDane

Wikipedia Public Domain

A brave author has anonymously submitted the first 450 words of their work for critique. Read and enjoy. I’ll provide my comments on the flipside. Please feel free to give your constructive criticism in your comments to help this author with feedback.

***

When I first walked in, I hadn’t seen the guy who tried to kill me four years earlier.

I’d squeezed past the wooden tables, threw a nod the bartender’s way, and then walked around a railing to the right side. This is where all the pool tables were arranged. Usually the place was empty, but tonight, two middle-aged guys looked to be finishing a game while a couple of young girls played while laughing on about something at another table on the opposite side. The whacking of pool balls clacked over the country music that babbled over static from a stereo fixed on the wall.

I chose the lone pool table in the rear corner of the pool hall, like usual, and shrugged off my coat. The place was dark, but wide cones of light shone down on the pool tables from a light fixture above. I began retrieving the cue balls from the pockets and setting up the table.

When I’d glanced up, debating on a beer, my eyes snagged on him. I couldn’t see much more than a shadow. The place was dark, except for the cones of light that shone down on the pool tables from above. At first all I saw was his body darkened by the dimness of the pool hall. He was bigger than most men, and perfectly still, like a mannequin. It was perhaps unusual, but not worth focusing on. My mind didn’t pay him attention for too long. After a second had passed, it had wandered on to other thoughts.

It wasn’t until my eyes adjusted to the darkness a few minutes later that I saw him in more, this time in more detail.

He was slumped in a chair too small for him, taking small measured sips from a glass of amber liquid. It was a face coarse like alligator hide, broad and mean looking, with a small forehead cut deep with hard frown lines and cheeks pitted with craters. The face sloped and rounded down to a strong cleft chin peppered with stubble. The eyes, dark and cold like bullet holes, glared my way.

It was the kind of face you’d pick out of a line-up even if you weren’t sure that was the guy who was guilty. It was a face I knew all too well.

***

Feedback:

1.) Opener POV Issue – The first sentence has a point of view problem. Can you see it? How can the character “know” the man who tried to kill him is in the pool hall when he hadn’t seen him? I’m sure the first sentence is intended to grip the reader with the mystery of the deadly conflict between these two men and set up the tension, but unfortunately the POV issue deflated it for me from the start.

2,) Pull The Reader In – Having a gripping first line isn’t enough if the next two paragraphs (or a POV error in that first sentence) defuse all the tension and work against any imagery that might have been established. The next two paragraphs go into the setting, but the descriptions are vague and add nothing to the mood of the scene. It’s like the author is doing an inventory of the room to paint a picture that would have been more effective if the voice of the character had been more colorful and expressed more of an opinion of the pool hall’s patrons and decor, or added mystery. I recommend a strong opening line, followed by more intrigue to pull the reader in with mystery elements, in this case. Otherwise the opener is totally forgettable.

REWRITE Example: I hadn’t been back to Rudy’s Pool Hall since the day I almost died in this dump. I stubbed out my fourth cigarette as I leaned against my truck in the parking lot and made up my mind that I had to do it. I had to walk inside and see for myself. It wasn’t about daring fate to take another shot at me, A man had to face his demons, even if one of those demons outweighed him by fifty pounds.

This rewrite suggestion creates an unexplained mystery of what happened years ago and hints of another man who is bigger than him. It also establishes the gender of the POV character as male. His 4th smoke shows he’s nervous and is building up courage to go inside. Once he’s inside, it’s already set up that he’s looking for someone and is haunted my his memories. Build on that. The author could set the scene of what the pool hall looks like, but never forget the tension. Let it build.

3.) First Person POV Has Gender Challenge – When an author chooses to write in first person POV, it’s important to try and establish the gender of the main character before the reader gets into the story too much. In this case I assumed this is a man, but nothing in this intro actually reveals that. This could easily be a woman.

4.) Where the Scene Starts – The scene might start with the 4th paragraph, the sentence that starts with “When I’d glanced up, debating on a beer, my eyes snagged on him.” This is the first place where the character truly sees his nemesis. The author might build up to this moment but creating a setting of a seedy pool hall. Why is the character there? Is he to meet someone? From the writing, I presume the guy is a pool player who comes to the place often. But maybe the mystery from the start could be that he hasn’t returned to this place since he almost died there.

5.) Redundant Imagery & Research Problems – In paragraph 3, there’s a line that is repeated in the next paragraph. The description is “cones of light shone down on the pool tables above.” Also, the last line in that paragraph describes the guy retrieving cue balls from the pockets. Big research error right out of the gate. There is only one cue ball and it is solid white. If this character is to be construed as an experienced player, the author must do research into the game of pool and know the basics that most people would know. I grew up with a pool table in my house. When we weren’t playing the game, my mom folded laundry on a field of green.

6.) The Wandering Mind – At the end of paragraph 4, I had to reread the last line. I usually try to rethink the use of the word “it” and clarify the subject so readers don’t have to be jolted from the book. In this case, the “it” should’ve been “my mind.” But this sentence reads as if this man has no control over his mind. His brain “wanders” without him being involved (ie. My mind didn’t pay him attention for too long.)

7.) Grip The Reader with Physical Reactions – The line “It wasn’t until my eyes adjusted to the darkness a few minutes later that I saw him in more, this time in more detail” needs rewriting to delete the typos, tighten it up and add more drama. What is the character’s physical reaction to seeing him at this moment? If the author wants to add the proper emotion to this scene, add that physical reaction to grip the reader.

8.) Setting Works Against the Drama of the Moment – The description of the menacing face in the pool hall is effective when it’s finally spelled out, but after the author has established how dark the place is, it made me wonder how much detail could actually be seen. Maybe have the guy stand up or lean into the light when he sees the main character.

With a rewrite, this first scene might establish the mystery of this confrontation and it certainly makes me intrigued over what happened in the past. I would recommend a more foreboding start that establishes this pool hall has a dark past for the character, but he goes there anyway. Don’t over-explain at the start. Pull the reader in with morsels of mystery that makes readers want to know more, like how the character is searching the darkness – for what? Be patient with luring the reader into the story. Set the mood, add a mystery, then climax with the final confrontation of that face.

What do you think, TKZers? Please provide feedback in your comments.

“When FBI profiler Ryker Townsend sleeps, the hunt begins.” The Last Victim now available in print and ebook. Sales links HERE.

Writing and Publishing Links Roundup for Week of 11/3

Posted on November 3, 2015 by Kathryn Lilley

Here’s a links roundup for some recent, interesting articles about writing and the publishing biz. (Link texts follow the hyperlinks). Enjoy reading!

(PW) The Best Books of 2015:
http://best-books.publishersweekly.com/pw/best-books/2015

(PBS) Three Lessons on Writing from J.K. Rowling
http://www.pbs.org/newshour/rundown/j-k-rowlings-lessons-writing/#.Vjh9ku-_TQk.twitter

(Writers in the Storm blog via WD) Query Letters Pet Peeves (by Agents)
https://writersinthestorm.wordpress.com/2014/01/03/query-letter-pet-peeves-agents-speak/

(PW) How to build an author’s platform through email lists
http://www.publishersweekly.com/pw/by-topic/authors/pw-select/article/68469-how-to-build-an-author-platform-through-email-lists.html?utm_content=buffera6df3&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer

(NYT) Russia: Librarian accused of allowing access to banned books
http://nyti.ms/1Pi1UpF

(PW) How to get Self-published books into stores and libraries
http://www.publishersweekly.com/pw/by-topic/authors/pw-select/article/68467-how-to-get-self-published-books-into-stores-and-libraries.html

(PW) Want to Succeed in Self-publishing? Tips from an Indie Author (Tony Rich)
http://tinyurl.com/q48o5rr

How about you? In the Comments, please let us know about any interesting articles to add to our list. Thanks!

How to write your first novel

Posted on October 14, 2015 by Joe Moore

By Joe Moore
@JoeMoore_writer

It seems like every time I meet someone and they learn that I’m a writer, they always comment that they had often thought of writing a book, too. Sometimes I think the prospect of being a published author may be the number one goal or dream of everyone who has ever been excited by a good novel. It’s natural to think, “I could do that.” And in reality, they can. But most don’t or won’t. Why? Because the dream far exceeds the labor. Like most specialized occupations, the average would-be author will remain in the dreaming stage. Few proceed to the next step: actually sitting down and writing a publishable, contemporary work of fiction.

But for those that really want to take the next step, here are a few tips on getting that novel “inside us all” onto the page.

First, become an avid reader with the eyes of a writer. Read as many novels as you can get your hands on. But try to read from a writer’s viewpoint. Read for technique and style and voice. Keep asking questions like: Why did the author use that particular verb? Why is the writer using short, choppy sentences? Or long, thick description? As you choose new books to read, cross over genre lines. The genre you wind up writing might not be the one you first imagined. Reading other’s work can also be inspiring. It is a source of ideas and helps to get the creative juices flowing.

Next, know the marketplace and write for it. The end product must be sellable. This goes back to being familiar with your chosen genre. You may love westerns, for instance, but they can be way down the sells chart and not a good choice for a debut author. Having said that, any story in any genre can be a hit if it’s built on strong characters. Always remember that your characters make your story, not the plot. Stay on top of sub-genres and if your work falls into them. Example: Do you what upmarket fiction is?* How about YA crossover?* Middle grade fiction?* Many agents are looking for these right now.

A third tip is to be true to yourself. Don’t try to push against what you feel in your heart and soul when it comes to your story. This may sound like the opposite of the previous tip, but that one deals with the business side of writing; this one the emotional. Beyond understanding the market, realize that if your heart is not in the words, the reader will know it. You can’t hide your lack of love for your writing.

Another tip is to have proper training. Being a devoted reader is only a portion of the task. I’ve had the opportunity (or drudgery) of reading many first-time writer’s work. It’s astounding how many people simply don’t know how to write. I’m not talking about style or content. Forget coming up with a cool plot or unique cast of characters. I’m talking about constructing a sentence with proper use of grammar and punctuation.

If you’re still in school, make sure you give your writing classes as much attention as possible. After all, they teach you the tools of your future trade. If you’re out of school or later in life, consider taking an adult course in basic English and perhaps in creative writing. They won’t teach you how to write a bestseller but can help you get your thoughts down on paper properly. Consider it a refresher course. Some colleges and universities offer degrees in writing. This is by no means a requirement to writing a novel, but it’s always a direction to go if you feel the need. And don’t forget attending writer’s workshops, conferences and joining a local critique group. Workshops are usually taught by pros; conferences have lectures and topic panels dedicated to strengthening your skills; and critique groups offer a new, fresh set of eyes to help improve your work.

Finally, once you’ve finished the first pass through your manuscript, the real work begins: rewriting, editing, polishing, and finishing. There’s nothing that will turn off an agent or editor quicker than an unpolished manuscript. There are tons of books available out there on how to self-edit your work including outstanding books by James Scott Bell, Larry Brook and TKZ emeritus Jodie Renner. And getting others to take a look at it will help to reveal possible problems you missed. Edit, revise, edit, revise, repeat.

There’s a saying that everyone has at least one book inside them. But writing a book is hard. It takes firm commitment and dedication. Let your story out, but do it by following these logical steps. Skipping one of them usually results in frustration, disappointment and a half-finished manuscript collecting dust in the bottom of a drawer.

So what about you guys? How did you managed to finish your first book? Were you able to skip a step and jump right to a publishing contract and advance check? Any other tips to pass along to first-time authors?

* Upmarket fiction blends the line between commercial and literary. YA crossover targets adults but are likely to be of interest/suitable for teens. Middle grade fiction targets ages 8-12 and has content restrictions such as no profanity, graphic violence or sexuality other than crushes.

It’s All An Illusion

Posted on September 30, 2015 by Joe Moore

By Joe Moore
@JoeMoore_writer

Many years ago, I took my son to see David Copperfield, one of the world’s greatest illusionists. During the over two hours of magic, Copperfield performed a number of mind-bending feats that astounded the audience including walking through a solid wall. Remember, this is the guy who made the Statue of Liberty disappear, so he kept us on the edge of our seats with every trick.

One trick in particular was not as spectacular as making a jet plane vanish, but it made a lasting impression on me that I refer to often as I talk about writing thrillers. It involved Copperfield standing solo at center stage performing some entertaining but basic card and slide-of-hand tricks. It was sort of a breather from the “big” illusions. A few minutes into his routine, someone started heckling him from the back of the theater. A man shouted that the tricks were easy and took no talent. At first, Copperfield tried to dismiss him with a remark that he was glad the stranger was interested in magic. He then went on with the card trick. The heckler called out again, this time louder, saying that Copperfield was a third-rate magician with no real talent, and that anyone could do the famous illusionist’s act.

At this point, the audience started to turn to see who this disrespectful, loudmouth was. What we all saw was a man in a heavy trench coat, pulled down fedora, and a thick beard moving slowly down the aisle toward the stage. I surmised that this was obviously part of the show, but to what end I had no idea.

The comments coming from the heckler grew louder and more boisterous as he claimed that he could do anything Copperfield could. The exchange grew edgy between the magician and the heckler until Copperfield seemed to become so frustrated that he challenged the man to come up on stage and perform a trick that would astound the audience. He then turned and left the stage, giving it over to the bearded man in the trench coat.

As my son and I watched in breathless anticipation of what would happen next, the heckler took center stage and declared that he was about to perform an illusion worthy of David Copperfield. In an instant, he ripped off the fake beard, tossed the hat away, and slipped out of the trench coat. The audience gasped as we all realized the mystery man was in fact, David Copperfield.

I consider that trick the basis for writing thrillers. Because, isn’t every writer of this genre a magician? All great magicians know how to deal with pacing, timing and danger. They know how to pivot from one direction to another and the art of misdirection. They keep you guessing where they will go next, and when you think you know the answer, you wind up being wrong. They make you want one thing, then give you another. They prey upon your fears, your dreams, and your nightmares. They are illusionists. They create magic.

As you write, think of yourself as a magician performing illusions. Know where your reader thinks you’re taking them, then take them somewhere unexpected. For writing, like magic, is all an illusion.

_________________________

thor-bunker-cover-RS April, 1945. The Germans have the bomb. Download THOR BUNKER, A Short Story prequel to THE TOMB for only 99¢.

5 Key Steps to Develop a Story from Scratch

Posted on September 3, 2015 by Jordan Dane

Jordan Dane
@JordanDane

Purchased from Shutterstock by Jordan Dane

A story has been niggling my brain for the past week. It tickles, in a good way. It started out as a vague melange of unconnected notions (like walking down a dark tunnel) until I started to define a premise and narrow the focus as if I had a light to guide me. Through online research of headline type tragedies, I searched for something with punch that would push me into the almost uncomfortable zone. I developed a loose character profile, playing with gender for the main character, but I needed more.

Over the last two days, I’ve refined my ideas about the story and “fleshed it out” in a way that excites me the most. I can’t share my book idea yet, but I’ve made notes of my process to share here at TKZ. Here are my steps going forward.

1.) Imagine basic ‘what ifs” about a potential character (a storyteller) and a problem–an unfathomable tragedy, an emotionally charged story concept, or a compelling situation–to create a list of “what if” scenarios. One story idea can have many “what ifs.” In SILENCE OF THE LAMBS, another “what if” could center on Hannibal or Crawford who risks his career and reputation on an FBI trainee. Brainstorm a list before you narrow it down to the one you want to develop as the foundation starting point to your story.

2.) Next, whose story will it be? Let’s talk character. Who has the most to lose? Pick the best character(s) to tell the story. Then decide how you want to “punish” them to test their worthiness for a starring role in your book.

3.) What is the external conflict between the main players (villain or adversary included)? But a good story is not only about the obvious conflict. Flawed characters have double the challenges. How will their internal crutches (their inherent weaknesses) keep them from getting what they want & add to the stress of the conflict? Make the story a personal and intimate journey.

4.) What’s at stake & how will the stakes escalate and play out? Maximize the emotional impact by ramping up the conflict between two main players at odds with each other. Yes, they could be on the same side, but pit them against each other to make things progressively worse and see how they’ll make it through.

5.) Now draft your “pitch” or a premise. You have your basic story ideas – your cast of characters, the conflict, the escalating stakes and a general sense of how things will play out, so you’re ready to draft a “pitch” or develop a premise that best fits your story. Something that would make an agent, editor, or reader say, “Wow, I have to read that.”

Here’s a basic premise example for SILENCE OF THE LAMBS:

A young female FBI trainee must barter her intimate secrets with an infamous psychopath held in solitary confinement to gain his help in catching a serial killer who’s killing women for their skins.

Notice there’s a well-defined protagonist, a formidable antagonist, a sense of the setting, conflict and stakes, and a notion of how the action will play out. The protagonist is up against forces that seem much bigger than she is. The stakes are high. If she fails, more women die. A premise works best when it’s about a vulnerable character with a formidable problem that would seem compelling to the reader.

A good premise should:

Be concise
Be evocative
Be framed from a “what if” question
Be written in present tense with an easily understood sentence structure that makes the story seem familiar yet with a hook or difference to stand out from other books.
It should contain a character, a conflict, and a hook.
It should have universal appeal
Be limited in word count (maybe up to 35 words or less, or 2-3 concise sentences)
The core story should be centered on an idea that jumps out at anyone.

A word of caution:
Do not overload the story with too many focal points or subplots that take away or distract from the main character(s) plight. Keep a laser focus. If the premise is compelling enough, the story won’t need embellishment.

From this point forward: Now that I’ve developed a more focused idea for a new book, I will draft a general plot using a method that’s worked for me and one that I’ve blogged about before at TKZ: The Author’s Bucket List on Plotting Structure. Using the shape of a “W” to remind me, I’ll create the inciting incident, the point of no return, turning points, the black moment, and the twisty wrap up in 7 points that will get me started. A high level outline. Since I’m an impatient writer, I usually start to write the beginning to play with what will work best. If I’m writing on proposal, I will draft a 5-7 page synopsis to go along with the writing sample to a publisher. I like having a fuller synopsis, than merely my 7 point “W’ outline, to develop the story line in a way that guides me as I write. I can incorporate character motivation and ramp up the conflict in such a synopsis so I don’t forget any necessary plot points. At this point, I am on my way and writing in the zone.

Here is a visual idea of the “W” plotting I use: It a visual summary of my blog post.

SAWG YA Presentation - 3-Act Screenplay Structure Diagram 091612

DISCUSSION EXERCISE: Write a brief yet effective premise for any of these 5 well- known movies:
1.) Silence of the Lambs (Can you do one from Hannibal’s perspective?}
2.) Jaws
3.) It’s a Wonderful Life
4.) Hunger Games
5.) Wizard of Oz

The Last Victim coming Oct 30, 2015 in print and ebook. Available for ebook preorder through Amazon Kindle at a discounted price.

Enter Goodreads GIVEAWAY at this LINK. Win one of 15 signed print copies See rules and enter.

A Secret Formula for Creating a Short Synopsis

Posted on September 2, 2015 by Joe Moore

I came across this post recently and found it exceptional advice for all those struggling to construct a synopsis. So I contacted the author, Mike Wells, and invited him to guest blog today and share his insight into what some writers feel is one of the hardest tasks an author must address. Join me in welcoming Mike. Read on, learn and enjoy. Joe Moore

————————————————

If you’re like most authors, summarizing your book in a couple of sentences is a daunting task. However, if you’re going to sell your book, it’s simply something you have to do. If you choose to go the traditional route, agents and editors alike are bombarded with so many queries that if they find themselves having to do much mental work to understand the gist of your book, they will simply pass on to the next one. The same goes for self-publishing–all the retailers and distributors require short descriptions of your book. For example, Smashwords requires a description that can be no more than 400 characters, including spaces! That’s short, folks!

To help you do this, I want to share a formula I learned a long time ago, one that was created in Hollywood. I can tell you from my dealings with the people in the movie industry that when it comes to stories and story structure, they really know their stuff.

Each and every story is composed of the same five basic elements. If you can identify them in their purest, simplest forms, you will be well on your way to writing a good two-sentence synopsis of your book, regardless of its length or complexity.

The five elements are: a (1) hero who finds himself stuck in a (2) situation from which he wants to free himself by achieving a (3) goal. However, there is a (4) villain who wants to stop him from this, and if he’s successful, will cause the hero to experience a (5) disaster.

Actually, what I’ve just written above IS the two sentence synopsis which will work for any story, no matter how complex the plot or characters may seem.

Before I go further, I want to stop for a moment and address the “Is this a formula?” question that will undoubtedly come up in many writers’ minds. Anyone with any experience in writing (or painting or composing music, etc.) knows that formulas do not work when creating a new piece of art, that the most you can hope for is a cookie-cutter type result that will be mediocre, at best.

However, what we are doing here is summarizing a piece of art that has already been created. Because we know that each and every story must contain these five elements, if we can step back from our own story and identify them, it makes the job of summarizing the story much easier.

The only thing formulaic about this approach is the order in which the information is presented, and the structure of the sentences. You can change this around later and make the synopsis appear as original and unique as you desire.

So, back to the method. Another way to write this compressed synopsis is to move the goal into the second sentence into the form of a question, as follows:

Hero finds herself stuck in situation from which she wants to free herself. Can she achieve goal, or will villain stop her and cause her to experience disaster?

All you have to do is identify the elements and plug them in to create the most basic two sentence synopsis for your own story. By the way, you don’t have to put the second sentence in the form of a question–you could write, She must achieve goal, or villain will stop her and cause her to experience disaster. I posed it as a question only because it emphasizes the main narrative question in the story–discovering the answer to that sticky issue is what keeps readers turning the pages until (hopefully) they reach the very end of your book.

The best way to demonstrate the process of creating a two-sentence synopsis is with a real example. As virtually everyone knows the story of The Wizard of Oz, let’s use that. The five elements are:

HERO Dorothy, a Kansas farm girl

SITUATION Finds herself transported to faraway land called Oz.

GOAL To find her way back to Kansas

VILLAIN The witch

DISASTER To be stuck in Oz forever

Plugging the elements into the two-sentence structure, we have:

Dorothy, a farm girl, finds herself transported to a faraway land called Oz. Will the witch kill her before she can find her way back to Kansas?

Now, before you begin to think that this sounds too simplistic for your story, or if you don’t believe your book contains one on more of these elements, or that they seem too melodramatic, etc.–you’re wrong. Your story has all five elements, or it would not be a story.

Your story must have a hero, even if that hero happens to be a cat. And your hero must be stuck in an untenable situation and develop a goal to escape that situation, or you have nothing but a character study, not a story. The untenable situation could be something as mundane as boredom or as abstract as a blocked unconscious need to act out rebelliousness. But that untenable situation is there, and the hero must have a goal to escape it. Furthermore, if there is nothing to stop the hero from achieving her goal (i.e., a villain), then you have no conflict. No conflict, no story.

Granted, some of your story elements may require some thought to identify. For example, your villain might be society as a whole, Mother Nature, or even your hero’s self-doubt. Similarly, your disaster could be little more than your hero having to live with an unbearable self-concept or overwhelming guilt. It’s also important to remember that the “disaster” is seen through the eyes of the hero. This is usually the worst possible scenario he or she can envision at the beginning of the story, but may in fact be the just outcome, or the outcome that does the hero the most good in the long run.

Back to The Wizard of Oz. While the two sentence synopsis we wrote is accurate, it is also painfully dull. This because we started with the five story elements distilled into their absolute minimal forms (done intentionally by me for the purpose of this exercise). To jazz it up, let’s go through the list and expand each element:

HERO – Dorothy isn’t just a farm girl, she’s a lonely, wistful farm girl

SITUATION – Dorothy isn’t merely transported to Oz, but is whisked away by a tornado and dropped there. Also, Oz is far more than a faraway land, it’s a magical but frightening place, full of strange characters, little people call Munchkins and witches, both “good” and “bad.”

GOAL – Dorothy’s main goal is to get back to Kansas, but she soon learns that only the great and powerful Wizard of Oz can help her do that, and he lives in Emerald City, a long and dangerous journey from her starting point (You’ll note that in any story, the hero’s main goal breaks down into a series of sub-goals).

VILLAIN – The witch is more than “just a witch”–she is the Wicked Witch of the West.

DISASTER – Dorothy’s possible fate is actually worse than being stuck in Oz forever–the Wicked Witch of the West is determined to kill her.

So, let’s plug these expanded elements into the original formula.

Dorothy, a lonely, wistful farm girl, is whisked away by a tornado and dropped into in a faraway land called Oz, a magical but frightening place, filled with strange and wonderful characters–little people called Munchkins, and witches that are both good and bad. Can Dorothy make the long and dangerous journey to Emerald City to see the Wizard, the only one who can help her return to Kansas, or will the Wicked Witch of the West kill her first?

Note that we still have exactly the same structure as before which does make the synopsis read a bit clumsily. But you have to admit it’s a lot more colorful and engaging. For better reading flow, the first sentence can be rearranged as follows:

When a tornado strikes her home in Kansas, a lonely, wistful farm girl named Dorothy finds herself transported to a faraway land called Oz, a magical but frightening place, filled with strange and wonderful characters–little people called Munchkins, and witches that are both good and bad. Can Dorothy make the long and dangerous journey to Emerald City to see the Wizard, the only one who can help her return to Kansas, or will the Wicked Witch of the West kill her first?

Once you have this much, you can keep expanding, rearranging, and enriching the synopsis to make it as long and original-sounding as you like. You can pull in more information–for example, that Dorothy’s house fell on the Wicked Witch of the East (which sets up the motivation of why the Wicked which of the West loathes Dorothy, as the two witches were sisters), and you can break the main goal down into sub-goals (for example, that Dorothy is only told that she must “follow the Yellow Brick Road” to reach Emerald City, and that once she does manage to see the Wizard, he tells her she must bring him the Wicked Witch’s broom in order to prove her worthiness, and so on)

In my query letters, I always include a two sentence synopsis similar to that above in terms of detail, then usually expand on it in another paragraph and introduce more subtle elements. In this second paragraph, I always try to point out the villain’s motivation to stop the hero (as above) and also the most important character conflict. Although I did not do this above for The Wizard of Oz, the most important character conflict in that story might be between Dorothy and the wizard–after she does manage to return with the witch’s broom, he gives her the runaround, and she must find the courage within herself to stand up to him and demand that he deliver on his promise.

The two-sentence synopsis method takes a little practice, but once you get the hang of it, you will find the task of writing synopses–of any length–much easier. In fact, now I often write this type of two-sentence synopsis as soon as my story idea has jelled, because the “top down” approach helps me stay focused as I begin the actual process of putting it into words.

One word of caution: if you are having trouble generating interest in your book, resist the urge to “reposition” the story to make it more appealing to agents who represent other genres. For example, if you had written The Wizard of Oz and could not get any fantasy genre agents to read it, you could compose the following short synopsis to make it into an edgy thriller:

Transported to a surreal landscape, a young girl kills the first person she meets, then teams up with three total strangers to kill again.

I’m joking, of course, but you get the idea. Such repositioning misleads agents and wastes their time.

To see the two-sentence synopsis method applied to ten different well-known stories from literature and film, go to Story Synopsis Quiz. All ten of these synopses are written in exactly the same form as I have outlined here. To practice, you might try writing up a few from your favorite books, plays and films.

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With 30 years experience as an author. I strive to create the most engaging, entertaining, well-written novels that I can. My goal is to take you to places you have never been, and to keep you anxiously turning the pages, always asking for more. I hope you enjoy my books! Be sure to visit my blog at http://mikewellsblog.blogspot.com/

Reader Friday: What’s Your Title?

Posted on August 28, 2015 by Kathryn Lilley

What is the title (or working title) of your current story project?

Reader Friday: Happy 7th, TKZ!

Posted on August 21, 2015 by Kathryn Lilley

Shutterstock photo purchased by TKZ

The month of August marks the seventh year since the launch of the Kill Zone blog, so we’re pausing to celebrate. We’d like to thank you, our readers, for helping us grow and thrive as a community over the years. Your comments and participation add tremendous value to the daily discussions here. We take pride in the fact that TKZ has been named by Writer’s Digest three years running to its list of “100 Best Websites for Writers.” We’d also like to give a shoutout to our Emeritus bloggers, the folks who helped us find our identity and develop as a writer’s community over the years: John Ramsey Miller; John Gilstrap; Kathleen Pickering; Michelle Gagnon; Boyd Morrison; and Jodie Renner. Huge thanks, also, to our current crew of excellent writers: Joe Moore; PJ Parrish/Kris Montee; Elaine Viets; James Scott Bell; Clare Langley-Hawthorne; Larry Brooks; Nancy Cohen; Jordan Dane; Joe Hartlaub; and Mark Alpert.

Happy 7th Anniversary, TKZ!

— Kathryn Lilley

Killzoneblog.com

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