True Crime Thursday – Unsolved Murders Linked to Freeway Killer, Now 80

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Photo credit – John Snape Wikimedia.com CCA SA 3.0

by Debbie Burke

@burke_writer

From 1972 to 1983 in southern California, bodies of young male hitchhikers were being dumped near freeways, on beaches, and in parking lots. Many had lethal levels of alcohol and drugs in their systems, and had been tortured, mutilated, sexually assaulted, and strangled.

The so-called “Freeway Killer” eluded law enforcement because of the difficulty of linking the murders with no witnesses and little evidence.

In 1977, Patrick Kearney turned himself into the Riverside County Sheriff’s Office and confessed to more than 30 murders. He was given 21 life sentences. The public breathed a sigh of relief that the Freeway Killer had been stopped.

But murders continued.

In 1980, William Bonin was arrested when police found him inside his van, raping a handcuffed 17-year-old runaway boy. A scrapbook detailing numerous murders was found in his glovebox. Blood and other evidence led to a confession to more than 20 murders, some with the help of accomplices.

Despite multiple prior convictions for sexual assaults on minor boys, Bonin had repeatedly been released from custody. At those times he was deemed no longer a risk to society.

At trial, he was convicted of 10 murders and sentenced to death. Another trial in a different jurisdiction resulted in conviction and death sentences for four additional murders. Again, the public was relieved that the Freeway Killer had been caught.

But murders continued.

In 1983, California Highway Patrol officers pulled over a car for driving erratically. Randy Steven Kraft stumbled out with a bottle of beer and his pants unzipped.

Inside the car officers found the body of a Marine with his pants pulled down. He’d been strangled and sexually assaulted. In the trunk they found a binder with more than 60 coded entries that corresponded to murders Kraft had apparently committed. Evidence also included Polaroids of strangled, bound young men who appeared unconscious or dead.

This Freeway Killer was additionally dubbed the Scorecard Killer because of the binder full of notations about his victims.

Although Kraft never confessed, the evidence against him was overwhelming. He appeared to enjoy the attention at trial and his case dragged on for many months, costing $10 million, the costliest criminal case in Orange County at the time. He was convicted of 16 murders and sentenced to death. Additional murders in Oregon and Michigan were linked to him since he had traveled for work to those states when more bodies, violated in similar ways, had been found.

Kraft is now 80 and back in the news because DNA finally identified the remains of a body found near I-5 in Oregon back in 1980.

Larry Eugene Parks was a 30-year-old Vietnam veteran at the time of his death. His family had lost touch with him. Another dead man, Marine Corporal Michael O’Fallon, had been found in a nearby location a day before. Investigators believed the two murders were connected but couldn’t prove it and the cases went cold.

According to a USA Today story from  May 12, 2025:

Last year, an Orange County Sheriff’s Department investigator contacted the Oregon State Police’s cold case unit, offering to help identify Parks’ remains with the use of forensic genealogy. Possible family members were contacted and submitted DNA samples for comparison, leading to Parks’ definitive identification.

Similarly, in October 2023, Orange County investigators used the technology to identity Michael Ray Schlicht of Cedar Rapids, Iowa, whose body was found in 1974 in unincorporated Laguna Hills, now the city of Aliso Viejo, California. Detectives are likewise working to determine whether Kraft is linked to Schlicht’s death.

This L.A. Times article from November, 2023 describes Schlicht’s identification also by forensic DNA.

Per this May 9, 2025 AP story, Oregon State Police spokesperson Kyle Kennedy says about Parks:

“There’s some evidence that we’re processing to determine that link [to Randy Kraft],” Kennedy said. “We are very confident that we have the correct person of interest.”

In the 1970s and 80s, three different serial murderers, each called the Freeway Killer, terrorized California.

Patrick Kearney, 85, remains incarcerated at Mule Creek State Prison in Ione, CA.

William Bonin was executed by lethal injection in 1996.

Randy Kraft, 80, received a death sentence that was not carried out. The last execution in California happened in 2006. Kraft remains in prison at San Quentin Rehabilitation Center.

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Thank you to TKZ regular Kathy Ferguson who brought the story to my attention.

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Serial killers are covered in Debbie Burke’s new book The Villain’s Journey – How to Create Villains Readers Love to Hate. 

Publication date July 13, 2025.

Preorder link

Feeling No Guilt

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Feeling No Guilt
Terry Odell

As I mentioned in my last post, I was headed out for a Mississippi River cruise vacation, with some extra time in New Orleans. We arrived on schedule, checked into the hotel (and because I always try to stay at the same chain, I’d accrued enough points to be a Diamond Medallion member) and they upgraded us to a suite. With TWO bathrooms! Also free breakfasts and a couple of comped drinks at the bar. And a bottle of wine in the room. And fruit.

But I digress. That’s really not what this post is about. I got home Monday afternoon, a day later than scheduled due to severe weather grounding flights for many hours. We were gone for almost two weeks. I’d brought my Surface to keep up with email and anything else that might need my attention. I figured I’d check things once a day. I also have an iPhone, but I have never gotten comfortable doing anything requiring I go to websites on that tiny screen. I used it primarily as my backup camera. I also have an iPad mini tablet, which is usually my go-to ereader, and not much else.

I printed out my current wip to read for continuity. This one’s got more threads than all my needlework projects, and I wanted to search for dropped threads and make sure my timeline was accurate. Yes, yes, I know I should have been doing this all along, but best laid plans—

Truth be told, I opened my Surface two times on the entire trip—the first being after I discovered that I had a wonky section in my printout and needed to go to the original file for those messed up/missing chapters. The second time was on the boat when we had time before our shore excursion and I did a quick run through my usual sites to make sure I hadn’t missed anything critical. I also read through a couple more chapters of the printout.

However, I made the decision that I was on vacation and being cut off from cyberspace wasn’t going to alter my life. I had already decided that trying to keep my head in the wip would be a lost cause, so I felt no guilt about not making any forward progress. Not to mention, the keyboard on the Surace screws with my muscle memory, and typos abound.

In fact, I finished my read-through on our last day while waiting for it to be time to go to the airport. And that’s the only work-related activity I did on the trip.

I’m subscribed to a number of Substacks and mailing lists. I confess I hit “delete” on just about all of them, since I was getting them via my phone, and I didn’t think the world would be any different if I didn’t read, like, or comment. I don’t know if anyone noticed, but I was absent from my usual commenting on TKZ posts.

I normally post a ‘word of the day’ game on my Facebook page. I didn’t for the duration of the trip. Other than occasional pictures posted to my Facebook accounts, I did nothing with social media. Put my blog on hiatus, too.

The cruise was fantastic, and I suppose if I were on a deadline, I might have squeezed in writing time. I know many authors who find/make the time to work while away. On this trip, I didn’t. And I felt absolutely no guilt. Sometimes time away from the work—literally away can help recharge batteries, provide new insights and if the absence is long enough, make one antsy to get back to the writing.

So, here I am, back on my mountain, dealing with all the myriad tasks that have accumulated. And there are no hotel or boat crew people to take care of them. No more simply walking into the dining room and telling someone what you want to eat. No more walking into the bedroom and finding the bed made, clean towels, and special treats on the table.

If anyone’s interested, I HIGHLY recommend the American Cruise Line for a riverboat trip. The crew bent over backward to make sure we were happy. So much so, that we’ve already booked another trip on the Columbia and Snake Rivers for next year. I’ll be recapping my adventures both on my blog and my substack. Both are free.

And yes, I took pictures, which will have to be sorted and processed. Here are just a few, taken at the zoo (because I’m an animal person) and on our swamp tour (because I’m an animal person).

Oh, yeah. I have a manuscript to get back to as well.

Your turn. How do you deal with going away? Comments are open.

New! Find me at Substack with Writings and Wanderings

Danger Abroad

When breaking family ties is the only option.

Madison Westfield has information that could short-circuit her politician father’s campaign for governor. But he’s family. Although he was a father more in word than deed, she changes her identity and leaves the country rather than blow the whistle.

Blackthorne, Inc. taps Security and Investigations staffer, Logan Bolt, to track down Madison Westfield. When he finds her in the Faroe Islands, her story doesn’t match the one her father told Blackthorne. The investigation assignment quickly switches to personal protection for Madison.

Soon, they’re involved with a drug ring and a kidnapping attempt. Will working together put them in more danger? Can a budding relationship survive the dangers they encounter?

Available now.

Like bang for your buck? I have a new Mapleton Bundle. Books 4, 5, and 6 for one low price.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

Are You Ready for AI Agatha?

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by Debbie Burke

@burke_writer

Following up on Jim Bell’s discussion of Agatha Christie from Sunday…

The headline in the May 16, 2025 Saturday Evening Post read:

AI AGATHA CHRISTIE WILL TEACH YOU HOW TO WRITE! 

I can’t express my initial reaction because this is a G-rated blog. Suffice it to say, I was gobsmacked, horrified, and disappointed. Taking advantage of the deceased by commercializing and monetizing their image seems disrespectful when the person is no longer around to object. But that’s just me.

The idea of bringing dead people back to life using AI is also creepy but weirdly fascinating. Some music videos of contemporary, living singers performing duets with dead legends have been done quite well.

My fave is the 1989 video of “There’s a Tear in My Beer” with Hank Williams, Jr. playing alongside Hank Sr. who died when his son was only three. That gave this performance special poignance, imagining what might have been if Senior hadn’t died at age 29.

But AI has come a long way since 1989, with deepfakes and phony impersonations. Nothing is sacred anymore. And people will go to any outrageous lengths to make a buck.

The Agatha headline conjured up a TikTok-style, faux-historical bastardization of her image, dancing as she typed on her antique manual typewriter in time to “Puttin’ on the Ritz.”

To my surprise, the video excerpt wasn’t awful and was quite interesting. Dame Agatha’s great-grandson and the Christie estate kept a firm grip on the production, ensuring a tasteful, authentic representation of her. The script used her own words from her writings about her storytelling techniques. No one put words in her–uh, its–mouth. Instead of reading her advice in books, writers can listen to the resurrected author speaking.

The video lasts about 10 minutes but only a few seconds show AI Agatha in action. The majority of the time is spent describing the process that the producers, directors, lighting techs, hairdressers, costumers, and others went through to give an accurate depiction. A human actress combined with AI resulted in an animated life-like Agatha.

Here’s the video:

The AI Agatha course is sold via the BBC Maestro program. It can be purchased by single episode or subscription. The description is at this link.

I’m interested to hear what TKZers think of this revolutionary concept. Please share your opinions in the comments.

~~~

 

Join Debbie Burke on The Villain’s Journey – How to Create Villains Readers Love to Hate. Follow the steps to the darkest depths of the soul…if you dare!

Preorder now at this link to have The Villain’s Journey delivered to your device on July 13, 2025.

 

 

 

 

 

 

 

Name That Book

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Bee to the blossom, moth to the flame; Each to his passion; what’s in a name? —Helen Hunt Jackson

* * *

I’ve been thinking a lot about book titles lately since my latest book was renamed by the publisher just prior to its release. More on that later.

Coming up with a title for your book may be one of the most important decisions you make. But how do you decide what’s the perfect name?

Blurb.com had a list of criteria that I grabbed from their website and added some of my own comments. A good title would be:

  • Concise (3-5 words) – Short titles stand out to readers. Long ones are harder to remember. On the other hand, consider The Guernsey Literary and Potato Peel Pie Society or The 100-Year-Old Man Who Climbed Out the Window and Disappeared. They didn’t do too badly.
  • Intriguing – a title that will stand out and make readers want to buy your book. A few that I like are The Hitchhiker’s Guide to the Galaxy, The Remains of the Day, and The Art of Racing in the Rain.

The site also mentioned a good title would be:

  • Original
  • Informative
  • Easy to say
  • Attention-grabbing
  • Memorable

I considered some of the books I have loved and what their titles were:

  • To Kill a Mockingbird by Harper Lee
  • A Tree Grows in Brooklyn by Betty Smith
  • The Adventures of Huckleberry Finn by Mark Twain
  • West With the Night by Beryl Markham
  • The Woman in White by Wilkie Collins

All of these meet the requirement of being concise. With the exception of Huckleberry Finn, they are intriguing and original. They are also informative and easy to say. I’m not so sure about attention-grabbing. I guess that depends on the reader. Finally, I suppose a title is memorable only if the book is one you remember.

A couple of other attributes I’ve noticed in the book naming field:

  • Trendy – Remember how many books were published with the word “Girl” in the title?
  • Play on words – Popular with cozy mysteries.

* * *

Reading about the art and science of naming a book got me thinking about how I had come up with the titles of my five published novels. In the order published, they are:

The Watch on the Fencepost – That was the working title, but I wanted a catchy, clever name for the book. One day when I was about halfway through the writing process, my husband and I took a walk to talk about the title. I tried out a few possibilities (A Watch in Time, Death Watch, etc.), but nothing clicked with us. Finally, Frank said, “Why don’t you just leave it the way it is. It’s unique and intriguing.” So that’s what I did. And there’s a catch at the end of the book that emphasizes the title.

Dead Man’s Watch – The title refers to a watch that was taken off a dead man’s wrist. Finding the watch turned out to be an interesting problem that led to a surprising conclusion. I also liked the trendy “Dead Man” part of the title.

Time After Tyme – After the university librarian Mr. Tyme was found dead, a couple of teams of amateur sleuths spend their time looking for a culprit. This title was inspired by the use of word play in cozy mystery titles.

Lacey’s Star – I thought this title might be too prosaic. I considered All but the Brightest Stars, but opted for the simpler title because it refers to the final clue that leads to a murderer. I like to think that readers will finish one of my books and realize the relevance of the title to the story

That brings me to the fifth book, Another Side of Sunshine.

The working title was The Other Side of Sunshine, which is also the first line of the first clue in the story. Much of the book is a reflection on shadows (pun intended), so the title seemed perfect to me. However, the publisher didn’t want the title to begin with the word “The,” so she suggested Another Side of Sunshine. In the long run, I think it’s just as good, maybe better.

* * *

Speaking of changing titles, The Huffington Post had an article on classic books where the original title was changed. Here are a few:

  • Ernest Hemingway’s The Sun Also Rises was originally titled Fiesta.
  • Somerset Maugham’s Of Human Bondage was originally titled Beauty from Ashes.
  • Margaret Mitchell’s Gone with the Wind was going to be Tomorrow Is Another Day, Not In Our Stars, Tote the Weary Load, or Bugles Sang True.
  • Harper Lee’s To Kill a Mockingbird was originally titled simply Atticus.
  • Carson McCullers’s The Heart Is A Lonely Hunter was originally titled The Mute.
  • John Steinbeck’s Of Mice and Men was originally titled Something That Happened.
  • Jane Austen’s Pride and Prejudice was originally titled First Impressions.
  • William Golding’s Lord of the Flies was originally titled Strangers From Within.

* * *

So TKZers: How did you determine names for your books? Do you have a favorite title of your books? Would you rename any of them if you could? What are some of your favorite titles from other authors? What do you think about the name changes in the list of classics? 

* * *

ANOTHER SIDE OF SUNSHINE
A Middle Grade Mystery Novel

The Reen & Joanie Detective Agency is open for business, and the first assignment is to find a treasure hidden by the mysterious “Mr. Shadow.” 

“Fans of From the Mixed-Up Files of Mrs. Basil E. Frankweiler and The Westing Game will find familiar pleasures here, wrapped in fresh clues and grounded by a heroine who learns to trust her instincts—and the people around her.” —Prairie Book Reviews

Click the image to go to the Amazon book page.

In the Mind of a Master Plotter

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by James Scott Bell
@jamesscottbell

The best selling novelist of all time is Agatha Christie. With estimated sales of between two and four billion, she is miles ahead of #2 (guess who it is…I’ll reveal the answer at the end of this post.*)

Dame Agatha, of course, was the queen of the puzzle mystery—i.e., a corpse and a group of suspects, all of whom have a hidden motive or secret, but only one of whom is the culprit (the notable exception being Murder on the Orient Express).

The intricacies of her plots did not spring forth, fully formed like Athena from the forehead of Zeus. Indeed, they required meticulous planning in order to do two essential things.

First, Christie insisted that the clues to the murderer’s identity be on the pages, without tipping off the reader. No easy task! Yet she was adamant that the mystery writer “play fair” with the reader, and that once the mystery was solved, the reader could flip back in the pages to see that the clues were actually there.

Second, her plans allowed her to know where best to plant “red herrings.”

So she was a plotter, a planner.

But she was a pantser in the run-up to the plan! Her pre-plotting involved brainstorming, jotting, talking to herself in notebooks, creating characters, asking questions, testing motives and secrets and other pieces of the puzzle. Finally, she took this jumble and put it into outline form to write the book. In her autobiography, Christie describes this period of time:

There is always, of course, that terrible three weeks, or a month which you have to get through when you are trying to get started on a book. There is no agony like it.

In Agatha Christie’s Secret Notebooks (a comprehensive analysis of 73 handwritten volumes of notes, lists, musings, outlines, and plans for her books) author John Curran writes:

So although it is true that she had no particular method, no tried and true system that she brought with her down the long years of her career, we know this appearance of indiscriminate jotting and plotting is just that—an appearance. And eventually we come to the realization that, in fact, this very randomness is her method; this is how she worked, how she created…

In one of her notebooks, while working on a Poirot mystery called Cat Among the Pigeons, she wrote:

How should all this be approached? In sequence? Or followed up backwards by Hercule Poirot — from disappearance … at school — a possible trivial incident but which is connected with murder? —but murder of whom — and why?

She speculates further on characters (spaces before some question marks are hers):

Who is killed? Girl? 

Games mistress? 

Maid? 

Foreign Mid East ?? who would know girl by sign? 

Or a girl who ?

She also used “mundane” activities to allow her subconscious to work. She told an interviewer once that she often got her plots “in the tub, the old-fashioned, rim kind – just sitting there, thinking, undisturbed, and lining the rim with apple cores.”

Eventually, all this “chaos” coalesced into a plot plan, with the author knowing “who done it” from the jump. But because she had so fully considered all the characters, motives, and secrets in her planning, she could easily switch the killer’s ID if she liked.

Her most famous book is probably And Then There Were None. In her autobiography she writes:

I wrote the book after a tremendous amount of planning…It was clear, straightforward, baffling and yet had a perfectly reasonable explanation…the person who was really pleased with it was myself, for I knew better than any critic how difficult it had been.

So there’s a peek into the mind of the world’s bestselling author.

Chaos >> Plan >> Writing

My own process is similar (though I’m a little behind Dame Agatha in sales). I brainstorm, write notes, make mind maps, prod “the boys in the basement,” and type away on what I call a “white-hot document.” The latter is me writing things down as fast as I can—snippets, scene ideas, potential plotlines, possible bad guys, allies, subplots, etc. I come back to this document the next day and highlight the best parts, expand on some things, then do more writing.

I’ll also start laying out my Scrivener cards and signpost scenes, and creating a corkboard of character profiles. In the draft for my next Romeo thriller, I have a sub folder called “Suspects.” I have 11 of them, with headshots I’ve selected online. This makes it easy to look at all of them at once and consider motives and secrets and hidden relationships. I think Agatha Christie would have been proud of me! (Or maybe she would have just patted me on the head and offered me a cookie.)

Finally, I’m ready to write.

So how does this all resonate with you? Are you a chaos-to-plan writer? Or do you prefer writing in the chaos?

For you cozy mystery writers, what is your planning like? Do you need to know who the killer is before you start writing? Do you come up with suspects, secrets, and motives first?

*The #2 best selling novelist of all time is Barbara Cartland, followed by Danielle Steel (source: Wikipedia).

More Short Story Words of Wisdom

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From practicing your craft in a few thousand words, to story anthologies and indie publishing, short stories continue to offer opportunities for growth, experimentation, and finding readers.

So, with that in mind today’s Words of Wisdom looks once more at short fiction, with three excerpts from the KZB archive.

First, Jodie Renner gives tips on planning a short story which also works as revision touch stones for writers who pants their stories. Then, James Scott Bell discusses two overlooked reasons to write short stories. Finally Nancy J Cohen’s 3Ps of writing advice apply to writing, submitting and publishing short form as well novel-length fiction.

I’ve judged short stories for several contests and anthologies, including for Writer’s Digest, and I’ve come up with some tips for writing a compelling short story that is worthy of publishing or submitting to contests, magazines, and anthologies. Of course, these are only guidelines—like any good cook with a recipe, you’ll tweak them to suit your own vision, goal, and story idea.

PLANNING STAGE:

  1. Keep the story tight. Unlike a novel or even a novella, a short story is about just a small slice of life, with one story thread and one theme. Don’t get too ambitious. It’s best to limit it to one main character plus a few supporting characters, one main conflict, one geographical location, and a brief time frame, like a few weeks maximum—better yet, a few days, or even hours or minutes.
  2. Create a complex, charismatic main character, one readers will care about. Your protagonist should be multi-dimensional and at least somewhat sympathetic, so readers can relate to him and start bonding with him right away. He should be charismatic, with plenty of personality, but give him a human side, with some inner conflict and vulnerability, so readers identify with him and start worrying about him immediately. If readers don’t care about your character, they also won’t care about what happens to him.
  3. 3.Give your protagonist a burning desire. What does she want more than anything? This is the basis for your story goal, the driving force of your story.
  4. Decide what your character is most afraid of. What does your hero regret most? What is his biggest fear? What is he most afraid might happen? Give him some baggage and secrets.
  5. Devise a critical story problem/conflict. Create a main conflict or challenge for your protagonist. Put her in hot water right away, on the first page, so the readers start worrying about her early on. No conflict = no story. The conflict can be internal, external, or interpersonal, or all three, against one’s own demons, other people, circumstances, or nature.
  6. Develop a unique “voice” for this story by first getting to know your character really well. A good way is to journal in his voice. Pretend you are the character, writing in his secret diary, expressing his hopes and fears and venting his frustrations. Just let the ideas flow, in his point of view, using his words and expressions. Then take it a step further and carry that voice you’ve developed throughout the whole story, even to the narration and description, which are really the character’s thoughts, perceptions, observations and reactions. (In a novel, the voice will of course change in any chapters in other characters’ viewpoints.)
  7. Create an antagonist and a few interesting supporting characters. Give each of your characters a distinct personality, with their own agenda, hopes, accomplishments, fears, insecurities and secrets, and add some individual quirks to bring each of them to life. Supporting and minor characters should be quite different from your protagonist, for contrast.
  8. To enter and win contests, make your character and story unique and memorable. Try to jolt or awe the readers somehow, with a unique, charismatic, even quirky or weird character; a unique premise or situation; and an unexpected, even shocking revelation and plot twist.
  9. Experiment – take a chance. Short stories can be edgier, darker, or more intense because they’re short, and readers can tolerate something a little more extreme for a limited time.

Jodie Renner—July 28, 2014

Today I want to talk about two often overlooked reasons for writing the occasional short story. The first reason is, simply, that they’re fun. Lawrence Block, one of the grand masters of crime fiction––short and long––says in The Liar’s Companion: A Field Guide for Fiction Writers:

I figured short stories would be fun. They always are. I think I probably enjoy them more than novels. When they go well, they provide almost immediate gratification. When they go horribly hopelessly wrong, so what? To discard a failed short story is to throw away the work of a handful of hours, perhaps a couple of days. In a short story I can try new things, play with new styles, and take unaccustomed risks. They’re fun.

Why should you sometimes write just for fun? I’m glad you asked:

  • Because “fun is the best thing to have.” – Arthur Bach
  • Taking a break from longer work to have fun refreshes your writer’s mind

Now, “fun” does not mean you’re just writing fluff. Far from it. Which leads me to the second overlooked reason for writing short stories: to deepen your intensity. Once again, Bradbury:

[T]he problem of the novel is to stay truthful. The short story, if you really are intense and you have an exciting idea, writes itself in a few hours. I try to encourage my student friends and my writer friends to write a short story in one day so it has a skin around it, its own intensity, its own life, its own reason for being. There’s a reason why the idea occurred to you at that hour anyway, so go with that and investigate it, get it down. Two or three thousand words in a few hours is not that hard. Don’t let people interfere with you. Boot ’em out, turn off the phone, hide away, get it done. If you carry a short story over to the next day you may overnight intellectualize something about it and try to make it too fancy, try to please someone.

Writing a short story this way sharpens your ability to concentrate, and also teaches you to bring intensity to the writing of scenes. Since scenes are the building blocks of your novels, that’s all to the good for your overall craft toolbox.

James Scott Bell—November 13, 2016

Usually when I’m giving advice to aspiring authors, I name the 3 P’s as Practice, Persistence, and Professionalism. In his recent post, James Scott Bell mentioned his 3 P’s for writers: Passion, Precision and Productivity. These are all valid and equally important.

Practice
It helps if you set a daily word count or page quota and a weekly quota, then put yourself on a strict writing schedule. This gives you definitive goals. Keep moving forward. If you get stuck, either you haven’t laid the proper groundwork or you are letting outside distractions snag your attention. Don’t get hung up on self-edits until you finish your first draft. It’s easier to fix what’s on the page once the story is complete. The point here is to write on an ongoing basis. Then follow James’ advice about Precision by learning how to hone your skills. Attend writing conferences. Read Writer’s Digest. Enter contests with feedback. Join a critique group. Go to meetings of your local writing group and sign up for workshops. And keep writing.

Persistence
Persevering at this career despite rejections, bad reviews, poor sales, and other setbacks is critical to success. If you drop out, you have only yourself to blame. Keep at it, and your skills will improve along with positive responses from readers, critique partners, and editors. “Never give up, never surrender.” That holds true for a writer same as for the crew of Galaxy Quest. Have faith in yourself. If you have the drive to write, you can improve your craft and learn marketable skills. The more books you have out there, the more chances you have to gain a following. Keep going despite the odds, and be versatile. At times, you may have to try something new and different. Don’t be afraid to take risks. Whichever route you take, quitting isn’t an option.

Professionalism
Always be polite and gracious, even when you get a bad review or a rejection. It’s hard not to take these personally, but they’re aimed toward your book and not you. You don’t want anyone saying you’re a gossip or you bad-mouthed your publisher or you made condescending remarks toward another author. It’s better to be known as someone who shares her knowledge, is helpful to her peers, and is a consummate professional in her dealings with editors and agents. If you need someone to hold your hand, turn to your critique group and not your publisher or agent. With their busy lives, these people don’t care to take on needy writers. They want career authors who will persistently turn in polished manuscripts, who establish and maintain a platform, who are active online, and who understand the publishing world. Act toward others as you’d wish to be treated. You never know when a writer friend from today might become your editor tomorrow, or an editor might become an agent, or a reviewer who raked your previous books over the coals might give you a rave review. The old adage, “Don’t burn your bridges,” holds true here, too. Be polite, courteous, and helpful at all times.

Nancy J Cohen—July 16, 2014

***

  1. Have you written short stories? If not, might you in the future?
  2. What do you think of Jodie’s planning tips? Do you think they could be useful when revising a short story?
  3. Have you written a short story just for the fun of it? Have you used them to deepen your intensity?
  4. What’s your take on Nancy’s 3Ps of writing advice?

Reader Friday: Your First Suspenseful Read

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The first thriller I recall reading was Thomas Harris’s 1975 novel, Black Sunday. I read it when I was fifteen, checking it out of my high school’s library and plowing through it in just a couple of days. The book kept me on pins and needs the whole time, not letting up until the end, and even then, it lingered with me for days afterward.

What was the first suspense or thriller novel you remember reading? Do you remember where you found it?

Bonus question: what was the first suspense or thriller movie you recall seeing? Where did you see it? For me, it was the 1971 movie, The Andromeda Strain, adapted from Michael Crichton’s novel. I saw it on our local independent TV station, Channel 12.

Is This Writing Good?

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I’m always intrigued when I hear someone say, “That was a really good book” or “This is great writing.” I’ll ask, “What makes it so?” Inevitably, I’ll get varied answers.

Probably the first response is, “Because I liked it.” Or, “Because it held my interest.” Or, “I could hear the voice as if it were talking directly to me.” Or, “It made a lot of sense.”

One of the greatest compliments a writer can get is, “I couldn’t put it down.” I’ve had a few of these over the years, and they really made my day. The best one was, “You. You kept me awake until four in the morning, and I had to go to work the next day.”

So, what makes writing good? I stumbled upon a meme the other day that made me reflect on what good writing is. Timeless storytelling techniques that still hold true and probably outclass most of what is taught to, and produced by, modern scribes.

It was a page by JRR Tolkien, the father of modern fantasy, who wrote The Hobbit in 1937 and The Lord of the Rings trilogy in 1954-1955. I read it and reread it, paying attention to what Tolkien was pulling off. Here’s the image.

I’m not going to critique Tolkien, but I see touches I would have never considered.

Like using an exclamation point in the middle of a sentence. Repeating a sentence in the same paragraph but reframing it in backdrops. A single sentence of three repeated words…

World building… invented languages… unique and memorable character development… superb, captivating storytelling…

I can’t accurately explain why I think Tolkien was a good writer. It’s like Supreme Court Judge Potter Stewart said in his landmark ruing on obscenity, “I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description; and perhaps I could never succeed in intelligibly doing so. But I know it (pornography) when I see it.”

Kill Zoners — What are your thoughts on this Tolkien page? And what makes for good writing? BTW, you might have to open the page image in a separate tab to enlarge it for clarity.

When Timelines Don’t Mesh

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By John Gilstrap

My natural storytelling instinct for my books leans exclusively to third person, shifting points of view. I’ll write an occasional short story in first person, but those are rare, as well. I don’t know why that is, and as with so much else as a self-taught writer, I try not to dwell too much on the whys of my process for fear that if I think too hard I screw something up–much as my one and only golf lesson did to my golf game. Once you start thinking about every movement, no movement feels natural anymore.

Over the course of writing the past few books, I’ve run into an interesting challenge, where the timeline of one groups of characters, and the events of their lives is unfolding weeks earlier than those of my primary characters. Ultimately, the two groups will come together in a tumultuous manner in the same time and place, but the journey to get them there bears a high risk of confusing the reader.

The problem is even more challenging because the separation consists only of weeks, not years. It would be easy to drop in slug lines like 1847 versus 2026, because readers can keep track of those. I don’t think you can say the same about May 14 versus May 5. Readers would be compelled to flip back and forth just to keep up.

My upcoming thriller, Burned Bridges (May 27), begins:

Chapter One

Thirty-Five years ago

Then chapter one shows two teenagers disposing of the body of a third teenager in the opening of a limestone cave. Truth be told, I could legitimately have written that chapter as a prologue, but I have a visceral dislike of prologues. Then, the second chapter begins:

Chapter Two

Present day

In this chapter, we meet my protagonist, Irene Rivers, and her family, and discover that her nephew has discovered a body that had been stuffed in a cave on their property. And then the story remains exclusively in the present day, so I don’t use any more time stamps.

In my Victoria Emerson trilogy, I figured that after a nuclear holocaust, all time would be tracked relative to Hell Day–the date of the attack, so as I moved from one timeline to another, I used Hell Day as the anchor at the top of each chapter:

Hell Day Plus 22

Where events spanned consecutive chapters, or where I was shifting the point of view on a single event, I’d make sure not to lose to the reader by putting a slug like this at the top of the chapter:

Hell Day Plus 22 (Same Day)

I’m currently putting the finishing touches on Scorched Earth, #18 in the Jonathan Grave thriller series, and I’m wrestling with a new twist on the timeline problem. In this case, the other timeline is presenting essential backstory, lived out in real time for the reader, but I’m finding it hard not to squander the big “organ chord” reveal sooner than I want the reader to know it.

I know that in a conference setting or in an academic setting, many of us like to express this thing we do in term of art. But sometimes, it feel more like carpentry–making those pieces you cut wrong somehow join together anyway.

Y’all got any tricks for writing conflicting or parallel timelines? Anybody else had an instructor ruin your ugly yet perfectly passable golf game and turn you into a worm burner?

By The Book: What’s On Your Nightstand And Who’s Your
Favorite Hero Or Villain?

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By PJ Parrish

Am a little under the weather today, so this post is a bit of a cheat. I love reading a feature in the New York Times Book Review called By The Book. Famous writers are asked a series of standard questions about their tastes. Always fun to read their revealing answers. I’m not famous but I’ll give it go. And then you guys can weigh in.

What books are on your nightstand?

Michelangelo and the Pope's Ceiling by Ross King | Goodreads

Just went and checked. Well, this was surprising. Two out of three are non-fiction and I am pretty much a novel-addict. Am plowing through (still!) Michelangelo and the Pope’s Ceiling by Ross King. It’s the story behind the painting of the Sistine Chapel. I am not Catholic but I am fascinated by all things papal and this recounting of the power politics behind maybe the world’s greatest masterpiece is riveting. Pope Julius was so incensed over Michelangelo’s slow, secretive progress that he took to disguising himself and sneaking up into the scaffolding. Michelangelo caught him one night and hurled planks at the poor guy. The pope, bellowing curses, fled. The artist, fearing for his life, bolted off to Florence to hide until the pope cooled down. That scene didn’t make the Charleton Heston movie.

Second is Once In a Great City: A Detroit Story by David Maraniss. An elegantly told elegy for my home town that was abandoned by the world. Third (spine yet uncracked) is The Paris Widow by Kimberly Belle. I’m off to Paris in 10 days and I always take along a book set in my destination. This thriller just won the Edgar for best Paperback Original. Met Kimberly in the bathroom at the Edgars. She was so gobsmacked she could barely talk.

What’s the last great book you read?

Middlesex by Jeffrey Eugenides. I’ve read it twice now. An American epic. It’s tenderness gets to me and the characters still walk around in my head.

If you were to write something besides thrillers, what would you write?

Erotica. Tried it once. A sad middle-aged woman goes to Italy and gets laid. (This was pre-Under the Tuscan Sun so don’t jump on me.) My title was brilliant: Tarantella, which is a crazed Italian dance thought to cure deadly spider bites and bring the victim back to life. I still have the manuscript. It’s awful. I unwittingly wrote a comic novel.

What do you read when you’re working on a book? And what kind of reading do you avoid while writing?

When I was writing thrillers, I never read anything. Just couldn’t. My brain was too out there on Planet X to concentrate. I used to survive by binging on sports TV. This is how I became a hockey fan.

What’s the most interesting thing you learned from a book recently?

That Keith Richards is really bitchy. In his biography Life, he says of Bruce Springsteen: “If there was anything better around, he’d still be working the bars of New Jersey.” And he says Mick Jagger is, ahem, not well-endowed: “He has a tiny todger.” (Which is an interesting new word I learned).

What’s your favorite book no one else has heard of?

Soupy Sez!: My Life and Zany Times Hardcover Soupy Sales, Charles Salzberg HC/DJ 9780871319357| eBay

Soupy Sez: My Zany Life and Times. It’s the autobiography of the infamous Detroit kids TV star Soupy Sales. It’s hilarious and ultimately quite sad. I loved this guy.

What moves you most in a work of literature?

Emotional honesty from the writer. Opening a vein. You can’t fake it. Though many try.

Which genres do you especially enjoy reading? And which do you avoid?

I grew up reading the backs of cereal boxes so I will read anything. But I don’t like political thrillers. The reality is bad enough.

How do you organize your books?

By category. All my dance books, from my near two decades as a dance critic, are grouped together. All my royal family books share a high shelf. Thrillers and mysteries, mostly from friends, dominate the lower rungs. 🙂 And there’s one shelf where all my France/Paris books live together in happy utopian disdain.

What book might people be surprised to find on your shelves?

Several very old and rare books on slavery. It was research for one of our series novels involving the underground railroad but I got carried away. One historic title is so offensive I shelve it spine in.

What’s the best book you’ve ever received as a gift?

Charlotte’s Web. Got it as a little kid. It got lost, along with much of my childhood paraphernalia, in our many moves. I found a beat-up copy at a barn sale last summer here in Michigan. It smells musty and is inscribed “To my daughter Anne.”

Who is your favorite fictional hero or heroine? Your favorite antihero or villain?

Well, my hero, I’d have to say, is Charlotte the spider. She’s confident, thoughtful and a true-blue friend. Villain? Two: Mr. Rochester in Jane Eyre. Moping around in moors, mired in self-pity. And he locks his wife in the attic! And Lady MacBeth, with one of the best lines in all of fiction: “Who would have thought the old man to have had so much blood in him?” Wish I had written that.

So, crime dogs? How would you answer any of these questions? Pick one or two or all. Would love to hear your secrets.