First Page Critique: Using Setting And Action To Inject Suspense

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By PJ Parrish

Well, this First Page submission is a little more in my bailiwick than ones I’ve been doing of late. I got my start in romance, segued into the more generalized “women’s fiction” and ended up in suspense. I’m in my comfort zone. And I like anything involving armadillos. So, let’s take a look.

How To Eat An Armadillo
Chapter One, Hank and Betty

She had to keep walking. The afternoon sun threw a blast of heat onto the black asphalt and bounced it up into her face and neck, smothering her with a blanket of misery. Aggravated by the continuing soreness in her foot, Marley was determined to find some shade so she could sit down someplace and untie her boot to relieve the pain. It felt bruised and achey. It never healed right after the accident years ago. She didn’t want to be on the ground when a car came by even though there wasn’t much traffic on this old Texas country road. Marley figured it would be a while before she could thumb it and hitch a ride heading west. She didn’t want to stop just yet, risking being caught off guard by limping or sitting down. Any sign of weakness could invite trouble.

This way of life had gotten tougher over the years. Older now and thick in the middle, she didn’t attract the drivers like she used to do. In the past, they’d hit the brakes pretty quick when they saw the sweet young thing sticking out her thumb for a ride. Marley’d made a life out of hitching rides. She got into pretty much every vehicle that ever stopped for her, trucks, cars, RVs, and trailers. Young men, crazy families, lonely women, and sorry-ass old men. The worst of course was that coven of ‘nasty people,’ as she called them. The ones who wanted to put their gritty hands, mouths, and objects on her or in her. It made her feel slimy and dirty when they touched her. They’d all changed her. She was a good girl until the thing happened. Every ride was a risk.

Sometimes she felt her life was hanging in a thread, like a spider on a web in a hailstorm. Vague, disturbing memories crept into the crevices of her mind, shielding her consciousness, shoving her into this solitary journey. She didn’t know if she was running from them or to them. Once in a while she wondered what could’ve made her life different, made her different.

No use thinking about that.

She had to keep walking and get out of this blistering heat.

Better to keep my head up and stay alert. One foot after the other.

She’d shake her right foot every few steps, trying to shake off the pain.

__________________________

First off, I’m intrigued enough to keep reading. I already like the protagonist, although we can only assume Marley is, indeed, the main character. Keep in mind she could be a potential victim here. Always hard to tell in only 400-plus words. But given that the writer has invested in some backstory so early here, I’m guessing Marley’s the protag.

I like that the writer has plopped Marley right down in a bad situation. Extreme heat, a lonely Texas road, and a sorta kinda vague feeling that she has already recently endured something — I read that from her hurt foot. To say nothing of  bigger trauma at the hands of a “coven.”  So, yes, I’d read on.

There is also some nice but not over-done backstory here. We are told she’s been a vagabond for a long time and that makes me wonder why. Wondering why a character had gotten to a certain point can be an effective launching pad for your story. Also we are told she was the victim (as a “good girl” no less) of a coven of “nasty people.”  So she’s damaged goods in a sense. Which is also an effective device for future character development. I barely know her but I already want to root for her. So, good job, writer.

On a pure craft note, the writing itself is solid, direct and unpretentious. Everything is clearly detailed, the physical movements, the thoughts. Well done.

But…

Can this be improved? Is there a way to ratchet the tension? I think so. This may only go toward style, and others who weigh in might think this opening is fine as it is. But I’m going to suggest two things for the writer:

  1. Give me a bit more sense of place and atmosphere. I sound like a broken record in my First Pagers because I am always asking the writers to not neglect their settings. Our writer tells us we are in Texas, on an “old country road.” I’ve been to Dallas. That’s all I know of Texas. Other than the old movie Giant. So I’m going to ask the writer to take me there with some select description. I don’t want a lot. Just enough to make me smell, see and even hear this pace. WHY? Not just because I like description but because when it’s done well, it enhances suspense and helps establish character. More on this in a moment.
  2. I’d like to see the writer SHOW me Marley’s mood and backstory, rather than TELL me. What do we know from these 400 or so words: Marley is tired and achy as she walks a Texas road. She’s got a bad history hitching. And one particular episode with the “nasty people” changed her in a fundamental way — she was a “good girl” ie an innocent and now she is not.  I’ll get back to this.

Setting: I love the potential of this desolate opening. But what does it look like? You TELL me only that it’s “lonely.” Use your writerly skills to SHOW me what this loneliness looks like, feels like. Is the sky that crushing bright blue you get in a desert? (I always feel claustrophobic in wide open arid spaces). Are there thunderheads building? Is the air so dry your nose bleeds? Does that asphalt road reel out like a dry black ribbon leading to nowhere? And you need to be more specific geographically — are we in the flat nothingness of the panhandle or the scrublands of the Mexican border or the hill country? “Texas” means nothing to a reader.  Be specific.  And make it dovetail with Marley’s state of mind! Make the setting MEAN SOMETHING.  The fact that you chose to drop Marley in this place tells me you KNOW it’s important. So make it come alive.

Showing instead of telling. Marley’s backstory is great, but it’s your only source of tension right now. I know you want to stress that no one is coming by to pick her up, but nothing is really happening here. It’s all Marley thinking, mainly about her past.  You need some action here, which can then TRIGGER backstory. What if you use a passing car or truck to create some action? A fancy RV goes by and doesn’t stop for her. That can trigger a memory. A car stops and a creepy guy wants to give her a ride but she tells him she’d rather walk. (Dialogue is action!) And then maybe a beat up truck chugs by, slows down and Marley gets a good look at the occupants and THAT triggers the awful seminal memory of the “nasty people.” See what I am trying to do? I’d like you to consider converting mere memory, thoughts and backstory into action.

Especially because you are using hitchhiking as an existential device. You TELL us that all her life Marley had gotten “into pretty much every vehicle that ever stopped for her.”  Which is a helluva metaphor for her life, no? But she’s not young anymore. She’s thickened around the middle, as you so greatly put it, but she’s no longer as thick in the head. I have to hope she doesn’t get into every vehicle now because she got into one once that changed her forever, no? Make us feel this inner struggle for this woman.

Okay, let me do a quick line edit. Not much, because your submission is pretty clean.

She had to keep walking. I like this opening line because it captures her near desperate mood and I suspect sums up her life thus far. The afternoon sun threw a blast of heat onto the black asphalt and bounced it up into her face and neck, smothering her with a blanket of misery. This is telling us she’s miserable. Find ways to show us. Aggravated by the continuing soreness in her foot, More telling. Why not have her stop, take off a boot and show us a blistered foot? Marley was determined to find some shade this is why you need to describe where we are. Are there some trees in the distance? so she could sit down someplace and untie her boot to relieve the pain. It felt bruised and achey. It never healed right after the accident years ago. Nice dollop of backstory; makes me want to read on. She didn’t want to be on the ground when a car came by even though there wasn’t much traffic on this old Texas country road. Where are we? Marley figured it would be a while I have to wonder why she chose this road if she knew her chances of getting a ride were nil. before she could thumb it and hitch a ride heading west. She didn’t want to stop just yet, risking being caught off guard by limping or sitting down. Any sign of weakness could invite trouble. I like this line because it insinuates tension but it needs some context. Has her long experience hitching taught her this? You can do so much more with your hitchhiking metaphor. 

This way of life had gotten tougher over the years. Older now and thick in the middle, she didn’t attract the drivers like she used to do. great line. You’re hinting at her age. In the past, they’d hit the brakes pretty quick when they saw the sweet young thing You missed a great opportunity to tell us what she looks like! How about “the men especially would hit the brakes when they saw the leggy redhead in cutoff jeans sticking out her thumb for a ride. Marley’dawkward. Just go with Marley had made made a life out of hitching rides. She got into pretty much every vehicle that ever stopped for her, trucks, cars, RVs, and trailers. Young men, crazy families, lonely women, and sorry-ass old men. The worst of course was that coven of ‘nasty people,’ as she called them. The ones who wanted to put their gritty hands, mouths, and objects on her or in her. Eww in a good way since you made me want to know more. Can we be a tad more elegant and visceral in the construction: “The ones who wanted to put their wet hands and mouths on her and those sharp objects in her. (Don’t pull punches with the nasty people as it is your best source of interest and tension.) It made her feel slimy and dirty when they touched her. They’d all changed her. She was a good girl until the thing I would cap this since it’s seminal — The Thing. happened. Every ride was a risk. Every ride AFTER THAT was a risk? Clarify. And because The Thing was so life-changing, why didn’t it change her behavior? You might want to briefly allude to this. Otherwise it implies she learned nothing from her encounter with the nasty people. 

Sometimes she felt her life was hanging in a thread, like a spider on a web in a hailstorm. A nice spider metaphor but again, you’re telling us a lot and showing us little. Vague, disturbing memories crept into the crevices of her mind, shielding her consciousness, shoving her into this solitary journey. This line sounds great but what does it mean? Are you refering to the nasty people? You told us in previous graph she vividly remembers the feel of their hands and mouths and the objects she was violated with, but now the memories are “vague”? Be precise. She didn’t know if she was running from them or to them. Once in a while she wondered what could’ve made her life different, made her different. Also not clear to me what you mean here. Again, the memories appear to be of the nasty people episode in her life and I can understand why her vagabond existence is an escape FROM that. But why did you say she is “running to them?” 

No use thinking about that.

She had to keep walking and get out of this blistering heat.

Better to keep my head up and stay alert. One foot after the other. There’s that metaphor again!

She’d shake She shook her right foot every few steps, trying to shake off two shakes in one sentence. the pain.

Okay, brave writer. I need you to know that I really liked this. The set up is fresh and full of potential tension. I like Marley and want to know more about her and her past journey — to say nothing of what lies ahead for her. Just ground her in the setting more and sort out her feelings about the nasty people coven and what they did to wound her. And find a way to use action in the place of mere thinking and remembering. You’ve got a really good start here. Keep going — one foot in front of the other.

Two Important Points for Writers

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A recent conversation with my husband brought up two important points for writers to keep in mind. Rather than tell you, I’ll peel back the veil and let you eavesdrop.

Bob: Whatcha doin’?

Me: Studying forensic taphonomy. I’ve been dyin’ to dig into this field and finally gotta reason. Exciting, right?

Bob: Forensic taphonomy? Oh, sure, I know all about it. Are you just researching that now? I’ve known about it for years.

Me: Ha. Ha. Very funny.

Bob: Lemme ask ya this. Why are you studying forensic whatever-it’s-called?

Me: Forensic taphonomy. Well, I need to know it for a new character— Actually, the character’s an anthropologist, but y’know, since we only have one in the state, she delves into forensic taphonomy and forensic archaeology, as well. That part’s true, by the way, not fiction. We really do only have one forensic anthropologist in New Hampshire. Imagine how overworked she is? Anyway, since I needed to learn the field, I figured I’d write a post about it for TKZ. Y’know, two birds, one stone type o’ thing.

Bob: How far’d ya get?

Me: The post? About halfway. Wanna hear it?

Bob: Sure.

Me: Okay. Forensic taphonomy is the study of what happens to the human body after death. Specifically, how organisms decay and/or fossilize when exposed to the elements or in clandestine graves. Most of what happens to the body (and evidence) at an outdoor crime scene is the result of alteration or modification by natural agents, such as plants, animals, insects, soils, environment, gravity, and a whole range of environmental, climatic, and biotic factors.

The recognition and documentation of the specific role played by each of these natural agents becomes critical to understanding why evidence ends up where it does and why it looks the way it looks. By focusing on unusual patterns of dispersal and/or removal of evidence and/or remains, it shows investigators where or if human intervention occurred. (e.g., moving/removing remains to hide evidence).

Bob *teeing his hand*: Stop, stop, stop.

Me: What’s wrong?

Bob: Ya lost me.

Me: Which part?

Bob: Does it matter? You lost your audience.

Me: Oh. *pause* But forensic taphonomy’s a fascinating field.

Bob: For you, maybe.

Me: Since when is decomposition not fascinating? I thought you and I lived on the same page.

Bob: Honey, we do, but your audience may not appreciate your fascination with decomp and death like I do.

Me: Oh.

Bob: What’re you gonna write about?

Me: I dunno now. You ruined it.

Bob: You may wanna rethink that character, too.

Me: Why are you in my office?

Bob: Too much?

Me *glares*

Bob *backing away*: Yep, crossed a line. Okay, okay, don’t shoot. I’m goin’.

Sadly, he’s not wrong. When I read the post aloud it sounded dry. He wasn’t right about the character, though. I need her—she plays a vital role in the plot—but I may have gotten a bit overeager with my research. And you guys almost ended up with a 1500-word post about forensic taphonomy to read with your morning coffee/tea.

This conversation raises two important points. Did you catch them already?

#1: For what reasons do we create secondary characters?

Secondary characters bring the story to life. No one lives in a bubble. Secondary characters can provide comic relief at a tense moment, or make matters worse by adding conflict or increasing tension. A secondary character may come in the form of a mentor, love interest, work colleague, long lost relative…the list goes on and on. Subplots often revolve around secondary characters, and we can use these subplots to mirror and add depth to the main storyline.

Just because the plot may not revolve around a secondary character doesn’t mean their role is less important. After all, they’re still human with hopes and wants and dreams and fears and flaws like the rest of us. The story will be more interesting if our secondary characters are working toward their goals alongside the main characters.

While crafting a new secondary character, don’t get hung up on what they look like, unless their appearance adds to their characterization. For example, a depressed character might wear baggy lounge wear that’s two sizes too big, never wear makeup, or even bother to brush their hair.

What matters most is their role in the story, their association with the main players, and how they work with—or against—the protagonist. Once we nail down their role, we can flesh them out with personality traits that complement or contrast with the key players.

#2: Always keep the reader in mind.

Yes, we’ve all heard the speech: Write for you and you alone.

While it’s true on a certain level, writing is also a business. For those who don’t care if anyone ever reads their work, it’s a hobby. In which case, they probably don’t care much about craft, either. Serious writers keep audience expectations in mind. We care about delivering a visceral thrill ride each and every time. Which is not the same as writing for money or some crazy get-rich-quick scheme. If that’s the goal, find another profession.

I’ll let Stephen King explain:

One more matter needs to be discussed, a matter that bears directly on that life-changer and one that I’ve touched on already, but indirectly. Now I’d like to face it head-on. It’s a question that people ask in different ways—sometimes it comes out polite and sometimes it comes out rough, but it always amounts to the same: Do you do it for the money, honey?

The answer is no. Don’t now and never did. Yes, I’ve made a great deal of dough from my fiction, but I never set a single word down on paper with the thought of being paid for it. I have done some work as favors for friends—logrolling is the slang term for it—but at the very worst, you’d have to call that a crude kind of barter. I have written because it fulfilled me. Maybe it paid off the mortgage on the house and got the kids through college, but those things were on the side—I did it for the buzz. I did it for the pure joy of the thing. And if you can do it for joy, you can do it forever.

Thank you, Mr. King!

TKZers, care to share your favorite secondary character? S/he can be a character you created or one you read about.

I AM MAYHEM is a semi-finalist in the 2021 Kindle Book Review Awards. Fingers crossed for the next round!

Write With Your Eyes Closed

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by James Scott Bell
@jamesscottbell

I’ve written before about the pulp writer W. T. Ballard. He was a friend of my parents, and I only wish I’d been aware enough to arrange a sit-down with him to talk writing. Alas, he died in 1980 while I was still trying to become the next Brando.

Fortunately, there’s an entertaining interview with Ballard from 1976 which fills that gap.

Also fortunately, when I started my writing journey, I was able to get some guidance from his sister-in-law, Sue Dwiggins Worsely, who was in the movie biz. She gave me a lot of encouragement, and also a box of Ballard’s paperback originals. Included in the box was a collection of his Bill Lennox stories, which were immensely popular in Black Mask, the legendary pulp magazine. The intro has a short reminiscence Ballard wrote about his pulp days.

One incident he recounted was the first time he met Erle Stanley Gardner. Gardner, of course, was the creator of Perry Mason, and one of the most prolific pulpsters of all time. In part that’s because he dictated his books into an old-fashioned Dictaphone and had a team of secretaries to do the transcribing. Gardner invited Ballard to come to his apartment in Hollywood and they’d go out to dinner.

West Coast Black Mask writers, 1936. Raymond Chandler, standing second from left. Dashiell Hammett, standing right. W. T. Ballard, seated, middle.

When Ballard got there, one of the secretaries greeted him at the door and asked him to have a seat, telling him that Mr. Gardner still had two chapters to finish.

“I began to burn,” Ballard wrote. “He had made the six o’clock date, I had rushed to be there on time, and now he expected me to cool my heels while he did two chapters. I wondered how long he’d be at it.”

Then Ballard heard Gardner’s booming voice through a curtained arch. He went over and “I got my first look at Erle Gardner. He sat on a couch, bent over his knees, a Dictaphone horn cupped in both hands, talking so fast that I could not follow the words. Ten minutes later he came out. I don’t know how long those chapters were but I’m sure they were spoken faster than any two others on record by any other writer.”

I rather imagine that Gardner had his eyes closed as he dictated.

Which reminded me of a note I made early in my writing journey. Back then I’d scribble a reminder every time I came across a technique I learned or discovered. I’d write on cards, scraps of paper, napkins, whatever was handy. I still have those notes in a big envelope, sitting on the bookshelf in my office. One of my early notes was, Write with your eyes closed.

What I’d discovered was this: if you close your eyes and let a scene start playing like a movie in your mind, you see things you never would if you look at your words as you type. Instead, you visualize and record the details, like a careful journalist.

I use this technique primarily to deepen descriptive elements of a setting or character.

There are three complicated steps to follow. Let’s see if I can break them down for you:

  1. Close your eyes
  2. Visualize.
  3. Type.

If any of that is confusing, feel free to ask me questions in the comments.

There’s a second benefit to writing with your eyes closed—it keeps you from stopping in the middle of a sentence or paragraph to make a correction. When you are creating you should do all you can to stay in “flow.” Every time you stop and backspace to fix a spelling error, or pause to wonder if you like the sentence you just typed, you’re frustrating flow. You’re putting a kink in the hose of your imagination.

So lower the lids over your orbs, at least some of the time, as you clack the keyboard.

Do you ever write with your eyes closed?
Do you do some form of visualization before you write a scene?
Do you look at the words on the screen as you type?

Writing is the Easy Part

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People talk about how writing is hard. For me, it was easy. The hard part was finding an agent, and then when I did…

Sitting at an empty table in front of the bar in the conference hotel back in 2010, I watched the activity that was busy as a Texas fire ant mound. Folks passed by on a variety of destinations. Some pulled rolling suitcases toward the bank of elevators on my left.

I need to get one of those. Hauling that canvas bag on my shoulder’s getting old.

Attendees wearing name badges came by in singles, pairs, and small groups talking about this new writing world I’d recently joined. I’d already picked up my own badge at the Sleuthfest conference for mystery writers and readers, looked into the book room, and settled at the bar table to study the conference schedule.

The whole thing was so interesting that I forgot the schedule and watched people pass, wondering if one of the ladies might be my brand spankin’ new agent I’d only talked to on the phone.

Well, she was new because I’d never had an agent before, since I’d only recently finished my first manuscript. After sending out twenty-nine submissions and acquiring twenty-eight rejection letters and notes, I received an email from Starter Agent saying she’d represent me.

Woo hoo!

Pop the cork!

Champagne for everyone.

Pack up the house! We’re soon to get that giant advance I’ve always dreamed of. Big house, here we come!

A month later, the manuscript sold to Poisoned Pen Press and I flew out to meet Starter Agent at the Sleuthfest conference in Florida. Green as grass, I didn’t know what to ask her, other than when I’d bank my first million on the sure-to-be bestseller. She talked. I listened, and after an hour we agreed to meet at the bar later for drinks.

So there I was, waiting for her when I saw a gentleman pass, carried by the flow of attendees. He noted my presence in front of the closed bar and nodded a hello. I nodded back and he disappeared.

I checked my watch and ran my finger down the list of workshops and panels. The same guy came back against the flow. He gave me a slight grin and was gone.

Should I go to this panel? Naw, it looks boring. This one? Naw, I don’t write romances.

He passed in the flow once more. We made eye contact again. Nods.

Here’s one about bombs and gun stuff. I’m in! Check the watch. Fifteen minutes from now.

Two minutes later he was swimming upstream again. Eye contact. Half grins. This could get creepy.

Dude must be walking for exercise, like those people in shopping malls.

I still had a few minutes before the explosion session, so I read the bar menu. They opened at 4:00.

He returned, this time with a folder in his hand, but things changed. He stopped. “You know the bar’s closed, right?”

“I do. But it opens at four, which means it’ll be open when I get out of this next session.”

“I’ll be finished then, too. What’re you drinking?”

“Scotch, when it gets here.”

“That’s my favorite. I’ll be back after my session.”

“You leading one?”

“Sure am. It’s on things that go boom.”

“That’s the one I planned to attend. I’ll be there.”

“Good. Name’s John Gilstrap.”

“Reavis Wortham, but call me Rev, it’s easier to pronounce.”

“You should have a name like John. That’d be easier.”

“Talk to my mom about that.”

At 4:30 we were sitting at the same table, this time with drinks. The conversation wandered, as they do in conference bars whe strangers find they have something in common. We talked books, writing, and the business itself.

Honestly, he was the first published author I’d ever exchanged ideas with, and I found it more than a little interesting and informative. I asked lots of questions and soon gained an education that still continues to this day.

Starter Agent joined us and I invited John to stay. The three of us talked for an hour before she excused herself to meet with a potential client she met earlier in the day. I’d asked all the questions I knew to ask, and her answers sounded good to me. I felt like a real author, and took a sip of Glenlevit.

John sipped his scotch. “Rev, you don’t know me, and I don’t know you, but would you like some unsolicited advice?”

“Sure.”

“She’s terrible. Fire her and get a new agent.”

What!!!??? I just got this one, and that ain’t easy, and you want me to put her in a shallow grave right off the bat?

We closed that bar that night, and I gained an education in this business. I also received a lesson in agents for the next eighteen months, as Starter Agent screwed up contracts and eventually blew a movie deal by playing games with the company that was interested in filming The Rock Hole.

That’s when I fired her and called John. I expected him to say I told you so (but he didn’t) and learned to listen to those with experience. Today John is my brother-from-another-mother and a dear friend, and I’m still listening to the voice of experience.

My problems stemmed from not knowing enough about finding a quality agent. I took the first person to show an interest in my work without doing my due diligence. If you’re to the point of looking for an agent, take it from me, do your research and don’t automatically jump at the first person who offers to pick you up.

There are a lot of ways to find an agent, and there’s a ton of info out there on the internet. Here are a couple of ideas to get you started.

Buy a copy of Writers Market. If you haven’t discovered this valuable tool, order one today.

Check the acknowledgement page on books by your favorite authors, or those who write in the genre you’ve chosen. Then send a polished, succinct query letter.

Take a look at PublishersMarketplace.com

Attend a writers conference and sign up to meet agents who are there looking for new writers. At that same conference, go to the bar and talk with folks. Most will be there for the conference, and more than a couple of agents are likely to drop in for a drink.

NOTE: Don’t attack them with a memorized pitch. Have a drink (soft drinks if you prefer), and engage them in conversation. If they’re interested in hearing about your book, then make the pitch.

Just remember, my excellent agent gets hundreds of emailed query letters a month. It might take a while to find the right one, but don’t give up. Like I said at the outset, writing is the easy part.

Good luck!

 

 

 

 

 

Reader Friday: Tense and Person

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Reader Friday: Tense and Person

TenseI’m seeing more and more books written in present tense. Do you like it? Why or why not?

Does it matter whether it’s first or third person?

 

 

 

 

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

Pixar’s 22 Storytelling Rules

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When it comes to pure storytelling, is there a company doing better than Pixar? Pixar Animation Studios is a Disney subsidiary based in California and, since 1979, has produced some of the best-ever, film-presented stories. Part of Pixar’s success was thanks to early influence from George Lucas’s vision and Steve Jobs’s money, but much of their ongoing success comes from 22 storytelling rules Pixar writers religiously follow.

Toy Story. Finding Nemo. Dory. The Incredibles. Wall-E. A Bug’s Life. Monsters, Inc. Cars. And now Luca, to name just a few. What these blockbusters have in common is storytelling. Pure storytelling. But storytelling that follows Pixar’s rules.

 

Here at the Kill Zone, we have storytelling in common. Whether we’ve got our writing hat on or our reading hat off, at the end of the day, on the bottom line (insert your own concluding cliché here), we all love good stories well told. Must be something in our ancestral DNA.

Let me go around the Kill Zone room and spec out people’s storytelling style / rule adherence. (Sorry if I miss one or more of the usual suspects, but there’re only so many musical chairs at this party.)

Let’s see. Gonna start with JSB. Jim’s a crime guy, now working on a great hardboiled series starring Mike Romeo and HB has genre rules that Jim well knows, but probably breaks. Terry writes mystery & romance series. Same with her, she probably rule breaks. Debbie? She’s into action mysteries, I’d call them. John cranks out high octane thrillers; reportedly doing well. Kay and Ruth are traditional cozy gals with rules of their own while Deb does tall tales and short stories of redemption. Dale. Where’s Dale? He’s got his niche in empowered library cozies which, I’m sure, has its unique genre rules.

Joe’s retired from the contributing mill but always has time for an insightful and highly intelligent comment. Plus, he’s first to get up in the morning. Dr. Steve is building a legacy with middle-grade fantasies while Harald writes about Neanderthals who could be plucked straight from the Canadian Senate.

Sue—your crime works are so bloody powerful that if they get any stronger you’ll need to be institutionalized. Harvey writes right across the board. He’s, by far, the most prolific among us, and I think should be tested for meth. And Reavis Z is in a league all his own, making up rules as he writes along, and up there with GOATs like Brady.

Yeah, we’re a diverse pack, us Kill Zoners. But we’re storytelling fans and creatives at heart with one more thing in common. We understand there are storytelling rules. (I think it was Somerset Maugham who said, “There are only three rules to writing a novel. Unfortunately, no one knows what they are.”)

And we’re a delinquent bunch here at the Kill Zone. As much as we respect “the rules”, we know rules are supposed to be broken. Provided, that is, we know what rules to broke and do so intentionally at potential peril of killing our darlings.

Pixar calls BS on the 3-rule crap. They have 22 rules their screenwriters follow, and they’re generous enough to share these storytelling rules with us lowly novelists.

What got me going on this post was a piece on Jane Friedman’s site the other morning titled Why Write This Book? The contributor, Jennie Nash, opened by stating that in 2013 Pixar storyboard artist Emma Coats wrote down the 22 rules her collaboration team used to generate content—Academy Award-winning content. Ms. Coats shared them on Twitter, to which they went viral, and are now quoted so often that they’ve taken a life of their own. In no particular order, here are Pixar’s storytelling rules (guidelines, if you’d like):

1.  You admire a character for trying more than for their successes.

2.  You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be very different.

3.  Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.

4.  Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

5.  Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.

6.  What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

7.  Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

8.  Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.

9.  When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.

10.  Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.

11.  Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.

12.  Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

13.  Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.

14.  Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.

15.  If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

16.  What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.

17.  No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.

18.  You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

19.  Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

20.  Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?

21.  You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?

22.  What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

Kill Zoners — What Pixar storytelling rules hit home to you?  And what rule or rules could you add to the Pixar list? Don’t be shy. Let us know in the comments!

——

Garry Rodgers is a retired murder cop and coroner who specialized in forensic death investigation. Now, Garry’s reinvented himself as an indie crime writer working on a new hardboiled detective fiction series titled City Of Danger.

Outside of crime-style storytelling, Garry Rodgers hosts a popular website and blog at DyingWords.net. Garry’s also a Transport Canada certified marine captain. Sometimes he putts around the Pacific saltwater near his home on Vancouver Island at British Columbia’s west coast.

 

 

Amazon A+ Content

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Amazon A+ Content
Terry Odell

Amazon A PlusRecently, Amazon, in an unusual gesture to all indie authors, not only those participating in its “Select” program, opened what it calls A+ content to anyone using KDP to publish. Previously, only traditional publishers could use the feature.

What is it? It’s content that appears on the book’s detail page on Amazon, and provides additional information, allowing authors to give potential readers a deeper look at the author and their work.

Curious (or procrastinating work on the WIP?), I gave it a look.

Amazon has its own “how to” but I thought I’d run through my experiences here. Note: I’m not much of a techie, but I’m willing to try new things. This post is more of a starting point than a tutorial.

Here we go:

(Click on any image to enlarge.)

From your KDP Dashboard, click the “Marketing” tab at the top.Amazon A PlusScroll down to the A+ Content section, and click the down arrow for marketplace. I stuck with Amazon.com for starters, but if you don’t choose one, you can’t move on. (You have to do this every time you come back to work on a project.)
Amazon A PlusThen, click the Manage A+ Content button right below the marketplace.

On the next screen, at the far right, there’s a “Start creating A+ content” button on the right. After trying other options, such as searching for an ASIN, or even plugging in an ASIN, I found this to be the most efficient.

Amazon A PlusAfter that, you assign your content a name. It doesn’t show anywhere; it’s so you can keep track. I used the name of the book I was creating the content for. Duh.

I suggest studying their module examples. They’re not completely user-friendly, but they are a good starting point for how each module works. Just beware. Every module has its own set of rules as to what you can add and where it has to go. Their suggestions aren’t always the best for what you want to do. I’ll go into this in more detail later in this post.

Then, you click the “Add Module” and the fun begins. For starters, it’s best to stick to no more than three. For “branding” purposes, I am using my website header from the “Standard Company Logo” Module for all the content I create, although I had to resize it to the required 600×180.

Some Examples

My advice is to start with something simple. I chose two of my stand alone books, Heather’s Chase, and What’s in a Name? to practice on.

For Heather’s Chase, I used the standard company Logo, the Standard Single Left Image, and the Standard Multiple Image Module A.

What I learned. The multiples images in the last image don’t show up all at once. To see the text for each, the reader has to hover the cursor or tap.

Amazon A PlusFor What’s in a Name? I used the Standard Company Logo, the “Standard Image & Dark Text Overlay, the Standard Single Left Image, and the Standard Single Right Image modules.

Amazon A PlusHow it works

When you click the “Add Module” button, you’ll see a bunch of choices, all about dogs. Not much help for genre fiction writers. Also, each module has an image size “recommendation” which means, “this is the size we accept.” Trouble is, except for the standard logo module, you don’t see sizes until you select the module. There’s not a lot of flexibility here, at least not that I found, so my advice is to use a photo editing program to size your images to the same dimensions each module allows. I use Canva or Photoshop, depending on the image I’m starting with. The aspect ratios of book covers mean you’ll have to get creative.

Using Canva, I create a template of the acceptable dimensions and work from there. This is what I did for Heather’s Chase, where the image size was 300×300. The cover image alone wouldn’t have worked, so I added the background.

Amazon A PlusAfter having my two stand alone projects approved, I decided to move on to a series. I tried to use the Amazon-suggested module for a series, thinking I’d use it on one of my box set pages. My plan was to have it show on the box set book detail page, with images and short tag lines for each of the 3 books in the set, so readers would know what was included.

My troubles: The image size template is 150×300, which creates a tall, skinny book. Since the entire book shows, I thought I could deal with it. Because I was required to include the ASIN for each image, the finished product would show up on the book detail pages for the box set AND the three novels it includes, which I didn’t want. After much discussion with KDP reps (who are still learning how all this works), I ended up abandoning that project. This is what it would have looked like, had I been able to convince the program I only wanted it to show on the box set page.

Amazon A PlusI moved on to a different module for general information about my Mapleton mystery series, something that I could use on all the books in that series.

I chose the Standard Single Image & Sidebar module. There are two places for images in that module. One was 300×400, and the other 350×175. Again, I went to Canva for a quick way to create images with the book covers that fit those dimensions. Then, it’s a matter of plugging things in and filling the blanks.

Amazon A+Other Tips

ASINs: Although the field says “search” it’s much more efficient to copy your ASIN into that box and hit “Enter.” It should bring up the book, and it’ll tell you if it’s eligible. It should be, so you click the “Assign” button.

Once you’ve done this, you can still go back and edit, but you’ll have to hit the “Assign” button again every time you want to move forward. The program remembers the ASIN, but it’s not intuitive that you need to click that button every time you want to make forward progress. You can’t jump around in the steps.

I was satisfied with my Mapleton Mystery results, and this one was approved quickly, so—what the heck?—I created one for my Triple-D Ranch series using the same format. I’m working on book 4 now, so I figured it couldn’t hurt to have something more detailed on the pages for the first 3. When Book 4 comes out, I’ll go back and edit.

Amazon A PlusThings to note

When you add an image, you have to assign keywords. If you remove the image for any reason, the keywords disappear, too, so it’s a good idea to have them written somewhere you can copy and paste instead of retyping.

You can create the modules in any order and then use the up and down arrows to move them around.

Amazon has to approve all content, and it can take a week.

The content appears on the page under “From the Publisher” so readers have to scroll down a bit to see it, but at least it’s not the last item on the page. It should show up right after the “Also Bought” carousel.

If you want to see how it looks “in action”, you can find one here.

Overall, the editing process is cumbersome. I don’t think there’s anything I can say here that will eliminate trial and error if you want to give the content creation a go.

Once you’re satisfied, you click Review and Submit, and then wait for Amazon to give the thumbs up or thumbs down. So far, all of mine have been accepted.

Has anyone else here used A+? Have you found an easier way to do it?

To those of you observing Yom Kippur, G’mar chatima tova. And may you have an easy fast.

Handling Age and Time in Series Fiction

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By Debbie Burke

@burke_writer

 

Age.

Like the weather, we talk about it a lot but can’t do anything about it.

Remember the original Nancy Drew books? I devoured 37 of them before outgrowing the series. From the first book The Secret of the Old Clock (1930) until #37, The Clue in the Old Stagecoach (1960), Nancy was 16 to 18.

Thirty-seven adventures in two years? Busy young lady, that Nancy.

But she started me thinking about writing series characters.

Can they stay the same age through numerous books?

Should they age?

That raises more questions when writing a contemporary series with continuing characters.

What kind of character arc can an author create if the hero doesn’t age?

Is an evolving character arc important to today’s readers?

How does an author keep characters fresh and interesting if they remain approximately the same age over a number of books?

Classics like Sherlock Holmes and Miss Marple remain basically static; the plots change but the characters don’t.

Then there is the quintessential hard-boiled hero, Philip Marlowe.

Even Philip Marlowe was young once – photo credit Maika, CC BY-NC-SA 2.0

Although I don’t believe his specific age is ever mentioned (please correct me if I’m wrong), the reader has the strong impression that, at birth, Marlowe was already old and cynical.

Over two decades, starting with The Big Sleep (1939)  and ending with Playback (1959), Marlowe was repeatedly beaten up, double-crossed, and betrayed. His life remained solitary with occasional sexual encounters that didn’t end well. The tarnished knight won a few victories but ultimately lost the war against evil. As vivid and memorable a character as he was, he didn’t change much, except for more scars. (Note: I’m not counting Poodle Springs, Chandler’s unfinished novel completed by Robert B. Parker and published in 1989 where Marlowe married, at least for a little while.)

How would readers react to Arthur Conan Doyle, Dame Agatha Christie, or Raymond Chandler if their books were released today?

Contemporary readers seem to lean more toward series characters who go through ups and downs similar to those we face in real life.  

In James Lee Burke’s series, the beleaguered Dave Robicheaux moves from New Orleans to New Iberia, switches jobs, falls off the wagon and climbs back on, gains and loses spouses and friends, and adopts a child who grows up through the books.

Readers meet Kinsey Milhone at age 32, with a police career and two marriages already behind her. In the course of Sue Grafton’s 25-book Alphabet Series, Kinsey has her home blown up and rebuilt, loses her beloved VW convertible, discovers the roots of her absent family, falls in and out of love several times but remains determinedly single. In the final book, Y is for Yesterday, she is 39.

Judging by their popularity, readers relate deeply to characters like Dave and Kinsey. We’ve been in the trenches beside them as they live through the same life trials that we ourselves do. They become close friends we’ve known for years.

What do series authors need to consider when time passes and their characters age?

When I wrote Instrument of the Devil in 2015-6, I didn’t envision a series. The book was set in 2011 as smartphones were transitioning from exotic toys for geeks into phones adopted by ordinary people. Because of a new smartphone, my character Tawny Lindholm stumbles over her milestone 50th birthday and into a nightmarish world of technology. Unbeknownst to her, it has been rigged by a terrorist to launch a cyberattack she’ll be blamed for.

The book was published in 2017, six years after the story takes place.

Near the end of Instrument, a brilliant, arrogant attorney, Tillman Rosenbaum, came on scene to defend Tawny. He was intended as a minor walk-on character. However, the match and gasoline chemistry between him and Tawny propelled them into more books where she goes to work as his investigator despite her dislike for him.

[Spoiler alert: they ultimately fall in love. But you’d already guessed that, right?]

What I originally conceived as a one-off had longer legs than anticipated.

Although there are no time stamps, roughly two years pass during the second and third books in the series, Stalking Midas and Eyes in the Sky.

Then, in 2017, Hurricane Irma struck Florida and knocked out power to 16 million residents.

The event tweaked my writer’s imagination. Reports of people who mysteriously went missing during that storm, along with scary personal experiences related to me by family and friends, turned into Dead Man’s Bluff.

After drifting along a vague fictional timeline starting in 2011, all of a sudden there’s a real date that’s set in stone. Uh-oh.

Okay, I figured from now on, I’d just make oblique references to Tawny’s age. Her children are in their thirties. Let readers infer she’s somewhere in her fifties.

As often happens with writing, life had other plans.

2020 hit.

Can an author ignore monumental events that tilt the world on its axis?

Not unless you write alternate history.

For much of 2020, writers debated how to handle the pandemic in current fiction. If it was incorporated into the plot, readers who were sick of it might be alienated. If we tried to ignore it, hoping it would go away, we risked being perceived as unrealistic and insensitive. (Other than that, Mrs. Lincoln, how did you like the play?)

Some authors attacked it head-on with thrillers about biological weapons or adventures in a post-pandemic, futuristic, dystopian world.

Some retreated in time to historical genres where major outcomes—like who won the war—had already been determined.

Others dove into fantasy genres where the author, not real life, decided the outcome.

Now in the last quarter of 2021, the world changes faster every day. What you wrote this morning may well be obsolete and out of date by this afternoon.

The sixth book in my series, Flight to Forever, is set in spring of 2020. When a Vietnam veteran can’t visit his beloved wife in a memory care facility because of pandemic restrictions, in desperation, he busts her out, seriously injuring two employees during the getaway. They flee to a remote fire lookout in treacherous Montana mountains. Tawny races to find them to prevent a deadly showdown between the cops and the vet who has nothing to lose.

Do the math. If Tawny was 50 in 2011, that made her 59 in 2020. 

Uh-oh, I really should have hired a stunt double for her in this book.

Even though 60 is the new 40, will readers find some of the action implausible for a woman her age?

Many people in their 70s and 80s are in fantastic shape. Recently I wrote an article for Montana Senior News about the Senior Olympic games where nonagenarians are setting athletic records.

Yet ageism lurks in the world of publishing and literature.

Especially about sex.

Many younger readers are creeped out by the notion that characters who are their parents’ or grandparents’ age enjoy sex.

Newsflash, kid—that’s how you got here. And, since you grew up and moved out, it’s even better.

How about physical wear and tear on characters?

Gunsmoke cast – public domain

Remember classic TV westerns like Gunsmoke? Whenever Matt Dillion got shot (reportedly more than 50 times), in the final scene, he’d be back in the saddle with one arm in a sling. By the following episode, he resumed life as usual—galloping horses and engaging in fisticuffs.

How realistic should series fiction be? How far will contemporary readers go to suspend disbelief?

If we put our lead characters through hell, in the next book, should they suffer from PTSD or physical disability?

 

What if you write middle grade or young adult books? Every year, there’s a new crop of readers to replace older ones who’ve outgrown a series. Perhaps MG and YA characters don’t need to age. Nancy Drew did all right. What do you think?

For now, I’ll keep writing Tawny and Tillman in their fifties and hope no one checks my math too carefully.

CC by 2.0

Or maybe I’ll let them drink out of Nancy’s fountain of youth.

~~~

For discussion:

Question for series authors: how do you handle age and the passage of time with continuing characters?

Have you found workarounds, tips, or tricks?

Question for series readers: Do you care about the main character’s age? Do you want to see evolution and change in them over time?

~~~

To follow series characters who age more slowly than the calendar, please check out Tawny Lindholm Thrillers with Passion.

Amazon link

Other online booksellers:

Instrument of the Devil    Stalking Midas    Eyes in the Sky

Dead Man’s Bluff        Crowded Hearts     Flight to Forever

Three Things I Learned from Movie Adaptations

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Please help me welcome back a dear friend and talented storyteller, Steven Ramirez. The last time he guest posted on TKZ he discussed Pantsing Through the Pandemic. Today, he’s sharing his experience with— Well, I’ll let him tell you…

Recently, I took a break from writing fiction to focus on screenwriting. Currently, I’m adapting my latest novella, Brandon’s Last Words, as a feature screenplay.

If you’re wondering why anyone in their right mind would take on something like this, it’s simple—I live in LA. Trust me, you can’t swing a dead cat at Starbucks without hitting a screenwriter huddled at a corner table, determined to crank out the next Black Widow.

Okay, that’s partly it. The other reason is, I wanted to see if I could do it.

The novella is a prequel to a new thriller series. It takes place in the same universe as another of my series—only this time, with new characters. For those who have written a screenplay, you already know you need a log line. Here’s what I originally wrote for the novella:

Brandon Wheegar has just joined a secretive government-funded lab as a security guard. Why did no one warn him about the murderous test subjects?

That’s not bad. The question is, does it work for a movie? We’ll see. Of course, there’s plenty of other stuff to worry about. For this post, I’ll focus on three lessons learned.

The Beats, They Are Different

As fiction writers, we are keenly aware of story beats. They’re hammered into us starting in the womb. I’m tempted to joke that our friend James Scott Bell has beat that concept to death, but it would be low-hanging fruit, so.

The point is, screenplays need beats, too. But these are different and immutable. And without them, you effectively have something that is not a screenplay.

There are lots of resources out there that can teach you about screenplay structure. For simplicity’s sake, here are the high-level story beats, courtesy of Syd Field:

INCITING INCIDENT

This scene brings the main character into focus. Without this beat, there’s no story.

FIRST TURNING POINT

What happens here sends the MC off on a new path, similar to the Hero’s Journey.

MIDPOINT

This is where things get interesting. Maybe the MC makes an important decision that changes the course of the story. Or they realize that what they thought was the truth isn’t.

SECOND TURNING POINT

This scene moves the character from conflict to resolution. The MC has a plan and intends to execute on it.

RESOLUTION

Often, these events bring physical and emotional closure. In Hero’s Journey terms, the MC returns home and shares what they’ve learned.

Now, there are many other elements you should layer in to make a killer screenplay. If you want to see a more fully realized story beat list for some well-known movies, check out Save The Cat.

Limiting the Character Count

When writing a novel, I include lots of characters. I don’t know. Maybe I’ve got a little Russian blood in me. In my case, the names don’t all sound the same, though. Anyway, I take this approach because my main characters tend to travel far and wide.

Unfortunately, you don’t have that luxury when it comes to screenplays—unless you’re Quentin Tarantino.

Why?

Because a script is a blueprint that tells the producer how much money they must spend. And the more characters, the more the above-the-line costs skyrocket—things like actors’ salaries, hair, makeup, and snacks.

My novella has a fair number of supporting characters. And they serve the story well. But for the screenplay, I had to find a way to either cut or combine characters. Which brings to mind that most famous of advice, which admonishes the writer to kill your darlings. Most people attribute the quote to Faulkner. But, in fact, it was Sir Arthur Quiller-Couch, who wrote, “Murder your darlings.”

Now, he was talking about prose. In screenwriting, you pretty much have to take out the entire family. Here’s an example. In the novella, I have a chief security officer, a head of security, and two ruthless security specialists. Each has a part to play, and in Brandon’s Last Words, it’s all good. But for the script, I realized I had to combine the two security chiefs into one character and do the same with the two specialists. And it really doesn’t matter what kind of fiction you adapt. Chances are, you’ll slice and dice like a boss.

Getting the Genre Right

My novella can best be described as a horror/sci-fi thriller, with some comedy thrown in. I know, I know—welcome to my world. But, like any successful novel, you should tailor your screenplay to a target market.

When I sent off my first draft to a professional reader, I got back lots of notes. Some centered on the fact that my script didn’t read like horror. I had missed essential tropes, and many of the beats weren’t right.

Rereading the work, I realized I was clinging to my original mashup. Fine for novellas, not so much for screenplays that sell. I’m rewriting now, and let me tell you something. Scripts aren’t written—they’re rewritten. You thought it was a big deal writing three drafts of your novel? Try ten—or fifteen. Yeah. Also, in the real world, once the project is greenlit, they bring in other writers to “punch up the script.” Call it insurance.

Using the reader’s notes, I took a crack at turning my story into classic horror. But I ended up losing much of the humor. Now, if I were as cold-blooded as the chemically modified test subjects who terrorize my main character, I’d continue down this path. Most of you would because it’s the smart thing to do. And after all, you’d like to make some money, right? Me, I’m a rebel. I decided I prefer the story as a comedy thriller. Who knows, I might still have a shot (he said, nursing his tepid tea at Denny’s).

Look, there are quirky films out there that defy genre. I mean, did you ever see a little movie called Naked Lunch? It was directed by David Cronenberg and based on the William S. Burroughs novel. Yeah, so you know what I’m saying. Anyway, my advice is this: If you’re serious about selling your screenplay, then, by all means, write to market. Who knows? You might end up as a big-time Hollywood screenwriter. Me, I just want to create something surprising.

Final Thoughts

We writers are well acquainted with copyrighting our work. Technically, your novel is protected the moment you put pen to paper. Unfortunately, when it comes to screenplays, there’s more to it than that. In this town, a good movie idea gets stolen faster than you can say Coming to America. The point is, register your script with the Writers Guild of America. It’s no guarantee some no-account won’t try to take your precious, but at least you have legal recourse. For more information, visit the WGA West website.

The other thing to consider is screenwriting software. There’s plenty out there, including traditional writing apps like Scrivener, which support the screenplay format. If you’re planning to make this a career, though, I suggest you purchase Final Draft. It’s arguably the industry standard. Also, when collaborating with other screenwriters, there’s an excellent chance that’s the software they use. For more information, visit the Final Draft website.

Well, that’s me done. Happy screenwriting. Oh, and wish me luck with the next Naked Lunch.

Steven Ramirez is the award-winning author of thriller, supernatural, and horror fiction. A former screenwriter, he’s written about zombie plagues and places infested with ghosts and demons. His latest novel is Faithless, a thriller. Steven lives in Los Angeles.

Join Steven’s newsletter here or connect with him on Twitter.

For discussion: Have you ever considered turning your novel/novella into a screenplay? What actor would you want to play your hero or antagonist?

Write, and Live Forever

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by James Scott Bell
@jamesscottbell

Embed from Getty Images

Growing up in SoCal I was privileged to meet Ray Bradbury on a couple of occasions and hear him speak several times. He loved libraries, and one evening spoke at the local branch were I first learned to love books.

There he told his famous story about a meeting that changed his life. As he recounted:

One autumn weekend in 1932, when I was twelve years old, the Dill Brothers Combined Shows came to town. One of the performers was Mr. Electrico. He sat in an electric chair. A stagehand pulled a switch and he was charged with fifty thousand volts of pure electricity. Lightning flashed in his eyes and his hair stood on end….He reached out with his sword and touched everyone in the front row, boys and girls, men and women, with the electricity that sizzled from the sword. When he came to me, he touched me on the brow, and on the nose, and on the chin, and he said to me, in a whisper, “Live forever.” And I decided to.

And Bradbury does live forever…through his books! His wonderful body of work will always be there to be discovered by new generations of readers. In junior high I read The Illustrated Man. It fired me up to think that perhaps someday I could write things this marvelous. In college that desire got knocked out of me by some who looked at my attempts and sniffed and told me you cannot learn to become a writer. You either have it or you don’t, and I didn’t.

Only many years later did that desire re-emerge, and I knew I had to try and keep trying.

Bradbury’s work was still pulsating inside me, like electricity. I picked up his book, Zen in the Art of Writing, and the current got hotter. I started living forever.

We have various reasons we write. Of course, we all want to make some dough, but there are other reasons, not the least of which is the pure joy of storytelling.

And for others (like Mr. Steve Hooley) there is the desire to leave a legacy for our children and grandchildren.

When I started to get published, I knew I wanted to write books that my kids could someday look at and not be embarrassed. Or think, Dad wrote THAT???

One of the joys of being an indie writer is that my forever books become available within 24 hours of completion (meaning done, edited, corrected, proofread and with a good cover).

But one of the challenges of being an indie writer, especially for the impatient, is putting out a book, as Orson Welles used to say about wine, “before its time.”

I recall reading a piece by an early indie pioneer who posited that maybe the idea is to be fast and not worry about top quality. To wit:

Why write longer? Why write better? What’s the benefit?…Now, I’m not talking about releasing a book with errors in it; plot problems, story problems, typos, formatting probs, and so on…I’m talking about releasing a book that would average 3.7 stars from readers, whereas if I spent an extra month on it, I could average 4.2. Seems like a gigantic waste of time.

Admittedly this was a thought experiment, and presented a rational argument. I thought about it for awhile. Then decided I couldn’t do it. For me, the extra time is worth it because…living forever!

It’s like the corpse of Sonny Corleone, shot up at the toll booth. Don Corleone has the body taken to the undertaker, Bonasera. As the Don looks at the body, he begins to weep. “Look how they massacred my boy.” He wants Bonasera to use all of his powers and skills to make the body look presentable for Sonny’s mother.

Now, this metaphor is not perfect. I don’t produce corpses upon first draft (at least I hope not!) But I do want to use all of my powers and skills to make my books the best they can be. They will be here long after I’ve gone to my Final Review.

Do you think about that when you write? What your books will mean to others—especially those close to you—after you’ve gone? Do you have legacy in mind? Perhaps not, which is okay. I’m not advocating any one position. Let’s talk about it.