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.

Immersion Technique #WriteTip

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Every character is the hero of their own story. Even the villain.

We’ve talked many times about the importance of fleshing out characters. This time let’s reframe the narrative for those who may not grasp the finer details of crafting a compelling villain.

It’s easy to tell a fellow writer to slip into the villain’s skin and view the world through their eyes—I’ve given the same advice—but for those who haven’t mastered characterization, it may not be enough.

  • How does one craft a killer when they’ve never committed a crime?
  • How can we champion a villain’s efforts with no real-world experience?

Sure, we can draw conclusions and make assumptions. Is that enough for readers?

  • Is there a way to pull from life experience, to really feel what it’s like to transform into somebody else?

Yes, there is. And it’s called immersion. Method actors use the same technique.

The dictionary defines immersion as “deep mental involvement.” It can also mean engagement, as in a mixture of how much you’re paying attention, how submerged you are in an experience, and how it affects you emotionally.

Immersion, whether real or imagined, taps into fundamental psychological principles like perception, emotional engagement, and the sense of presence. It involves a combination of sensory stimuli, cognitive engagement, and emotional resonance that creates a feeling of being completely absorbed in the experience.

Immersive experiences are rich and complex, drawing upon personal experiences, and engage with emotions through the manipulation of the five senses. They’re described as transformational, intense, sometimes hectic, and provoking.

What we see tells us a lot about the world around us, but what the body experiences is much more powerful.

How we immerse ourselves in a life unlike our own starts with walking in their shoes. Listen to the villain’s favorite music. Eat their favorite foods. View the world through their eyes.

  • What’s their culture like?
  • What’s their theme song?
  • What’s their religion, politics, and views on other hot topics?
  • Do they like the rain? Cold weather? Scorching hot sun?
  • Are they happy with where they live? Or have they been trying to escape the area for years?
  • What do they do for a living? Do they have buddies at work?
  • Are they body conscious and drink water all day? Or do they drink black coffee till noon, then switch to scotch?
  • Do they smoke? I’m not proposing you start smoking but you can pretend.

Even if the character’s actions rub against your values and beliefs, you must find at least one redeeming quality, or at least be able to empathize with a part of them.

Take Ed Kemper, for example. His mother was a severe alcoholic who favored his two sisters and never missed the chance to belittle him. Ed’s father, a World War II veteran, hated his wife. The couple divorced when Ed was still in grammar school.

Living with his mother was no picnic. She locked him in the cellar for days and/or weeks at a time—alone—a bare lightbulb hanging from a wire in the center of the dark and creepy space. Since the door locked from the outside, the only way out was through a trap door beneath the dining room table.

Trapped, Ed lay on the cold cement floor staring into the flame of the furnace. And it was then, he later told an FBI profiler, he saw the face of the Devil for the first time. That period of his life exacerbated his already fractured mind.

Later, at age 14, his father sent him to live with his grandparents in California. Interestingly, Maude (grandmother) was an extra in Gone with the Wind and a writer for Redbook McCall’s. Even so, Ed hated living there, calling his grandfather “senile” and his grandmother, well, this is how he described her…

“She thought she had more balls than any man and was constantly emasculating me and my grandfather to prove it. I couldn’t please her. It was like being in jail. I became a walking time bomb, and I finally blew.”

And blew he did, with the murder of his grandparents. Authorities sent him to Atascadero State Hospital, a maximum-security facility where doctors subjected him to various tests. One of which illuminated his genius IQ. They also diagnosed him as a paranoid schizophrenic.

In the six years he spent at the institution, he became one of the doctors’ favorite patients. They even allowed him to assist in conducting tests on other inmates, until 1969 when they released him into his mother’s care.

Big mistake. At 6 ft. 9 inches tall and 250 pounds, Ed was a mammoth with a genius IQ and a rage inside him.

After killing and decapitating six young women, he finally turned his wrath on Mother—the true source of his hatred—murdering, decapitating, and using her head as a dartboard. He also tore out Mother’s vocal cords and shoved them down the garbage disposal. When the disposal spat the gristly innards back out, he said to himself,

“That seems appropriate as much as she’d bitched and screamed and yelled at me over so many years.”

With his personal monster dead, Ed turned himself into police. He had no reason to kill anymore. He’s lived at California Medical Facility in Vacaville ever since. As a model inmate, he’s allowed to work as an audiobook narrator.

If Ed Kemper was a fictional villain, how would you make him the hero of his own story?

We’d need to focus on the abused little boy, alone and frightened, that still cried inside him and the personable guy who doctors adored. Does that mean I agree with what he did? Absolutely not. But as writers, we must find a way to justify his actions. We must. Otherwise, the villain will fall flat.

Now, don’t tell the reader what redeeming qualities you clung to while writing. Show them a tidbit here and there—just enough to pique curiosity and drive the plot—that make him feel more human. Or let the hero figure it out on their own.

If the villain is a series character, only reveal enough to intrigue and drive the plot. I did this with my serial killer named Mayhem. In three books, I showed him as a merciless serial killer. I also showed his love of animals, especially his sidekick Poe, the crow, and how tender he could be when caring for a wife stricken with ALS and his close relationship with his daughter and grandson.

Mayhem loves fine wine and is an expert chef, but he’s offended by bad language and numerous other things, especially rapists, cannibals, and child killers. Readers fell in love with Mayhem. Deeply in love. So much so, I had to transform him into an antihero in later books.

Readers understand, even champion, why he kills.

We did the same with Dexter. Who didn’t love to watch him murder other serial killers? Genius on Lindsay’s part.

Find a different angle for your villain. Copycats aren’t unique or memorable. Villains are some of the most difficult characters to craft because they do bad things. I also find villains and antiheroes the most rewarding to write.

The next time you craft a character vastly different from yourself, try immersion. It works for the entire cast, including heroes, sidekicks, foils, secondary characters, etc.

High Impact Interval Writing

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by James Scott Bell
@jamesscottbell

My favorite philosopher/comedian is Steven Wright, master of the pithy weird-but-somehow-connected observation, such as, “I used to work in a fire hydrant factory. You couldn’t park anywhere near the place.”

He also invented a microwave fireplace. “You can lie down in front of a fire for the evening in two minutes.” (He also put instant coffee in a microwave and almost went back in time.)

Which reminds me that we are all pressed for time these days (I’ve determined to work 25 hours a day on my book, which means I have to get up an hour earlier).

This goes for keeping the ol’ bod in shape. Which is why I’m into HIIT. That stands for “high impact interval training.” It’s a workout that alternates intense bursts of activity (sometimes as little as 30 seconds) with a short rest, then another burst, rest, etc. This way, so “they” say, you can get great cardio benefits in as little as four minutes. Which beats driving to a gym, waiting for a machine, working out for thirty or forty minutes, showering, getting dressed, and driving home while thinking, “Where has the day gone?”

I’ve integrated HIIT into my routine, along with strength training on an official Chuck Norris Total Gym. I want to be like Chuck. When he does a pushup, he does not actually push himself up; he pushes the Earth down.

I thought about this the other day when I was quota challenged. I needed words and needed them fast, but I was tied up with my inner editor, the pest, and indulging in too much thinking and strategizing. This wasn’t about my outline, with my signpost scenes. It was about those spaces in between, in the scenes, that were giving me pause.

Frustrated, I opened up a blank text note and just started writing without thinking, typing to oil the gears, writing (in Ray Bradbury’s phrase) by jumping off a cliff and growing wings on the way down.

What happened was the first few lines came along, but without much meat on them. Then the wings started to form. I was writing in flow, flapping wildly, and the words were coming from that magical place just beneath the surface. As I wrote I didn’t stop to analyze; I just felt the rich vein of story I’d tapped into and wanted to record it as fast as I could.

When I stopped I checked to see how many words I’d written. I kid you not, it was exactly 250. If you’ve read my craft articles long enough, you’ve probably run into my idea of “The Nifty 250” (sometimes enlarged to 350). I like to do that early in the morning, to get a jump on the writing day. But it also works when you’re well into the day and feel stuck.

That gave me the idea for HIIW—high impact interval writing. Why not do this all the time? Why not work in increments of 250 words? Write them, get up, walk around, deep breathe, stretch, sit back down, analyze, and integrate the good stuff into your draft. Then do it again.

This is a bit like the Pomodoro Technique, developed by entrepreneur Francesco Cirillo when he was a university student.

Cirillo recognized that time could be turned into an ally, rather than a source of anxiety. The Pomodoro Technique essentially trains people to focus on tasks better by limiting the length of time they attempt to maintain that focus and ensuring restorative breaks from the effort. The method also helps them overcome their tendencies to procrastinate or multitask, both of which are known to impair productivity.

Try this next time you’re stuck:

  • Open up a blank document. (This gives you total freedom to write)
  • Start writing, and let it flow, forgetting about trying to shape into anything. Get the words down fast and furious. Go for 250 words (that’s about one page, double spaced, 12 pt. type).
  • Get up, stretch, take a deep breath, pour yourself some more coffee or tea, then look at what you wrote.
  • Highlight the gold nuggets and expand on them if you like.
  • Copy-paste the nuggets into your draft.

I’m mostly an old school, butt-in-chair writer. If I’m going good, even after meeting my quota I’ll keep on writing until I sense the beginning of diminishing returns. With HIIW, I’ve found the words come faster and fresher. As the great Ray put it:

“This afternoon, burn down the house. Tomorrow, pour cold critical water upon the simmering coals. Time enough to think and cut and rewrite tomorrow. But today—explode—fly apart—disintegrate! … It doesn’t have to be a big fire. A small blaze, candlelight perhaps…Look for the little loves, find and shape the bitternesses. Savor them in your mouth, try them on your typewriter.” — Ray Bradbury, Zen in the Art of Writing

What kind of writer are you? Sit down and grind it out? Write when you feel like it? Or something in between?

Is Technology Helping or Hurting Our Writing?

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It was still dark when Larry and I left his house, heading out in his truck for a lake some distance away. Spring is crappie time, and it’s my favorite freshwater fish to catch and eat.

By sunup we still had a good long way to go and I was hungry. The problem was the boat hitched up behind us. “There’s an overrated fast-food restaurant up ahead. Let’s get a breakfast sandwich with one of those stupid names they want me to use.”

Behind the wheel, my old fishing buddy cut his eyes across the cab. “If we go to Great Gary’s to get something to go, you won’t say Great GarMuffin, will you? Because I know for a fact you won’t pronounce Horsey Sauce at Arby’s.”

“We’re too old to pronounce dumb names like that, but my daughters have spent most of their lives trying to make me slip up and say that name at Arby’s. When the cashier asks me which one I want through that cheap crackling low-bid microphone, I tell them I want both sauces.”

“You’re getting to be a curmudgeon. You make things hard on yourself, you know.”

“Nah. I’ve aleays been a curmudgeon, but when we order in a few minutes, I’ll just use the meal’s number.”

He steered into the parking lot. “My son uses an app when he eats here.”

“No apps for me. I hate how technology has taken over our lives. People should just talk to each other without nonsensical jargon, and without using the word ‘amazing’ or ‘like’ in conversation. Besides, something would mess up, and I don’t want to struggle with it when I’m hungry.

“A man can starve to death if there’s no phone or screen nearby. I can’t even order a pizza anymore, because they won’t take calls. You have to click through their website. I just want to walk in, order, hand someone the cash, and leave.”

Because of the boat, the drive-thru was out. We parked some distance away and walked inside a video arcade instead of the overrated eatery I was expecting.

Giant touch screens flashed with colorful photos of the food and drinks on their menu. Like something from a science fiction movie, frowning people stood before the order screens with a finger poised, occasionally punching an item which vanished only to be replaced by myriad options.

Appearing to be frozen in time, folks our age were held hostage, overwhelmed with the new-fangled order process and likely wishing they’d gone through the drive-thru to be misunderstood through a cheap microphone.

In addition, most wore glasses and were trying to see through the magnification of tri-focals, their noses pointed toward the ceiling. Because we spend most of our time staring down at the phones in our hands, the sounds of grinding neck vertebrae tilting upward was deafening.

“Minimal contact,” Willie surmised. “I wonder how often they clean those screens people keep touching.”

Bypassing the zombies staring into cold white oblivion, we walked up to one of the two registers, intending to use real cash. Both devices appeared to be unplugged.

We waited for several minutes while the employees went about their business behind the counter. Customers in cars appeared and disappeared on the other side of the drive-thru window.

“Number two sixty-six!” A woman behind the counter shouted. Apparently, fast food technology hasn’t evolved enough to bypass the raspy, screeching human voice carbonized by forty years of cigarettes.

She finally saw us. “We don’t take orders there anymore. You have to use the kiosks like those folks.”

I turned toward the spellbound people staring at the screens. I wondered if they’d still be there next year, starved skeletal beings with one finger held aloft. “No. I don’t have to do anything.”

We left, and that brings us in a curiously roundabout way to how technology helped me write my first novel.

Bear with me, this is a writer’s illogical mind.

Back in the olden days, I used a typewriter, or as Mark Twain called it, an “infernal machine.” It was also slow and required much backspacing, carbon paper, gallons of Wite-Out, and lots of twisting and adjusting.

I pounded those keys for decades, first on a manual machine in high school, then a portable version in college, which kept me in beer money by typing term papers for a dollar a page.

Ah, then came the IBM Selectric, powered by electricity and not the tips of my fingers. Novels almost formed. Many of them, and they all withered by page fifty or so. I spent hours, no, days, wait, even months, pecking out those pages destined for File 13.

When I read that Micky Spillane typed with two fingers and never edited his manuscripts, I wondered what was wrong with me. He wrote I, The Jury in 19 days, and as a rookie writer, I couldn’t figure out how he did it.

Honestly, I still don’t.

Then came the 286 computer, and my writing world changed. It set me free! Fingers flew and words appeared. The process was no longer linear, and I wrote entire chapters out of order, \ and days or weeks later, plugged them into the flow of work and they fit perfectly.

The world of active electrons became my friend, allowing me to pound out two, three, or four thousand words a day to build the structural foundation of a novel.

So with those successes, why won’t I assimilate into this world of apps and self-service ordering screens? Because there’s an evil side to all this. An entire manuscript vanished into thin air one day about twenty-five years ago, and even in the last eighteen months several days’ worth of work was lost when my laptop took issue with The Cloud and refused to “shake hands,” as a technologically adept friend explained.

In my personal experience, there is always an issue waiting to arise. The one time I tried to order off a screen in McDonald’s, I wound up with two extra Happy Meals (see how they sucker us into using those ridiculous terms?), cheese on a burger I didn’t want, no coffee for the four creams I received, and the Skynet’s refusal to take the gift card that sparked the whole visit.

I finally had to get someone to boot up the register and take the entire order while standing face to face.

The final contrasting conflict is my Macbook Air, which is such a mystery that I often hides what I’ve written only to flash it on the screen when I’m checking emails.

This new world of ours is always changing, but sometimes I need a personal technical support team, for the computer and to assist with ordering food in these new updated, high-tech restaurants.

Or maybe someone about ten years old.

I’m feeling that all of these new-fangled engineering marvels, apps, and human-free self-service businesses leaves me outside in the drive-thru lane, looking in through the order window.

Celebrating(?) the Florida Man

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By Elaine Viets


      Bigfoot, werewolves and other large hairy creatures abound in stories. We’re  glad they’re myths.

“Sex and Death on the Beach,” my new Florida Beach series has another creature who is not mythical. The legendary Florida Man and Woman  can be large and hairy, but they are definitely real.

Florida Man is the measure for the residents of the Florodora, the most exclusive apartment building in Peerless Point, Florida. The Florodora is more than a hundred years old, the first apartment building in this south Florida beach town between Fort Lauderdale and Miami.

The Florodora is owned by Norah McCarthy, granddaughter of the original owner. You don’t need money or social status to rent an apartment at the Florodora. You must be a member of a more exclusive group. You have to be a genuine Florida Man or Woman.

You’ve seen the headlines. “Florida Man Busted with Meth, Guns and Baby Gator in Truck.” Or: “Florida Woman Bathes in Mountain Dew in Attempt to Erase DNA after Committing Murder.”

Yes, those are real headlines. So is this one: “Florida Man Arrested by Coast Guard for Trying to Cross Atlantic in Human-sized Hamster Wheel.”

That was hamster man’s second arrest trying to wheel across the Atlantic.

Florida Men and Women stories often involve alcohol and alligators, although the Florida Man who tossed a live alligator the size of a Labrador through the drive-up window of a burger joint was probably sober.

Seems this Florida Man found a gator by the road and dumped it in the back of his pickup (pickups are Florida Man’s favorite vehicle). Then he got out of the truck and chucked the gator through the burger joint drive-up window. After he paid for his soft drink.

Unbelievable? That’s the standard reaction to Florida Man. Are there any limits on his –  or her – so-called pranks?

Nope. And many of them aren’t funny. Including the Miami Cannibal, a naked marauder who attacked an innocent man, chewed off the poor guy’s face and left him blind. The cops shot that Florida Man dead.

A slang dictionary says Florida Man “commits bizarre or idiotic crimes, popularly associated with – and often reported in – Florida.”

Florida Man, known as the “world’s worst superhero,” became nationally famous in 2013 when he was given his own Twitter account. He’s inspired a play, two TV series, songs, and more.

Like many Floridians, my feelings about Florida Man and Woman are somewhere between appalled and perversely proud

Some people piously claim that reveling in these tales of Florida Men and Women is wrong, because the perpetrators are poor and uneducated.

Not true. Florida Men and Women come from all classes. Check out this story from the Miami Herald:

“How did a Florida man afford 27 Ferraris and a yacht? A $22 million tax fraud.”

The article began:

“As some fully employed people found their Social Security contributions were $0 for recent years, a Stuart man and his wife luxuriated in a 7,700-square-foot three-bedroom, eight-bathroom house with a small dock and cove.”

Nothing poor or uneducated about that Florida Man.

The tradition of renting to a Florida Man or Woman at the Florodora started with Norah’s grandmother. Eleanor Harriman had a soft spot for scapegraces, since she was one herself. She was a Florodora Girl, a superstar chorus girl a century ago. Grandma was in the 1920 Broadway production of Florodora, before she eloped with handsome Johnny Harriman, a millionaire, back when a million was real money. She was married at sixteen and madly in love.

Version 1.0.0

Johnny died a year later, leaving Eleanor a very rich widow.

When Norah was old enough, Grandma told her about poor Johnny’s accidental death, which involved a champagne bottle and a chandelier.

As my new mystery, “Sex and Death on the Beach” begins, the plumbers are digging up the  Florodora yard, trying to fix the pool. Norah hears a commotion, and discovers the plumbers have dug up the body of a missing porn star, Sammie Lant. Sammie ruined a college football player when she had sex on the beach with him. Norah is a suspect in the woman’s death, and soon the Florodora is swarming with police.

Norah’s residents enjoy swapping Florida Man stories, just like me. I’ve sprinkled these tales throughout the mystery. Here is my favorite, told by Norah’s lover and Florodora resident, Dean. Dean and Norah are drinking coffee.

“Have you heard the latest Florida Man story?” Dean asked.

“Does it involve alcohol and alligators?” Norah said.

“Nope. Satan in schools.”

“You got me,” she said.

Perversely, Dean took a long drink of coffee before he started his story. Finally, he said, “Our very own elected Florida Man, Governor Ron DeSantis, wants more religion in the state’s public schools. He signed a new law to have volunteer school chaplains.”

“Doesn’t separation of church and state keep religion out of public schools?” Norah asked.

“It should,” Dean said. “The governor says the chaplains can participate after school. At least one group responded quickly to his call: the Satanic Temple. They have an After School Satan program.”

“What are they going to do with the little devils? Sacrifice a goat?” Norah asked.

“According to reports, the After School Satan Club’s activities include games, solving puzzles and promoting critical thinking. Also, the Satanists say they do not promote a ‘belief in a personal Satan.’”

“Hah! They never had class with my geometry teacher,” Norah said. “What did the governor say about the Satanists’ offer?” I took a long drink of coffee.

“His communications director said, ‘HELL, NO.’”

I nearly snorted coffee out my nose. “Warn me when you do that again.” I was nearly choking with laughter.

Dean waited until I set down my coffee cup. “The governor has said repeatedly that the Satanists are not a religion. However, the Satanists say they are recognized by the IRS.” Dean took a sip of his cooling coffee.

“The Devil knows his own,” I said.

 

          “Sex and Death on the Beach,” my new Florida Beach mystery, will be published June 3 as a hardcover and an ebook. You can preorder copies from your local bookstore, as well as Amazon, Barnes & Noble, and other outlets. Thriftbooks.com has the best price for the hardcover right now: https://tinyurl.com/yz32f8c7