Child Psych

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One of my oldest friends, Steve Knagg (a former newspaper columnist), is a guitar-picking son of a gun. In the late 1980s and 90s, he and I traveled across the country to our state and national conferences and events, and played in hospitality rooms to mostly entertain ourselves, and hopefully, others.

That was back in the days when Southwest Arlines flew with only a few dozen passengers, even at peak times. Once, he and I boarded with our guitars and found there were only six other seats filled. We’d been in the bar earlier, so we went to the back, and after the plane took off, took out our guitars and started playing.

The flight attendant came by. “Y’all can’t be doing that. You’re disturbing the other passengers.”

I glanced down the aisle. “We’re providing entertainment.”

“I’d like for you to provide silence.”

Steve spoke up. “We’ll quit playing if you’ll give us free drinks.”

She came back with a dozen bottles of Wild Turkey and we put away our instruments. I think that was the most we were ever paid for our performances.

I haven’t played in over twenty-five years, but he still picks a little, and a couple of weeks ago, we started talking about how we learned. My limited abilities came from lessons when I was in junior high school. To a kid who loved The Monkees, the idea of being a famous musician was appealing, but after learning the basic chords, I abandoned the classes because I didn’t like to practice.

After that, I tinkered with my old Stella, and like other kids of our era, my friends and I formed a garage band that was…terrible. We had three songs, and I’m sure they were like fingernails on a blackboard to anyone over eighteen. One of my female cousins asked us to play at her fifteenth birthday, and we went through our repertoire five times before my uncle came into the living room, unplugged the microphone, and took it with him.

We weren’t surprised. The year before, we played In-A-Gadda-Da-Vida on the record player so many times he took the LP off the spindle, opened the door, and flung it like a frisbee into the yard. He was very clear on what he liked, or disliked.

Steve, on the other hand. learned to play in a different way. One day his dad bought a cheap guitar and without saying a word to his three sons, leaned it up in the corner of the living room where it gathered dust for a year or two. Then one day, after listening to Bob Dylan albums, Steve wiped the dust off and asked a friend to teach him some chords.

He showed considerable aptitude and eventually taught his younger brother to play. That brother became an engineer at Skunkworks, but could have made a career out of playing in professional bands. He’s one of the best pickers I’ve ever known.

I asked Steve once what he would have done if his dad came in with the guitar and said, “Here, learn to play this.”

“I wouldn’t have done it.”

Typical kid reaction, and I should have learned from it, since I took child psychology classes as part of my degree in education. Which leads me to today’s post. Our oldest daughter, Chelsea (AKA the Redhead in my newspaper columns), is now a high school librarian and suffers the same stubbornness. If I tell her to read a book that caught my attention, she won’t do it. She loves me, but there’s some unconscious quirk that kicks in and she can’t help but dig in her heels.

Her twelve-year-old daughter, Riley, inherited the same stubbornness, but I didn’t know it until a couple of weeks ago when the Bride and I took the whole crew down to the Texas coast. Riley suffers from the same affliction I’ve carried all my life, the need to have books close by. It makes my heart happy to see she brings a backpack full of books everywhere she goes.

Interestingly, she prefers not to read on electronic devices, stating that she likes the feel and smell of books.

Ahhhhh.

Now that she’s graduated to chapter books, I really want her to read one that I discovered when I was in the seventh grade. Let’s pause here to understand The Spooky Thing was hysterical to a boy in 1967. William O. Steele was a favorite back then, and I have most of those books on my nostalgia shelf. Sorry about the blurry image, but it was the best I could find online.

So I made the mistake of telling Riley I wanted her to read the book, and described the plot and how funny I thought it was. The Redhead cut her eyes at me and gave her head a small warning shake. It was too late. The sixth-grader shut me down and left the untouched book in the kitchen table.

When she went outside to swim with her brother and cousins, the Redhead caught me. “She won’t read it now. You should have just put it somewhere she could see it and maybe she’d pick it up.”

“This isn’t like when I was a kid and adults were the enemy. It’s a good book.”

“Never trust anyone over twenty-one. I know, Dad, you’ve told us those stories, but she’s like I am, and you’re her granddad. Remember what you say when you’re teaching a writing class. Show, don’t tell.”

“So what should I have done?”

“Put it somewhere where she’d see it and maybe she would have picked it up and thumbed through the pages. But it looks old, the protagonists are boys, and she likes girl heroes the most.” She shrugged. “And besides, I don’t think the cover would ever catch her interest.”

“I like the artwork.”

“Of course you do, but she reads graphic novels. She’s used to Calvin and Hobbs artwork, too, as well as Garfield. Now she reads things like School for Good and Evil, and Big Nate, and The Diary of a Wimpy Kid. Her new favorite is the Sherlock Society.”

“Never heard of those.”

“She just read The Thief of Always.”

“Okay, I see where the graphics are better, but she reads Clive Barker and not my own stuff?”

“She doesn’t know him, but she’ll get there with your books, because she sees them on the shelf behind your desk all the time. She asked me the other day if she would like The Rock Hole, but don’t suggest it. Let her find the books in her own time.”

I sighed, realizing I should have remembered Steve’s dad and the guitar, and left The Spooky Thing out with all the other kid books in what we call “the kid’s room,” and crossed my fingers.

So with that knowledge, my next project is to collect all my old childhood favorites and put them on a shelf where the grandcritters can see them. Maybe our future readers will find something of interest, and they can enjoy the books that led me to become a dedicated reader, and eventually a writer.

I should have listened harder in Child Psych 101, but then again, that was a long time ago and I didn’t want anyone, especially professions, to tell me what to do.

Reader Friday-Happy 2nd of July!

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And you thought this would be a 4th of July post!

Well, technically, that’s what it is. Here’s the deal . . .

Reading up on the history of our country’s birth pangs, I discovered that our independence was actually declared by those dusty forefathers of ours—not on the 4th—but on the 2nd of July. I probably should have learned this in middle school (and probably did), but somehow it was not saved in my internal hard drive, aka, brain.

We celebrate our independence on July 4th, the day the Declaration of Independence was adopted and signed.

 

All that to ask you TKZers:  What is your favorite part of celebrating the 4th (or 2nd) of July?

 

 

 

And Now You Know… the Rest of the Story

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“Hello, Americans. I’m Paul Harvey… Stand by for news.”

If you grew up with a radio anywhere in earshot from the 1950s through the early 2000s, chances are you’ve heard that familiar, melodic cadence. Paul Harvey’s voice wasn’t just a part of American broadcasting—it was American broadcasting. Like the tick of an old kitchen clock, his short-form radio features delivered history, mystery, and moral insight in under five minutes. But what truly made his stories unforgettable were the endings—those last few lines that turned everything on its head.

“And now you know… the rest of the story.”

That catchphrase was the kicker. The hook. The twist. The reason we all kept listening, leaned in, smiled, gasped, or even teared up. And for us writers, it holds a masterclass in storytelling structure, suspense, and emotional payoff.

Who Was Paul Harvey?

Paul Harvey Aurandt was born in 1918 in Tulsa, Oklahoma. After losing his policeman father to a tragic shooting when Paul was only three, Harvey grew up in a world shaped by grit, survival, and the power of words. He started in radio as a teenager and worked his way up through the golden age of broadcasting.

By the 1950s, he was a national presence. With his distinct pauses, curious phrasing, and Midwestern moral clarity, Harvey captivated millions of listeners across decades. He delivered daily news commentary, but it was his mid-day feature—“The Rest of the Story”—that elevated him from commentator to storyteller.

These were not breaking news segments. They were human stories—true stories—told with elegance, economy, and a surprising punchline.

The Structure of a Paul Harvey Story

Every episode of The Rest of the Story followed a similar template:

  1. Set the Scene – Often vague at first. He introduces a person, place, or problem, but not the full identity.
  2. Build the Curiosity – Facts are layered. Oddities emerge. You’re engaged but unsure where it’s going.
  3. Reveal the Surprise – The identity or twist is saved for the final sentence. A famous person in disguise. A historical icon before they were known. A legendary outcome from humble beginnings.
  4. Moral Undercurrent – Often subtle, but present. There’s usually a sense of justice, fate, irony, or redemption.

This structure was no accident. Harvey understood how people listen, and more importantly, why people listen. He didn’t just tell you what happened. He withheld the obvious until it would land with maximum impact.

Why It Worked So Well

Harvey’s genius was in the setup. He trusted the intelligence of his audience. He guided us with breadcrumbs, letting us build assumptions—only to gleefully knock them over at the end.

He leveraged:

  • Suspense through omission
  • Familiarity cloaked in unfamiliarity
  • Emotional resonance through the unexpected
  • A moral twist embedded in fact

He also knew how to perform a story—his pacing, tone, and silences were part of the storytelling. A well-timed pause said more than a paragraph ever could.

Greatest Hits from “The Rest of the Story”

Here are a few classic Paul Harvey closers. (Spoilers ahead!)

  • A young boy with a stutter who found his voice onstage—James Earl Jones.
  • A failed artist who became the world’s most famous cartoonist—Walt Disney.
  • The man who couldn’t afford college, so he audited classes—William Hewlett, co-founder of Hewlett-Packard.
  • The boy kicked out of school for poor learning—Thomas Edison.

Each story was true. Each one held a lesson. And each left the listener with a sense of awe: Wait… really? That was who?

Now think of the emotional arc in those tales—curiosity, empathy, admiration. That’s what made Harvey unforgettable.

What Writers Can Learn From Paul Harvey

If you’re writing novels, short stories, true crime, memoirs, or blog posts, the Paul Harvey method has gold to offer. Here’s how to apply it:

  1. Start with the Setup, Not the Star

Instead of opening with the known, open with the unknown. Create a character or situation that invites questions. Let the reader lean in, not back.

  1. Use Withholding as a Tool

You don’t have to reveal everything up front. Create tension by what you don’t say. Let the reader work a little. We love to fill in blanks.

  1. Save the Reveal

That final “aha” moment—that’s your money shot. Whether it’s in the climax of your thriller or the final line of your blog post, hold back until it counts.

  1. Layer with Moral Resonance

Harvey’s stories were often about perseverance, redemption, or ironic justice. That’s the stuff readers remember. Don’t preach. Just infuse meaning.

  1. Let Style Be the Vehicle

Paul Harvey’s voice was unmistakable—rhythmic, quirky, personal. As writers, we all have a voice. Don’t sand it down. Sharpen it.

And Finally… the Rest of This Story

There’s something timeless about what Paul Harvey gave us. He didn’t just relay facts—he made us feel them. In a world that’s more crowded, distracted, and cynical than ever, the ability to pause a reader and make them say, “Wow… I didn’t see that coming”—that’s real storytelling.

So what happened to The Rest of the Story after Paul Harvey passed in 2009?

Here’s the kicker: The show continued briefly with his son, Paul Harvey Jr., but never quite recaptured the magic. Why?

Because Paul Harvey wasn’t just a format. He was the story.

And now you know… the rest of the story.

Kill Zoners – Who around here is young enough to remember Paul Harvey? If you do, what was your favorite episode? Mine was the story of the recycled timbers in a New England barn being traced as originating from the scrapped ship, Mayflower.

Compromises

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Compromises
Terry Odell

cover of The Triple-D Ranch novels by Terry OdellFirst, if you’ll indulge me, I have a new release. Not exactly a new book, but after being away, having family visiting, writing breaks to do research, hitting the 30K wall, and other real life interruptions, I feared the wip wasn’t going to be finished in time for a pre-holiday release.

What did I do? Triggered by an acceptance for a BookBub Featured Deal on July 9th for In Hot Water, book 1 in my Triple-D Ranch Romantic Suspense series, I decided to bundle all 4 books in the series as a box set.

I checked with the marketing gurus at BookBub, and they suggested that a release of the bundle before the featured deal would be a good option. I pulled the manuscripts for all four books into a single file and made the necessary adjustments to front and back matter. Since the first 3 in the series were released in 2016, there were some formatting issues to deal with, but it didn’t take long to have a manuscript file ready to upload.

I went into a lot of the process in a post a while back, so I’m not going to repeat any of that now. If you’re interested, you can find it here.

The new book, brilliantly titled, “The Triple-D Ranch Series” is available for purchase at most popular e-tailers. Here’s a link to one-stop shopping.

And on to the post topic: Compromises

Sue’s post on Monday reminded me of our move from Florida to Colorado way back in 2010. Although this is no longer my path to publication, I know a lot of TKZers are, or are hoping to be, traditionally published. The road to publication, like moving into a new house, can be filled with compromises.

During our renovations and remodels, we found ourselves compromising on a lot of issues. Sometimes it was a matter of money—deciding what things we were willing to cut from our dream plan, and where we were willing to shell out the extra cash. We decided to go with underfloor heating in the bathrooms. However, a custom job, with the heat mat made to order for the bathroom was prohibitively costly compared with the off-the-shelf versions. The compromise meant we were restricted to the sizes the mats came in; we couldn’t get the heat mat under the tile of the entire bathroom, leaving a few areas where the tiles remain cold. But having that extra course of tiles heated wasn’t worth the price differential. It was easier to learn to take a bigger step into the hall bath if you were barefoot, avoiding the first row of tiles.

Another compromise – we had a lot more room in our former house. Finding places for things that went into our wall units and china cabinet meant more furniture. We ended up with a large curio cabinet in the living area. However, it doesn’t have any interior lighting, so as far as displaying treasures goes, it’s not really the perfect system. It ended up being a liquor and glassware cabinet.

We ordered two bookcases for the downstairs, but when they arrived, we realized that one was a shade too tall for where we wanted to put it. (Never thought about the bulkhead ceiling on that side of the room, or how tall the bookcases would be.) So, we found another spot for the second unit, which ate up several feet of wall space, meaning when we get furniture for the room, we’re going to be limited in what will fit where.

When writing, you’ll also learn to make compromises—unless, of course, you’re writing strictly for yourself. Everyone says ‘write the book of your heart.’ But if you want people to read your books, you’re going to have to consider what the readers want. The book of your heart might not be marketable.

Somewhere along the line, you have to decide which battles are worth fighting and which aren’t. Some, you’ll never win. If a publisher wants humor, and you’re not a funny person, maybe that’s the time to realize that your efforts might be better spent elsewhere. Or maybe they want deep, dark suspense, full of serial killers and psychopaths, and you prefer lighthearted mystery. Are you capable of writing what they want? Will you feel like you’re struggling to get each word on the page? Assuming you’ve done your homework and submitted your work to a publisher who publishes what you write, and it’s accepted, what’s next? You’re going to have to deal with an editor who works for the publisher, and knows what they’re looking (or not looking) for.

For example, my editor for When Danger Calls, one of my early traditionally published novels, told me the publisher would nix any use of the word ‘penis.’ She said their readers didn’t like to read it. Was there a point to arguing with this one? No. Easy enough to change.

Another publisher didn’t like the use of brand names. Sometimes, a brand name serves as an immediate image for readers. I had to fight (and contact the companies) to use Knob Creek and Denny’s in a book.

On a grander scale, some genres have their own reader expectations and publishers have their own guidelines.

Once you’re aware of what your publisher and editor expect, you’ll find that you’re compromising with yourself during the writing process. Just like you learn to avoid that first course of tiles in the bathroom, you won’t use those ‘forbidden’ words. If you’re writing a contemporary series romance, you’ll learn to get your hero and heroine on the page and involved immediately, because that’s what readers of that genre want, and the publisher expects you to meet their expectations. If you’re writing a mystery, your readers will assume it’s a “murder mystery” and they’ll want to see that dead body right away.

Even indie authors might have to compromise to meet reader expectations. I’ve written almost 35K words in my next Mapleton mystery, and there’s no dead body. Yet.

How about you, TKZers? Have you had to compromise to keep your submission or book marketable?

New! Find me at Substack with Writings and Wanderings

Danger Abroad

When breaking family ties is the only option.

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

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

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

Like bang for your buck? I have a new Triple-D Ranch bundle. All four novels for one low price. One stop shopping here.

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

How to Avoid Apostrophe Abuse

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by Debbie Burke

Apostrophes. That tiny punctuation mark seems to trip up more people than any other.

Here are a few examples of apostrophes that are misused:

 

So what are the correct uses of the apostrophe?

  1. In contractions: an apostrophe indicates a missing letter or letters.

Jean’s going to the store. = Jean is going to the store.

  1. To indicate possession: At the store, a shopping cart door-dinged Jean’s car.

When not to use an apostrophe:

  1. To indicate plurals. Shopping carts, not shopping cart’s.
  2. To indicate decades. The 1990s, not the 1990′s.

Decades can be written in various ways.

Example: Rock and roll gained popularity in the 1950s.

However, if the decade is possessive, it needs an apostrophe.

Example: The 1950’s song “That’ll Be the Day” hit number 1 on Billboard Magazine.

If you use a contraction to abbreviate a decade, that requires an apostrophe for the missing part of the year.

Example: In the ’20s, bobbed hair was the cat’s meow.

The dreaded question of ITS vs IT’S raises the most confusion.

That’s because ‘s usually indicates possession.

Examples: Gary’s book; the USA’s foreign policy.   

Its is the annoying exception.

It’s is a contraction for “it is” or “it was.”

In the immortal words of Mr. Rogers: “It’s a Beautiful Day in the Neighborhood” 

Its is the possessive form.

Example: AI doesn’t understand its own capability.

Plurals add another layer of confusion.

How often have you received a holiday card from “The Smith’s”?

“The Smith’s” is possessive.

It should be “The Smiths” plural to indicate the card came from multiple members of the Smith family.

Want to get even more confused? Names and nouns that end with an “S” are treated differently.

The plural of Jones is “Joneses.”

The plural of cross is “crosses.” Example: Many Civil War graves were marked with crosses.

The possessive of Jones can either be “the Jones’ house” or the Jones’s house” depending on the style guide used.

The possessive of crosses is generally crosses’. Example: The crosses’ wood had weathered and split.

Then there are plural initialisms. (I had to look that one up.)

They are initials that are used as nouns.

Examples: DMV, BMW, FAQ

The plurals are DMVs, BMWs, FAQs.

The possessive form needs an apostrophe.

Example: The DMV’s reputation for long wait times is well known.

However, if the initial is a single one, the plural needs an apostrophe.

Example: Sarah’s report card was all B’s.

The plural of the noun “I” can be shown with an apostrophe to keep it from being misread as “Is”.

Example: Too many I’s used in that paragraph is repetitive.

Yourdictionary.com offers a clear, concise explanation of how to avoid apostrophe abuse.

Pop Quiz

  1. When the tree starts to drop (its) (it’s) leaves, (it’s) (its) a sure sign of early fall.
  2. The (Gateses) (Gates’) (Gate’s) need to increase their income to keep up with the (Bezos’s) (Bezos’) (Bezoses).
  3. On (Saturday’s) (Saturdays) we always visit the (farmer’s) (farmers) market to check out the many different (vendor’s) (vendors’) fresh (veggie’s) (veggies).
  4. What’s your (Achille’s) (Achilles’) (Achilles’s) heel when it comes to grammar?
  5. (Phyllis’s) (Phyllis’) intention was to attend the (writer’s) (writers’) (writers) conference.

Answers:

  1. When the tree starts to drop its leaves, it’s a sure sign of fall.
  2. The Gateses need to increase their income to keep up with the Bezoses. Yeah, it sounds wonky to the ear but it’s correct.
  3. Saturdays is correct. Farmer’s is correct but could also be farmers’ market. Vendors’ is correct. Veggies is correct.
  4. Achilles’ and Achilles’s are both right. However, Achilles’ is less of a tongue twister and sounds better to the ear.
  5. Okay, this is a multiple-part trick question.

Phyllis’s or Phyllis’ are both right depending on the style sheet you’re using. Just be consistent—choose one form or the other and stick with it throughout the story, article, etc.

Writers’ conference is preferred because it’s possessive meaning multiple writers attend it. However, writer’s conference is also an adjective describing the type of conference. The Word grammar checker puts a squiggly blue line under writers conference, indicating questionable use. However, writers conference is common, making it accepted although not strictly correct.

 

I feel for non-native speakers trying to learn the inconsistent, convoluted, mystifying English language.

If we writers ever master all the nuances of grammar,“That’ll Be the Day” to celebrate!

~~~

TKZers: What’s your Achilles’ heel in grammar? Do you have any reminder tricks to suggest?

~~~

Counting down to launch day for The Villain’s Journey-How to Create Villains Readers Love to Hate.

James Scott Bell says: “Debbie Burke has filled a critical gap in writing craft instruction.”

Christopher Vogler says: “You will certainly find insight and inspiration to make your villains leap off the page and haunt your readers’ dreams.”

Preorder now and the ebook will be delivered to your device on July 13.

Amazon link

Moving and Writing

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Life is like riding a bicycle. To keep your balance, you must keep moving. —Albert Einstein

* * *

I’ve mentioned over the past few weeks that my husband and I have moved to a new home. It’s been a long, hard effort, but now we’re in the new place and trying to regain some sense of normalcy.

One thing getting back to normal means is writing a post for TKZ. So now, I sit at my desk, surrounded by towers of boxes and ponder what I should write about while the aroma of fresh cardboard and packing tape wafts through the house. Since I do so love analogies about writing, there’s my subject: How are moving and writing related.

The Big Adventure

Moving starts as an adventure. Maybe it’s a new job or a better living situation or some other reason to change addresses. There’s a lot of anticipation mixed with a little anxiety. Lists are made, forms are ordered, lots of organization is put in place. Whatever the reason, the excitement builds as moving day nears.

Same with a new novel. A great idea suddenly crystallizes and you realize you have a theme for a new book. The best yet. You begin to draft out character sketches and a general plot line. You set up Scrivener for the new work and put together a project plan with a schedule. You stand at the mountaintop looking over the landscape and imagine the journey ahead.

The Trek Goes On … and On

If you’re lucky, you’ll hire a moving company to pack and move everything. But what’s the adventure in that? To keep the analogy with writing, you’ll have to do your own packing. You go through the house and decide what can be given away, sold, or stored. You order packing materials and spend weeks knee deep in boxes, bubble wrap, and permanent markers. But it’s taking longer than you thought, and the whole task of packing boxes has become hard work. You have to decide what to keep and what to let go. At some point, you ask yourself “Whose idea was this, anyway?”

Writing is a little less physically demanding. Day after day, you pack Scrivener with new scenes, and your creativity is firing on all cylinders. Finally, you’re deep into the story. Then you hit a wall, and you back up to look at what you’ve accomplished so far. It’s just a mess, and you have to decide what to throw away. You can keep everything, but then your new story will be a jumble of scenes rather than a carefully crafted book, so a serious pruning job is in order.

Persistence Pays Off

That’s when it hits you. Maybe this wasn’t such a good idea after all. But you’ve already invested heavily in the story or the move, so you keep going forward. Not quite as excited, but shoulder to the wheel. The message in your head is no longer “Woo-hoo,” but more like “Put one foot in front of the other.”

It seems like ages before those boxes are all packed or the chapters are written. The movers come and transfer all the furniture to the new place. You have a fully finished first draft. It still doesn’t look so pretty, but at least you’re beginning to see the story behind the jumble.

Revision

So now you move into unpacking mode, putting things where they belong, discarding boxes, and cleaning up. In a novel, this would be the final draft. Rearranging the chapters and rewriting.

The work is long and sometimes boring. But occasionally you’ll stumble onto some little artifact that makes you realize how nice the finished product will be. It takes forever to unpack, fit things into their new environment, and get the household in order.

Slowly, day by day, the pieces begin to fit together to form a cohesive whole. The house is set, the novel is written, and the job is done.

The End … for now

It’s time to sip champagne, take a short rest, and then get to work on marketing.

* * *

So TKZers: How do you deal with the confusion that surrounds moving or writing? Do you keep plugging away knowing everything will come out well? How do you celebrate when the big move or book release is over?

* * *

 

Spunky 10-year-old Reen and her shy, 9-year-old cousin Joanie never stop moving while they hunt for a treasure left by the mysterious Mr. Shadow. Along the way, they learn the value of persistence, teamwork, and fair play.

Click the image to go to the Amazon book page.

 

The Living, Breathing Novel

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by James Scott Bell
@jamesscottbell

The other night, Mrs. B and I re-watched the 1999 BBC adaptation of David Copperfield. Superb. And what a cast: young Daniel Radcliffe as David, the legendary Maggie Smith as Betsy Trotwood, Bob Hoskins as Micawber, Ian McKellen hilariously chewing the scenery as Mr. Creakle, and so on down the line.

It made me wonder again at how Dickens, with quill and ink, turned out massive tomes, full of plot twists and unforgettable characters, like Peggotty, Steerforth, Mr. Dick, Barkis, Uriah Heep. Dickens never gives us colorless, throwaway story people.

So I went on a little journey to research Dickens’ method. I wanted to find out if he was an outline guy, a pants guy, or something in between. My conclusion is that he started a project with the “big picture” in mind, along with some main characters, but allowed himself room to expand and explore as he went along, with help from a trusted beta reader and his own wife.

We know Dickens wrote in serial form, sometimes in periodicals, sometimes in pamphlets. I read somewhere that anxious readers would often gather at the docks when the boats came in with the delivery of the latest installment.

I discovered a massive biography of Dickens by John Forster, the man who read almost everything Dickens wrote before it was published. In the clip below, Forster tells about the writing of Oliver Twist. (“Kate” was Dickens’ wife.)

Then, on a “Tuesday night,” at the opening of August, he wrote, “Hard at work still. Nancy is no more. I showed what I have done to Kate last night, who was in an unspeakable ‘state’ from which and my own impression I augur well. When I have sent Sikes to the devil, I must have yours.”

“No, no,” he wrote, in the following month: “don’t, don’t let us ride till to-morrow, not having yet disposed of Fagin, who is such an out-and-outer that I don’t know what to make of him.” No small difficulty to an inventor, where the creatures of his invention are found to be as real as himself.

The ending of The Old Curiosity Shop was suggested by Forster:

He [Dickens] had not thought of killing her [Little Nell], when, about half-way through, I asked him to consider whether it did not necessarily belong even to his own conception, after taking so mere a child through such a tragedy of sorrow, to lift her also out of the commonplace of ordinary happy endings so that the gentle pure little figure and form should never change to the fancy. All that I meant he seized at once, and never turned aside from it again.

This sums up the Dickens “method”:

Its [The Old Curiosity Shop] effect as a mere piece of art, too, considering the circumstances in which I have shown it to be written, I think very noteworthy. It began with a plan for but a short half-dozen chapters; it grew into a full-proportioned story under the warmth of the feeling it had inspired its writer with; its very incidents created a necessity at first not seen; and it was carried to a close only contemplated after a full half of it had been written.

I draw a few lessons from Mr. Dickens.

1. Plan your novel, but give it room to breathe. Dickens didn’t sit down with no idea of where he was going. He started with a main character in mind, a set of problems for that character, some secondary characters, and an envisioned outcome. But for each section he wrote he was flexible in how things developed. He could change his plan or his characters if he so desired. I can’t prove this, but I have a feeling James Steerforth in David Copperfield was such a character. Initially a hero to David, he became the driver of the tragic Little Emily subplot.

2. Unforgettable fiction is written when you are imbued with “warmth and feeling.” Note: You can’t get that from a machine. You get candy bars and soft drinks from a machine, not living, breathing, blood-pounding, heart-racing fiction, the only kind that turns browsers into readers, and readers into fans.

3. You produce warmth and feeling by experiencing the lives of your characters. The great alchemy of unforgettable fiction is moving your characters from your head to your heart. The great Dwight Swain wrote: “People read fiction for feeling. Whether they know it or not, they grope for stimuli that move them. The thing in fiction that gives them this stimulation is emotion projected through characters.”

You’ve got to feel the emotion before you can project it. An added benefit, Swain says, is that this how you produce “zest”—the “best way to escape the fatigue and boredom that endless hours of writing often bring.”

Recall what Forster said, that “the creatures of his invention are found to be as real as himself.” In the 1850 preface to David Copperfield, Dickens wrote:

I do not find it easy to get sufficiently far away from this Book, in the first sensations of having finished it, to refer to it with the composure which this formal heading would seem to require. My interest in it, is so recent and strong; and my mind is so divided between pleasure and regret—pleasure in the achievement of a long design, regret in the separation from many companions—that I am in danger of wearying the reader whom I love, with personal confidences, and private emotions.

4. Get the benefit of another set of eyes. A great editor or beta reader is gold. You’re too close to your manuscript to spot subtle—or sometimes obvious—errors. You may be blind to an obvious plot hole or undeveloped character motivation. If you don’t deal with them now, readers and reviewers will deal with them later.

5. Be developing your next project. Dickens had a family to support and debts to be paid. He always had a next project in mind. He kept a notebook of ideas. Forster: “In it were put down any hints or suggestions that occurred to him. A mere piece of imagery or fancy, it might be at one time; at another the outline of a subject or a character; then a bit of description or dialogue; no order or sequence being observed in any. Titles for stories were set down too, and groups of names for the actors in them.”

And that’s not humbug. Comments welcome.

Series Words of Wisdom

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A great mystery or thriller series can have lasting popularity. But how do you create a one that will go the distance with readers?

Today’s Words of Wisdom has you covered. James Scott Bell provides five qualities in the best series characters. John Gilstrap discusses planting fodder for a future series in that first book even as each book can stand on its own. Finally, Sue Coletta assembles advice from several other Kill Zone authors on building series.

All three posts are well worth reading in full, and as always are date-linked at the end of their respect excerpts.

I see five qualities in the best series characters. If you can pack these in from the start, your task is half done. Here they are:

  1. A point of uniqueness, a quirk or style that sets them apart from everybody else

What is unique about Sherlock Holmes? He’s moody and excitable. Among the very staid English, that was different.

Jack Reacher? Come on. The guy doesn’t own a phone or clothes. He travels around with only a toothbrush. Funny how every place he goes he runs into massive trouble and very bad people.

  1. A skill at which they are really, really good

Katniss Everdeen is killer with the bow and arrow.

Harry Potter is one of the great wizards (though he has a lot to learn).

  1. A bit of the rebel

The series hero should rub up against authority, even if it’s in a quiet way, like Miss Marple muttering “Oh, dear” at the local constabulary. Hercule Poirot is a needle in the side of Inspector Japp.

  1. A vulnerable spot or character flaw

Robert E. Howard’s Conan the Cimmerian has a vicious temper that sometimes gets the better of him.

Sherlock Holmes has a drug habit.

Stephanie Plum keeps bouncing between two lovers, who complicate her life.

  1. A likable quality

Raymond Chandler’s Philip Marlowe has some of the greatest quips in the history of crime fiction. We like them because Marlowe is also vulnerable—to getting beat up, drugged, or otherwise manhandled by forces larger than himself (like Moose Malloy).

Wit is one of the great likability factors.

Another is caring for others besides oneself. Stephanie Plum has a crazy family to care for, not to mention her sometime partner Lula.

James Scott Bell—August 13, 2017

A series is more episodic.

My Jonathan Grave thriller series is not a continuing story, but is rather a collection of stand-alone stories that involve recurring main characters.  Jonathan Grave’s character arc over the course of eleven books now is very long and slow, while the arcs of the characters he interacts with are completely developed within each book.  There are Easter eggs for readers who have read all the books in order, but I am careful to make each episode as fulfilling for a reader who picks up  Book Ten as their first exposure to the series as it is for a reader who’s been with me from the beginning.

Writers like the always-fabulous Donna Andrews write series that are driven as much by place as by characters.  The people in her fictional town of Caerphilly, Virginia, are a hoot, even though an extraordinary number of people are murdered there.

Jeffery Deaver’s Lincoln Rhyme solves a new crime by the end of every book.  While Rhyme’s medical progress as a quadriplegic is continually evolving from book to book, as is his relationship with Amelia, a new reader is well-grounded in any story, without benefit of having read the previous ones.

A stand-alone, well, stands alone.

When I finished Nathan’s Run, the story was over.  There was no place I could feasibly have taken Nathan or the other characters to tell a new story.  That was the case with each of the following three novels and, of course, with my nonfiction book.  I think the primary characteristic of a stand-alone is that “The End” means the end.  The character and story arcs have all been driven to ground.

A series takes planning.

When I was writing No Mercy, the first book in the Grave series, I knew in my heart that I had finally landed on a character who could support a series.  What I didn’t know was whether or not a publisher would buy it, and if they did, whether they’d support the idea of developing the one story into many.  Still, I made a conscious effort to plant as much fodder as I could for potential use in future stories.  For example:

  1. Jonathan is a former Delta Force operator, leaving the potential for stories dealing with his days in the Unit.
  2. His hostage rescue activities are a covert part of a legitimate private investigation firm that does work for some of the largest corporate names in the world.  This sets up potential stories set in the world of more common private investigators.
  3. Jonathan is the primary benefactor for Resurrection House, a school for the children of incarcerated parents.  When every student has parents with lots of enemies, there’s lots of potential for future stories.
  4. His home, Fisherman’s Cove, Virginia, is the town where he grew up.  This puts him in the midst of people who already know the darkest secrets of his childhood and accept him for who he is.  Or they don’t.  This sets up the potential for small  town conflicts.

John Gilstrap—November 21, 2018

From Jordan Dane:

  1. Create a large enough world to sustain a series if it gains traction by planting plot seeds and/or character spinoffs in each individual novel. With the right planted seeds, future stories can be mined for plots during the series story arcs. An example of this is Robert Crais’s Elvis Cole PI series where his main character Cole is plagued by his past and his estranged father until THE FORGOTTEN MAN, a stellar novel in the middle of the series that finally provided answers to the mystery.

Crais often plants seeds that he later cultivates in later books. It takes organization & discipline to create these mysteries and track the seeds to save for later.

  1. Endings of each novel in a continuing series are important to readers if your book release schedule has long lags in time. A major cliffhanger can be frustrating for readers to discover at the end of a book before they realize the next novel won’t be released for 6 months to a year.

If your planned series isn’t limited to a certain number of stories (ie Hunger Games – 3 novels) where the overall story arc will be defined, an author might consider writing series novels that read as standalones with a tantalizing foreshadowing of the next story to hook readers. Creating an intriguing mystery to come will pique reader’s interest, rather than frustrate them with a huge cliffhanger they may have to wait a year to read.

See these tips in action in Jordan’s Mercer’s War Series.

From James Scott Bell:

  • Give your series character one moral quest that he or she is passionate about, to the point where it feels like life and death. For example, my Mike Romeo series is about the quest for TRUTH. This is the driving force for all he does. It gives both character and plot their meaning. A quest like this will carry from book to book.
  • Give your series character at least one special skill and one special quirk. Sherlock Holmes is a skilled stick fighter (which comes in handy). But he also shoots up cocaine to keep his mind active. Mike Romeo has cage fighting skills. He also likes to quote literature and philosophy before taking out a thug.

From Joe Hartlaub:

Sue, I love Jordan’s suggestions, particularly #2, about the works being standalones with a foreshadowing of what is to come. Who among us read Stephen King’s Dark Tower trilogy and got to the end of The Dark Tower III; The Waste Land to find the cast aboard a sentient, suicidal choo-choo heading toward oblivion? That was all well and good until we all had to wait six friggin’ years to find out what happened next in Wizards and Glass. 

  • I have one suggestion, which I call the Pop Tart model. Pop Tarts started with a basic formula; they were rectangular, were small enough to fit into a toaster, large enough to pull out, used the same pastry as a base, and started with a set of fillings and slowly added more and different ones over the years. So too, the series.
  • Design a character with a skill set consisting of two or three reliable elements, decide whether you are going to make them a world-beater (Jason Bourne), a close-to-homer (Dave Robicheaux), or something in between (Jack Reacher), and bring in a couple of supporting characters who can serve as necessary foils (Hawk and Susan from the Spenser novels) who can always be repaired or replaced as necessary. Your readers will know what to expect from book to book but will be surprised by how you utilize familiar elements.

From Laura Benedict:

The best series do a good job of relationship-building, along with world-building.

  • Give your main character …
  1. someone to love and fight for,
  2. someone to regret knowing,
  3. someone to respect,
  4. someone to fear.
  • Be careful about harming your secondary characters because readers get attached. If you’re going to let a beloved character go—even a villain—make the loss mean something.

See these tips in action in The Stranger Inside.

Sue Coletta—January 14, 2019

***

  1. What do you think of Jim’s five character qualities for series characters, as a writer or a reader? Any additions?
  2. When it comes to series, again as either a writer or a reader, what do you think of the easter eggs and ongoing “fodder” John mentioned?
  3. What do you think of the advice Sue shared? Anything especially resonate with you?

Reader Friday-That Stinky Mood

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Thinking back to my teenage years, it seems like I was in a bad mood about something most of the time. You’d think I would have outgrown those sour moods by now. Sigh.

I don’t get moody as much anymore, nor (heaven forbid!) about the same life stuff as when I was younger, but sometimes a mood strikes—one that causes me to slam my laptop closed and walk away.

You?

I ran across this website the other day:  Moods and Writing

It contains 5 tips for shooing away the doldrums in order to get back to work.

Listen to some upbeat [or your favorite] music.

 

“Music affects mood, so choose something that gets you happy and dancing. Try listening to it for just 5 minutes before you start writing, and see if your session doesn’t go better than you thought it would.”

 

Eat some dark chocolate. (My favorite!)

“Chocolate is good for you, and studies have also found that it can boost levels of the good-mood neurotransmitter, “serotonin,” in your brain. It also boosts dopamine levels, which will give you more energy. As if you needed another excuse to eat some chocolate! Just try to be sure it has at least 70 percent cocoa.”

Give someone a hug.

“A loved one, friend, pet—give someone a quick hug before you start writing. It lowers stress and stimulates the release of oxytocin, which helps boost mood.”  (And the cool thing is, you’ll usually get hugged back!)

Dress up. (Not so sure about this one, but hey, it’s worth a try!)

“This can be particularly helpful if you’ve been in sweats all day. Put on something you like and that you think makes you look good. Studies have found that clothes really can affect our mood! (Read more about that here: “What Are You Wearing? Why Writers Should Care”) Better yet, choose something colorful. Green and yellow are associated with happiness, red with energy, and blue with calm.”

Look at nature images—and make sure they contain some green. 

“Studies have found that simply looking at pictures of nature can help relieve stress and put you in a better mood. If you want to boost creativity too, make sure the pictures have some green in them. (In other words, no winter pictures!) Studies have found that green helps stimulate creativity.”

 

TKZers—what would you add to this list? What is your surefire way to combat a stinky mood so you can get on with the fun stuff of writing?

 

True Crime Thursday – Black Widows

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Before we get into today’s True Crime Thursday post, I received an email from another friend of Joe Hartlaub’s who just learned of Joe’s passing. Justin L. Murphy asked me to include his tribute message to Joe. Justin’s words:

Could you please add these comments to the memorial post for Joe Hartlaub on KillZone blog earlier this month? I was late in learning of his passing — only discovering so last night after no email responses in the last couple of weeks.

As writers, Joe Hartlaub and I became close over the years and exchanged many emails. He not only recommended me for a short story contest (which I didn’t win), but was there for me when my grandmother passed several years ago. This is a tough one.

I last received an email from him May 28th, only to discover he died the next day. It’s sad we didn’t get to talk further. In one of our last emails, he discussed learning how to play “When The Saints Go Marching In” on the piano as well as his past playing guitar in local bands. We both mentioned our love for cooking Zatarain’s and his past trips to New Orleans. As well as his love for music from Memphis and Mississippi. He also called me “an observant fellow” and sent me hilarious articles on women getting too close to Bison at Yellowstone, being mauled and trampled as a result.

One of the last things he told me “You and your family have had more than your fair share of challenges, but reading between the lines of your accounts of daily living, I take the sense that you mom is strong, wonderful person and she has two terrific sons. The three of you help and love each other. That is more than many, many people have. Stay the course and thanks for being my friend.” He sent this to me after checking on us and asking “Are you OK?” when a storm hit a nearby area. My response in the subject line was, “For a tender hearted Catholic lawyer who cares”. To clarify, I’m a disabled adult with Cerebral Palsy who helps care for an Autistic adult brother.

He also relayed having chest pains and that his ex-girlfriend was dying from cancer. Joe remained in touch with her, but was having difficulty. As well as having chest pains and would be getting medical exams. Yet was overjoyed over his granddaughter’s graduation. In his couple of emails, he concluded “Love to you and your family” and “Thx Brother”.

I love you too, Joe. Thanks for all you shared with me and I wish you still were here.

 

Photo credit: Chuck Evans CCA 2.5 generic

by Debbie Burke

In a 1911 poem, Rudyard Kipling wrote:

“The female of the species is more deadly than the male.”

That seems to hold true with the female black widow spider. After she mates with a male, she sometimes eats him. Here’s Wikipedia’s explanation:

The prevalence of sexual cannibalism, a behaviour in which the female eats the male after mating, has inspired the common name “widow spiders”.[11] This behaviour may promote the survival odds of the offspring;[12] however, females of some species only rarely show this behaviour, and much of the documented evidence for sexual cannibalism has been observed in laboratory cages where the males could not escape. Male black widow spiders tend to select their mates by determining if the female has eaten already to avoid being eaten themselves.

The term “black widow” has come to mean a woman who kills her mate.

Praying Mantis – public domain

Although the praying mantis also engages in sexual cannibalism, “black widow” sounds scarier, doesn’t it?

In 2013, a 25-year-old man named Cody Johnson married 22-year-old Jordan Graham in Kalispell, Montana. Eight days later, he disappeared.

As early as the day after the wedding, Graham had second thoughts about the marriage which she expressed to friends.

Johnson’s friends had also been concerned because he was deeply in love with Graham but his devotion didn’t seem to be reciprocated.

When Johnson didn’t show up for work, a search was launched. He was last reported in Glacier National Park, recorded on a security cam in a car with Graham. She claimed they had driven to the Big Bend on Going to the Sun Road where a steep cliff drops off sharply to the valley hundreds of feet below. There, she said, friends of Johnson’s had arrived in a different vehicle, and he had left with them.

Because the park is on federal land, various agencies including the FBI investigated the case. They questioned Graham multiple times. Each time, she offered a different excuse for why Johnson had disappeared.

Going to the Sun Road, Glacier National Park, Montana – public domain

Her behavior was suspicious, sometimes giggling and other times withdrawn. While searchers risked their lives on steep dangerous mountainsides, she exchanged texts with friends about dance moves.

She soon produced an email purportedly written by a friend of Johnson’s who claimed Johnson was dead and to give up the search. It didn’t take long for investigators to trace the email to a computer at the home of Graham’s parents.

Johnson’s battered, broken body was found at the bottom of the cliffs below the Big Bend. Because the terrain was so treacherous, specialized lift equipment was required to recover the body.

Graham was charged with first and second-degree murder.

During her 2014 trial, she pleaded not guilty. The evidence against her was significant but not beyond a reasonable doubt. Her attorney characterized her as “child-like” apparently a bid to convince the judge she didn’t understand consequences of actions.

For several days, Graham continued to protest her innocence. Then right after the defense rested, Graham stunned the court and changed her plea to guilty.

She admitted driving with Johnson to the Big Bend where they got out of the car and argued at the edge of the cliff. She said she didn’t think people would believe her about an accidental fall so she gave various excuses for his disappearance.

Under questioning by the judge, she finally admitted that, when Johnson had turned his back on her to look out at the view, she used both hands to push him over the side.

The judge doubted her remorse and sentenced her to 30 years in prison.

TKZers: Kipling seemed to be correct in this case. What do you think of his opinion?

~~~

 

My new book The Villain’s Journey – How to Create Villains Readers Love to Hate features stories about dangerous Black Widows and Femme Fatales from fiction and real life. To learn more, please click on the book cover.