Time To Start Thinking About Book Two!

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“Everyone has a novel in him or her. Not everyone has a SECOND novel.” – Jeremiah Healy.

By PJ Parrish

We really need to talk about your second book.

What? Are you nuts? I’m still working on the first! I’ve been working on it for five years and it’s killing me!

Yeah, I know. But you really have to trust me on this one. Even if you haven’t published squat yet, you really need to hear me out on how important it is to starting thinking now about your sophomore effort. Why? Two reasons.

  1. Your first book might not get published. What then? You going to curl up and die? Or will you live to write another day?
  2. Your first book might get published. What then? No one can ride a one-trick pony to a successful career. Not even a scribbling monkey scribe.

All of us here at TKZ are at different points on the writing path. Some of us are just starting out. Some are mid-road and mid-list. Some are published but stalled. Some are gliding along with dozens of titles up on Amazon. But all of us need to think about that “second” book…or for some of us, the “next” book, always the next book, to paraphrase Virginia Woolf. So even if you are sitting there at Book I, Chapter 4, this is still something you need to think about. Because being a successful writer isn’t about playing checkers. It’s all about chess, and looking a couple moves ahead, even if you’re stuck on moving out your pawn.

There’s a ton of advice out there on what’s called Second Novel Syndrome. Some of it is good. Some of it is dumb because as we’ve learned here, not every path is your path, Grasshopper, and advice is cheap and cheap anything is often bad.

Books are like kids. Some slip out easy. Some come out kicking and fighting only after months or years of labor. Your first book, like your first kid, is fraught with tension, tenderness, and outright terror. Oh God, what if I drop him on head? What if my kid is ugly and dumb? Should I switch him from Gerbers to Sprout Organic? The second book, if you’ve learned anything from the first experience, is more like second kid. It’s bath time and dinner! Ah, just set him out in the backyard in the rain with a handful of Cheerios.

Let’s go back to that one-trick pony. Because if you get hitched up with an agent or editor and they buy your book, the first question out of their mouths will be, “What else you got in your pipeline?”  The second question is “How soon can you get it to me?” This is because we are primarily talking about the mystery/thriller genre here and that means you have to be prepared to turn out quality on a regular (like annual) basis.

Even if you are self-publishing you must do this.  Especially if you are self-publishing, because you are going to have an even harder time of getting noticed, and the more real estate you occupy out there, the more often you can feed your readers, the better your chances.

Like my good buddy Jerry Healy said, you have to have more than one novel in you. You don’t want to Question Mark and the Mysterians. You want to be Elvis. Okay, that’s overly ambitious. You want to be Billy Joel. Or maybe Phil Collins but only after he left Genesis.

History is paved with the graves of one-hit wonders in every arena, from music to sports to tech inventions (like the guy who invented the computer mouse prototype and never came up with anything else.).  Maybe the saddest one-hit wonder was a guy named Harvey Bell. He was a graphic artist who created the smiley face in 1963 for an insurance company ad campaign. More than 50 million smiley buttons alone were sold in the 60s. Bell was paid $240 for his design and never hit it big again.

Music is filled with one-hitters. Rick Astley made a career of it. Here’s a whole list of musical one-hitters. Some of my faves are Wooly Booly, I’m Too Sexy by Right Said Fred, and Popsicles and Icicles by the Murmaids. And I have a soft spot in my heart for Funky Town.

In acting, there’s a term called the One-Scene Wonder. This is a character who has one good scene then disappears (not to be confused with a cameo or spear-carrier). My favorite One-Scene Wonder comes in Pulp Fiction when Christopher Walken tells a gross story about his father’s watch. There’s also a terrific One-Scene Wonder in Four Weddings and a Funeral when Rowan Atkinson, as the priest, keeps screwing up his lines.

Sports has its share. Joe Namath, Mark Fidrych and my favorite Ickey Woods, the Bengals running back who scored 15 TDs one season, had a hit dance with The Ickey Shuffle, then shuffled off to Buffalo. (actually, he got hurt and retired).

Which takes us back to books. Now any one of you out there can name a One-Hit Wonder in fiction, but the list toppers include Margaret Mitchell, Salinger, Emily Bronte, Boris Pasternak et al. If you want to know what the New York Times Bestselling One-Hit Wonders of all time are, click here where you find Richard Simmons sharing space next to Stephen Hawking.

This post today was inspired by synchronicity. My writer friend Rick Helms posted some advice on Facebook (and reminded me of Jerry Healy’s quote) on the same day I read a story about a writer named James Ross. I had never heard of Ross, but he published only one novel in his life, They Don’t Dance Much.  It wasn’t really a hit in in 1940. In fact, Flannery O’Connor, who met Ross at a writers conference, wrote to her agent to say, “Ross is looking for an agent. He wrote a very fine book called They Don’t Dance Much. It didn’t sell much.”  The book later became a cult hit, though, with the Washington Post calling it “a hardboiled gem.”

But I am not sure any one of us wants our one novel, gem that it is, discovered 35 years after its birth. So I really urge you to think now about book 2, 3…and 10. For what it’s worth, here’s some things I have learned along the way about this. Maybe it will help, maybe it won’t. But I offer it in good faith as someone whose first mystery came after her third finished (unpublished) manuscript and whose first published book didn’t sell for beans but whose second book is still selling (and got an Edgar nomination).

 

  • Don’t be shy about getting feedback mid-stream as you write. Whether from an editor, agent, critique group or trusted beta reader. Test the waters.
  • Don’t wait. Get going on your sophomore effort as early as you can. Literary folks can maybe afford the luxury of a Donna Tartt layoff. The rest of us, not so much.
  • Don’t write the same book twice. You have to have a flow of fresh ideas. But if you are writing a series, you have to have continuity between books and still be fresh with your second plot.
  • Don’t be afraid. Because you probably learned something from writing book one. You’ve improved. You’ll have some discipline and a better idea of your writing routine.
  • Do understand that you might make the same mistakes. Go back and read your first book and look for what you did wrong. (I did this and boy, what a lesson!) Don’t repeat your mistakes. Watch out for your “writer tics” and try to correct them before they become full blown bad habits. Like using “And then…” (one of mine)
  • Do understand that your second book might gestate and be born in a completely different way. You have to treat each in its way yet impose the same discipline upon your approach to it. (Back to that kids metaphor again, right?)
  • Do establish a deadline. A first book has the luxury of taking as long as it wants to finish. You can’t do that with a second book because if you want to be published, you have to be able to produce on a regular basis that might be at least a book a year. If you give yourself deadlines – daily, monthly, and final – you might have a chance of success. Stephen Fry said of second novels: “If I write my first novel in a month at the age of 23 and my second novel takes me two years, which one have I written more quickly? The second, of course. The first took 23 years and contains all the experience, pain, stored-up artistry, anger, love, hope, comic invention and despair of a lifetime. The second is an act of professional writing. That is why it is so much more difficult.”
  • Do know that second times are often the charm. Mike Connelly completed four manuscripts before he sent out his debut novel The Black Echo. Alice Sebold’s first book was Lucky, a raw memoir about rape survival. It got no attention. But her second book was The Lovely Bones.  You might have heard of it.
  • Don’t get discouraged if the first book doesn’t fly. Or even gets off the ground. Erosion of confidence is common after a first stab, especially if you didn’t get it placed with a publisher or got a lot of rejection. Well, you gotta toughen up. Maybe it wasn’t you the writer, maybe it was the story. It wasn’t fresh enough. It wasn’t unique. You didn’t quite have your craft under control. You put it out there before it was really ready. If you are knocked down by one blow, you will never be a writer.

Which leads me to one of my favorite One-hit Wonder songs of all time. Hit it, boys!

First Page Critique

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Today’s first page critique is a great example of a piece where the ‘voice’ is critical. It’s a stream-of-consciousness, first page narration which we don’t usually see. My comments, follow. Enjoy!

Lilly’s Tree

There’s always been something gratifying in watching Mama suffer, even if it was only a little bug of a thing, like Lilly locking a fist around a swatch of hair hanging from the twisty knot Mama kept her hair tucked into. Lilly would pull on it like she was the force of gravity. Mama’s eyes would tear up, and she’d let out a screech that sounded like a cat with its tail flattened underfoot. That was when Lilly was in the hair-pulling stage of babyhood, right after the biting stage and right before the pinching stage commenced. It did no good trying to restrain those little Houdini arms when they came at you. Once her fingers latched on, no amount of force would make her let go. You had to distract her. Look, Lilly, there’s the firststar shining up there in the sky or Lilly, let’s you and me get some strawberry ice cream. Mama didn’t catch onto that trick like I did. Instead, she’d go off like a struck match. She was never quick to look for the funny in something. Mama I mean, not Lilly. Just about everything had a chance of making Lilly laugh, even Mama.

Before the accident, or even before Lilly for that matter, it felt like Mama was tall as a tower when it came to watching over me. It had some to do with her being protective, I’m sure, but mostly it was because she had a suspicious nature towards me, especially after Tommy Baxter and the hickey incident when I was in sixth grade and the pack of cigarettes she found in my sock drawer last year. I overheard her telling Pastor Mike I was a highly impressionable girl and religious instruction was essential for the development of my good moral character. She was sure he’d start me right in the world. Mama had Pastor Mike visit with us every Sunday after service. He’d talk about matters I didn’t much understand or even care about, but it was pleasant listening to him all the same. The pastor would throw a smile in my direction every so often, even when he was up there behind the podium at church, and his smile would stretch right up to those blue-as-the-sky eyes. I held the belief it was a smile he reserved exclusively for me, which made it impossible not to smile right back.

My comments

This seems at first glance (at least to me) to be non-genre specific – it could be a literary, coming-of-age novel, or it could be a first-person narrated mystery or thriller. At this stage, the scene is set really for either – with enough references to possible paths (Lilly’s accident, the pastor…) to keep this reader guessing as to the novel’s direction. I thought the characterization was strong – even in this first page we get a strong image of Lilly, Mama, and the narrator’s personality.

It is heavily reliant on the success of the first person narrator and this voice is what will carry a reader through the entire story so it has to be perfect. All in all I think this voice is successful so far and, as a reader, I was pulled along and wanted to read more. That being said, there were times when the word choice used seemed out of sync with the overall tone (use of the words ‘gratifying’ and ‘commenced’ and the ‘Houdini’ reference seemed a little more sophisticated than the voice appeared to be (at least to me). One of the key elements of any successful first person voice is the consistency and authenticity of the voice so this would be my only caution to the author – make sure you fully inhabit this narrator and make word choices accordingly. At this stage we don’t know enough about the narrator, beyond her being about middle school age, to be sure, but the sentence structure and voice on this first page seemed chatty, childlike, and unsophisticated (to me it also sounded very Southern – but as an Australian I’m not very good at picking American voices in literature). There was also an undercurrent of something a bit darker which I liked. In fact, if anything I’d like to see more darkness (particularly when it comes to the Pastor – not sure why, but I’m already suspicious of him!).

There wasn’t much in the way of action or dialogue on this first page but I think this worked in this stream-of-consciousness style beginning. For me there was enough narrative pull and tension to keep me reading but other readers may have wanted something more dramatic on the first page.

TKZers, what did you think?

Let us know what comments you have on this submission and how this first page can be improved.

The Power of Decency in Fiction

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by James Scott Bell
@jamesscottbell

If you’ve been in my workshops or read a few of my writing books, you know about the “pet the dog” beat. The name is not original with me, but comes from the old Hollywood screenwriters. Blake Snyder changed it to “save the cat.” So pet lover-writers can choose their preferred metaphor.

I have refined the concept to make it something more specific than merely doing something nice for someone. In my view, the best pet-the-dog moments are those where the protagonist helps someone weaker or more vulnerable than himself, and by doing so places himself in further jeopardy. Thus, it falls naturally into Act 2, usually on either side of the midpoint.

I think of Katniss Everdeen helping little Rue in The Hunger Games. Or Richard Kimble in the movie The Fugitive, saving a little boy’s life in the hospital emergency ward (and having his cover blown as a result).

David Janssen as The Fugitive

And speaking of The Fugitive, I’ve been watching the old TV series starring David Janssen. The show was a big hit in the 60s, and after watching a few I came to see that a big part of the reason is the pet-the-dog motif in almost every episode. There usually comes a time when someone is in need of medical attention. Kimble, therefore, has a dilemma. He can help and give away his medical skills (leading to suspicions about his background). Or he can quietly walk away.

What do you think this decent guy does?

An episode called “Fatso” will serve as an example. It’s a particularly good entry, directed by one of the best of that rare breed, the female Hollywood director—Ida Lupino.

Kimble (now using the name Bill Carter) has hitched a ride with a traveling salesman who is fighting off sleep. For safety’s sake, Kimble takes the wheel into the next town. Unfortunately, an errant driver forces Kimble to swerve and rear end a parked car.

Knowing the local cops will soon be on the scene, Kimble tries to sneak away, but is nabbed by the sheriff and arrested for fleeing the scene of an accident. They take his prints. Kimble, sitting in the clink, knows it’s just a matter of time before they identify who he is.

Jack Weston as David in “Fatso”

He shares his cell with a sad sack, an overweight drunk named David (played by that reliable character actor of the time, Jack Weston). When the sheriff comes to release David, Kimble socks the lawman and knocks him out. He heads for the door. David begs Kimble to take him along. They hop a train, heading for David’s boyhood home.

Meanwhile, Lt. Philip Gerard (Barry Morse), who is always one step behind Kimble, gets the report based on Kimble’s prints. He flies to Kentucky where all this is taking place.

Kimble learns that David, who everyone calls “slow,” wants to see his estranged father, who is dying on the horse ranch where he grew up. David is full of fear because of his father’s disapproval. Something happened in the past that caused his father to throw him out.

Kimble and David arrive at the ranch and are met by David’s younger brother, Frank. This guy is a real jerk. He calls David “Fatso” and needles him about that terrible thing that happened.

Frank is also suspicious of Kimble. Why would a guy like this befriend a loser like David?

As the episode goes on, with Gerard getting closer and Frank feeding the local sheriff his suspicions, Kimble tries to help David. Knowing that the only way David can become whole again is to confront the past, not run from it. To gain David’s trust, Kimble admits he’s a doctor. He then walks David through the night that the barn burned down and killed several horses. David was drunk and alone on the farm, and everyone, including David, is convinced he set the fire.

But Kimble does some digging and finds out that Frank was AWOL that night from the local army base. He presents this evidence to David’s father and mother. They confront Frank. He confesses. He set David up to get him disowned and out of the will.

David’s father asks for David’s forgiveness.

It’s all very redemptive, but there’s one problem: Gerard has just pulled up to the house with the sheriff!

The mother, played with gusto by that wonderful character actress Glenda Farrell, sends Kimble out the back door and proceeds to delay the investigators.

In each show’s epilogue, as we see Kimble disappear into the night, we hear the dulcet tones of one of the great voice-over actors, William Conrad, giving an ominous send-off. In “Fatso,” he says: “A Fugitive has to watch his step. Every step he takes, every hour, every minute, every second, any move he makes might lead to Death Row. There’s no way of knowing in advance. There’s never any way of knowing.”

Thus, virtually every episode is built around Kimble, on the run, arriving in some locale where he manages to pick up a menial job, but then gets involved with another character who is having some life-and-death problem, too … and Kimble is in a position to help.

I say this pet-the-dog motif is the secret of the show’s popularity. David Janssen was perfect for the part. He does a lot of acting with his face—trying to appear innocent as the questions get more pointed; attempting to ignore someone’s troubles even as his core goodness makes that impossible.

The movie works in the same way, with a similar stellar acting job by Harrison Ford. There’s one moment that makes me smile every time. After Kimble saves the little boy’s life in the hospital, he’s confronted by a doctor (Julianne Moore) who had seen him checking out the boy’s X-ray. She calls security. Kimble races to the stairs and starts down, almost bumping into someone.

“Excuse me,” he says.

I love it! Even as he’s running for his life, he can’t give up his fundamental decency.

Why do we respond so strongly to this motif? It’s not hard to understand. In this life, which Hobbes described as “nasty, brutish, and short,” we long for decency, thirst for kindness, are grateful for compassion. Seeing it manifested in a lead character draws us to him, creates the bond that is one of the big secrets of successful fiction.

What are some of your favorite pet-the-dog moments in movies or books? Don’t you find yourself really drawn to characters who show compassion for the vulnerable?

Josecius and the Kitten

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Photo by Bing Han on unspash.com

By popular demand (okay, I had trouble of thinking of something else): here is another story involving a cat. Parts of the story will sound familiar but it is nonetheless true. This tai…I mean, tale, also has something to do with writing, believe it or not. Please bear with me.

In 1984 living I was living in a townhouse apartment, the back of which bordered a small woods. My unit was the sixth in a block of eighteen, nondescript from the others and generally quiet.

I was awakened early on a football Saturday morning by my sons, ages six and three, who insisted that I get up immediately. There was a scary noise, they said, outside at the back door. I came stumbling downstairs.  They were right. There was an unusual noise, all right. It was the sound of an animal in panic or pain. Or both. I opened the door and found a small kitten sitting there, making a loud and repetitive cry as it looked up at me. I bent down and saw that it apparently had been dumpster diving for breakfast. A chicken bone had splintered and wedged in its mouth across its canines. I sat down on the stoop, picked the kitten up, and put it on my lap. It continued to cry but displayed no fear of me as I gently opened its mouth and carefully pried the bone off of its teeth.

The kitten, overwhelmed with gratitude, bit me and ran off. I required a series of rabies shots and was sick for several days and never saw it again. But that isn’t what happened. No. It got off of my lap, rubbed figure eights around me, and then promptly ran into my apartment when I went back inside. I gently retrieved the kitten (with the help of my sons and our very jealous beagle) and put it outside. An hour later it presented a dead mouse at the back door. A few hours later a somewhat chewed robin was left at the front door. A series of similar grisly gifts appeared at irregular but frequent intervals over the next couple of days. Fortunately, I had a friend who was looking for a nice kitten. He adopted it. The kitten grew into a cat and lived to the age of nineteen. I would once in awhile stop over to visit. When I did so the cat, upon seeing me, would disappear outside and show up a half hour or so later with tribute in the form of a mouse, chipmunk, or squirrel. It apparently never forgot me.  Nor have I forgotten it.

I wondered for a long time why the kitten showed up at my particular door as opposed to someone else’s. There were any number of residences from which to choose. Why mine? I finally came up with a possible answer. About fifteen years ago I started shaving my head. I decided it was time when my hair became engaged in a follicle race to see whether each one would fall out or turn gray first. I discovered that I had a birthmark shaped like a catspaw on the back of my head. Go figure.

What does this have to do with writing? It’s simple. You are the cat. Your mouth is the story. The chicken bone is that story point that you get stuck on and just can’t get past. Find someone — a person to whom you normally go to in order to ask advice who will give you straight, no-nonsense advice in a gentle way — and ask them what to do. Don’t knock on their door early in the morning, screaming in distress. Wait for a decent hour and approach them. If they are of help to you, leave dead mice at their front door. Or, if you are otherwise inclined, mention them by name in your acknowledgements when you get published. They will tell their friends who will in turn buy your book, or at least read it. Your friends want to help you; sometimes they just need to be asked.

That’s all I got. Tell us, if you will and/or can, a cute animal story where you helped a creature in distress. Include what occurred afterward. In the alternative, please tell us a story about how going to a friend who got your story or novel unstuck and on the right track. Thank you.

 

Where to Start Your Story – First Page Critique – “Harm to Come”

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Jordan Dane

@JordanDane

Below is an anonymous submission of the first 400 words of a brave author’s work in progress. Read and enjoy. My feedback is on the flip side. Please comment with your constructive criticism. Thank you.

***

On the floor. Broken and alone.

The image had haunted Kit Paterson’s mind for days. No one should die alone.

Viewing Rachel’s crumpled body in her head was harsh enough. Seeing it for real would have been unbearable. Rachel, neighbor and friend, had been thirty-two, eighteen years younger than Kit.

A dog’s sudden barking sent Kit to the windows of her dinette. It wasn’t MuMu’s usual bark. This howl sounded angry.

Kit knew MuMu’s owners weren’t home. She peeked through the blinds to the backyard beside hers. While searching for the Bogarts’ shepherd-lab in the near-darkness, she noticed the next house over, Rachel’s house. A glow came from the living room in back. Kit was certain she’d turned off all lights after boxing Rachel’s possessions for the day. Apparently she hadn’t. She grabbed her keys from the kitchen counter.

Beneath a streetlight, Kit smelled the aroma of smoke in the brisk October wind. She smiled. Smoke from someone’s chimney made autumn official. She wrapped her cardigan close.

MuMu’s frenzied yowls continued.

Feral cats must be prowling the woods, Kit thought. Or maybe coyotes again. She increased her speed.

As she approached Rachel’s one-story home, brightness from the windows on each side of the battered front door caught her attention. The radiance wasn’t steady like a lamp’s. This light danced.

Fire!

Kit snatched her phone from a sweater pocket. She punched 911. The operator asked, “What is your emergency?” Kit shouted the situation.

A drought had dogged Atlanta since spring. What if the fire jumped to the Bogart’s property? To the woods? To the neighborhood behind? The fire station was only a mile away, but she couldn’t wait. MuMu agreed.

Kit tore across Rachel’s lawn, past the garage, toward the rear of the house, where she collided with two people dressed in black. The taller one shoved Kit away. He and the shorter figure dashed to the road.

Kit stood stunned, until the stench of smoke slapped her awake. She ran to the patio off the living room.

A coiled garden hose laid below a faucet, unattached. Kit’s fingers trembled as she placed its end to the spigot. After several attempts, she connected the fittings and spun the faucet wheel to the left. The smell of burning wood and fabric began to overwhelm. Kit covered her nose and mouth with a hand while MuMu crashed against the chain-link fence, raising holy-hell.

FEEDBACK:

I had to reread this one a few times before I got the picture of the action. The brief memory and back story introduction of Rachel’s death had me following a path in the action until I realized there had been a detour back to a barking dog and something happening next door. One of the best tips I ever received from another author—and I’ve certainly read about this tip here at TKZ—is to “Stick with the action.”

The brief flashback to the body of Rachel is too important to gloss over and it’s a distraction from what’s happening in the present. It reads like the dead body is immediately on the page until the reader finds out this is a flashback and back story at the same time. I almost want this story to start with the body and how Kit discovers her dead neighbor. That would sure raise the hair on my neck if the author can put the reader in the moment. Very creepy.

This submission doesn’t do that. It quickly jumps into a dog barking and a fire starting next door, another good place to start. Either could be pulled off effectively, but the combination of both of them gives me the feeling that this intro is rushed and neither approach has enough meat on the bone, so let’s flesh this out.

DEAD BODY START – If the author moved the start of this story back to when Kit first discovers her neighbor Rachel’s dead body, there would need to be a setting established to put the reader into it. Why had Kit gone next door? When did it start to get creepy and why? Picture a harmless reason to call on a neighbor until Kit sees a door cracked open. Stick with the action and draw the reader into every aspect of that frightening experience. Did she scare off the killer? How much did she see of the body?

From there, where would the author go? Kit questioned by detectives, reporters, and the intrusion into Kit’s life. What does it feel like to find a body of someone you knew well and considered a friend? Kit’s reaction might cause her to overreact when a dog barks the next night and she runs to find the house on fire.

The bottom line is that this story seems to have a beginning off the page and only hinted at in the first few lines. That raised questions with me as a crime novel reader. I wanted to know what Kit saw? The dog barking and the fire can be exciting, but what happened to Rachel?

DOG BARKING/FIRE START – If the author decides to start the story at the first sound of a dog barking, that can work, especially if when Kit goes to check on the fire, she finds Rachel’s dead body and the shadow of someone running from the house. Then it would be OFF TO THE RACES.

THE IMPORTANCE OF SETTING – Whether the author chooses to go with the dog barking or the dead body to start this novel, setting can help to titillate the reader’s senses and give meat to the bones of this introduction. This intro is a little sparse for me. Try answering these questions by writing a solution into the introduction and see how much better it will read. It’s important to tease the reader with all their senses to put them into the scene.

Setting Questions:

  • What time of day is it? The first hint of time is in the 5th paragraph where the author references it’s “near-darkness.” We have control over every aspect of this scene. Why not pick total darkness? Anyone setting fire to a house would want to do it under cover of darkness.
  • What is the weather? In the paragraph starting with “Beneath a streetlight,” there’s mention of a brisk October wind. Instead of making this fact add to the mood of the scene and foreshadow what’s coming, the author made the choice for Kit to smell wood burning in a fireplace and it made her feel good. So picture a cold wind making Kit think twice about going outside. It makes her uncomfortable and forces her to bundle up. She’s already at odds with the weather, but her curiosity outweighs the biting chill.
  • What does Rachel’s house look like? Does it foreshadow what Kit might find? If Kit found a body there, going back would make her relive the shock. How would that make her feel? A house where good memories used to be might be cast into a sinister feel if Kit found Rachel dead inside.
  • How does the barking dog react when Kit approaches? If Kit’s going because she’s worried about the strangeness of the dog’s bark, how does the dog react as she approaches? A frenzied dog yapping would put me on edge and cause my adrenaline to hit the red zone, especially if I thought someone lurked inside.
  • How can the setting layer in the feeling of anticipation that something bad is about to happen? Make the reader feel the ramped up tension by layering the dread of something about to happen. Hitchcock was a master at building the anticipation of something bad. He knew how to build and layer. Once the reader (or moviegoer) saw what was behind the door, the tension was gone.

TENSION-FILLED DIALOGUE – Kit is alone for this intro, except for when she calls 911. Instead of focusing on Kit’s side of the call, while she’s frightened and unsure what to say, the author only writes what the calm dispatcher says, “What is your emergency?”

The author also uses a “telling” way to express Kit’s emotion by saying ‘Kit shouted the situation.’ Showing is a more effective way to get the reader engaged and have a visceral reaction to the action in the scene.

Imagine what Kit is feeling and how she might report the fire or a dead body. Her heart would be racing, her adrenaline would be off the charts, and she’d be panting as she tried to find her thoughts. She might speak in short spurts and stumble over words or ramble. What the author envisions for this scene, focus on the most emotional aspect of it—that’s Kit.

PLAUSIBLE ACTION – Toward the end of this intro, Kit encounters two people dressed in black. One of them shoves her. Instead of Kit being fearful of these two people, she races for a garden hose. That didn’t seem rational to me. If I ran into two people who obviously were up to no good, I would be afraid for my life. I wouldn’t be worried about a garden hose. Let the firemen do their job with their big hoses. (Everyone knows they have big hoses.) How gutsy does the author want Kit to be? Does she fight these people? Chase them? There are options for her behavior, but grabbing the garden might be last on Kit’s list if she is a gutsy, smart character.

For Discussion:

  • What constructive feedback would you give to this author, TKZ?

The Darkness Within Him – $1.99 Ebook

FBI Profiler Ryker Townsend is a rising star at Quantico, but he has a dark secret. When he sleeps, he sees nightmarish visions through the eyes of the dead, the last images imprinted on their retinas. After he agrees to help Jax Malloy with a teenage runaway, he senses the real damage in Bram Cross. Ryker must recreate the boy’s terror in painful detail—and connect to the dead—to uncover buried secrets in the splintered psyche of a broken child.

Pushing Your Boundaries

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By J.T. Ellison

To prepare for an upcoming meeting, I’ve been looking at a few of my earliest books. Last night I was reading my debut, and it was somewhat frustrating. Now, I can see all the mistakes: the thought inversions inside paragraphs, how things start slowly because I was setting up all the characters, dialogue interruptions—typical rookie mistakes. Throat clearing, as I like to call it.

Then, I didn’t know these things. I had passion and verve for storytelling, but I wasn’t the professional writer I am now, not at all. Yes, I’m being rather hard on my debut self, but I’d love to take apart that first book and make it more in line with my later ones. Happily, it remains a fan favorite. These are tiny details readers aren’t going to fuss over. It’s just me and my overdeveloped sense of perfectionism.

Nineteen books later, I am a much stronger writer. I know how vital it is to get the story started immediately instead of worrying about setting things up. My voice is the same, but the stylistic choices have changed. I go for the impact immediately, don’t write nearly as flowery, work out the plots beforehand to assure the greatest story impact.

That’s what two million words and ten years does for a writer.

But it’s not enough, is it? It’s never enough. We want to learn and grow, to push ourselves. And to do that, you have to get better at your craft.

I liken this struggle to baseball. You can’t win the World Series every year. But if you have all the right components, you can make it to the playoffs regularly. That’s what I try to do. I try so hard to make every book the best I’ve ever written. I push all the boundaries, pull out all the stops, tweak and caress my story and my characters. I want the World Series every time, damn it, though sometimes that is out of the writer’s control. Life, the market, the world get in the way.

But the playoffs are achievable, if you work hard and never give up.

Every once in a while, that World-Series-possible book comes along. You pull together something new and different. A book that stands apart. These are the books that nearly kill you, that break every rule you’ve ever learned, that keep you up late, that drive you to the page daily. They help you level up your writing.

I’ve had three of these books. Three out of nineteen. Three books that I knew were the best work I had in me at the time. That I’d left everything on the page. The old “open a vein and bleed” adage stands true. When you leave it all on the page, it will show.

One of these three books comes out September 5. It’s called LIE TO ME, and I pushed every boundary I could with it. From structure to setting to topics and POV, I forced myself to take chance after chance to make it work.

Will it? I don’t know. Only the readers can truly affirm that for us. I do wonder if ten years from now, I’ll look at it and cringe. If I’ll see the mistakes, see the paths less traveled I should have taken.

Here are some suggestions for ways to level-up your own writing:

  • Read widely, in and out of your genre
    Though I write almost exclusively in the thriller world, I get some of my best ideas from reading YA fantasy. Fantasy world-building is an incredible guide to developing solid crime fiction. It gives you a new landscape to think about, and for me, that tends to jar loose all kinds of ideas on how to expand my own concrete universe. I also keep up with several brilliant crime fiction writers whom I greatly respect, to see how they grow over the years. Karin Slaughter, Lisa Gardner, and Daniel Silva come to mind. These are writers at the top of their game, and still getting better with each book. They are utterly inspiring to me, living proof it’s possible to grow as a writer.

 

  • Travel to new and interesting locales
  • This is writing 101, really, but putting yourself in the shoes of other people will truly allow you to explore different story ideas and expand your realities. Whenever I have a foreign locale in my books, I make a point to travel there while the book is being constructed, or during editorial. I’ve saved myself from major mistakes by doing this. Sometimes, the Googles don’t give you the best information. Plus, it is my firm belief you have to smell a city, taste its food, walk its streets, to get to its heart. It’s something no one but you can process and extrapolate onto the page, almost as important as the concept of voice.

 

  • Do some hands-on research
  • One of my books that leveled-up did so because I finally plucked up the courage to attend several autopsies. I write a medical examiner, and while I’d done a ton of research to make her character real––virtual autopsies, reading autopsy reports, detailed conversations with medical examiners and death investigators—it wasn’t until I stuck my head inside a chest cavity that I got a real sense for what my character’s job entailed. Hearing the saws, dissecting tissues, taking vitreous fluids, discovering the cause of death, it all changed me, and as such, changed my writing. The book I was working on came alive in so many ways when I had that textural context to pull from, and I still draw on those experiences to explore my character’s world. For my co-written FBI series, I visited the FBI in New York. For my homicide squad series, I did ride-alongs. New experiences are the easiest way to take a step forward in your work.

 

  • Get out of your comfort zone
  • If you only write first person POV, make a shift to close third. If your mired in past tense, switch to first. I literally just finished a novel draft that simply wasn’t working, because it was written in third close past tense. I shifted it to present tense and it was suddenly real, visceral, and lightning fast. Was it a lot of work to change 100k from past to present? Yes. But it was right for the story. Being lazy with your writing is a surefire way to get caught in a rut.

 

  • Move your series/standalone to a new locale, or spin off a character for a new storyline
  • My novels are mostly based in Nashville, Tennessee. There came a point, eight novels into the series, that it was getting rather hard to believe the characters were facing the same issues yet again. So I took the drastic step of spinning off a main character and moving her to another city. Bam! Immediately, the world grew larger, the canvas was broader, and I had a whole new set of people and locations to work with. This move probably saved my writing career, by the way… it breathed new life into a beloved but squarely mid-list series.

 

  • If you write series, try a standalone, and vice versa
  • When I got into publishing, series were all the rage. Now, standalones are wildly popular. The market shifts. Be willing to shift with it, and you could truly up your game. Now, this isn’t a recommendation to chase trends, not at all. You still need your own original, brilliant concepts. But if the market is clearly moving one way, and you stay put, you may see publishing stride ahead without you. Take a chance, and see what shakes out.

Have you written a book or story you feel elevated your craft? Do you have any leveling-up advice of your own? And for the readers, have you read one by a favorite author that’s a real standout?

So many thanks for having me on today! What an honor to speak to TKZ’s awesome audience!

J.T. Ellison is the New York Times and USA Today bestselling author of eighteen critically acclaimed novels, including LIE TO ME, NO ONE KNOWS, WHAT LIES BEHIND, and ALL THE PRETTY GIRLS, and is the coauthor of the “A Brit in the FBI” series with #1 New York Times bestselling author Catherine Coulter. J.T. also cohosts the EMMY® Award-winning television series A Word on Words.

Story Critique: Undertow Of Loyalty

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Photo purchased from Shutterstock

Today we are reviewing (anonymously) a first page of a manuscript written by another brave volunteer. I’ll add my thoughts at the end. Then, please share your reactions in the Comments.

UNDERTOW OF LOYALTY

Neil Henberlin rushed through the glass entrance doors of his company’s 20th floor corporate office, pushing them a little harder than necessary. The etched-glass door slapped his shoulder as it rebounded off the rubber door stop. The gong sound of the glass vibrations caused the receptionist’s head to pop up, lips pursed, eyes squinting. She looked at him as if she’d seen a ghost.

“Someone’s in my parking spot,” he said, as he leaned over the desk to look in his message slot. “No messages?”

The receptionist shook her head and said, “Ah… we weren’t expecting you.”

“Hmm. Why? I’m only late, not absent.”

“But…”

“I know, it’s Stampede Week. My hat and boots are in my office. I’ll change later.”

Henberlin noticed the receptionist’s white Stetson cowboy hat, denim skirt with a white fringe, and the red bull-rider boots. He nodded in approval, then turned in a hurry for the stairway and took off almost running. Taking the steps two at a time, he topped the stairs and walked past the corner office occupied by the Vice President of Sales. He hoped to get past without noticed. The VP’s secretary, wearing a straw cowboy hat, Western-cut blouse, jeans, and cowboy boots, happened to be exiting the office. She closed the door and turned to see Henberlin. Stopping dead in her tracks she said, “Neil?”

“Yeah, hi Geneva. I’m late for the sales training class. Don’t worry, I’ll be Western before noon.”

“Okay. Umm…”

But, too late—Henberlin raced by. He continued at a quick pace until he turned the corner and carried on to his office. Rushing in, he placed his PC carrier on a chair and turned, intending to hurry away, except the top of his desk caught his eye. Someone had cleaned and tidied it. No papers, none of his personal items, only the computer cables and the phone. A cardboard box sat on the floor beside the desk. No time now to figure out who had messed with his stuff, he’d promised Emmitt he’d tell stories to the sales training class.

He kept on moving to get to the classroom, knowing he was already late. Once he entered the training lobby, he crossed the small area and knocked on the only door from which he heard voices.

The door opened and Emmitt LeClare’s smiling face emerged. Emmitt, wearing a red and white diamond-checked shirt with double breast pockets, each with white pearl snaps, and a bolo tie, lost his smile the second he realized who stood before him.

“Neil?”

“Yeah. Sorry I’m late. Is it too late?

“No, no not at all.” Emmitt seemed at a loss for words. “It’s just, I wasn’t expecting you.”

My comments:

First paragraph

The gong sound of the glass vibrations caused the receptionist’s head to pop up, lips pursed, eyes squinting.

Breaking up a long sentence into shorter, punchier ones can add strength to a minor action sequence. For example, one could break up the preceding sentence as follows:

The reverberations of the glass caused the receptionist’s head to pop up. She squinted in my direction, her lips drawn into a straight line. “

Delete or revise the next sentence.

She looked at him as if she’d seen a ghost.

Cliches weaken prose. In this case, I don’t think you need to elaborate this minor character’s reaction.

Second paragraph

Neil’s dialogue here directly follows the receptionist’s reaction, possibly creating confusion over who is speaking. Instead of opening the paragraph with Neil’s dialogue, start with an action by him to “refocus” the scene on him, then add his dialogue.

I would also suggest punching up the language and breaking up the flow to add some tension.

“Some asshat’s taken my parking spot.” Neil leaned against  the desk to peer into his message slot. It was empty.

I started getting confused by the sequence flow at this point in the scene. Why does the fact that Neil had  no messages lead them into the revelation that the no one was expecting him? We need a hint of why he was so surprised by the empty messages box. (Question to consider: wouldn’t Neil’s name have been removed from his message box already?)

Edit and rearrange the sequence of some actions and dialogue to strengthen the flow of actions-reactions.

Belatedly, Neil noticed the receptionist’s white Stetson cowboy hat and denim shirt.

 

“I know, it’s Stampede Week,” he said, giving her cowgirl getup a nod of approval. “My hat and boots are in my office. I’ll change later.”

Use stronger, fresh language as much as possible.

“Hey Geneva, I know I’m late for the sales training class. But you watch. I’ll  be the Rhinestone Cowboy before noon.”

Trim down laundry list descriptions

The descriptions of the characters’ cowboy outfits seemed too lengthy. One or two words is enough to get across an impression. Overlong descriptive lists slows the pace and risks losing the reader’s attention.

Too many similar characters dilute the focus.

Neil has two encounters with similar-sounding receptionists. I suggest cutting the interaction with the second receptionist. Go directly to the encounter with Emmitt LeClare.

Maintain a consistent POV

The point of view gets fuzzy in the following paragraph. We should be seeing things from Neil’s point of view throughout the paragraph.

 Emmitt, wearing a red and white diamond-checked shirt with double breast pockets, each with white pearl snaps, and a bolo tie, lost his smile the second he realized who stood before him.

 

Character note

Neil seems a tad clueless in this scene. Anyone working in today’s corporate environment knows the axe could fall at any moment. I would think he’d react with alarm at the sight of his cleaned-out office?

General note

The writing here is solid and shows promise, but I think we need to get more of a hint about the type of conflict that will take place in this story. I think a stronger title would help–Undertow of Loyalty didn’t convey a sense of  what type of suspense readers can expect from this story.

I want to thank today’s writer for submitting this first page!

Your turn:

What are your thoughts and suggestions for the writer of today’s page? Please share your feedback in the Comments.

A Movie (that could be a clinic) for Novelists

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by Larry Brooks

While we don’t always agree on everything put forth here on Killzone (remember the “I don’t think writing can be taught” hypothesis?), I’m guessing we’re all on the same page with one thing:

We like movies. Maybe we even love movies. Because as authors, we like to observe, marvel at and learn from all forms of storytelling.

Not all movies, of course. Some we like just because of the popcorn. Others because they are adaptations of books we love. Which too often leads to us finding ways that the movie isn’t quite as good as the book that inspired it.

Not a problem with today’s writer-to-writer movie recommendation. This one is an original screenplay, and stands alone as its own example of iconic storytelling.

Today I’m tossing out a current movie for Killzoners because of the other reason we love them: good movies delivering a great story can teach us something about narrative exposition, characterization, dialogue and the power of place and setting (that is, if you believe that storytelling actually can be taught, if nothing else than through example, which I’m confident includes most of us).

This particular movie is a powerful two-hour workshop on all of these narrative fundamentals.

It’s called Wind River, starring Jeremy Renner in an Oscar-worthy turn as the hero (a Fish & Game enforcer who carries a chrome-barreled cannon of a rifle) and Elizabeth Olson (a rookie FBI agent), with a stellar supporting cast of very serious dramatic artists.

Place and setting are the first things you’ll notice. It’s set per the title, deep within a 185-stretch of Wyoming wilderness in the dead of winter among a largely Native American community, and you’ll swear you can feel a brisk chill in the theater once the house lights go down. The setting – both geographic and demographic – becomes a narrative framework that exerts its power on the story arc, as well… it’s fun to watch that happen, and it’s a clinic on how to do it, as well.

It’s a flat-out murder mystery, as gritty and raw and emotionally-resonant violent as it gets. And yet, the dialogue delivers the rare duality of pitch-perfection and jarring humanity. You might want to bring a hanky, because there are moments of writing so spectacular – and let’s acknowledge the partnership between writer and actor on this count – that will take the chill right out of the air and send you into a swoon of envy that only another writer might sense.

Notice the Prologue, too. It makes a solid case that Elmore Leonard (who hated them enough to include Prologues in his list of things that we should never do), has at last been proven wrong on that count.

And then notice how the writer wraps in the backstory (at the third act turn) to inform all the troubling questions that have kept the players up at night and the viewers on the edge of their seats.

All that credit goes to screenwriter and director Taylor Sheridan.

If you look him up you’ll think his mug shot looks more like a leading man than someone behind the camera, and if you read further into his bio you’ll see that he was indeed an actor on the cable hit Sons of Anarchy. 

Not an easy shift, as George Clooney continues to prove (the forthcoming Suburbicon is evidence to the degree of transitional difficulty).

But that’s not why Mr. Sheridan is Hollywood’s newest and hottest it boy. He’s already an Oscar nominated screenwriter, having penned last year’s Hell or High Water (with Chris Pine and Jeff Bridges), and before that, the well-reviewed Sicario (with Emily Blunt). Both of those are writer’s-movies, as well.

Oh, and the ending… that’ll rock your world.

Read the reviews for Wind River on Rotten Tomatoes (which scored it a very respectable 88/93; I’m thinking some of the very few naysayers just didn’t hear the poetry and angst in the dialogue) and see what they’re saying about this guy. This movie is the fulfillment of the promise of those first two scripts, and because he directed Wind River as well, this is someone we’ll be hearing a lot from going forward.

You can click on the trailer for the movie at Rotten Tomatoes, as well.

We should all strive to summon a hero with this level of complexity, courage, backstory and heart to our novels, especially in the mystery/thriller genres.

This movie just might help us do just that.

Enjoy. If you’ve seen it (or if/when you do), please share your thoughts here from your writerly point of view.

Two Writing Mind Tricks to Get You Rolling

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by James Scott Bell
@jamesscottbell

La Brea Tar Pits, Los Angeles

You know me. I’m a quota guy. I call that the best writing advice I ever got. It’s the reason I can look back over 25 years and see all these books lined up.

I write 6,000 words a week. I divide that into six days so I can take one day (usually Sunday) off. If I miss a day for some reason, I make up the deficit on the other days. Since 2000 I’ve kept a record of my daily, weekly, and yearly word count on a spreadsheet.

Every now and then I’ll have a week where I do very little writing, if any. I highlight those weeks on the spreadsheet and note the reason. One time it was pneumonia. Another time it was a week-long conference. Most recently it was a trip to Ireland with my wife and daughter. I give myself a pass in these instances.

Aren’t I nice?

Most days, however, I try to write first or second thing in the morning. If I can hammer out a “Nifty 350” or a “Furious 500,” the rest of the writing day is so much easier. Some days the words flow. Other days writing feels like trying to jog in snow shoes through the La Brea Tar Pits.

You all know what I mean.

After 25 years of this, I dare say I’m familiar with just about every mental condition of the writing life.

So today I want to talk about two mind tricks that will help you get going on days when those snow shoes are attached.

  1. Fifteen Minutes

In the current (October, 2017) Writer’s Digest, David Corbett interviews Michael Connelly. At the end he asked Connelly for his best advice for aspiring writers. Connelly said:

I’d pass along what I learned from Harry Crews, who was my creative writing teacher at the University of Florida. He said if you want to be a writer you have to write every day, even it’s only for 15 minutes. It was the “15 minutes” that hit home. You have to keep the story fresh in your mind; you can’t let it slip away.

A few days ago I was avoiding the blank screen. I remembered the Connelly quote. I looked at the clock and said to myself, “At 11 a.m., I will give fifteen minutes to writing.” That felt doable. It wasn’t a heavy burden.

So at 11:00 I sat down and started typing. I noticed it wasn’t long before I was into the story again. When I next looked at the clock it was 11:25 and I’d typed 654 words.

  1. The One-Inch Frame

This idea comes from Anne Lamott and her book on writing, Bird by Bird. She writes about having an empty one-inch picture frame on her desk.

It reminds me that all I have to do is to write down as much as I can see through a one-inch picture frame. This is all I have to bite off for the time being. All I am going to do right now, for example, is write that one paragraph that sets the story in my hometown, in the late fifties, when the trains were still running. I am going to paint a picture of it, in words, on my word processor. Or all I am going to do is to describe the main character the very first time we meet her, when she first walks out the front door and onto the porch. I am not even going to describe the expression on her face when she first notices the blind dog sitting behind the wheel of her car—just what I can see through the one-inch picture frame, just one paragraph describing the woman, in the town where I grew up, the first time we encounter her.

This has worked for me, too. If I bring my focus down to just one thing, and forget about the big picture that is an entire novel, it feels easier to accomplish. Invariably, after I fill that frame, I want to keep going. So I’ll write to another one-inch frame. After that I’m usually off to the races and the words flow again.

As Yogi Berra once said about baseball, “Ninety percent of the game is half mental.” The same goes for writing, especially if it’s something you want to do long term. That’s why I wrote a whole book on the mental game of writing.

Next time you’re stuck because you just don’t feel like clacking the keyboard, give yourself fifteen minutes or a one-inch frame. You can do that much, and you’ll probably end up doing much more.

So what about you? What tricks do you use to get yourself going when the going gets tough?