True story: some college students were touring a county coroner’s office. The tour included visit to an autopsy room, where a coroner and a diener were in the process of examining the body of a deceased unfortunate. The diener, with the students looking on, turned the corpse over and exclaimed, “Rut row!” The reason for this utterance was that the corpse had a tattoo of Scooby Doo inked into one cheek of his posterior. Gallows humor, indeed.
Scooby Doo is firmly ensconced in the American culture. The plot of each cartoon episode is very similar, with a crime occurring, Scooby and his pals investigating, and the villain of the piece being unmasked, literally, at the end. I think that I
first heard this type of climax referenced as a “Scooby Doo” ending during the second of the three climaxes to the film Bill & Ted’s Excellent Adventure. It has been a vehicle used in mystery novels long before that. There’s nothing wrong with it at all, except that 1) it sometimes doesn’t work and 2) sometimes it needs a little work. I ran across an example of the former several months ago while reading a thriller that was one of the many nephews to The Da Vinci Code wherein the protagonist’s adversary was running around killing people while wearing a tribal mask and attempting to obtain an instrument of antiquity which would permit him to destroy the universe. The protagonist got the mask off of the evildoer near the end and the book ended. “Rut row!” The book was okay, but the ending was a total disappointment.
That brings us to a book I read this week in which the author uses the Scooby Doo ending to great effect by taking the story a step or two beyond it. The author is the morbidly underappreciated Brian Freeman and the book is Season of Fear, the second and latest of the Cab Bolton novels. (Please note: it’s not quite a spoiler, but there’s a general revelation ahead. Read the book regardless). The premise is fairly straightforward. Ten years ago a Florida gubernatorial candidate was assassinated by a masked gunman, throwing the election into chaos. A suspect was identified, tried, convicted, and jailed. In the present, the candidate’s widow is running for the same seat when she receives a threatening note which purports to be from the same assassin. Indeed, he eventually turns up, and his identity is ultimately revealed in a grand unmasking. But wait. Freeman, after giving the reader enough action to fill two books and expertly presenting a complex but easy to follow plot, gives the reader more to chew on. Things don’t end with the revelation of the identity of the doer; instead, Freeman moves us a couple of more steps forward, revealing a potential unexpected mover and shaker who was a couple of steps ahead of everyone, including Bolton. This has the double-barreled effect of making the climax much more interesting and setting up a potential adversarial setting for Cab Bolton in a future novel. Nice work.
Again, Scooby Doo endings are okay. They’re fine. But if your particular novel in waiting has one, and seems to lack pizazz, don’t just take the doer’s mask off, or reveal their identity, or whatever. Take things a step further just as the curtain is going down, and reveal who is pulling the cord, and perhaps yanking the chain. It may be a character that was present throughout your book, or someone entirely new, or…well, you might even want to create a character and work your way backwards with them. But stay with the mask, and go beyond it.
So what say you? Have you read anything recently where the ending really surprised you, unmasking revelations or otherwise notwithstanding? Do you like Scooby Doo endings, in your own work or the work of others? Or can you do without them?
Oh, lest I forget… SCOOBY-DOO and all related characters and elements are trademarks of and © Hanna-Barbera. Rowwrr!
Reader Friday: Confession Time: Tell Us About When You First Wanted to Write
Book Sores
By Elaine Viets
Some bookstores are mad as hell at writers, and for good reason.
We writers still need bookstores. Even self-published writers like to see their work displayed on store shelves – at least the ones I know.
And bookstores need to fill those shelves with our pretty books.
So why is it so hard to make this work?
I used to be a bookseller, and a couple of members of the tribe told me why writers’ books may not make it onto their shelves. I’m not using their names because they spoke bluntly about the issues.
Here’s what booksellers want you to do:
(1) Give me a real new release.
An independent bookstore owner said, “I’m not interested in mysteries that authors have been trying to sell on their own for six weeks, but are still calling new releases. When your book is first out, bring it to me.”
(2) Give me time to display your new release.
Make sure your books are at the store in plenty of time. Either hound your publisher or personally deliver the books to the store. “For an April 1 release, I’ll need to have a copy of the book in my store by March 25,” an indie bookseller said.
(3) It costs money to stock your books.
“Many traditional publishers are charging restocking fees now,” the indie bookseller said. “So if your books don’t sell, my store loses money. Self-published books require paperwork and have storage, pickup and delivery problems. I don’t have to the space to keep them.”
(4) A fact of book selling life: Some local authors don’t sell in my store.
The authors are charming. Their covers are good-looking. “But their books don’t sell. I’ve had some authors’ books for a year and no one bought them,” he said. The big box stores would have returned those books months ago.
“I can display your books as a new release for two or three weeks, but if they don’t sell, I can’t afford to give those books shelf space.” If this bookstore isn’t the right fit for your work, look for one that can sell your books.
(5) A bookstore is a place to buy books – not a showroom.
“I’ve had people buy the books on Amazon – Amazon!” he said. “Then these same people come to hear the author at my store, eat my snacks and drink my bottled water and soda. Can they do that on Amazon? No!
“I’ve watched people in the audience take out their e-readers or their iPhones during the talk and order from Amazon. That’s why booksellers are starting to charge for signings.
“Authors, if you have a signing at my store, please ask your friends and fans to buy the book here.”
(6) Avoid the A-word.
That’s Amazon. A Barnes & Noble community relations manager told me this story:
“A customer wanted a local author to speak and sign books for her group. I gave her the names of several people I thought would be a good fit for her organization. We spent half an hour discussing various authors, and then I gave her their contact information.
“ ‘Now,’ I said, ‘when you get the author, how many copies would you like to order for your event?’
“ ‘Oh, I’ll get the books from Amazon,’ she said. ‘They’re cheaper.’ ”
Win a free hardcover. I’m giving away my first Dead-End Job Mystery that was in hardcover, “Murder Unleashed.” Enter to win by clicking Contests at www.elaineviets.com
Color Cues
I can see colors fine except when I have to write them in a story. Then I’ll say a character has brown eyes, is wearing a green top with khakis, and has her nails painted red. What is wrong with this picture? Rainbow colors don’t do justice to the myriad of shades out there. So how do you get more specific? Here are some helpful aids. Think in categories.
Jewels—pearl, amethyst, emerald, ruby, sapphire, jade
Flowers—rose, lilac, daffodil, lavender
Food—grape, cherry, orange, lemon, lime, cocoa, coffee, fudge, chocolate, blueberry, avocado, strawberry
Minerals—onyx, copper, gold, silver, malachite, cobalt
Nature—slate gray like a thundercloud, leaf green, walnut, coal, ivory
But sometimes my mind goes blank, and so I turn to the most creative resource of all—a department store catalog. You can’t get any more imaginative than this, whether it’s towels or tops or sweaters. Here are some descriptive colors from a recent newspaper insert:
Heather gray, apple green, aquatic blue, berry, coral, cornflower blue, charcoal, navy, banana, raspberry, tropical turquoise, sky blue, stone gray, violet, burgundy, claret, evergreen, marine teal, sand, ocean aqua, pewter, snow.
You get the idea. And so I’ve created a file listing descriptive adjectives under each basic rainbow color. Here is one example:
BROWN
chestnut, auburn, mahogany, walnut, hazel, fawn, copper, camel, caramel, cinnamon, russet, tawny, sand, chocolate, maroon, tan, bronze, coffee, rust, earth, dusty, mud, toffee, cocoa
Thus when I am stuck for a particular shade, I can hop over to my color chart and pick one out.
Colors descriptions also convey emotions. For example, mud brown, toad green, or cyanotic blue have a less pleasant connotation than chocolate brown, sea green or ocean blue. So choose your hues carefully to enhance a scene.
What’s your secret to describing colors?
Better Brainstorming…
Even If You Write Alone
“It is easier to tone down a wild idea than to think up a new one.” — Alex Osborn
I don’t know how you guys do it. Those of you who write alone, I mean.
I am blessed in that I work with a co-author, my sister Kelly. Our collaboration began more than 20 years ago and has lasted through 20-some books (counting the ones that didn’t get published). And while we have had our disagreements over the years, we have always understood the power behind the notion that two brains are better than one.
I want to talk today about brainstorming.
This came about because I was cleaning out my computer folders the other day. I have one folder I labeled BRAIN LINT. This is just a depository for all the stuff I can’t find a good place for but am too gutless to throw out. In this folder are still-born story ideas, pictures cadged from iStock that were meant to inspire, old newspaper articles about bizarre crimes and weirdos, and one completed manuscript that is so bad I keep it just to remind myself of how far I have come and how far I could fall.
When I was cleaning out the lint, I found one gem. It is a transcript of a story conference in 1978 between Steven Spielberg, George Lucas and Lawrence Kasdan. They were brainstorming about a possible movie. It didn’t have a title then, but it would eventually be made under the title Raiders of the Lost Ark. You might have heard of it.
Here’s just one exchange:
Lucas: We want to make a very believable character. We want him to be extremely good at what he does, as is the Clint Eastwood character or the James Bond character. James Bond and the man with no name were very good at what they did. They were very fast with a gun, they were very slick, they were very professional. They were Supermen.
Kasdan: How do you see this guy?
Lucas: Someone like Harrison Ford, Paul LeMatt. A young Steve McQueen. It would be ideal if we could find some stunt man who could act.
Spielberg: Burt Reynolds. Baryshnikov.
Kasdan: Do you have a name for this person?
Lucas: I do for our leader.
Spielberg: I hate this, but go ahead.
Lucas: Indiana Smith. It has to be unique. It’s a character. Very Americana square. He was born in Indiana.
Kasdan: What does she call him, Indy?
I still can’t get the image of Baryshnikov in a fedora out of a mind. But that was how Indiana Jones was born, out of a brainstorming session between three creative guys. What a strange word – brainstorming. Ever wonder where it came from?
Well, in 1919, Alex Osborn, an ex-newspaper man from Buffalo, joined with Bruce Fairchild Barton and Roy Sarles Durstine to form the hugely successful BDO advertising agency. Osborn went on to write many books on creativity but he’s the one who coined the term “brainstorming.”
Nowadays, “brainstorming” is a catch-all for any type of creative group grope. But I thought it might be interesting to go back and see what Osborn had to say about it back in 1953 and find out if it could help writers today. Well, guess what? It’s still good advice, whether you are collaborating, working in a critique group — or even flying solo.
Here’s my main take-aways from Osborn’s ideas on brainstorming.
1. Think up as many ideas as possible regardless of how ridiculous they may seem. It’s unlikely you’ll get the perfect solution right off the bat, so he recommends getting every idea out of your head and then go back to examine them afterwards. An idea that may sound crazy may actually turn out to work with a little modification.
Doesn’t this make sense when you’re plotting? I know when Kelly and I talk, we throw everything on the wall. You need to take the same approach with yourself. Write down every idea and let them bake for a while. Sometimes, the most outrageous thing leads to something useful.
2. Don’t be judgmental. All ideas are considered legitimate and often the most far-fetched are the most fertile. Ideas can be evaluated after the brainstorming session but judgments during the process should be withheld.
Are you sometimes too hard on yourself? Do you think, “Oh, that’s so stupid, no editor will ever buy it.” Or maybe you are a self-doubter, telling yourself, “I don’t have the chops to try this technique.” Or: “This is a great idea but it’s so complex so I won’t even try.”
3. Go for quantity not quality. Don’t get hung up (like I often do) on coming up with the most clever solution to your writing problem. Let your brain waves flow so the bad stuff bobs up to the surface along with the good. Osborn said: “Creativity is so delicate a flower that praise tends to make it bloom while discouragement often nips it in the bud. Forget quality; aim to get a quantity of answers. When you’re through, your sheet of paper may be so full of ridiculous nonsense that you’ll be disgusted. Never mind. You’re loosening up your unfettered imagination—making your mind deliver.”
Osborn’s books were geared more toward corporate types trying to get their teams to think more creatively on things like how to get traffic flowing better in big cities. But take a look at his suggestions for improving creativity and see if there’s not something here for us mere writers:
1. Break up the problem into smaller pieces. For writers, this can mean tackling each plot or character problem as manageable bites, not getting overwhelmed by the idea that you’ve got 400 pages to fill. Get that first draft written then go back and fix your plot holes or layer your characters better.
2. Search for alternatives. If you’ve painted yourself into a plot corner, look for a different way out than the old ways.
3. What can be borrowed or adapted? Read other writers and learn from them.
4. Modify with new twists. There aren’t many new plots in crime fiction but there is always a way to put your own fresh imprint on them.
5. Is there something that can be magnified or minified? Maybe the stakes in your thriller aren’t high enough. Maybe you need to play down a secondary character who is overshadowing your hero. Are you larding in too much research?
6. What can be substituted? Maybe if you changed your location the story would suddenly come alive. Would your mystery work better in a small town where you could exploit the English village dynamic? Is your setting banal and underwritten? Are you hitting all the wrong clichés if your book is set in Paris or some other iconic place?
7. What can be re-arranged? Maybe you’re writing in the wrong point of view? Try switching from first to third. Or maybe the guy you think is your hero is really the bad guy?
8. Consider the vice versa. I love this one. Do just the opposite of what you are now doing. Is your protag male? Switch gender! Are you relying on tired character tropes (lonely alchoholic PI, sweet antique store owner who solves crime). Make your brain do a 180 and examine what is on the flip side. I did this with my latest book. The woman I thought was my protag turned out to be one of two in a dual-protag parallel theme story.
Okay, enough lessons. Let’s end by going back and eavesdropping some more on the Indiana Jones brainstorm session. CLICK HERE to read the whole thing.
Lucas and Spielberg started with the idea that they wanted to make a movie that was like old Republic serials of the Thirties (Zorro, Dick Tracy, Red Ryder). Something had to always kept happening, every ten minutes or so another cliff-hanger situation. From there, the guys dreamed up Indiana Smith and other elements. In the beginning, even the ark was just a MacGuffin.
Lucas: The thing is, if there is an object of antiquity, that a museum knows about that may be missing, or they know it’s somewhere. He can go like an archeologist, but it’s like rather than doing research, he goes in to get the gold.
Spielberg: His main adversaries will be the Germans?
Lucas: Yeah, I think they should be. I’ve been trying to move him around the world a little bit to see if we can’t get a little Oriental influence into it just for the fun of it. I may have fit it in. The fun thing is, he’s a soldier of fortune, so we can move him into any sort of exotic thirties environment we want to.
Spielberg: Keep him out of the States. We don’t want to do one shot in this country.
Lucas: The film starts in the jungle. South America, someplace. We get one of these great scenes with the pack animals going up the mist-covered hills. Very exotic mist-filled jungles and mountains.
Spielberg: Where he goes into the cave?
Lucas: This is where he goes into the cave. We had it where there’s a couple native bearers, whatever, and sort of a couple of Mexican, well not Mexican…
Spielberg: They’re like Mayan.
Lucas: They’re the third world local sleazes…[LATER] He goes into this very sleazy Casablanca type club and makes contact with this agent. The agent is a girl. She’s sort of a Marlene Dietrich tavern singer spy. A German lady singer. She’s really a double agent.
Spielberg: I like the idea that she’s a heavy drinker and our hero doesn’t drink at all. She gets drunk a lot. She’s beautiful and she gets really sexy when she’s drunk, and silly. And he doesn’t touch the stuff.
Lucas: I don’t want to soften her. I like the fact that it’s greed. I like all the hard stuff, but you’re going to love her.
Spielberg: There should be a real slimy German character. He’s the only gestapo involved there. Every time you see him, you know it’s going to be the worst pain, death by torture. This guy looks like a ferret. He’s got that slick black hair. His name is Himmler or something like that. He’s a stocky short guy, a master torturer.
Lucas: What can he chase them with? What if he jumps on a camel?
Spielberg: I love it. It’s a great idea. There’s never been a camel chase before.
Lucas: Is this camel going to chase a car?
Spielberg: You know how fast a camel can run? Not only that, he can jump over vegetable carts and things. We still have the big fight in the moving truck to do. And now we have a camel chase.
Lucas: We’ve added another million dollars.
Spielberg: Not really. How much trouble can a camel be?
And then they talk about the big scene toward the end where Indy and Marion are tossed into that deep tomb and the bad guys cover it up with a rock. They’re trying to figure out what is in the tomb that’s dangerous and how Indy gets out. They decide there is a huge artesian well that opens up and he and Marion are in danger of drowning. Then somebody suggests there are also wild animals in the tomb, like tigers.
Spielberg: It would have to be a neighborhood tiger.
Lucas: There aren’t any tigers out there.
Spielberg: I’m not in love with the idea.
Lucas: You could have bats and stuff, make it slightly spooky.
Spielberg: What about snakes? All these snakes come out.
Lucas: People hate snakes. Asps? They’re too small.
Spielberg: It’s like hundreds of thousands of snakes.
Lucas: When he first jumps down in the hole, it’s a giant snake pit. Then when he says they’re afraid of light, they throw down torches. You have a whole bunch of torches that keep the snakes back. So he only has one more torch, and the snakes start coming in. He sits there with one torch, knowing that when the torch goes out… It’s the idea of being in a room, in a black room with a lot of snakes. That will really be scary.
Spielberg: The snakes are waiting, looking at him. Thousands. And the torches are burning down. He’s trying to keep it going. The torch goes out. The whole screen goes black. The sound of the snakes gets more intense. You hear him backing up. The camera pans and suddenly you see, it’s black, but there’s light coming from several cracks. It’s not completely black. That leads him to an opening. To a rock that isn’t so flush against the other rocks. He knows there’s access. He keeps pushing on it, he gets a little more room.
Lucas: We shouldn’t have any snakes in the opening sequence, just tarantulas. Save the snakes for now.
Spielberg: It would be funny if, somewhere early in the movie he somehow implied that he was not afraid of snakes. Later you realize that that is one of his big fears.
Lucas: It should be slightly amusing that he hates snakes, and then he opens this up, “I can’t go down in there. Why did there have to be snakes? Anything but snakes.”
Now, aren’t you glad they didn’t go with the tigers?
Create a Fascinating, Believable Antagonist
Jodie Renner, editor & author @JodieRennerEd
For a riveting story, be sure to challenge your hero – or heroine – to the max. Readers need to be constantly worrying about him. Which means his life is in upheaval and he’s struggling, dealing with increasing conflict in the form of serious opposition or threats. One or more forces of opposition should threaten the protagonist or stand in the way of his goals.
Challenges don’t need to be in the form of an actual character. They can be some other kind of opposing force or idea, like a fear, phobia, prejudice, or handicap that is preventing the character from reaching her goals.
The main threat in fiction usually comes in the form of an antagonistic character, who isn’t necessarily a murderous villain. Other determined opponents include romantic rivals, “mean girls,” schoolyard bullies, competing colleagues, or sports rivals.
Antagonists can also fall into a gray zone of opposition characters who aren’t really evil, just at odds with the protagonist we’re rooting for. They can be fascinating too, as we don’t know if they’re going to change sides, so they’re often unpredictable. A few examples include the Tommy Lee Jones character chasing Harrison Ford’s character in the movie The Fugitive and Sheriff Teasle in First Blood, who is after our hero, John Rambo. Or how about Han Solo from Star Wars? Not a villain, but not a good guy, either. He sparks things up though, doesn’t he? We wonder whether these somewhat likeable or understandable bad guys could switch sides at any time.
To pose a credible, significant threat and cause readers to worry, your antagonist should be as clever, powerful, and determined as your protagonist. Challenges and troubles are what make your main character intriguing, compel her to be the best she can be. They force her to draw on resources she never knew she had in order to survive, defeat evil, or attain her goals.
For today’s post, we’ll assume your antagonist is a villain – a mean, even despicable, destructive character we definitely don’t want to root for. He needs to be a formidable obstacle to the protagonist’s goals or a menace to the hero’s loved ones or other innocents. And thrillers, fantasy, and horror require really frightening, nasty villains.
Most of the bad guys in movies and books want the same thing: power. Or maybe revenge or riches. And they don’t care who gets hurt along the way. Or worse, they enjoy causing pain, even torturing their victims.
The antagonist needs to be powerful, a game-changer. As Chuck Wendig says in his excellent blog post “25 Things You Should Know About Antagonists,” “The antagonist is there to push and pull the sequence of events into an arrangement that pleases him. He makes trouble for the protagonist. He is the one upping the stakes. He is the one changing the game and making it harder.”
The protagonist and antagonist have clashing motivations. Their needs, values, and desires are at odds. The antagonist and protagonist could have completely opposite backgrounds and personalities for contrast – or be uncomfortably similar, to show how close the protagonist came or could come to passing over to the dark side.
Most readers are no longer intrigued by “mwoo-ha-ha,” all-evil antagonists, like Captain Hook in Peter Pan. Unless you’re writing middle-grade fiction, be sure your villain isn’t unexplainably horrid, evil for the sake of evil. Today’s sophisticated readers are looking for an antagonist who’s more complex, realistic, and believable.
Chuck Wendig suggests antagonists should be depicted as real people with real problems: “People with wants, needs, fears, motivations. People with families and friends and their own enemies. They’re full-blooded, full-bodied characters. They’re not single-minded villains twirling greasy mustaches.”
For a believable, fascinating antagonist or villain, try to create a unique, memorable bad guy of a type that hasn’t been done to death. Try to give him or her an original background and voice.
Remember that the antagonist is the hero of his own story. He thinks he’s right. He justifies his actions somehow, whether it’s revenge, a thirst for power, ridding society of undesirables, or payback. He may even feel he has a noble or just goal, as in the serial killer of prostitutes.
To create a worthy opponent for the protagonist and a realistic, believable, complex antagonist, get into his mind-set. Ask yourself these questions:
- What does the antagonist want or need?
- Why is he determined to go after it?
- What drives the antagonist? Greed? Revenge? Hatred? Anger? Hurt?
- What is his biggest motivation? To avenge past wrongs? To gain ultimate power?
- Who does he want to suffer or lose out? Why?
- How does he justify his actions? What does he tell himself?
Now create a backstory for your antagonist. Most of it will not show up in your story, but you need to get a handle on what makes him tick to ensure he acts in ways that are in keeping with his background.
Develop his voice. As you do for the protagonist, you can write a free-form rant, where he goes on and on about why he hates someone or something, wants to get revenge, needs to find and kill certain people, and so on.
Show his justification for his goals and actions. Why does he think he’s right and justified in his actions? This will create a more believable, more determined bad guy.
Perhaps identify at some point in your narrative a flashback or allusion to an experience that shows the antagonist as a victim – abused or neglected, treated cruelly by family or others in power. This can create a spark of sympathy while also potentially foreshadowing a particularly nasty incident. (Thanks to thriller author Tom Combs for this suggestion.)
Write some scenes purely from the antagonist’s point of view, away from the protagonist, so readers can find out what makes him tick and how twisted he is. This also creates reader concern for the protagonist, which is always a good thing.
Make him scary, a force to be reckoned with, but not all-powerful, as that’s unrealistic. Give him a few weaknesses, too.
And for added complexity and dimension, take it one step further by showing a human side of the antagonist, something readers can actually relate to, might be afraid they could also fall into. That amps up the tension and reader involvement.
So to create a fascinating, believable antagonist or villain, try to make him or her unique. Delve into their background, find out the goals and motivations that drive them forward. Get into their mind and try to understand them. How do they justify their actions?
Give us a complex villain we love to hate – or a gray antagonist who makes us squirm!
TKZers – Who are some powerful villains who made you shiver in novels or films?
– And what about your favorite “gray” antagonists or anti-heroes?
And for a future article, what do you think about all the gray protagonists or anti-heroes cropping up in novels, movies, and TV shows, like Nick in Gone Girl and Walter in Breaking Bad? Do you welcome that trend toward a flawed, unlikeable protagonist? Or do you yearn for more admirable, ethical, heroic heroes to root for?
Jodie Renner is a freelance editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling Fiction: Fire up Your Fiction, Writing a Killer Thriller, and Captivate Your Readers.
Where Do You Get Your Ideas?
Authors who’ve been around awhile, and have more than a few books out there, are often asked two questions.
The first is, “Where do you get your ideas?”
I like how Harlan Ellison used to answer that: “There’s a swell idea service in Schenectady. Every week I send them twenty-five bucks, and every week they send me a fresh six-pack of ideas.”
Every now and then someone would ask him for the address of the service, and Harlan would do to that person what Harlan always used to do all such folks, i.e., not suffer them.
The other question we’re asked is, “Which book is your favorite?”
The answer is complicated. There are books we love because we worked so hard on them. Others because they were so much fun to write. And still others because they helped pay the mortgage.
But when I am asked about a series, I pause a moment, then name my legal thrillers featuring Ty Buchanan. They originally came out in beautiful hardcover editions, then trade paper.
As Seinfeld would say, yadda yadda yadda, I am pleased to report that I’m now releasing all three books in new digital editions. And to celebrate, I’m pricing each one at $2.99 for this kickoff period.
Allow me to tell you how I got the idea for the series, and indeed for each book. It started with my regularly scheduled “creativity time.”
Back when newspapers existed, I would read either the L.A. Times or the L.A. Daily News, and one legal newspaper, the L.A. Daily Journal. I’d scan for interesting stories or legal issues, and clip them and throw them into a box. Every now and then I’d go through that box, seeing if the ideas still interested me.
One item kept vying for my attention. It was a tragic story about an L.A. man who shot his young wife to death, then drove to a freeway overpass, got out, shot himself, and fell 100 feet to the freeway below. He crushed a Toyota, killing the driver. How bizarre is that?
So one day I wrote this up as an opening scene. When I got to the part about the woman being killed, I made up a character: Jacqueline Dwyer, a twenty-seven-year old elementary school teacher.
And then I paused, switched to a First Person POV voice, and wrote:
This would have been simply another dark and strange coincidence, the sort of thing that shows up for a two-minute report on the local news—with live remote from the scene—and maybe gets a follow-up the next day. Eventually the story would go away, fading from the city’s collective memory.
But the story did not go away. Not for me. Because Jacqueline Dwyer was the woman I was going to marry.
Who was narrating? That’s how Tyler Buchanan was born. I made him an up-and-coming, hotshot lawyer with everything going his way, until this. And especially after a shady guy finds him and tells him Jacqueline was still alive after the crash … and someone murdered her.
That book became Try Dying.
Book #2, Try Darkness, was based on a story I clipped from the legal paper. It was about illegal evictions from downtown transient hotels. There was a trick landlords were using to get around the law, so I made one of fhs evicted a mother with a six-year-old daughter, who comes to Ty for help. And then she turns up dead, and the plot, as they say, thickens.
The last book in the trilogy is Try Fear. Again, this came out of a real story I clipped. One Christmas season the LAPD stopped a very large man on suspicion of driving under the influence. He was about 6’5”, 280 pounds. He was also wearing nothing but a Santa hat and a G-string.
I found myself thinking, This has to be Ty’s next client. So that’s how Try Fear begins.
The reviews were kind. Please allow me to toot two small horns:
“Engaging whodunit series … Readers will enjoy Bell’s talent for description and character development.” –– Publishers Weekly
“The tale equally balances action and drama, motion and emotion. Readers who pride themselves on figuring out the answers before an author reveals them are in for a surprise, too. Bell is very good at keeping secrets. Fans of thrillers with lawyers as their central characters—John Lescroart and Phillip Margolin, especially—will welcome this new addition to their must-read lists.” — Booklist
I’ve been asked many times if I might add another book to this series. I’ve considered it, but I also think the series ends in exactly the right spot, with exactly the right scene, and indeed, even the right line. I am hesitant to mess with that. But if you do decide to read all three books, I would love to hear what you think I should do!
The books are on Kindle and Nook, and soon will be on Kobo and in print. If you want to know when, you can subscribe to my email alerts and I’ll be sure to let you know.
KINDLE:
Try Dying – Ty Buchanan Legal Thriller #1
Try Darkness – Ty Buchanan Legal Thriller #2
Try Fear – Ty Buchanan Legal Thriller #3
NOOK:
Try Dying – Ty Buchanan Legal Thriller #1
Try Darkness – Ty Buchanan Legal Thriller #2
Try Fear – Ty Buchanan Legal Thriller #3
Now we turn to you, TKZers. What is your favorite way to get ideas? And have you ever been to Schenectady?
Reader Friday: Who Would Play YOU in a Movie of Your Writer Life?
HERE is a link of the 50 best movies about writers, ranked, that inspired this post:
1.) If you could cast the movie of your writer life, who would play YOU in the starring role?
2.) Who would play your agent?
3.) For those overachievers out there (ie Basil Sands), what would your story log line be for the plot?
What A Freelance Editor Brings to the Table
Jordan Dane
@JordanDane
Editor: Mary-Theresa Hussey
My guest today is my favorite editor (for my Young Adult books at Harlequin Teen), Mary-Theresa Hussey. Her passion for books shows in everything she does. I love collaborating with her. She has a meticulous eye for detail, but her true strength lies in her realistic understanding of character motivation and the emotion of a story. I’m proud to have her as my guest today at TKZ. Welcome, Matrice!
***
So you’ve written your book shared it with a critique partner, revised it, set it aside for a bit, revised it once more and are ready for the next step. Your mother, friend and sister love it and think it’s perfect.
What’s next? Well, it does depend on your goals for that novel. Do you want to find an agent? A publisher? Self-publish it? Go Indy? Do you want to share it with a few people or the wider world?
If you’re aiming at an agent or publisher, you might feel it’s in solid shape and you’ll wait for those professionals to give feedback and direction. That can be the right route if your project fits in with their goals as well.
However, if you haven’t gotten many bites, or you want to go indy, then you might want to investigate working with a freelance editor. The editor might help pinpoint some areas that will capture that agent/publisher or else give you the confidence to self-publish yourself. Freelancing can be hard for anyone who decides they are interested in going down that path. But knowing that various aspects like the finances can be handled with a simple invoice template, this means one less aspect to think about. You’ll have more time to focus on what you love to do, which is writing.
Luckily there are some places where you might be able to get the resources you need to help you along with your freelance career, for example, using an invoice template could be a good way of keeping on top of your clients.
So what does the freelance editor bring to the table?
She represents the reader in the bookstore or booksite, the ones who will pay to read your book—and hopefully all the ones after that!
She is not your friend or critique partner who listened to you talk about all the characters and plot and goals. If it’s not on the page for her, she’s going to question it and ask why—or why not.
She has not been in your mind to understand the motivations or conflict or themes. Though you don’t need to hit the reader over the head, sometimes you’ve got to explain the elements that you know but the reader doesn’t have a clue about.
She doesn’t love your darlings in the same way, and will tell you to cut or trim or toss as needed.
She’s caring but dispassionate. She’s looking for what will make the best story and draw that reader to the end. She won’t aim to hurt your feelings, but will challenge you on what makes a better novel.
She should be reading the manuscript that you’ve polished, gotten feedback on and are confident is ready to go, not the first draft. Have it in as strong as possible a shape so it’s better for both of you.
She should also have a knowledge of and appreciation for the genre you’re writing in so that the notes are targeted to your goals, not her own ideal book.
She has a strong sense of grammar, of rules, and knowing what to encourage as your voice and when to rein in flights of fancy.
She may, depending on the agreement, be able to give you feedback on titling, copy and other material. But that can be an editor specific element.
Most important, depending on your needs, you might want a development editor, line editor or copy editor. Make sure you know what you want and hire the right person at the right stage! Some editors are especially talented in one area or another. Make sure you’re getting the right person for you at the right time.
The Developmental Editor is looking at the big picture of pacing and structure and characterization and plot. She’s not going to focus on grammar or eye color or such, but is looking at the overall goals of your story and how you are achieving them.
The Line Editor will probably note specific areas where pacing or structure or characterization needs to be tweaked, but hopefully all those elements will have been addressed. She’s going to be looking at the specifics of reading the manuscript, looking for errors in fact and name and restructuring sentences. She does read it line by line to see if the author has expressed herself as clearly as she could.
The Copy Editor focuses on the details. She will know what all the characters names are, and their relation to each other and probably hair and eye color, but isn’t going to ask if the pacing is too slow. She’ll fix all the grammar issues and typos, but won’t comment on inconsistent characterization—unless the character is misstating facts between chapters. She’ll find the typos but won’t question the plot (unless you have your character walking out of the room twice—that she’ll notice!).
An editor—freelancer or not—will wear many hats, but there are some things she probably won’t do.
She’s not a writing teacher. She won’t teach you the ins and outs about craft. She should be able to point out the errors and why something would be better in another form, but it probably won’t lead to hours of one-on-one discussions about the reasons behind your choices and her corrections.
Since she probably won’t take the time to teach you how to write a better story, she’s also not going to (depending on the agreement) rewrite the book. She’s working with your words and making suggestions, not rewriting everything herself. She’s certainly planning on helping improve the story, but it’s your writing that is the base of it all.
Along those lines, she may or may not be a writer herself. If it’s important to you one way or the other, check that out first! It can be incredibly helpful at times to have an editor who is a writer, but sometimes not.
The freelance editor is not a publisher. She probably knows a bit about self-publishing and has picked up information on metadata and ISBNS, but it will be the author’s responsibility to work through the process.
She’s also not likely to be a miracle worker. No editor can guarantee the book will be picked up by an agent or publisher or become number one on the bestseller list. What she can strive for to the best of her knowledge and ability is that all the elements that make a stronger story have been reviewed and addressed and there are minimal errors of grammar and typos in the story.
Naturally, I think a good editor brings a lot to the table, but the author has to do the work first and understand her own goals for the project. It’s best if you are both on the same page going in, so you end up in the strongest possible position at the end of the revision/edit. In the end, it’s the author’s name on the book, and the author who stands behind her words.
So what are you looking for in an editor? Any good or bad experiences? Do share what you can.
Matrice
After a long editorial career at Harlequin, Mary-Theresa Hussey is now offering her years of experience to authors and industry professionals as a freelance editor. She’s passionate about books and good stories–and she wants to be sure that they are well told. Check out her site at www.GoodStoriesWellTold.com
Do Your Homework
By Joe Moore
@JoeMoore_writer
You’re writing a novel. Maybe you’ve even finished it. Congratulations. The hard part is over, right?
Wrong.
First, you need to define your audience. It’s important that you know what type of person or group will go out of their way to find and pay to read your book. What are the characteristics of your target reader such as their age, gender, education, ethnicity, etc. Is there a common theme, topic or category that ties them together? And even more important, what is the size of your target audience?
For instance, if your book is a paranormal romance set in the future in which the main characters are all teenagers, is there a group that buys lots of your type of book? If not, you might need to adjust the content to appeal to a broader audience. Change the age of the characters or shift the story to present day or another time period. If your research proves that a large number of readers buy books that fall into that category, making the adjustment now could save you a great deal of frustration later.
Next, you need to define your competition. Who are you going up against? If your book falls into a specialized sub-genre dominated by a few other writers, you might have a hard time convincing a publisher that the world needs one more writer in that niche.
The opposite problem may occur if your genre is a really broad one such as cozy mysteries or romance. You’re going to have to put a unique, special spin on your book to break it out of the pack. Or accept the fact that the genre and your competition is a wide river of writers, and you only hope to jump in and go with the current. Either way, make the decision now, not later.
The next issue to consider is what makes your book different from all the others in your genre. Do your homework to determine what the characteristics are of books that your potential audience loves. This can be done online in the dozens of Internet writer and reader forums. And you can also do the research by discussing the question with librarians and books sellers. Once you know the answers, improve on what your target audience loves and avoid what they don’t.
Just keep in mind that you can’t time the market, meaning that what’s really hot right now might have cooled off by the time your book hits the shelves. The moment you sign a publishing contract, you’re still as much as 12-18 months behind what’s on the new release table right now. This timetable can be greatly improved with indie publishing, but you still have to take the time to analyze your audience in either case.
Another detail to consider in advance is deciding how you’ll market and promote your book. Sadly, this burden has fallen almost totally on the shoulders of the author and has virtually disappeared from the responsibilities of the publisher. Start forming an action plan including setting up a presence on the Internet in the form of a website and/or blog. Also, is there a way to tie in your theme to a particular industry? How can you promote directly to your audience? For instance, if your romance novel revolves around a sleuth who solves crimes while on tour as a golf pro, would it be advantageous to have a book promotion booth at golf industry tradeshows? If your protagonist is a computer nerd, should you be doing signings at electronics shows? How about setting up a signing at a Best Buy or CompUSA? Follow the obvious tie-ins to find your target audience.
Writing is hard work. So is determining your target audience and then promoting and marketing to them. Like any other manufacturing company, you are manufacturing a product. Doing your homework first will help avoid needless detours on the way to publication.