Let’s take a year-end inventory of our writing. What areas of progress have you made in your writing during the past 12 months? What areas need improvement?
When Bad Things Happen to Good Books
By Elaine Viets
So there I was reading my favorite blockbuster novelist, a writer with a shelf full of awards, kudos from critiques, a movie and more, when I was stopped by a stupid mistake. The angst-ridden hero tossed his clothes down the laundry shoot.
Well, chute. What happened to this normally careful and precise author? Where were his editor and copyeditor?
No, I’m not giving you this writer’s name. These mistakes happen to us all. Keep reading and I’ll tell you how I embarrassed myself in front of three hundred thousand readers.
Let’s just say that homonyms happen.
Here are a few common mistakes that make you look like an amateur. And no gloating, please. The next brain freeze could be yours.
– It’s bloody embarrassing when mystery writers have police and forensic experts talk about blood splatter. It’s spatter. Get the L out of there.
– Watch those bears. Grizzly murders are cringeworthy, unless the person was killed by a bear. Grizzly is another treacherous homonym.
– Triple threat. “Peaked,” “piqued” and “peeked” give writers three ways to go wrong. How often have you encountered versions of “this peaks my curiosity”? I didn’t want to see it, but I’d already “piqued” at the page and knew I wasn’t getting a “peek” literary experience.
– Twisted. Beer drinkers know that Heineken does not have a twist-off cap, but many writers don’t. Your character needs a church key for those green bottles.
— Jack’s possessive. Jack Daniel’s always has an apostrophe. I had a sobering discussion with a copyeditor who wanted to remove the apostrophe, but that’s when hanging around bars paid off. I knew Mr. Daniel was possessive about his Tennessee whiskey.
– How to drive readers crazy: Get car details wrong. In 1968, hippies did not open the hood of their VW Beetles and check the engine. Beetles back then had rear-mounted, air-cooled engines. Check car details on the Internet.
– All wet. No, you do not “wet” your appetite. You sharpen it. Put that H to work.
— Lift that bale. No, you don’t tow the line. It’s not a rope. Webster says when you “toe the line” you “conform rigorously to a rule or standard.”
– Watch those foreign words and phrases. When I was a newspaper reporter, I wrote about a waiter who wore “liederhosen” at a German restaurant. Amazing, a reader told me. A man with singing leather pants. I should have had the waiter wearing lederhosen – leather britches.
That extra “i” made a fool out of me.
Author Lifeboat Teams
An author lifeboat team is a band of authors who join together to cross-promote their work. I became aware of the concept when I got invited to join one. This particular group was made up of paranormal romance authors, and their rules included sharing each other’s posts on Facebook and being responsible for one post a week.
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I thought that obligation and the specific genre focus might be too restrictive for me, especially since I write in two genres. So while flattered to be asked, I politely declined. The idea brewed in my head, though, so when Terry Odell invited me to join her fledging group, I seriously considered and eventually said yes.
Why did I like this team? While we were encouraged to support each other with retweets and shares, we weren’t committed to any particular schedule. And the group consisted of multi-published authors in various genres. This interesting mix could attract new readers, and that would benefit our primary goal of increasing our visibility and readership.
It’s been one year since I joined. What have we accomplished in that time? We’ve established our website, Booklover’s Bench.
Besides each of us having an author page, we have added Behind the Scenes and Excerpt features. We run a monthly contest via Rafflecopter with a $25 Amazon or BN gift card as the main prize and e-books from each of us for runners-up winners.
In another effort to cross-promote, we’ve also started offering each other’s books as prizes for personal newsletter contests and sharing the resultant mailing list.
On Twitter, we’ve each created a List for our team members. It’s easy to access the list and retweet everyone’s posts that way.
In terms of results, my newsletter in Sept. 2012 went out to 4542 recipients. In Oct. 2013, I sent it to 5339 folks. That’s an increase of nearly 800 names. Some of these might have come from my own contests, but I’d say the majority of new entries are thanks to BB.
As one of the extra options on our Rafflecopter contests, we’ve put “Like my Facebook Page” as an added choice. My FB Likes have increased quite a bit as a result. So this is another benefit.
We’re also a sounding board for marketing ideas. I learned about doing a Facebook launch party from one of my team mates. If we have an aspect of the biz we need input on or just want someone to listen, we have each other. In the future, maybe we’ll expand and hire a virtual assistant. Our only requirement is to do what we can to support each other, to tweet about the contests, take over the $25 gift card contest prize once every couple of months, and support our efforts any other way we can. We split the cost of the website hosting and manage it ourselves.
Other ideas for future consideration are a subscribers-only tab on our website for free downloads of bonus materials or short e-reads, a blog hop, a street team, a Fan of the Month selection.
How do we communicate? We’ve held two Skype conference calls so far with a third one coming up to discuss our ideas and goals for next year. Otherwise, we have a private Facebook group page and a yahoo group listserve. Or we can send individual emails.
It’s hard to work alone, especially since most marketing efforts have moved online. Consider gathering together your own author lifeboat team. Again, it’s a group of authors who band together to support each other on social media with the goal of expanding their readership. How your team operates and what you do for each other is your choice. See what other groups do and borrow their ideas that appeal to you. We all learn from each other, and we must support each other, too. Just like we do on this group blog.
As Thanksgiving passes us by, thanks to each one of you for following us and for joining our discussions. We share a wealth of information about writing craft and marketing that contributes to our online community. We’re grateful for all our cyberspace friends.
TKZ Resource Library is Growing!
by Jodie Renner
All of you authors, both aspiring and published, who follow this blog tell us all the time what a wealth of writing, publishing, and writing-biz resources are in the blog posts here. I couldn’t agree more, so I thought it would be a good idea to make it easier for TKZers to find posts on topics that interest you.
I’ve been compiling many of these excellent articles by topic, to make them more readily accessible, and here are the categories so far, in a list partway down the sidebar and below. I just added the last one, on self-publishing, a few minutes ago.
Click on the category title to browse the articles on that topic, and feel free to offer suggestions for more topics in the comment boxes below.
TKZ LIBRARY
Keep on writing!
10 Ways to Add Depth to Your Scenes
by Jodie Renner, editor & author
[By the way, check out our growing list of resources in the TKZ Library.]
Congratulations! You’ve gotten a first draft of your story down, perhaps after writing madly for NaNoWriMo. Now it’s time to go back and reassess each scene to see if it’s pulling its weight.
Besides advancing the storyline, scenes should: reveal and deepen characters and their relationships; show setting details; provide any necessary background info (in a natural way, organic to the story); add tension and conflict; hint at dangers and intrigue to come; and generally enhance the overall tone and mood of your story.
To bring your characters and story to life, heighten reader engagement, and pick up the pace, try to make your scenes do double or even triple duty – but subtly is almost always best.
For example, a scene with dialogue should have several layers: the words being spoken; the viewpoint character’s real thoughts, opinions, emotions, and intentions; the other speaker’s tone, word choice, attitude, body language, and facial expressions; and the outward reactions, attitudes, and actions of both.
Ten key ways you can intensify your writing and enhance the experience for readers:
1. When introducing new characters, remember to show, rather than tell. Reveal their personality, motives, goals, fears, and modus operandi not by telling the readers about them or their background, but by their actions, words, body language, facial expressions, tone, and attitude. If it’s a viewpoint character, show their thoughts, emotions, and physical sensations. Also, show characters’ reactions to each other. Then let the readers draw their own conclusions about the characters and their true intentions.
2. Enhance your descriptions of the setting and other characters by filtering them through the mood, attitude, and reactions of the POV character for the scene. This not only gives the readers a visual image of whatever the character is looking at, but helps with character development. We learn more about the character’s personality and what is driving / motivating him by his observations of his surroundings and others around him. And add in other sensory reactions – sounds, smells, even tastes and tactile sensations.
3. Use close point of view to deepen characterization of the protagonist and other POV characters by showing inner conflict, doubt, or indecision, or by contrasting their words and outward reactions with their true inner feelings.
4. Make dialogue do double-duty. Dialogue should not only convey information, but also reveal character & personality and advance the storyline. Dialogue action tags, which can replace “he said” and “she said,” tell us both who’s speaking and what they’re doing, as well as often providing info on how they’re feeling and reacting. For example:
5. Show subtext during dialogue. A couple might be arguing heatedly about something fairly trivial, when inside one or both are really angry or resentful about deeper problems, which you can hint at by inner reactions, or which can come out at the end of the scene or later.
6. Introduce suspense or heighten anticipation through the use of hints and innuendos, or snippets/fragments of critical information.
7. Show sexual tension between love interests by revealing heightened sensory perceptions and physical reactions. Be sure to show the inner reactions and often-conflicted feelings of your POV character.
8. Show brief flashbacks to reveal character secrets and fears, little by little.
9. Deepen connections between characters by having them discover similar values and goals, and showing these through dialogue, tone, body language, actions, etc.
10. Increase the conflict between characters by showing opposing goals and values, through dialogue, body language, tone of voice, facial expressions, etc.
How the experts do it. Here’s an example of a brief scene with lots of intriguing info subtly embedded in it, presented in a natural, casual way, organic to the character and the situation:
This is how James Lee Burke introduces his main character, Dave Robicheaux, as well as the local executioner, Val Carmouche, on page 2 of Purple Cane Road (Robicheaux is narrating, in first person.):
“I think it goes with the job. I was a state trooper once.” His eyes, which were as gray as his starched shirt, drifted to the shot glass in front of me and the rings my beer mug had left on the tabletop. “A drinking man goes home to a lot of echoes. The way a stone sounds in a dry well. No offense meant, Mr. Robicheaux. Can I buy you a round?”
Readers – Can you give us a powerful paragraph or two from a book you’ve enjoyed, where the author has effectively accomplished several things at once?
How to Put The Boys in the Basement to Work
Our Man in Santo Domingo
By Mark Alpert
It occurs to me that this trip could be the setup for a comic spy thriller by Graham Greene: a bunch of clueless, middle-aged New Yorkers bring their teenage sons to Santo Domingo, bearing gifts of donated baseball gloves and bats. Crazy hijinks ensue, involving Caribbean drug lords, CIA company men and unscrupulous scouts from Major League Baseball.
Working title: Damn Yankees
Reader Friday: Are You a Good Cutter?
White Meat
By Elaine Viets
White meat. When I was growing up, that was the best part of the turkey – and the most unattainable.
In German-American families, children were seen but not heard, and the choicest pieces of Thanksgiving turkey were reserved for the adults. Grandpa carved the turkey because he was the head of the family, but he had a subversive streak. Grandpa would “accidentally” drop little slices of white meat on the kitchen table for us grand kids while he carved.
But not too many. That delicacy was reserved for my mom and my aunt. My dad and my uncle got the turkey legs, Grandpa ate the wings and thighs and Grandma ate the pope’s nose – the tail. She’d grown up poor and “got used to eating it,” she said.
But Grandma was determined that her grandchildren would know the finer things, including white meat on Thanksgiving. One year in the 1960s, when I was ten and still eating at the children’s table, she bought a Butterball turkey.
The big-breasted bird was the talk of the family.
When we visited her the Sunday before Thanksgiving, we went downstairs to the basement freezer to admire the prize. The burly top-heavy bird nested amid bags of the frozen peas.
“Look at the size of that breast,” Grandma said. She never used that b-word except to describe fowl anatomy.
Butterballs boasted more white meat than any other turkey, according to the ads, and we didn’t know about animal rights back then.
At three o’clock that glorious Thanksgiving, Grandma triumphantly pulled her roasted Butterball turkey out of the oven: a busty golden brown bird.![]()
While the turkey cooled, she put the finishing touches on the rest of the holiday feast: giblet gravy, stuffing, cranberry relish, lima beans in cheese sauce, and Parker House rolls. A stick of real butter was enshrined in a cut-glass dish. Mom brought the screw-top bottle of Mogen David wine out of the fridge and poured everyone a thimbleful.
The table sparkled with the best crystal and dishes, seen only on holidays. Even the kids’ card table got a real tablecloth.
Grandpa started carving. First the legs were set aside on the platter. Next he sliced into the golden breast meat. “Oops, I dropped a piece,” he said, and placed a thick slice on the Formica-topped kitchen table. As the oldest, I grabbed it. (Hey, rank has its privileges, even among kids.) Yum. This was the tenderest white meat I’d ever eaten, a sweet promise of the adult privileges waiting for me.
“Me, Grandpa!”“Me!” my brothers and cousins cried as Grandpa gleefully dropped slice after succulent slice of white meat and we kids scrambled for them like hungry pigeons.
He was still giggling and giving us white meat when Grandma said, “Papa, how’s the turkey coming?”
Uh-oh.
Suddenly we noticed the turkey breast was as bony as a fashion model’s carcass. All the white meat was gone, except for a few scraps.
Guilty, greasy-fingered grand kids slipped away.
Now I can eat all the white meat I want, but it never tastes quite as good.
So what lesson does this teach about writing?
(A) Be on the look out when something special lands front of you – and use it.
(B) Nothing. Have a happy Thanksgiving with delicious memories. ![]()
First-page critique: HAIR TRIGGER
By Joe Moore
Today’s first-page critique is from a story called HAIR TRIGGER. My comments follow.
They were going to cut my hand off.
When I came to, I was tied to a chair. It was dark in the print shop and, like a character in a 1940s film noir, I could see the distorted silhouettes of a tall man and short man standing in the shadows. I was dizzy and felt sick from the blow to my head. The two figures swam in and out of focus.
Leaning over as far as I could, I barfed on the floor at their feet.
“Feeling better?” the short one asked in a strained high-pitched voice that reminded me of Peter Lorre.
“Please don’t say ‘fuck you’,” the tall one added.
I didn’t. I just vomited again.
After I finished whooshing whatever cookies were left inside me, I noticed my right hand was trapped under the clamping rail of a paper trimmer. This type of machine is commonly called a guillotine and has a razor sharp blade with thousands of pounds of pressure behind it. It can make very neat cuts through thick reams of paper.
The short guy stood next to it but I still couldn’t see him clearly.
“It says here this thing can trim up to a thousand sheets of paper at a time,” he read off the metal tag on the side of the machine. “Apparently, the operator must have a hand on each of the side switches for safety.” He looked straight at me. “Gee, I’d like to see how it works. Wouldn’t you?”
The big guy walked to the wall and pulled down the breaker handle on the electrical panel.
Machines around the shop started to power up. I could feel the vibration of the cutter humming through the metal surface under my hand.
The trimming blade gleamed wickedly.
“Now this is the part of the James Bond movie where I ask you to tell me what I need to know. If I don’t get an answer I like, you’re going to have to learn to jack off southpaw.”
I have very few phobias. One, however, is my fear of dismemberment. I get queasy just thinking about it, let alone imagining what my life would be like without a vital appendage such as my gun hand. In feudal Japan it was considered a sign of dishonor if a samurai lost a limb in battle. It showed everyone that he had failed in his duty as a warrior.
I liked this submission, and would keep reading. It starts, just as we so often suggest here at TKZ, with a life-changing event. The protagonist is in trouble and the author presents the reader with a big question: how is he going to get out of losing his hand? The bigger question, at least so far: what did he do to get into this situation?
The voice is not quite solid but it does take on enough character to intrigue. The scene is cliché – two bad guys, one tall, one short, but it does have forward motion and kept my interest.
A bit of line editing and cleanup would help, but it reads like a decent first draft. Nothing wrong with that.
I’m not sure who said the line starting with, “Now is the part of the James Bond . . .” That need clarification.
I would suggest not using the word “very”. It is meaningless. What’s the difference between few phobias and very few phobias?
There were a couple of places where the story slowed down while the writer explained how an industrial paper cutter works and what it means to lose a hand in feudal Japan hand. I would suggest avoiding those type of speed bumps at this stage of the story.
Lastly, even if it’s appropriate to the story, I recommend not dropping the f-bomb on the first page, or anywhere in the story for that matter.
Overall, not bad. I want to know what happens next. Thanks to the brave writer for submitting.
Now, Zoners, what do you think. Would you keep reading or does this guy losing his hand not grab you by the throat? Hold up your hands.
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“THE BLADE is an absolute thrill ride." — Lisa Gardner






