Hesitation Kills

By John Gilstrap

After reading Reavis Wortham’s post on Saturday, I figured it was okay to tell this story.

I’ve posted before about our beloved dog Kimber, a mix of Cavalier King Charles Spaniel and Boston Terrier called a Caviston. (And yes, it bothers me that it’s not spelled Cavaston, but no one consulted me.) When we first moved to the woodland house in West Virginia, she weighed less than five pounds and I was keenly aware that the entire world posed one big hazard for her. Not only was she prey to most other creatures, her girth was smaller than that of the floor vents which hadn’t yet been covered.

We fenced in about a half acre of the backyard/woods so Kimber could have a place to wander, but for the first, say, nine months of her life, she never wandered without an escort. I was her primary security detail. After a year or so, she’d filled out to about 18 pounds and had outgrown reasonable threats from owls and hawks. Only the largest dogs ever outgrow threats from eagles, but our eagles stay distracted by the Potomac River smorgasbord a few hundred yards away from our place.

Once permitted to wander her fenced domain alone during the day, she turned into quite the squirrel hunter, chasing them great distances until the critters cheated and shot up a tree. I don’t think Kimber ever figured out why she couldn’t follow. She’s an avid deer chaser, too, though I’m not sure of her plan for when she caught one.

As neighbors joined our community, her canine best friends became a German shepherd and a Rottweiler. They let her hang out with them and played without crushing her. Like many small breeds, Kimber always thought she had way more wolf in her than she ever did.

As a human in her life, I of course knew better. Although Kimber aged out of danger from smaller predators, very real danger remained from larger carnivores–coyotes in particular. Even at her top adult weight of 20 pounds, she never went out at night without an armed escort. My rifle of choice: a Rossi Circuit Judge chambered in .45 Long Colt. The coyote gun lives its life staged at the back door all the time, easily accessible when needed. Often carried, only used once. On a snake. That’s a lot of gun for a snake.

Then came last week.

Last week was reasonably cool for a June afternoon, so we left the downstairs door open to allow Kimber to come and go as she pleased to and from the back yard. My office sits on the second floor, overlooking the backyard and the woods beyond. I was doing as I always do while staring down the maw of an approaching deadline, pounding away on the keyboard, playing with my imaginary friends when a cacophony erupted from out beyond my windows.

Growling and barking. My wife screaming at Kimber to come. To stop. I heard other animal sounds.

I knew this was bad.

I bolted from my desk and raced down the stairs, down the hall, and through the family room to the back door, grabbing the rifle on my way out. I still had no idea what was happening, but the noise of it all had not decreased in intensity. If anything, it had gotten louder.

Outside now, I turned the corner and the crisis became clear. Kimber had tangled with a woodchuck (or groundhog, depending on where you live). Normally docile, woodchucks are herbivores and hover near the bottom of Mother Nature’s food chain. When confronted with a carnivore, they survive by running away. But Kimber was faster and she cornered it against a tree.

Best I could tell, Kimber thought it was a game. Her tail was wagging hard enough to dislocate itself at the root as she bounced around, taunting the woodchuck that thought it was fighting for its life. Those critters have wicked incisors and long claws that would tear a little dog apart. Given a clear shot, I was going to kill the woodchuck.

Let’s not forget that my wife was in the mix, too, trying to separate the sparring parties. One thing for sure: I had no safe shot to take.

And then I did.

Woody Woodchuck broke into an open field run and for a good three or four seconds, he was all alone. As I shouldered the rifle, though, my wife yelled, “No, please, don’t!” In that instant of hesitation–my fault, not my wife’s; mine was the only finger on the trigger–Kimber woke up to the chase and re-entered the sight picture, chasing the woodchuck down until it somehow managed to climb under the fence and make its escape.

So, Woody lives on to make another appearance. Maybe he was traumatized enough to stay away from our backyard. I look for him every day. So does Kimber, who is fine, by the way. Not a scratch on her.

But a known danger lives on because of a momentary hesitation. Though Kimber sleeps in our bed at night, she is a country dog and she’s happiest when she’s outside. It’s too late to turn her into an indoor dog, and I wouldn’t want to anyway. So, if you’re a woodchuck or a coyote or a copperhead and you’re reading this, do yourself a favor and hang out at a property down the road. At the very least, stay outside the fence.

If there’s a writing related takeaway to this story, it’s that opportunity is often fleeting, and that hesitation–indecision–keeps doors shut that could otherwise be open. Whether it’s a job opportunity or a creative decision in a story, sometimes making a decision–any decision–is better than stewing about it overnight.

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Word Porn: Gobsmacked When She Mantled Him

Have you ever been watching a movie or a net-streaming series, and a character uses such a visceral word it stops you cold?

This happened to me last weekend, and I immediately reached for my phone to jot it down. The word painted the perfect mental image. Isn’t that what we all strive for?

The word is mantled or mantling, used as a verb. Have you heard or read this word in a novel? I had not. And I love new-to-me words, especially verbs.

Dictionary defines mantle as:

  1. Literary

Clothe in or as if in a mantle; cloak or envelop.

  • Archaic

(of blood) suffuse (the face).

“A warm pink mounted to the girl’s cheeks and mantled her brow.”

  • Archaic

(of the face) glow with a blush.

“Her rich face mantling with emotion.”

  • Archaic

(of a liquid) become covered with a head or froth

“The poison mantled in the bowl.”

  1. (of a bird of prey on the ground or on a perch) spread the wings and tail to cover captured prey.

“The female Goshawk is feeding while mantling with spread wings over her prey.”

Origin

Latin       Old English   Old French    Modern

mantellum –> mentel –>  mantel –> mantle

As an unwritten “rule” it’s often best to steer clear of archaic usages unless we’re writing in that time period, but all the above definitions really work for me.

The context in which I heard mantled was in a comedy.

How can I say this without offending anyone? An obese (curvy? full-figured?) woman fell on top of this peanut of a man. When they landed on the ground, only his hands and feet protruded from beneath her.

One of the onlookers said, “Look how she mantled that poor guy.”

I died, laughing! Which made the verb even more memorable.

While I was in Dictionary.com, I looked up one of my favorite words: gobsmacked. Again, it paints the perfect mental image. Doesn’t it?

Definition

  1. Utterly astounded; astonished

“I was truly gobsmacked by their decision.”

Gobsmacked is an adjective that means completely shocked. The word gobsmacked comes from England and Scotland, where it is used as slang to express extreme shock. Gobsmacked is often used by people from these areas.

Example: She was absolutely gobsmacked when she discovered a large pile of money under the floorboards.

Where does gobsmacked come from?

Based on the parts of the word, feeling gobsmacked is equivalent to feeling like you’ve been (figuratively) hit in the mouth: gob is slang for “mouth” and smack is a verb that means “to hit.”

The suffix -ed, which indicates past tense, turns the word into an adjective. The first records of its use come from around the mid-1930s. It’s now a common slang term in the UK and is also used somewhat commonly in the US and other English-speaking areas.

Though gobsmacked means “astounded” or “astonished” to the point of being speechless, you don’t say it any time you want to mean “shocked.” It’s use calls attention to the fact that you were not expecting what happened — a lot like flabbergasted.

For example, someone might say they were gobsmacked when they won the lottery, or when they found out something costs much more than they thought, or when a long-lost friend surprised them with an unexpected visit.

When was the last time you were gobsmacked?

Have you used the word mantled in your writing? Please give us the context.

Have I Heard of You?

by James Scott Bell
@jamesscottbell

The Deed is everything, the Glory nought.” – Goethe

I dread these conversations.

I’ve just met a person at a social gathering. (“I’m Jim.” “I’m Bill.”) We exchange pleasantries (“Here’s one of my pleasantries.” “Thank you, have one of mine.”) and before too long he asks, “So what do you do, Jim?”
I know what’s coming. It always ends the same way. But there’s no way out, unless I lie (“I own a plumbing company. Got a leak? We take a peek.”) So I give it to him straight. “I’m a writer.”

“Oh really?” (It’s coming…) “What do you write?”

“Thrillers.”

“Ah.” (Here it comes!) “Have I heard of you?”

I clear my throat. “James Scott Bell.”

Blank look. Embarrassed pause. “Um, no…”

The answer is always no.

In an effort to save a shred of dignity, I test him. “Have you heard of James Patterson?” In the off chance he says yes, I’m prepared to say I write for the same audience. That only a small fraction of his audience may have picked up one of my books is something I don’t feel compelled to share. But even with Mr. Patterson, the answer is usually along the lines of—

“Wait…um, wasn’t he heavyweight champion of the world?”

“You’re thinking of Floyd Patterson.”

“Oh, right. Do you mean the guy who killed his wife? Wait a second…Scott Patterson?”

“I think you mean Scott Peterson.”

“Yes! I have heard of him!”

I slink away, wondering if it’s too late to take up plumbing.

Even back in the “old days” of trad-only publishing, the answer was always no. Today, with all the indies and ’bots producing millions of books, the odds against some random person knowing your name are astronomical.

But this is not a new thing. Have you read any Thorne Smith lately?

Who?

Thorne Smith was a wildly popular author of the 1920s and 30s. He wrote numerous bestsellers, the most famous of which were about Cosmo Topper, a quiet, respectable banker pestered by the ghosts of a fun-loving couple, George and Marion Kerby. (In the 1937 movie, Roland Young played Topper, Cary Grant was George and Constance Bennett was Marion. It was also a popular TV show in the 50s.)

But today Thorne Smith is little more than a Jeopardy answer, and probably would stump everyone except three-time Jeopardy champion Meg Gardiner, who is wildly popular in her own right as a #1 bestselling thriller writer.

Have you heard of Carroll John Daly? No, he’s not the great grandfather of a certain rotund golfer. He is, in fact, the father of the hardboiled detective character.

Usually that honorific is given to Dashiell Hammett, going back to when he published the first of his Continental Op stories in Black Mask. But Daly’s hardboiled detective, Race Williams, appeared in Black Mask on June 1, 1923, pre-dating Hammett’s Op by several months, and Sam Spade by several years.

Daly’s contribution to the hardboiled genre was indeed monumental; far more than simply being the first at bat. And his impact was felt far beyond the private eye field alone. The Shadow, The Spider, The Phantom Detective—all the famous masked avengers of the pulps were merely gussied up versions of Race Williams. Daly took the two-gun American Hero from the wooly plains of the West and transplanted him in New York. He allowed his hero to retain all those traditional fantasy concepts of what the American Hero is and has been since the days of Cooper’s Natty Bumppo, and he gave him the desire and ability to back up his code of individualism, his distrust of authority and his interest in Justice over Legality, with a pair of smoking .44s. (BlackMaskmagazine.com)

And yet Mr. Daly’s star has faded, while people still read the writers he influenced—Chandler, Spillane, Robert B. Parker, to name just a few.

What’s the point of all this?

Write for your audience, write to please yourself, write to say something, write because you must…and let time and tide take care of themselves.

And if someone at a party does know your name, enjoy the moment! It may be the last time. Just don’t let it go to your head.

“How swiftly passes the glory of the world!” – Thomas á Kempis.

Do you have a favorite obscure writer?

What would you like a one- or two-line obit to say about your own writing?

Tugging Heartstrings

I spoke at a book club event this past week and a nice lady who organized the meeting at a local public library took me to task on not releasing a new book in the Red River Series in the last year or two. She caught me the moment I walked into the building.

“I’m tired of waiting.”

The event began at two o’clock, and I walked in ten minutes early. She sounded like my late father-in-law who insisted being at least thirty minutes early to everything.

I squinted at her, trying to see if there was some family relationship. “I would have been here earlier if you’d asked.”

“That’s not what I meant. I want another Red River book. I like those the best, then your other series, even though one of them was about Tom Bell in the 1930s. You need to hurry up and bring everyone back in the next one. I want my adopted family.”

“Ah.” I turned the tables on her. “So what do you like best about that series?”

Her face brightened. “They take me back to when I was a kid.”

“These books are a time machine, then.”

“I suppose.” She led me into the meeting room. “The way you write is so…familiar. I feel comfortable with all of your characters and the music in there is what I listened to back you’re your history is accurate, and I love everything about those books, except that you kill animals in almost every one of them.”

That second zinger caught me by surprise. “Well, you realize no animals are harmed in these novels. They’re fiction. I made them all up.”

“But I love dogs, and now that you mention it, you killed a cat in one of those Sonny Hawke novels.”

I couldn’t let that go. “Again, we’re talking fiction here.”

“But I don’t like to read about animals being hurt or injured.”

I neglected to bring up the subject that some of my most heart-wrenching newspaper columns involved the loss of dogs, and I always hear from readers who say I touched something deep inside them, and thanked me for it.

In fact, just this past weekend I helped my little brother bury one of his dogs, because he was
both physically and mentally unable to do it by himself. You see, he lives out in the country and rural life is hard on animals.

The dog he cared for wasn’t his. Rocky (and that’s his given name) granted an elderly man’s dying wish that he look after Tig after Charlie passed. The old dog insisted on staying at the empty house down the road, because that was his home and he refused to move in with Rocky who fed and watered him for three years.

When a car sped by this past weekend, going way too fast on an asphalt county road, Tig hadn’t completely crossed the road. His back was broken, and the poor dog was so mangled that Rocky had to do what country folk have done all their lives to end suffering.

So we buried Tig, another in a long line of faithful companions I’ve had to lower into the ground.

As he and I were finishing up, I thought back about that book club lady and pondered a strange thought. Thrillers and mysteries are filled with murder and mayhem. I can kill a hundred people in one of my books (all made up, of course), and readers seldom say anything about the body count.

But if an animal dies, folks gather up torches and pitchforks to chant in front of my house, hoping to toast some marshmallows as my computer goes up in flames. Even the spouse of one of my oldest friends refuses to read any of my books, because she’s afraid I’ll waylay her with a deceased animal.

When fictitious animals “die” in my novels, it’s to advance the plot, or to allow the reader, in the case of my aforementioned Texas Ranger to show this character was under a great deal of stress and dealt with running over a feral cat that darted out in front of his truck with tears and a near emotional breakdown.

But at the same time, the Book Club lady loves to think about those days when she grew up in the country. But doesn’t want to dwell on the reality of life itself.

In my view, animal deaths are not off limits as long as they aren’t gory and serve the story.

Come on, Old Yeller and Where the Red Fern Grows wouldn’t be classics without these events.

So authors, have you killed off an animal in one of your novels?

And readers, what are your thoughts on this very real part of life in a fictionalized world?

Reader Friday-The Daily Grind

Looks like a responsible dude, right? (Image courtesy of Pixabay)

By Deb Gorman

 

 

TKZ Casting Call!

What was your first *real* job? Tell us how old you were and how you snagged it . . .

 

 

She looks committed, I guess! (Image courtesy of Pixabay)

 

 

 

Looks like me on my first job–totally determined to get it done, and get it done right. Never mind the scare factor.

 

 

 

 

Now, think back a bit:

How did your first job experience play into your life now as an author? Inquiring minds want to know.

The Suggestion Box

Rita (my wife) works in a grocery store. Last week, her department manager thought it’d be a good idea to implement a suggestion box. It wasn’t.

Suggestion boxes, by nature, are supposed to be suggestive. Helpful, even if critical. They’re also supposed to be anonymous. In this case, one suggestion wasn’t respected as anonymous.

The suggestion was something about how to improve scheduling, and the department manager took it as a personal slight. They recognized the suggester’s handwriting and called that worker out. Not just in front of the staff, but also in front of customers.

Rita, being a Cancer, intervened and settled things down. And down came the suggestion box, but not before the damage was done. The berated worker laid a complaint to HR, and the disciplinary genie is out of the bottle. Or better put, the laundry is out of the hamper.

What’s this got to do with us here at the Kill Zone? Well, as writers, we have a suggestion box open all the time. It can be in the comment section following a post. It can be feedback from beta readers. Or, it can be online reviews on our book publishing sites.

I moderate my comments on my personal blog site. I nix the odd Negative Nellie, but if someone has a valid point that disagrees with my content, I’ll let it stand. Often, I’ll learn something.

I no longer work with beta readers. Very few ever came through and, if they did, the feedback wasn’t particularly helpful. It just wasn’t worth the time and the effort.

I have a friend whose wife is an A-List romance writer. She gave me advice early in my game. “Don’t read your reviews,” she said. “The 1-Stars are trolls. The 5-Stars are suck-ups. And the ones in-between never have useful suggestions.”

Suggestions.

Kill Zoners — How do you deal with suggestions? Good, bad, or indifferent? Feel free to suggest.

Back From Killer Con

Back From Killer Con
Terry Odell

Banner for the Writers' Police Academy Killer ConGreetings, TKZers. I’m back from a wonderful, exhausting 4 days at Killer Con. The getting there and back, not so wonderful, but that’s becoming my norm for any travel requiring an airplane. “If you have time to spare, go by air.”

As writers going to conferences, we’re used to panels on aspects of craft, or workshops given by featured authors. Not so Killer Con. I touched a little on this in my last post.

I’ll be recapping many of the sessions I attended on my own blog, but here’s a basic overview. And a few pictures. Again, no tables filled with smiling authors at the front of a room—except for the final Q&A with all the experts.)

What could we learn about? These were the session choices:

Body Trauma and Gunshot Wounds
Crime Writer’s Guide to Murder Investigation
CSI: Processing a Shooting Scene
Evidence Collection, Processing, and CSI Techniques
Homicide Investigation: The Reel to Real Story
Interview and Interrogation
Overdose Death Investigation
Processing and Preservation of Fingerprint Evidence
Reading and Interpreting Bloodstain Patterns and Spatter
TI Training – Interactive Use of Force Simulation
Using Art to Solve Crimes
Virtual Reality – Mental Health Training Simulator

That’s a lot to choose from, and other than the ‘whole group’ sessions, we could attend only six.

To start. The conference sessions were held at the Northwest Wisconsin Technical Institute in Green Bay, Wisconsin, where their own instructors and local first responders, crime scene techs, and medical personnel were there to enlighten us. We did have presentations by authors, because the goal of the conference was to help us bring reality to our books. Retired cop/authors included Dr. Katherine Ramsland (want to know anything about serial killers? She’s  your go-to person.), Michael A. Black, Bruce Robert Coffin.

A few random takeaways.

It’s blood spatter, not splatter.  Detectives don’t lead the way on raids. SWAT goes in first. Unless your book is set before or during WWII, there’s no smelling of cordite. It’s gunpowder. Cordite hasn’t been around since 1945. Gallows humor among cops is real. If they drink whisky, it’s cheap. Everyone inside a crime scene has to sign a log, including their reason for being there, which means they might be subpoenaed to appear in court. (Good way to keep the brass out.) When setting a perimeter, overestimate. You can shrink it but not expand it. (I may have made this mistake in one of my books.) Everything is done with court appearances in mind. Keeping an open mind is critical. And much more.

I had hands-on practice in fingerprinting. Coming from a dry climate and spending lots of hours tapping a keyboard, mine were very hard to collect. We got to do presumptive testing for blood (using synthetic blood). Watched a demonstration (up close) of using Blue Star (cheaper and easier to use than Luminol, preferred by the techs here).

The first evening, we had a presentation by Carrie Stuart Parks who talked about how one determines if someone’s lying. I made an attempt to capture some of the highlights on my blog Monday.

The next morning, we arrived at NWTI and were led to a large lecture hall where they’d staged a shooting scene for us. We watched as the people who would be dealing with the scene came in —patrol officers, EMS, detectives, CSI, and the ME, and they all performed their respective duties.

Another group session was a lecture by Dr. Ramsland who stressed the importance of observation. We all learned a new acronym: WYSIATI: What You See Is All That Is, which is what she referred to as “My Side Bias” or “I wouldn’t do it that way.”

After she finished, we were teamed up in groups of 4 and we walked through a crime scene taking LOTS of pictures. Our objective wasn’t to solve the crime, but rather to prioritize 5 questions we would want answered, and to compare what we saw with the survivor’s narrative of what happened.

The next day, we gathered once again to compare notes, and to discover what really happened, as our scenario was based on a real life crime.

One other highlight. The keynote speaker was Charlaine Harris. Her words were those of thanks and took approximately five minutes. Given how exhausted everyone was (not to mention there was a bar set up in the banquet room), this was a welcome change from typical keynote speakers. Judging from the line at her signing table, she was a popular addition to the conference lineup.

And, on another note, since I’ve been letting my WIP marinate before I dive into my edits/revisions before sending it to my editor, I played around with Substack. I decided it would be a good place for sharing some of my “just for fun” writing. If you’re interested (the first posts are more of an introduction to “me”) you can check it out.


How can he solve crimes if he’s not allowed to investigate?

Gordon Hepler, Mapleton’s Chief of Police, has his hands full. A murder, followed by several assaults. Are they related to the expansion of the community center? Or could it be the upcoming election? Gordon and mayor wannabe Nelson Manning have never seen eye to eye. Gordon’s frustrations build as the crimes cover numerous jurisdictions, effectively tying his hands.
Available now.


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

What’s in a Title – Guest Post by Jane Corry

by Debbie Burke

@burke_writer

Author Jane CorryToday please welcome author Jane Corry, bestselling thriller author from the UK. Her books have sold more than a million copies in 20 countries. She’s also a magazine feature writer and columnist. For three years, she was the writer in residence at a high security male prison.

An important choice we authors grapple with is  what to call a book. Jane graciously shares her experience in today’s guest post: 

WHAT’S IN A TITLE?

 

‘Never judge a book by its cover.’ Or so the saying goes.

If I was re-writing this advice, I’d say, Always judge a book by its title.

At least that’s what many of us seem to do when choosing our next read (including me).

Before I got published, I never really thought about how titles were created. I certainly didn’t realise that they could take different forms and myriad conceptual stages between that first written line and the published baby.

They generally start off as a working title (the one which the author initially thinks of) and then metamorphosise during various meetings and edits.

Now, some 19 books on, I realise that THE title – the one which the book finally steps out in, ready for the ball – is a mixture of fluke, getting it right first time, and arduous, handwringing, plus increasingly urgent emails and discussions on behalf of both publisher and author.

To make it even more complicated, the various departments of the publishing company might well have different views. The sales team, for example, might like one title; publicity, another, and the editor yet a third. (Or 63rd as in the case of a friend of mine.) Then there’s the author who might well be feeling distinctly unsettled by the prospect of their baby being given a new identity. Who gets the final say?

Good question. In my experience, it may well be Sales because when all is said and done, it comes down to money. Sales have a feel for what they can sell which is why they are there in the first place. But are they always right?

You won’t know until the sales figures start coming in…..

Titles also often go through trends. First person has gone down well in the last few years. ‘I did this… I did that’ on the cover, can draw in potential readers by making them identify with that ‘I’.  Two of mine were along those lines: ‘I Made A Mistake’ and ‘I Looked Away’.

Names in a title can also help because you feel you are going to be reading about a real person even though you know it’s fiction. Take ‘The Seven Husbands Of Evelyn Hugo’.

Maybe this is why my one of my favourite childhood books is ‘What Katy Did Next.’ If it had been ‘What a Little Girl Did Next’ it might not have had the same personal angle.

A question in a title is often a good bait. ‘Why Has Nobody Told Me This Before?’ is screaming to be picked up. Indeed, it’s been in the top ten charts for months

The titles, which I feel have worked best for my books, include the ones which just fell into my head. For example, ‘I Died On A Tuesday’ came to me when I was cycling down to the promenade for my daily swim in the sea and nearly got knocked off my bike.

This is exactly what happens to Janie, my heroine. (Spoiler – she survives.)

Ironically, I’d already written this scene in the draft of the as yet untitled novel I was currently working on.

My near-miss as well as the irony, really shook me up. My life could have changed in a second. It was scary. But also inspirational. This, I realised, was my way of getting fear into my title – usually a good bait.

I also wanted the reader to wonder how the unknown ‘I’ in the title could be dead, if the protagonist is still talking?

The specificness of a certain day hopefully makes the story feel more real and relatable. But why a Tuesday and not any other day of the week? My gut instinct told me that  the word had a certain tuneful lilt which lifted the spirits to balance the word ‘Died’.

I was very relieved when the publishers didn’t even discuss my ‘I Died On A Tuesday’  title because they liked it. Phew! It felt like scoring a strike in bowling – something I usually leave to my grandchildren.  Early reviewers even said lovely things like ‘Great title’. Fingers crossed for sales when it comes out on June 6. (Details at the end!)

Sometimes brainstorming can help. When I started writing crime (without an agent or editor), I came up with ‘My Husband’s New Wife’. Then  I floated the title past a friend, who suggested “My Husband’s Wife.’

Technically this isn’t quite accurate because the fictional woman in question is the new wife. But it trips off the tongue better and sounds more intriguing. I will be eternally grateful to that friend. In return, I help other authors brainstorm their titles too.

Every now and then, a chance remark can inspire a title. For some years now, I’ve been swimming in the sea every morning with a friend who lives over the road. One weekend, she turned up on a new orange bike. I admired it. ‘Yes,’ she said. ‘It belonged to the dead ex.’ (Rather sadly, she’d had to clear out her former husband’s possessions after his death.)

‘Wow,’ I said. ‘May I use that as a title please?’ And so my third book ‘The Dead Ex’ was born.

If you are really stuck, you could try that old trick of putting words in different cups and picking some out at random. Or you could go through sayings/ proverbs/ favourite song titles and adapt them. Always keep your ears open for something that someone says which strikes a chord and has title potential.

Escapist titles are popular because it helps us remove ourselves from our everyday lives and problems. A friend of mine who isn’t a writer says she’ll buy anything with ‘sunshine’ or ‘mermaid’ in it.

Certain titles work even better when the ‘sell’ on the cover explains or amplifies the significance.  I recently heard about a writer called Rebecca Paulinyi who’d had a stroke and went onto write a rom com. She called it ‘At the Stroke of 30’.  The blurb explained that it was about a heroine who had to re-evaluate her life after having a stroke on the eve of her thirtieth birthday. Brilliant.

Alliteration is also catching. (‘The Secret Seven’ comes to mind as I write this sentence.)

So does a touch of menace. My current novel in the US and Canada is called ‘Coming To Find You’.  It’s a time-slip set in the Second World War in a small Devon village and the present-day where Nancy is hiding in the same house, 80 years on.

Nancy’s stepbrother has escaped from prison and is about to break in through her kitchen window. My publisher, agent and I did have quite a lot of discussion about this title and I’m very grateful that they went for my own suggestion, ‘Coming To Find You’, which has, I felt, a combination of that sing-song childhood hide-and-seek game along with an underlying threat. That book got to number 7 in the Sunday Times.

Sometimes I think that maybe the best way to write a novel is to think of a really gripping title first before writing. Then use the title as a basis for the idea. It might certainly help someone who isn’t sure what to write about and will hopefully get some great sales!

Meanwhile, you can follow me at janecorryauthor on Twitter/X; Instagram; Tik Tok and Facebook. My website is janecorryauthor.com

The digital edition of I DIED ON A TUESDAY is out on June 6th.  If you wanted to make my day and order, just go to:  https://www.amazon.co.uk/Died-Tuesday-gripping-thriller-bestselling-ebook/dp/B0CNT62W14

The paperback edition is out on June 20th. You can find me in bookshops, supermarkets and online.

If you’re in the US or Canada, you can order on the following links:

Canada: https://www.penguinrandomhouse.ca/books/735469/coming-to-find-you-by-jane-corry/9780385697880

US: https://www.penguinrandomhouse.com/books/735469/coming-to-find-you-by-jane-corry/

Meanwhile, good luck with your next title. I hope this helps……

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Jane, thanks for these great tips! Best wishes on a successful launch! 

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TKZers: How do you choose a title? Do Jane’s suggestions inspire you? 

A Very Special Person Named First

A little perspective, like a little humor, goes a long way. —Allen Klein

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My first two novels were written in third person. Each scene had one POV character and the verb tense was consistent throughout the scene.

But when I began my third novel, Time After Tyme, I decided to try something new. I gave one character a first-person POV in her scenes. The rest of the scenes were in third person. I discovered the power of first person in that novel, and I fell in love with it.

“You never really understand a person until you consider things from his point of view … until you climb into his skin and walk around in it.” –Atticus Finch, To Kill a Mockingbird

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I enjoyed writing first person so much that my fourth novel, Lacey’s Star, and the fifth (a yet-to-be-published middle grade effort), are written in first person from the main character’s POV. To me, first person is especially effective because the narration is a conversation (albeit one-sided) between the narrator and the reader. The narrator relays the story in his/her own words.

But there’s something else that’s special about first person that I think connects the reader to the story in a unique way. It’s a topic that I don’t recall having been discussed here on TKZ, so I’d like to raise it now. It has to do with verb tense.

* * *

Example 1 from the classic by J.D. Salinger.

The Catcher in the Rye by J.D. Salinger

“They kicked me out. I wasn’t supposed to come back after Christmas vacation, on account of I was flunking four subjects and not applying myself and all. They gave me frequent warning to start applying myself—especially around midterms, when my parents came up for a conference with old Thurmer—but I didn’t do it. So I got the ax. They give guys the ax quite frequently at Pencey. It has a very good academic rating, Pencey. It really does.”

Did you see how the author switched from past tense to present so the character can move from telling the events of the story to offering a personal opinion? It’s as if the character wants to share a little detail with the reader, so he turns directly to the audience and hands out some extra information. This ability to offer side comments in the character’s voice seems to me to be unique in first person, and it shows an aspect of the character that may not work if the author stays with past tense.

When I was working on my first-person novels, I didn’t realize I was using exactly this technique, but someone with editing experience reviewed some of my work and told me the tense had to agree all the way through each scene. I didn’t see it that way, so I went looking for examples that used the first-person past / present approach. In addition to The Catcher in the Rye, I found lots of other examples, and they convinced my friend this was a valid approach.

Example 2 from a highly-regarded Middle Grade novel.

The Remarkable Journey of Coyote Sunrise by Dan Gemeinhart

“Once upon a time, it was hot and I was sweaty. It was about five months before my thirteenth birthday, give or take. We were someplace in Oregon. Honestly, I don’t even remember the name of the town, but I know it was on the dry, hot side of the state, away from the ocean.”

Example 3 where John D. MacDonald gives his main character, Travis McGee, so many opinions to share in present tense that I had a hard time deciding which one to pick.

The Deep Blue Good-By by John D. MacDonald

“The next morning, after making laundry arrangements, I untethered my bike and pedaled to the garage where I keep Miss Agnes sheltered from brine and sun. She needs tender loving care in her declining years. I believe she is the only Rolls Royce in America which has been converted into a pickup truck.”

Example 4 from an American classic.

The Adventures of Huckleberry Finn by Mark Twain

“After supper she got out her book and learned me about Moses and the Bulrushers, and I was in a sweat to find out all about him; but by and by she let it out that Moses had been dead a considerable long time; so then I didn’t care no more about him, because I don’t take no stock in dead people.”

And finally, Example 5 from our own JSB.

Romeo’s Justice by James Scott Bell

“Which is why I owed her that blasted thing called honesty. I never want Sophie to have any illusions about this piece of work called Romeo.”

So, there you have it. Examples of past and present tense, each within one paragraph, and all from masters of writing. Novl.org has a nice summation:

“We use tenses every day naturally as part of speech. While consistency is key when maintaining narrative voice, it’s important to remember that you can play around with tense for interesting narrative effect. Whatever you do, just make sure you choose the option that best serves your story.”

“Whatever you do, just make sure you choose the option that best serves your story.” I like that.

* * *

So TKZers: Do you write in first person? Have you noticed the use of both past and present tense in first person narratives? Will the two tenses work in third person? Any reflections on the examples above? 

* * *

Private pilot Cassie Deakin offers a first-person opinion right from the get-go in Lacey’s Star:
“I do not like handsome men… Like the one sitting in the passenger seat of my Cessna 172 while I did the run-up prior to takeoff. Frank White.” 

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