Writing Quotes, Inspiration, and Life Advice From Famous Authors

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I love writing quotes. Recently, I stumbled across new-to-me writing, inspirational, and life advice quotes from famous authors. Too much spot-on advice not to share here on TKZ. Plus, I’m writing eighteen different articles to spread the news about my new eco-thriller. 😉

Writing Quotes

“The purpose of a writer is to keep civilization from destroying itself.” — Albert Camus

“As a writer, you should not judge, you should understand.” — Ernest Hemingway

“To produce a mighty book, you must choose a mighty theme.” — Herman Melville

“As for ‘Write what you know,’ I was regularly told this as a beginner. I think it’s very good rule and have always obeyed it. I write about imaginary countries, alien societies on other planets, dragons, wizards, the Napa Valley in 22002. I know these things. I know them better than anybody else possibly could, so it’s my duty to testify about them.” — Ursula K. Le Guin

“You should write because you love the shape of stories and sentences and the creation of different words on a page. Writing comes from reading, and reading is the finest teacher of how to write.” — Annie Proulx

“Find out the reason that commands you to write; see whether it has spread roots into the very depth of your heart; confess to yourself you have to die if you were forbidden to write.” — Rainer Maria Rilke

“A good writer possesses not only his own spirit but also the spirit of his friends.” — Friedrich Nietzsche

“Your writing voice is the deepest possible reflection of who you are. The job of your voice is not to seduce or flatter or make well-shaped sentences. In your voice, your readers should be able to hear the contents of your mind, your heart, your soul.” — Meg Rosoff

“Do not hoard what seems good for a later place in the book, or for another book. Give it, give it all, give it now.” — Annie Dillard

“If there’s a book that you want to read, but it hasn’t been written yet, then you must write it.” — Toni Morrison

“Tears are words that need to be written.” — Paulo Coelho

Inspirational Quotes by Writers

“You cannot find peace by avoiding life.” — Virginia Woolf

“The strongest principle of growth lies in the human choice.” — George Eliot

“Focus more on your desire than on your doubt, and the dream will take care of itself.” — Mark Twain

“Jump off a cliff and build your wings on the way down.” — Ray Bradbury

“I hope that in this year to come, you make mistakes. Because if you are making mistakes, then you are making new things, trying new things, learning, living, pushing yourself, changing yourself, changing your world. You’re doing things you’ve never done before, and more importantly, you’re doing something.” — Neil Gaiman

“Don’t bend. Don’t water it down. Don’t try to make it logical. Don’t edit your own soul according to the fashion. Rather, follow your most intense obsessions mercilessly.” — Franz Kafka

“Keep away from people who try to belittle your ambitions. Small people always do that, but the really great make you feel that you, too, can become great.” — Mark Twain

“Maybe it’s not about having a beautiful day, but about finding beautiful moments. Maybe a whole day is just too much to ask. I could choose to believe that in every day, in all things, no matter how dark and ugly, there are shards of beauty if I look for them.” — Anna White

“Trust our heart if the seas catch fire, live by love though the stars walk backwards.” — E. E. Cummings

“One day I find the right words, and they will be simple.” — Jack Kerouac

“I can be changed by what happens to me. But I refuse to be reduced by it.” — Maya Angelou

“The most common way people give up their power is by thinking they don’t have any.” — Alice Walker

Life Advice From Writers

“To live is the rarest thing in the world. Most people exist, that is all.” — Oscar Wilde

“That it will never come again is what makes life so sweet.” — Emily Dickinson

“It is never too late to be what you might have been.” — George Eliot

“To be yourself in a world that is constantly trying to make you something else is the greatest accomplishment.” — Ralph Waldo Emerson

“Pain is inevitable. Suffering is optional.” — Haruki Murakami

“Be kind, for everyone you meet is fighting a hard battle.” — Plato

“Unable are the loved to die for love is immortality.” — Emily Dickinson

“Let me live, love, and say it well in good sentences.” — Sylvia Plath

“Don’t let your happiness depend on something you may lose.” — C.S. Lewis

Are you inspired yet? Great! Get to work. 😉 Do you have a favorite?

Amidst the wild and unforgiving landscapes of Yellowstone Park, eco-warriors Mayhem and Shawnee race against the clock to protect an American Buffalo herd from the ruthless Killzme Corporation.

With a massive bounty on their heads and an army of killers on their trail, Mayhem and Shawnee risk it all to preserve the sacred lineage of the Innocent Ones.

There is no line Shawnee and Mayhem won’t cross.

Even murder.

As the danger intensifies and the clock winds down, will they be able to save the herd? Or will this be the mission that finally breaks them?

Preorder for 99c. Sale ends on release day, April 11, 2024.

Vonnegut’s Rules for Writers

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by James Scott Bell
@jamesscottbell

Kurt Vonnegut (Wikimedia Commons)

In the introduction to a collection of his short stories, Bagombo Snuff Box, Kurt Vonnegut tells a bit about his writing career. After several stories were published in magazines, and a couple of paperback novel sales, Vonnegut (with a growing family) ran out of dough. He thought about quitting. Then he was invited to teach creative writing at the famous Iowa Writers Workshop, which gave him the breathing space to write the novel that made him famous, Slaughterhouse-Five.

In that same intro Vonnegut gives eight rules he calls “Creative Writing 101.” Let’s have a look and ponder:

  1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
  2. Give the reader at least one character he or she can root for.
  3. Every character should want something, even if it is only a glass of water.
  4. Every sentence must do one of two things—reveal character or advance the action.
  5. Start as close to the end as possible.
  6. Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of.
  7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
  8. Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

With the exception of #8, I mostly like these, ahem, suggestions.

#1 is an overall goal for all of us, isn’t it? I mean, people have too many tasks and not enough discretionary income as it is. They don’t want to feel like time invested in your book has not been worth it.

#2 is essential, even if the main character is negative, like Ebenezer Scrooge. Why do we root for Scrooge? We are hoping he’ll be redeemed.

#3 is a key to writing a good scene. The main characters in a scene should have agendas, and they should in some way be in conflict. Give your minor characters desires, too. That’ll add more spice.

#4. To this I would add that sentences can also establish mood.

#5 is a bit too amorphous. Vonnegut did not write long books. He was the Bizarro World James Michener. What do you think he meant by this?

#6 is essential. Plot and character are not separate matters. Plot (trouble) forces the revelation of true character. That’s why there is no such thing as a “character-driven” novel, unless that character drives off the road, and soon (even better if forced off the road by another driver!)

#7 is interesting. It’s true if you try to please everybody, you’ll be taken in too many directions to have an effective tale. But who is the “one person” Vonnegut is talking about? Some authors like to think of an “ideal reader.” Some authors say the one person is them: “I don’t care one whit about what anybody thinks. I write to please myself!” Personally, I always write to please myself, but I also give a nod to the market. You usually don’t make a lot of lettuce at this thing if you completely ignore the latter. The pulp writers all knew this. What is your approach?

Which brings us to #8. To heck with suspense? Come on! You can’t have page-turning readers without it. And if readers can finish the story themselves, that means it’s predictable, which also means boring.

Vonnegut was a comic novelist with bite. He wrote about ideas, wrapping them up in playful—even absurdist—guises. I don’t wonder then that he paid no heed to mystery and suspense. For the rest of us, though, I say, “Heed indeed!”

So what do you think of the Vonnegut Rules?

Truth and Fiction

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It seems that going down a rabbit hole while doing online research is a given. Sometimes we find what we need at the outset and can escape within minutes, but I’ve spent hours following one lead to another only to wind up watching cute puppy videos.

When writing these days, I might come to a place that needs specific details such as a type or caliber of pistol, or what to call the round hole in a wood stove (the hob), or the vegetation in a specific part of Texas, but I do my best not to get sidetracked. Instead, I use those opportunities as short breaks from the work in progress to add bits and pieces of accumulated background information to my story, instead of spending days or weeks digging around to find so much minutia that the manuscript will resemble an eycyclopedia.

But I’m working on the second weird western in a new series (the contract is almost here!) and this time needed a little background information about the lands owned and controlled by the Comanches in the middle to late 1800s. I’d looked at a number of online maps to get a sense of the area called Comancheria, but I needed to walk the country and see and smell it up close for myself.

To do this, another couple we’ve known for decades joined the Bride and I in a week-long getaway to the Texas Panhandle, and specifically the Palo Duro Canyon, the Lone Star version of the Grand Canyon.

Some of our plans went awry when wildfires swept across the panhandle, preventing us from visiting a couple historical sites I wanted to see. Instead, we traveled south of that area, settling ourselves in a wonderful house on the rim of the canyon. It became our base camp of sorts.

The first trip was to visit the Charles Goodnight home, a restored structure built in 1888 by a bigger than life cowman and plainsman who was instrumental in settling west Texas. He served as a Texas Ranger, scout, established the JA Ranch in the Palo Duro area, invented the chuckwagon, and blazed a number of trails for cattle drives all the way to Wyoming.

We hiked the canyon, found the location of Goodnight’s 1877 ranch at the bottom, watched wildlife, sunrises and sunsets, and studied the light that seemed to change down in there every hour. We stood where Comanches camped, and imagined what it was like when the cavalry finally caught up with them one morning and broke the back of that tribe’s resistance forever by massacring women and children.

When we returned, my traveling buddy, Steve Knagg, (who has been a fan of Mr. Goodnight for years) gave me a biography first published in 1936. A history buff anyway, and knowing this volume contained enormous amounts of information, I sat down to read and couldn’t stop.

Before long it was full of notes on scraps of paper, marked pages, and sticky tabs. I quickly realized that Goodnight and the country he rode would figure predominantly in my next manuscript. However, it won’t be the first time his exploits have appeared in a fictional novel.

Most native Texans know the story of Goodnight, and the establishment of cattle trails in the 1870s and 80s, and are somewhat familiar with the famous Goodnight-Loving trail. I’d read books about this time period and these men before, and knew that Larry McMurtry loosely based Lonesome Dove on their adventures. I was surprised to see how well he used history to support the storyline.

The fictional and actual events paralleled closely as I read the real account of early Texas, written by J. Evetts Haley. It was eerie, since I’ve absorbed the novel Lonesome Dove at least half a dozen times, and watched the movie more times than I can recall. It sparked an interesting sense of déjà vu.

That came from the amount of real history McMurtry wove into that Pulitzer Prize winning novel released in 1985.

For example, did you know that August McCrae and Woodrow Call were based on Charles Goodnight and Oliver Loving? Many Texas history buffs have an inkling, but those two wonderful fictional characters are rooted in Texas lore.

The near-fatal engagement between Gus and the Cheyenne in Montana was based on a fight between Goodnight and a Comanche war party. It really occurred on the Pecos River in New Mexico and his real partner who escaped to find help was named One-Armed Wilson (in the book it was Pea Eye, played by Timothy Scott in the movie).

In the book, Gus lost his leg in Miles City after a long cattle drive, but in reality, Oliver Loving lost an arm to gangrene in New Mexico. Both eventually passed away from their wounds.

Like Woodrow Call who hauled Gus back from Montana to a pecan grove in Texas, Goodnight brought his old friend back from Ft. Sumner, New Mexico, to Weatherford, Texas for burial, (nearly 450 miles), but he didn’t make the trip alone. He was accompanied by half a dozen cowboys who escorted the body in a somber funeral party.

One of the characters in the book, a scout named Deets, was inspired by a cowboy and close friend to Goodnight, Bose Ikard (inset below). Unlike Deets who was killed by a young warrior, Ikard died of natural causes in 1929, but Goodnight’s respect for the man was so high that he really did carve a headstone with some of the same phrases later used in the book and movie.

Actual Epitaph: Served with me four years on the Goodnight-Loving Trail, never shirked a duty or disobeyed and order, rode with me in many stampedes, participated in three engagements with Comanches. Splendid behavior.

Fictional Epitaph: Josh Deets. Served with me 30 years. Fought in 21 engagements with the Comanches and Kiowa. Cheerful in all weathers.

I’ve had writers tell me they’re afraid to use real people or events because they feel it’s some kind of plagiarism, or they’ll face legal challenges from family or other entities, or at the very least, it’s stealing in some sense. The discussion above proves it’s perfectly all right to base characters on historic figures who inspire a story, and by changing the names, locations, and specifics to suit the plot under construction, the fictional actors are yours.

McMurtry did it, and wove an incredible story of two men who have immortalized the old west, even though Lonesome Dove was never meant to be a faithful depiction of Charles Goodnight and Oliver Loving, but became a wonderfully failed attempt to demystify traditional westerns.

Oh, and full disclosure about that great author, I have a story about how he snubbed me over twenty years ago by turning his back and walking away as I thanked him for his inspiration and body of work, but that’s another story.

Here’s the point. It’s all right to draw from history to create fiction, and the truth be told, I followed McMurtry’s lead and used historical characters and events in my aforementioned upcoming weird western, Comancheria, so I’m-a doin’ it again with this second book in the series.

Reader and Writer Friday: The Beginning-Ending-Beginning Cycle

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The saying, “All good things must come to an end,” is attributed to Geoffrey Chaucer, 1374 (Random House Dictionary). The phrase was originally “Everything has an end.”

Another quote, “Good things come to those who wait,” is from Lady Mary Montgomerie Currie, who wrote under her pseudonym, Violet Fane.

So, which is it? Do all good things end? Or do good things begin if we wait?

How about both? And how about relating that to our reading and our writing?

Mickey Spillane said, “The first chapter sells the book; the last chapter sells the next book.”

Maybe we could say, Good beginnings lead to good endings lead to good beginnings?

The archives here at TKZ are loaded with discussions of both beginnings and endings. Just use the search box.

Today, let’s keep the assignment simple.

For Readers: What techniques or content in the ending or last chapter of a book are most likely to make you look for another book by the same author?

 For Writers: What tricks and techniques do you use in your endings to capture the reader and make them want to read your next book?

***

A thank you to readers and participants:

After several years of blogging here at TKZ, I am stepping down because of family responsibilities. This has been an incredible opportunity, and I wish to express my appreciation to all the TKZ writers who have made this possible. I also want to thank those of you who have read and commented on my blogs. Your participation has made this a high point in my writing life.

I will continue to send a monthly newsletter/blog post to those who wish to follow my writing and pen making. You can sign up on the home page of my website – https://stevehooleywriter.com/ – The newsletter will contain a Bookfunnel link to a free book, Bolt’s Story, a prequel to my Mad River Magic series, and will also provide regular opportunities to sign up for drawings to win one of my hand-crafted, legacy pens, made with antique wood.

True Crime Thursday – Rent-A-Vet Frauds

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Photo credit: house.gov

by Debbie Burke

@burke_writer

In an earlier life, my husband and I operated several businesses in San Diego, historically a Navy and Marine Corps town. Whenever possible, we hired veterans. Most became valued key employees, supervisors, and managers we trusted and appreciated.

Giving hiring preference to U.S. veterans dates back to the Revolutionary War when government jobs were granted to those who had served their country, a tradition traced even earlier to European practices. In those days, the courtesy was mostly extended to officers, not the rank-and-file soldier.

The first law giving veterans hiring preference was enacted during the Civil War:

Persons honorably discharged from the military or naval service by reason of disability resulting from wounds or sickness incurred in the line of duty shall be preferred for appointments to civil offices, provided they are found to possess the business capacity necessary for the proper discharge of the duties of such offices.

The Veterans Preference Act of 1944 expanded coverage and was endorsed by President Franklin Delano Roosevelt who wrote:

“I believe that the Federal Government, functioning in its capacity as an employer, should take the lead in assuring those who are in the armed forces that when they return special consideration will be given to them in their efforts to obtain employment. It is absolutely impossible to take millions of our young men out of their normal pursuits for the purpose of fighting to preserve the Nation, and then expect them to resume their normal activities without having any special consideration shown them.”

From moving companies to handyman services to landscaping to construction, “rent-a-vet” is common term that appeals to those of us who want to do business with former service members. “Rent-A-Vet” ads are listed on Yelp, Craig’s List, and through employment services.

But, as always, honorable intentions can be twisted by dishonorable people for their own selfish benefits.

Unfortunately, you can’t always believe claims that workers are veterans or that companies are veteran-owned.

Rent-A-Vet fraud schemes are common. Two popular variations are 1) workers who claim to be vets but aren’t, and 2) companies that “rent vets” (IOW, they pay vets) to front as owners and/or officers of a company.

In a 2017 example, a veteran named Paul R. Salavitch was hired by Jeffrey K. Wilson (not a veteran) who owned a Missouri-based construction company, ironically named “Patriot Company, Inc.” Salavitch was named president of Patriot and acted as their front man, using his status as a service-disabled veteran to give the company preference when bidding for 20 government contracts totaling $13.8 million. Salavitch did not make decisions and was not involved in day-to-day operations. In further irony, he held a full-time job at the Department of Defense.

In 2018, Patriot owner Wilson pled guilty to one count of government program fraud. Salavitch pled guilty to a misdemeanor charge of making a false writing.

More recently, in March, 2024, Edward DiGorio Jr., 65, and Edward Kessler, 68, pled guilty to two counts of fraud in federal court in Pittsburgh, PA. Neither DiGorio nor Kessler were veterans, nor service-disabled. Between 2007 and 2018, to gain lucrative government contracts for two construction companies they owned, they “paid service-disabled veterans to falsely represent themselves as the primary owners and operators of ADDVETCO and Hi-Def, and to falsely attest to ownership of the companies on critical documents submitted to the VA.”

Their companies were awarded 67 contracts; 50 totaled $1 million plus. For two recent contracts, they received more than $400,000 in profits. Edwards and Kessler face up to $1 million in fines and up to 10 years in prison. They will be sentenced in July, 2024.

These fraud cases deprived legitimate veterans and service-disabled veterans of contracts and income they should have been entitled to.

How can you avoid frauds by people and companies passing themselves off as veterans or veteran-owned? Here are a few ways:

  • A DD-214 is proof of military service.
  • An employer may ask the person if s/he is a veteran.
  • Check out small business certification at: veterans.certify.sba.gov/
  • Call references.
  • Look up the company with the Better Business Bureau.

~~~

TKZers: Have you or someone in your family benefited from veteran’s preference?

Is veteran status important to you when looking for a contractor or employee?

Have you hired or employed veterans?

~~~

 

 

Easter weekend sale! Only $.99 for Deep Fake Double Down, mystery-thriller finalist for BookLife Prize. Buy at this link. 

 

Where Did That Come From?

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Where Did That Come From?
Terry Odell and James L’Eotile

Picture of a corridor in a jail

As I’m still in New Zealand, I’m delighted to have James L’Etoile as my guest today. I first met James at a Left Coast Crime conference, where he endeared himself to me forever by handing out chocolates wrapped with images of his recent release’s cover. Yes, chocolates. Yes, I’m easy. Oh, and he writes good books, too. I have no idea what day or time it is, or when or if I’ll have internet access, so James will be responding to comments. Take it away, James.

Hey there! Terry left a key under a rock by the back door and told me to let myself in. Terry was nice enough to offer me a guest post slot here on The Kill Zone if I promised to clean up after myself. I found a note reminding me no loud parties and be mindful of the curfew. Terry asked me to talk about how I went from a life of crime to writing about it. She may not have phrased it exactly that way…

I was in prison for 29 years as a result of choices I made. Oh, I should probably clarify that I worked in prison as opposed to having been sent there by a judge. I served as a hostage negotiator, captain, associate warden in a maximum-security prison, and director of California’s parole system. Still, it was doing time along with 3,000 men who couldn’t function in society without killing people.

Every day brought new challenges and demonstrated the worst humanity had to offer. My goal at the end of each shift was to have no new holes in my stab-resistant vest. So, what does this have to do with writing crime fiction? It’s not what you might think.

I didn’t begin writing until after I escaped (retired) from prison. One spring morning, I sat in the backyard with my coffee and a book. The coffee was good—the book—no so much. I tossed it aside and muttered, “I could do better than this.” Could I? It became a challenge. Could I lean to write commercial fiction?

Writing commercial crime fiction meant learning story structure. It meant discovering dialogue, tone, point of view, and pacing—all new territory for me. Books, online resources helped, but it wasn’t until I began attending workshops and classes that it started to come together. In particular, I credit the Book Passage Mystery Writers conference with putting me on the right course. It’s a small writer-focused weekend bringing in established authors who present craft sessions and offer their insights and encouragement. It gave me the basic tools of the trade.

But there was something missing. Sure, I had the technical skills in my pocket. But could I truly write crime fiction? The confidence—the can I really do this factor—held me back. Until I thought back to one of the first jobs I held as a probation officer preparing presentence reports for the sentencing judge.

A presentence report gives the judge a complete picture of the case and the defendant. I would interview the convicted person in the jail and get their take on the offense. Did they express remorse? Blame the victim? I read all the investigative reports, interviewed the detectives, spoke with the victim, or the next of kin, all to get a sense of the defendant and the crime. All this information would be cobbled together in a narrative for the judge. Years later, it dawned on me that I’d been writing crimes stories all along.

The realization that I’d done this before was enough to give me the confidence to take on writing crime fiction. I’ve learned how to use my experience in the system to help bring a little authentic flavor to the stories I write.

Face of Greed, for example, was based on one of the first murder cases I worked. The real-life situation was a home invasion which took a deadly turn. A real estate broker was shot in front of his family by three gang members. After they were arrested, the gang members claimed the victim was a drug dealer who had been holding out on them. One claimed the killing was self-defense because the victim pulled a handgun from a floor safe. Their story quickly fell apart, and the gangsters turned on one another for better plea deal. The truth was the home was targeted because the homeowner was believed to keep large sums of cash in his safe. The jury saw through their fiction and quickly convicted all three.

The case stayed with me after all these years and when I thought about a novel with an opening scene featuring a home invasion, I thought—what if there was something more going on in that house?

Now, working on the draft of what will be my twelfth novel, I’ve come to realize it doesn’t get any easier, but I’ve got the tools and confidence to see it through. Oh, I did meet that author—the one whose book I tossed aside. I thanked them for giving me the inspiration to become an author. I didn’t tell them exactly how they inspired my path. Sometimes you don’t need to tell the whole story.

How about you? If you’ve tried something new, where did you find your source of inspiration?

photo of author James L'Etoile standing in front of green treesJames L’Etoile uses his twenty-nine years behind bars as an influence in his award-winning novels, short stories, and screenplays. He is a former associate warden in a maximum-security prison, a hostage negotiator, and director of California’s state parole system. His novels have been shortlisted or awarded the Lefty, Anthony, Silver Falchion, and the Public Safety Writers Award.

Image of the cover of Face of Greed by James L'EtoileFace of Greed is his most recent novel. Look for Served Cold and River of Lies, coming in 2024. You can find out more at his website, jamesletoile.com

 

 

 

 

Full Circle – From First Page Critique to Publication

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by Debbie Burke

@burke_writer

Let’s flashback to September 2020 when an anonymous Brave Author submitted a first page entitled The Recruiter for critique. I was fortunate to be the critiquer. The page demonstrated excellent craft skills. The first-person voice was both funny and grim, reminding me of Raymond Chandler, my all-time favorite author.

It was also a difficult page to critique because there was almost nothing wrong with it. Comments from other readers were overwhelmingly positive.

I’m always glad when a Brave Author steps forward and responds to feedback. This BA shed his cloak of anonymity and introduced himself as Gregg Podolski.

Gregg Podolski

A subject we often discuss here at TKZ is the right place to begin a novel. Gregg recognized this scene, although action-packed, was not the best beginning.

Another frequent TKZ subject is “Killing your darlings.” This is always a difficult decision for authors to make. Fortunately, Gregg realized that, as much fun as he had writing the scene, and, despite favorable feedback comments, this page had to go.

Other readers and I asked Gregg to let us know when the book was published.

But…from first page critique to publication is often a loooooong journey. I wasn’t holding my breath because many good novels unfortunately don’t see the light of publication.

Then, in 2022, Gregg emailed me to say Blackstone Publishing would release The Recruiter in July 2024.

Wow! Wonderful news!

He also mentioned I was the first person outside his family to read and offer feedback on the story. That made me feel good because it’s especially rewarding to see a piece I’d admired come to fruition.

Several weeks ago, Blackstone sent me an ARC (advanced review copy) which I’d requested.

I’m pleased to say the book far exceeded the potential shown back in 2020 in that original first page.

The Recruiter is a tense, gritty, contemporary noir thriller with hard-boiled echoes of Philip Marlowe and Sam Spade. It’s in the first-person point of view (POV) of Rick Carter, a world-weary alcoholic who deserted his wife and children. He earns a living by recruiting assassins, gun runners, and assorted unsavory thugs to do dirty work for wealthy, powerful clients concerned with preserving their upstanding reputations.

Yeah, I know. Rick Carter sounds more like a villain. Yet Gregg managed to infuse enough humor and humanity into this anti-hero to keep me reading and fascinated.

I invited Gregg to discuss his journey from first page critique to publication in today’s interview.

Debbie Burke: Gregg, welcome back to TKZ and big congratulations on the upcoming release of The Recruiter! Where did the idea of an executive recruiter for criminals come from?

Gregg Podolski: Thanks so much for having me, Debbie! As far as the idea, I’ve been a professional recruiter for the last 17 years, and it dawned on me that there really wasn’t a lot of books about my profession in the fiction world. I didn’t just want to do a John Grisham book but with recruiters instead of lawyers, though. Instead of writing about a recruiter who was a good guy caught in a bad situation, I thought it would be more unique—and more fun—to write about a guy who recruits bad people to help other bad people do bad things. See if I could turn a character who would be a secondary villain in a typical thriller into the protagonist of an entire novel.

DB: How long have you been writing? Have you attended classes, workshops, or conferences? Any previous publications?

GP: My first short story, “The Horse Raised by Wolves,” was published in Highlights Magazine when I was 7 years old. Six years later, in 8th grade, I wrote my first thriller novella, “Poison 101,” which my dad submitted to Reader’s Digest, but was rejected with a very nice letter from their editor who encouraged me to keep writing. Both stories are available to read on my website, greggpodolski.com, for anyone who’s interested. I’ve been writing ever since, with no specific training or extra classes. I wrote two full novels, half of another one, and a collection of humorous essays before writing The Recruiter during the early days of the pandemic in 2020. None of those earlier works were published, though a few got some mild interest from agents.

DB: Your lead character Rick Carter starts off as a big jerk. When you originally envisioned the story, did you have his entire character arc/transformation in mind? Or did he evolve during the writing process?

GP: I always knew this book was going to be about Rick reconciling the man he used to be with the man he’s become, but how he accomplished that definitely evolved as I wrote. The biggest change is evident if you compare the first page you critiqued with the character he is in the finished novel. The guy you met in that since-discarded first page was a little tougher than the guy he turned into. I just really liked the idea of writing a book in which the action hero is kind of bad at the action stuff.

DB: The plot of The Recruiter has many reversals, course changes, and surprise twists. I gotta ask—are you a plotter, a pantser, or a combination?

GP: Definitely a combo. I always know how a book will begin and end before I start, and then the connecting story beats come to me as I go. My phone is filled with notes ranging from a single line of dialogue to an outline for an entire scene. I type them up as they come to me and then try to work them in wherever they make sense. So, in a way, I sort of plot as I pants.

DB: Can you share the process you went through to get The Recruiter accepted for publication?

GP: I always knew I wanted to go the traditional publishing route, as I am far too lazy to self-publish. The Cliff’s Notes version is that I wrote the first draft from March-June of 2020, revised it twice, then started querying agents in September. By June of 2021, I had racked up around 50 rejections/no responses and two offers. I picked the one who I felt best connected with both me and my manuscript, then we revised it again over the summer. We went out on sub right before Thanksgiving and I received the offer from Blackstone Publishing in March of 2022.

DB: In the epilogue, you left the door open for more adventures with Rick Carter. Is another Recruiter book in the works?

GP: Not only in the works but written and submitted to Blackstone, waiting for their approval! I would love nothing more than to turn this into a book-per-year series, for as long as readers are interested in seeing what Rick gets up to next.

DB: Anything else you’d like to add?

GP: Just to say how appreciative I am of you and the entire TKZ community. I’m more of a lurker than a commenter, but I check the site every day as part of my morning routine, and recommend it regularly to anyone looking for writing advice. The feedback you provided on my first page critique and the wealth of knowledge and encouragement in the comments section was exactly the boost of confidence I needed as I dove into the query trenches, even if that first page remains in my Deleted Material file. That’s why this interview is so special to me, and is without a doubt one of the most meaningful I have done or will do. Thank you all!

~~~

TKZers: I coaxed Gregg out of lurking in the shadows. Feel free to ask him questions in the comments and he’s happy to answer.

Investigating Agatha Christie

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I specialize in murders of quiet, domestic interest. –Agatha Christie

* * *

Agatha Christie is the best-selling novelist of all time. Her sales are exceeded only by the Bible and the works of Shakespeare.  According to her website at agathachristie.com, “She is best known for her 66 detective novels and 14 short story collections, as well as the world’s longest-running play – The Mousetrap. “

Agatha Christie’s books have sold over two billion copies worldwide!

Given Ms. Christie’s extraordinary success, it might be a good idea to see if we can discover some of her secrets.

* * *

A few years ago, I watched a documentary entitled “The Agatha Christie Code” (available on Youtube)  in which researchers examined various aspects of Christie’s writing. These researchers included

Dr. Richard Forsyth, Research Fellow in Applied Linguistics at the University of Warwick

Dr. Pernilla Danielsson, Academic Champion of Communications at the University of Birmingham

Dr. Marcus Dahl, Research Fellow at the School of Advanced Study – London University

They used computer technology to analyze Christie’s work, and they found interesting patterns in her stories that may give us a clue as to why she’s so popular.

Word Choices

Christie used simple language in her books, so readers were free to focus on the plot rather than the language. For example, the researchers found she used “said” often in an attribution rather than other words like “responded” or “answered.”

Christie also often repeated words within a short section of prose – something I’ve been warned against. Here’s an example from the novel Sad Cypress that was used in the video. (My notations in red.)

The researchers thought the repetition cemented the information in the reader’s mind. My editor would probably faint if I sent something like that to her, but maybe we should rethink the multiple uses of a word in a short section of prose.

Verbal Structure

The most interesting part of the video for me was when one of the researchers evaluated Christie’s works on the three criteria of

  •             Word length
  •             Word frequency
  •             Sentence structure

Dr. Danielsson plotted information about these aspects on a three-dimensional graph and plotted the same criteria from Arthur Conan Doyle’s works on the same graph. Christie’s books exhibited a consistency shown visually by her plotted points being clustered together while the points of Doyle’s stories were spread farther apart indicating his works were more dissimilar when compared to each other. This indicated that Doyle’s style had changed through the years while Christie’s had remained remarkably consistent.

Plot

Christie’s mysteries almost always create a world where

  •             There is a dead body
  •             A closed group of suspects are introduced
  •             A detective (either professional or amateur) is a character
  •             Red herrings are spread throughout
  •             There is a denouement scene where the detective identifies the murderer and brings closure to the story.

Some critics claim Christie wrote the same story over and over, but that’s not fair. For example, The Murder of Roger Ackroyd, Murder on the Orient Express, and And Then There Were None introduced novel twists to the standard murder mystery although they used a typical Christie template.

However, this general structure reassures the reader that there will be a logical puzzle that will be solved in the end, and that contributes to the sense of satisfaction.

Characters

While some famous characters appear in multiple books and are popular with the reading public (e.g., Hercule Poirot, Miss Marple, Captain Hastings), the number of characters in each novel may be just as important. This prompted an interesting theory by David Shephard, Master trainer in Neuro-Linguistic Programming.

Mr. Shephard pointed out that people have a limited focus and a conscious mind can only concentrate on five to nine things at a time. When presented with more information than that, a person will enter a sort of hypnotic trance.

Since Christie’s stories often have more than nine characters and several plot lines, Shephard thinks the reader’s mind can’t handle the overload of information, so he/she begins to “feel” the book rather than just think about it. This emotional connection makes readers want to return to Agatha Christie’s books again and again.

I’m not sure I can buy that explanation, but it’s very interesting and makes me think I should count the characters in my future books to see if I can put my readers into a trance.

Content & Style

As we all know, Agatha Christie’s mysteries contain no explicit sexual scenes and no explicit violence. So why do so many readers still buy her novels? Readers of Christie’s books know there will be a logical solution to the murder, the killer will be caught, and the clues are all available to solve the mystery.

David Suchet, who played the part of Hercule Poirot in the television series Agatha Christie’s Poirot, compared Christie’s books to sudoku puzzles. He believes readers enjoy the books because they’re completely absorbed in figuring out the solution to the puzzle.

Length

Although I found a site with the number of pages in each of Agatha Christie’s novels, I only found a reference to the word count on https://thewritepractice.com/word-count/. That site had an article that states Agatha Christie’s mystery novels average between 40,000 and 60,000 words. That’s a little short for most novels today, but it could explain why people found them easy to read.

 

Pacing

Agatha Christie controlled the speed at which her books were read by laying out more descriptive passages at the beginning, but picking up the pace of the story as it progressed. Hypnotist Paul McKenna had an interesting take on this. He felt her particular pattern of writing caused certain brain chemicals to be released, resulting in a sort of addiction in the readers. This theory goes a little beyond my pay grade, but I do think picking up the pace is a technique that works well in mystery writing.

* * *

So there you have it. While I’m sure there are other reasons for her success, these aspects of Agatha Christie’s writing are worth considering.

* * *

So TKZers: Have you read many of Agatha Christie’s books? Why do you think they’re so popular? Have you viewed “The Agatha Christie Code” video?  Is there anything you think we can glean from the data in this post that will help with our own writing?

* * *

 

“Very few of us are what we seem.” –Agatha Christie

Private pilot Cassie Deakin lands in the middle of a mystery and discovers things are not always what they seem.

Buy on Amazon, Barnes & Noble, Kobo, Google Play, or Apple Books.

Show Us the Good Stuff

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by James Scott Bell
@jamesscottbell

Gather round for another of our first-page critiques. The genre is Mystery. My comments to follow.

A litter of russet leaves curled over the hood of the taxi as it pulled up to the curb. Chad had accepted a lift from the airport from Claude Durand, and now he was regretting it. 

“I think it’s braveof you, to support Follett publicly,” Claude said.

Chad avoided eye contact. Was it brave to be honest? It shouldn’t be.

“Mind you, I wouldn’t stake your reputation on his. After what he did—”

“What he did? You mean what was done to him.”

Claude raised his palms. “Ecoutez-moi. I think you will find that many people at this tournament lost money when they invested in Chess Maestro.”

“An investment is always a risk.”

Claude surveyed him coolly. “You probably think you’ll be winning chess tournaments for the rest of your life.” With an extra tang of bitterness, he added, “Nice to be young.”

Outside the car window, the seaside hotel soared into the blue September sky. And on the front steps stood David Follett, with a fedora pushed back on his head and his chin raised.

“Well,” Chad said half-heartedly. “Thanks for the heads-up.”

Claude raised a palm again. “I’ve been studying your moves. You’ve got possibilities.” He put his hand on the door handle. “Don’t waste them.”

Chad left the car. He loved playing chess more than anything else in life. But he wasn’t always sure how he felt about other chess players.

“Good to see you, brother,” David said, crossing over to shake hands with him. “D’you have a good trip?”

“All but the lecture at the end.”

David grinned, showing the wrinkles around his eyes. “I’ll bet. But on a day like this, I feel magnanimous with the whole world. Even the Claude Durands. I think this is going to be a good tournament. You?”

“I’m feeling good.”

“That’s it, brother. Don’t let it all get to you. It’s just about the fun of the game.”

As Chad turned away, David placed a hand on his arm.

“Remember, the most dangerous game you’re playing is the one in your head.”

David Follett was always saying cryptic things like that. Chad never really understood what they were supposed to mean, but this time the words would come back to him with cruel significance before the day was done. David would be found floating face down in the hotel pool, his final game all played out.

***

JSB: Let’s start at the end. You hear it over and over: show, don’t tell. There’s good reason for that—it works. It’s the difference between an immediate, emotional experience (which is what a reader craves) and a dull lecture.

Yes, there are times to tell, but almost always that is in order to get from one scene to another quickly, so you can start showing again.

And for goodness’ sake, always show the most important, emotion-charged part of the scene in all its vividness.

Here, the most interesting thing that happens on the page is the body floating in the pool. But we’re only told about it. Worse, it hasn’t even happened yet, taking all the potential of emotional impact out of it when it does.

Dead bodies must be shown or reported in real time. (Unless they are part of a character’s backstory.)

So my first bit of advice for our writer is to cut something: the last paragraph.

Now let’s go to the beginning.

A litter of russet leaves curled over the hood of the taxi as it pulled up to the curb. Chad had accepted a lift from the airport from Claude Durand, and now he was regretting it. 

That first line doesn’t give us a POV. It’s just there. Who is seeing these leaves?

Apparently Chad, according to the second line. Except the second line is written in the past tense, then switches to the present. This is confusing. Make a note of this: your opening page should always be present tense action through one POV. That will never, ever hurt you. Once you become world famous, you can mess around with style if you wish. But I wouldn’t advise it.

Oh yes, and avoid giving characters names that start with the same letter. It’s too easy to confuse Chad and Claude.

“I think it’s brave of you, to support Follett publicly,” Claude said.

I wouldn’t italicize “brave” in this instance. In fact, don’t italicize dialogue unless it’s necessary for emphasis, e.g., “I can’t believe you let him kiss you!”

Chad avoided eye contact. Was it brave to be honest? It shouldn’t be.
“Mind you, I wouldn’t stake your reputation on his. After what he did—”
“What he did? You mean what was done to him.”

You’re introducing a note of mystery here, which is a good move. And look! Italics might be called for, i.e., “What he did? You mean what was done to him.”

Claude raised his palms. “Ecoutez-moi. I think you will find that many people at this tournament lost money when they invested in Chess Maestro.”

I can’t think of a good reason to have Claude saying, Ecoutez-moi. Unless someone speaks French rather well, it just looks odd. I know it characterizes Claude as something of a continental sophisticate, but you can do that in other ways.

Claude surveyed him coolly. “You probably think you’ll be winning chess tournaments for the rest of your life.” With an extra tang of bitterness, he added, “Nice to be young.”

Okay, here is the first indication of who is who and what is what. Chad is a young chess master. Fine. But who is Claude? What is Claude’s relationship with Chad? Why should Chad listen to him?

Outside the car window, the seaside hotel soared into the blue September sky. And on the front steps stood David Follett, with a fedora pushed back on his head and his chin raised.

Again, that first sentence is passively objective. Put it in Chad’s head. Have him seeing the hotel. And by the way, where are we? Sounds like France, but this is where you can add specificity so the reader knows we’re at, say, the Soufflé Puant Hotel.

Chad left the car. He loved playing chess more than anything else in life. But he wasn’t always sure how he felt about other chess players.

Okay, here’s the heart of the matter. What’s missing in this scene is a character to bond with and a disturbance. Those are two crucial elements of any first page. The first question a reader has is, Who am I reading about? Whose story (or at least chapter) is this?

The second question is, Why should I care?

We’ve covered the first issue. Firmly establish we’re in Chad’s POV, and stay there. But further, what is there about him that we can empathize with? His love of chess might work, but the problem is you tell us he loves it. We need to feel him feeling it.

Here is where a bit of backstory can help. You’ll sometimes hear a critique-group sheriff announce in no uncertain terms, “No backstory in the first thirty pages!” This is not good advice.

There is fair warning about too much, however. So what’s the answer?

I’m here with JSB’s Backstory Prescription (JSBsBP). I’ve given this to students many times with wonderful results.

  1. In the first ten pages (approx. 2500 words) allow yourself three sentences of backstory, used all together or separately.
  2. In the second ten, three paragraphs of backstory, all together or separately.

So here on the first page, give us some blood pumping in Chad about chess, such as:

Ever since he was seven, when his dad taught him the moves, Chad had been in love with chess. When he starting playing tournaments at age eight, the joys of victory deepened his love into a devotion bordering on obsession.

Now we’re starting to bond. What will cement that bond is a disturbance.

What trouble is there? Chad is arriving for a chess tournament of some sort. Claude tells him he’s being “brave.” You tell us he isn’t sure about some of the other chess players. David tells him not to “let it all get to you.” That’s not enough.

Give us something specific Chad can worry about.

  • Death threats.
  • Being charged with cheating.
  • A female chess player who dumped him is going to be there.
  • He’s experiencing sudden fatigue or anxiety.

Brainstorm. Come up with something that tells us it’s not smooth sailing arriving at this plush resort for a tournament.

Whew. I think I’ll stop here in order to make a suggestion. Try writing this first page in all dialogue. Not even attributions. This is for you only. Figure out how to put in all the crucial information we’ve talked about in a tense dialogue exchange between Chad and Claude. Include the disturbance in this exchange. (See my post on hiding information inside confrontation. See also P. J. Parrish’s Dos and Don’ts of a great first chapter.)

After that’s done, drop in two or three sentences of backstory, as prescribed earlier.

You’re going to love the result. As will potential readers.

And then—keep writing!

Good luck.

Comments welcome.

 

Dealing with Doubt Words of Wisdom

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In my experience doubt is one of the greatest obstacles writers face. Doubt that you have the chops to finish your latest book. Doubt that you have the skills to even start. Doubt when you find yourself stuck, whether you are an outliner or a discovery writer, or a hybrid of both.

Doubt and I are old acquaintances—it wasn’t until I had been studying and practicing the craft of fiction writing that I began to overcome it, but, even then, doubt continued to get in my way.

My late friend and mentor Mary Rosenblum told me in no uncertain terms I needed to figure out a way to vanquish the inner “demon” of self-doubt or I would never progress as a writer. She told me one of the most talented writers she ever knew had been crippled by intense self-doubt after initially writing some promising work and had not written anything since. I took her advice to heart.

It took me several years after her urging to finally begin to get a handle on overcoming doubt, but I did.

I learned you never banish doubt completely, but rather, you figure out how to write and finish despite the doubt. Today’s Words of Wisdom looks at doubt and how to overcome it before and during writing, as well as when you are stuck not knowing what happens next, with excerpts from James Scott Bell, Joe Moore and PJ Parrish.

Another reason excellent writers experience doubt is, ironically, excellence itself. Because these authors keep setting their standards higher, book after book, and know more about what they do each time out. That has them wondering if they can make it over the bar they have set. Many famous writers, unable to deal with this pressure, have gone into the bar itself, and stayed late.

Jack Bickham, a novelist who was even better known for his books on the craft, put it this way:

“All of us are scared: of looking dumb, of running out of ideas, of never selling our copy, of not getting noticed. We fiction writers make a business of being scared, and not just of looking dumb. Some of these fears may never go away, and we may just have to learn to live with them.”

Yes, you learn to live with them, but how? The most important way is simply to pound away at the keyboard.

You write.

As Dennis Palumbo, author of Writing from the Inside Out, put it, “Every hour you spend writing is an hour not spent fretting about your writing.”

If a writer were to tell me he never has doubts, that he’s just cocksure he’s the Cheez-Wiz of literature, I know I will not want to read his work. That’s why I think doubts are a good sign.

They show that you care about your writing and that you’re not trying to skate along with an overinflated view of yourself.

The trick is not to let them keep you from producing the words.

Don’t ever let the waves of doubt stop you. Body surf them back to shore, let the energy of them flow through your fingertips. That’s the only real “secret” to this game.

James Scott Bell—July 10, 2011

 

So when you get stuck, what can you do? Here are some suggestions that I’ve used. Perhaps they’ll help you, too.

  • Change your writing environment. I have a home office with a desktop PC. I also have a laptop. Sometimes I need different surroundings so I grab my laptop and move to another room or outside. Just the act of breathing fresh air can fire up your brain.
  • Listen to music. Often I write to background music, usually a movie score (no distracting lyrics). But sometimes setting down in front of my stereo and rocking out to my favorite group can clear my head and refresh my thoughts.
  • Get rid of distractions. TV, email, instant and text messages, phone calls, pets, and the biggest offender of them all: the Internet. Get rid of them during your writing time.
  • Stop writing and start reading. Take a break from your writing and read one of your favorite authors. Or better yet, pick something totally out of your wheelhouse.
  • Don’t decide to stop until you’re “inspired”. I’ve tried this. It won’t work.
  • Open a blank document and write ANYTHING. It’s called “stream of consciousness”. It worked for James Joyce, Virginia Woolf and Marcel Proust. It can work for you.
  • Write through it. Beginners sit around and hope for a solution to come to them in their dreams. Professionals keep writing. The solution will come.
  • Finally, do something drastic. Bury someone alive. Works every time.

Joe Moore—July 20, 2016

Maybe there are writers out there who never have any doubts. Maybe Nora Roberts or Joyce Carol Oates never break out in a cold sweat at night. But I suspect there are hundreds, maybe thousands, of you out there who are in the same sweaty boat as I am. Because getting published is the easy part. (I know, those of you who aren’t don’t want to hear that, but it’s true.) Staying published is what’s tough. That means consistently writing good books that people want to read. And did I mention trying to always become a better writer?

Here’s Chuck Wendig on the subject of self-doubt. He’s my favorite go-to-guy when I am feeling alone and fraudulent:

You’re sitting there, chugging along, doing your little penmonkey dance with the squiggly shapes and silly stories and then, before you know it, a shadow falls over your shoulder. You turn around.

But it’s too late. There’s doubt. A gaunt and sallow thing. It’s starved itself. It’s all howling mouths and empty eyes. The only sustenance it receives is from a novelty beer hat placed upon its fragile eggshell head — except, instead of holding beer, the hat holds the blood-milked hearts of other writers, writers who have fallen to self-doubt’s enervating wails, writers who fell torpid, sung to sleep by sickening lullabies.

Suddenly Old Mister Doubt is jabbering in your ear.

You’re not good enough.

You’ll never make it, you know.

Everyone’s disappointed in you.

Where are your pants? Normal people wear pants.

You really thought you could do it, didn’t you? Silly, silly penmonkey.

And you crumple like an empty Chinese food container beneath a crushing tank tread. 

There’s no easy way to cope with this. But here are some things I have found that have helped me over the decades. If you have some remedies, pass them on. We can all use the help.

  1. Talk to other writers. Be it through a critique group or at a writer’s conference, or just hanging out at blogs like this — make human contact with those who understand. One of the hardest lessons I learned was that, although writing is a solitary pursuit, it’s not a good idea to go it alone.
  2. Get away from your WIP.  Which is NOT to say you should abandon writing for days or weeks because it you do that you lose momentum and risk being exiled from that special universe you are creating in your head.  But it is a good idea, when you a stuck or in deep doubt, to feed your creative engine. Go for a good hike (leave early and take the dog). Read a good book or better yet some poetry. Go see some live theater  or a concert. You will come back refreshed. It’s like doing a crossword puzzle: You can sit there and stare at 19-across for days and not get it, but if you put the puzzle down for awhile then pick it up, you see the pattern and can move on.
  3.   Stay in the moment.  Don’t project your fears forward or your regrets backward: What if I spend the rest of the year working on this story and it turns out to be a heaping pile of poop? What if no editor ever buys it? What if I only sell four copies on Amazon? If only I had started doing this when I was younger or before I had kids (or fill in the blank) I might be successful by now.  As a therapist friend of mine once told me: If you stand with one leg in the past and the other in the future, all you’ll do is piss on your present.    
  4. Don’t be afraid to fail.  Because you will, at some time and at some level. If you spend all your energy worrying about this, you will never be a writer. Failure can often lead you in new directions. Margaret Atwood took a vacation to work on her novel but six months later, she realized the story was a tangled mess with “badly realized characters” and she abandoned it. But soon after that, she began her dystopian masterpiece The Handmaid’s Tale. As she put it:

Get back on the horse that threw you, as they used to say. They also used to say: you learn as much from failure as you learn from success.

PJ Parrish—March 14, 2017

***

  1. Is doubt an obstacle you face as a writer?
  2. Do you feel doubt when starting or finishing a project?
  3. If you get stuck while writing, is doubt part of your creative struggle to unstick your writing? What techniques do you use to overcome doubt and unblock your writing?
  4. How do you overcome overcome self-doubt in general regarding your writing?