Unlocking Your Potential as a Writer

Posted on by

Ever feel like you’re capable of more, but can’t quite break through? That’s potential talking. Every writer I know has it. Some are sitting on mountains of it. But here’s the truth about potential—it’s worthless unless you act on it.

Aristotle had a word for this. “Dunamis”. The latent power of becoming. He saw potential as real, not imaginary. A seed isn’t just a seed. It’s a tree in waiting. But for that to happen, it needs the right conditions and, most importantly, action.

Writers aren’t any different. I’ve been around this writing game long enough to see a hard truth. Most of us don’t come close to what we’re capable of. Me undoubtedly included.

Why?

It’s not because we’re lazy. Writers are some of the most disciplined people I know. It’s not because we lack ideas. If anything, our heads are overcrowded with them.

The real problem? Fear and friction.

Fear of rejection. Fear of not being good enough. Fear of writing something that falls flat. Fear that your next book won’t live up to the last one.

And then there’s friction. Distractions, cluttered headspace, and that nagging voice that says it’s safer to stay where you are than push forward.

Viktor Frankl—a man who understood survival and meaning better than most—said that success can’t be pursued directly. It has to result from fulfilling a purpose greater than yourself.

In plain English: if you want to unlock your potential as a writer, you need a why. Not a bestseller list. Not an advance. Not applause. But a why.

It could be telling the story only you can tell. It could be shining a light on something that matters. It could be proving to yourself that you can do it.

But potential without direction? It rots.

Something I learned from years of policing, coroner work, and writing is this. Big breakthroughs are built on small, consistent moves.

A page a day. A scene every week. A query letter sent. An uncomfortable rewrite.

Over time, these small acts compound. Like interest in the bank.  Yes, compound interest which Einstein said was the eighth wonder of the world. That’s how you turn potential into pages and pages into a book.

Three Ways to Start Unlocking Your Potential

Here are three practical strategies that helped me more than I realized at the time:

  1. Write with urgency. Stop waiting for the “perfect time” to write. It doesn’t exist. If you’ve got ten minutes, use it.
  2. Find your friction, then kill it. Is it social media? A cluttered workspace? A manuscript you dread opening because you’re scared it’s not good enough? Identify what’s slowing you down and remove it.
  3. Don’t do this alone. Every writer needs allies — critique groups, mentors, writing partners, trusted readers. Writing may be solitary, but growth isn’t.

The Writer’s Edge

If you’re a crime, thriller, or suspense writer, your stories already live in tension, uncertainty, and danger. But here’s the secret. Your potential as a storyteller is as suspenseful as any plot twist you’ll ever write.

It’s unknown. It’s waiting. And it’s yours to chase… or abandon.

The best writers I know aren’t the most talented. They’re the ones who took their potential seriously — and acted on it. And that’s your invitation.

Ask yourself today:

  • Am I where I could be?
  • Am I willing to do what it takes to get there?
  • What am I avoiding that would unlock my next level?

Your potential as a writer isn’t some lofty idea. It’s real. It’s waiting.

And the best time to tap into it? It’s now.

Kill Zoners — Is there anyone out there who feels they’ve tapped out their true potential?

 

What Could Go Wrong?

Posted on by

What Could Go Wrong?
Terry Odell

As you read this, I’m probably prone on a Long Island beach attempting to take decent photos of nesting shorebirds. (I was going to say I was shooting birds, but that could be misinterpreted, especially in this group.) I’ll try to check in and respond to comments, but please don’t let my absence keep you from expressing yourself.

I normally keep my own blog, my Substack, and my TKZ posts separate, but given that I’ve been trying to prepare for the trip and deal with major rewrites on the current wip, I took the liberty of repeating myself here.

When I learned that it would be better to have my Triple-D Ranch Series published before my scheduled BookBub Featured Deal on July 9th, I set the wip aside while I created the ebook. No worries. I’ve done this many times before.

I had the manuscript put together and used Draft2Digital to create the epub. I downloaded it, and it looked fine, but wanting to make sure I had some time to make sure it was really ready, I scheduled it to release on July 1st, a few days in the future. I use Draft2Digital to get my books onto Apple because that used to be the only route unless you used a Mac. Being lazy, I never changed once Apple allowed PC users to upload directly.

Next, I figured I’d go to Barnes & Noble, which is one of the ‘easier’ places to upload a new book, because they don’t have territorial pricing, which is always a challenge for me. Before I’d gotten more than a couple of steps into the process, they asked, “Does your file include the cover?”

Dang. I’d added the individual covers for each title into the manuscript, but had totally neglected to include the one I’d created for the book.

Back to the manuscript, add the cover, then back to D2D to reupload the file. Checked to make sure no gremlins had crept in, and approved it for publication. Back to B&N, and finished jumping through their hoops. Checked the final review. How had I chosen my Mapleton Mysteries as the series this Triple-D Ranch book belonged in? Probably because I’d just adjusted the pricing on one of the Mapleton bundles, and that was where my brain remained. Edit. Reupload.

Kobo was straightforward enough, although they have a bunch of territorial pricing options, too.

Then, onto Amazon. By now, it should have been easy, right?

I got as far as uploading my manuscript file, which seemed to be taking much longer than usual to load. It finally did, I went through all the other steps, and downloaded the file to make sure their software hadn’t messed anything up.

What? Where was all the back matter I’d added through D2D’s options. My author’s note, all my other books, my teaser? I went back and looked. Somehow, I’d managed to upload my Word file, not the epub I’d created. So, once again, I upload the file, and this time, everything seems to be right. Amazon has territorial pricing, but not as many venues, so it didn’t take as long. But wait. I’d recently changed the pricing on a Mapleton bundle, and I was using those prices, not the ones based on the pricing for the Triple-D book. Go back to the Kobo pricing page, screenshot those prices and enter them at Amazon. Except … Amazon has price ceilings that are lower than Kobo’s for some of the territories, so in reality, most of my prices were already where they had to be.

I’m thinking all is well at last, and I still had a couple of days before the book goes live. But I need to add a page for the book on my website. I’ve done this before, too, so it shouldn’t take too long.

My web designer has things set up so if I create the page by cloning a previous book’s setup, I can just make the necessary switches. The cover and other metadata. All is going along swimmingly … until … I look at the home page and notice there’s something different about the cover for this one.

Check out the first cover from my cover reveal blog post. Then look at my book page. Can you tell what I did wrong?

So, back to Canva, make the changes, and get the website done. Almost. Turns out the cloning process only works properly if you clone a book from the same series. I hadn’t. I’d just used my most recent release, Danger Abroad, which is a Blackthorne title. So, the automatic populating of the page pulled the Blackthornes, not the Triple-Ds. Delete that file and start over, this time with a Triple-D title. Took a little longer because there was a section I wanted to be on the new book’s page that wasn’t on any of the other Triple-D titles, and I had to figure out how that worked by trial and error. (Because I wasn’t going to pay my web designer to change it unless I was totally out of my depth. Money, either incoming or outgoing, is a great motivator for me, and I did manage to figure out how to add that section.)

Only one more thing I had to do—change the cover everywhere—but I couldn’t do that until the book was live, because you’re not allowed to touch things when it’s that close to release.

So, a half day project ended up taking about three days, not counting the waiting for release so I could swap out the cover.

Anyone else have as many brain lapses on one project?

New! Find me at Substack with Writings and Wanderings

Danger Abroad

When breaking family ties is the only option.

Madison Westfield has information that could short-circuit her politician father’s campaign for governor. But he’s family. Although he was a father more in word than deed, she changes her identity and leaves the country rather than blow the whistle.

Blackthorne, Inc. taps Security and Investigations staffer, Logan Bolt, to track down Madison Westfield. When he finds her in the Faroe Islands, her story doesn’t match the one her father told Blackthorne. The investigation assignment quickly switches to personal protection for Madison.

Soon, they’re involved with a drug ring and a kidnapping attempt. Will working together put them in more danger? Can a budding relationship survive the dangers they encounter?

Available now.

Like bang for your buck? I have a new Triple-D Ranch bundle. All four novels for one low price. One stop shopping here.

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

Uncovering the Villain in the Cozy Mystery – Guest Post by Leslie Budewitz

Posted on by

Today’s guest post is by my good pal, three-time Agatha award winner Leslie Budewitz. Recently I attended a talk by Leslie and a local lavender farmer that tied into the release of her new book, Lavender Lies Bleeding. From beta-reading the book, I’d already learned fascinating facts about that business. But being in a meeting room filled with lavender samples was truly intoxicating. Check out Leslie’s book for a fragrant reading delight.

Take it away, Leslie!

~~~

The heart of the cozy mystery is the community. When a murder occurs, an amateur sleuth investigates because crime disrupts the social order. She embodies the world view that people are basically good, and one person can make a difference.

(Some cozy sleuths are male, but most are female, including my own, so I’ll use she and her.)

(And remember, these kinds of stories are called cozies because they involve closely connected people. There may be humor, ghosts, or recipes, but the crime and its impact are serious—and so is our sleuth.)

So how do cozy writers deal with villains? (Spoilers ahead. Oh, well.)

What’s the crime? In the cozy, the murder is personal. (A few cozies involve other major crimes or the threat of murder without an actual body.) There’s no random violence, no serial killers, no ticking bombs that could change the face of the planet. In other words, the crime is personal to the community—whether it’s the small town of Jewel Bay, Montana in my Food Lovers’ Village mysteries or a community-within-the-community, such as Pike Place Market and the Seattle food and restaurant community in my Spice Shop mysteries—so the connections between the story people are critical.

Who is our sleuth and what tools does she have? The cozy sleuth is an amateur, in the very best sense of the word—driven by determination to right a wrong. She may be new to town (Kathleen, the new librarian, in Sofie Kelly’s Magical Cats mysteries, or Blanche White, on a working vacation taking care of a wealthy family’s children in Blanche Among the Talented Tenth by Barbara Neely, a local girl come home (Erin Murphy in my Village series), or a long-time resident in a new situation (Pepper in my Spice Shop mysteries), but she is deeply committed to the community.

It’s that commitment, her personal stakes, that lead her to investigate. Mere curiosity is not enough.

Without access to search warrants, forensics, and other investigative tools, our sleuth does her work the old-fashioned way, using her personal skills and her knowledge of the community. She can ask questions the police can’t, make connections they don’t see. She may be able to see things others don’t because she herself is not seen, like Blanche. Often, she has specialized knowledge, such as the properties of particular spices, the origin of coffee beans, or the emotional value of a particular first edition, that aids her. Above all, she relies on her knowledge of human nature, of what drives people to extremes.

Who’s our victim? Look to the victim, Poirot said, and as usual, he was right. Identifying the victim’s secrets and relationships may point to one suspect or absolve another.

Who are our suspects? Again, look to the victim. The circumstances of the crime may narrow the search quickly, but it’s also important to look at the victim’s wider circle—her family, friends, neighbors, co-workers. The cozy typically involves 3-5 suspects—and our sleuth may be one of them, especially in the series opener. Each has to have had motive, means, and opportunity.

Who, our sleuth asks, would have wanted this person dead? Why? Could they have done it, given the likely weapon, the time and location, and other circumstances? What else is going on that reveals clues or motives? What are the suspects doing? How does our killer tip his hand, or put our sleuth in danger?

Consider Murder on the Orient Express: No, it’s not truly a cozy, but it’s a great example. Clearly, the killer was on the train, either in the snow-stranded car or with access to it. As Poirot asks questions, he is investigating the victim as much as his fellow passengers. He begins to get a sense of the man and what he did that made him a target. Poirot asks who had opportunity—who was in the adjacent cars, who was in the hallway when the victim was killed, who had access to his room, who had an alibi. All the while, he is learning more about the other passengers. As their interconnections emerge, he develops his theory of what happened.

What drives our killer? Given what I’ve said about the community and personal connections, you won’t be surprised that the motives are also personal. The killer may feel forced to act to prevent the victim from uncovering evidence of the killer’s past crimes, as in Murder at the PTA by Laura Alden, where the uncovering is literal. The killer may strike out to remove an obstacle to his goals, such as when an employee discovers her boss’s nefarious plan and threatens to speak out, in Crime Rib, my 2nd Food Lovers’ Village mystery. Or the killer might believe the victim is about to harm someone else, as in Sofie Kelly’s Curiosity Thrilled the Cat.

Other motives may be revenge, anger, jealousy, greed, a sense of betrayal, or an equally strong emotion. Self-defense and self-preservation can play a part. The killing may be planned or spur-of-the-moment—which may point to one suspect over another.

How does our sleuth identify the killer? Identifying the killer in any mystery is a mix of teasing out the motive, means, and opportunity. For the cozy sleuth, this means asking questions. Poking her nose where it may not belong, because she’s on a mission. Putting her safety—and sometimes that of people she loves—in danger. Irritating the police, now and then. By using the tools of her own experience. Erin Murphy, in my Food Lovers’ Village mysteries, left a job as a grocery buyer for a major discount chain to take over her family’s local foods market. Spreadsheets are second nature to her, and her Spreadsheet of Suspicion helps her keep track of what she knows and doesn’t know.

If the victim and any suspects are not local, what ties and conflicts could have led to their death? That’s key in Kelly’s Curiosity Thrilled the Cat, where the victim is in town for a festival—but it’s clear he’s been here before. In Barbara Ross’s Torn Asunder, the victim and some of the suspects are in town for a wedding at our sleuth’s business; other suspects are locals or newcomers. Our sleuth discovers that no one liked the victim—essentially a man who needed killing—before uncovering the real reason a new employee is in town, leading her to the killer.

The sleuth’s and killer’s circles may intersect or not, depending on the crime, but will be close. In Blanche Cleans Up by Barbara Neely, our sleuth is the cook in a powerful family’s home; she knows the family and who comes in and out of the house. In Ross’s Shucked Apart, Julia first meets her boyfriend’s poker buddy after a theft at her oyster farm; when the friend dies and Julia investigates, she meets people she hadn’t known—and also discovers unexpected ties to people she already knew that help her identify the killer.

It’s not uncommon to have a second, or occasionally a third, murder. That, of course, may shake up the suspect list, eliminating one suspect by making her a victim and another who was in jail or the hospital, and adding one who—well, you decide what he was up to. Those murders may happen on the page, or in the past. In The Shadow of Memory by Connie Berry, our sleuth discovers that old friends of our victim have died under mysterious circumstances. What was the killer after, and how did killing them help him get what he wanted?

It’s also possible to have multiple killers, whose goals may be separate or intersect. In Crime Rib, a visitor kills another visitor while a local kills another local. Both share a motivation: to eliminate someone who stands in his way. To solve the first killing, Erin has to figure out what the victim knew; to solve the second, she has to ask not just who killed this most likeable man, but who thought they would benefit from his death.

In The Marlow Murder Club by Robert Thorogood, three killers hope to avoid detection through the usual means—exploring who might have wanted the victim dead—by trading victims and killing on another’s behalf. Only when our trio of sleuths questions alibi evidence do they tumble to the truth.

Cozies may be “clean” in their avoidance of rough language and graphic violence, but there’s plenty of dirt going on. Suspects may be guilty of other crimes and misdeeds, even if only one is the killer. In To Err is Cumin, my 8th Spice Shop mystery, Pepper discovers that our victim, a disgraced chef she’d once tangled with, had uncovered a criminal scheme implicating several men involved in leasing space and equipment to restaurants. Any of them might have made a good killer. It takes Pepper some doing—and puts her at some risk—to discover who wanted the lid kept on badly enough to push our chef into the Ship Canal and leave him there.

And in Lavender Lies Bleeding, the 9th in the series, a woman and her brother-in-law have different reasons for targeting our victim and her business, a lavender farm. When the man screws up, the stakes rise and his sister-in-law steps in, the resulting murder fueled by anger, greed, and bitterness. Different motives, different crimes, making for a twisty plot that’s fun to unravel.

Some modern cozies follow a less typical structure, making for more variety in the villain’s motives and the sleuth’s approach. In Misha Popp’s Pies Before Guys series, our sleuth is a baker who goes after men who harm women. But before taking action, she has to investigate their crimes. Is our sleuth an angel of justice—or a potential serial killer?

In The Golden Spoon by Jessa Maxwell, set at a cooking competition at a Vermont country estate, each competitor has a secret or a reason to strike back. When a judge dies, those secrets and motives begin to surface, even without an amateur sleuth on the case. Ultimately, readers know who killed the judge and why, a killing utterly justified. The police blame the wrong woman, but we know what she did, and the punishment does fit the crime.

Ultimately, the cozy sleuth and killer will tangle—with words, actions, or both. The truth will out, and justice will prevail. Dinner might be late, even in a foodie cozy, but the taste will be oh, so satisfying.

~~~

Leslie Budewitz

Leslie Budewitz tells stories about women’s lives, seasoned with friendship, food, a dash of history, and a heaping spoonful of mystery. She writes the Spice Shop mysteries set in Seattle’s Pike Place Market, as well as the Food Lovers’ Village mysteries and historical short fiction set in her native Montana. As Alicia Beckman, she writes moody suspense. A three-time Agatha Award winner and past president of Sisters in Crime, Leslie lives in NW Montana with her husband, Don Beans, a musician and doctor of natural medicine.

 

 

Check out Leslie’s brand new release Lavender Lies Bleeding, the 9th Spice Shop mystery.

Wordle and the Cute Villain

Posted on by

We’ve talked about word games a few times here, and several of the TKZ crowd have mentioned Wordle as being a favorite.

For people unfamiliar with the game, the challenge is to guess a hidden five-letter word within six tries by creating words and seeing how the Wordle game responds. The simplest way to explain it is by example. I have a habit of using the word “HOUSE” as my first guess.

If a letter is in the solution and in the correct placement, it’s shown on a green background. If the letter is in the solution, but not in the correct place, the background turns yellow. If the letter isn’t in the word at all, the background is gray.

In a game I played a couple of weeks ago, here’s how the first four guesses looked:

After the first three guesses, I had all five letters of the answer, but I wasn’t able to come up with a word that was a valid solution. (Wordle will not let you enter arbitrary letters. Your guess has to spell an actual word, and I don’t think it’s fair play to look up possibilities online.)

The only word I came up with was “ROILS,” but I knew it was wrong because the letter “I” couldn’t be in the third position. Still, it was the only English word I thought of, so I entered it just to see if any of the other letters would be in the correct positions.

This was the strangest Wordle game I’d ever played. After the fourth guess, there are only two possible solutions: IOLRS or LORIS. I didn’t know either of those words, but LORIS seemed the most likely, so I went with that one.

It was the first time I solved a Wordle game with a word I hadn’t heard of. (My apologies to all the linguists and zoologists out there.) Of course, I looked up the meaning of the word, and found that a loris is a very interesting animal.

* * *

You can’t get much cuter than this guy. Big, sad eyes in a furry little body. So adorable. So cuddly. You want to pick one up and pet it.

Not a good idea.

According to worldwildlife.org,

With wide eyes and furry bodies, these slow-moving, pint-sized primates look like cuddly stuffed animals. But their venom-filled bites can rot flesh and cause anaphylactic shock in humans. (my emphasis)

Ouch.

It turns out the loris is the only mammal that is venomous. When I considered that surprising fact, it got me thinking about villains in general. Maybe the most dangerous ones aren’t the big, bad guys with the tattoos and spiked hair. Or those dark space villains. You know they’re the bad guys.

Maybe the scariest ones are the adorable characters whom everybody loves and trusts. The ones you can’t imagine would ever hurt you.

Here are a few examples I found on screenrant.com:

  • Hans, the handsome prince in Frozen, who appears to be in love with the Princess Anna, but really just wants to marry her to usurp the throne.
  • The “killer rabbit” in Monty Python and the Holy Grail. How dangerous could a cute little white rabbit be?

  • Dawn Bellwether in Zootopia seems to be a cute sheep helping ensure cooperation in her community, but in fact, she’s the mastermind behind a conspiracy.

In addition, I asked our TKZ expert on villainry, Debbie Burke, to give me some ideas of villains who fit this category. She mentioned nurses who kill patients. Makes me want to try doubly hard to stay out of the hospital.

 

But maybe the scariest villain of all was Anthony Freemont in the 73rd episode of The Twilight Zone. He was a really cute kid with powers of evil.

I saw that episode many years ago, but it still gives me chills when I think about it.

* * *

Over to you, TKZers: Are you a Wordler? Did you solve the recent Loris puzzle? On another subject, who is your favorite villain? Do your characters ever become victims of wolves in sheep’s clothing?

* * *

 

They may be cute, but there’s nothing villainous about these two detectives. 10-year-old tree-climbing Reen and her 9-year-old, feet-on-the-ground cousin Joanie are on a mission to find a hidden treasure, but along the way they discover something more important than what they were looking for.

EBOOK ON SALE NOW: 99¢ on Amazon, Barnes&Noble, and Apple Books.

Be Interesting

Posted on by

by James Scott Bell
@jamesscottbell

There were two ad campaigns in the last twenty years I truly loved.

The first was the “I’m a Mac and I’m a PC” spots. They featured Justin Long as the “cool guy” who was the Mac, and John Hodgman as the stuffy PC guy. Mac sales zoomed after this. Microsoft’s answer was to roll out Vista. We know how that went.

You can watch all the ads here.

The other campaign was “The Most Interesting Man in the World” for Dos Equis.

A typical spot featured “vintage film” of the man in various pursuits, while a narrator recites a few facts about him, such as:

  • In a past life he was himself.
  • If opportunity knocks and he’s not home, opportunity waits.
  • He once had an awkward moment, just to see how it feels.
  • The police often question him, just because they find him interesting.
  • When in Rome, they do as he does.

The commercials finish with the man sitting in a bar surrounded by beautiful people. He looks into the camera and, with a slight Spanish accent, says, “I don’t always drink beer, but when I do I prefer Dos Equis…Stay thirsty, my friends.”

In both your fiction and your “author presence” on social media and email marketing, dullness is the kiss of death.

Fiction

I’m going to suggest that “interesting” in fiction is a category unto itself so it doesn’t get lost amongst all the other craft studies we do around here. Think of it as an added spice, a little extra that draws a reader further in. Specifically, it’s tied to what characters do.

Stephen King, in On Writing, says readers love learning about work, the details of a character’s vocation. You can start with what you know. My courtroom background allows me to show the ins and outs of trials, criminal procedure, search and seizure law, plea bargains and the like. But I also like to learn about other work (via research, interviews, etc.) and render it on the page. Yes, it’s an effort, but it pays off. If I’m interested and can convey that on the page, the readers will be interested, too.

A particular skill the character has can also be of interest, especially if it helps said character at a crucial moment. I love that device in the Ron Howard movie Willow. The hero of the story, little Willow Ufgood, is an amateur magician who, early on, does his “disappearing pig trick.” It goes comically wrong as the piglet squeals out from under the stage. But in the climactic battle with the evil Bavmorda, Willow performs the trick to save the baby Elora from her clutches.

Give us those kinds of details and the fictive dream will be all the richer.

Author Presence

Of course, we all have to present ourselves to the digital world now. And at each stage—from websites to blogs to podcasts, newsletters and emails—we need to find ways to hold readers’ interest because they are inundated with content competing for attention.

So…be interesting. Don’t just give us thinly veiled iterations of “Hey, my new book is out! I’m excited about it, and I think you will be, too!”

I have a newsletter on Substack that is purely for entertainment but also provides information I think many readers will find interesting. Our own Terry Odell offers travel and other nuggets on her Substack.

A little humor always helps. Dean Koontz’s newsletter always has a little fun before giving his soft-sell pitch. Here’s how one began:

Dear Readers,

I’m thinking of making a career change, taking on something that’s intellectually challenging like miniature golf or hot-dog-eating contests. I don’t know what it is, but I feel as if life is passing me by, as if I have less time remaining than I did when I was 20, which makes no sense. Maybe it’s the mid-life crisis I never had, coming on me later than it does with most men. That would make sense, because I held on to infancy until I was 25.

A personal story rendered in singular style is also gold. Our Reavis Wortham specializes in such tales. (I can’t help thinking of “most interesting man in the world” squibs for Rev, e.g. “His moustache has its own zip code”…”Stetsons line up to audition for his head.”)

Stay interesting, my friends.

Do you give details of work/vocation in your fiction? Have you gone beyond your knowledge base to find out about a particular line of work? 

In your social media and newsletter, what do you do to keep things interesting?

 

Even More Villainous Words of Wisdom

Posted on by

Villains are the catalysts for mysteries and thrillers. Without them, there would be no murder to solve, no threat to stop, no dastardly deed to foil. They test the hero to the utmost, and must be confronted in one form or another by story’s end. Furthermore, not only are villains essential to mysteries and thrillers, they are also vital in many other genres ranging from fantasy and science fiction, to action, adventure, westerns and others.

Today Words of Wisdom returns to this evergreen topic once more with three insightful excerpts from the KZB archives. Elaine Viets offers advice on creating likeable villains. Becca Puglisi discusses villain backstories and their connection with the hero. Finally, Debbie Burke, who just published an insightful book on villains, shares wisdom on the villain’s story and behaviors.

The original three posts are all well-worth reading in full. As always, each excerpt is date-linked to the full version.

Make your villains smart. Or at least crafty.

Tiffany quickly becomes the fourth wife of rich old Cole Osborne and they live in luxury in Fort Lauderdale.
“I never went to college, but I wasn’t stupid,” Tiffany said. “I knew now that Cole had tied the knot with me, my struggle had just begun. Cole was very, very classy, and I had to fit in with his rich friends.”

Make your villains self-aware.

The Joni Mitchell song was Tiffany’s anthem, and she recognized herself in the lyrics of “Dog Eat Dog.” Especially the part about slaves. Some were well-treated . . .
And some like poor beasts
Are burdened down to breaking
Tiffany said, “This was a dog eat dog world – more so than the trailer park where I used to live. I was a well-treated slave, and I’d sold myself into slavery, but I knew that.”
Our villain has knows she’s living in comfort, but she can’t get comfortable.
“One misstep, and I’d be one of those poor beasts, working again at the local hardware store or greeting people at Walmart. I had a prenup that would give me a measly hundred thousand dollars if we divorced, but if I could hang on until Cole died, I’d get half his fortune.”

Make your villains work for their success. That way, readers can root for them.

Cindy knew she’s landed her pretty derriere in a tub of butter, but she knew her work has just started. Among other things, Cindy changed her name to a classier “Tish.”
She also “made friends with his housekeeper, Mrs. Anderson. She’d been with him for twenty years and three wives. I slipped her a little extra out of my mad money account that Cole gave me, and Mrs. A told me where to shop on Las Olas, the local Rodeo Drive, and which saleswoman to make an appointment with. She also advised me to ditch my long fake nails and get a nice, refined French manicure, then sent me to a salon where I had my long hair tamed into fashionable waves and the color became ‘not so blonde’ as the tactful stylist said.”

Make your villains aware of the stakes if they fail.

Now readers have more reasons to root for them.
“As I got into my mid-twenties, I had to work hard to keep my girlish figure,” Tiffany said. “My trainer was worse than a drill sergeant, and I endured endless runs on the beach. Awful as it was, it beat standing on my feet all day on a concrete floor, running a cranky cash register for nine dollars an hour.”

Create a conflict – and an even worse villain.

Tiffany says, “I thought I could sail smoothly into Cole’s sunset years and collect the cash when he went to his reward. But then that damn preacher showed up. The smarmy Reverend Joseph Starr, mega-millionaire pastor of Starr in the Heavens.”
As much as we may dislike money-hungry Tiffany, the bloodsucking TV preacher is even worse. He plays on Cole’s fear of death and walks off with a check for a million dollars on his first visit – and the Reverend has his sights set on more.
“Starr would work on Cole’s guilt and milk him for every dollar – my husband was one big cash cow,” the practical Tiffany said.
Now that her husband was in the hospital on life support, Tiffany has to find a way to kill her husband and put the blame on the Reverend Starr.
Does Tiffany succeed? Or does the Reverend Starr walk off with the money? You’ll have to read “Dog Eat Dog” to find out – and see if I made you root for her.
Tell us, TKZers. How do you humanize your villains?

Elaine Viets—June 10, 2021

 

THEY HAVE A BACKSTORY (AND YOU KNOW WHAT IT IS) 

Authors know how important it is to dig into their protagonist’s backstory and have a strong grasp of how it has impacted that character. Yet one of the biggest mistakes we make with villains is not giving them their own origin story. A character who is evil with no real reason behind their actions or motivations isn’t realistic, making them stereotypical and a bit…meh.

To avoid this trap, know your villain’s beginnings. Why are they the way they are? What trauma, genetics, or negative influencers have molded them into their current state? Why are they pursuing their goal—what basic human need is lacking that achieving the goal will satisfy? The planning and research for this kind of character is significant, but it will pay off in the form of a memorable and one-of-a-kind villain who will give your hero a run for his money and intrigue readers.

THEY SHARE A CONNECTION WITH THE PROTAGONIST 

In real life, we have many adversaries. Some of them are distant—the offensive driver on the highway or that self-serving, flip-flopping politician you foolishly voted for. Those adversaries can create problems for us, but the ones that do the most damage—the ones we find hardest to confront—are those we share a connection with. Parents, siblings, exes, neighbors we see every day, competitors we both admire and envy, people we don’t like who are similar to us in some way…conflicts with these people are complicated because of the emotions they stir up.

The same is true for our protagonists. The most meaningful clashes will be with the people they know. Use this to your advantage. Bring the villain in close and make things personal by engineering a connection between the two characters. Here are a few options for you to work with.

  • Give Them a Shared History. The more history the two have, the more emotion will be involved. Guilt, rage, grief, fear, jealousy, regret, desire—strong feelings like these will add sparks to their interactions. They’ll cloud the protagonist’s judgment and increase the chances their villain will gain an edge.
  • Make Them Reflections of Each Other. What happens when the protagonist sees him or herself in the villain? A seed of empathy forms. The hero feels a connection with the person they have to destroy, which complicates things immensely. Personality traits, flaws, vulnerabilities, wounding events, needs and desires—all of these (and more) can be used to forge a bond that will add complexity and depth to this important relationship.
  • Give Them a Shared Goal. When your hero and your villain are pursuing the same objective, it accomplishes a number of good things. First, it ensures that only one of them can be the victor, pitting them against each other. But they’re also more likely to understand one another. They’ll have different reasons and methods of chasing the dream, but the shared goal can create an emotional connection.

Becca Puglisi—September 5, 2022

The villain’s story is thus one of declining power while the hero’s story is one of rising power…In defeat, the villain’s mastery is handed over to the hero.  The villain’s deficiencies of character have been exposed; the hero’s deficiencies have been corrected.  The two journeys, one the inverse of the other, are completed.

In another article, Scott traces the stages that cause some people to become villains, both in real life and in fiction:

  • The pre-villain is an ordinary person living in an ordinary world that is safe and familiar.
  • Something happens that hurls this ordinary person into the “special world” that is dangerous and unfamiliar.
  • Often this new dangerous world is the world of abuse, with the ordinary person at the receiving end of emotional or physical abuse.
  • Typically, the abuser is a parent, but sometimes another authority figure, peers, or harsh social conditions damage this ordinary person.
  • The ordinary person suffers psychological harm that can assume the form of narcissism, psychopathy, depression, or schizoaffective disorders.
  • This mental illness distorts the ordinary person’s views of themselves and the world, often producing an extreme self-narcissism and/or collective narcissism of their community or nation.
  • The ordinary person remains unaware of their skewed perception of reality and is never able to acknowledge their damaged state nor their need for psychological and/or spiritual help.
  • As a result of their untreated trauma, the villain undergoes terrible suffering, often in private, but is unable to learn or grow from it. Their deep fears and sadness transform into anger.

Okay, that covers the villain’s backstory and motivations but…

What about mysteries where the villain is hidden until the end? How does a writer handle the origin story and motivations when the villain’s point of view is never shown?

We’ve all watched films with the tired old trope where the hero is captured and tied to a chair. Then, because the writer couldn’t think of a less clumsy device, the villain bares their soul to the hero, revealing they were driven to exterminate humanity because they’d been potty-trained at gunpoint.

To avoid that pitfall, Chris Winkle of Mythcreants.com offers these suggestions:

The most important method of showing your villain’s character arc – or any character arc – is demonstrating a change in behavior. If you keep their arc simple enough, that could be all you need. The basic unit of changing behavior would look like this:

  1.  
    1. The villain shows a clear pattern of behavior.
    2. An event occurs that would reasonably impact the villain.
    3. The villain shows a different pattern of behavior. 

Chris outlines several options for the unseen villain’s character arc:

Gain/Loss:

“The villain gains and/or loses something they care deeply about, and that drives their character change. Usually what they gain or lose is a person they love, but it can be anything as long as you can show the audience why it’s so important.”

Obsession: 

“This is a villain that changes their motives during the story because they acquire a new obsession or goal. Often that obsession is the main character, but it also might be a shiny new superpower.”

Revelation: 

“This is a great arc for villains who think they’re doing the right thing and consider all the harm they cause justified. In this arc, they have a revelation that challenges this belief, forcing them to adapt.”

Chris’s summary:

If you want a sympathetic villain and you can afford to give them their own viewpoint, that’s great. Give them a deep arc your audience will remember.

Debbie Burke—September 13, 2022

***

  1. Is it important to you for villains to be likeable? If so, how do you build that likeability?
  2. How much do you consider your villain’s backstory, and also any connection with your hero?
  3. What do you think about the advice Debbie shared about the stages of becoming a villain and showing their character arc?

Reader Friday-Where Am I?

Posted on by

 

Easy, fun question for today, TKZers.

If you could be anywhere in the world today except where you are, where would you be?

And, if you’re writing (wherever you are), what are you writing?

 

 

Me? Alaska. Never been there, but maybe some day, eh?

What am I writing?

I’ll let you know when I get there.

🙂

 

 

***

And for more fun . . .

Meet Kimber . . . our new owner! 🙂

 

True Crime Thursday – PageTurner and Pig Butchering

Posted on by

Public domain photo

by Debbie Burke

Scams that prey on writers’ hopes and dreams have been around for decades. Here at TKZ, we often talk about the barrage of emails, text messages, and phone calls from high-pressure con artists that promise your book is guaranteed to be a NYT bestseller AND a blockbuster film AND a streaming series…if only you pay them fees that range from a few thousand dollars to hundreds of thousands of dollars.

Between 2017 to 2024, an estimated 800 unwary, trusting writers paid more than $44 million to a particularly successful enterprise called PageTurner, Press and Media LLC with offices in Chula Vista, California.

In January 2025, three principals of PageTurner were indicted by the US Attorney’s Office, Southern District of California, with investigation assistance from the FBI and US Postal Inspectors.

Gemma Traya Austin, 58, of Chula Vista, Michael Cris Traya Sordilla, 32, the Philippines, and Bryan Navales Torosa, 34, the Philippines, were arrested and charged with multiple counts of Conspiracy to Commit Mail and Wire Fraud and Conspiracy to Launder Monetary Instruments. Potential penalties are 20 years in prison and fines up to $500,000 or twice the amount laundered.

All three defendants pled not guilty.

Additionally, PageTurner’s website has been shut down.

Back in 2023, the Authors Guild issued warnings based on numerous complaints made by writers who had paid PageTurner large amounts of money but received no value.

Since 2018, watchdog Victoria Strauss and Writer Beware had also been following complaints by victims. She tracked down various company names connected with PageTurner, including Innocentrix Philippines, “an umbrella group for a bumper crop of scams.”

“Pig-butchering” is a scam where victims are pressured to pay increasing fees as the scammers pass victims around among various related entities. Each additional entity requires more money for their supposed service. They claim to be liaisons with film producers and studios, or marketing specialists, or contacts to develop screenplays or “treatments” for film, etc.

Fraudsters fatten up their victims with repeated, escalating demands for payment before “butchering” them for a final big score.

In one horrific case, an author was pressured into spending more than $600,000 for bogus screen treatments, marketing, and PR programs.

The website of a Philippine beauty pageant includes this paragraph about one of the accused:

Michael Cris Traya Sordilla, commonly known as Mike Sordilla, serves as the current chairman of the Hiyas ng Pilipinas organization. A distinguished judge for numerous local and national pageants, Mike Sordilla is also a respected philanthropist, businessman, and socialite. Under his leadership, the organization has reached new heights, establishing itself as one of the most anticipated and celebrated pageant competitions in the country.

The “respected philanthropist” and his two cohorts have remained in custody since December 2024 because they’re considered flight risks. 

Adding insult to injury, a phony law firm is now soliciting victims of PageTurner to represent them for a $1200 free. This notice appears on Writer Beware:

SCAM ALERT: Authors are reporting calls from “US Literary Law Firm” offering “representation” for PageTurner victims for a fee of $1,200. This offer is fraudulent: there is no such law firm.

Because of the large dollar amounts and complexity of evidence in the PageTurner case, court dates have been delayed several times with the most recent update ordering a hearing on August 29, 2025.

If you or any writer you know has been victimized by PageTurner, the FBI issued this request:

If you believe you are a victim of the PageTurner scam, please contact the FBI at AuthorFraud@fbi.gov.

If you or someone you know is age 60 or older and has been a victim of financial fraud, help is available through the National Elder Fraud Hotline: 1-833 FRAUD-11 (1-833-372-8311). You can also report fraud to any local law enforcement agency or on the FBI’s Internet Crime Complaint Center at www.ic3.gov.

Writers are especially vulnerable to scams by con artists who use hopes and dreams as psychological weapons to take advantage of them. When anyone solicits you out of the blue with lofty promises about the fame and success they can deliver for your book, the best practice is to hang up, block the number, and delete emails and texts.

The only promise you can count on from them is that they will financially butcher you.

~~~

Con artists, scammers, and fraudsters are among bad guys and bad gals featured in Debbie Burke’s new writing craft book, The Villain’s Journey-How to Create Villains Readers Love to Hate.

Sales links:

Amazon

Barnes & Noble

Apple Books

Kobo

Franistans, Fornasteins, And The Occasional Blithwhap

Posted on by

By John Gilstrap

During my 35 years as a firefighter and safety engineer, I conducted a great deal of training to professionals whose products and services I did not fully understand. That lack of understanding could become a problem only if I let that happen because let’s face it: the safety and reporting requirements for a degreaser are largely the same whether you’re degreasing razor blades or gun barrels.

To streamline the teaching process, I created the generic franistans and fornasteins to serve my purposes as I needed them. The two items were always incompatible. If it was an electrical safety class, they’d be of different voltages (or different continents), if they were bits of fire apparatus, the threads wouldn’t line up. And in a hazmat class, god forbid that you store franistan chloride next fornastein sulfate, lest you create a cloud of methyl-ethyl badsh*t.

As an aside, a blithwhap is any item that is not a hammer yet is used as a hammer.

It occurs to me that franistans and fornasteins form the basis of a great deal of science fiction and fantasy. Just because a thing or a planet or a people aren’t real doesn’t mean that they can’t be assigned characteristics that make them real. That’s what this fiction gig is all about. In the case of fantasy in particular, it’s a personal bugaboo of mine that if I cannot pronounce a word in my head, I cannot read the story, and as a result, I know I’m being ejected from a lot of really good storytelling.

Want to know what you got wrong?

I was at a party the other night when the hostess told me how much her husband loves my books, but how he makes notes on details that I get wrong. “He won’t share them if you won’t ask for them, though.”

Hell shall freeze over. And here’s why: 1) her husband is a good friend and he’s got a fully functioning voice box with which he could ask me himself if he wanted to share his insights; 2) the book is already out and the damage already done; and 3) I probably won’t care.

<cue organ chord>

It’s not that I won’t care care, but that the areas of this friend’s expertise are very high-tech, and I will therefore always get things wrong, and the mistakes are of a nature that only he and a dozen other people on the planet would notice. This is the wondrous element of fiction: it’s mostly made up.

If your story needs a bajillion millimeter bombinator to launch a thousand-ton projectile to Mars from Bikini Atoll, I say go for it, but be very careful of the point of view from which you report the launch. If it’s from the POV of a kid on the playground, it’s probably just a big loud rocket ship. If it’s from the POV of launch control, well, you’ve got some serious explaining to do. Start with the chemistry and physics. At its heart, though, the bombinator is just a cousin of the franistan.

I set Burned Bridges, the first in my new Irene River thriller series, in Jenkins County, West Virginia, which might as well be Franistania, West Virginia. Set in the Eastern Panhandle, Jenkins County physically resembles the actual Berkeley, Jefferson, and Morgan Counties that define the Panhandle, but it’s got an entirely different political structure. It’s a fictional nonfiction place.

We all know that guns will get you in trouble when you write about them. The average mystery fan is probably fine knowing that Detective Jones is carrying a pistol. The average thriller fan will want to know that he’s carrying a Glock. My fans will know that he’s carrying a chambered Glock 19 in a Kydex holster on his right side with two spare 17-round magazines on his left.

The point here is to write for the audience you most care about, and accept that someone will always be a little disappointed.

Intermission! Let’s All
Go To The Movies!

Posted on by

A Brief Intermission | Bruceb Consulting

By PJ Parrish

This was a good week. Found out my dog Archie doesn’t need $800 in dental work. My physical therapy is working wonders on my bad back. And best, I finally got some traction on a short story that I agreed to do for an anthology. In honor of all this, I think I deserve a break. Actually, I admit it. I just ran out of time this week to do a good thoughtful post on writing. So I hope you will give me a hard pass this week. I have a really good post in the works on backstory…I promise.

In meantime, let’s have some fun. I have been bingeing of late on old Turner Classic movies. In the wee wee hours last night it was Joan Crawford in a A Woman’s Face, a twisty noir wherein Joan plays a horribly disfigured woman who will do anything to get her beauty back, including blackmail to pay for a plastic surgeon. Does she start a new life or return to her dark past? A risky part for Joan, who fought hard to star in this remake when Garbo turned it down. Juicy stuff!

Anyway, this movie reminded me of a little quiz I saw in The Atlantic. I had to admit, I had trouble figuring out my answers. So I thought I’d ask you guys. Go get some Sno-caps and fill in the blanks:

1) Worst well-regarded film
2) Most overhyped film (note that this is slightly different from above; the first measures the absolute badness level, while the second measures the delta between reputation and actual quality)
3) Worst film to win a best picture Oscar
4) Most disappointing film (ie should have been good but wasn’t)
5) Worst movie, full stop. (Must have been a major motion picture release–no direct-to-video, or film festival torture tactics, please)
6) Worst movie with good direction (ie terrible script, awful acting, producer interference, etc)
7) Biggest unknown treasure

Here’s my picks:
1. Unforgiven (sorry, Clint)

Cleopatra (1963) - Turner Classic Movies
2. Cleopatra (Just re-watched this on TCM recently. Even stentorious Richard Burton couldn’t save this toga dog)


3. Vintage version: The Greatest Show on Earth (Jimmy Stewart as Buttons, the murdering clown!) Modern version: Crash (a total wreck)
4. Godfather III (no contest. I will die on this hill)

Staying Alive | Rotten Tomatoes
5. Staying Alive (John Travolta as a loincloth-clad Broadway gypsy; a crass sequel attempt to cash in on Saturday Night Fever)
6. 2001. I have watched this a million times and still can’t figure out what the hell is going on at the end.

Harvey's Hellhole: Cinema Paradiso — Crooked Marquee
7. Cinema Paradiso (Okay, so it’s not unknown. It won best foreign film but it’s still my fave “little” movie. I also have a soft spot for Downhill Racer (Robert Redford going against type as a bastard Olympic skier.)

What say you? And thanks for letting me take it easy today. And now….HERE’S JOAN!