First Draft Words of Wisdom

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Whether we begin our story with the first draft, or outline before starting, we all have the first draft of our novel waiting for us. Today’s Words of Wisdom has three excerpts from posts giving advice on first drafts. Tosca Lee provides writing mindset help with her “#1 Rule of First drafts.”  Steven James lays out “Fiction Writing Keys for Non-Outliners” as one way to approach writing first drafts. Debbie Burke discusses “Outlining in Reverse” to help with revising your completed first draft.

The three posts are well-worth reading in their entirety, and, as always, are date-linked at the bottom of their respective excepts. I hope you’ll weigh in with your thoughts on these tips.

Eight novels in (ten, if you count the unpublishable ones), I have an instinct about the basic material I need to get down, more or less in order. More importantly, I have trust in the writing and editing process and faith that I can patch up the leaks—later.

For now, in the early stages, I’m only interested in one thing: getting the clay on the wheel. I trust that there are seeds in there—of things real, from me, that will resonate in another soul in months and years to come. I don’t know what they are yet and it’s not my business to force them into shape.

I have a few rules for this process but the first is the one I go back to every time, and it is this:

Write like no one will ever read it.

“But what about the audience? You have to think about them!” Forget them. Everything you do from your edits on will be about them. But for now, write with the candor you would in a secret journal. This isn’t about pantsing or plotting. It’s about capturing the grit you need without worrying that it’s pretty or eloquent or clean enough. Don’t be pretty. Be raw.

If you are an aspiring writer whose end goal is to be published, let me tell you something: you will never be as bold and daring as you are in those first years before your work gets published. Before critics post public reviews of your work and readers rank it alongside blenders on Amazon. Before even accolades usher their own kind of doubt into the next endeavor. This undiscovered period in your life is an advantage you won’t have twice. Use it.

These days, I have to trick myself into following this rule. I know my agent, editor, and a movie producer are waiting for my first draft. I want them to like it. Oh, who am I kidding—I want them to tell me it’s the best thing they’ve ever read, that they wept, told their therapist, and pre-ordered 100 copies for friends and distant acquaintances.

But the only way I will touch one cell of their soul is if I banish their faces from my mind. No one will read this. It is my mantra. This is me, writing secret stuff, dealing some audacious literary badassery in private. Time to edit, censor, and make coherent later. The good stuff happens now.

Tosca Lee—October 28, 2015

When people outline their stories, they’ll inevitably come up with ideas for scenes that they think are important to the plot, but the transitions between these scenes (in terms of the character’s motivation to move to another place or take a specific action) will often be weak.

Why?

The impetus to move the story to the next plot point is so strong that it can end up overriding the believability of the character’s choice in that moment of the story.

Read that last sentence again. It’s a key one.

Stated another way, the author imposes the plot onto the clay without letting it be shaped by the essential forces of believability, causality, and context.

You might have had this experience: you’re reading a novel and it feels like there’s an agenda to the story that isn’t dictated by the narrative events. This is a typical problem for people who outline their stories. Instead, listen to the story, and respond to where it takes you.

You can often tell that an author outlined or “plotted out” her story when you read a book and find yourself thinking things like,

◦ “But I thought she was shy? Why would she act like that?” 

◦ “I don’t get it. That doesn’t make sense. He would never say that.” 

◦ “What?! I thought she was . . . ?” 

◦ “Whatever happened to the . . . ? Couldn’t she use that right now?” 

◦ “I don’t understand why they’re not . . . ”

This happens when an author stops asking, “What would naturally happen next?” and starts asking, “What do I need to have happen to move this story toward the climax?”

The first question grows from the story itself, the second places artificial pressure on the story to do something that might not be causally or believably connected to the story events that just happened.

As soon as your character doesn’t act in a believable way, it’ll cause readers to ask, “Why doesn’t she just . . . ?” And as soon as that happens, they’re no longer emotionally present in the story.

As you learn to feel out the direction of the story by constantly asking yourself what would naturally happen next, based on the narrative forces that shape all stories, you’ll find your characters acting in more believable and honest ways and your story will flow more smoothly, contingently, and coherently.

Here’s one of the biggest problems with starting by writing an outline: You’ll be tempted to stick to it. You’ll get to a certain place and stop digging, even though there might be an awful lot of interesting dinosaur left to uncover.

Follow rabbit trails.

Forget all that rubbish you’ve heard about staying on track and not following rabbit trails.

Yes, of course you should follow them. It’s inherent to the creative process. What you at first thought was just a rabbit trail leading nowhere in particular might take you to a breathtaking overlook that far eclipses everything you previously had in mind for your story.

If you’re going to come up with original stories, you’ll always brainstorm more scenes and write more words than you can use. This isn’t wasted effort; it’s part of the process. Every idea is a doorway to the next.

So, where to start? Put an intriguing character in a challenging situation and see how he responds. Sometimes he’ll surprise you in how he acts, or demand a bigger part in the story.

And sometimes a random character will appear out of nowhere and vie for a part in the story.

Steven James—November 3, 2014

Like a building, a finished story almost never corresponds to the initial idea. That’s why I don’t outline before writing that initial draft of discovery.

However, once the first draft is finished, I create an outline in the form of as-builts. That’s where the pantser’s errors and oversights show up. And, believe me, there will be plenty.

Oops, I forgot to install reinforcing bars before I poured the slab. Without rebar, the foundation cracks and sags. Gotta jackhammer up the concrete and start over.

Darn, I forgot to include a door that connects the kitchen and the dining room. Better get out the reciprocating saw and cut an opening in that solid wall.

Wow, the shingles on the roof look beautiful…except some of the trusses underneath are missing. The first snowfall causes the whole thing to collapse. Drat.

You get the idea.

Dennis Foley, novelist/screenwriter/educator extraordinaire, introduced me to the concept of “as built” outlines in fiction. He recommends writing in three steps:

  1. Think it up;
  2. Write it up; 
  3. Fix it up.

Pantsers feel strangled if we try to adhere to a formal outline during the initial draft. We’d much rather give free rein to our imaginations during Steps 1 and 2.

But, eventually, all that unfettered creativity needs to be organized. Step 3, the “fix it up” stage, is the time to create an “as built” outline.

Outlining in reverse points out structural problems with the plot: events that are out of order, a character who shows up simultaneously in two different places, missing time periods that must be accounted for, lapses in logic, etc. Once those glitches are repaired, the story becomes a coherent sequence of rising complications that ultimately delivers a satisfying climax.

My WIP, Lost in Irma, takes place in Florida during Hurricane Irma in September, 2017, a catastrophe that left 17 million people without electricity. The story covers a two-week period during and after the storm and had to adhere to actual events in the order that they occurred.

The main characters, Tawny Lindholm and Tillman Rosenbaum, are visiting Tillman’s high school coach, Smoky Lido, in New Port Richey when Irma hits. During the height of the storm, Smoky disappears. Tawny and Tillman spend the rest of the book trying to find him. Is he dead or alive? Did he flee because of gambling debts? Was he abducted by thugs he owed money to? Or did he vanish into the storm to commit suicide?

Hurricane-related emergencies overwhelmed law enforcement, leaving Tawny and Tillman on their own to look for Smoky. Power blackouts, gasoline shortages, and unreliable cell service were integral to the plot. They couldn’t make phone calls or search the internet. If they drove, they risked getting stuck in floodwaters or running out of gas.

To pin down significant events on the dates they actually happened, I printed out a blank calendar from September 2017.  I filled in the squares with factual information like: what time did Irma hit New Port Richey (late Saturday night, early Sunday morning); what time did the power go out there (around midnight); when did the Anclote River flood (Tuesday)?

What goes into the as-built outline?

Timelines: The chronology of events is important to nail down correctly which is why I use the calendar technique above.

Scene by scene outline – This traces major characters and plot developments. What day is it? What time is it? Where are they? What action happens?

Debbie Burke—March 3, 2020

***

  1. What’s your own #1 rule when writing a first draft?
  2. What do you think of Steven James’s advice? Do you follow “rabbit trails” when drafting?
  3. Do you outline your completed first draft to help with revision? If so, do you have any advice?

Reader Friday-Final Words

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Authors and writing craft teachers often discuss first lines in books and movies. First lines are mighty important, no doubt about it.

But what about last lines? Not a narrated line, an actual character line that is the last one spoken. IMHO, the last spoken line has the potential of staying with the reader/viewer for a long time.

Aside:  We watched a movie the other night. It was good (not great, though) until the last scene. I don’t know what the screenwriters were thinking, but it took the Oscar for the stupidest last scene/lines in sixty-five+ years of my movie-watching career. I’m not even going to dignify it by belaboring the point.

But I will say this. If you’re tempted to watch Air Force One Is Down—don’t! (Not to be confused with Harrison Ford’s Air Force One…)

Enough of that.

Question for the day is what is your favorite-of-all-time last line of dialogue in a book or movie?

Here’s mine…

 

 

Your turn, TKZers!

 

 

Let’s Talk Pantsing

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By John Gilstrap

By way of reader orientation, this post is built on the premise that the universe of writers is divided into two broad categories–those who outline their stories before they get to the business of writing, and those who plow into the story on page one, not knowing where it’s going to go until they get there. That latter group writes by the seat of their pants, ergo they are “pantsers,” and I number myself among them.

In my mind, there really are not pros and cons to be discussed about one approach versus the other because the preferred approach is writer-specific and hard-wired. I’ve never been able to outline. Even in high school and college, when I was supposed to turn in those damn 3×5 cards along with research papers, I always did them last, after I had written the paper. And story wheels? They make my head explode. This is why writing programs like Scrivener, which so many of my writer friends love, are wasted on me.

Two weeks ago, my post here in the ‘Zone dealt with the perils of pantsing a short story–specifically, how it spun out of control in terms of length. I stipulate that if outlining-then-writing worked for me, that would have been a far more efficient approach. But in the end, my pantsing worked. Once I discovered the real story, I was able to trim off about 2,500 words and turned in a tale I’m quite proud of.

Last weekend, I attended an excellent conference called Creatures, Crimes and Creativity in Columbia, MD, outside of Baltimore. The first panel I was put on was about screenwriting–a format that is very strictly structured. You’ve got 120 pages to tell an entire story for a feature film. Around 20 pages for a half hour TV show, and you’ve got to pace for commercial breaks! (Full disclosure: I’ve written feature films, but I’ve done nothing with television.)

Perhaps the most noted guru in screenwriting instruction is Syd Field, and his teachings clearly influenced the advice given by my fellow panelists. By Page X you have to have the inciting event (or whatever it’s called), and then by page Y must come the turning point(?). Et cetera, et cetera, and on and on. Pantsing a screenplay, they said, is not possible.

Enter the contrarian. C’est moi. Of course you can pants your way through a screenplay. That’s how I find the story. The characters interact with each other, they do stuff and say things, and through that, the creative crew in my mind wakes up and gets excited. I’ll hammer out something that is jumbled and woefully long, but I’ll have a whole story. It’ll be crap, but first drafts are supposed to be crap.

Now that I know the story and I’m excited by the dialogue, future drafts are all about shaping the pile of poo first draft into the beautiful golden structure of a screenplay that works.

It bothers me that inexperienced writers attend classes and take what they hear literally. As a story is first unfolding, I think it would be soul stealing to think that a certain plot point had to happen by page 10. First drafts are all about story flow. Don’t let artificial structures get in the way of your imagination. Get it all out, then fix it later.

To be clear: Structure is king in the world of screenplays, and I’m not suggesting otherwise. I’m merely suggesting that you should not let those structural concerns clog your imagination.

 

Can’t Sleep? Can’t Write? Read
A Book And Get Off Your Arse!

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Top Exercises to Do While Reading. Should You Exercise While Reading? – Basmo

“You do not realize how the headlines that make daily history affect the muscles of the human body.” — Martha Graham

By PJ Parrish

So, how you feeling today? Not so good? Stomach in knots? Head hurt for no good reason? Can’t sleep? Maybe you need to stop doom-scrolling on Facebook. Maybe you need to turn off cable TV.

Or maybe you just need a good walk in the woods.

I and others here have written often about how getting off your keister and going out in the fresh air is good for your well-being. And, more to the point for us crime dogs, how it helps you get the writing muscles going. So when I was paging through the New York Times book section Sunday, I was delighted to come upon an essay about just this subject, and I knew I had to share it with you.

The author, Dwight Garner, writes about the deep connection between reading, writng and physical health. But he admits that writers who work out are just not his kind of people. (“I run only when chased,” he admits). Writing is a sedentary job, he notes, and goes on to quote Harold Pinter that “intellectual arses wobble best.”

He seems a bit awestruck, though, by those authors who are exercise nuts. Dan (Da Vinci Code) Brown has his computer programmed to freeze for 60 seconds every hour so he can stop and do push-ups and sit-ups. Jim Harrison told the Paris Review that “I dance for a half-hour a day to Mexican reggae music with 15-pound dumbbells. I guess it’s aerobic and the weights keep your arms and chest in shape.” Now that I know this about Harrison, his books make a lot more sense to me.

There’s one basic problem with exercise, Garner asserts — it’s boring.

So you have to find ways to fool yourself into thinking it’s not. Boris Johnson, the ex-PM of Britain, claims that the only way he can do his daily run is if he recites poetry, specifically The Iliad, out loud in various voices. I’ll leave it to you to fill in the audio-visual there. Here’s a little help:

Queen allows Boris Johnson to exercise in Buckingham Palace grounds

I used to listen to my iPod during my daily walks, singing as I went. But lately, during my 4-mile turns around the lake in the woods, I’ve taken to holding conversations with myself in French. I don’t know what’s more startling to my fellow path-mates. Hearing me belt out Bohemian Rhapsody or practicing “Un ver vert est dans un verre vert.” (a green worm is in a green glass).

I’m still up in New Jersey on family business and I am not getting outside much. And the only thing my brother-in-law seems to get on his TV is Say Yes To The Dress. So I am reading for hours a day. Reading is a lot like exercise. If you don’t do it regularly, you can lose the urge. Right now, I am working my way slowly through The Soul of America: The Battle For Our Better Angels by Pullitzer Prize winner John Meacham. It is an elegant, troubling, and ultimate inspiring recounting of America’s dark history. “In our finest hours,” he writes, the soul of the country manifests itself in an inclination to open our arms rather than to clench our fists.”

This is my balm until I can get moving again. As Don DeLillo said once, “I work in the morning at a manual typewriter. I do about four hours then I go running. This helps me shake off one world and enter another.”

I’m thinking of taking up yoga again. My physical therapist thinks this is a grand idea for my poor back. I dunno. I used to be quite the yoga-doer, could even do a proper head-stand and a serviceable crow pose. But I was never able to get that quiet-the-brain thing down pat. The world was always too much with me.

As the English novelist Angela Carter wrote, “Yoga improves one posture but not one’s tranquility.”

So that’s my new plan. Turn off the TV, return to yoga. Keep going for long walks, leaving early and taking the dog. Thanks for listening today. On this quiet muggy Sunday here in New Jersey, writing even just a silly blog post makes me feel better. May you find your own serenity in our roiling sea.

 

Craft a Raptor Hero Not Villain

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Raptors are some of the most successful predators on the planet. From owls, eagles, and vultures to hawks, falcons, and other birds of prey, raptors are skilled hunters with incredible senses, like binocular vision, that help them detect prey at far distances.

The secretary bird even carries mouthfuls of water back to the nest for her young — one of the few avian species to quench a chicks’ thirst.

If a raptor was a character in a book, they seem like the perfect villain on the surface. After all, they kill and consume adorable critters like chipmunks, squirrels, mice, monkeys, birds, fish, and old or injured animals. As readers, we’d fear the moment their shadow darkened the soil.

What we may not consider right away is how tender raptors are with their young, or that they only take what they need to feed their family and keep the landscape free of disease from rotting meat and sick animals, or what majestic fliers they are. Raptors have many awe-inspiring abilities.

Take, for example, the Andean condor, the largest flying land bird in the western hemisphere. In the highest peaks of the majestic Andes, the largest raptor in the world hovers in the sky in search of its next meal — a carcass or old/injured animal to hunt. Andean condors have a wingspan of over ten feet. If one flew sideways through an average living room with eight-foot ceilings, the wings would drag on the floor!

How could we turn a massive predator like the Andean condor into a hero? It’s difficult to offset their hunting abilities and diet with the innocence of their prey, but not impossible.

A layered characterization holds the key. It doesn’t matter who your protagonist is or what they do. With proper characterization, a raptor or killer can play any role.

Go Deeper than the Three Dimensions of Character

1st dimension: The face they show to the world; a public persona
2nd dimension: The person they are at home and with close friends
3rd dimension: Their true character. If a fire broke out in a cinema, would they help others get out safely or elbow their way through the crowd?

A raptor-type character needs layers, each one peeled little by little over time to reveal the full picture of who they are and what they stand for. We also need to justify their actions so readers can root for them.

A perfect example is Dexter Morgan, vigilante serial killer and forensic blood spatter analyst for Miami Dade Police.

Why did the world fall in love with Dexter?

What makes Dexter so fascinatingly different is that he lives by a code when choosing his victims – they must, without a doubt, be murderers likely to strike again. But he didn’t always have this code. In the beginning, he killed to satisfy the sick impulses from his “dark passenger.” If it weren’t for Dexter’s adoptive father and police officer, Harry Morgan, who educated his son to control his need to kill and established tight guidelines for Dexter to follow (the code), he would have been the villain.

Readers accept his “dark passenger” because he’s ridding the world of other serial killers who could harm innocent people in the community. And that’s enough justification for us to root for him. We’re willing to overlook the fact that he revels in each kill and keeps trophies. We even join him in celebrating his murders — and never want him caught.

Jeff Lyndsay couldn’t have pulled this off if he showed all Dexter’s layers at the very beginning. It worked because he showed us pieces of Dexter Morgan over time.

The Characterization for Vigilante Killers Cannot be Rushed

When I created this type of character, he started as the villain for two and half novels while I dropped hints and pieces of truth like breadcrumbs. It wasn’t until halfway through book four that the full picture of who he really was and what motivated him became evident.

So, go ahead and craft a raptor as the protagonist of your story (as an antihero). When characters are richly detailed psychologically, readers connect to them. Perhaps a part of us wishes we could enact justice like they do.

If crafted with forethought and understanding, your raptor may become your most memorable character to date. Just go slow and really think about how much of their mind to reveal and when. Who knows? You may create a protagonist readers will analyze for years to come!

*Perhaps it’s unfair to draw a parallel between raptors and vigilante killers but the idea came to me while watching a nature documentary. Make no mistake, I adore raptors.

Have you ever crafted a raptor character aka antihero? Who’s your favorite antihero (movies or books)? And why?

 

Picturing Your Characters

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by James Scott Bell
@jamesscottbell

One of my favorite noirs is the 1944 classic Laura. Dana Andrews plays a NYC detective investigating the murder of the beautiful Laura Hunt (Gene Tierney). It becomes personal when he sees a framed portrait of Laura and is enraptured by it. And why shouldn’t he be? It’s Gene Tierney, after all.

I thought about this the other day when I read a story about the artist Sandro Botticelli (1445–1510) and his painting “Portrait of a Young Woman.” The subject was Simonetta Vespucci, wife of Marco Vespucci who was cousin to Amerigo, the explorer for whom our country was named (history lessons are no extra charge here at TKZ). Sadly, Simonetta died at age 22 or 23, probably of tuberculosis. Botticelli was clearly captivated by her beauty. I am, too.

Sandro Botticelli, “Portrait of a Young Woman” (1485)

I understand the allure of the Mona Lisa. Her enigmatic smile has been the source of centuries of speculation, and even song. Do you smile to tempt a lover, Mona Lisa? Or is this your way to hide a broken heart? But I admit sometimes she frustrates me.

Simonetta invites. I gaze at her eyes and wonder what’s going on behind them. She wears the trappings of wealth—a head covering festooned with pearls and feathers, and a medallion that may have been the gift of Lorenzo de Medici, the Florentine who was patron to both Botticelli and Michelangelo, and whose brother Giuliano may have been Simonetta’s lover.

Is she thinking, How did I ever get into this mess? Or, I’ve finally found happiness and I am at peace.

Well, just like with Mona Lisa, it’s not the answer that counts, but the imaginings and the various pathways they open in the vast neural networks of the mind.

Which is why I always find a visual for my characters.

When I start assembling my cast I first choose a name. I usually use Scrivener’s Name Generator for this. I start a Character Sheet and write what their role in the story will be.

Then I go looking for an image. Several authors I know use AI for their character images. My preferred method is simply to search Google Images for “Middle aged fisherman” or “Thirty year old businesswoman.” Then I scroll around looking for a face, and especially eyes that spark something unanticipated in me. That’s the key. I want to be surprised. I’ll copy that image into the Character Sheet then write some notes on what the eyes are saying to me.

Later I can open up the Corkboard View and see all the faces at once. When I write a scene, I can put the picture of a character onscreen as I type.

In the years before Google I used to buy magazines with lots of pictures, like Us and People (and no, I didn’t buy that picture magazine). I’d go through them and cut out faces and toss them in a box. When I started a project I’d take out the box and play casting director.

Much easier now.

Shell Scott

In the 1950s, Richard Prather wrote a series of PI books that outsold all others except those by Mickey Spillane. His hero was Shell Scott, and his defining feature was a buzz cut of white-blond hair. The publisher, Fawcett Gold Medal, decided to put a picture of Shell on the books.

 

Travis McGee

In the 1960s, John D. MacDonald gave us Travis McGee, and Fawcett did the same thing.

[FWIW, Sam Elliott played Travis in a TV movie and didn’t fit the profile at all. Much better was Rod Taylor in a little seen adaptation of Darker Than Amber (1970). Catch it if you can. Taylor is spot on.]

Personally, I think it’s better when readers form their own picture of a series lead. When I first conceived of Mike Romeo I went looking for a face…and found one that was, and is, perfect (for me). But I shan’t reveal who it is. Let the readers form the image for themselves. That gives them a “personal” Mike.

But for my own use in a project, a picture is a portal into a character’s soul.

What about you? Do you like to find pictures for your characters? Or are the pictures in your head enough?

Author Beware

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Ringggg!

Actually, it was more of a buzz in my back pocket that at first made me think my leg was going to sleep. I didn’t recognize the number on the screen, but that day I was in a mood.

“What?”

“Uh, well, hello. Is iss Rabees?” His accent was so thick I could barely understand the words. I’ll let you select the suitable accent as we progress.

“How can I help you?”

“This is Jake–––.”

“From State Farm?”

“What. No.” I could tell he was going back to his script. “This is Jake–––.”

“Jake who?”

“Uh, This is Jake Wilson and I’m calling about your recent publication, The Broken Truth…A Novel.”

“That’s The Broken Truth. The word novel isn’t part of the title.”

A loooonggggg pause.

“Are you there, Jake?”

“Yes, it is I. One of our scouts––––.”

“Crockett or Boone.”

“Excuse me. This is Jake.”

“Forgive me Jake, neither of those guys were scouts, but Kit Carson was.”

“Um. One of our scouts came across your book, The Broken Truth–––.”

“Don’t say the novel part.”

“Um.” Back to the script. “One of our book scouts came across your book (he almost said it again) and recommended it to us. Your book is cinematic in scope–––.”

“Thank you for that. I was my intention. I write as if I’m seeing a movie and try to bring that to my pages.”

“Yes. Thank you. Your book is cinematic in scope, and we feel that it is a perfect candidate for inclusion between you and Lions Gate–––.” He said it as two distinct words.

“Thanks, but you’ll have to talk with my agent.”

“Agent?”

“Literary agent.”

“You have a literary agent?” I imagined him flipping through pages on his computer, looking for that thread.

“You didn’t think I had one, did you? Miss that one in training?”

“Does this agent receive money–––“

“Money comes in. It doesn’t go out, that’s a true and honest statement, and you’re likely going to ask me for some type of payment for this remarkable opportunity How much?”

“Well, we have several levels.”

“Figured. Adios.”

*

There are many times I don’t want to answer, or fool with those bottom feeders. Here are a few voicemails I held onto for this enlightening occasion. Mistakes included.

“Bro truth Brew truth, Redis, your boo came highly recommended and we’re truly impressed by a cinematic potential. We’d love to explore a collaboration by connecting you directly with movie producers or directors either in person or via (who uses that word while speaking) Zoom to discuss the exciting possibility of adapting your story into the feature film or TV series.”

That one was from Nebraska. I wish I’d answered to get the caller to describe the town and where his office was located. If you don’t know, these scam artists bounce the calls around the country to make you think they’re legitimate and not from some unairconditioned warehouse far, far away.

How about this one allegedly from Fresno, California. Transcribed and somewhat translated. “Hi, Revis, is Roland from Lion Leash, I am a TV coordinator for Spotlight network, I am calling to extend an invitation for Emmy Award-winning director Logan Crawford would like to showcase your book. I am a TV coordinator. I’m reaching out regarding your book. Please call me back at 599-60….”

This one’s a favorite from Winfield, MO. “Hi, Ribs, my name is Johnester, and I’m calling for Ribs. (He was kinda making me hungry) Ribs Withem, and the reason I’m calling is I want to verify if you’re the author of The Texas Joe. If you are the author, please call me back at this number because your book caught our attention and I’d love the chance to speak with you shortly.”

Another from California. “Hi, Rellis, this is Paige senior executive book editor calling from Paige Chronicles, (I think that’s what she said. It’s hard to understand through all the crackling, which made me wonder if it’s coming through some transatlantic cable) because we would like to interview you about book scouts and specialist who highly recommended it from your feature to represent your book.”

“Hi, good day, this is Ava from Beach Chronicles a premium partner with Amazon once you have received this voicemail to call me back on thees number that works in order for us to discuss some important matters about your book The Broken Truth, a Thriller or thrillers (that’s not part of the title!!!). Thank you, and have a good one.”

*

And now I’m inundated with AI generated emails from Ellen B. Trumbull, or Christina William Brown, or Alison Malcha, Cecilia Marks II, and probably others, trying to separate me from my money. Here are a couple I cut and pasted, complete with the emojis they included.

Reavis,

You’ve been called the “genuine article” by Craig Johnson, Kirkus compared your mysteries to Harper Lee and Joe Lansdale, and the New York Times praised your writing as a sleeper that deserves wider attention. You’ve penned Westerns, mysteries, and even 2,500+ articles. That’s one hell of a trail of words.

Now here comes The Only Saloon in Town bank robberies, scalp hunters, corrupt marshals, and Cap Whitlatch trying to keep the whole town from blowing sky-high. It’s cinematic, bloody, and gritty exactly what readers of Westerns crave.

But then I checked Amazon. 30 reviews. Thirty. (Note: I think there are more on that and Goodreads, but I don’t pay any attention to them.) That’s barely a bar fight in Angel Fire. A story with scalp hunters and marauding devils has fewer reviews than a $20 desk lamp. That’s just wrong.

I run a private community of 2,000+ dedicated readers who don’t just leave “Good book 👍” but dive in, analyze, and post thoughtful reviews that give books the credibility they deserve. They love supporting seasoned authors who already have a strong voice but need that extra boost of reader firepower.

So, Reavis should we let Cap Whitlatch keep drinking alone in a half-empty saloon of 30 reviews, or should we pack the place, light the lamps, and give this book the kind of attention even C.J. Box would raise a glass to? 🍺📖

Best,

I didn’t answer, so she tried again:

Hi Reavis,

Just circling back 30 reviews for The Only Saloon in Town doesn’t match the grit and firepower of your story. A book that is cinematic deserves a full house, not a half-empty saloon.

That’s exactly where my private community of 2,000+ engaged readers comes in. They love Westerns and mysteries, and they leave the kind of thoughtful reviews that boost credibility and visibility.

Would you like me to send you a quick 2-minute outline of how we can get Cap Whitlatch the packed saloon he deserves?

Best,

Then this one arrived. Same style, AI generated, and with still another hometown girl name (I wonder why they’re all women in these emails?).

Reavis, you’ve got gangsters rolling into East Texas, a crooked sheriff “crooked as a dog’s hind leg,” counterfeit bills floating around, a psychic kid dreaming doom, and a climax that reads like a Shakespearean showdown with cowboy boots on. Basically, Vengeance is Mine has more action than a Vegas card table on payday. 🎰💥

 

(Note: This one released in 2014. I’m not sure why they latched onto this particular title. Now, we continue.)

And yet… Amazon still thinks your book belongs in the quiet corner with dusty paperbacks and forgotten romance novellas. 182 reviews? For a modern western listed in True West’s Top 5? (At least AI got that part right) That’s like parking a Mustang on the prairie and calling it “just another horse.” 🐎😂

Here’s where I tip my hat. 🤠 I’m not a PR firm, not some slick “book marketing guru,” and I don’t have a website, LinkedIn, or a TikTok where I dance holding novels (you’re welcome). It’s just me and my private crew of 2,000+ readers who live for mysteries, thrillers, and western grit. We don’t skim and slap stars   we actually read, argue about characters, and drop reviews that Amazon’s cranky algorithm can’t ignore.

So, Reavis, do you want Vengeance is Mine to keep sittin’ pretty in the shade like a cowboy at siesta, or do you want me to send in readers who’ll make it gallop loud enough for the whole algorithmic rodeo to notice? 🐂📚🔥

Best

I haven’t returned either of these emails, but they came in right on top of each other this week. Then I opened this one that’s cut and pasted.

Hi  Reavis Wortham,

I hope this message finds you in great spirits.

My name is Allyson, and I’m reaching out on behalf of Books Discovery Group, a team of literary scouts and creative development agents passionate about discovering compelling stories with real market potential. While quietly evaluating promising works across the literary landscape, your book, “The Broken Truth: A Thriller (Tucker Snow Thrillers),” stood out for its powerful message, literary merit, and commercial viability.

We believe your manuscript (for crying out loud, people, it’s a book now, not a manuscript!!!) holds exceptional potential—not just for traditional publishing but also for adaptation into film or television. In today’s evolving storytelling ecosystem, producers are actively seeking fresh, impactful narratives like yours. With the right representation and positioning, your work could open doors to wide distribution and enduring cultural relevance across multiple platforms.

At Books Discovery Group, we work exclusively on a commission-based model, meaning we only succeed when you do. Our full focus is on securing the best possible publishing and screen adaptation opportunities for authors like you. You retain creative control—we handle the connections, negotiations, and positioning that help your work shine in competitive markets.

Before proceeding, may I ask if you are currently represented by another literary agent? If not, it would be an absolute honor to represent you and introduce your work to our trusted network of traditional publishers and media producers.

I’d welcome the opportunity to speak with you directly and explore what’s next. Please feel free to contact me at (347) 669-1975 at your convenience.

Thank you for creating a story worth discovering. I look forward to the possibility of working together and championing your book to a broader audience.

Warm regards,

When I didn’t answer, their algorithm tried again on, with a slightly different ending on The Broken Truth:

For The Broken Truth, a 10–20 reader push could seriously shake up its visibility and give Tucker the posse he deserves. I can even share a peek at how my readers discuss books you’ll see right away it’s real, passionate, and powerful.

What do you say want me to unleash a squad of die-hard thriller fans to ride with Tucker Snow and get this book seen by the readers it deserves? 🤠📚✨

Cecilia

*

So what is all this? Folks trying to drum up business? Author scams? I won’t say for sure, to avoid litigation, but I have my suspicions.

Scams targeting authors often involve an advance fee, where individuals or companies masquerading as agents or publishers request upfront payments for publishing or marketing services. Other scams include unrealistic royalties or a large book advance for a fee, claims of having “discovered” a previously unknown book, and requests for various fees to revitalize or market an older work.

Pros and beginners alike should be wary of these unsolicited offers, especially those promising huge returns, and avoid paying upfront fees for publishing services. Legitimate agents and publishers do not ask for such payments.

These people hoping to dig into your bank account might pose as a literary agent or publisher with misleading offers. They might contact you about an older book they just “discovered,” saying they can increase sales.

A new tact is claiming false affiliation with entities like Amazon, or a famous director they they might be able to put you in touch with. The Lionsgate scam with famous names has been making the rounds lately.

Be skeptical of unsolicited offers, never pay upfront fees, do your due diligence. If you think a call might be legit, find their website and use that number to check. They’ll likely tell you it was a con.

Research through The Authors Guild, or the Society of Authors to name a couple for alerts on scams targeting authors.

As Sonny and Cher once reported, “The Beat Goes On”….and on…and on…and on. I’m cynical, but many ground-level and even experienced authors can be taken by these scam artists. There are many online articles about these individuals, and more. Here are a couple that might be of interest. Writer Beware.

https://authorsguild.org/resource/publishing-scam-alerts/

https://writerbeware.blog/scam-archive/

Oh, and if any of the above contacts are truly legitimate, I’m sorry, and please reach out to me again so we can do the deal.

Reader Friday-I Saw What You Did

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Tell us something cool about yourself that no one else knows…or, very few people know.

I’ll start.

My car wasn’t as cool as this one… 🙂

I once drove in a stock car race. It was fun! I got to go really, really fast around our local race track and I didn’t even crash. My three young kiddos watched from the bleachers with my parents. My drag-racing, desert truck-racing Dad was the instigator. In the blood, I guess.

 

Would I do it again? No sirree Bob! (Well, maybe…)

Your turn! Do tell, and have you written about it?

 

True Crime Thursday—Weird Animal Cases

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by Debbie Burke

Police Officers never know what they’ll find when they answer a call. Here’s a collection of unusual cases involving animals that I uncovered on Police1.com.

Florida law enforcement duties include occasional alligator wrangling. This body cam video from July 2025 shows an amazingly calm officer, Deputy Richardson of the St. John’s County Sheriff’s Department, responding to a gator allegedly trespassing in a resident’s pool. Notice how gently he tucks the gator’s tail into the back seat of his cruiser.

https://www.police1.com/animal-control/i-know-youre-mad-fla-deputy-removes-gator-from-pool-with-bare-hands-buckles-it-into-cruiser

Police1.com also posted a roundup of weird cases from 2023:

In May:

“Springfield, Colorado police found that a suspected drunk driver switched places with a dog before being contacted. ‘The dog does not face any charges and was let go with just a warning,’ said police.”

In July:

“An Oak Grove, Missouri police officer working the midnight shift took time out to help a raccoon whose head was stuck in a jar after a brief foot pursuit.”

 

August 2023 was an especially busy month for critter calls.

“Police in Norfolk, Nebraska, pulled over Howdy Doody, a Watusi bull known as a celebrity in northeast Nebraska, and his owner Lee Meyer while the bull was riding shotgun in an old police cruiser. Meyer was stopped for vision obstruction.”

From Colorado: 

“Douglas County, Colorado, sheriff deputy Lee Jazombek responded to the call of the distressed bear and met up with Colorado Parks and Wildlife officer Sean Dodd, who was already on the scene where a bear became trapped in a dumpster. The officers fashioned a ramp that allowed the bear to escape.”

A K9 shows his versatility in this situation.

“In New York, Carmel Police Department Officer Vincent DeSantola and his K9 Pietro responded to the report of 30 goats loose in the roadway. The dog, a German shepherd, lived up to his name by helping corral the goats who were quickly returned to their pen.”

On the subject of herding, an anonymous officer left the following comment that demonstrates dog cookies aren’t just for dogs:

“I ‘herded’ several loose pigs down a busy highway, into a residential area, back to where the pigs lived. I kept their interest in following me by offering them dog cookies, which I keep in my patrol car.”

Law enforcement sometimes uses special talents not usually associated with criminal apprehension, like voice impressions.

“A Pierce County, Washington deputy barked like a K-9, tricking teen car theft suspects into surrendering when they thought the dogs were on the way.”

And last but not least, people who own Golden Retrievers often joke the breed is so friendly they’d welcome a burglar breaking into their home. Here’s video proof:

“San Diego, California home surveillance video shows a burglar taking a bicycle from a garage and being confronted by the homeowner’s dog. The Golden Retriever approaches him as he exits the garage with the stolen bike where the crook stops to give the undisturbed dog belly rubs.”

 

 

Sorry, pup, you just flunked the entrance exam for guard dog school!

Thank you to Police1.com for permission to quote from their site.

~~~

Conference news: October 3-5, 2025, the Flathead River Writers Conference happens in Kalispell, Montana. This is the 35th year for the event which has earned an international reputation for friendliness, education, and inspiration. I’m teaching a Friday workshop on The Villain’s Journey and would love to meet TKZers in person. Hope you can join us! Details.

~~~

TKZers: do you have any critter crimes to report? Suspects are innocent until proven guilty.

Edits and Covers

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Edits and Covers
Terry Odell

I’ve been focused on getting my new book, Deadly Ambitions, ready to meet the public. Given scheduling conflicts between my editor and my own travel, plus not wanting to compete with the barrage of holiday books, I’ve decided to put of the release until early next year.

Does that mean I can relax until then?

(Sputter, Snort, Guffaw.)

The first complete draft came in at about 85,000 words, which was longer than I wanted, so when I did my first read-through, I looked for excess. I talked a little about my process in my last post. Plot threads, scenes, and just plain wordiness. SmartEdit makes it easy to find these culprits, although it’s a tedious process. I’ve managed to cut about 4,000 words. One “thing” I’m doing this time around is opening the manuscript to a random page and looking at random paragraphs and sentences. Taken out of context, I’m finding places where my penchant for rambling shows through, so I’ve done some microsurgery using that technique.

But Wait. There’s More.

As an indie author, I wear many hats. My least favorite is the marketing chapeau, but it’s a necessary evil. I’m no marketing guru, but I know enough to know people want visuals. That meant a cover.

What did I want on the cover? I had plot threads running through the book that I considered. . One revolved around a construction project. A half-finished remodel wasn’t likely to entice readers. Or it would make them think it was a DIY book.

Another thread began with a traffic accident. A little more compelling, but I was having trouble finding images, not to mention Deadly Puzzles already had a similarly-themed cover.

A car tipped down a snowbank with an overlay of puzzle pieces

I regrouped (after a few nudges from one of my critique partners).

Since my Mapleton Mystery series is set in Colorado (although I’ve never pinpointed  where), I decided on a Colorado image for the background, something many of the other books included. But what? The book is set in December, so snow-capped mountains? Been there, done that.

Wait. We’d been up to a couple of old mining towns recently, and I’d decided to go along with the Hubster when he pulled onto a side road, saying “he just wanted to check something out.” Of course, that meant a hike along one of the old mine trails. I finished the hike with a bunch of pictures of old mining equipment.

What a coincidence. There’s a plot thread relating to an abandoned mine in the book. I browsed through some stock images on the site my cover designer, Kim Killion of the Killion Group, prefers and found one or two that might be acceptable. However, after going through my own images, I found one I thought had promise for the background.

Turned out, that’s the one she preferred. Yay me!

But the book is a mystery, and it’s not actually set in a mine, or even a mining town. How to let potential readers know it’s a mystery? I followed that plot thread (don’t want too many spoilers here), and sent Kim some more ideas.

This is what she came up with. I hope you like it.

Cover of Deadly Ambitions by Terry Odell

What’s your favorite and/or least favorite “non-writing” part of getting a book published? Do you like having creative control, or would you rather turn everything over to others?

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.”