How Are They Talking?

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How Are They Talking?
Terry Odell

This topic has come up here at TKZ before, but I recently read a book by a best-selling author, traditionally published, that had my teeth on edge, so I’m revisiting it.

Dialogue. Characters are talking. It’s up to the author to make sure the reader knows who it is uttering those gems. The terms I’ve learned are “tags” for things like he said, she asked, etc., and identify the speaker.

“I’m hungry,” Gordon said. “What’s for lunch?” she asked.

Note: It’s also considered acceptable to use “said” for questions.

Beats show a character’s action. Gordon opened the refrigerator. “I’m hungry.”

Note: It’s better to use either a tag or a beat, not both for the same dialogue line.

What was my problem with the book I read? The author (or her editor) seemed reluctant to use the word “said.” Reluctant? It was as if she thought a rattlesnake would strike every time she did, and she used more “creative” words instead.

While there’s nothing creative about said, it has the bonus of being invisible. I was reading novel by the late Robert B. Parker when I was a beginning writer, and I stopped to evaluate his dialogue. The man tagged almost every single line of dialogue with “said” and yet I realized I’d read three full pages and hadn’t noticed a single one.

What do these creative tags do for the reader? For this reader, they jump off the page. Instead of simply letting me know who’s saying the line, they’re making me stop and think. They’re distracting. After a few chapters they become downright annoying.

What word choices did this author use? Let me count the tags.

corrected, allowed, accused, argued, tossed back, explained, grumbled, muttered, murmured, suggested, noted, offered (that was a favorite), interjected, reminded (him), insisted, implored, urged, warned, added, demanded, agreed, promised, explained, tacked on, allowed, pressed, put in, pointed out, challenged, ordered, urged, agreed.

And this was in the first 5 chapters, after which I stopped tracking them. I counted a whopping 8 uses of said in these chapters, and one of asked. Most of the “said” uses were connected with action beats, as in “She said as she poured the coffee.” Both aren’t needed for the same line.

Although this was a good story, the read was an effort for me as the creative tag words made me stop and think about them. I’d rather be thinking about the story.

What about you, TKZers? Do you prefer the invisible said or do you enjoy the creative alternatives? Why?

Cover image of Deadly Relations by Terry OdellAvailable Now
Deadly Relations.
Nothing Ever Happens in Mapleton … Until it Does
Gordon Hepler, Mapleton, Colorado’s Police Chief, is called away from a quiet Sunday with his wife to an emergency situation at the home he’s planning to sell. A man has chained himself to the front porch, threatening to set off an explosive.

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

First Page Critique – Or, the Devil You Don’t

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By Debbie Burke

@burke_writer

Today let’s welcome another Brave Author who submitted a first page of a story in the horror genre. Please enjoy then we’ll discuss.

Or, the Devil You Don’t

 Chapter 1

Nothing on earth compares to autumn in North Carolina.

Nothing.

I close my eyes and let my head fall back. Sunlight filtering through baring branches warms my face. After a moment, eyelids drift open and I marvel at how the sunlight seems to catch on the edge of each brightly colored leaf, holding just long enough to suggest luminescence, before breaking free.

The Colonel would have been livid.

“Is it almost over?” I ask, leaning so only Carl can hear me.

“Not quite, Debra,” he says. “Be patient.”

“Be patient,” I say, under my breath, face distorted.

If the Colonel were still alive, he certainly wouldn’t stand for it—the weather, I mean. He would have insisted it mirror the melancholy of the gathering.

It doesn’t.

Instead, it mocks us. If it were up to him, he’d cancel the whole damn thing.

He would say the day of a funeral should be bleak, a bitter wind blowing—the kind of wind that bites as it slides past your cheek. The skies must be gray. Perhaps even a light rain. Yes, rain would be perfect. Everyone huddled under black umbrellas.

Why does no one else appear to agree? Sadly, their loss is not so personal. They stand around uneasily, in obligatory attendance only, serving time graveside—staring at the shoes of the person next to them as if they are the most fascinating things on earth. The man in the black pin-stripe suit stretches his arm to sneak a glance at his watch. They never knew the same Colonel I did.

Nervous energy bids my fingers to pick imaginary lint from the front of my drab dress. I feel the eyes of every person here staring at me.

In the background, the minister’s drones.

“We have all been touched by Thomas Edward’s life and story, and each of us feels this loss deeply. But we cannot change…”

I glare upwards with all my might, willing the birds to cease their songs. They ignore me. Apparently, I have no ability to communicate with birds.

~~~

Right off the bat, the title is intriguing. The author takes a well-recognized saying—the devil you know or the devil you don’t know—and cuts the phrase in half, leaving only the second part, which is more sinister because it taps into the primal fear of the unknown. This is a good title choice for the horror genre.

My only question is the comma. It’s distracting and not necessary. I suggest you cut it.

But that’s a very tiny nit to pick!

This is a quiet, slow-burn beginning. The sensual description—how the sunlight seems to catch on the edge of each brightly colored leaf, holding just long enough to suggest luminescence—is beautiful. The reader briefly feels lulled by the warm sun until the next paragraph: The Colonel would have been livid.

That’s a shocking statement that contrasts with the lovely setting.

We talked recently about pros and cons of opening a story with the weather. I think this works because of the surprise twist that the Colonel would be angry. Why? Who is this character who would cancel his own funeral because he doesn’t like the weather?

Debra goes on to describe the gloomy conditions the Colonel would have preferred, pulling the reader deeper into the story as more questions arise.

Sadly, their loss is not so personal is an oblique, understated way of expressing the sorrow that Debra feels. She sounds wistful that other people didn’t know him as well as she did.  They are only there because they have to be. The description of them is spot on: serving time graveside—staring at the shoes of the person next to them as if they are the most fascinating things on earth.

However, the next paragraph contradicts that because she says everyone is staring at her. Maybe add a bit of transition that changes their focus from shoes to her. Does she cough, hiccup, or make a gesture that draws their attention? Plucking a bit of lint isn’t enough to cause people look up. What if she shifts her stance, twisting her ankle, and has to catch herself?

They never knew the same Colonel I did. That raises more compelling questions. What was the nature of their relationship? Was he family? A lover? Her commanding officer? Why did he open up to Debra? What did he have to hide from other people?

Her grief is further expressed in her frustration that the birds won’t shut up when she glares at them. That adds an ironic bit of humor that echoes the Colonel’s imagined annoyance with the weather. Both characters wish they could control nature but they can’t.

By the end of the first page, the reader still knows very little about Debra, Carl, the Colonel, how he died, what their connection is, and why she mourns him. But the Brave Author’s skillful, subtle, yet vivid writing seduced me. I want to turn the page to learn the answers to those questions. I also want to find out how horror will be introduced into the story.

Awkward phrasing caused a few small bumps:

Baring branches stopped me, maybe because it came right after another word, filtering, that also ended with ing. Perhaps just cut baring.

…eyelids drift open sounds disembodied. Suggest you add my eyelids drift open.

“Be patient,” I say, under my breath, face distorted. She might feel her facial expression, but she can’t see it.

…wind that bites as it slides past your cheek. Biting is sharp and sliding is smooth. Maybe use a different verb that goes better with bite, like tears or rips.

In the background, the minister’s drones. Is this a typo? Should it read: In the background, the minister drones.

Brave Author, I had to work hard to find suggestions to improve this first page. I don’t generally read horror, but I would definitely read more. Great job and best of luck with this intriguing story!

~~~

TKZers: Any suggestions for the Brave Author? Would you turn the page?

If not, do you prefer a faster beginning?

Getting Cozy

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“Mystery creates wonder and wonder is the basis of man’s desire to understand.” – Neil Armstrong

* * *

What is a cozy mystery? And how has this popular sub-genre evolved over time? Since fellow TKZ contributor Dale Ivan Smith and I both write cozies, we thought it would be fun to co-write a post on the subject.

WHAT MAKES A MYSTERY “COZY?”

These are the basic “rules” as I understand them:

  1. No explicit violence.
  2. No explicit sexual content.
  3. Usually, no profanity. But if there is any, it’s mild.

Although there are many variations, a cozy mystery often involves a murder that has taken place “off stage” before the story begins. The mystery is usually presented as a puzzle where the reader tries to figure out the solution along with the protagonist.

This quote from an article on novelsuspects.com sums it up nicely:

“Overall, cozy mysteries are the perfect mix of smart, thoughtful stories that challenge you to think as you read while also being a relaxing escape from everyday life.“

HISTORY

Mysteries have been around for a long time. The first mystery novel is usually identified as The Woman in White by Wilkie Collins, published in 1859. But Agatha Christie changed the landscape in 20th century.

According to an article on the website of the Mansfield/Richland County Public Library in Mansfield, Ohio:

“Agatha Christie is usually credited with being the (unintentional) mother of the cozy mystery genre with her Hercule Poirot and Miss Marple series. The term “cozy” was first coined in the late 20th century when various writers produced work in an attempt to re-create the Golden Age of Detective Fiction.”

* * *

Since its inception, the cozy mystery genre has evolved, and a few new trends have grown up around it. For example, many of today’s cozies have paranormal elements you wouldn’t have found in the mid-20th century. It also isn’t unusual for stories to center around food or pets.

Book covers have also morphed to reflect a more playful approach, and many titles have become something of a pun contest. To the best of my knowledge, the images shown below were the first edition covers. Consider how things have changed from the 20th century …

… to the 21st century:

* * *

Over to Dale to give us background on the cozy narrative:

We’re so often advised to begin with action. However, cozies tend to call for the grounding of the reader in the character’s background and setting right at the start, to help give that cozy feel and connect the reader with our heroine. The heroine is often introduced in a summary of who-the-character is fashion, rather than an in-media-res opening that other mysteries might.

Often we also learn how she arrived at this point in her life—perhaps she just went through a divorce, or lost a job, and moved to the small community, possibly inheriting a business and meeting a character who will be significant in their life. If they are already established, like in Jenn McKinlay’s Books Can Be Deceiving, the first of her Library Lovers series which opens with the Thursday “Crafternoon” group meeting at the library.

The murder can occur in the opening, but often occurs later, and serves as the gateway to Act II. While the opening of a cozy often establishes the world before the murder, the discovery of a body puts the sleuth on a quest to restore order to her little world. The heroine will follow an “arc of suspicion” where she uncovers secrets that may lead to the actual crime, or may be a red herring, and she will be looking for the motive.

The police are on the wrong trail when it comes to finding the murderer, so it is up to the amateur sleuth to find the true culprit. Often a friend, relative or other innocent is arrested. A police arrest of an innocent may occur at the midpoint, and/or the person the sleuth believed was the murderer themselves is killed, or something else that sends our heroine’s investigation on a new course.

She sifts through competing ideas (theories) about what was behind the murder, until she finds a crucial clue or insight which leads her to the revelation and confrontation with the killer. Just before this climax of the book, circumstances and/or choices she makes isolate her from her friends and allies.

As the investigation continues, it is counterbalanced with a cozy subplot, such a baking competition, parade, event at the library etc. which the main character is involved with, until the isolating nature of the investigation pushes her away from that cozy storyline.

There is often also a slow-burn romance. In H.Y. Hanna’s English Cottage Garden series Poppy has a slow-burn mutual attraction, alternating with frustration, for her neighbor, a crime writer, who also helps her at times in solving the mystery. Each book features a moment where the two draw together in attraction other, but another moment or moments were they are pushed apart by a disagreement or other conflict.

Humor in a cozy mystery serves to lighten the mood and up the fun quotient of the story, often surprising the reader right after a plot turn or a revelation, though things get serious as we head into Act III and the confrontation with the murderer. But often comedy returns at the end, when we have a scene or even a short sequence of scenes validating the restoration of order to the community.

So, TKZers: Do you read cozy mysteries? Tell us about your favorite books and authors.

 

 

The Basic Formula of Fiction

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by James Scott Bell
@jamesscottbell

Many writers are not content merely to write a good story. They want to “say something.” This is not a bad impulse. We are awash in a culture of the trivial, the trite, and the downright stupid. It is part of the writer’s calling to stand against all that.

I can’t recall who it was, but one novelist said, “A writer should have something on his mind.”

That something is the theme, or meaning, of a story. It is the moral message that comes through at the end. The noted writing teacher William Foster-Harris believed that all worthy stories can be explained as an exercise in “moral arithmetic.” In The Basic Formulas of Fiction he expressed it thus:

            Value 1 vs. Value 2 = Outcome

For example, Love vs. Ambition = Love. In other words, the value of love overcomes in the struggle against ambition. If one were writing a tragedy, the outcome would be the opposite, with ambition winning out at the cost of love.

This is true even if you write without a fleeting thought about theme. Your story will have one, whether you’re conscious of it or not.

Each story has only one primary theme, which can also be stated as “Value X leads to Outcome Y.” James N. Frey says in How to Write a Damn Good Novel: “In fiction, the premise [or theme] is the conclusion of a fictive argument. You cannot prove two different premises in a nonfiction argument; the same is true for a fictive argument. Say the character ends up dead. How did it happen? He ended up dead because he tried to rob the bank. He tried to rob the bank because he needed money. He needed money because he wanted to elope. He wanted to elope because he was madly in love. Therefore, his being madly in love is what got him killed.”

So, “mad love leads to death” is the theme.

It is crucial, however, to realize that theme is played out through the characters in the story. In high school my son was tasked with a book report. He read (at my suggestion) Shane, the classic Western by Jack Schaeffer. One of the questions on his report sheet was to state the theme. He asked me for help, because he had never thought about books this deeply before.

With a little prodding, he was able to see that the homesteaders represented civilization, while the ranchers who hire gunmen represent brutality and lawlessness. Shane, of course, is the enigmatic figure who helps this moral equation become: “Civilization (a community of shared values) can overcome the forces of lawlessness.”

Look to the characters and what they are fighting for, and you will find the theme of your story.

But there is a common problem writers face when they have “something on their minds.” And that is simply that they often begin with a theme and try to force a story into it. This can result in a host of issues, among them:

  • Cardboard, one-dimensional characters
  • A preachy tone
  • Lack of subtlety
  • Story clichés

The way to avoid these is to remember: Characters in competition come before theme.

Always.

Develop your characters first—your hero, your villain, your supporting cast—and set them in a story world where their values, aims, and agendas will be in conflict. Create scenes where the struggles is vivid on the page.

Yes, you can have a theme in mind, but make it as wispy as a butterfly wing, and subject to change without notice. If you write truly about the characters, following the wants, needs, and desires, you’ll begin see the theme of your story emerge. At first it may be like the faint glow of a miner’s lamp deep in a dark cave. You may not have full illumination until the end, but it will be there.

So give your characters full, complex humanity, and then a passionate commitment to their own set of values. Even the villain. No, especially the villain. All villains (or antagonists) think they are right, and they are the drivers of the plot.

Sometimes, the theme may surprise you. That’s when writing becomes a wondrous act of self-revelation. Your story is revealing who you are and what you really care about.

Do you think about theme when you write? Or after you write? Or at any time? Have you ever been surprised at yourself when you finish a story and find a meaning you hadn’t anticipated?

Words of Wisdom for the Muddle in the Middle

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I haven’t reached the middle yet in Book Drop Dead, the mystery I’m currently drafting, but certainly have experienced the muddle in the middle in the past, just like so many other novelists. Today’s Words of Wisdoms provides advice on juicing up the middle of your novel, from Michelle Gagnon’s tips on surviving the mid point, to PJ Parrish’s using tried and true devices, with Jaws as an example, and Clare Langley Hawthorne’s high-level advice for assessing why you have a muddle and how to fix it.

Oh, the saggy middle. How I loathe it. My writing pace slows. Plot points that seemed brilliant 20,000 words ago are now, clearly, just dead wrong. It sometimes feels like I’ll never pull all the disparate elements together into something coherent that readers will actually pay for. These are the days when I dread opening that .doc file, when I’m tempted to do almost anything else (including laundry and cleaning my oven).

So in lieu of more whining, I’ve come up with some tips for surviving the midpoint (or, really, any writing lows):

  1. Walk away
    This can be accomplished literally: by turning off the computer, heading out the door and walking around the block a few times. Sometimes engaging in real-life activities, like dinner with friends or a movie, actually provides a new perspective on a particularly tricky plot point.
    Or figuratively: closing the manuscript file and starting a new document. Writing a short story, or starting the first chapter of a different book. Sometimes to jar things loose, I’ll embark on a completely different project. Lately during breaks from the manuscript I’ve been working on a screenplay. In some ways that flexes a different part of my brain. Then when I return to the manuscript, the well has been replenished.
  2. Engage in some positive reinforcement
    If I’m really starting to feel as though my writing has taken a nosedive, I dig up some of my earlier work and re-read the stronger passages. Reminding myself that once upon a time I managed to write intelligible sentences is always heartening. It also helps me remember that I’ve been in this position before, and in the end I managed to finish the book, more or less on time.
  3. Spend some time with a master
    If re-reading my own work isn’t motivating enough, I turn to authors whose writing always blows me away. For instance, I was struggling with a love scene. The prose was painfully purple, the dialogue cliched, I was beyond frustrated with it. So I went back to a bookmarked passage in Tana French’s last book FAITHFUL PLACE, where a love scene was rendered so painfully well, reading it almost felt intrusive and voyeuristic. Seeing how she accomplished that was inspirational.

There’s simply no getting around it: this part of the writing process is always a monotonous, painful slog. It’s like a train inching up a mountain, the going always gets toughest right before hitting the peak, then it’s a race down the other side.

Michelle Gagnon—January 20, 2011

 

So what can you use if you find yourself bogged down in the middle of your story? There are some nifty tried and true devices and to illustrate them, I’m going to use a movie we all know instead of a book — Jaws. A couple years ago, I got to know Jaws really well when I contributed an essay on the Benchley book to Thrillers: 100 Must Reads, edited by David Morrell. I hadn’t read Jaws since it first came out and when I dissected it for the essay I was surprised at how flabby the book is. (lots of bad subplots about class warfare, mafia kingpins, and a really icky affair between Chief Brody’s wife and  Hooper). But the screenplay — well, it’s one of the best thrillers written, and I’ve used it when I teach workshops on thriller plotting. Jaws uses six devices that keep the middle of the story moving forward:

  • Setbacks
  • Pendulum swings of emotion
  • Raising the stakes
  • Obstacles
  • Rift in the team
  • Isolation of the hero

So let’s go cut open that shark and see how each works…

First, there was that great attention-getting opening scene.

Then we meet the hero, who is a classic dramatic archetype: the ordinary man in extraordinary circumstances. Chief Brody is an outsider on the insular little vacation island — and he can’t even swim. In the setup, he is confronted with the problem, and the girl’s death forces him into action.

The SETBACKS keep coming as the victims pile up. And since Jaws is basically a serial killer plot, each new body plunges Brody deeper into despair. But then — TA-DA! — we hit a peak when local fishermen snag a great white and every one is happy.

But then we get A PENDULUM SWING OF EMOTION when Brody’s own son is almost attacked. And another when a dead boy’s mother confronts Brody and castigates him for her son’s death.

Another SETBACK occurs when Hooper tells him the bite radius of the captured shark is off and when they cut open the shark, they don’t find any body parts. Brody gets proactive and moves to close the beaches until they can catch the killer shark. But then he faces a new OBSTACLE.

The Amity mayor who’s hellbent on saving the island’s lucrative July Fourth weekend. Brody’s overruled, the beaches stay open and all Brody can do is sit on the beach and sweat. We get a slight rise in the plot graph when Hooper and Brody go out  on a night hunt (Hooper is a perfect foil character for Brody, there to give him hope and pull him out of the dips). But then they find that dead guy in the submerged boat and things look increasingly grim. Until we get a major up-thrust for Brody. He gets the money to hire a professional shark hunter — Quint.

Our hero has things under control now, right? Not so fast. Quint is a great character, and he represents one of the most effective devices you can use to beef up your middle — THE RIFT IN THE TEAM. As the three men hunt the shark, the escalating tension between them threatens the quest. You see this device used a lot in cop novels — the errant hard-drinking guy bumping heads with his partner. Think of every partner Dirty Harry ever had. Or watch the sparring between Woody Harrelson and Matthew McConaughey in HBO’s True Detective. Rifts in the team. Brody is pulled down in another dip as he tries to cope with crazy Quint, who at one point even smashes the boat’s radio.

The plot goes into fever pitch after this, with dips and rises as they chase the shark. The STAKES ARE RAISED as their weapons prove futile, and the boat starts to fall apart and the shark even starts to gnaw on it.

We’re entered the final big trough when Hooper decides the only option left is for him to go down in the shark cage. (STAKES ARE RAISED AGAIN). Hooper disappears, presumed dead. And then we begin the final plunge into the abyss for poor Brody. Quint goes out in a blaze of gory…

And there is our hero, alone on a sinking ship, staring into the maw of death. Which brings us to one of the most effective ways to beef up your plot — ISOLATION OF THE HERO.   Think of Clarise Starling alone in that creepy basement. We’ve use this device often, putting our hero Louis in abandoned asylum tunnels, on frozen ice bridges on Lake Huron, gator-infested Everglades, and yes, on a sinking boat in the Gulf. It gives your hero that final chance to prove himself  — through guts and brains — and triumph over evil. Remember how Brody did it?

Blasted the bad guy to bits. With his final bullet. And he couldn’t even swim. What a guy. What a climax. What a roller coaster ride.

P.J. Parrish—January 28, 2014

 

For me, the middle is where you really get to complicate and stir things up for your characters. As an outliner, I focus quite a lot on the middle and often find myself graphing out the tension levels in the novel I’m drafting. If I see a flat line in the middle then I know I’m in trouble. But, whether your an outliner or not – what do you do if, after the first draft is complete, you realize that the middle section just isn’t working? Here are some of my ideas:

(1) Reassess the premise of the novel and explore ways in which you can add complexity, drama and tension to this in the middle.

This could involve adding an additional obstacle for the protagonist, introducing a subplot to add more emotional resonance or tension, or it could be introducing an event that raises the stakes for your characters. Sometimes, the reason the middle of a novel is flat is because the author may not have sufficient depth (in either the premise of the book or its execution) and so the middle feels like ‘treading water’ until the resolution/final conflict occurs. Taking a step back and re-examining the premise might help you identify this and come up with some solutions.

(2) Map out the plot and brainstorm ways to raise the stake or add tension.

As an extremely visual person and a strong believer in outlining, I like to try and display the plot in a visual way that helps me identify places where I might need to add scenes that raise the stakes or add tension. I find once I can see the chapters that meander or sag, I can brainstorm ways in which I can alter the plot to add dramatic tension. This could be the place where an unexpected death occurs, a new character walks in to shake things up, or another obstacle is thrown in the protagonist’s way. Whatever you decide, it should all be aimed at keeping the reader turning the pages…

(3) Eliminate the boring bits!

Sometimes the middle gets bogged down with clues or details of an investigation, the mechanics of the plot or the protagonist going through the motions/actions necessary to progress the novel towards its denouement. One thing I like to bear in mind is that readers get bored…so when re-reading a draft I like to identify areas that even I am starting to glaze over. If, as the author, I’m not riveted, then it’s time to ditch those boring bits and think through how to maintain the tension rather than deflate it.

Clare Langley-Hawthorne—July 18, 2016

***

  1. How do you manage or change your outlook if/when you are stuck in the middle?
  2. Are there any plot devices, twists, etc you reach for when your plot seems to be a muddle?
  3. Do you go up to the 30K foot view when your novel is mired in the muddle? What do you do when you’re there, looking down at the plot? If you’re pantser, do you do something different than this?

Reader Friday: Reader-Writer Connections

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The question up for grabs today is directed at you as an author. Last week, Steve asked a question of us as readers: how do we connect with writers? What’s our go-to platforms to find new favorite authors with whom we can adventure?

This week, we’ll reverse poles and come at it from the opposite direction.

How do we as writers connect with new readers/followers?

Today, we will discuss questions that are dear to my heart as a relatively new author. I have published four books of my own, plus I was published in Chicken Soup for the Soul, and I have two more books in the hopper. But those numbers are small—not insignificant by any means—but still small compared to most of you.

One of the authorish tasks I have the most difficulty with is reaching out to new/more readers and followers. I have a website where I publish a monthly blog, and I send out a monthly “newsletter.” I try to not market my books too heavily, but to include content about life in general in 2023, and sometimes what I’m curious about. I also try to include shout-out references/links to other authors, editors, and cover designers.

I do attend events, but mostly local as I am not much of a traveler. I like to say, Sure, I’d like to see XYZ location, but can’t I just be beamed over there?

So, over to you, TKZers! Steve and I are hoping to hear your tips/tricks/ideas—different methods you use to bring new readers/followers into your fold.

Wow us with your ideas, what has worked for you, and maybe what has not worked for you.

How do you attract new readers/followers?

What are some methods you’ve used to market yourself, not necessarily your latest book?

Do you ever conduct a survey of your current readers/subscribers to your blog or website to find out what content they’d like to see? What kind of response do you get?

Is there something you’ve tried in the past that has completely bombed? Do tell.

If you had to choose only one approach to connect with new readers/followers, the one that consistently produces results, what would it be?

Happy Friday, and thanks for playing the Connections Game with us today!

~~~

 

 

 

 

 

 

 

 

Deb Gorman lives in the Pacific Northwest and writes stories of redemption and reconciliation. Her next book, No Tomorrows, is due to be released this fall. You can connect with her at her website: debggorman.com

Rejections Happen to Us All

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Hi, TKZers. I’ve finished my novel on time and I’m heading out for a short vacation. Here’s a classic blog that I hope will give all writers hope. Enjog.

By Elaine Viets

Feeling discouraged, writers? Tired of papering your walls with rejection slips?
When I feel down, I turn to the good book. Not THE good book, but a good book by Elaine Borish called “Unpublishable! Rejected writers from Jane Austen to Zane Grey.”


If you’ve been rebuffed by a publisher, you’re in good company. So was Agatha Christie. Borish says it took Dame Agatha four years to find a publisher for her first novel, “The Mysterious Affair at Styles” – and then it sat on a desk for another eighteen months. The publisher suggested some changes to the ending, and Agatha made them. Belgian detective Hercule Poirot finally made his debut in 1920.
Agatha Christie wrote more than ninety titles, and “The Mysterious Affair at Styles” is still in print.
Beatrix Potter, the creator of Peter Rabbit and Flopsy, Mopsy and Cottontail, was a hybrid author. Her “Peter Rabbit” was rejected by six publishers. She used black-and-white sketches, since she was worried that color pictures would make the book too expensive for children. Beatrix finally self-published “Peter Rabbit.” It went through two printings.
In 1901, Beatrix submitted Peter Rabbit again, and the traditional publisher politely rejected it: “As it is too late to produce a book for this season, we think it best to decline your kind offer at any rate for this year.”
The next time Beatrix submitted the book, she had color illustrations. The first edition sold out before the 1902 publication. By 1903, sales were multiplying like, well . . . rabbits. She’d sold 50,000 copies, and lived hoppily ever after.


Dorothy L. Sayers’ books were definitely not for children. “Whose Body?,” the first mystery by the rebellious Oxford scholar, was rejected by several UK publishers for “coarseness” in 1920. Today, the risque parts wouldn’t raise an eyebrow. The novel opened this way:
“Oh, damn!” said Lord Peter Wimsey.
Besides that four-letter word, Dorothy L.’s first book is about the disappearance of a Jewish financier, Sir Reuben Levy. Borish tells us, “When a naked corpse turns up in a bath, Inspector Sugg is eager to identify him as Levy.” Lord Peter says it can’t be “by the evidence of my own eyes.”
And the evidence? The body was (gasp) uncircumcised.
Dorothy L., desperate for money, revised her story, making sure the body could not be mistaken for a rich man. The deceased had “callused hands, blistered feet, decayed teeth” and more. An American publisher bought “Whose Body?” It was published in New York in 1923, and Dorothy was on the way to fame and fortune. Borish writes, rather gleefully, “consider the last words spoken by Lord Peter in the last novel: ‘Oh damn!’”

George Orwell had his masterpiece, “Animal Farm,” turned down by no less than T. S. Eliot, a big deal at UK publishers Faber and Faber. Like many in the upper echelons of publishing, Eliot missed the point when he rejected Orwell: “Your pigs are far more intelligent than the other animals, and therefore the best qualified to run the farm . . . What was needed (someone might argue) was not more communism but more public-spirited pigs.”
Another publisher, Fredric Warburg, took the book and paid Orwell a hundred pounds. Orwell had the last laugh – Borish says the book sold 25,000 hardcovers in the first five years.
Anthony “A Clockwork Orange” Burgess had a novel about his grammar school experience – “The Worm and the Ring” – rejected because it was “too Catholic and too guilt-ridden.”

Publishers outdid themselves with boneheaded reasons to reject bestsellers. Conan Doyle’s first Sherlock Holmes novel, “A Study in Scarlet,” was turned down by the prestigious Cornhill magazine because it was too much like the other “shilling shockers” already on the market. The editor said it was too long “and would require an entire issue” – but it was “too short for a single story.” Another publisher sent the manuscript back unread. A third bought the rights for a measly twenty-five pounds, and let it sit around for year. It was published in 1887, and then brought out as a book, but Conan Doyle didn’t get any money from that because he’d sold the rights. Worse, the book was pirated in the U.S. Doyle wrote a couple of historical fiction works. Then an American editor, looking for UK talent, had dinner with Doyle and Oscar Wilde and signed them both up. Wilde wrote “The Picture of Dorian Gray” and Doyle did “The Sign of the Four.”
These writers endured humiliation, insults, swindles – and in many cases, poverty – and still went on to write books that are read today.
Orwell talked about an embittered Russian who said, “Writing is bosh. There is only one way to make money at writing, and that is to marry the publisher’s daughter.”
Obviously, we writers have to pay attention to rejections sometimes. My agent gave me a good rule of thumb: “If you get the same reason for rejection repeatedly – your plot isn’t twisty enough, or you have too many secondary characters – it’s time to pay attention.”
How many times have you ignored rejections?

Not Writing Is Easier Than It Used To Be

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By John Gilstrap

When I first started down the path of what would become a long writing journey, the act of sitting down and making stuff up was a guilty pleasure. Our son was young, I had a fulltime job–in fact, I owned the company–and life was packed with semi-mandatory activities. When I carved out 15 or 30 or 45 minutes of writing time, I had to be focused and efficient.

Those stolen moments mostly came in the evenings. At home, they were wedged between our son’s bedtime and the final hours of the day when Joy and I would settle in for an hour or two of evening television. On travel (I spent most of my Big Boy Job years as a road warrior), I would write my way through dinner, often not leaving my table or barstool until the staff was doing their final cleaning before locking the doors. This explains why large portions of my first drafts were handwritten. (I think it’s rude to clack on computer keys while the people around me are trying to enjoy an evening of dining and conversation.)

In those very early days–pre-Nathan’s Run–I was driven by the dream of possibilities. Then, after the unimaginable success of that first novel, I rode the wave of affirmation that I actually had the skills and talent to legitimately call myself an author. Truth be told, it was many years before I used that word to describe myself. Poser syndrome and all that.

Now, nearly 30 years later, the motivations to sit down and write are . . . different. With over 3 million words in print, I’ve proven everything that I set out to prove–if not to others, then to myself. My deal with my publisher allows me to write pretty much whatever I want with the promise that they will publish it. All the conflicting pressures are gone. I no longer feel guilty for the stolen writing hours because writing is what I do for a living.

But now, my distractions have become more interesting. The new house in a new state with a new puppy and a new radio show*, coincide with the slice of life when the hours of protracted isolation that I used to crave are mine for the taking. Why, then, do I often have to force myself to take them?

To be clear, I am observing here, not complaining. I am fully aware that I am gifted to be living my lifelong dream, and for that I am grateful every day.

I think maybe I’ve entered that sleeve of time in life when I’m paying the price for the indiscretions of my youth. Four vertebrae in my cervical spine have been surgically fused, and the rest of my spine features more damaged disks than healthy ones. Arthritis has started to invade my hands and feet and knees. To tame these maladies, nothing works better than activity. Wielding a shovel or swinging an axe is far better for me than sitting at my desk in a hunched writing position. These days, it takes 60 seconds or more to stand straight and walk normally after a 3-hour writing session.

At 66, I am already at least one year past the age I’d planned to retire back when I entered the workforce at age 15. Back then, I had no idea what I really wanted to do with my life, but I knew that after doing it for 50 years, I’d be ready to do nothing but relax.

It turns out I was wrong. As a storyteller, the spigot of story ideas and plot points has no shutoff valve. I can either write them down or they can keep me awake. Fact is, I love being an author–having a key to the club I always dreamed of belonging to, in the company of others who are far more talented than I, yet still consider me to be a peer.

But such benefits don’t come without the continuing effort to earn them. And so I continue to play with my imaginary friends whenever I can. Maybe it’s not as exciting as it used to be, but it’s still the best job in the world. And it’s fine to take time to split some wood, take a walk, or play Frisbee with Kimber.

==

*Speaking of the radio show, here’s a link to our interview last week with our very own Reavis Wortham.

Disconnecting From The World
So You Can Create Your Own

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By PJ Parrish

I’ve been having a bad time of late trying to get in a writing mood. It was really getting me down and I couldn’t, for the life of me, figure out why. I’m up in my Michigan home now, far from the heat waves. It’s 70 degrees and the only thing I can hear is birdsong and the sweet wheeze of my dog Archie snoring at my side.

So what is wrong? I should be rolling on the WIP. But no. I am trolling Marketplace looking for a bookcase. I am researching air fares to Italy. I am doing Wordle and old crosswords. I’m hanging out on Spelling Bee, hellbent to get to Queen Bee status. And spending way too much time on Facebook salvating over people’s dinners, watching three German Shepherds tasting hooman food, and being jealous of other writers’ success.

There I said it. Yeah, I’m hooman.

The other day, I saw a Facebook post from my friend Joseph Finder. I like Joe a lot. We’ve been on panels together. He writes good books that sell really well. He’s a really nice guy. But this photo at left that he posted the other day made me want to…heck, I don’t know what. This is Joe’s writing office. It’s perfect. How would someone NOT get inspired sitting in a place like that?  Why can’t I have a writing house like that? Maybe I’ll go up to Cape Cod and TP his…

But then I realized that even if I had a cool writer’s shed like his, it wouldn’t make any differennce. Because my problem is not where I AM when I try to write. It is where MY HEAD IS when I try to write.

And that led me to realize something important: The world is too much with me. (Apologies to William Wordsworth). I need to find what Joe has — but within myself. I need to re-find quietude and solitude. I need my hurly-burly brain to calm down before something creative can start growing there again.

There’s a lot of talk these days about how many of us are trying to find a way to wean ourselves off our phones and social media. Here in my small northern Michigan town, the school board bucked high schoolers and some parents and banned phones from the classrooms. (Guess who didn’t object? Teachers, grade-school kids and middle-schoolers). We know we have to turn off the TV, ignore the cable Babel, stay away from Facebook, Instagram and whatever Musk is calling his enterprise these days.

Sometimes things come your way in weird ways just when you need them. When I was rummaging around Facebook the other day, wasting precious time, I ran across an old article called The Bliss Station.  In it, writer Auston Kelon advocates for making “a daily appointment to disconnect from the world so that we can connect with ourselves.”

He quotes Josoeph Campbell in The Power of Myth:

You must have a room, or a certain hour or so a day, where you don’t know what was in the newspapers that morning, you don’t know who your friends are, you don’t know what you owe anybody, you don’t know what anybody owes to you. This is a place where you can simply experience and bring forth what you are and what you might be. This is the place of creative incubation. At first you may find that nothing happens there. But if you have a sacred place and use it, something eventually will happen.

I really love this idea. Sure, a fine Finder office is nice. Yeah, a she-shed with a mini-fridge stocked with fume blanc would be nice. But as Kleon points out, this isn’t about having the right PHYSICAL space. It’s about creating the right MENTAL space. From his article:

The deluxe package would be having both a special room and a special hour that you go to it, but we started wondering whether one would make up for not having the other.

For example, say you have a tiny apartment that you share with small children. There’s no room for your bliss station, there’s only time: When the kids are asleep or at school or day care, even a kitchen table can be turned into a bliss station.

Or, say your schedule is totally unpredictable, and a certain time of day can’t be relied upon — that’s when a dedicated space that’s ready for you at any time will come in handy.

Kleon himself admits that his “time vampire” is turning on his phone first thing every morning. “The easiest way I get my feelings hurt is by turning on my phone first thing in the morning. And even on the rare occasion I don’t get my feelings hurt, my time is gone and my brains are scrambled.”

Again, to repeat: What’s needed is that we make a daily appointment to disconnect from the world so that we can connect with ourselves.

Back to “The World Is Too Much With Us.” Wordsworth’s words are worth heeding. He wrote the poem during the First Industrial Revolution, when technological innovation was transforming 18th century life. He was saddened by the mad rush from one new thing to the next, and said we had lost our ability to find tranquility in nature.

So, no advice tacked on here today. I haven’t got any. And I don’t think any of you need it. In your hearts, you know what you need to do to find your own Bliss Station. It’s a stunning morning up here in Michigan. I am going to go talk a long walk in the woods (no ear-bud music, please) then come back and try again.

 

Writers, have you fired “Chekhov’s Gun”?

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I’ve got a special treat for you today. My dear friend Anne R. Allen is here! If you’re not following her blog, you should remedy that immediately. It’s a must-read for all writers.

Linked to Amazon

So okay, what the heck is “Chekhov’s gun?”

It’s a reference to advice the great Russian playwright and short story writer, Anton Chekhov, (1860-1904) gave young writers:

“If in the first act you have hung a pistol on the wall, then in the following one it should be fired. Otherwise don’t put it there.”

In other words, he says we shouldn’t clutter the story with things that have no relevance. If chapter one says your heroine won a bunch of trophies for javelin throwing, which she displays prominently on the wall alongside a javelin once thrown by Uwe Hohn, somebody had better darn well throw a javelin before the story is done.

Setting Details vs. Chekhov’s Gun

Yeah, but what if that javelin is there to show us what her apartment looks like? It’s good to show her décor, because it gives an insight into her character, right?

It depends. Yes, it’s good to use details to set tone and give depth to our characters.

But what’s all important is how you stress those details when you first present them. If there’s a whole page about those javelin throwing trophies, and the characters have a conversation about whether anyone will ever break Uwe Hohn’s throw record of 104.80 meters, you gotta toss some javelins. But if there’s just a cursory mention, “her apartment walls were decorated with an odd assortment of personal trophies and long spears,” then you can leave them on the wall.

In other words, not every lampshade the author mentions has to show up two chapters later on the head of a drunken ex-boyfriend, but you need to be careful how much emphasis you put on that lampshade.

What, No Red Herrings?

Wait just a goldern minute, sez you. I write mysteries! Mysteries need to have irrelevant clues and red herrings. Otherwise the story will be over before chapter seven.

This is true. But mystery writers need to manage their red herrings. If the deceased met his demise via long pointy spear-thing, probably thrown from a considerable distance, then your sleuth is going to look like a very viable suspect to the local constabulary.

But of course she didn’t do it because she’s our hero, so the javelin on the wall and the trophies are red herrings.

But they still need to be “fired.” Maybe not like Chekhov’s gun, but they need to come back into the story and be reckoned with. Like maybe the real killer visited her apartment earlier when delivering pizza, then broke in to “borrow” the Hwe Hohn javelin, but he couldn’t get it into his Kia, so in the end he used a shorter, more modern javelin…

Chekhov’s Gun and Subplots

I’ve been running into this problem in a lot of fiction lately: I find myself flipping through whole chapters that have nothing to do with the main story. That’s because the subplot isn’t hooked in with the main plot. It’s just hanging there, not furthering the action.

The subplot becomes the unfired Chekhov’s gun.

For instance, one mystery had the protagonist go through endless chapters of police academy training after the discovery of the body. The mysterious murder wasn’t even mentioned for a good six chapters. I kept trying to figure out how her crush on a fellow aspiring policeperson was going to solve the mystery.

I finally realized it wasn’t. None of the romance stuff had to do with the mystery. When I finally flipped through to a place where the main plot resumed, the hot fellow student didn’t even make an appearance. He’d already gone off with a hotter fellow recruit.

It’s fine to have a romance subplot in a mystery — in fact, that’s my favorite kind. But the romance has to take place while some mystery-solving is going on.

But if that romance doesn’t trigger a new plot twist or reveal a clue, then it’s an unfired gun on the wall. It’s just hanging there, annoying your reader, who expects it to be relevant.

Naming a Character Creates a Chekhov’s Gun.

Another “unfired Chekhov’s gun” situation often comes up with the introduction of minor characters and, um, “spear-carriers.”

You don’t want to introduce the pizza delivery guy by telling us how he got the nickname “Spear” followed by two paragraphs about his javelin-throwing expertise — unless he’s going to reappear later in the story. And he’d better be doing something more javelin-related than delivering another pie with extra pepperoni.

This is a common problem with newbie fiction. In creative writing courses we’re taught to make every character vivid and alive. So every time you introduce a new character, no matter how minor, you want to make them memorable. You want to give them names and create great backstories for them.

Don’t give into the urge, no matter what the creative writing teacher in your head is saying.

If the character is not going to reappear, or be involved with the plot or subplot, don’t give him a name. Just call him “the pizza guy” or “the Uber driver” or “the barista.”

A named character becomes a Chekhov’s gun. The reader will expect that character to come back and do something related to the plot.

Beware Research-itis

A lot of unfired guns come from what I call research-itis. That’s when the author did a heckuva lot of research and goldernit, they’re going to tell you every single fact they dug up.

You’ll get three chapters on the historical significance of the javelin in Olympic competitions, going back to ancient Greece. And the popularity of depictions of javelin throwers in Hellenistic art. And how both Zeus and Poseidon are depicted throwing their thunderbolts and tridents like javelins…

None of which has anything to do with the dead guy in the back yard with the big pointy spear in his back.

If the reader doesn’t need to know it to solve the mystery and it’s not a red herring, keep it to yourself.

Although a lot of that research will come in very handy for blogposts and newsletters when you’re marketing the book, so don’t delete any of those research notes!

Beta Readers and Editors Can Take Chekhov’s Gun Off Your Wall

It’s tough to weed out all those unfired guns in your own work.

You’re sure you absolutely need to tell us that our heroine won those trophies when she was on her college javelin team where her nemesis, Rosalie Rich, once stole her glasses before a meet…and she found out she could throw better without them and didn’t need glasses after all, which was great because her glasses made her look dorky and after she stopped wearing them, Lance Spears noticed her for the first time. He turned out to be a creep, but…

Your editor will disagree. And eventually you will thank her for it.

So will your readers.

Have you ever left a Chekhov’s gun on the wall? Are you annoyed when you find them in published books? What’s the worst Chekhov’s gun mistake you’ve found in fiction? 

Anne R. Allen is a popular blogger and the author of the bestselling Camilla Randall Mysteries as well as the Boomer Women Trilogy and the anthology Why Grandma Bought that Car (Kotu Beach Press.) Her most recent mystery is Catfishing in America (Thalia Press) a comic look at romance scams. Her mystery The Gatsby Game is being published in French at the end of this month. Anne’s nonfiction guide, The Author Blog: Easy Blogging for Busy Authors, is an Amazon #1 bestseller that was named one of the 101 Best Blogging Books of All Time by Book Authority.  She’s also the co-author, with Catherine Ryan Hyde, of the writer’s guide How to Be a Writer in the E-Age. She blogs with NYT million-copy seller, Ruth Harris, at “Anne R. Allen’s Blog…with Ruth Harris.” You can find them at annerallen.com.

Don’t miss Anne’s new release! CATFISHING IN AMERICA is a mashup of mystery, romcom, and satire.