The Heroic Vision

Posted on by

by James Scott Bell
@jamesscottbell

Publicity shot from The Magnificent Seven (1960)

There are two kinds of heroes.

One is the man or woman who responds to an immediate crisis, and in rising to the occasion discovers who they really are. This used to be called “the testing of one’s mettle.” It’s the classic Hero’s Journey wherein a character arcs to a transformation.

The second kind of hero responds to a crisis because of a moral vision. The arc is not so much one of transformation but of vindication.

The first hero represents the triumph of an individual, which inspires the community.

The second represents the triumph of a vision, which inspires and strengthens the community. (Where there is no vision, the people perish. – Proverbs 29:18).

Many stories—both fictional and real life—involve the immediate response to a crisis. Think of Sully Sullenberger, who saved an entire plane of passengers by landing his suddenly incapacitated ship on the Hudson River.

Then there are examples of the heroic vision. I would define this as a view of life which combines duty, honor, and courage. Every civilization that manages to survive has told stories of heroic vision. Some of the best movies ever made have it.

One of my favorites is Sergeant York (1941) starring Gary Cooper in an Oscar-winning role. It’s the true story of Alvin C. York, a poor boy from the Tennessee hills who had to hunt to help his family eat, and in the process became a dead shot with a rifle. Drafted during World War I, he sought an exemption based on his Christian beliefs, but was later became persuaded that he had a duty to save lives in a just war. During a battle in France he used his rifle skills to take out a German machine gun nest that was mowing down American soldiers. Single handed he killed 25 of the enemy, and captured 132 more. For this he was awarded the Congressional Medal of —wait for it—Honor.

Another favorite is The Magnificent Seven (1960), the classic Western starring Yul Brynner, Steve McQueen and Eli Wallach. A re-vision of Akira Kurosawa’s The Seven Samurai, it’s the story of a group of gunfighters hired by a poor, Mexican village to save them from the plundering of a bandit gang.

At first, the seven take the job because the age of the gunfighter is over, and there’s nothing but menial jobs for them in town. But as they get to know the villagers, the heroic vision begins to take hold. It’s seven against forty, but they stay and fight because it’s the right fight. It is reminiscent of last stands like the Spartans at Thermopylae, and the Jews of the Warsaw ghetto.

The movie has terrific dialogue, too. Like in the scene where Calvera (Wallach), the leader of the bandits, first encounters the gunfighters. He rides in with his men and finds Chris (Brynner), Vin (McQueen) and Britt (James Coburn) waiting for him. Calvera, not looking overly concerned, remarks on the new walls. “They won’t keep me out,” he says.

“They were built to keep you in,” says Chris.

Calvera mulls it over, and offers to make the seven equal partners. When asked about the poor villagers, Calvera answers with a vision (decidedly unheroic) of his own. He says to Chris, “I leave it to you. Can men of our profession worry about things like that? It may even be sacrilegious. If God didn’t want them sheared he would not have made them sheep.”

Oh heck, it’s better if you watch it:

So in your work, consider giving your Lead characters a heroic vision. Ask yourself some questions:

  • What do they believe about duty, honor, and courage?
  • Who or what would they die for?
  • What will their stand cost them? (A good source of inner conflict)

And flesh out your villain with a vision of his own. Why does he think he’s justified? Calvera has to feed his men, and these villagers were born to be sheep. The clash of visions makes the denouement all the more satisfying. (If you’d like to see how the seven answer Calvera, you can watch the rest of the scene here.)

Comments welcome.

In The Air Around Us

Posted on by

When I finished my talk to a large civic group last month and took questions, a lady’s hand shot up. “Where do you get your ideas?”

I shrugged. “They’re everywhere. Willie Nelson once said that songs are just floating in the air and all we have to do was reach up and grab them. It’s the same for me when I’m writing. They come from nowhere, and everywhere.”

I’d been discussing my most recent upcoming release and a gentleman on the front row spoke up. “So did your idea for Hard Country come from the news or is it totally from your imagination?”

The question was one of those softballs I love. “It’s real, in a sense. A few years ago, we had a ranch in Oklahoma that should have been heaven, and it was in most cases, but our house was across a gravel road, three hundred yards from a ‘buy house’. Cars ran the roads at all hours of the day and night, coming and going to buy drugs.

“during the same period of time, meth-heads broke into our place more than once, kicking in the door and ransacking the house. I got pretty good at repairing door frames and locks, that did little good. Then they stole my brother-in-law’s truck and we learned that the first place the thieves drove it to that night was buy house to trade some of our stolen items for drugs. The law was little help, because more than one member of that small-town sheriff’s department were related to the dealers, so they tended to look the other way.

“It took an unconnected DPS officer to arrest one of the criminals before they launched an investigation. It did little good, and as far as I know, they were still selling drugs out of the old trailer house today. That idea eventually became the basis for the first Tucker Snow novel that will release August 1, 2023.”

Another hand. “So do you have any ideas for another book?”

“I have dozens, and some of them will never be written by me.”

“Name one.”

“Are you a writer looking for ideas?”

The audience laughed and the lady answered. “No, I just like to hear what writers are thinking.”

“When you’re talking to a thriller or mystery writer, they’re most likely thinking of interesting ways to kill you.” I paused for effect and she gave a nervous laugh that the others enjoyed. “But here’s one you might be interested in, because I believe my grandson has a paranormal connection some people won’t believe…”

And that gave me the idea for today’s post. Consider this proposal for your consideration.

My two-year-old grandson, Caden, piqued my interest in a possible book when he could barely talk. Sunday afternoons are usually pure chaos at our house as both daughters and their families come over to what we call here in Texas, supper. All five kids always want to get in the pool, and that’s where our story starts.

That weekend the Bride bought floats and several water toys, including a package of old-fashioned water guns. The older kids immediately filled them from the pool and commenced to spirting each other and any unwary adult who might wander past. I was one of the first victims, and in response, I took up arms and looked for a target, immediately ruling out the Bride.

Caden saw me and that’s when things got weird. This kid who only watched Bubble Guppies and Paw Patrol grabbed one of the water pistols and squeezed the trigger. His eyes lit up when the stream of water shot out, and the next thing I knew he held the plastic gun at High Ready, looking for a target.

He saw me and I swear this is true, advanced using sophisticated footwork, as if trained by a SWAT team. His form was perfect, and if you want to see an example, find any video of a trained soldier or law enforcement officer moving up in a dangerous situation. He was letter perfect and he shot me several times before ducking out of sight with his back against a wide support pillar under our huge patio cover.

The Bride saw him holding the pistol against his chest, still at High Ready, as I proceeded to find an angle on him. That twenty-four-month-old moved with me, keeping the column between us, then turned the corner to fire again before procceding, again, looking like he’d spent years in the military, or as a law enforcement officer.

Let me make this clear, this kid performed as a trained, seasoned warrior and at that age, had never seen anything like it on TV. Neither of his parents watched movies when the kids were up, because his dad works most nights and is interested in nothing but sports. Good or bad, that son-in-law who only had a vague notion of who John Wayne was, cared nothing for war or cop movies or series.

That wasn’t all. When we wrestled, Caden had moves. He never retreats, but attacks. If one of us played chase with him, he used one hand to slap things in our path to slow us down. If you’ve ever read Lee Child’s Jack Reacher series, Lee describes his protagonist when he was a child. He could have been describing Caden.

When he was threer, he loved to play policeman, and wanted to put us in cuffs.

The Bride’s “office” became a jail.

That made us think he’d been on this earth before. I started thinking about reincarnation and remembered two well-researched events involving a boy and girl who are prime examples of this phenomenon.

James Leninger began to experience nightmares at the age of two. When his parents woke him up, they report he kept saying repeating the same story. “He developed a habit of saying “airplane crash on fire,” and slamming his toy planes nose first into the family’s coffee table. When they woke him from those bad dreams, he often shouted, “Little man can’t get out!” (Jim B. Tucker, M.D. University of Virginia.)

He repeated this behavior over and over, producing dozens of scratches and dents on the table and began to describe being an American pilot in WWII who was killed when his plane was shot down by the Japanese during the battle of Iwo Jima. He gave details that included the name of an American aircraft carrier, the Natoma, the first and last name of a friend who was on the ship with him, and a location and other specifics about the fatal crash, Somewhere around three years of age, he described how a Corsair plane reacted upon takeoff, always pulling to the left, and that particular war plane’s tires and tendencies for them wear out.

His parents eventually discovered a close correspondence between James’ statements and the death of a World War II pilot named Jack Larson. They eventually tracked Jack down and the veteran remembered Huston who was a pilot and friend. He described how Huston’s plane hit by Japanese gunfire and he saw the explosion when on the plane’s nose. Jack confirmed they both took off from the aircraft carrier Natoma, and saw Huston’s plane crash in the ocean, reporting that the nose was on fire.

Little James told his parents his last images from that past life was the sky covered by water, and his feet trying to kick the plane’s clear canopy open, and then nothing.

It gives me chills.

They released a book titled, Soul Survivor: The Reincarnation Of A World War II Fighter Pilot.

Here’s one of many interesting studies of their fascinating story: https://med.virginia.edu/perceptual-studies/wp-content/uploads/sites/360/2017/04/REI42-Tucker-James-LeiningerPIIS1550830716000331.pdf

And a detailed, well-researched article: https://www.dailymail.co.uk/femail/article-1209795/Reincarnated-Our-son-World-War-II-pilot-come-life.html

The more I researched that youngster who is now an adult, it reminded me of another account I read way back when I was in college. It revolved around an Indian girl, Shanti Devi, who was born in 1926.

Not long after she learned to speak, Shanti told her parents about a past life in a town neither she nor her parents had ever been to. Small events reminded her of former memories in India, such as foods she enjoyed, or the clothes she used to wear.

As the years passed, Shanti remembered her name in a past life was Lugdi, and she died shortly after delivering a son in 1925. She even added details about labor pains and surgical procedures she endured. She described in detail the shops and streets in town, and though she refused to reveal her husband’s name, the youngster described a man with fair skin, a wart on his left cheek, and wore reading glasses.

At around age ten, an uncle decided to investigate her continuing and detailed claims about a past life in Mathura,75 miles away. Her story panned out, and the man she insisted was her husband existed. They took Shanti there, hiring a driver to follow her directions without question.

She led them directly to her former house. Devi’s father went in first, and in an effort to trip her up, had the man’s relative come forward, telling her it was her former husband. She said no, it was his her “husband’s” brother, but when Pandit Kedarnath Chaube came to the door, she threw her arms around him and wept, shocking everyone. She said he was her husband, and even identified others by name, including children and the child she says she delivered, and other familial relationships. Shani eventually became part of their family and died in 1987.

There are dozens of websites that discuss this story. Here’s one: https://allthatsinteresting.com/shanti-devi

Whether or not you believe these stories or not, or believe in reincarnation, the fact is they are great concepts that can lead to interesting books in hundreds of different ways.

Feel free to steal these ideas because I don’t need ‘em. They are flying in the air all around us.

 

Reader Friday: What Writing is Like

Posted on by

James Salter, Wikimedia Commons

“In the end, writing is like a prison, an island from which you will never be released but which is a kind of paradise: the solitude, the thoughts, the incredible joy of putting into words the essence of what you for the moment understand and with your whole heart want to believe.” – James Salter

What is writing like for you?

True Crime Thursday – Vicious Vishing by Voice Cloning

Posted on by

Photo credit: Jason Rosewell, Unsplash

By Debbie Burke

@burke_writer

Believe half of what you see and none of what you hear.

That saying has been attributed to sources like Benjamin Franklin and Edgar Allen Poe. It’s appeared in song lyrics like Leon Haywood’s “Believe Half of What You See (and None of What You Hear)” and the third verse of the immortal Marvin Gaye classic, “I Heard It Through The Grapevine.”

Today, those wise words are even truer because of Voice Cloning, a new tool created by Artificial Intelligence (AI) for the cyber-scammer’s toolkit.

Phishing and Vishing are scams where criminals contact victims, often posing as a bank, reputable business, government agency, hospital, law enforcement, or other entity in order to gain access to your personal and/or financial information.

Phishing contacts victims by email, urging you to open an infected attachment or click on a link that downloads malware. Phishing attacks are generally sophisticated and massive in scale, targeting thousands of businesses and individuals at a time using automation.

Reportedly 74% of organizations in the US have been successfully targeted by phishing attacks.

Vishing (AKA voice phishing) is when a scammer contacts the victim by phone, impersonating a law officer, banker, charity, etc. who convinces you to verbally share your confidential information. The caller ID is spoofed, making the call appear to come from a legitimate source like a bank, Social Security Administration, credit card company, etc.

Vishing requires a scammer to contact one victim at a time, to persuade them to give up sensitive personal and financial information on the phone, making it less efficient than phishing.

However, vishing can still be devastatingly effective, especially now thanks to Voice Cloning. AI can take a sample of someone’s voice and create speech that’s impossible to tell from the real person.

Voice cloning is a boon for scams like Family Emergency, Friend Stranded Overseas, or Grandchild in Trouble. Scammers harvest voice samples of your loved one from YouTube, TikTok, and other online sources.

They can also call the person to record their voice or even use their outgoing voicemail message.

In a few seconds, criminals can download enough of a person’s voice to create a convincing imitation.

Now when “Johnny” calls Grandma saying he was in a car accident and needs bail money, the voice is identical to the real Johnny. That triggers panic, and the victim is more likely to act without thinking. And lose money in the process.

“Johnny” will ask for gift cards, cryptocurrency, or want you to wire money. Once you do, the funds are instantly transferred to the scammer and the transaction can’t be reversed.

Your money is gone.

How do you protect yourself against a voice that sounds exactly like your loved one?

The FTC advises:

“Don’t trust the voice. Call the person who supposedly contacted you and verify the story. Use a phone number you know is theirs. If you can’t reach your loved one, try to get in touch with them through another family member or their friends.”

A simple low-tech safeguard is to have a password or code that only you and your family knows. If something about a call with a loved one sounds suspicious, ask them for the password.

But be careful how you select a code. Criminals often scour social media accounts for clues to possible passwords.

If you post a photo of “my dog Spot” and choose that for your password, it could be guessed.

Speaking of Spot, to wrap up this post on a light note, does anyone remember the old Cal Worthington TV commercials that always featured “My Dog Spot”?

The last Worthington family car dealership was sold in February, 2023. End of an era but Cal’s jingle lives on.

~~~

TKZers: Has someone you know been taken in by voice cloning?

Can you think of ways to use Voice Cloning in mystery, suspense, or thriller fiction?

~~~

 

Investigator Tawny Lindholm plunges into an alternate reality where video is fake but death is real.

Please check out my new thriller Deep Fake Double Down.

Tell Don’t Show

Posted on by

Tell Don’t Show
Terry Odell

Something we’ve all heard since we took writing seriously was “Show, Don’t Tell.” It’s been called the “Golden Rule” of writing. Showing gets readers involved with the characters. Showing connects readers to the characters. Readers will experience things along with the characters instead of just watching. All that is true enough, but as with any rule, there are exceptions.

Showing everything can be exhausting for the reader.

I was reading Michael Connelly’s Desert Star. I think the man’s earned enough kudos over the years to be considered someone we can learn from. Although I prefer reading a deeper point of view, Connelly’s an exceptional storyteller, and I don’t mind stepping back. He still draws me into the story. And you know what? He’s not afraid to TELL his readers stuff.

Michael Connelly

Image from Wikimedia Commons, by Mark Coggins

While showing might create a connection, there are times when you don’t need to show things. Times when your shouldn’t show things. As Lee Child (and probably others) said, “Write the slow parts fast and the fast parts slow.” Telling is a way to get through the slow parts. The parts where there are things the reader ought to know, but not in the same way as the action parts of the story.

Example:

Harry Bosch is looking at a cold case file. This is how Connelly writes it:

The crime scene photographer had been thorough and had taken dozens of “environmental” shots depicting the victim’s entire home—inside and out—at the time of the murder. These included shots of the contents of closets and cabinets and drawers and of photos framed and hung on the walls. All of this allowed the case investigators ready access to the entire environment of the killing location. It also allowed them to better understand the victim by seeing how she had set up her home. It gave them an idea of the things that were important to her in life.

Did we need to see every picture? See Bosch’s visceral reaction to each of them? Experience what it feels like to turn pages in a binder? How much would it add to the story? Probably very little. But now, when we see the term environmental shots later in the book, we’ll know exactly what the term means.

It’s tough to “tell” well in a close POV, because you’re deep in the head of the character, experiencing everything as though there’s a movie camera embedded in his brain. Getting information across to readers when you’ve got characters on the page who already know the terminology, or how something works, ends up being “As You Know, Bob” speech. I’ve worked my way around it by bringing in a naïve character if possible, so she can ask questions and my in-the-know characters can answer them. There’s also no rule that you can’t step back from deep POV a little when it’s necessary for pacing.

Here’s a way Connelly dealt with the issue. Ballard is bringing Bosch up to speed.

“… Back then, the ODs were leaning on the theater director, a guy named Harmon Harris, because they heard he and Wilson had an affair a year before her death. They thought maybe there was bad blood between them. Harris denied the affair and they dropped it when he offered up Beecher as an alibi.”

She knew that Bosch would know that OD was cold case lingo for original detective.

OK, so we get a quick peek into her thoughts, and we readers now know what OD means and Connelly can use the term whenever he needs to.

And another, this from Echo Park:

“I have no idea, Olivas. What?”

“Your fifty-ones from Gesto.”

He was referring to the Investigative Chronology, a master listing kept by date and time of all aspects of a case, ranging from an accounting of detectives’ time and movement to notations on routine phone calls and messages to media inquiries and tips from citizens. Usually, these were handwritten with all manner of shorthand and abbreviations employed as they were updated each day, sometimes hourly. Then, when a page became full, it was typed up on a form called a 52, which would be complete and legible when and if the case ever moved into the courts, and lawyers, judges and juries needed to review the investigative files. The original handwritten pages were then discarded.

Harry would think of this in far less time than it took me to type it, but readers can accept that the simple reference to the “fifty-ones” would send his mind to what they were. Readers have the information, and it’s presented a lot more efficiently than using “show.”

Throughout his books, Connelly gives readers a lot of information about how the police department works, and he manages to keep readers—at least this reader—willing to accept that Harry Bosch is thinking these things, be it the history of the Parker Center in LA, where the chief’s office is, or how the desks are arranged in the homicide department. And that, to me, is the skill. Get the exposition in there without the reader feeling like you’re stopping the story to tell.

What about you, TKZers? Showing? Telling? How do you balance them? Do you even notice, or can you keep things seamless?

Any authors who do telling well?

Cover image of Deadly Relations by Terry OdellAvailable Now in digital, paperback, and audio
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.”

Editor/Janitor

Posted on by

By Debbie Burke

@burke_writer

From 1965 to 1985, the Kalispell Weekly News was great regional paper in northwest Montana. It was owned and operated by George Ostrom, a colorful character who’d been a smokejumper, mountain climber, journalist, author, radio personality, and legendary raconteur. His stories and op-eds were always entertaining and full of folksy, rustic humor.

The masthead of his newspaper read:

George Ostrom, Editor/Janitor.

That masthead always made me smile because it perfectly sums up the life of a small business owner. The title “owner” may sound impressive but that’s also the poor schlub who gets called in the middle of the night when the plumbing stops up.

Indie authors are small business owners and monarchs over their writing realm. My kingdom consists of a messy dining room table, littered with sticky notes, piled with draft manuscripts, cluttered with invoices, ISBN records, etc. My throne is a secretary chair on casters with a donut cushion. The royal duties are a to-do list that grows longer every day. As fast as I cross off one task, five more are added, each requiring a different skillset.

Today is launch day for Deep Fake Double Down, # 8 in my Tawny Lindholm Thriller series. By the eighth book, the publication process should be polished, refined, and trouble-free, right?

Wrong, dead wrong.

Each new book presents its own set of unforeseen and unforeseeable problems.

Deep Fake Double Down had its fair share of (mis)adventures.

Here’s a synopsis: A corrupt prison warden covers up the murder of an inmate by creating deep fake “evidence” against an innocent female corrections officer. The videos go viral on social media and soon every cop in Montana is gunning for her. 

Initial drafts went well with encouraging comments from critique groups.

Target release date was January, 2023. Notice the past tense.

The story was on a roll, about 75% done. Then in December, my beloved Windows 7 computer died. Here is the obituary.

Now I had to learn a new Mac computer with unfamiliar commands. At the same time, the all-important third-act climax of the story needed to be written. The process forced me to reach deep inside my creative soul…

…to come up with adequate curse words to express my frustration!

The working title “Deep Fake” was dramatic, punchy, and hinted at the story conflict. My initial research found only a few books using “Deep Fake” in the title. All were several years old, and one was categorized as “humorous erotica.” Whatever that is, it wasn’t a comparable for my story.

My talented cover artist Brian Hoffman designed an excellent cover here:

I checked off those tasks on the to-do list…or so I thought.

Now to research. Artificial intelligence and deep fakes are complex and rapidly changing. The more research I did, the more I knew I was over my head. I had to find experts to guide me. The story needed enough detail to give readers a taste of technology but without slowing down the momentum of a fast-paced thriller.

With seven previous books, I’d been fortunate to find experts easily. From drones to elder fraud watchdogs to fire lookout towers, specialists were willing and generous about sharing their knowledge.

Not this time.

I reached out to authors, engineers, and software designers whose articles I’d studied. I explained I was writing a thriller about deep fakes and asked if they’d review passages for accuracy and authenticity.

Two initially agreed. A month later, the first one ghosted me. Two months later, the other one, from a major university, unexpectedly had to clear it with the “compliance department.” She wrote back that the compliance department told her manuscript review was not permissible because they were an “FFRD center.”

What’s FFRD? I had to look it up.

Turns out it’s “federally funded research and development.” Not sure what that has to do with a fictional story but no means no. Scratch that source.

Contacted more experts in the field. No responses. Clock ticking.

Back to the title. If my book had launched in January as originally planned, the title Deep Fake would have been fine. But…

…in March, bestseller Ward Larsen released his new political thriller entitled…Deep Fake. With deep fakes prominent in the news, obviously I wasn’t the only writer eager to tackle the subject. Ward beat me to the punch and I’m glad he’s doing well with his book.

However, now my book needed a new title. I enlisted help from a focus group of trusted writing colleagues. They came up with a slew of good alternatives. Brian created a new cover with the new title, Deep Fake Double Down.

A month before release, I put the book up for pre-order, certain I could finish the remaining items on the to-do list before the deadline to upload the final manuscript.

Some parts of the process fell into perfect alignment. Steve Hooley came up with a terrific marketing idea. Recently he wrote about side hustles for writers, including his own hand-crafted legacy wood pens.

The McGuffin in my story is a secret mine of rare Montana Yogo sapphires, a treasure that’s worth killing for.

Deep Fake Sapphire Pen by Steve Hooley

Steve kindly offered to create a custom design as a marketing premium: the “Deep Fake Sapphire pen.” What a thrill when these arrived in the mail! For a chance to win a beautiful pen and a signed paperback, please visit my website.

Other marketing opportunities arose, including several speaking invitations, a magazine interview, and a radio chat with TKZ’s own John Gilstrap and his cohorts, retired Admiral Bill Stubblefield and Rob Mario.  Many thanks, John!

Meanwhile, the clock was ticking but I still hadn’t connected with any deep fake/AI experts.

Finally, an astrophysicist friend connected me with TED fellow Peter Haas, but he wasn’t available to talk until a week before the deadline. Gulp.

Peter’s input was worth the wait. He corrected info that was outdated because of new developments. He taught me cool new jargon like NerF (neural radiance field, not to be confused with those squishy game balls), Tor (a web browser that makes you anonymous), and exit node (a relay to anonymously send and receive traffic on the net).

The explosion of deep fakes has understandably led to increasing distrust of news sources. Peter talked about two groups with the mission to protect provenance of information. Content Authenticity Initiative and Project Origin are supported by Adobe and Microsoft/EDC/New York Times respectively, using digital watermarks to verify that videos, photos, and other digital data do indeed come from the sources they are purported to be from.

Don’t worry—the above won’t be on the test!

Needless to say, Peter’s input required frantic rewrites of several scenes.

At the dizzying rate that AI is changing, it’s impossible to stay current. The best a writer can do is choose a moment in time and set the story at that moment.

Remaining tasks on the to-do list:

  1. Read the entire book out loud.
  2. Final, final, final proofread (this occurs after copyeditor proofreads).
  3. Format the ebook. Here are screen shots of two formatting styles offered by Draft2Digital and Kindle Create.

Side note: you can format with D2D then upload the epub or pdf to Kindle. Although I prefer the appearance of D2D templates (this example is called “Grime”), the Amazon process goes smoother if you use Create to format the Kindle version.

 

 

 

 

 

 

4 Final, final, final read-through of the preview.

5. Upload to Kindle Direct Publishing (KDP).

6. Upload to other markets through D2D (using the Grime template).

Another side note: In a perfect world, the ebook and paperback would go on sale the same day. Rather than delay release until the paperback was ready, I decided it was more important to meet the April 25 launch date for the ebook.

  1. Format the paperback (formatting for ebook and print book are different).
  2. Upload the paperback to KDP.
  3. Order a proof copy, which is scheduled to arrive in a few days.

Two days before the deadline, I crossed off the remaining items on the to-do list except for:

10, After reviewing the paperback proof, hit the final “Publish paperback” button.

11. Order a box of author copies.

12. Stock the warehouse (otherwise known as the fireplace hearth in our home).

Yes, I proudly wear the crown of Queen in this Publishing Empire. My masthead reads: Author/editor/researcher/spell-checker/formatter/publisher/marketer/inventory control/warehouse stocker/bookkeeper/janitor.

Excuse me, Her Highness must now go vacuum.

~~~

TKZers: what are your various job titles? Which is your favorite? Which is the one you dread?

~~~

 

 

For a chance to win the Deep Fake Sapphire pen and a signed copy of Deep Fake Double Down, please join my mailing list here.

Buy links for Amazon      Other online booksellers

 

Revision and Omar Khayyam

Posted on by

The Moving Finger writes; and, having writ,
Moves on: nor all thy Piety nor Wit
Shall lure it back to cancel half a Line,
Nor all thy Tears wash out a Word of it.

* * *

That powerful verse from The Rubaiyat of Omar Khayyam must surely resonate with every adult of a certain age who reads it.

Fortunately for us on The Kill Zone, however, Mr. Khayyam wasn’t writing about writing. Authors can indeed go back and cancel half a line, delete a few sentences, or even start the whole darn thing over from scratch. So, let’s talk about revision.

* * *

There are a variety of opinions on the need to revise a manuscript. Here are a few:

Clearly, not everyone agrees on the need to revise, or how much time should be spent on it. But for those who do favor spending that time, how should they approach the revision process?

* * *

In my limited experience, revision is a serious part of my writing. Although I don’t keep detailed time sheets, I’m guessing I spend at least half my time revising. (When I talk about revision, I’m not talking about fixing grammar, typos, or punctuation mistakes. Those can be fixed by software and good editors. To me, revision concerns the story itself, the way it ebbs and flows, how the underlying theme plays out, and the rhythm of the words.)

My first draft is an act of getting the story out of me and onto the page. Some of it may be good, but some of it is just plain vanilla story-telling without any spice. Revision is an opportunity to transform that first story idea into an entertaining, thought-provoking novel. But it’s also a balancing act. How do I keep the voice, the tone, the essence of the thing I created while changing it? It’s like trying to make sure you don’t spoil the wine while polishing the cup it’s in.

* * *

There are plenty of books and online resources with information about how to revise, but here are a few pieces of advice I’ve found helpful:

  1. To get a clear perspective of your work, take some time off between finishing the first draft and starting the revision process. (Sue Coletta wrote a TKZ post on Critical Distance last week.)
  2. After taking the break (which may last a week or a month), read through the first draft at one sitting, if possible. Some craft experts recommend printing the manuscript so that it’s easy to make notes on the pages.
  3. Review the overall arc of the plot: I use Scrivener’s outline feature to get the number of words in each chapter, and I add a sentence or two to describe the timeframe and goal for each chapter. Then I download this to a spreadsheet and calculate the percentage through the book for each milestone. I may rearrange the chapters (easy to do in Scrivener) or even delete sections that don’t serve the story. I may add new scenes or chapters.
  4. Revisit the characters. Is the main character well-defined and can you trace his/her arc through the plot? Do the secondary characters add spice to the story?
  5. Reread each scene. Does it tell a story in itself? Does it end with a reason for the reader to turn the page? Is the dialogue snappy?
  6. Check the pacing. Does the pacing give the reader a chance to catch his/her breath after a tense scene?
  7. Back to the beginning. Review the first sentence, the first paragraph, the first page of the manuscript. Will this hook a reader?
  8. Get feedback from Beta readers. Their first-time-through reactions are invaluable.
  9. Never Give Up

This list appears to be linear, but my process is more iterative. I go back through steps #3-#7 as many times as I think I need to, and I employ a developmental editor and a copy editor to help me refine my work. I also have the good fortune to have a novelist husband who listens to my concerns and helps me figure out how to solve all the little problems that pop up as I make my way through this labyrinth called Writing.

  • So, TKZers: How important is revision to you?
  • What steps do you take to revise your manuscript?
  • What percentage of your writing time is spent revising?

Becoming a Brand Name

Posted on by

by James Scott Bell
@jamesscottbell

Power Up Your Fiction is endorsed by Betty Crocker.

Today’s post is brought to you by that new craft book, Power Up Your Fiction: 125 Tips and Techniques for Next-Level Writing. Yes, you too can write fiction that has the extras readers crave. Removes those ugly speed bumps, too. Don’t be the last one in your critique group to own a copy. Get yours today at a special price! And now here’s your host, JSB…

Brought to you by…

In the early years of television, most shows had a single sponsor paying the bills, e.g., Colgate Comedy Hour, Texaco Star Theatre, Goodyear TV Playhouse, Kraft Television Theatre. The shows that were “brought to you by” often featured the stars in a commercial.

“Father Knows Best, brought to you by Maxwell House Coffee. Good to the last drop.”

“Leave it to Beaver has been brought to you by Ralston Purina, makers of the eager eater dog food.”

“The Fugitive has been brought to you by Viceroy cigarettes. Viceroy’s got the taste that’s right.”

Speaking of that ubiquitous weed, a plethora of shows were sponsored by tobacco companies. Everybody smoked back then, even cartoon characters:

Even the pious:

Consistent quality was the key

The sponsors hoped the brand would be associated with a quality show and its stars, week after week. Not just quality, but consistent quality, directed to a target audience.

The most popular show of 1953 was I Love Lucy. It worked because Lucille Ball was a brilliant comedic actress, Desi Arnaz a perfect foil and also an astute producer who worked with a great team of writers.

The second most popular show that year was Dragnet, about as polar an opposite of Lucy as you could find. A police drama, it had a consistent style developed by its star, Jack Webb. That style featured staccato dialogue and underplayed acting. It became famous and easily parodied. Fortunately, Jack Webb had a sense of humor about it:

What if you want to write something “off brand”? In the traditional publishing world, this is problematic for obvious commercial reasons. You’re building an audience and helping bookstores know where to shelve your books. Publishers are investing in you, hoping for a long-term relationship that is profitable for all.

This is what hamstrung early John Grisham, whose massively popular legal thrillers made the big bucks. But Grisham wanted to write literary fiction, too. It was only when he had sufficient leverage that his publisher came out with A Painted House.

Indie writers have more flexibility, though they also want to build a brand. But we have short stories and novellas to try things out, and can publish them instantly. The old ad man saying applies here: “Let’s run it up the flagpole and see if anybody salutes.”

So…build your brand with consistent quality. Meet reader expectations in your genre, but also exceed them by adding unique and memorable touches. Everybody remembers Lucy and Ethel stuffing candy into their mouths, hats and down their uniforms.

Remember famed writer/director John Huston’s axiom: a great movie is made up of “three great scenes, and no weak ones.”

Which also means don’t flood the market with less than your best. For as another movie legend used to say:

Brave Words of Wisdom

Posted on by

In my experience, a vital part of creating a fictional narrative is being willing to screw up when writing, followed by figuring out how to fix your mistakes, as well as understanding that very few stories are truly perfect, and, finally, knowing when to trash what you’ve written and begin anew. If I’m not careful, perfectionism and fear of failure can hold me back from creating fiction.

Today’s trio of words of wisdom is about being brave in your writing (and rewriting) and being willing to embrace mistakes, fixing what you can, and learning from what you can’t fix.

First Clare Langely-Hawthrone talks about her revision process. Then Boyd Morrison explains why it is important to not avoid making mistakes at all costs when writing. Finally, Joe Hartlaub shares another author’s courage in being willing to discard a novel that didn’t work.

I view revising as adding the second and third coats of paint to a project – each layer adds a subtly and a depth to the characters, to the setting, and to the themes that swirl around the plot. What I find the biggest challenge is avoiding what I call ‘tinkering’ – changing my mind over a minute plot point only to find it has rolling ramifications and then (in total disgust) I find I have to go all the way back and return it all to the way it was. I guess this is what people call a ‘learning process’ but I seem to be a bit ‘learning challenged’ when it comes to this – and still find myself adding complexity where NO MORE is needed! ‘Keep It Simple Stupid’ is a motto I need to have branded to my forehead.

Those who want to see the writing process in action can find me sitting in my writing studio, a converted garage in the back of our house, bleary eyed at one o’clock in the morning, determined to finish the next chapter as I’m ‘on a roll’. I might be on the internet checking on a historical reference, looking up the architecture for a historic home or searching The Times database for an event the latest fashions for that year. I might even be using the delete key to liberal advantage as part of the revision process involves getting rid of all the extraneous stuff that I find stops the flow of the narrative (sometimes bringing tears to my eyes if it was a point of historical research I spent hours on!)

Yesterday I deleted a whole chapter – painful but necessary. I then merged two minor characters to streamline the plot. I decided one scene moved like molasses and I got bogged down in worrying whether the house should have gothic archways or not…Time passed. It was one am…Time to call it quits till the red pen, the axe and the delete key were brought back out to do it all again.

Ah the joys of revision. You just got to be brave…

Clare Langley-Hawthorne—September 15, 2008

 

In writing, trying to eliminate mistakes is the mistake. Yes, there are objective errors that you want to avoid in a novel. Don’t put a safety on a Glock pistol. Don’t make your continuity and timelines inconsistent. Don’t change the name of a character halfway through. These are indisputable mistakes, and yet I have seen them all in novels. Bestselling novels.

In one of my own books, THE ARK, I explained that the elevators of a slowing airplane lowered to maintain altitude. Of course, this is incorrect. The elevators should go up to pitch the aircraft up. I’ve flown planes myself. I have a degree in mechanical engineering during which I studied fluid dynamics. I know that it was wrong, and I still made the mistake. No one—including my brother, who is a former Air Force pilot—caught the error until the book was in stores. No one died, and only one reader has ever brought it up (in fact, it’s the only reason I know the mistake happened). However, the error still bugs me.

What’s more insidious for a writer is the avoidance of subjective mistakes. We want to get everything right in a story: characters, plot, twists, literary merit, creativity, emotional resonance. We want the story to be perfect, and impatient people like me want it to be perfect from the moment we start typing it.

But it never is. It can’t be. Ever. I bet you’d only be able to come up with a tiny list of  stories that didn’t have a single thing you’d change. And even then, go look at the Amazon reviews for those books. You’ll find at least a few people (and sometimes hundreds of them) who don’t agree with your definition of perfection.

Voltaire is considered the originator of the phrase, “Perfect is the enemy of good.” We’re afraid that if our story isn’t perfect, it won’t be good enough. The idea for a novel that we have in our minds never comes out on the page like we imagine. Sometimes we can’t write at all because we’ll be disappointed that it won’t come out perfectly formed on the first try.

What we have to come to terms with is that making mistakes is part of the process. That’s how we learn. That’s how we make art. My wife, who is sometimes frustrated when I delay delivering pages to her to edit, gave me a T-shirt for Christmas that says, “Even if it’s crap, just get it on the page.” That notion can be freeing if you take it to heart. You can’t make it better if it doesn’t exist in the first place.

I’m getting more comfortable with making mistakes, but it’s a daily struggle. The lesson slowly worming its way into my head is that to fixate on creating the perfect novel results in creating nothing. So I’m learning to focus on the right thing: getting a story out that reflects my voice, where even the flaws and imperfections are unique to me.

Boyd Morrison—April 22, 2013

 

You may know of John Clarkson. He is an extremely talented author whose novels, particularly those in his current James Beck series, stand as an example of what the job of writing looks like when it is perfectly and professionally done. John intermittently blogs and recently told a story about his current work-in-progress. I will summarize it but you really need to read John’s brief dissertation to get the full flavor of what happened. John describes the process of writing what would have been the third novel in the Beck series, and realizing, upon completion, that it didn’t work (and why). He concluded that it could not be fixed so he trashed it and started over. His account is illuminating, tragic, hopeful, and ultimately inspiring. Oh, and it is very brave, too. John, in workmanlike, understated prose gives us the reasons why what would have been his latest novel didn’t come together. Ouch. How many of us would willingly and intentionally exhibit what we perceived to be a screwup on the internet town square in a forthright manner and without reservation? I know of at least one person who would pause before doing so. He’s typing these words right now.

The truth is that John is not alone in what he went through, though he is certainly walking point when describing the experience. Not every written volume of every successful series makes it to the finish line.  They lay on the blacktop and the finish line rises up to meet them. Sometimes being successful is as much knowing what doesn’t work as what does work, and being brave enough to pull the pin, rather than hoping that no one will notice. There is a term used for these books which don’t make pass the author’s own white glove test. Such manuscripts are called “trunk novels.” I am reasonably sure that every successful author has at least one. I daresay that we will probably not walk with Jack Reacher down every mile of middle America that he traverses, or that we see the account of every mystery that Spenser or Bryant and May encounter and/or solve. What is different here is that John takes us through the process of determining whether the book goes to the agent or the trunk. It’s not a pretty sight, but it’s an informative one.

Joe Hartlaub—July 13, 2019

***

  1. Do you revise bravely? How do you kill your darlings?
  2. How do you deal with perfectionism? Do you embrace your mistakes?
  3. Have you ever had to trash an entire novel and start over? How did you handle that?

***

Brand-new librarian Meg Booker is just supposed to be checking out books.

Instead, it’s the patrons who are being checked out–permanently.

A Shush Before Dying releases in ebook on April 29, 2023, with print to follow.

Preorder from these retailers.

Reader Friday: Advice

Posted on by

“If you want to write fiction, the best thing you can do is take two aspirins, lie down in a dark room, and wait for the feeling to pass. If it persists, you probably ought to write a novel.” — Lawrence Block.

What’s the first word of advice you’d give someone who says to you, “I think I’m going to write a novel.”