Compromises

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Compromises
Terry Odell

cover of The Triple-D Ranch novels by Terry OdellFirst, if you’ll indulge me, I have a new release. Not exactly a new book, but after being away, having family visiting, writing breaks to do research, hitting the 30K wall, and other real life interruptions, I feared the wip wasn’t going to be finished in time for a pre-holiday release.

What did I do? Triggered by an acceptance for a BookBub Featured Deal on July 9th for In Hot Water, book 1 in my Triple-D Ranch Romantic Suspense series, I decided to bundle all 4 books in the series as a box set.

I checked with the marketing gurus at BookBub, and they suggested that a release of the bundle before the featured deal would be a good option. I pulled the manuscripts for all four books into a single file and made the necessary adjustments to front and back matter. Since the first 3 in the series were released in 2016, there were some formatting issues to deal with, but it didn’t take long to have a manuscript file ready to upload.

I went into a lot of the process in a post a while back, so I’m not going to repeat any of that now. If you’re interested, you can find it here.

The new book, brilliantly titled, “The Triple-D Ranch Series” is available for purchase at most popular e-tailers. Here’s a link to one-stop shopping.

And on to the post topic: Compromises

Sue’s post on Monday reminded me of our move from Florida to Colorado way back in 2010. Although this is no longer my path to publication, I know a lot of TKZers are, or are hoping to be, traditionally published. The road to publication, like moving into a new house, can be filled with compromises.

During our renovations and remodels, we found ourselves compromising on a lot of issues. Sometimes it was a matter of money—deciding what things we were willing to cut from our dream plan, and where we were willing to shell out the extra cash. We decided to go with underfloor heating in the bathrooms. However, a custom job, with the heat mat made to order for the bathroom was prohibitively costly compared with the off-the-shelf versions. The compromise meant we were restricted to the sizes the mats came in; we couldn’t get the heat mat under the tile of the entire bathroom, leaving a few areas where the tiles remain cold. But having that extra course of tiles heated wasn’t worth the price differential. It was easier to learn to take a bigger step into the hall bath if you were barefoot, avoiding the first row of tiles.

Another compromise – we had a lot more room in our former house. Finding places for things that went into our wall units and china cabinet meant more furniture. We ended up with a large curio cabinet in the living area. However, it doesn’t have any interior lighting, so as far as displaying treasures goes, it’s not really the perfect system. It ended up being a liquor and glassware cabinet.

We ordered two bookcases for the downstairs, but when they arrived, we realized that one was a shade too tall for where we wanted to put it. (Never thought about the bulkhead ceiling on that side of the room, or how tall the bookcases would be.) So, we found another spot for the second unit, which ate up several feet of wall space, meaning when we get furniture for the room, we’re going to be limited in what will fit where.

When writing, you’ll also learn to make compromises—unless, of course, you’re writing strictly for yourself. Everyone says ‘write the book of your heart.’ But if you want people to read your books, you’re going to have to consider what the readers want. The book of your heart might not be marketable.

Somewhere along the line, you have to decide which battles are worth fighting and which aren’t. Some, you’ll never win. If a publisher wants humor, and you’re not a funny person, maybe that’s the time to realize that your efforts might be better spent elsewhere. Or maybe they want deep, dark suspense, full of serial killers and psychopaths, and you prefer lighthearted mystery. Are you capable of writing what they want? Will you feel like you’re struggling to get each word on the page? Assuming you’ve done your homework and submitted your work to a publisher who publishes what you write, and it’s accepted, what’s next? You’re going to have to deal with an editor who works for the publisher, and knows what they’re looking (or not looking) for.

For example, my editor for When Danger Calls, one of my early traditionally published novels, told me the publisher would nix any use of the word ‘penis.’ She said their readers didn’t like to read it. Was there a point to arguing with this one? No. Easy enough to change.

Another publisher didn’t like the use of brand names. Sometimes, a brand name serves as an immediate image for readers. I had to fight (and contact the companies) to use Knob Creek and Denny’s in a book.

On a grander scale, some genres have their own reader expectations and publishers have their own guidelines.

Once you’re aware of what your publisher and editor expect, you’ll find that you’re compromising with yourself during the writing process. Just like you learn to avoid that first course of tiles in the bathroom, you won’t use those ‘forbidden’ words. If you’re writing a contemporary series romance, you’ll learn to get your hero and heroine on the page and involved immediately, because that’s what readers of that genre want, and the publisher expects you to meet their expectations. If you’re writing a mystery, your readers will assume it’s a “murder mystery” and they’ll want to see that dead body right away.

Even indie authors might have to compromise to meet reader expectations. I’ve written almost 35K words in my next Mapleton mystery, and there’s no dead body. Yet.

How about you, TKZers? Have you had to compromise to keep your submission or book marketable?

New! Find me at Substack with Writings and Wanderings

Danger Abroad

When breaking family ties is the only option.

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

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

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

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

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

How to Avoid Apostrophe Abuse

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by Debbie Burke

Apostrophes. That tiny punctuation mark seems to trip up more people than any other.

Here are a few examples of apostrophes that are misused:

 

So what are the correct uses of the apostrophe?

  1. In contractions: an apostrophe indicates a missing letter or letters.

Jean’s going to the store. = Jean is going to the store.

  1. To indicate possession: At the store, a shopping cart door-dinged Jean’s car.

When not to use an apostrophe:

  1. To indicate plurals. Shopping carts, not shopping cart’s.
  2. To indicate decades. The 1990s, not the 1990′s.

Decades can be written in various ways.

Example: Rock and roll gained popularity in the 1950s.

However, if the decade is possessive, it needs an apostrophe.

Example: The 1950’s song “That’ll Be the Day” hit number 1 on Billboard Magazine.

If you use a contraction to abbreviate a decade, that requires an apostrophe for the missing part of the year.

Example: In the ’20s, bobbed hair was the cat’s meow.

The dreaded question of ITS vs IT’S raises the most confusion.

That’s because ‘s usually indicates possession.

Examples: Gary’s book; the USA’s foreign policy.   

Its is the annoying exception.

It’s is a contraction for “it is” or “it was.”

In the immortal words of Mr. Rogers: “It’s a Beautiful Day in the Neighborhood” 

Its is the possessive form.

Example: AI doesn’t understand its own capability.

Plurals add another layer of confusion.

How often have you received a holiday card from “The Smith’s”?

“The Smith’s” is possessive.

It should be “The Smiths” plural to indicate the card came from multiple members of the Smith family.

Want to get even more confused? Names and nouns that end with an “S” are treated differently.

The plural of Jones is “Joneses.”

The plural of cross is “crosses.” Example: Many Civil War graves were marked with crosses.

The possessive of Jones can either be “the Jones’ house” or the Jones’s house” depending on the style guide used.

The possessive of crosses is generally crosses’. Example: The crosses’ wood had weathered and split.

Then there are plural initialisms. (I had to look that one up.)

They are initials that are used as nouns.

Examples: DMV, BMW, FAQ

The plurals are DMVs, BMWs, FAQs.

The possessive form needs an apostrophe.

Example: The DMV’s reputation for long wait times is well known.

However, if the initial is a single one, the plural needs an apostrophe.

Example: Sarah’s report card was all B’s.

The plural of the noun “I” can be shown with an apostrophe to keep it from being misread as “Is”.

Example: Too many I’s used in that paragraph is repetitive.

Yourdictionary.com offers a clear, concise explanation of how to avoid apostrophe abuse.

Pop Quiz

  1. When the tree starts to drop (its) (it’s) leaves, (it’s) (its) a sure sign of early fall.
  2. The (Gateses) (Gates’) (Gate’s) need to increase their income to keep up with the (Bezos’s) (Bezos’) (Bezoses).
  3. On (Saturday’s) (Saturdays) we always visit the (farmer’s) (farmers) market to check out the many different (vendor’s) (vendors’) fresh (veggie’s) (veggies).
  4. What’s your (Achille’s) (Achilles’) (Achilles’s) heel when it comes to grammar?
  5. (Phyllis’s) (Phyllis’) intention was to attend the (writer’s) (writers’) (writers) conference.

Answers:

  1. When the tree starts to drop its leaves, it’s a sure sign of fall.
  2. The Gateses need to increase their income to keep up with the Bezoses. Yeah, it sounds wonky to the ear but it’s correct.
  3. Saturdays is correct. Farmer’s is correct but could also be farmers’ market. Vendors’ is correct. Veggies is correct.
  4. Achilles’ and Achilles’s are both right. However, Achilles’ is less of a tongue twister and sounds better to the ear.
  5. Okay, this is a multiple-part trick question.

Phyllis’s or Phyllis’ are both right depending on the style sheet you’re using. Just be consistent—choose one form or the other and stick with it throughout the story, article, etc.

Writers’ conference is preferred because it’s possessive meaning multiple writers attend it. However, writer’s conference is also an adjective describing the type of conference. The Word grammar checker puts a squiggly blue line under writers conference, indicating questionable use. However, writers conference is common, making it accepted although not strictly correct.

 

I feel for non-native speakers trying to learn the inconsistent, convoluted, mystifying English language.

If we writers ever master all the nuances of grammar,“That’ll Be the Day” to celebrate!

~~~

TKZers: What’s your Achilles’ heel in grammar? Do you have any reminder tricks to suggest?

~~~

Counting down to launch day for The Villain’s Journey-How to Create Villains Readers Love to Hate.

James Scott Bell says: “Debbie Burke has filled a critical gap in writing craft instruction.”

Christopher Vogler says: “You will certainly find insight and inspiration to make your villains leap off the page and haunt your readers’ dreams.”

Preorder now and the ebook will be delivered to your device on July 13.

Amazon link

Moving and Writing

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Life is like riding a bicycle. To keep your balance, you must keep moving. —Albert Einstein

* * *

I’ve mentioned over the past few weeks that my husband and I have moved to a new home. It’s been a long, hard effort, but now we’re in the new place and trying to regain some sense of normalcy.

One thing getting back to normal means is writing a post for TKZ. So now, I sit at my desk, surrounded by towers of boxes and ponder what I should write about while the aroma of fresh cardboard and packing tape wafts through the house. Since I do so love analogies about writing, there’s my subject: How are moving and writing related.

The Big Adventure

Moving starts as an adventure. Maybe it’s a new job or a better living situation or some other reason to change addresses. There’s a lot of anticipation mixed with a little anxiety. Lists are made, forms are ordered, lots of organization is put in place. Whatever the reason, the excitement builds as moving day nears.

Same with a new novel. A great idea suddenly crystallizes and you realize you have a theme for a new book. The best yet. You begin to draft out character sketches and a general plot line. You set up Scrivener for the new work and put together a project plan with a schedule. You stand at the mountaintop looking over the landscape and imagine the journey ahead.

The Trek Goes On … and On

If you’re lucky, you’ll hire a moving company to pack and move everything. But what’s the adventure in that? To keep the analogy with writing, you’ll have to do your own packing. You go through the house and decide what can be given away, sold, or stored. You order packing materials and spend weeks knee deep in boxes, bubble wrap, and permanent markers. But it’s taking longer than you thought, and the whole task of packing boxes has become hard work. You have to decide what to keep and what to let go. At some point, you ask yourself “Whose idea was this, anyway?”

Writing is a little less physically demanding. Day after day, you pack Scrivener with new scenes, and your creativity is firing on all cylinders. Finally, you’re deep into the story. Then you hit a wall, and you back up to look at what you’ve accomplished so far. It’s just a mess, and you have to decide what to throw away. You can keep everything, but then your new story will be a jumble of scenes rather than a carefully crafted book, so a serious pruning job is in order.

Persistence Pays Off

That’s when it hits you. Maybe this wasn’t such a good idea after all. But you’ve already invested heavily in the story or the move, so you keep going forward. Not quite as excited, but shoulder to the wheel. The message in your head is no longer “Woo-hoo,” but more like “Put one foot in front of the other.”

It seems like ages before those boxes are all packed or the chapters are written. The movers come and transfer all the furniture to the new place. You have a fully finished first draft. It still doesn’t look so pretty, but at least you’re beginning to see the story behind the jumble.

Revision

So now you move into unpacking mode, putting things where they belong, discarding boxes, and cleaning up. In a novel, this would be the final draft. Rearranging the chapters and rewriting.

The work is long and sometimes boring. But occasionally you’ll stumble onto some little artifact that makes you realize how nice the finished product will be. It takes forever to unpack, fit things into their new environment, and get the household in order.

Slowly, day by day, the pieces begin to fit together to form a cohesive whole. The house is set, the novel is written, and the job is done.

The End … for now

It’s time to sip champagne, take a short rest, and then get to work on marketing.

* * *

So TKZers: How do you deal with the confusion that surrounds moving or writing? Do you keep plugging away knowing everything will come out well? How do you celebrate when the big move or book release is over?

* * *

 

Spunky 10-year-old Reen and her shy, 9-year-old cousin Joanie never stop moving while they hunt for a treasure left by the mysterious Mr. Shadow. Along the way, they learn the value of persistence, teamwork, and fair play.

Click the image to go to the Amazon book page.

 

The Living, Breathing Novel

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by James Scott Bell
@jamesscottbell

The other night, Mrs. B and I re-watched the 1999 BBC adaptation of David Copperfield. Superb. And what a cast: young Daniel Radcliffe as David, the legendary Maggie Smith as Betsy Trotwood, Bob Hoskins as Micawber, Ian McKellen hilariously chewing the scenery as Mr. Creakle, and so on down the line.

It made me wonder again at how Dickens, with quill and ink, turned out massive tomes, full of plot twists and unforgettable characters, like Peggotty, Steerforth, Mr. Dick, Barkis, Uriah Heep. Dickens never gives us colorless, throwaway story people.

So I went on a little journey to research Dickens’ method. I wanted to find out if he was an outline guy, a pants guy, or something in between. My conclusion is that he started a project with the “big picture” in mind, along with some main characters, but allowed himself room to expand and explore as he went along, with help from a trusted beta reader and his own wife.

We know Dickens wrote in serial form, sometimes in periodicals, sometimes in pamphlets. I read somewhere that anxious readers would often gather at the docks when the boats came in with the delivery of the latest installment.

I discovered a massive biography of Dickens by John Forster, the man who read almost everything Dickens wrote before it was published. In the clip below, Forster tells about the writing of Oliver Twist. (“Kate” was Dickens’ wife.)

Then, on a “Tuesday night,” at the opening of August, he wrote, “Hard at work still. Nancy is no more. I showed what I have done to Kate last night, who was in an unspeakable ‘state’ from which and my own impression I augur well. When I have sent Sikes to the devil, I must have yours.”

“No, no,” he wrote, in the following month: “don’t, don’t let us ride till to-morrow, not having yet disposed of Fagin, who is such an out-and-outer that I don’t know what to make of him.” No small difficulty to an inventor, where the creatures of his invention are found to be as real as himself.

The ending of The Old Curiosity Shop was suggested by Forster:

He [Dickens] had not thought of killing her [Little Nell], when, about half-way through, I asked him to consider whether it did not necessarily belong even to his own conception, after taking so mere a child through such a tragedy of sorrow, to lift her also out of the commonplace of ordinary happy endings so that the gentle pure little figure and form should never change to the fancy. All that I meant he seized at once, and never turned aside from it again.

This sums up the Dickens “method”:

Its [The Old Curiosity Shop] effect as a mere piece of art, too, considering the circumstances in which I have shown it to be written, I think very noteworthy. It began with a plan for but a short half-dozen chapters; it grew into a full-proportioned story under the warmth of the feeling it had inspired its writer with; its very incidents created a necessity at first not seen; and it was carried to a close only contemplated after a full half of it had been written.

I draw a few lessons from Mr. Dickens.

1. Plan your novel, but give it room to breathe. Dickens didn’t sit down with no idea of where he was going. He started with a main character in mind, a set of problems for that character, some secondary characters, and an envisioned outcome. But for each section he wrote he was flexible in how things developed. He could change his plan or his characters if he so desired. I can’t prove this, but I have a feeling James Steerforth in David Copperfield was such a character. Initially a hero to David, he became the driver of the tragic Little Emily subplot.

2. Unforgettable fiction is written when you are imbued with “warmth and feeling.” Note: You can’t get that from a machine. You get candy bars and soft drinks from a machine, not living, breathing, blood-pounding, heart-racing fiction, the only kind that turns browsers into readers, and readers into fans.

3. You produce warmth and feeling by experiencing the lives of your characters. The great alchemy of unforgettable fiction is moving your characters from your head to your heart. The great Dwight Swain wrote: “People read fiction for feeling. Whether they know it or not, they grope for stimuli that move them. The thing in fiction that gives them this stimulation is emotion projected through characters.”

You’ve got to feel the emotion before you can project it. An added benefit, Swain says, is that this how you produce “zest”—the “best way to escape the fatigue and boredom that endless hours of writing often bring.”

Recall what Forster said, that “the creatures of his invention are found to be as real as himself.” In the 1850 preface to David Copperfield, Dickens wrote:

I do not find it easy to get sufficiently far away from this Book, in the first sensations of having finished it, to refer to it with the composure which this formal heading would seem to require. My interest in it, is so recent and strong; and my mind is so divided between pleasure and regret—pleasure in the achievement of a long design, regret in the separation from many companions—that I am in danger of wearying the reader whom I love, with personal confidences, and private emotions.

4. Get the benefit of another set of eyes. A great editor or beta reader is gold. You’re too close to your manuscript to spot subtle—or sometimes obvious—errors. You may be blind to an obvious plot hole or undeveloped character motivation. If you don’t deal with them now, readers and reviewers will deal with them later.

5. Be developing your next project. Dickens had a family to support and debts to be paid. He always had a next project in mind. He kept a notebook of ideas. Forster: “In it were put down any hints or suggestions that occurred to him. A mere piece of imagery or fancy, it might be at one time; at another the outline of a subject or a character; then a bit of description or dialogue; no order or sequence being observed in any. Titles for stories were set down too, and groups of names for the actors in them.”

And that’s not humbug. Comments welcome.

Series Words of Wisdom

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A great mystery or thriller series can have lasting popularity. But how do you create a one that will go the distance with readers?

Today’s Words of Wisdom has you covered. James Scott Bell provides five qualities in the best series characters. John Gilstrap discusses planting fodder for a future series in that first book even as each book can stand on its own. Finally, Sue Coletta assembles advice from several other Kill Zone authors on building series.

All three posts are well worth reading in full, and as always are date-linked at the end of their respect excerpts.

I see five qualities in the best series characters. If you can pack these in from the start, your task is half done. Here they are:

  1. A point of uniqueness, a quirk or style that sets them apart from everybody else

What is unique about Sherlock Holmes? He’s moody and excitable. Among the very staid English, that was different.

Jack Reacher? Come on. The guy doesn’t own a phone or clothes. He travels around with only a toothbrush. Funny how every place he goes he runs into massive trouble and very bad people.

  1. A skill at which they are really, really good

Katniss Everdeen is killer with the bow and arrow.

Harry Potter is one of the great wizards (though he has a lot to learn).

  1. A bit of the rebel

The series hero should rub up against authority, even if it’s in a quiet way, like Miss Marple muttering “Oh, dear” at the local constabulary. Hercule Poirot is a needle in the side of Inspector Japp.

  1. A vulnerable spot or character flaw

Robert E. Howard’s Conan the Cimmerian has a vicious temper that sometimes gets the better of him.

Sherlock Holmes has a drug habit.

Stephanie Plum keeps bouncing between two lovers, who complicate her life.

  1. A likable quality

Raymond Chandler’s Philip Marlowe has some of the greatest quips in the history of crime fiction. We like them because Marlowe is also vulnerable—to getting beat up, drugged, or otherwise manhandled by forces larger than himself (like Moose Malloy).

Wit is one of the great likability factors.

Another is caring for others besides oneself. Stephanie Plum has a crazy family to care for, not to mention her sometime partner Lula.

James Scott Bell—August 13, 2017

A series is more episodic.

My Jonathan Grave thriller series is not a continuing story, but is rather a collection of stand-alone stories that involve recurring main characters.  Jonathan Grave’s character arc over the course of eleven books now is very long and slow, while the arcs of the characters he interacts with are completely developed within each book.  There are Easter eggs for readers who have read all the books in order, but I am careful to make each episode as fulfilling for a reader who picks up  Book Ten as their first exposure to the series as it is for a reader who’s been with me from the beginning.

Writers like the always-fabulous Donna Andrews write series that are driven as much by place as by characters.  The people in her fictional town of Caerphilly, Virginia, are a hoot, even though an extraordinary number of people are murdered there.

Jeffery Deaver’s Lincoln Rhyme solves a new crime by the end of every book.  While Rhyme’s medical progress as a quadriplegic is continually evolving from book to book, as is his relationship with Amelia, a new reader is well-grounded in any story, without benefit of having read the previous ones.

A stand-alone, well, stands alone.

When I finished Nathan’s Run, the story was over.  There was no place I could feasibly have taken Nathan or the other characters to tell a new story.  That was the case with each of the following three novels and, of course, with my nonfiction book.  I think the primary characteristic of a stand-alone is that “The End” means the end.  The character and story arcs have all been driven to ground.

A series takes planning.

When I was writing No Mercy, the first book in the Grave series, I knew in my heart that I had finally landed on a character who could support a series.  What I didn’t know was whether or not a publisher would buy it, and if they did, whether they’d support the idea of developing the one story into many.  Still, I made a conscious effort to plant as much fodder as I could for potential use in future stories.  For example:

  1. Jonathan is a former Delta Force operator, leaving the potential for stories dealing with his days in the Unit.
  2. His hostage rescue activities are a covert part of a legitimate private investigation firm that does work for some of the largest corporate names in the world.  This sets up potential stories set in the world of more common private investigators.
  3. Jonathan is the primary benefactor for Resurrection House, a school for the children of incarcerated parents.  When every student has parents with lots of enemies, there’s lots of potential for future stories.
  4. His home, Fisherman’s Cove, Virginia, is the town where he grew up.  This puts him in the midst of people who already know the darkest secrets of his childhood and accept him for who he is.  Or they don’t.  This sets up the potential for small  town conflicts.

John Gilstrap—November 21, 2018

From Jordan Dane:

  1. Create a large enough world to sustain a series if it gains traction by planting plot seeds and/or character spinoffs in each individual novel. With the right planted seeds, future stories can be mined for plots during the series story arcs. An example of this is Robert Crais’s Elvis Cole PI series where his main character Cole is plagued by his past and his estranged father until THE FORGOTTEN MAN, a stellar novel in the middle of the series that finally provided answers to the mystery.

Crais often plants seeds that he later cultivates in later books. It takes organization & discipline to create these mysteries and track the seeds to save for later.

  1. Endings of each novel in a continuing series are important to readers if your book release schedule has long lags in time. A major cliffhanger can be frustrating for readers to discover at the end of a book before they realize the next novel won’t be released for 6 months to a year.

If your planned series isn’t limited to a certain number of stories (ie Hunger Games – 3 novels) where the overall story arc will be defined, an author might consider writing series novels that read as standalones with a tantalizing foreshadowing of the next story to hook readers. Creating an intriguing mystery to come will pique reader’s interest, rather than frustrate them with a huge cliffhanger they may have to wait a year to read.

See these tips in action in Jordan’s Mercer’s War Series.

From James Scott Bell:

  • Give your series character one moral quest that he or she is passionate about, to the point where it feels like life and death. For example, my Mike Romeo series is about the quest for TRUTH. This is the driving force for all he does. It gives both character and plot their meaning. A quest like this will carry from book to book.
  • Give your series character at least one special skill and one special quirk. Sherlock Holmes is a skilled stick fighter (which comes in handy). But he also shoots up cocaine to keep his mind active. Mike Romeo has cage fighting skills. He also likes to quote literature and philosophy before taking out a thug.

From Joe Hartlaub:

Sue, I love Jordan’s suggestions, particularly #2, about the works being standalones with a foreshadowing of what is to come. Who among us read Stephen King’s Dark Tower trilogy and got to the end of The Dark Tower III; The Waste Land to find the cast aboard a sentient, suicidal choo-choo heading toward oblivion? That was all well and good until we all had to wait six friggin’ years to find out what happened next in Wizards and Glass. 

  • I have one suggestion, which I call the Pop Tart model. Pop Tarts started with a basic formula; they were rectangular, were small enough to fit into a toaster, large enough to pull out, used the same pastry as a base, and started with a set of fillings and slowly added more and different ones over the years. So too, the series.
  • Design a character with a skill set consisting of two or three reliable elements, decide whether you are going to make them a world-beater (Jason Bourne), a close-to-homer (Dave Robicheaux), or something in between (Jack Reacher), and bring in a couple of supporting characters who can serve as necessary foils (Hawk and Susan from the Spenser novels) who can always be repaired or replaced as necessary. Your readers will know what to expect from book to book but will be surprised by how you utilize familiar elements.

From Laura Benedict:

The best series do a good job of relationship-building, along with world-building.

  • Give your main character …
  1. someone to love and fight for,
  2. someone to regret knowing,
  3. someone to respect,
  4. someone to fear.
  • Be careful about harming your secondary characters because readers get attached. If you’re going to let a beloved character go—even a villain—make the loss mean something.

See these tips in action in The Stranger Inside.

Sue Coletta—January 14, 2019

***

  1. What do you think of Jim’s five character qualities for series characters, as a writer or a reader? Any additions?
  2. When it comes to series, again as either a writer or a reader, what do you think of the easter eggs and ongoing “fodder” John mentioned?
  3. What do you think of the advice Sue shared? Anything especially resonate with you?

Reader Friday-That Stinky Mood

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Thinking back to my teenage years, it seems like I was in a bad mood about something most of the time. You’d think I would have outgrown those sour moods by now. Sigh.

I don’t get moody as much anymore, nor (heaven forbid!) about the same life stuff as when I was younger, but sometimes a mood strikes—one that causes me to slam my laptop closed and walk away.

You?

I ran across this website the other day:  Moods and Writing

It contains 5 tips for shooing away the doldrums in order to get back to work.

Listen to some upbeat [or your favorite] music.

 

“Music affects mood, so choose something that gets you happy and dancing. Try listening to it for just 5 minutes before you start writing, and see if your session doesn’t go better than you thought it would.”

 

Eat some dark chocolate. (My favorite!)

“Chocolate is good for you, and studies have also found that it can boost levels of the good-mood neurotransmitter, “serotonin,” in your brain. It also boosts dopamine levels, which will give you more energy. As if you needed another excuse to eat some chocolate! Just try to be sure it has at least 70 percent cocoa.”

Give someone a hug.

“A loved one, friend, pet—give someone a quick hug before you start writing. It lowers stress and stimulates the release of oxytocin, which helps boost mood.”  (And the cool thing is, you’ll usually get hugged back!)

Dress up. (Not so sure about this one, but hey, it’s worth a try!)

“This can be particularly helpful if you’ve been in sweats all day. Put on something you like and that you think makes you look good. Studies have found that clothes really can affect our mood! (Read more about that here: “What Are You Wearing? Why Writers Should Care”) Better yet, choose something colorful. Green and yellow are associated with happiness, red with energy, and blue with calm.”

Look at nature images—and make sure they contain some green. 

“Studies have found that simply looking at pictures of nature can help relieve stress and put you in a better mood. If you want to boost creativity too, make sure the pictures have some green in them. (In other words, no winter pictures!) Studies have found that green helps stimulate creativity.”

 

TKZers—what would you add to this list? What is your surefire way to combat a stinky mood so you can get on with the fun stuff of writing?

 

True Crime Thursday – Black Widows

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Before we get into today’s True Crime Thursday post, I received an email from another friend of Joe Hartlaub’s who just learned of Joe’s passing. Justin L. Murphy asked me to include his tribute message to Joe. Justin’s words:

Could you please add these comments to the memorial post for Joe Hartlaub on KillZone blog earlier this month? I was late in learning of his passing — only discovering so last night after no email responses in the last couple of weeks.

As writers, Joe Hartlaub and I became close over the years and exchanged many emails. He not only recommended me for a short story contest (which I didn’t win), but was there for me when my grandmother passed several years ago. This is a tough one.

I last received an email from him May 28th, only to discover he died the next day. It’s sad we didn’t get to talk further. In one of our last emails, he discussed learning how to play “When The Saints Go Marching In” on the piano as well as his past playing guitar in local bands. We both mentioned our love for cooking Zatarain’s and his past trips to New Orleans. As well as his love for music from Memphis and Mississippi. He also called me “an observant fellow” and sent me hilarious articles on women getting too close to Bison at Yellowstone, being mauled and trampled as a result.

One of the last things he told me “You and your family have had more than your fair share of challenges, but reading between the lines of your accounts of daily living, I take the sense that you mom is strong, wonderful person and she has two terrific sons. The three of you help and love each other. That is more than many, many people have. Stay the course and thanks for being my friend.” He sent this to me after checking on us and asking “Are you OK?” when a storm hit a nearby area. My response in the subject line was, “For a tender hearted Catholic lawyer who cares”. To clarify, I’m a disabled adult with Cerebral Palsy who helps care for an Autistic adult brother.

He also relayed having chest pains and that his ex-girlfriend was dying from cancer. Joe remained in touch with her, but was having difficulty. As well as having chest pains and would be getting medical exams. Yet was overjoyed over his granddaughter’s graduation. In his couple of emails, he concluded “Love to you and your family” and “Thx Brother”.

I love you too, Joe. Thanks for all you shared with me and I wish you still were here.

 

Photo credit: Chuck Evans CCA 2.5 generic

by Debbie Burke

In a 1911 poem, Rudyard Kipling wrote:

“The female of the species is more deadly than the male.”

That seems to hold true with the female black widow spider. After she mates with a male, she sometimes eats him. Here’s Wikipedia’s explanation:

The prevalence of sexual cannibalism, a behaviour in which the female eats the male after mating, has inspired the common name “widow spiders”.[11] This behaviour may promote the survival odds of the offspring;[12] however, females of some species only rarely show this behaviour, and much of the documented evidence for sexual cannibalism has been observed in laboratory cages where the males could not escape. Male black widow spiders tend to select their mates by determining if the female has eaten already to avoid being eaten themselves.

The term “black widow” has come to mean a woman who kills her mate.

Praying Mantis – public domain

Although the praying mantis also engages in sexual cannibalism, “black widow” sounds scarier, doesn’t it?

In 2013, a 25-year-old man named Cody Johnson married 22-year-old Jordan Graham in Kalispell, Montana. Eight days later, he disappeared.

As early as the day after the wedding, Graham had second thoughts about the marriage which she expressed to friends.

Johnson’s friends had also been concerned because he was deeply in love with Graham but his devotion didn’t seem to be reciprocated.

When Johnson didn’t show up for work, a search was launched. He was last reported in Glacier National Park, recorded on a security cam in a car with Graham. She claimed they had driven to the Big Bend on Going to the Sun Road where a steep cliff drops off sharply to the valley hundreds of feet below. There, she said, friends of Johnson’s had arrived in a different vehicle, and he had left with them.

Because the park is on federal land, various agencies including the FBI investigated the case. They questioned Graham multiple times. Each time, she offered a different excuse for why Johnson had disappeared.

Going to the Sun Road, Glacier National Park, Montana – public domain

Her behavior was suspicious, sometimes giggling and other times withdrawn. While searchers risked their lives on steep dangerous mountainsides, she exchanged texts with friends about dance moves.

She soon produced an email purportedly written by a friend of Johnson’s who claimed Johnson was dead and to give up the search. It didn’t take long for investigators to trace the email to a computer at the home of Graham’s parents.

Johnson’s battered, broken body was found at the bottom of the cliffs below the Big Bend. Because the terrain was so treacherous, specialized lift equipment was required to recover the body.

Graham was charged with first and second-degree murder.

During her 2014 trial, she pleaded not guilty. The evidence against her was significant but not beyond a reasonable doubt. Her attorney characterized her as “child-like” apparently a bid to convince the judge she didn’t understand consequences of actions.

For several days, Graham continued to protest her innocence. Then right after the defense rested, Graham stunned the court and changed her plea to guilty.

She admitted driving with Johnson to the Big Bend where they got out of the car and argued at the edge of the cliff. She said she didn’t think people would believe her about an accidental fall so she gave various excuses for his disappearance.

Under questioning by the judge, she finally admitted that, when Johnson had turned his back on her to look out at the view, she used both hands to push him over the side.

The judge doubted her remorse and sentenced her to 30 years in prison.

TKZers: Kipling seemed to be correct in this case. What do you think of his opinion?

~~~

 

My new book The Villain’s Journey – How to Create Villains Readers Love to Hate features stories about dangerous Black Widows and Femme Fatales from fiction and real life. To learn more, please click on the book cover.

Yes, It IS Personal

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By PJ Parrish

I’m going to try really hard to stay on topic today. But it’s going to be tough sledding because I have all this…personal…stuff on my brain this week. Still, it’s odd when stuff in your personal life sometimes dovetails what is going on in your reading life.

Post-vacation (where I read four books in two weeks), I’m finding I still have a strong urge to keep reading. While in Paris, searching the hot and stuffy crannies of the Abbey Bookshop on behalf of my claustrophic husband, I pulled out a ratty paperback for 2 euros. it was Nick Hornby’s About A Boy. I gave it to the husband and he read it in week, often keeping me awake at night with his laughter.

I brought it home and started it two days ago. Finished it last night. What a terrific book. Now, I have seen the movie (starring Hugh Grant) but had never come upon Hornby’s 1998 book. How did I miss this book?

To summarize: Will is 36 but acts like a teenager. He goes to the right nightclubs, loves Nirvana, and knows what trainers (sneaks) to wear. He has also discovered the perfect way to score with women — hanging around a single moms’ group, pretending to be Mr. Nice Guy and the father Marcus, a dweeby 12-year-old boy. Marcus is weird. He loves Mozart, never has owned a pair of sneakers, and lives in fear that his single mom Fiona will finally succeed in committing suicide.

About A Boy is very funny. But it’s about growing up (or failing to do so), keeping life at arm’s length, and the prickly friendship of two adolescents. It’s a slender little book in which nothing much really happens. (outside of Fiona trying to “top herself.”) Yet the book is impossible to put down as you grimace, groan, laugh and ultimately root hard for these people. Along with Hornby’s elegant writing, the character progression of Will and Marcus is what propells this story. As a reviewer for the The Guardian put it:

The psychology of Hornby’s characters is carefully, thoughtfully, and gently done. There is a heart to Hornby’s writing which sets its world apart from those of Connolly or Amis. Will’s friendship with Marcus – at first grudging, then resigned, and finally desperate – is both funny and touching. If About a Boy lacks anything, it is incident…this is a book where nothing much happens except people getting on with their lives. How Will Freeman gets on with his if he gets one at all is what About a Boy is all about.

It’s all about people. And learning to not keep people at arm’s length.

Which brings me to the personal stuff. I’ve always been fairly good at keeping people at arm’s length. It’s just my nature. But over the decades, I have tried very, very hard to learn how to not do this. I’m lucky that I married a social animal whose singular talent is making others feel comfortable and, well, noticed. My best friend Linda is also one of these people. I used to think this was something you are just born with. Like, they got the people gene and I didn’t. Well, I have learned that’s not true. You have to work at this stuff.

Allow me a metaphor. I love to garden. You know what decades of gardening has taught me? You can’t just stick a plant in the ground and expect it to bloom and grow so you can then sit back in your chair and admire it. You have to really pay attention to it. Watering, feeding, finding it a new home if it’s not thriving. You have to do this constantly. Not just when you feel like it. So it is with the people in your life.

I dislike Facebook. It’s a time-suck and I know it’s bad for me. But it has recently helped me reconnect with two old friends whom I had allowed to drift away. One, who did public relations for the Miami City Ballet, contacted me out of the blue only because I had posted something about dance on FB. I called her. We talked for two hours. I had forgotten how much we enjoyed each other’s company. I am working hard now on keeping in touch with her. I’m trying to pay attention this time.

Another old acquaintance found me on Facebook while I was in Paris. She was my boss at the Fort Lauderdale News and we lost touch decades ago when she moved to France. We weren’t able to meet up in Paris but now we’re emailing regularly, and trying hard to get the friendship synapes firing again.

A third friend recently lost her husband. Yeah, it’s hard being around people in mourning, or those trying to cling to the pieces when their boats sink. But I am trying to be there.

One last note. I have another friend — acquaintance really, we’re not real close — who is going through a really hard time right now. Her adult daughter has been drifting away, not staying in contact and seemingly not interested in keeping the relationship alive. My friend is at sea over this. It’s hard to be around her because she’s really needy, But I am trying to at least listen. Even when my inner-me is wanting to pull away. As Will says in the book:

Life was, after all, like air. Will could have no doubt about that any more. There seemed to be no way to keep it out or at a distance, and all he could do for the moment was live it and breathe it. How people managed it pull it into their lungs without choking was a mystery to him; it was full of bits. This was air you could almost chew.

Strange how some books find you when you most need them.

I am going to seek out Hornby’s other books. I like this writer. He can be witty but also dark and sarcastic, dealing with painful things. In About A Boy, nothing much happens, yet I didn’t care one bit. Give me a writer who isn’t afraid to be emotionally generous any time over a writer who holds his characters — and his readers — at arm’s length.

 

Silence the Inner Critic

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“You can be a successful writer, but first you must learn to silence your inner critic.”  ~Rob Bignell

The things we tell ourselves we become. It’s not easy to silence the inner critic, but it’s a crucial step in every writer’s life.

Fear and excitement are two sides of the same neurological coin.

Both emotions activate the sympathetic nervous system, triggering a biological response that includes:

  • Increased heart rate
  • Elevated blood pressure
  • Heightened sensory awareness
  • Release of stress hormones like cortisol and adrenaline

The brain’s limbic system, particularly the amygdala, plays a vital role in processing both fear and excitement. Here’s the intriguing part: the amygdala doesn’t distinguish between positive and negative arousal; it merely detects intensity.

We’ve discussed biological and physiological responses to fear before.

  • Increased breathing.
  • Increased heart rate.
  • Peripheral blood vessels in the skin constrict while central blood vessels around vital organs dilate and flood with oxygen and nutrients.
  • Blood pumps the muscles so they’re ready to react.
  • Muscles at the base of each hair tighten, causing piloerection aka goosebumps.
  • Eyebrows raise and pinch together.
  • Upper eyelid raises while the lower tenses.
  • Jaw may slack and part stretched lips.
  • Voice pitch rises, tone strains.
  • Posture either mobilizes or immobilizes or fluctuates between both.
  • Breath shallows.
  • Muscles tighten, especially in the limbs.
  • Increased sweating.

Excitement: Physiological Changes

  • Adrenaline Release: The adrenal glands release adrenaline, causing an increase in heart rate and blood pressure.
  • Increased Respiratory Rate: Breathing becomes faster and shallower to deliver more oxygen to the muscles and brain.
  • Heightened Senses: Pupils dilate, improving vision, and senses become more acute.
  • Muscle Tension: Muscles tense up in preparation for potential action.
  • Blood Flow Redistribution: Blood is directed away from non-essential functions like digestion and towards muscles, preparing for physical activity.
  • Hormonal Changes: Dopamine, associated with pleasure and reward, and cortisol, a stress hormone, may also be involved in the experience of excitement.

While the initial neurological response to fear and excitement may be similar, how we interpret the situation determines the way we experience the emotion. Meaning, we possess the ability to turn fear—the root of self-sabotage—into excitement by changing negative thought patterns.

Flip the script in your head by developing a growth mindset, rather than fixed.

A growth mindset—or in our case, a writing mindset—is rooted in positivity. A fixed mindset is nothing but trouble, steeped in negativity.

  • Where the negative writer sees a problem, the positive writer seizes the opportunity to grow and learn.
  • When the negative writer doesn’t understand something and quits, the positive writer will research, learn, and persevere.
  • Where the negative writer equates criticism to a personal attack, the positive writer accepts the feedback, then takes the time to evaluate and reassess.

*Neither should listen to trolls, scammers, or vitriol*

  • Where the negative writer gets jealous at another’s success, the positive writer swells with hopefulness—if they achieved it, so can you—and admiration.
  • Where the negative writer finds certain tasks like editing tedious and bothersome, the positive writer knows hard work is a worthwhile endeavor.

Writing is a vulnerable act. Alas, we may never escape the inner voice that haunts every writer who ever lived. In fact, it can be helpful at times.

Benefits of the Inner Critic

  • Motivates us to act
  • Keeps us honest and humble
  • Pushes us to succeed. If, and only if, we don’t let it cripple our creativity.

What we do is important.

What we write can touch lives, improve someone’s mood, cure loneliness for a while, or have a positive impact on how they view the world around them.

What we write matters.

Don’t allow the inner critic to rob readers of your voice.

I don’t claim silencing the inner critic is an easy task. Self-sabotage can be merciless.

The next time that tiny voice spits vitriol your way, take a breath and consider why it’s happening.

Are you stressed over a deadline?

Is the story not gelling like you hoped?

Do you need a break from the keyboard?

Even if you can’t uncover why the inner critic came out to play, you can outsmart him by turning fear into excitement. Your brain is already primed and ready!

What are some ways you silence the inner critic?

The Long and Short (Story) of It

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by James Scott Bell
@jamesscottbell

If I may indulge in a little horn toot today. My latest release has dropped—just don’t drop it on your foot. Because the print version comes in at a honkin’ 612 pages (173k words). It looks nice on a shelf but will also work as an emergency doorstop. It sells for $28.95.

The ebook is considerably lighter, and is a “steal” at the special launch price of just $3.49. You might want to hop on that, as the price goes up to $6.99 in a few days.

Down These Streets is a complete collection of my short stories. From the introduction:

I’ve always considered short stories the hardest kind of fiction to write and—at the same time and in the right (write) hands—the most powerful form of storytelling.

I can still feel the emotional jolt of many Hemingway stories. “Soldier’s Home,” “Hills Like White Elephants,” and “The Short Happy Life of Francis Macomber” come to mind. Even the work that got Hemingway the Nobel Prize, The Old Man and the Sea, is really a novella, coming in at a modest 27,000 words. But you’re knocked out at the end. The old man was dreaming about the lions.

In college I was fortunate to get into a workshop overseen by an acknowledged master of literary short stories, Raymond Carver. From him I learned the value of “the telling detail,” a small item in a story that reveals a universe of a character’s inner life.

The term literary is used primarily to distinguish such stories from other genres, like pulp fiction. Oh, how I love the world of classic pulp (1920-1950), so named because these magazines were printed on cheap, wood-pulp paper so the publishers could sell them for a dime or a quarter on newsstands. Writers like Dashiell Hammett, Raymond Chandler, Carroll John Daly, and Erle Stanley Gardner ushered in the hardboiled school of pulp writing.

In junior high, I found another kind of short story in Ray Bradbury’s The Illustrated Man. Here were flights of imagination mixed with sparkling prose and a “kicker” ending. Man, I wanted to be able to write like that (a desire not uncommon to nascent writers reading Bradbury). He seemed to be saying to me, “The door is open to my story world. Come in! But keep watch, for you never know what’s waiting for you at the end.”

This collection, then, is my homage to all these styles. There are stories with a twist, stories with a heart (the “literary” type), and stories with a punch (about a 1950s boxer in L.A. named Irish Jimmy Gallagher).

My title is taken from a Raymond Chandler essay on the fictional detective, which every pulp writer knows practically by heart. It begins: “Down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid.”

I’ve also included a good chunk of my flash fiction (stories under 1,000 words). These are perfect when you need some quick escapism, or are fighting boredom in a waiting room or the grocery store line.

In fact, there are stories for any occasion—except, perhaps, rock climbing.

The door is open. Come in, enjoy, but keep close watch—because you never know what’s waiting for you at the end…

Order on Amazon.

Outside the U.S. go to your Kindle store and search for: B0FD4RYY9P

The main craft tip I have on short stories is this: every successful short story is about “one shattering moment.” That moment can be quiet or big; subtle or blunt; or a great plot twist that changes everything. And it can happen in five different places:

  1. Before the story begins (the story itself shows the aftermath of the moment)
  2. At or near the beginning
  3. In the middle, changing the entire trajectory
  4. At the end (best place for that juicy twist)
  5. After the story (the implied shatter)

I even wrote a book about this, with examples. But I don’t want you to buy that book. Not today, at least! Today the star is my own collection.

Thanks for your kind indulgence.

What’s one of your favorite short stories?