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?

Unanticipated Duties

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“Time is on my side, yes it is.” Mick Jagger

Old Mick might have been wrong about that one.

I love writing for Killzone.com, and most of the time I’m a week or so ahead of these posts, but the past few weeks have been a firehose of deadlines and family obligations, along with day-to-day duties such as yardwork, household maintenance, and writer duties.

This week caught up to me. I finished a newspaper column only ten minutes before deadline, because the summer schedule with our grandcritters absorbed my time. We just got back from a week at the beach, which completely threw as far as dates are concerned. Not complaining here, because we’re fortunate to have them all close by.

New or budding authors don’t realize this business isn’t just sitting before the keyboard and tapping out words. There’s a lot more to being an author that meets the eye.

For example, in addition to the aforementioned newspaper column due today, I had this blog post (due Saturday) which needed to be finished before getting on the road tomorrow morning (Friday) to attend the Western Writers of America conference this weekend of June 20-22, and (Today, Thursday, June 19 at 7:00) I am author Craig Johnson’s in-conversation partner for his Return to Sender book tour here in the DFW area.

Wait. There’s more. I also have a magazine deadline for Texas Fish and Game, and am the editor for an upcoming short story anthology entitled Rough Country (2026 release). I’d reached out to a number of bestselling and talented authors to join in this Roan and Weatherford publication benefitting the U.S. Marshal’s Survivor Fund, and it’s my duty to spearhead this project.

“Against the wind, I’m still running against the wind, I’m older now, but still running against the wind.” Bob Seger.

That’s how I feel right now. Line edits for Comancheria just went in after dedicating several days to that project, and the publisher at R&W is allowing me to have more than the usual amount of input in the cover, which we still haven’t nailed down and publication is in October. Together with the editor and the artist, we’ve discarded half a dozen options.

Wait, again. There’s still more. I’m working with my publishers at Sourcebooks to find the right talent to record the audio version of my most recent Red River novel, The Texas Job. We almost have the right voice for this novel, which I just learned, is in the running for the Will Rogers Gold Medallion in the Western Modern Fiction category. At the same time, The Journey South is in the running for the gold in the Will Rogers Medallion Traditional Western Fiction category.

Copy edits are almost ready for A Dead Man’s Laugh, and that will take precedence over other projects. As many of you know, these edits come in out of the blue and there’s usually (for me, anyway) a two-week deadline, so all momentum on anything else has to stop.

And finally, this summer in a writer’s life will climax in the completion of my manuscript titled, What We Owe the Dead, which I hope to send to my agent by the middle of July (my own deadline).

This all needs to be wrapped before we head out to Bouchercon, in New Orleans. After that, I’ll finish the edits for the anthology so I can attend the Will Rogers Medallion Award ceremony in Tulsa, OK, at the end of October.

I still need to finish my own short story for the Rough Country anthology, and on the horizon is a new Red River novel, which will be set in 1979, the end of the Strange Seventies. While drinking lots of local wine a thousand-year-old house in Italy last October, Gilstrap and I hammered out the plot basics for this tenth book in my original series. Note: It still sounded good the next morning.

This is all a Magic Carpet Ride (Steppenwolf), and I’m glad to be here. It’s been a long road to this place in time, and starting out, I had no idea what would be required to reach this level of (for me) literary success.

When I post this one on the Killzone dashboard, I can get to work on a few specific questions to ask Craig about Return to Sender. He and I have known each other for so long, most of our discussion will be organic and we’ll follow the free-wheeling conversation to wherever it goes, but I’ll need a couple of specific questions that I might forget.

Now it’s time to post this discussion and check at least one item off my list. Wait! Dang it! I need to post tonight’s event one more time on my social media accounts, so there goes another bite of time.

With all that, how’s your writing world, and is there a song that pops into your head that might relate?

 

 

Reader Friday-Holiday Magic!

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Did you know there are holidays out there that no one has ever heard of?

I went down a cyberspace rabbit hole the other day and found this website–https://www.holidayscalendar.com/topics/weird/ .

Here’s some favorite never-heard-of-holidays I found.

Z Day—January 1st:  “For years, people whose last names start with a “Z” were the last to be chosen in any alphabetical system, and this day corrects that problem. On this day, people with last names starting with a “Z” get the chance to go first, ahead of anyone else. At least in theory. These individuals are automatically moved to the front of the line, even if it’s only for one day of the year.” No joke! Click on the link if you don’t believe me…

World Sword Swallowers Day—Fourth Saturday in February:  “It’s our opinion that most people don’t know someone who swallows swords for either fun or profit. If a person does, however, they should thank them on World Sword Swallowers Day—a holiday that celebrates this ancient art and the people who practice it.” Someone give that guy a drink of water!

 

And, last but not least . . .

Take Your Houseplant for a Walk Day—July 27th:  “This holiday is observed on July 27th, and it gives everyone a chance to bond with their plants and probably get a few strange looks from their neighbors as well.”

Those are just a few. Check out the link above and share your favorite with us—or come up with your own!

Question:  Do any of these weirdo holidays spark ideas for short stories?

***

 

And speaking of short stories, check this out! An awesome collection of short stories by our own JSB–read for pure pleasure or craft teaching–or both!

Click on the cover to view on Amazon…

 

 

 

 

 

Building Character

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By Elaine Viets

When I started writing Sex and Death on the Beach, the first mystery in my new Florida Beach series, I wrestled with a problem I hadn’t had for some time: Creating characters.

All my mysteries have new characters, but when I’m introducing a new series, I have to create characters I can use throughout the series. This took at least five rewrites.

My main character is Norah McCarthy, who inherited a 1920s apartment house in mythical Peerless Point, Florida. Norah was orphaned as a little girl and brought up by her grandmother, a Florodora Girl. She was a showgirl.

Version 1.0.0

The residents of Norah’s building belong to an exclusive group. They must be Florida Men and Women, but the benign variety. The exploits of Florida Man often include alligators and alcohol. You’ve seen the headlines: “Florida Man Busted with Meth, Guns and Baby Gator in Truck.” The residents are her adopted family, and they will appear in future mysteries.

Bare bones characters:

Some characters will probably only appear once, in Sex and Death on the Beach. Like Elwin Sanford.

Elwin is “a rotund man in a hardhat, neon safety vest and gray cover­alls. He had a wispy mouse-colored mustache and weedy patches of hair clinging to his sweaty scalp. In fact, with his round body, gray coveralls and twitchy nose, he looked like a cartoon mouse.”

Elwin’s appearance is a clue to his character. He, a city inspector, is a crook and looks like one.

Important supporting characters.

Norah McCarthy has two live-in staff members at the Florodora apartments. One is the handyman-gardener is Rafael, a native of Colombia. In the first rewrite, Rafael is “a dark, stocky man who knows inventive ways to repair ancient machinery, handles maintenance and takes care of the grounds. He keeps the building one step ahead of the city inspectors, who are determined to shut us down. Rafael has a bachelor apartment above the garage.”

Rafael ducks difficult questions by looking confused and saying, “No spik Engleesh.”

At that point, was Rafael a real character?

Not  yet. All I have are the bare bones. Rafael is simply someone who has a few quirky mannerisms.

For the third rewrite, I sat down and wrote a bio of every major supporting character. In that version, my main character Norah chided Rafael when he used his “No spik Engleesh” routine with a cop. Norah tells him:

“Eventually you’re going to get caught, Rafael. You speak excellent English. You were a judge in Colombia.”

Norah instantly regrets her thoughtless remark: “As soon as the words passed my lips I wished I could take them back.

“The sudden sadness in Rafael’s eyes was a terrible rebuke. Rafael fled Medellin in 1986, after Pablo Escobar killed his wife and baby son. Grandma hired him, and he’d worked at the Florodora ever since. His ambition died with his family.”

Late at night, Norah would often see Rafael sitting on the flat roof of his garage apartment staring at the ocean, as if he could see all the way to his troubled country.

“Rafael never discussed his family’s murders. He hid his heart­break with superficial jokes and his ‘no-spik-Engleesh’ routine.”

I also wrote this bio of Rafael’s red truck: “The old truck rattled and lurched. A loose spring in the seatback poked passengers every time Rafael hit the brakes.

“The air conditioning worked when it felt like it. Whenever the air-con quit, Rafael would give the dashboard a hearty whap and cool air would pour out again.”

The Florodora has five permanent residents. I’m partial to Billie the banana bandit. Billie held up a convenience store with a banana and stole three overdone dogs from its hot dog roller grill. Billie worries his crime will somehow come to light, even though there was no police report and he ate the evidence.

At first, that’s about all I said about Billie, except he was a movie buff who perpetually held his own personal filmfest.

Billie needed more depth, so I had him write retrospectives about movies and made his first book a New York Times bestseller.

Billie had “turned his obsession into a successful writing career.”

He was currently researching his new film “book, Seeing in the Dark. This week it was the Rocky movies, and Billie was looking for the thirty-five goofs and plot holes that were supposedly in the Sly Stallone boxing movies. That’s how he prepared for his work, by looking for the mistakes in the movies.”

Billie comes downstairs, “wearing baggy jeans and a red Bruce Willis T-shirt that read, “I survived the Nakatomi Plaza Christmas party 1988.”

Nakatomi Plaza. The setting for Die Hard.

Die HardNorah tell him, “Let me guess. You’re also doing a Die Hard retrospective for your new book.”

“Yep,” Billie said. “Did you see the first Die Hard movie?’

“It’s been a while, but I liked it.”

“Me, too,” Billie said. “But there are supposed to be more than a hundred mistakes in the first movie alone, and I’m trying to find them all.”

Billie will tell Norah about as many as possible.

Another favorite character in Sex and Death on the Beach is Mickey, the artist. At first, I described Mickey as single, “kind and gentle,” and wearing offbeat clothes, including “a funky orange-striped caftan.”

Boring. Mickey had to be more than a heap of clothes. Readers had to care about her.

So I added, she “works as a freelance artist, but she’s been known to vandalize for a good cause.

“When posters appeared on the local telephone poles insulting black people, Mickey was horrified. She went around Peerless Point, covering the offensive posters with her homemade one, which said, ‘I covered the ugly racist poster here with a cat photo.’

“My favorite prank was what Mickey did in the local gas station bathroom. In the restroom was a wall-mounted infant diaper changing station that pulled down into a changing bed. Mickey put a sign on the plastic baby bed that said, ‘Place sacrifice here.’”

Mickey drives a “powder blue VW Bug with a sign in the back window: ‘Adults on Board. We want to live, too.’”

For this series, I recorded how all my characters got around. Some took the bus or bummed rides, others drove.

The Florida Beach bios total 22 pages single-spaced, and describe buildings, apartments, cars and characters minor and major, first and last names. I hope you’ll enjoy them.

Writers, do you use character bios for your books?

Buy Sex and Death at the Beach online. NOTE: Prices may vary. Please check before you buy:

Amazon: https://tinyurl.com/326up5ny

Barnes & Noble: https://tinyurl.com/3tx8x4fb

Thriftbooks https://tinyurl.com/3vk9yhb5.

Or order it from your local bookstores, including Harvard Book Store https://www.harvard.com/book/9781448314799.

 

Character Building

Posted on by

By Elaine Viets

When I started writing Sex and Death on the Beach, the first mystery in my new Florida Beach series, I wrestled with a problem I hadn’t had for some time: Creating characters.

All my mysteries have new characters, but when I’m introducing a new series, I have to create characters I can use throughout the series. This took at least five rewrites.

My main character is Norah McCarthy, who inherited a 1920s apartment house in mythical Peerless Point, Florida. Norah was orphaned at age four and brought up by her grandmother, a retired Florodora Girl.

The residents of Norah’s building belong to an exclusive group. They must be Florida Men and Women, but the benign variety. The exploits of Florida Man often include alligators and alcohol. You’ve seen the headlines: “Florida Man Busted with Meth, Guns and Baby Gator in Truck.” The residents are her adopted family, and they will appear in future mysteries.

Bare bones characters

Some characters will probably only appear once in Sex and Death on the Beach. Like Elwin Sanford.

Elwin is “a rotund man in a hardhat, neon safety vest and gray cover­alls. He had a wispy mouse-colored mustache and weedy patches of hair clinging to his sweaty scalp. In fact, with his round body, gray coveralls and twitchy nose, he looked like a cartoon mouse.”

Elwin’s appearance is a clue to his character. A city inspector, he is a crook and looks like one.

Important supporting characters

Norah McCarthy has two live-in staff members at the Florodora apartments. One is the handyman-gardener Rafael, a native of Colombia. In the first rewrite, Rafael is “a dark, stocky man who knows inventive ways to repair ancient machinery, handles maintenance and takes care of the grounds. He keeps the building one step ahead of the city inspectors, who are determined to shut us down. Rafael has a bachelor apartment above the garage.”

Rafael ducks difficult questions by looking confused and saying, “No spik Engleesh.”

At that point, was Rafael a real character?

Not  yet. All I have are the bare bones. Rafael is simply someone who has a few quirky mannerisms.

For the third rewrite, I sat down and wrote a bio of every major supporting character. In that version, my main character Norah chided Rafael when he used his “No spik Engleesh” routine with a cop. Norah tells him:

“Eventually you’re going to get caught, Rafael. You speak excellent English. You were a judge in Colombia.”

Norah instantly regrets her thoughtless remark: “As soon as the words passed my lips I wished I could take them back.

“The sudden sadness in Rafael’s eyes was a terrible rebuke. Rafael fled Medellin in 1986, after Pablo Escobar killed Rafael’s wife and baby son. Grandma hired him, and he’d worked at the Florodora ever since. His ambition died with his family.

“Late at night, I’d often see Rafael sitting on the flat roof of his garage apartment staring at the ocean, as if he could see all the way to his troubled country.

“Rafael never discussed his family’s murders. He hid his heart­break with superficial jokes and his ‘no-spik-Engleesh’ routine.”

I also wrote this bio of Rafael’s red truck: “The old truck rattled and lurched. A loose spring in the seatback poked passengers every time Rafael hit the brakes.

“The air conditioning worked when it felt like it. Whenever the air-con quit, Rafael would give the dashboard a hearty whap and cool air would pour out again.”

The Florodora has five permanent residents.

I’m partial to Billie the banana bandit. Billie held up a convenience store with a banana and stole three overdone dogs from its hot dog roller grill. Billie worries his crime will somehow come to light, even though there was no police report and he ate the evidence.

At first, that’s about all I said about Billie, except he was a movie buff who perpetually held his own personal filmfest.

Billie needed more depth, so I had him write retrospectives about movies. His first book was a New York Times bestseller.

Billie had “turned his obsession into a successful writing career.”

He was currently researching his new film book, Seeing in the Dark. This week it was the Rocky movies, and Billie was looking for the thirty-five goofs and plot holes that were supposedly in the Sly Stallone boxing movies. That’s how he prepared for his work, by looking for the mistakes in the movies.

Billie comes downstairs “wearing baggy jeans and a red Bruce Willis T-shirt that read, “I survived the Nakatomi Plaza Christmas party 1988.”

Nakatomi Plaza. The setting for Die Hard.

Norah tell him, “Let me guess. You’re also doing a Die Hard retrospective for your new book.”

“Yep,” Billie said. “Did you see the first Die Hard movie?’

“It’s been a while, but I liked it.”

“Me, too,” Billie said. “But there are supposed to be more than a hundred mistakes in the first movie alone, and I’m trying to find them all.”

Billie will tell Norah about as many as possible.

Another favorite character in Sex and Death on the Beach is Mickey, the artist. At first, I described Mickey as single, “kind and gentle,” and wearing offbeat clothes, including “a funky orange-striped caftan.”

Boring. Mickey had to be more than a heap of clothes. Readers had to care about her.

So I added, she “works as a freelance artist, but she’s been known to vandalize for a good cause.

“When posters appeared on the local telephone poles insulting black people, Mickey was horrified. She went around Peerless Point, covering the offensive posters with her homemade one, which said, ‘I covered the ugly racist poster here with a cat photo.’

“My favorite prank was what Mickey did in the local gas station bathroom. In the restroom was a wall-mounted infant diaper changing station that pulled down into a changing bed. Mickey put a sign on the plastic baby bed that said, ‘Place sacrifice here.’”

Mickey drives a “powder blue VW Bug with a sign in the back window: ‘Adults on Board. We want to live, too.’”

For this series, I recorded how all my characters got around. Some took the bus or bummed rides, others drove.

The Florida Beach bios total 22 pages single spaced, and describe buildings, apartments, cars and characters minor and major, first and last names. I hope you’ll enjoy them.

Writers, do you use character bios for your books?

Buy Sex and Death at the Beach online. NOTE: Prices may vary. Please check before you buy:

Amazon: https://tinyurl.com/326up5ny

Barnes & Noble: https://tinyurl.com/3tx8x4fb

Thriftbooks https://tinyurl.com/3vk9yhb5.

Or order it from your local bookstores, including Harvard Book Store https://www.harvard.com/book/9781448314799.