Tag Archives: #amwriting

Are You Moonstruck?

Posted on by

For the last few days, I’ve felt off. Writing had been difficult. Words refused to flow. Pumping out a decent chapter likened to delivering a 10 lb. baby with wide shoulders and oversized head. Even my playlists didn’t match my mood.

And sure, moments of melancholy go hand-in-hand with the holidays, but that wasn’t it. So, like I often do, I turned to nature for the answer. Specifically, the ebb and flow of the Moon.

When the lunar calendar showed the waning crescent phase, I’d found my answer. We’ve done battle before, her and I.

The waning crescent means one thing: early nights. With the final stretch of this lunar cycle, it’s normal to feel exhausted by the past month and want to unwind as the New Moon approaches. It’s also a time of reflection. Perfect time for journaling and self-care.

I’ve long known how the Moon affects me. It’s undeniable. I also know my views may conflict with yours, and that’s okay. We’re writers, after all. It’s our job and passion to question the mysteries of life.

Why would I believe the Moon is responsible for my lackadaisical mood?

I’m glad you asked. 😉

Let’s first look at the composition of the human body.

According to the Journal of Biological Chemistry 158:

  • An adult human body is made up of about 60% water.
  • The brain and heart consist of 73% water.
  • Lungs are about 83% water.
  • Skin has 64% water.
  • Muscles and kidneys are 79% water.
  • Even bones are 31% water.

The above percentages vary by age, gender, and where people reside. An adult male, for example, needs about 3 liters per day of water while an adult female only needs 2.2 liters. Some of which we derive from food. Keep in mind, fat tissue doesn’t have as much water as lean tissue.

Infants are born with the most water — about 78% of their body. By their first birthday, that number decreases to about 65%.

Water serves several essential functions:

  • first acts as a building material, then provides nutrients to every cell in the body
  • regulates internal body temperature through sweating and respiration
  • metabolizes and transports carbohydrates and proteins in food to the bloodstream
  • assists in flushing waste through urination
  • acts as a shock absorber for brain, spinal cord, and fetus
  • creates saliva
  • lubricates joints

With all the water in our bodies, how could the Moon not affect us? 

If you’re still not convinced, perhaps it’ll help to understand how and why the Moon wields great power.

Tides

The Moon’s gravitational pull generates something called “the tidal force.” The tidal force causes Mother Earth — and its water — to swell on the sides closest and farthest from the Moon. These bulges of water are high tides. As the Earth rotates, our regions pass through both stages every day. If we’re in one of the bulges, we receive a high tide. If we’re not, it results in a low tide. This cycle of two high tides and two low tides occurs on almost all of the world’s coastlines. The rare exception is when the tide circles around an island, like in New Zealand.

In addition to the tides, the Moon controls time, light, and stable seasons.

For many animals, particularly birds, the Moon is essential to migration and navigation. Others will time their reproduction to coincide with the specific phases of the lunar cycle. There’s also a whole world of fascinating adaptations relating to tides and the unique properties of moonlight.

Power of Lunar Cycle

The lunar cycle changes circadian rhythms — day/night cycles driven by Earth orbiting the Sun. Human circadian rhythms are easily thrown off by jet lag or when we change the clocks. But circalunar rhythms, which are tied to lunar cycles, can also impact us.

Circalunar rhythms are difficult to discern, but they effect different types of organisms. Some animals respond to both a circadian rhythm and a lunar clock. I recently wrote an in-depth article about why animals don’t get lost that may interest you.

“The Moon has been up there as long as evolution has been taking place, and lunar rhythms are embedded in the life cycles of many organisms. The challenge is working out when the Moon truly is a factor and what is merely myth and legend.”

— Dr. Tom White, Senior Curator of Natural History Museum

Day Length

The gravitational pull of the Moon is slowing Earth’s rotation, an effect known as “tidal braking,” which increases the length of our day by 2.3 milliseconds per century. Early Earth was spinning at a much faster rate. According to computer models, we had a six-hour day 4.5 billion years ago. Since then, with the help of our Moon, the Earth’s rotation has been slowing. The result is longer days.

Seasons

The giant impact that formed the Moon may have tipped the Earth and contributed to the 23.5° tilt of our North Pole. This tilt gives us our seasons.

The Moon’s gravitational pull acts like training wheels for Earth on its journey around the Sun, and keeps the axis pointed at a consistent angle. Without the Moon, the Earth’s stately progression through spring, summer, fall, and winter would have massive fluctuations.

If the Moon controls tides (with help from our Sun), time, light, and seasons, it’s naïve to think it can’t impact human life. Or maybe, you’ve never given it much thought.

Fair enough. We do live busy lives and have different interests.

A few fun facts:

  • Behaviors of several species have been linked to lunar periodicity.
  • The word “lunacy” stems from the Latin word “lunar,” which means “Moon.”

Ask your local police if crime rises during a full Moon. Many will say yes. A registered nurse friend of mine swears the nursing home goes berserk during a full Moon. Yet, neither have been scientifically proven as cold, hard facts. Doesn’t mean they aren’t true, but I’d be remiss if I didn’t mention it.

  • Some philosophers say the Moon affects human behavior and health by its gravitational pull on body fluids.

The gravitational pull is so strong, our planet’s crust is stretched by these same tidal effects on a daily basis.

Can the Moon Disrupt Sleep?

A 2021 study found that people fell asleep later and slept less overall on the nights before the full moon — called Moonstruck sleep. Other research suggests the full Moon may be associated with less deep sleep and increased REM (rapid eye movement) latency.

Sleep latency is the period between when you first fall asleep and when you enter the first stage of REM sleep. So, increased latency means it takes longer to reach REM sleep.

As restrictions in sleep duration have been shown to adversely affect glucose regulation and physical activity to improve glucose regulation, one could argue cardiometabolic risk factors might also be affected by the lunar phase.

Despite dismissal by many non-holistic practitioners, scientific studies show we sleep less during certain Moon cycles.

“While the sun is the most important source of light and synchronizer of circadian rhythms for almost all species, moonlight also modulates nocturnal activity in organisms ranging from invertebrate larvae to primates. Moonlight is so bright to the human eye that it is entirely reasonable to imagine that, in the absence of other sources of light, this source of nocturnal light could have had a role in modulating human nocturnal activity and sleep.

 

However, whether the moon cycle can modulate human nocturnal activity and sleep remains a matter of controversy. Some authors have argued against strong effects of moon phase on human behavior and biological rhythms, but recent studies have reported that human sleep and cortical activity under strictly controlled laboratory conditions are synchronized with lunar phases.”

Some people are biologically more sensitive to the lunar clock than others, along with the Moon’s alignment with astrological signs.

So, TKZers, if you’d rather snuggle up with a good book or watch a sappy Christmas movie, I grant you whatever permission you may need to go for it. When the New Moon arrives on the 13th, light up the keyboard!

I have only one question for you today. How are you, friend? 

This is my last post before our holiday break. Wishing you and yours a joyous season!

 

 

 

Wrapping It Up

Posted on by

“For last year’s words belong to last year’s language and next year’s words await another voice. And to make an end is to make a beginning.” ― T.S. Eliot

* * *

As we approach the end of another year, it’s time to look back on 2023, assess our performance, and make preparations for 2024. If you’re like me, you have a list of goals you set for 2023 that you’re reviewing to see how you did.

I had twenty-eight writing goals for 2023. It was an ambitious list (I tend to be overly optimistic about what I can accomplish) that included books I wanted to write and publish, audiobooks I wanted to have made, and the number of books I intended to read. I also set goals for blog posts, reviews, book sales, X (Twitter) posts and followers, conferences, and other categories.

I reviewed the list a couple of days ago. I accomplished some things (specifically 65% of my goals, depending on how you count them), but others will have to wait until 2024.

* * *

Do you take time at the end of the year to reflect on the past and plan for the future? Here are a few suggestions I came across recently that may be helpful:

  1. Celebrate the accomplishments. Whatever progress was made in 2023 is worth a pat on the back. If you published a book, met your weekly word quota, got more Bookbub followers, or did anything else that moved the ball forward, take time to bask in the joy of your achievements. Chocolate is always a nice reward.
  2. Take a look at areas you want to improve in your writing and make a plan to tackle them in 2024.
  3. Acknowledge the people who helped you with your writing this year by sending them a thank-you note or donating to a charity in their honor.
  4. Decide on the number of words you want to write in 2024 and make a note of it. Tape the note to your desk.
  5. Choose a social media platform you want to concentrate on and decide how many posts you’ll make each week.
  6. Look over the writers’ conference schedules for 2024 and start making plans to attend one.
  7. Decide on promotions you want to run.
  8. Become a part of a blog community by commenting regularly.

Maybe most importantly, remember the words of the great runner Dean Karnazes, who ran a marathon in each of the 50 states in the U.S. on 50 consecutive days: “Run when you can, walk if you have to, crawl if you must, just never give up.” It’s just as relevant to writing as it is to running.

* * *

Since this is my last TKZ post for 2023, I want to express my gratitude to all of you for the insights, guidance, humor, and friendship I’ve enjoyed here during the past year. I wish you all a Happy Holiday season and best wishes for a productive and joyful writing year in 2024.

So TKZers: Did you achieve your goals in 2023? What accomplishments can you tell us about? What are your plans for 2024?

* * *

 

“DiBianca launches her Lady Pilot-in-Command series with a spectacular tale of decades-old murder mystery, human drama, and a hint of romance…. a surefire winner.” –Prairie Book Reviews

Lacey’s Star is on sale here.

What type of writer and reader are you?

Posted on by

Back in 2015, I was chatting with a dear writer friend, Paul Dale Anderson, about the different types of writers and readers.

If you’re a new writer searching for your voice, understanding which classification you fall into might help. Professional writers should also find this interesting.

Some of you may be familiar with Neurolinguistic Programming (NLP). Though many call it junk science, most agree with the basic theory behind it: Our brains process information through one of our five senses. Though some rare individuals favor their sense of taste or smell (usually together, and these people are often chefs or perfumers), for most of us, it comes down to either visual, auditory, or kinesthetic.

Kinesthetic links the process of learning to physical activity. Meaning, kinesthetic people can read or listen to instructions, but deep learning occurs via the process of doing. Obviously, this doesn’t mean kinesthetic readers need to act out the plot — though that’d be cool to watch! — they better absorb the storyline when it relates to experiences and actions.

Clear as mud? Cool. Moving on…

Paul Dale Anderson authored 27 novels and hundreds of short stories. He earned graduate degrees in Educational Psychology, taught college-level Neurolinguistic Programming (NLP), and earned an MA in Library and Information Studies from the University of Wisconsin. He also taught creative writing for Writers Digest School (both Novel and Short Story) and for the University of Illinois at Chicago. Paul was also a Certified Hypnotist and National Guild of Hypnotists Certified Instructor.

Sadly, the writing community lost our dear friend Paul on December 13, 2018. You can still plant a tree in his honor here, which I just discovered. Seems fitting for such a kind and generous soul. Anyway…

What he shared with me in 2015 is pure gold. And today, I’ll share it with you. The italicized paragraphs below are Paul’s words, not mine.

Even from beyond the grave, his knowledge and expertise still dazzles…

Too many writers are unaware of how the human mind processes language. Various structures in the brain—some in the left hemisphere and some in the right—work together to make sense out of symbols. Symbols include, besides alpha-numeric digital representations, sounds, gestures, signs, maps, smells, tastes, and physical feelings. It is the mind that gives meaning to each symbol based on prior associations dredged out of memory. The map is not the territory but merely a representation of the territory.

During conversations with fellow writers at the 2015 Nebula Award Banquet in Chicago, I identified successful new writers by which symbols had salience for them and the way they accessed information.

Some writers were very verbal and had a fluidity of language based primarily on auditory processing of sensory input. Those people were able to instantly duplicate and respond to what they heard as they heard it. Sounds themselves had salience. Those writers are akin to the musician who plays mostly by ear, translating auditory input into kinesthetic output without the additional steps auditory-digital types like me require to process input and output.

I work differently. I “see” stories, then translate them into words that describe my visions. First I see the scenes. Then I see the written symbols that best represent that scene. I see each letter, each punctuation mark, each space at the beginning of a new paragraph, the way words and white space look laid-out on a page, the way each page contributes to the story as a whole.

I write at the keyboard where my fingers automatically translate the symbols in my head into kinesthetic actions that produce the symbols that appear on the screen or piece of paper. I cannot listen to music while writing. Background music interferes with the words in my head. Other writers find that listening to music while writing is a big help.

If you are primarily kinesthetic, you might prefer to write with a pen on paper before revising your works on a keyboard or sending your notebooks to a typist. The feel of the paper itself, the touch of the pen to paper, produces words from your subconscious faster and better than any other process. Kinesthetic writers also love to pound out words on manual typewriters. They write with a flourish that adds to their style. James Patterson is a kinesthetic writer.

If you’re more like me, however, you separate the process into a series of “drafts.” The first draft is primarily visual, and you describe what you see.

The second draft includes imagined sounds, tastes, feelings, smells. During the third draft I read all the words aloud to hear how the words sound and to feel how they roll off my tongue. I add punctuation marks to match my pauses, inflections, intonations. I tend to cut unnecessary flourishes out of my stories unless they add momentum to the plot or help describe a specific character.

If a story is to work, it must engage all of the reader’s senses. Some readers are primarily auditory, some are visual, some are kinesthetic, some olfactory, and some gustatory.

The majority of people in this world are auditory. They respond best to dialogue, to alliteration, to phrasing. If you are primarily auditory like Stephen King, you might find writing easier if you dictate and capture the words into a digital recorder. Kinesthetic people respond best to action and they translate words on paper into muscle movements. If you want to appeal to every reader, you need to reach each of them in their own personal comfort zones.

That last line is a killer, right? No pressure. LOL

I fall into the auditory category, both as a writer and a reader. I write with headphones on, but the music becomes white noise that narrows my focus, transporting me into my story worlds. My first drafts consist of mainly dialogue with no tags and minimal narrative and description. After I gain critical distance, I’ll add sensory details and other enhancements.

As an auditory reader, I can’t listen to audiobooks. I need to read the words to hear the story rhythm. Audiobooks rob me of that.

Paul told us readers fall into the visual, auditory, and kinesthetic categories. For fun, let’s look at reading subcategories as well.

  • Motor reader: These readers tend to move their lips and may even mimic speech with their tongues and vocal cords when reading. Their reading range is very slow (150 to 200 words per minute) because they must read word-by-word at the rate they speak.
  • Auditory reader: These readers vocalize minimally or not at all, but they do silently say and/or  hear the words. They read in the 200 to 400 words-per-minute range. Auditory readers are skillful readers with vocabularies large enough that they can quickly recognize words.
  • Visual reader: These readers engage their eyes and minds when they read, but not their mouths, throats, or ears. They can read many words at once because they read ideas, not individual words. They read at a rate of 400+ words per minute.

If we believe Paul, with all his experience and degrees, most people fall into the auditory reader category. If your sentences don’t sing, the auditory reader may DNF your book. We also can’t forget about the visual or kinesthetic reader. Striking the perfect balance for all three can wrench a writer’s stomach, but it’s a goal worth shooting for.

What type of writer are you? What type of reader are you? If you’re an auditory reader, do you enjoy audiobooks? Or can you only hear the story rhythm by reading the actual words?

Something To Do …

Posted on by

This season of Thanksgiving calls to mind a quote by the 18th-century Scottish writer Alexander Chalmers:

“The three grand essentials of happiness are something to do, someone to love, and something to hope for.”

For those of us who write, we can be grateful that the “something to do” part of that is pretty well covered.

* * *

Every now and then, a friend will stop by our home and venture into my office. They’re usually surprised at what they find there. Books are standing or lying on bookshelves in some kind of semi-organized chaos, and the three-door closet is covered with Post-it notes I’m using to plot my next book.

The desk is a riot of papers, laptops, to-do lists, notes, and more books. Whiteboards lean against walls that are covered with pictures and papers, and the back of the office door has more lists taped to it.

Invariably, someone will ask, “How do you get everything done?” The answer is simple: I don’t.

One of life’s greatest blessings is, I think, to have more to do than one can possibly get done. I’m happy to tell the story I’m working on as well as I can, aware that there are many more in the future. I’m like a kid in a magnificent toy store, captivated by the puzzle I’m trying to put together and excited by the endless supply of new and shiny artifacts yet to be tackled. I am so grateful, and I’m reminded of another wonderful and timely quote, this one by a 13th-century theologian:

“If the only prayer you ever say in your entire life is thank you, it will be enough.” –Meister Eckhart.

* * *

So, TKZers: Happy Thanksgiving and thank you for all the wisdom shared here over the past year!

Do you have more to do than you can ever accomplish? What things in your writing life are you grateful for?

I’ll be traveling today, but I’ll check in whenever I can to respond to comments.

* * *

 

Private pilot Cassie Deakin has something to do: find the culprits who assaulted her beloved uncle. But can she accomplish her mission before she becomes the next victim?  Buy it here.

Biological Responses to Anger

Posted on by

In the comments of my post about fear, Dale suggested I write about anger, another powerful emotion with a physical response within the body. We associate anger as a negative emotion. If well-managed, anger can motivate us to make positive changes. The same holds true for our characters.

Most emotions begin inside two almond-shaped structures in our brains called the amygdala. The amygdala is the part of the brain responsible for identifying threats to our well-being, and for sending out an alarm when threats are identified.

It’s so efficient at warning us that it can cause us to react before we’re able to confirm whether our response is warranted. Thought and judgment stem from the prefrontal cortex (behind the forehead), which tends to lag behind the amygdala.

In other words, our brains are wired to influence us to act before we can consider the consequences of our actions. This is not an excuse for behaving badly—people can and do control their anger. Rather, it means managing anger is a skill, not something we instinctually know how to do.

Case in point: Teenagers. 😉

Fun fact: The human brain takes twenty-six years to fully develop. This should help you stay sane when kids lash out or talk gibberish. They’re not working with a full deck yet!

What happens within the body when we’re angry?

Like fear, anger triggers the body’s fight-or-flight response. The adrenal glands flood the body with stress hormones, such as adrenaline and cortisol. The brain shunts blood away from the gut and toward the muscles to prepare for physical exertion.

This results in:

  • Faster heart rate
  • Rising blood pressure
  • Breathing increases and/or shallows
  • Rising body temperature
  • Increase of perspiration

Meanwhile, the sympathetic nervous system — a division of the nervous system responsible for the fight-or-flight response — nudges the adrenal gland, encouraging it to release epinephrine (aka adrenaline), noradrenaline, and other energy hormones.

When we’re angry our muscles tense. Inside the brain, neurotransmitter chemicals known as catecholamines are released, causing a burst of energy that can last several minutes to hours. This burst of energy explains why our first reaction is to take immediate action.

In addition to the above list, the face flushes as increased blood flow enters the extremities to prepare for physical action. Attention narrows and locks onto the source of rage or innocent target, if misplaced. Additional neurotransmitters and hormones release, which trigger a lasting state of arousal.

The body is now ready to fight.

Quick story to illustrate anger.

As I mentioned in a previous post, I’m a chilled person by nature. My blood pressure rarely, if ever, rises above 110/60. It’s tough to get me angry because I do not allow others to control my emotions. There’re only two ways to push my buttons—abuse of animals or children. If you tick one of those boxes, look out. I’m coming for you.

Now, I’ll tell you the story. 🙂

A few weeks ago, I’m editing Merciless Mayhem at my desk, when four husky guys huddled around the side of the road, bordered by woods.

Huh. That’s odd. Why are they here?

I get back to work but keep the strangers in my peripheral.

One of the guys jumps forward and kicks something on the ground.

What the—? Now they’ve got my full attention.

Over and over, this dude kicks. Laughs with his buddies. Kicks again. Another guy squats. When he rises, he has two hooves gripped in one hand, holding a dead deer by the legs while his buddy kicks and punches the carcass.

Unable to trust to my eyes, I jolt to my feet. All four guys find it hilarious to beat a young deer who lost its life.

Heat envelopes me from the inside out. My face flushes. Blood pressure spikes, and I careen out the door. “Hey!”

They stop, turn. The kicker said, “What?”

“Stop abusing that animal!”

“What’s the big deal, lady? It’s dead.”

“Oh, I see.” In seconds, I shorten the distance between us. “So, when you die, I can kick the sh*t outta your corpse? Leave now, or I’m gonna make that happen a lot sooner than you think.”

All four booked it to their SUV, parked around the corner.

Two hours later, my husband strolls through the door after work. “Hey, honey. Have a good day?”

Boom. All the same biological/physiological responses flood my system, and I’m reliving the incident while I recount the story.

“How many guys?” he said.

“Four.”

“And that didn’t give you pause?” He asked because I’m only 5’ 1.5” Doesn’t matter. It’s the fire that burns inside you, and mine was blazing hot.

“No. Why, should it?”

“Honey, they were probably hunters—with guns.”

“And?”

“You could’ve been shot.”

“And?”

“You could’ve been killed.”

“Oh, well. I will never allow anyone to abuse an animal, dead or alive, in front of me. I don’t care who they are.”

See how easily anger can spiral out of control? Hours after the incident, it didn’t take much to trigger me again.

Tips to Show Anger

Anger can build over time or occur in a split-second. If I were writing the above story in a novel, I’d slow it down. Show in detail the motivation that sparked rage in the MC. Drag out an inferno building inside the MC before she snaps.

Body cues include:

  • Flared nostrils
  • Sweating
  • Head up, chin and chest out, shoulders back
  • Audible breath
  • Flexed muscles
  • Vein or artery pulsing, thinning the skin
  • A fighter’s stance
  • Cold stare and all its variants
  • Face reddening (If the POV character is angry, they can’t see the color of their face)
  • Tightness of the eyes, chest, lips, etc.
  • Punching, kicking, throwing things
  • Teeth or jaw grinding
  • Hurtful words, sarcasm, swearing
  • Heart thundering
  • Muscles quivering against the surge of adrenaline
  • Irrationality
  • Jumping to the wrong conclusion 

Trigger the Senses

Using my story as the example…

Did tree limbs obscure my view? (sight)

Did each kick boomerang across the road? (sound)

Did the metallic sweetness of blood assault the back of my throat? (taste) Or was the carcass rotting? (smell)

When I booked it across the street, did the cold asphalt sting my bare feet? (touch)

We already know hearing is impaired by biological changes. How does the impairment affect the MC? Do muffled sound waves heighten other senses? Or is the MC always a hothead?

Prolonged Effects of Anger

  • Headaches
  • Lower immune system
  • Digestive problems
  • Heart disease
  • Depression
  • Tingling sensation—muscle tension
  • Heart palpitations
  • Increased risk of stroke
  • High blood pressure
  • Fatigue
  • Ulcers
  • Muscle soreness
  • Jaw pain

Are you a hothead or chilled? Where is your line in the sand? Meaning, what triggers your anger?

Biological Responses to Fear

Posted on by

Last night, my husband and I went to a pumpkin festival with another couple. The town blocks off downtown’s main drag, and skeletons, witches, monsters, live music, and laser shows filled the streets.

Dozens of lit jack-o-lanterns on shelved staging fringed one side of the road — the focal point of the evening’s festivities. The only thing missing was a haunted house. Fine by us. We don’t chase the adrenaline high of fear.

Which brings me to today’s subject: Fear

Fear is a universal, physical response to danger. We associate fear as a negative emotion, but it also plays a vital role in keeping us safe by mobilizing us to cope with potential dangers.

What happens within the body when we’re fearful?

Fear begins in the amygdala, which then activates the pituitary gland, where the nervous system meets the endocrine (hormonal) system. The pituitary gland then secretes adrenocorticotropic hormone (ACTH) into the bloodstream.

Meanwhile, the sympathetic nervous system — a division of the nervous system responsible for the fight-or-flight response — nudges the adrenal gland, encouraging it to squirt  epinephrine (aka adrenaline) and other catecholamines into the bloodstream.

The body also releases cortisol in response to ACTH, which raises blood pressure, blood sugar, and white blood cells. Circulating cortisol turns fatty acids into energy for the muscles to use should the need arise.

Catecholamines include epinephrine and norepinephrine, both hormones that prepare the muscles for violence by causing the following:

  • Boost activity in the heart and lungs
  • Reduce activity in the stomach and intestines, producing “butterflies” in the belly.
  • Inhibit the production of tears and saliva, which explains why dry mouth often accompanies fright.
  • Dilate the pupils.
  • Produces tunnel vision.
  • Reduces hearing.

The hippocampus part of the brain is heavily involved in memory, whereas the prefrontal cortex aids in high-level decision making. Both these areas help us control the fear response and determine if the danger is real or exaggerated. If the latter, these areas of the brain dampen the fear, allowing us to read scary books or watch slasher films.

Biologically, fear responses include:

  • 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.

Metabolically, glucose levels spike to provide energy if needed for action. Fear also increases levels of calcium and white blood cells.

Tips to Show Fear

To show a believable fear response in your main character, consider the above scientific and biologic changes within the body. Then get creative. An effective way to enhance fear is to slow down. Visualize the context. What’s happening in this moment? What is the character experiencing, moment by moment? By drilling into slivers of time, we’re telling the reader to pay attention. We’re creating emotional resonance. We’re drawing readers farther into the story, forcing them to turn the page.

Trigger the Senses

Do shadows obscure the threat? (sight)

Do the leathery wings of a bat flap overhead? Or do footsteps ricochet off the building and make it difficult to pinpoint direction? (sound)

Does the metallic sweetness of blood assault the back of the throat? (taste) Or fill the sinuses? (smell)

Is the thick bark of the ash tree she’s hiding behind rough and scratchy? (touch)

We already know hearing is impaired by biological changes. How does the impairment affect the MC? Do muffled sound waves heighten other senses? Or does the MC enjoy the adrenaline rush that accompanies fear?

Emotion is Layered

Characters shouldn’t be totally fine one second then immediately immobilized by terror. Let emotions build over time, even second by second.

“In the real world, no two people are alike, which means each of us expresses emotion in our own way. Some people find it perfectly natural to share what they feel with those around them, experiencing little to no discomfort with their emotions being on display. Others find the idea of revealing what they feel horrifying and will avoid situations that could lead to such vulnerability. Most fall somewhere between these extremes. This spectrum of expressiveness is called an emotional range, and it will influence not only which feelings a person overtly shows but when and how they will manifest.”

—Angela Ackerman & Becca Puglisi, the Emotion Thesaurus

Emotions — especially ones as extreme and universal as fear — unfold on a continuum. To impact the reader, show the MC’s physical and emotional responses in the correct order and with the proper intensity, or fear may come across as irrational or melodramatic.

Any adrenaline junkies in our audience? Do you ride roller coasters? Like haunted houses? Have you ever zip-lined? What about jumping out of an aircraft? Care to share a frightful experience?

 

 

Pull the Chocks!

Posted on by

“Once you have tasted flight, you will forever walk the earth with your eyes turned skyward, for there you have been, and there you will always long to return.” ― Leonardo da Vinci

* * *

In yesterday’s TKZ post, James Scott Bell deconstructed the movie The Fugitive and shared some lessons from it. Today, I want to look at a very different movie for a different reason.

The1957 film The Spirit of St. Louis is the story of Charles Lindbergh’s historic flight from New York’s Roosevelt Field to Le Bourget Field in Paris. Lindbergh hoped to win the $25,000 Orteig Prize by being the first to fly non-stop from New York to Paris, but this was no easy task. Six men had already died trying.

Now you would think a movie that follows a thirty-three-hour flight over the ocean would be a huge bore, but the filmmakers came up with a way to present it that engages the audience. Jimmy Stewart in the role of Charles Lindbergh lends authenticity, humor, and occasional hilarity to the film.

Like most stories, this movie is divided into three parts.

Act One covers the night before the flight when Charles Lindbergh is lying awake, dreading the sound of raindrops plunking against the window of his hotel room. This 53-minute act fluctuates between scenes of Lindbergh’s insomnia and flashbacks to his experiences as a U.S. Post Office airmail pilot, and other humorous scenes. From the story-telling point of view, this act provides movie-goers with knowledge of Lindbergh as a man, not a legend. He comes across as a likeable, shy, and determined young pilot.

Act Two recounts the take-off scene in seventeen minutes. I’ll come back to this in detail below.

Act Three is another long segment that follows the flight across the ocean and the landing in Paris, alternating between scenes of the sleep-deprived Lindbergh’s efforts to stay awake, a scary moment when ice forms on the wings and threatens to bring the plane down, and more flashbacks of his life as a barnstorming pilot and as a cadet with the United States Army Air Service.

* * *

But it’s Act Two where the real tension lies. Even though we all know the outcome, I find myself holding my breath whenever I watch the scene.

It begins when Lindbergh arrives at Roosevelt Field on the morning of May 20, 1927. The conditions are awful. The rain has made the field a muddy mess, and the fog renders a successful takeoff over the very tall trees at the end of the runway unlikely. Frank Mahoney, the owner of the Ryan Aircraft Company which built the plane, advises Lindbergh to wait and try again later. But the young pilot thinks there may be a chance, and he places a white marker at a certain point on the side of the sloppy runway. If he tries the takeoff and reaches the marker before the plane gets off the ground, he says he’ll abort the effort.

Only Lindbergh can make the Go/No-Go call, and he knows the odds are not good. He suits up, climbs into the cockpit, and does the runup. You can see the doubt on his face when he raises his hand in a goodbye gesture to the small group of people who came to see him off.

No one would blame him if he decided to wait. But you can almost hear his inner voice say, “This is your moment. Don’t let it pass you by.”

At approximately the exact middle of the movie (and I know James Scott Bell will love this), Lindbergh finalizes his decision by calling out the words that will start the plane forward: “Pull the chocks.” There will be no turning back.

A group of men actually push the plane to get it moving in the muck, and the little aircraft, heavy with fuel and struggling against the poor-to-horrible weather conditions, slogs its way down the field toward a line of trees that look increasingly ominous.

It would be hard to describe the scene of the actual takeoff, so I’ll let you watch this three-minute clip instead:

* * *

Charles Lindbergh was passionate about his chosen profession, and he put in the time to learn his craft. He had honed his experience through years of barnstorming, flying airmail routes, and giving lessons. He went through training with the United States Army Air Service at Brooks Field in Texas and earned his Army pilot’s wings and a commission as a second lieutenant in the Air Service Reserve Corps.

But even though he was the sole pilot of The Spirit of St. Louis when he flew across the ocean, Lindbergh’s effort would have been impossible without the support and knowledge of many others.

A group of St. Louis businessmen had financed the building of the aircraft. The owners and employees of the Ryan Aircraft Company supplied the experience and commitment to design the plane that could make a journey of almost four thousand miles. Lindbergh couldn’t have lifted off the ground without their help.

* * *

It seems I find an analogy to writing in just about everything these days, and it’s easy to see the connection between lifting off on a flight where the conditions aren’t perfect and launching a novel.

As everyone here knows, the preparation for bringing a novel to publication is long and difficult. And it isn’t just the hard work of meeting the weekly quota. The background of life experiences, craft books, writing courses, and blogs like The Kill Zone, all combine to prepare the writer for his/her effort.

In most books, only the author’s name is on the cover. But the product is usually the result of many people who willingly came alongside to make the book a success. Friends, editors, mentors, beta readers, endorsers, experts, and supporters from other areas pour their knowledge and expertise into the project.

But at some point, the author has to make the last preparations and commit to the flight. A new book launch may not be as risky as taking off in an airplane to fly a course no one has flown before, but to the author, it is just as exciting.

* * *

So there you have it. Today is launch day for Lacey’s Star: A Lady Pilot-in-Command Novel. It’s been a long, bumpy runway. Now we’ll see how she flies.

* * *

So TKZers: Have you launched a book recently? Tell us about it. What advice do you have for authors about making a book launch successful?

* * *

PULL THE CHOCKS!

Private pilot Cassie Deakiin is smart, funny, and determined. She can land a plane safely in an emergency, but can she keep her cool when confronted by a murderer?

Lacey’s Star: A Lady Pilot-in-Command Novel began flying off the shelves today. $1.99 at Amazon   Barnes & Noble   Apple Books   Kobo   Google Play

Have a nice flight, Cassie.

Who Do You Believe?

Posted on by

.

Distrust and caution are the parents of security. –Benjamin Franklin

The trust of the innocent is the liar’s most useful tool. –Stephen King

* * *

I left the kitchen and was strolling down the long hall toward my office, sipping a cup of coffee as I considered what new disasters I could throw at my characters, when something happened that I had never experienced before.

Picture this: the door at the end of the hall that leads into a utility room was open. Suddenly, an animal leaped out of the utility room into the hall and ran furiously. TOWARD ME! It was a chipmunk.

Now I’m not one to panic in a situation like that, and I know little critters are afraid of big humans, so I waved my arm (the one not holding the coffee—I didn’t want to spill on the carpet), and I shouted, “STOP! GO BACK!” as if Mr. Cutie could understand me. He didn’t play his part in the drama, though. He just kept coming.

At this point, I was afraid I might be in danger of getting bitten by the rodent, so I used that tried-and-true defense mechanism: I screamed for my husband to come quick.

When the chipmunk got within a foot or two from me, he made an incredible right-hand turn at full speed into an adjacent hall. Any tight end would have appreciated that maneuver. Then he turned again and ran straight into MY OFFICE. Not good.

While I was standing there looking dumbfounded and considering the next steps in the chipmunk eviction process, my husband sauntered in from another part of the house. “Did you call me?” he asked.

“Yes!” I said. “A chipmunk came running down the hall. I thought he was going to attack me!”

Now you have to visualize his reaction. Eyebrows slightly raised, a disbelieving tilt of the head, and body language that shouted, “I don’t think so.” What he actually said was “A chipmunk?.”

Now my husband knows I wouldn’t make something like that up, but he still didn’t believe me. We live in a suburban neighborhood. We rarely even see a squirrel around here, so he assumed I was mistaken, and it must have been a mouse or a baby squirrel or something else. After a suitably sarcastic remark, I described the cute little face and the stripe down the back of our unexpected visitor, and that convinced Frank that I had indeed been accosted by real, live chipmunk. So we barricaded Mr. Chips in my office, drove to the hardware store, bought a cage, and finally trapped our unwanted guest without harming a single hair on his cute little head.

After we dropped Chippie off at a park many miles away from our home, I reflected on our experience, and how useful the concept of disbelief or distrust is to authors, especially writers of mystery.

In any murder mystery, there are characters who mislead the authorities, and other characters who are trying to find the truth amidst all the noise. But even more important are the readers who are trying to figure out who’s telling the truth and who’s lying. If the author can mislead the reader artfully enough, it will result in a surprising climax that readers love.

* * *

In my second novel, Dead Man’s Watch, a man has been accused of murder and everybody thinks he’s guilty. He had motive (his wife died of a drug overdose from drugs bought from the murder victim) and opportunity. He admitted that he had met the drug dealer on the night of the murder with the intent to kill him. But he claims he didn’t go through with his plan.

However, the main character was a childhood friend of the accused and doesn’t want to think he could be guilty. She doesn’t believe he would lie to her, so she visits him in prison. Here’s a snippet of their conversation:

He smiled sadly and turned back. “Kathryn, I know you’re a real nice person, but you don’t owe me anything. Let it go.”

“I can’t let it go, Brad. I have to do this.” She paused and waited for him to focus back on her. “But first I have to know. Did you kill him, Brad?”

He jerked his head up so fast, she sat back in her chair. His eyes burned into hers. “Do you think I could be a killer?”

“No.”

“Good. That makes one person in the world who thinks I’m innocent. Maybe you can convince the jury.”

“Did you kill him, Brad?” She had to hear him say it.

Did you notice Brad avoided answering the question the first time? But Kathryn persists. She needs to hear him say he didn’t kill the man. Different readers might come away with different opinions on whether Brad is innocent, or just willing to use his friend to help him.

* * *

While the character Kathryn in the Watch series is a determined but naïve young woman, the main character in my new novel, Lacey’s Star, is different. Cassie Deakin is just as determined as Kathryn, but her outlook on life is far more skeptical. She is reminded frequently in the course of the book to be careful who she puts her trust in.

At one point in the book, Cassie and Detective Frank White are searching for Sinclair, a man who claims to have evidence that his young sister was murdered. Unable to track down Sinclair, they meet with law enforcement officers who had talked to him recently. When Cassie hears that Sinclair had trusted a group of strangers enough to share some important information with them, this is her reaction:

“Sinclair sounds like an idiot. If he convinced those bikers there was something of real value in Uncle Charlie’s barn, the only explanation is that some of those bikers decided to steal it. If that’s what happened, then Sinclair is the reason Uncle Charlie got injured.” I could feel the heat rising in my face. I wanted to get my hands on Sinclair and shake him until his teeth fell out.

* * *

In both books cited above, the matter of trust is an important theme. Characters have to decide who they can trust, and the reader has to decide who’s telling the truth. My job is to tilt the playing field without the reader noticing.

So TKZers: How do you handle issues of believability and trust in your books? Do you incorporate an unreliable narrator? Do you try to mislead your readers?

* * *

GET IN, SIT DOWN, BUCKLE UP, AND HANG ON!

Come along for the ride as private pilot Cassie Deakin lands in the middle of an unwanted adventure and discovers her beloved Uncle Charlie has been attacked and seriously injured by thieves.

But Cassie has a problem. She doesn’t know who she can trust. Still, she reluctantly agrees to team up with Deputy Frank White, a man she definitely does not trust, to solve the mystery behind the attack on her uncle.

But as Cassie and Frank peel back the layers of one mystery, they uncover a deeper and more sinister crime: the murder of an eight-year-old girl decades earlier. Armed with only a single, cryptic clue to the death of young Lacey Alderson, Cassie makes a crucial discovery that lands her in the crosshairs of a murderer.

Lacey’s Star is now available for pre-order for $1.99. Click here.

 

Remember to Breathe

Posted on by

I wrote this post four years ago, but the subject is important enough to redux. Plus, I needed the reminder. Maybe you do, too.

When chaos starts shaking the to-do list in my face, I close my eyes, lean back, and breathe… It’s amazing what a few deep breaths can do. There’s a running joke in my family that I’m so chill, I’m practically a corpse. It’s true! My blood pressure rarely, if ever, rises above 110/60, even under stressful conditions. And you know why? Because I take advantage of the most powerful and the most basic gift we have — the ability to breathe.

It may not sound like much of a superpower, but controlled breathing improves overall health. Controlled breaths can calm the brain, regulate blood pressure, improve memory, feed the emotional region of the brain, boost the immune system, and increase energy and metabolism levels.

The Brain’s Breathing Pacemaker

A 2016 study accidentally discovered a neural circuit in the brainstem that plays a pivotal role in the breathing-brain control connection. This circuit is called “the brain’s breathing pacemaker,” because it can be adjusted by alternating breathing rhythm, which influences our emotional state. Slow, controlled breathing decreases activity in the circuit while fast, erratic breathing increases activity. Why this occurs is still largely unknown, but knowing this circuit exists is a huge step closer to figuring it out.

Breathing Decreases Pain 

Specifically, diaphragmatic breathing exercises. Ever watch an infant sleep? Their little tummy expands on the inhale and depletes on the exhale. They’re breathing through their diaphragm. We’re born breathing this way. It’s only as we grow older that we start depending on our lungs to do all the work.

Singers and athletes take advantage of diaphragmatic breathing techniques. Why not writers? If you find yourself hunched over the keyboard for too long, take a few moments to lay flat and concentrate on inflating your belly as you inhale through your nostrils. Then exhale while pulling your belly button toward your core. It takes a little practice to master the technique. Once you do, you can diaphragmatically breathe in any position. The best part is, it works!

Count Breaths for Emotional Well-Being

In 2018, another scientific study found that the mere act of counting breaths influenced “neuronal oscillations throughout the brain” in regions related to emotion. When participants counted correctly, brain activity showed a more organized pattern in the regions related to emotion, memory, and awareness, verse participants who breathed normally (without counting).

Controlled Breathing Boosts Memory

The rhythm of our breathing generates electrical activity in the brain that affects how well we remember. Scientists linked inhaling to a greater recall of fearful faces, but only when the participants breathed through their nose. They were also able to remember certain objects in greater detail while inhaling. Thus, researchers believe nasal inhalation triggers more electrical activity in the amygdala (brain’s emotional center). Inhaling also seems key to greater activity in the hippocampus, “the seat of memory,” according to Forbes.

Relaxation Response

The “Relaxation Response” (RR) is a physiological and psychological state opposite to the fight-or-flight response. RR therapy includes meditation, yoga, and repetitive prayer, and has been practiced for thousands of years. These stress-reducing practices counteract the adverse clinical effect of stress in disorders like hypertension, anxiety, insomnia, and aging.

Yet, research on the underlying molecular mechanisms of why it works remained undetermined until a 2017 study unearthed a fascinating discovery. Both short-term and long-term practitioners of meditation, yoga, and repetitive prayer showed “enhanced expression of genes associated with energy metabolism, mitochondrial function…” and more efficient insulin secretion, which helps with blood sugar management. Relaxation Response also reduces the expression of genes linked to inflammatory responses and stress-related pathways. In simpler terms, controlled breathing helps boost the immune system and improve energy metabolism.

Creativity

This probably goes without saying, but I’m mentioning it anyway. Good brain health increases creativity. Creativity helps inspiration. And inspiration ups the word count.

Shawnee and Mayhem continue to wreak havoc on the Killzme Corporation — the largest animal trafficking ring in the country — by killing one poacher at a time. The stakes grow increasingly higher when the nefarious group retaliates by putting a bounty on their heads.

Meanwhile, the traffickers set their sights on capturing Orca for profit and pleasure.

With a ticking clock and no place left to hide, Shawnee and Mayhem alternate between undercover surveillance and clandestine battles to save their loved ones and the Innocent Ones from Killzme’s evil plans. Skills are tested. Tenuous alliances are formed. Not everyone will make it out alive.

Set in a world of cultural wonder, environmental threats, and looming danger, this heart-stopping eco-thriller will have you glued to the page from the first sentence to the last.

Now available for preorder! Steal it for the special preorder price of 99c.

What Does Coffee Taste Like?

Posted on by

I recently had a reader comment, “I noticed most of your characters are tea drinkers. Is that because you are?”

I said yes. Here’s the expanded answer…

I’m allergic to coffee. So, I have no frame of reference for it. None. I’ve never stepped foot inside Starbucks. Wouldn’t even know what one looked like, never mind the sights and smells inside. When my son and daughter-in-law rattle off half-cap, blah, blah, blah, with a shot of blah, blah, blah, they may as well be speaking a foreign language. They’d gain the same reaction from me—a blank stare, my eyes glazed over.

Now, I’ve never serial killed, either, but neither have my readers (I hope). Coffee is too well-known for me to fake it. And let’s face it, we live in a coffee-rich environment, where it’s one of the most popular products on the market. Even if I researched the subject to death, I’m bound to screw up a minor detail. And nothing tears a reader out of a story faster than a mistake about something they know well. The few times I’ve ever even mentioned coffee, I got in and out in one sentence.

I’m not a wine connoisseur, yet Mayhem is. The difference is, I’ve tasted wine. Many wines. 😉 It’s not a favorite of mine, but at least I have some frame of reference. Mayhem is also well-versed in fine dining, and I’m not. But the average reader won’t spend $500-$1,000 on one meal, either. For those that do, I listen to my editor, who not only knows her wine but has made almost all of the fancy dishes I’ve included in my books. When she says that appetizer doesn’t go well with this meal, I change it. No questions asked.

I love how she handles it, too. The comment will read something like, “Mm-mm, sounds yummy… but you know what works better with that dish? Blah, blah, blah.” Or “Yum, but that dish isn’t typically made with cream. It’s made with blah, blah, blah.” Cracks me up every time!

Know your limits. It’s okay to include a detail you’re unfamiliar with if you’re willing to reach out to consultants to check your scene. If you get it wrong, don’t be too stubborn to fix it. We can’t know everything.

You might be thinking, “Why don’t you ask someone about coffee?” It wouldn’t work. I’d have to follow a coffee drinker around to figure out the tiny details they don’t even consider. Things like:

  • How do you order? In the movies it looks complicated.
  • How does it feel to wait in line for your morning coffee?
  • What if they run out of your favorite? Then what?
  • Does everyone have a backup flavor?
  • What’s the difference between flavor and brew?
  • When is the right time of day to switch from hot to iced?
  • Does iced taste different from hot? How so?
  • What do all those pumps do?
  • What do those cap things mean?
  • Do you get jittery afterward?
  • Do you get tired without it?
  • How many cups is enough? How many is too much?
  • What does it taste like? (Describe coffee to someone with no frame of reference)
  • Is it an addiction or pleasure? Or both?
  • How did you decide on half-caps and pumps? What did that transition look like?
  • Does everyone start out drinking it black?
  • Why is espresso served in a tiny cup?
  • Is espresso different from regular coffee? I know it’s stronger, but why?
  • Is coffee measured by caffeine? Quality of beans?
  • What about cappuccino? How is that different from regular?
  • How do they draw those little hearts on top?
  • Do baristas use special tools? What do those look like? Do they get hot? Cold?
  • Why are coffee shops so popular?
  • Why do people hang out in coffee shops? Is it a social thing?
  • Why do the sound of coffee shops soothe some people?
  • Describe the sound and smells of Starbucks.
  • How long would you wait in line for your favorite coffee?
  • Why can’t you make it at home?
  • How much do the fancy coffees cost per cup?
  • Is iced cheaper than hot? Or vice versa? And why.

I could go on and on. There are too many variables with coffee.

Anyone want to take a crack at any of my questions? Try describing the taste to me.