Tag Archives: James Scott Bell

Over the End of the World

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One of my twins loves reading pre and post apocalyptic YA novels, but even he has reached saturation point. There’s really only so many stories you can digest involving the horror, chaos and disintegration of society that comes from either impending doom or the aftermath of an end of the world scenario. In many ways, our mutual ‘apocalyptic’ fatigue (after all, I’ve read almost all the same books) is indicative of market saturation as well as stagnation. It also raises issues, to follow on from Jim’s post yesterday, about how writers nurture their ideas to execution.

I think it’s safe to say the market has pretty much covered these scenarios:

  • contagion/epidemic
  • alien invasion
  • ecological disaster
  • Impending meteor/asteroid strike
  • vampires/werewolves/demons/zombies/robots/monsters/mutations etc. taking over the world
  • government conspiracy/police state/total control/thought control/emotional control
  • evil schemes that generally involve youths in competition to kill or hunt each other down and/or destroy society

Note: Feel free to add to this list by the way…

But the key element I think (at least on the fatigue front) is that many novels now feel merely derivative of stories that have come before and which deal with the same or similar ‘apocalypse’ event. It’s hard, given what has already been written, to come up with a new idea or new way of executing that idea that doesn’t feel tired or hackneyed. It is, in some respects representative of the classic dilemma facing all writers – namely, how do you put a new/fresh/unique spin on an idea/mystery/predicament that has already been done to death? This is where I think it is critical for writers to take a step back when considering their idea for a novel (before what Jim calls the ‘green light’ stage) and evaluate the key elements of concept and premise (that my fellow blog mate Larry Brooks is so good at describing).

I jot all my ideas down in a notebook – most of which will never develop into a completed novel – either because the idea itself is to thin, or the execution/story that surrounds the idea doesn’t turn out to be novel enough, or complex enough to sustain itself. When considering any new WIP, I take my idea, produce a detailed proposal and then (because I’m an outliner) map out the plot for the story. As part of this process, it soon becomes apparent if the idea cannot sustain a novel, especially if I couldn’t answer these critical questions:

  • Why should readers care about my story/idea?
  • If it deals with well worn tropes, what makes my idea or POV unique or significantly different (I don’t count trivial distinctions)?
  • How would this story stand out from all the other novels out there?
  • Even if I think the idea is sufficiently novel to warrant a story, do I really know what the concept/premise behind this is in sufficient detail (anyone who’s read Larry Brooks knows that many stories collapse because a failure at the concept or premise stage).

At the moment (thankfully) I’m not considering any a pre or post apocalyptic story ideas. Although my son and I have reached the tipping point we could still be brought back with a unique twist/edge or story about the end of the world. The key issue I think is that, when considering a new idea, read extensively before committing to the story. In a crowded market, you have to stand out (even when you’re writing about chaos and the end of the world…)

So, are there any types of stories you are totally ‘over’? How do you approach developing your ideas when facing a a crowded/saturated corner of the market?

 

TKZ – a Guide for the Writer’s Journey

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by Tom Combs, physician-author, www.tom-combs.com tom_tkz-safety-chain-on-tricky-climb

In 2007, after twenty-five years as an emergency medicine specialist working in the ERs of busy inner-city level-one trauma centers, a personal health event ended my medical career. I’d worked briefly as a technical writer prior to medical school, but for the last eight years have been able to focus full-time on the study and creation of fiction.

The Kill Zone and its contributors have been a daily part of my writing life for years. I contacted Kathryn Lilley a few weeks back to share news of the release of the second book in my medical suspense-thriller series and mentioned my long-term involvement with TKZ. She suggested I guest blog and share how TKZ has influenced my writer’s journey. Specifically she mentioned that she believed my experience “would be inspiring to others, and spread cheer to my fellow bloggers!” I hope so.

Here are some ways TKZ has helped me on my journey from aspiring fiction writer to indie publisher of two well-received thrillers:

Instruction on craft

TKZ provides ongoing instruction on the craft of writing fiction that engages and sells.

James Scott Bell, Jodie Renner, PJ Parrish (Kris), Jordan Dane, Larry Brooks, and all the TKZ contributors regularly share the essence of their experience and hard-gained knowledge. I realize I’m preaching to the choir when I identify that the writing instruction presented on TKZ is ninja-level. The TKZ bloggers are the faculty of an online academy. Note: many of most useful posts are organized by topic in the TKZ Library (click HERE or on “TKZ Library” in the banner above).

Philosophy, support, and guidance

All readers here know the writer’s life can be tough at times. Self-doubt, frustration, discouragement, and disappointment are all part of the journey. I’m certain the honesty, humor, and sage counsel of TKZ’s “usual suspects” has assisted many a writer get over the rough spots. It has definitely helped me.

First page submission

By 2012, I’d been a TKZ follower for years and felt as if I knew the faculty and their personalities. I’d missed the submission deadline for the initial and subsequent “First Page” critiques and regretted having lost out on the great opportunity.

In 2012, I submitted on time. My mouth went dry on April 12, when I saw that TKZ emeritus John Ramsey Miller had rendered the critique of my work. JRM was a particular favorite of mine and, among his traits is a no-BS, flame-throwing honesty. I approached his critique with fear and trepidation. His favorable response to my submission gave me a lift unlike any I’d experienced in writing to that point. It is a treasured memory in my TKZ history.

The comments beneath the critique provided education on the varied and subjective nature of opinion/review – “dang excellent,” “this is brilliant,” “it’s not without problems,” “I’m hooked,” “wouldn’t have hooked me in any way,” etc. This provided additional education on the realities of writing.

Top-shelf editor

Years back, a TKZ guest blogger presented an article on craft that blew me away with its content and clarity. I learned that the writer, Jodie Renner, had edited two of Joe Moore’s novels. Jodie became a TKZ regular for a few years, and followers benefitted from her many outstanding articles on craft as well as her three writing guides. I did even better – after her guest piece, I was able to convince Jodie to work with me, and we have collaborated on both of the books in my series. She is amazing as both an editor and a friend – another major personal and professional benefit of my involvement with TKZ.

James Scott Bell and the TKZ faculty

I can’t recall if I discovered James Scott Bell first and it led to TKZ or the reverse. The discovery of both was definitely a boon to my writing development and career. JSB’s savvy, humor, enthusiasm, and guidance on both craft and the writer’s life is special and representative of the warmth, wisdom, and generosity of the TKZ faculty, both current and past. I attended Jim’s outstanding “Story Masters” seminar with his teaching partners, Donald Maass, and Chris Vogler, where I learned a great deal while laughing often (JSB could do stand-up comedy).

James Scott Bell’s enthusiasm, professionalism, and support of other writers is characteristic of my experience with TKZ.

I’m not certain I can inspire TKZ followers, but I can unequivocally recommend ongoing participation. The return on investment is astronomical – how can you beat free writing wisdom? TKZ is a writing travel guide that is updated daily for those who seek excellence.

I share Kathryn’s hope that her fellow bloggers/faculty will feel cheered. These people deserve to feel good about themselves. The hours, effort, and imagination invested in creating the daily posts are considerable. Despite receiving little in return, they share their knowledge and support every day.

Thank you to TKZ faculty, current and past, for your continuous commitment to helping writers. Your efforts are, and have been, a special part of my writer’s journey. I’m certain there are many among the TKZ faithful who have benefitted as I have.

I’m thrilled to have the opportunity to share my appreciation today.

tom-c_nerve_damage_kindle_bestDo you have examples of how TKZ has helped you on your writer’s journey? Please share in the comments below.

Nerve Damage, the first book in my medical suspense-thriller series, was released in 2014. The response has been excellent, with more than 200 five-star Amazon reviews, wonderful personal comments from discriminating readers, and glowing independent book reviews.

Hard to Breathe, the second installment in the Drake Cody suspense-thriller series, is now available.

ER doctor and medical researcher Drake Cody has a past no physician is allowed to have. When an injured woman presents to the ER with a report of a fall, Drake reportstom-c_hard-to-breathe_best to police his suspicion that her powerful businessman husband is guilty of domestic violence. Within hours, Drake’s medical license and the rights to his breakthrough experimental drug are threatened.

Murder, billion-dollar intrigue, and corruption involving the most powerful elements in healthcare threaten Drake’s career, those he loves, and his life. Can the law deliver justice, or will it abandon him?

“Intense and highly entertaining. Combs’ writing grips you from the first chapter and never lets go. Very cinematic and intense. Speeds the reader from chapter to chapter at a breakneck pace. Hard to Breathe is a terrific book.” – Laura Childs, New York Times best-selling author

Nerve Damage and Hard to Breathe provide an insider’s exposure to the blast-furnace emotions of critical care medicine and the high-stakes “business” of healthcare and its mega-dollar temptations.

Both books are fast-paced, intense, twisting thrill rides involving individuals you care about and medical realities that affect us all.

Embrace Growth – Guest USA Today Bestseller Colleen Coble

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Jordan Dane
@JordanDane

twilight-cover

I’m delighted to have USA Today bestseller Colleen Coble as my guest on TKZ. Colleen is an award-winning author with over 2 million books in print and she writes heartfelt and suspenseful romantic mysteries. I’m enjoying her latest Twilight at Blueberry Barrens and I’m a big fan. NYT bestseller Brenda Novak has given it high praise and Publishers Weekly gave Colleen a prized starred review. Please help me welcome her to TKZ.

***

You know the best thing about writing? You never arrive. There is always something you can improve on. Writing isn’t static, and it’s thrilling to know a better, bigger book can be yours to create. So how do we embrace the process of change in our books? Here’s what works for me.

1. Determine what drives your writing:
I think we all figure out fairly soon where we belong in the landscape of the writing world, and what type of story grabs us and doesn’t let go. Part of the evolution of my brand of romantic mystery involved embracing who I was as a writer and letting that strengthen each new book. Readers often tell me I’m way too friendly and outgoing to write about murder. I think they believe only brooding, unsmiling people can write about something so dark. They miss what drives me to write what I write—justice. I look around the world and see no justice, but I can make sure justice prevails in my novels.

Why do you write? The biggest, strongest stories involve something very personal to you. Depending on your personality, it can be cathartic or daunting to let your characters deal with an issue that’s been challenging to you, but it’s always worth it. Put down your guard and let the reader in. Writing should never just be your job. That’s a trap that career novelists can fall into, but the next novel should always be because you have something to say not because you have a deadline!

2. Figure out your strengths:
Don’t assume your strengths are as strong as they can get. An expert at pacing? Flex your fingers and keep the reader up all night. Good at integrating setting into the plot? You can immerse the reader even better with the next book. Great at characterization? You can build an even more compelling character in the next book. The status quo is never enough for the next book. Strive for something bigger and more compelling.

3. Pinpoint your weaknesses:
We all have areas where we are weak. My timelines can get fuzzy, and because I’m a seat of the pants writer, the train can get derailed. But even a pantser like me can get better at thinking through key turning points that lead to a stronger book. There are great writing resources out there to help you with your weaknesses.

This blog and others like it are great resources. There are tons of helpful writing books out there to help shore up where you’re weak. Jim Bell is a long time friend, and his book, Write Your Novel From the Middle, literally transformed my writing even though I’d written well over 50 novels by the time I read it. Never stop learning how to write better. Study up on how other authors do it well. When I wanted to write more suspenseful books, I read excellent suspense like my friend, Jordan Dane’s. I literally devour every book by an author I think I can learn from.

4. Don’t be afraid to experiment.
I remember when chick lit was all the rage. My buddy, Kristen Billerbeck, wrote a chapter to show a friend what it looked like. When I read that first chapter, I knew she’d found her real voice in first person/present tense, even though she’d written over 20 novels by that time. Let your voice evolve and strengthen as you gain more confidence in your ability.

I decided to do more points of view in Twilight at Blueberry Barrens, and I think it worked to build the suspense. After trying something, you can always go back to the way it was if it didn’t work for you.

Discussion:
How has your writing evolved from book to book?

colleen-2012-black

Best-selling author Colleen Coble’s novels have won or finaled in awards ranging from the Best Books of Indiana, the ACFW Carol Award, the Romance Writers of America RITA, the Holt Medallion, the Daphne du Maurier, National Readers’ Choice, and the Booksellers Best. She has over 2 million books in print and writes romantic mysteries because she loves to see justice prevail. Colleen is CEO of American Christian Fiction Writers. She lives with her husband Dave in Indiana.

http://colleencoble.com
https://www.facebook.com/colleencoblebooks/
https://twitter.com/colleencoble

Is Our Writing Culture In Mortal Danger? Part III

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benjamin-franklin-62846_640I’m going to try to wrap up my thoughts on the mischievous missive delivered by Mr. Porter Anderson at Writer Unboxed. The first part of my response is here. The second part is here.

There are three issues outstanding:

Issue 3 – Is the Party Over?

Issue 4 – What Counts as Writing Success?

Issue 5 – Can Fiction Writing Be Taught?

Last week I upheld the view that this is the best time on Earth to be a writer. Lest you think I only mean because writers can now self-publish and make real dough, here’s some news that rippled outward from the traditional side of things: Sci-Fi writer John Scalzi inked a $3.4 million deal with Tor Books. That’s for thirteen books over a ten-year period. I’d say that counts as good times. Mr. Scalzi explains his thought process here.

Ah, but is the party over? Or about to be? Has there been a “tonal shift” in what Porter calls the “palaver” from the indie writer sector of the publishing world?

I do sense a shift, but not a negative one. It is, rather, the natural maturation of a revolution. During the Early Konrathian period of indie publishing, the talk was all about waking people up and stirring them to action (“Give me liberty, or give me death!”). There was an exuberance. There were fight songs around the campfire. Free beer.

It was Thomas Paine and Patrick Henry time. Yes, there was plenty of vitriol, too, which is always part of an uprising. What the American colonists said about the tea tax was not intended for polite society. Nor were the words of indies when reacting to representatives of the Authors Guild.

Now, it seems, the tone has changed from revolution to constitution. From muskets to quills. Giddiness has been replaced by plans and purpose and increasing success.

But just what is success? This is Issue #4.

One type is, certainly, traditional, bestselling, A-list status. Another type is having the freedom to publish what you want, when you want, and making steadily growing income. When you read surveys of traditional authors and how frustrated they can be with their publishers, this type of success might even be all the more attractive.

For some writers the “validation” of traditional success is the most important thing. Others find more satisfaction going directly to readers…and to the bank.

We are all free to define success for ourselves, and should. What does it mean specifically to you? Talk about it in the comments.

Finally, Issue #5. The title of Porter’s post was The Dreaded Training Debate: What If It Can’t Be Taught?

The question implies that a negative answer might be possible. Or, worse, that there is a possibility the whole enterprise of teaching fiction is little more than a racket. That’s what brought me and a couple of my teaching colleagues—Donald Maass and David Corbett—into the comments with some admonishments.

Porter, I’m happy to say, qualified this impression, kindly mentioning my name and my two fellows (and others) as exceptions. But he added this in a comment:

It’s been interesting to see some of these folks I’ve mentioned struggle with this piece. On the surface, of course, that looks natural in that no one wants to be painted with too broad a brush. But you note that I mentioned none of them, nor would I — they’re not the kind of problematic how-to players I’m talking about. And yet, to some degree, they seem unsettled by even the discussion of the problem.

This makes me think (I’m speculating here, they have not told me this) that the problem of “the toadstools” — who are NOT these writer/teachers — is much on their minds.

I can’t answer for my colleagues, but I’m happy to clear up any confusion on my part. No, “the toadstools” were not on my mind at all. What set me off was even entertaining the notion that writing can’t be taught. In point of fact, virtually all writers have been taught how to write in some form or fashion. It’s just that not many talk about it. As good old Ernest Hemingway once said, “It’s none of their business that you have to learn to write. Let them think you were born that way.”

Writing is taught in many ways.

It is taught by editors who know what they’re doing.

It is taught by teachers who know what they’re doing.

It is taught by books by people who know what they’re doing and how to teach others to do the same.

It is taught by critique partners and beta readers.

It can be self-taught by reading novels and analyzing what other authors do. That’s fine. What I do when I teach, however, is save writers years of trial and error by showing them right away what successful authors do, and how they can do it themselves.

The proof of all this, I add as a former trial lawyer, is in the testimony of credible witnesses. The successful writers who themselves give credit to writing instruction.  

Let me offer just one example. This from critically acclaimed author Sarah Pekkanen, who gave an interview to NPR about getting published:

I needed advice before I tried to write a novel. The usual axiom — write what you know — wasn’t helpful. I spend my days driving my older children to school and changing my younger one’s diaper — not exactly best-seller material.

So I turned to experts. Three books gave me invaluable writing advice. One, by a best-selling writer [Stephen King]; one, by a top New York agent [Donald Maass]; and one, by a guy who struggled for years to learn how to write a book and wanted to make it easier for the rest of us [some joker named Bell]. 

The full interview is here. That was six years ago. It’s nice to see how Sarah’s career has prospered since. I’d say she’s offered credible testimony that writing fiction can indeed be taught.

Whew! That’s three full posts all sparked by the incendiary flying fingers of one Porter Anderson, provocateur and good sport. If you bump into him at a conference, don’t dislodge his keyboard…buy him a Campari instead.

Now I’m done. Next week we return to our regularly scheduled program!