Writing in a Point of View Not Your Own

by James Scott Bell
@jamesscottbell

Last week I wrote about hardboiled fiction and the pedigree that began with a writer named Carroll John Daly. I focused on the First-Person PI narrator.

But a hardboiled series can be told in Third Person, too. Frederick Nebel wrote a hugely popular series for Black Mask featuring police captain Steve MacBride and a reporter named Kennedy. These were done in Third-Person POV. More currently there’s a fellow named Gilstrap who writes about a guy named Grave in Third Person. Likewise Coletta’s Sheriff Niko Quintano, Langley-Hawthorne’s Ursula Marlow, Odell’s Chief of Police Gordon Hepler, Viets’s Helen Hawthorne, and Burke’s Tawny Lindholm

We’ll get to P. J. Parrish in a bit.

So what POV did I choose for my series about a crime-fighting nun, Sister Justicia Marie of the Sisters of Perpetual Justice?

I’ve written here before about the genesis of this character. How my son, who loves plays on words, said I should write about a nun who fights crime with martial arts skills. “You could call it Force of Habit.”

He smiled. I smiled. And then I said, “I think I’ll do it.”

“I was only kidding,” my son said.

“It’s a great concept,” I said. “Original, great title, and I think I can do something with it.”

That was back in 2012. Since that first novelette (about 16k words), four more followed, and quite to my delight has built a loyal following.

Now I’ve put the whole series in one collection, and added a sixth, never-before-published novelette. FORCE OF HABIT: THE COMPLETE SERIES is up for pre-pub. If you reserve your copy now you’ll lock in the $2.99 deal price (and this puppy is 90k words worth of action) before it goes to the regular price of $4.99. The titles are:

FORCE OF HABIT

FORCE OF HABIT 2: AND THEN THERE WERE NUNS

FORCE OF HABIT 3: NUN THE WISER

FORCE OF HABIT 4: THE NUN ALSO RISES

FORCE OF HABIT 5: HOT CROSS NUNS

And for the first time anywhere: FORCE OF HABIT 6: NUN TOO SOON

Allow me just a few horn toots from verified reviews:

“This first book was so good that within minutes of reading it, I downloaded book two.”

“Action packed with both internal and external conflict, I was riveted the whole way through.”

“Sister Justicia is kicking butt and taking names! She knows how to clean up L.A. but good!”

“James Scott Bell seems to be able to put more events in a 50 page novella than you’re likely to find in some 300 page novels.”

“Highest possible recommendation! Five Stars!”

“Honestly, they need to make a TV series about Sister J.”

Now, back to the choice of POV. Having never been a nun…or a woman…I gravitated toward Third Person from the jump. That does not mean I couldn’t take a stab at First Person. Unlike some of the “wisdom” of the age, I say let a writer do what he or she will and let the market decide. I just felt more comfortable in Third.

So what about the nun-woman part? Well, friends, there’s a little thing I like to call RESEARCH. It really works! I have a friend who is a former nun, who helped me tremendously with this series. I also made contact with some Benedictine nuns online for further insight.

As for the woman part, I have the greatest research assistant of all—Mrs. B. She reads all my stuff before anyone else, and offers me invaluable editorial advice.

[And if I may be allowed a side note: Today marks the 40th anniversary of the best decision I ever made. It involved the lovely Cindy, a minister, a packed church, and me.]

Once again, here’s the link for the deal pre-order.

For those of you outside Amazon U.S., you can open to your Amazon site and plug this into the search box: B091DRDWRJ

I will note that Michael Connelly is currently writing a series from a female Pacific Islander POV. And our own Mr. Gilstrap’s new series stars a U.S. Congresswoman who is also a single mom, both of which (if my research is accurate) John has never been.

And leave us not forget the sisters P. J. Parrish writing from the POV of one Louis Kincaid.

It can be done!

Do you agree? 

More Escapism, Please

by James Scott Bell
@jamesscottbell

Erle Stanley Gardner

Say, just wondering, but have any of you awakened lately and felt like you’re not in your own bed, but rather inside the trash compacter from Star Wars?

That’s what I thought. Thus the word escape comes to mind. And isn’t that what good, solid, entertaining fiction is about? I believe in escapism. It’s as necessary for human flourishing as good food, good sleep, and good company.

Erle Stanley Gardner, said:

“The public wants stories because it wants to escape.…The writer is bringing moral strength to many millions of people because the successful story inspires the audience. If a story doesn’t inspire an audience in some way, it is no good.”

Dean Koontz said:

“In a world that encompasses so much pain and fear and cruelty, it is noble to provide a few hours of escape, moments of delight and forgetfulness.”

And this from our own Brother Gilstrap:

“I want to make their hearts beat a little faster and I want to make them laugh and sometimes cry. I want to earn those occasional emails I get from readers who share that my stories have been welcome diversions from the problems stacked up by real life.”

That can be said of all of us here at TKZ. Nothing pleases us more than transporting readers into a fictive dream.

And yet, it isn’t always easy to escape into fiction these days. When was the last time you “got lost” in a book? So much so that all considerations of time and other pursuits went completely away?

It was a lot easier in the days before computers, smart phones, social media, cable and satellite TV with a gazillion channels, endless content streams, 24/7 news cycles and on and on.

In spite of all that—nay, because of it—we all have a craving for regular escape.

So here’s what I’ve done. I have a special chair in my family room, set by a window, which is my reading chair. Having the same physical location for my reading sets off a Pavlovian response in my mind, i.e., that here is where I don’t have to check my phone, scan the internet, or worry about anything. The only concession to technology is putting on smooth jazz via the Pandora app on my phone.

Also, in this chair I prefer to read a physical book. I like that old-school feeling of having pages in my hands and a to-be-read stack on the table. (When I’m not in my chair, but in bed or waiting in an office, I do utilize my Kindle, with its 99¢ collection of the complete works of Dickens, and so on. I’m no Luddite.)

Next comes the “getting lost” part. There’s a certain mental practice required here, I believe. For example, when I start a novel I give the author the benefit of all doubt. I am pulling for them to pull me in. When they do, it’s magic. If the opening chapters aren’t stellar, I still give the author some space, hoping things will change for the better. This space is limited, however; I am more prone to setting aside a book that doesn’t hold me than I used to be.

What if you don’t have a lot of time to escape? Or you’re in the midst of a pressing day and you need to snatch some relief?

The answer is the short story. In the bookshelf near my reading chair are several collections of short stories. Everything from Hemingway (who I consider the undisputed master of the form) and Irwin Shaw, to collections of classic pulp, such as The Black Lizard Big Book of Black Mask Stories (ed. Otto Penzler).

I can always grab one of these and go for a satisfying ride. When I return to “real life,” I feel refreshed.

In that regard, please indulge me in a short commercial. I’ve got a project for escapism over at Patreon. My product is short stories. I write stand-alone suspense, stories that tug the heart, and on occasion something speculative, a la Ray Bradbury. I also have a series character who is a troubleshooter for a movie studio in post WWII Los Angeles (written in classic pulp style). These stories are exclusively for patrons, and cost less than a Starbucks drip. (I also do flash fiction—under 1k words—for ten-minute escapes.)

And for the price of a fancy-dancy frothy drink, you get the stories plus advance review copies (ARCs) of my full-length fiction.

All the details can be found here. I would be most grateful for your support.

We now return you to your regularly scheduled program, with some questions from our host:

When was the last time you got lost in a book? Is finding time to read more difficult for you these days? Do you have a preferred place to read? Are you a “physical” or “ebook” or “doesn’t matter” reader?

 

The Terrible Task of Weeding Out Books

by James Scott Bell
@jamesscottbell

“Fill your house with stacks of books, in all the crannies and all the nooks.” — Dr. Seuss

And when the books come falling down, I hope they find you ere you drown.” — Dr. JSB

It had to happen sooner or later. And now it’s later. I can’t put it off any longer. It’s time to disgorge a significant number of the books that stuff all the spaces in every room in my house—except, of course, the bathrooms, wherein the reading material is imported singulatim.

Like you all, I’m a book lover. How can anyone not be and become a writer? I don’t think that’s possible. With books I purchase, my practice has always been to read them and keep them. I’ve always loved being surrounded by books. Right now in my office all four walls have shelves stuffed with reading matter—literary kudzu.

But I know that someday I will be moving from my abode. So as much as it hurts, I need to make a significant dent in my stacks. I’m trying to be systematic. 

First off, I know I’m keeping some series and not others. I’ll keep Connelly, Chandler, Parker, MacDonald, Spillane. But I’m finally ditching Ross Macdonald. I’ve read all his books because Anthony Boucher tagged him as the best of the PI writers. He has a great following among critics. But I never connected with him or his PI, Lew Archer. And I simply don’t have time to try again.

I have a shelf of hardcovers autographed by the authors. I’ll keep those. Ditto my collectibles. I have some oldies that are probably worth something. I’ll let my kids figure that out someday via ebay. 

Another stratagem: I’m reading first chapters at random. If it grabs me, I’ll keep that book (if I think I might read it again). If not, it goes in the giveaway box. Here are some books that have survived:

Rebecca by Daphne du Maurier
At All Costs by John Gilstrap
The Postman Always Rings Twice by James M. Cain
The Human Comedy by William Saroyan
Final Seconds by John Lutz and David August
Sometimes a Great Notion by Ken Kesey
361 by Donald Westlake
White Oleander by Janet Fitch

Sometimes the writing might be fine, but something else will come up that causes me to pitch the book. An overabundance of F and S words, for example. Or something that doesn’t seem plausible. Ed McBain’s legal thriller Mary, Mary didn’t make the cut for just that reason. I was hooked by the first page. The narrator, lawyer Matthew Hope, is interviewing a potential client accused of murder. But then he states, [I]t was my policy never to defend anyone I thought was guilty.

Ack! No criminal defense lawyer ever says that, because he’d never have any clients. The defense lawyer’s job is to make sure the cops haven’t overstepped their constitutional bounds, and hold the prosecution to its burden of proof. So nix to this book and the others in the Matthew Hope series. 

What am I looking for in that first chapter? We talk about that a lot here at TKZ. I want a grabber hook or a grabber voice—having both is a bonus. An example of a grabber hook is the opening of Harlan Coben’s Promise Me:

The missing girl—there had been unceasing news reports, always flashing to that achingly ordinary school portrait of the vanished teen, you know the one, with the rainbow-swirl background, the girl’s hair too straight, her smile too self-conscious, then a quick cut to the worried parents on the front lawn, microphones surrounding them, Mom silently tearful, Dad reading a statement with quivering lip—that girl, that missing girl had just walked past Edna Skylar.

For grabber voice, here’s the opening of High Five by Janet Evanovich:

When I was a little girl I used to dress Barbie up without underpants. On the outside, she’d look like the perfect lady. Tasteful plastic heels, tailored suit. But underneath, she was naked. I’m a bail enforcement agent now—also known as a fugitive apprehension agent, also known as a bounty hunter. I bring ’em back dead or alive. At least I try. And being a bail enforcement agent is a little like being bare-bottom Barbie. It’s about having a secret. And it’s about wearing a lot of bravado on the outside when you’re really operating without underpants. 

Nonfiction is much harder for me to cull. I read nonfiction for specific information that interests me, and I make heavy use of the highlighter. When I’m finished I keep the book because I think maybe I’ll need that information again sometime. And hasn’t this happened to you: The moment I give a book away, or let someone borrow it, not a week goes by before I need something from that very book!

So I don’t know what to do about my NF. I know I’ll never give away my writing craft books. I have several shelves of these, and they are an archaeological record of my writing journey. I often refer to them for refreshers. 

I’m heavily stocked with biography, history, philosophy, theology, reference. Alas, I can’t see myself parting with many of these. I have a full set of the 1947 edition of the Encyclopedia Britannica (handed down from my grandfather, who sold them door-to-door during the Depression). I keep this because the articles in it are often so much better and more authoritative than what you find online these days. Also, in a special bookcase, is my Great Books of the Western World set, complete with the incredible achievement that is the Syntopicon. That’s obviously staying put. 

Which makes all this slow going! I have a feeling it’s going to take years to gain any significant space. I’m sure I’ll have to revisit my criteria down the line and get tougher on myself. 

“A room without books,” wrote Cicero, “is like a body without a soul.” I’m right with you there, Cic. But now what?

Do you have any advice for this melancholy bibliophile?

Fiction Research Links

Jordan Dane
@JordanDane

I came across some great resource links over the years and thought I would share some with my TKZ family. I’ll group them in no particular order.

MEDICAL:

This first link is to a site in Australia, but when I couldn’t find a similar one for the U.S., this serves the purpose. It gives writers a good visual as a reminder of what an Intensive Care Unit in a hospital looks like and the terminology: What’s in an ICU?

The Encyclopedia of Death and Dying – Wonder what’s in there? Plenty of weird topics alphabetized.

BioMed Search – Medical Resources – This has tons of medical resources on all sorts of illnesses, procedures, case reports, treatments for illnesses, surgical procedures, etc.

EMedicine: Medscape – Want to see what blunt force trauma does to the head and skull? This site is not for the squeamish. Various medical specialties are listed with slide show pictures. There’s also extensive resources on surgical procedures, pediatrics and general disease conditions.

FORENSICS:

This link has many resources, especially when you look under Forensic Resources Tab: American Academy of Forensic Sciences AAFS

Computer Forensics at SANS – Digital Forensics

Top 50 Forensic Science Blogs

CRIME SCENE:

This link has resources for writers to research crime scene cases and chat in forums to ask questions and get advice from detectives. Writers can research old cases and they even have an online store for fun purchases. Crime Scene

Crime Scene Investigator Network – This link gives writers plenty of resources on crime scene procedures and evidence gathering, with photos, forum to ask questions, videos, and case files.

Crimes & Clues: The Art & Science of Criminal Investigation – Ever wonder what a CSI job demands and the pay? This site has that and more. Profiling articles from top FBI agents, interrogation techniques and cases, courtroom testimony, various studies on forensic science, death investigation with pathology and entomology.

MISCELLANEOUS:

Police One – A solid resources for all things police: uniforms, gear, police cars, radios, body armor, body cams, police procedure, etc.

Botanical: Modern Herbal – A solid research source for herbs and poisons

Poison Plant Database

Firearms Tutorial – This is a resource for firearms with basic terminology, Lab procedures, examination of gun shot residue (GSR), and a study of ballistics, among other things. But since we have a resident expert in John Gilstrap, I would encourage anyone to start with John’s posts on guns here at TKZ – links below:

The Truth About Silencers

Cla-Shack

Choose Your Weapon

GENERAL WRITERS RESOURCES:

Internet Resources for Writers – Tons of resources on all topics for writers from networking resources, craft, research and business links.

The Internet Writing Journal: Research Resources for Mystery and Crime Writers – Lots of links on crime research, police procedure, forensics, government sites, and types of crimes.

CHARACTERS:

Building Fictional Characters – Lots of helpful links to resources on the topic of crafting characters with recommended instructional books. But I would be remiss if I didn’t also include our own TKZ resources on author craft through James Scott Bell (his list of books on writing are HERE) and Larry Brooks. Larry’s craft resources are listed HERE.

I hope you’ll find these links new and interesting.

FOR DISCUSSION:

What writers’ resource links have you found useful? Any topic from business/promotion to craft and research.

 

5 Key Ways to Balance Internal Monologue with Pitfalls to Avoid

Jordan Dane
@JordanDane

Attribution – Niki K (Wikimedia Commons)

John Gilstrap had an excellent post yesterday on Internal Monologue that resonated with me. He gave great examples of what works and what may not, with explanations on his sage reasoning. He certainly gave me things to think about in my own writing.

I tend to write in deep POV and very tight, with sparse narratives. This is especially true when I write my novella length stories for Kindle World, which is a great exercise in writing a tight plot and keeping the pace up.

In my full novels, I reign in my internal monologue and make it focused, with the character having a journey from beginning to end of the book, as well as a journey even within each scene, so I don’t repeat the deep POV thoughts.

On the FOR WRITERS resource on my website, I have a post titled – START WITH A BANG. If you scroll down to the “Ever thought about building an onion from the inside out?” sub-heading, you’ll find a section on how I let dialogue be the starting framework and how I layer in elements to fill out a scene. Internal monologue is vital to establishing my character’s journey and emotional growth and it’s something I focus on a great deal – even when I do my final draft read – but it’s the last thing I add to any scene, because I want to control it and isolate the journey to avoid pitfalls.

Despite my own methods, I greatly admire writers like Michael Connelly (particularly his Bosch series) where his mastery of his character’s internal views feel so authentic of an experienced war weary cop. He effortlessly brings in Bosch’s personal relationships and his workload to give a 360 view of this man’s life. That’s not an easy thing to do. It requires an intense knowledge of his character Bosch.

No matter how a writer learns how to craft internal monologue, it is easily one of the areas an author can veer off course and overuse…or under use, for that matter. Have you ever read a book that is all action, devoid of emotion or insight into the character’s internal battle and conflict? This is definitely a balancing game to get internal monologue to enhance your writing and make your stories memorable for readers.

Key Points to Finding the Right Balance for Internal Monologue:

1.) DIALOGUE – If you see your narrative paragraphs stretching out onto the page in weighty clumps, look for ways to make your internal monologue lean and mean by use of dialogue. This is something I have to pay attention to, even with my sparse style. Clever dialogue is a challenge, but it can be so much fun to write.

Plus, effective dialogue can help you pace your novel and tease the reader with red herrings or mystery elements, and not a plot dump of internal thoughts.

2.) LESS IS MORE – It’s easy to get carried away with every aspect of a character’s POV. The reader doesn’t need to know every logical argument for their action or inaction. People don’t think like this, especially in the heat of the moment in an action scene.

Have patience to let the story unfold. Too much internal thought can dry up pace and bore readers. The reader doesn’t need to know everything, especially all at once in a dump.

Also be careful NOT to repeat the same thought over and over. Repeating internal strife does not constitute a journey. It only reminds the reader that the author is searching for different ways to describe the same thing. Oy.

3.) TIMING – pick your spots when internal monologue makes the most sense. James Scott Bell wrote a great post on What’s the Deal on Dreams in Fiction where he talks about starting a novel with a character in thought, no action or disturbance. Resist the urge to bury your reader in internal monologue right out of the gate.

In addition, if your character is in the middle of a shoot out, that would not be the most opportune time to share his feelings on getting dumped by his girlfriend, not even if she is the one shooting at him. (Although I would love to read a scene like that.) To make the danger seem real, stick with the action and minimize the internal strife until it’s logical for the character to ponder what happened after.

Plus, if you spill the exposition too early, the reader won’t retain it as well as if you had waited for the right timing, when the reveal would be most effective.

4.) SHOW DON’T TELL – Once you get into the quagmire of telling a character’s POV, it’s too easy to get carried away with the rest of your book. If you can SHOW what a character is feeling, and let the reader take what they will from the scene, you will leave an image nugget that will stick with them. TELLING doesn’t have the same impact.

5.) ACTION & DIALOGUE DEFINE CHARACTER – These are the two areas where readers will most remember a book. Unless you’re into author craft and can appreciate the internal monologue finesse of John Gilstrap and Michael Connelly and many other author favorites, you probably may not remember how effectively the author used internal monologue. It’s like the color black. It goes with everything in such a subtle way that you may not notice it.

FOR DISCUSSION:

1.) What tips do you have to share on how you handle internal monologue in your own writing?

2.) With the key points I listed above, do any of them pose a particular challenge for you?

3.) Name a recent book you read where you noticed the author’s deft handling of internal monologue. (I would love to expand my TBR pile.)

A Sea of Squares

by John Gilstrap

In the last few weeks, I’ve had the honor of teaching two of my six-hour classes entitled, “Adrenaline Rush: Writing Suspense Fiction.”  The first was at the always-wonderful Midwest Writers Workshop which is held every July on the campus of Ball State University, and more recently at the Smithsonian’s marvelous S. Dillon Ripley Center in Washington, DC.  It’s a fun, interactive course that includes four writing exercises that are designed to help students understand the issues of voice and characterization.

A large part of that discussion by necessity deals with point of view (POV).  I find that students inherently understand the relative strengths and weakness of first-person story telling, but when they shift gears into the third person, they have difficulty creating as intense a relationship between reader and character as they can with the first person.  I tell them that it’s largely a case of writing the same sentence and changing the pronoun (“His heart slammed in his chest as he opened the door” vs. “My heart slammed in my chest as I opened the door”), and while they get it intellectually, they have difficulty pulling it off on the page.  They tend to slip into that omniscient, reportorial space.

While teaching at MWW, I hit upon an analogy that I liked, and the students seemed to bond with.  I urged them to pretend that we were writing about a very intense chess game, along the lines of that scene in Harry Potter and the Sorcerer’s Stone, where the chess pieces are living things.  I explained how the point of view of the chess master–the guy with the strategy–is entirely different from that of the pawn.  In the case of the latter, the poor guy just stands there, oblivious, staring out at a sea of squares until some unseen thing grabs his face and moves him forward.  After a few iterations, he finds himself kitty-corner from a guy who looks just like him, but in a different color, and now he’s supposed to kill him.  Hell, he never even met the guy!

That’s the close third-person, I told them.  Now, if you add the point of view of the knight who can’t move, but is exposed to certain death at the hands of the bishop on the other side of the sea, all because the pawn stepped out of the way, you’ve got a thriller told in shifting 3rd-person POV.  And it’s potentially much more interesting than the story that would be told through the omniscient view of the chess master.

What should I add in the next class to illustrate POV choices?

Let Me Entertain You

by James Scott Bell
@jamesscottbell

The year was 1919. The “Great War” was over and the “Roaring Twenties” about to begin. Out in Hollywood Charlie Chaplin, Mary Pickford, Douglas Fairbanks and D. W. Griffith got together to form a new film company they called United Artists.

In Georgia, Jackie Roosevelt Robinson was born. In New York, Theodore Roosevelt died.

On September 21, at the Ansonia Hotel in New York City, a cabal of Chicago White Sox ballplayers met to plan how to throw the World Series in exchange for gambling kickbacks.

On April 10, in Mexico, the revolutionary leader Emiliano Zapata was assassinated, never knowing that one day he would be portrayed on the big screen by one Marlon Brando.

And out of Camden, New Jersey, the Victor Talking Machine Company was shipping its latest model Victrolas, an item that had become all the rage for an emerging middle class. For through this wonderful machine music of all types could be piped right into the living room. Everything from Caruso to Al Jolson, from Beethoven to Eddie Cantor was available for purchase on vinyl discs with a hole in the middle.

All Victrolas sold in 1919 came with a booklet, a little manual instructing the customer how to get the most from their purchase.

Today, when for the first time you have brought a Victrola into your home, we wish it were possible to show you how much this, the most versatile and so the most satisfying musical instrument in all the world, can be made to entertain, to console and to inspire.

To say that the Victrola offers you, your family and your friends “all the music of all the world”—is to dismiss the subject with an entirely inadequate phrase and so this booklet has been prepared to offer certain suggestions for your greater enjoyment of this, your newest and we verily believe your happiest possession.

This was a huge development in our cultural lives in the age before radio became pervasive. Victrola extolled the benefits of music for the weary traveler on life’s highway:

Intimately associated as we are with the development of the Victrola, yet we are fully conscious of the wonder of it and we, no less than our customers, have learned that amid “the daily round of irritating concerns and duties” we have only to turn to the Victrola in order to be once more in love with life and its beautiful, blessed burdens.

And while championing the virtues of classical music, the booklet also recognized the great benefit of simple entertainments:

Art is art, no matter what form it may take, and those who are sincere in their musical opinions will no more despise the lighter and more popular music than they will despise good music which is the product of other kinds of feeling and other rhythms. In certain moods and at certain times there is as much “inspiration” to be derived from ragtime as there is from a Beethoven symphony or the thunderous emotions of a great opera. Each produces its effect in its own way and each supplies a very real human need…

Well said, Victor Talking Machine Company! Let me be so cheeky as to translate this into slightly different terms:

Art is art, no matter what form it may take, and those who are sincere in their literary opinions will no more despise the lighter and more popular books than they will despise literature which is the product of other kinds of feeling and other rhythms. In certain moods and at certain times there is as much “inspiration” to be derived from a thriller as there is from a National Book Award winner. Each produces its effect in its own way and each supplies a very real human need…

And yet … there has always been a tension between the “serious” writer and the “commercial” kind. At times the former may think of the latter as a hack. The latter may consider the former a snob.

Mickey Spillane was the mass-market paperback king of the 1950s. He engendered a lot of envy. (What? Envy among writers? Surely not!) Many “serious” writers were supremely ticked off that their wonderful, years-long-to-write novel of domestic angst only sold 300 copies, while Spillane’s fast-paced Mike Hammer PI novels sold in the millions. Even Ernest Hemingway took a poke at Spillane, in print, which prompted a TV interviewer to ask Spillane if he’d read Hemingway’s criticism. Spillane said, “Hemingway who?” The audience roared (Hemingway never forgave Spillane for that!) As The Mick later put it, “Those big-shot writers could never dig the fact that there are more salted peanuts consumed than caviar.”

Well, friends, there is room for both caviar and peanuts, pheasant-under-glass and bacon burgers. And culinary delights in between. But I happen to believe that the novels that move us most and heighten our perception of life also entertain on a basic, storytelling level. If I’m not fully invested in the characters, or if the plot is a drag, I’m not prone to sticking around for any message.

And pure entertainment deserves an honored place, as Dean Koontz pointed out in How to Write Best-Selling Fiction (Writer’s Digest Books, 1981): “In a world that encompasses so much pain and fear and cruelty, it is noble to provide a few hours of escape, moments of delight and forgetfulness.”

So let me entertain you! And you me! Here’s what I like to see in a novel:

  1. A hero or anti-hero we root for

A hero represents the values of the community. An anti-hero has his or her own moral code but is drawn into a conflict within the community. The big question is will the anti-hero transform? Katniss Everdeen is an anti-hero who becomes a hero. Rick in Casablanca starts out unwilling to help anyone (“I stick my neck out for nobody”) but by the end is ready to sacrifice himself for the greater good (“But I’ve got a job to do too. Where I’m going, you can’t follow. What I’ve got to do you can’t be any part of. I’m no good at being noble, but it doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world.”)

This doesn’t mean the lead character has to be what we normally call “good.” I root for Richard Stark’s hard-core criminal Parker, because among the other thieves and lowlifes, he has the better argument! 

  1. Conflict within and without

My favorite novels have both levels going on. That’s why I love the Harry Bosch series. We are as invested in Harry’s inner journey as in the case he happens to be working on. Even straightforward action thrillers like The Executioner series are elevated when Mac Bolan pauses to reflect on what all this killing is doing to his soul.

  1. An Ah or Uh-oh ending

My favorite endings leave me with a definite feeling. One feeling is “Ah…”, a sense of such satisfaction that I feel all the circles have been completed, the outer plot and the inner journey. Usually the ending scene is a personal one. Examples are Lost Light by Michael Connelly, Nathan’s Run by John Gilstrap, and Eight Million Ways to Die by Lawrence Block. These books have final scenes that move me at the heart level.

Stephen King is a master of the “Uh-oh.” As in, something bad is going to happen again! For example Pet Sematary and The Stand.

Kris (P.J.) wrote recently about the ambiguous ending. In the right hands, that can have the same effect as combining the “Ah” and the “Uh-oh.” An example is The Catcher in the Rye. 

  1. Some unobtrusive poetry in the style

That’s a phrase I lift from one of my favorite writers, John D. MacDonald. He’s describing a style that is more than plain-vanilla minimalism, yet not so over-the-top that it screams Look at me! I’m a real writer! The latter is where we get the axiom “Kill your darlings.” You can fall in love too much with a felicitous phrase, though I will say that the axiom is a bit too barbaric for my taste. Sometimes I’ll show mercy to a darling, but always defer to the judgment of my true-life darling and first editor, Mrs. Bell.

Give me those things, and you’re liable to turn me from a reader to a fan. And it’s what I hope to give you with each book. 

So let me put it to you, TKZers. What entertains you? Do you prefer to feast on one kind of fiction? Do you think one type is “better” than any other? Or do you like a big buffet with lots of choices?  

What do you try to put in your own fiction?

***

Historical notes:

The Victor Talking Machine Company’s logo featured a Jack Russell Terrier listening to an “external horn” player, cocking his head because he heard “his master’s voice” coming out of the horn. The name of the dog is “Nipper.”

The external horn machine was not a Victrola. Victrola was exclusively used for a model that had the horn inside a nicely designed cabinet, with small doors in the front that opened and closed. There were many fine Victrola designs, like this one:

Reader Friday: Happy 7th, TKZ!

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Shutterstock photo purchased by TKZ

The month of August marks the seventh year since the launch of the Kill Zone blog, so we’re pausing to celebrate. We’d like to thank you, our readers, for helping us grow and thrive as a community over the years. Your comments and participation add tremendous value to the daily discussions here. We take pride in the fact that TKZ has been named by Writer’s Digest three years running to its list of “100 Best Websites for Writers.”  We’d also like to give a shoutout to our Emeritus bloggers, the folks who helped us find our identity and develop as a writer’s community over the years: John Ramsey Miller; John Gilstrap; Kathleen Pickering; Michelle Gagnon; Boyd Morrison; and Jodie Renner. Huge thanks, also, to our current crew of excellent writers: Joe Moore; PJ Parrish/Kris Montee; Elaine Viets; James Scott Bell; Clare Langley-Hawthorne; Larry Brooks; Nancy Cohen; Jordan Dane; Joe Hartlaub; and Mark Alpert.

Happy 7th Anniversary, TKZ!

— Kathryn Lilley