Key Types of Conflict: Which One Best Fits Your Story?

Jordan Dane
@JordanDane

iStock image purchase for Jordan Dane

Conflict is EVERYTHING in writing a fictional story. As they say–no conflict, no story. An example might be the difference between describing what happened in your average day (blow by tedious blow) versus sharing the same story but with a driving conflict that smacked you in the face and you had to deal with an escalating problem. A life altering conflict–such as a weird neighbor moving next door or the water that supplies your city suddenly turns into poison.

Conflict Needs Obstacles – Readers love reading about a good fight or a conflict they can relate to, especially if the conflict escalates or there is a sense of urgency to it. Conflict isn’t just about two people fighting or a man or woman against a villain. It’s about throwing obstacles in the way of your main character(s). Make them worthy of a starring role by testing them throughout the story. Conflict needs to be substantial with enough threat to drive the action, to see what the characters will do.

Conflict Won’t Mean Much Without Empathy – It’s key to get the reader engaged in your story through empathy. Conflict wouldn’t mean much if your characters don’t earn sympathy from the reader. Readers will lose interest in unlikable characters. It’s hard to be in the head of someone the reader can’t stand or a character with no redeeming qualities.

Conflict can be Boosted by your Cast of Characters –  What do other characters in your story think of your protagonist? Even a dark anti-hero can give the reader a good impression if a child loves him or a dog follows him everywhere. The people in the life of your hero/heroine can shed light on who they are and make them easier to relate to. Who has their loyalty and why? A cast of well-placed/well-thought-out characters can be strategic to support the protagonist in a conflict.

Conflict Needs Higher or Escalating Stakes – Conflict shouldn’t be something that two people can simply sit down and talk about to fix. Resolution should be hard and challenging. Try pitting two characters against each other who both have admirable opposing goals. Add major roadblocks that escalate based upon each character’s actions. The story should get complicated by their choices and they should pay a consequential price for what they do.

The essence of most conflicts can be in the list below. If you have others to suggest, please list them in your comments.

Classic examples of well-told stories with major conflict are: The Hunger Games series, The Book Thief, Robinson Crusoe, Schindler’s list, Animal Farm, 1984, Moby Dick, The Help, The Picture of Dorian Gray, Frankenstein, The Handmaid’s Tale, and To Kill a Mockingbird.

Key Types of Conflict:

1.) Person against Person – A conflict between two people or one person against a group. Typically the opposition or villain is the alter-ego of the hero/heroine. This opposite nature allows you to explore the internal weaknesses of your hero/heroine. Don’t waste an opportunity to cross over conflicts with friction that adds tension, but you don’t have to hit your reader over the head with your cleverness. If done right, readers will get it. (See Person Against Self.) For an example of person against person, try any Die Hard movie where Bruce Willis is against ANY arch nemesis.

2.) Person Against Society – A conflict that confronts the law, major institutions, society & culture, or government. It’s David against Goliath, a struggle that feels daunting and is all the more celebrated when the little guy finds a way to win–or more crushing when the hero/heroine must give in. The Help or the Hunger Games or The Handmaid’s Tale are good examples of an oppressive society, culture, or the law.

3.) Person Against Self – A conflict that’s internal where a person struggles with physical weaknesses, prejudices, self-doubt, or personality flaws they must overcome. I would argue that even if you HAVE a main conflict, this should be another facet to your story. Giving a character a weakness or flaw to overcome can make the overarching conflict stronger by testing them. Schindler’s List is a great example of a story where the protagonist must confront his own beliefs and practices to do the right thing.

4.) Person Against God/Religion or Fate – A conflict between a person and their faith, their God, or Free Will versus destiny. This category might feel similar to a conflict of a person with Self or Society, but I like to isolate this conflict because religion and the idea of Free Will vs fate is a compelling one. (I’ve woven this thread through many of my books because it intrigues me.) With Death being the narrator in The Book Thief, it can be an example of how fate played a hand in the character’s lives or how God views the struggles of mankind–friend or foe or bystander.

5.) Person Against Nature – A conflict of a protagonist against the forces of nature (from weather to terrain to battling against the animal kingdom). Nature could also mean the embodiment of one formidable creature, as in Moby Dick, or a species such as in The Birds by Hitchcock.

6.) Person Against the Supernatural – A conflict with the supernatural realm. The Picture of Dorian Gray by Oscar Wilde is an example of a Supernatural conflict. An example of crossing over conflicts is to combine the supernatural obstacle with your protagonist’s views on God or Fate or them battling elements within themselves (Person Against Self). Many people have the belief that the Supernatural ties to the afterlife. The religious aspects complicate the story, but they can be damned compelling.

7.) Person Against Science/Technology – A conflict between a person/humanity against Science or Technology. It’s a given that people generally are skeptical of innovations. Why not make them fearful of them? Create a diabolical villain who creates a technology that is harmful or dangerous for humanity, or discovers a way to rule or manipulate mankind with a new Science. Mary Shelley’s Frankenstein would fit in this conflict element.

FOR DISCUSSION:
1.) What conflict on this list applies to your present project? Explain how.

2.) When you think about books you’ve read with memorable conflict, what books come to mind and why?

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Key Ways to Rediscover your Writing “Fun Mojo”

Jordan Dane
@JordanDane

Alert the Media. Writing is hard. From the moment I knew I wanted to write a novel, I’ve poured long hours into learning about the industry and the craft of writing. I spent hours in front of a computer, even with my full time draining job. Weekends were spent trying to sneak in hours to write. When I wasn’t writing, I thought of writing. I’ve read countless books in many genres, networked at writer conferences, entered national writing competitions, and suffered through the agony of rejection as many of us have.

When I first started out, I had nothing to lose. Rejections were expected. Some were even comical. I had a rejection ritual that involved mystical incantations and a shredder. Remember when you used the words – “It was a better rejection” – and knew what that meant? It’s not easy putting yourself out there and as the months and years went by–with rejections & expenses piling up with nothing to show for it–it wore me down. When I had hit that point, I asked myself a very real question.

Would I still write if I never sold?

I thought about it and eventually said it aloud. “YES!” It was if a weight had been lifted off my shoulders. I found that I cared less about rejections. They became opportunities toward my goal. I also didn’t feel the need to follow a trend. Hell, I WAS the trend. As an avid reader myself, if I wrote the kind of book I wanted to read, then I WAS the market. Editors and agents are industry professionals, but so was I. My time had value. Most of all, I had found a passion that I’d longed for my entire life and I was living my dream. That was good enough.

That’s when I sold. (Link to my FIRST SALE story.)

For my post today, I wanted to think back upon that time when everything had possibility and dig into what makes writing fun for me, still. I hope you’ll share what brings joy to you in your comments.

KEY WAYS TO REDISCOVER YOUR WRITING FUN MOJO

1.) Writers Notice Stuff

You may not be aware of this, but after honing the craft of writing, writers become more observant. We look at a setting location and wonder – How I would write this? Or how I would I describe the “feeling” of this place? Writers notice more in news stories, for example. We see the possibility of a story behind the story. A tragedy may be reported in the news–the journalistic facts of who, what, when, where, why–but writers’ minds go beyond the news. We want to know how the story would affect the people experiencing it. We want to know what the reporters might’ve missed. Where are the human stories behind an event? We want to make it personal. Our empathetic minds go there. We see things differently and hone our imaginations into becoming more compassionate human beings.

2.) Writers Tap Into Deep Emotions

When most people suppress their emotions, we want to live them–even if it’s hard. We write from the heart or we write from our worst fears. And it’s not just the word choices we make. It’s what we create that can trigger emotions and experiences in our readers and ourselves. Writing is not just about the craft of it. It’s about how it makes us feel to do it, no matter what level we are in skills.

3.) Writers Know Passion

How many people know true passion? Most people can live a lifetime and not know the passion we experience every day that we write. It’s a solitary exploration that satisfies us. It’s something we can do every day & it doesn’t feel like a job. Even if we’re not sitting at our desks or cranking on our laptops, we can fill our minds and our creative juices with the world we are creating and the plot or the characters we’re developing. We sometimes work through our book issues in our sleep. That’s sheer joy few people know. It’s special and extraordinary.

4.) Writers are Curious and Brain Thirsty

Writers are curious, driven people. We want to know and understand stuff. Research unleashes our inquisitive minds and broadens our writing experiences. Have you ever found yourself so sucked into your research, that you noticed you’d drifted into topics you hadn’t planned on writing about? Your mind drew you into the research and you kept going? The things is, you never know where you might use good info. Your research curiosity may pay off for the next book. Your mind is a sponge. It’s like living another life & filling your brain with ideas for use later.

5.) Writers Experience Books Differently

For good or bad, writers experience more as readers. It’s lovely when you can read a book and get lost in the story, but let’s face it. Many times we see behind the craft and truly appreciate what the author has created–or we hate it–but either way, we experience a book more deeply. Where most observant readers might notice a typo, authors might appreciate a clever turn of phrase or understand what it takes to create a complex character. A well developed plot twist is gold and we can break it down, not just let it happen. We’re insiders to an amazing process.

6.) Writers Don’t Have to be Original

We just have to write the best book we know how. Don’t worry about whether anyone has ever written about a certain plot before. No one can duplicate how you choose to tell a story. No one can filter their storytelling through your unique eyes and life’s experiences. Yes, it’s great to discover a fresh take on something and we should all strive to push the envelope to writing with new ideas, but there’s something deeply satisfying about telling a story that touches a reader in a special way, that only YOU can do.

7.) Writing is Therapy

When bad stuff happens to writers in their lives, we have a way to explore it through our writing. We can distance the pain from our own stories by telling what happened through our characters. Writing is about emotion. It’s a gift to tell your story and tap into feelings that readers can relate to. It’s one thing to be compassionate and empathetic when we imagine what a character might be feeling, but to add a personal reflection (even when it’s painful), takes guts. Dare to be gutsy and you may find it helps you in return.

8.) Writing is Community

As writers, we instantly become a part of a wonderful community of creatives. If you’re reading this, you are one of us. I’ve found that most writers are a generous lot. We know how wonderful it feels to write and we want to share that success with others. When I first sold, I began to see writing as part of a grander stage. Writers can relate to actors, singers, song writers and other artists who create something special from nothing.

9.) Writing Comes with a Thick Skin

Rhino skin can be a blessing. There, I said it. Rejections CAN be a good thing. Most people don’t have critics looking over their shoulders as they do their work, people who criticize everything they do. Online book reviews and beta or social media comments can hurt, but we get through it because we’re driven by our passion to write. There are precious few people who pursue writing and actually finish a novel. In light of that, reviews and harsh comments mean nothing.

10.) Writers Publish

Isn’t it glorious that authors have choices these days? Whether we sell our novels through traditional publishing houses or self-publish, we have options that weren’t always available in the past. We can explore the opportunities to sell or become our own publisher and retain the margin and the creative control from formatting, to cover design, to promotion and pricing. We can do both. It’s great to have choices.

***

I love being a part of our TKZ writing family. Having an online community to read what others are experiencing means a lot to me. It bolsters my spirit. When authors share tips on writing craft or share what works for promotion or research–whether it’s in a blog post or in comments–that is a solid reminder that we all share the passion of writing and it’s so worth it.

FOR DISCUSSION:

1.) What brings joy to you about writing? Please share what you would put on YOUR list.

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All I Really Needed to Know, I Learned from my Parents

Jordan Dane
@JordanDane

If you’ve never read humorist Robert Fulghum, treat yourself by buying his books. His most famous one is ‘All I Really Needed to Know, I Learned in Kindergarten.’ More than 17 million copies of his books are in print, in 31 languages, in 103 countries.

On the downloads tab of his website, he had a delightful offering – Argentina Tango Chronicles – tales from a solo traveler. Since I am traveling solo to northern Italy in the fall, I can’t wait to read how Fulghum makes the most of his trips where he reinvents himself in foreign lands. Yes, he even changes his name.

Robert Fulghum grew up in Waco, Texas. In his youth he worked as a ditch-digger, newspaper carrier, ranch hand, and singing cowboy. After college, he had a brief career with IBM, but he wasn’t satisfied. After completing his graduate degree in theology, he served 22 years as a Unitarian parish minister in the Pacific Northwest. He’s taught drawing, painting, art history and philosophy. He’s also an accomplished painter and sculptor and sings, plays guitar and mando-cello. Fulghum even marches in parades, playing cymbals and tambourine.

Now that’s a diverse resume. He’d be a blast to hang out with.

His good-natured stories about families and life lessons are told with subtle ‘feel good’ humor. I love reading his short stories at bedtime, particularly after a long, trying day. His humor, and his ways of structuring a short story, always makes me laugh.

Fulghum’s work makes me think about my own upbringing and what I’ve learned from my parents. I’ve been blessed with a loving family and wanted to share my parents with you, my TKZ family.

***

My parents (Ignacio & Kathryn) have been married 68 years. They had a picture-perfect wedding in San Antonio at one of the oldest active cathedrals in the United States, the stunning San Fernando Cathedral, founded in 1731. We are blessed that they are still healthy and active and thriving. Good genes.

My dad is 93 years old and still going strong. I call him ‘the renaissance man’ because there is NO TOPIC that doesn’t interest him or that he wouldn’t try. He gave me my love for art and self-expression. He also gave me a competitive spirit and a ‘never say never’ attitude at trying new things. In his career, he designed and built things – an architect who became influential in developing downtown San Antonio. He actually named the Riverwalk – the Paseo del Rio. He retired early, but that didn’t stop him from exploring his love for the many things that still interest him. He has a mind like a sponge, always learning. I hope I have a fraction of his ability. He loves to cook, especially gourmet food and exotic recipes. This is the guy who dug a pit in our backyard to cook game on a spit or who wrapped fish in banana leaves to cook in an underground oven.

To this day, my dad studies food and painting techniques as if he were a young man. He’s a constant inspiration on how to grab life and hang on tight. He loves mind puzzles and the strategies of playing chess. Despite having hearing problems–due to his stubbornness at wearing hearing aids–he’s quick with a joke that makes me laugh. I usually say that my worst habits, I got from my dad, but I’m thankful I inherited other things too.

My mother is 90 years old. From her, I learned my lifetime love for reading. I have many fond memories with my mom, but she literally taught me how to devour books and planted the seed for my love of writing. Summers off from school were spent at the library (in the stacks) and I came home with dozens of books to read. My mom’s compassion for people and her generosity helped me see the world in a different way. That certainly gave me the insight to write about the lives of others in my books. She’s my best friend. We talk several times a day and I am their primary care giver, living only minutes away. Quite a change from when I was an angry rebellious teen. Even with our age difference, she has an intriguing mind that has adjusted over the years. She accepts a great deal and tries to understand things. We have long talks about how everything has changed, but she is curious and I love it.

Both my parents have a great deal of humor, but they are different. That doubles down the fun. I buy my mom the latest in Youtube (she calls it U2) viral video-wear, like her ‘Honey Badger Don’t Care‘ shirt or the Weiner Dog tee she’s wearing in this pic. Dad tries not to be seen with her in public when she’s wearing them. (Isn’t she cute?)

But on a day of weakness, even dad can be persuaded to do crazy family stuff, like the time we did a retreat to celebrate Willie Nelson. Long story. Even my dogs have headbands and braids.

FOR DISCUSSION:
1.) Please share what you learned from your parents or your childhood that has influenced you as an adult.

2.) Any funny stories to share?

Now if you’ll excuse me. My tambourine lesson is in thirty minutes.

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An Amazing Research Resource for First Responders

Jordan Dane
@JordanDane

Happy July 4th! I’m grilling and celebrating with my family. I hope you all have plans. It’s a time to celebrate the birth of our nation. Freedom does not come free. 

***

When I think about what makes our country great, I think of emergency first responders who are on duty 24/7/365. It takes a special kind of person to protect the public-from EMTs to firefighters to police.

While working with another author, I found a great resource that I thought TKZ might find useful as a resource for first responders. The show primarily focuses on two EMT teams in New Orleans, but other groups come into play, too. Look on HULU for season 2 – 4 of NightWatch which follows the most dangerous shift time from 9pm to 3am. For those of you not streaming HULU, Season 1 is on A&E and those episodes are available at this LINK.

WARNING: This is graphic. I don’t think I’ve ever seen what EMTs see firsthand as they arrive on scene, for example.

From a writer’s perspective, what I found most interesting is:

1.) Fast paced action with stories well-told. Not sure who writes or directs/produces this series, but it is extremely well done. It’s a good reminder of how to show action scenes with the author craft principle of ELLE – Enter Late, Leave Early.

2.) Dialogue is tight. The scenarios are not staged so the treatment must be the first priority. Quick medical lingo between EMTs is carried on without explanation. You see the action as it happens, but when there is time to narrate, the EMTs share what’s medically happening and why they are doing it. You get to see how each case affects them.

3.) See inside first responders’ heads – EMTs (and other first responders) share their thoughts as they come onto the scene, as in what they expect to find. Often, they are surprised and have to react quickly. Dispatch details can be sketchy. The compassion of these people is striking. They are patient and calm amidst chaos and their first priority is for the patient. They calmly talk to them, reassure them, and do whatever it takes to keep them calm. Sometimes the emergency isn’t about a medical solution and more of a human resolution. It’s all there.

4.) You get to see what dispatch communicates to first responders and how they locate the scene with the GPS equipment they have on-board the vehicles.

5.) You see how the first responder teams work together. One of my favorite teams is a man and woman EMS unit. You can see the camaraderie and the banter while they are driving to a scene, but they jump into action and work intuitively with each other. You also get to witness how the other services work with them. Good stuff.

6.) New Orleans as a Venue – My newest series is set in New Orleans and this series is very helpful to get oriented. I make notes and check each location on an online map to see the streets and how it’s oriented in the city.

7.) Local Dialects & Speech Patterns for Emergency Teams – It’s been helpful for me to hear the speech patterns for first responders (especially in New Orleans) but the banter and emergency jargon and official dispatch lingo/code is authentic.

8.) Medical Lingo & Equipment – For the EMTs, they discuss what equipment they have on “the truck” and how it can assist different patients. They’re proud of their service and what they carry on-board. You also get to see what happens in an emergency and what they have to clean up after they drop the patient off at the hospital.

This series is addictive. I find it helps me get  my head into the writing I am doing, since it takes place in New Orleans, but this series is fast-paced and authentic.

DISCUSSION:

What other movie or TV resources do you use to add authenticity to your writing?

No One Heard Her Scream – Ebook Reissue Now Available (in print soon).

Publishers Weekly Best Books of 2008 – Mass Market

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Is It Good to Open with a Dead Guy?

Jordan Dane

@JordanDane

After I saw the blog title to P J Parrish’s excellent post this week (Is it Good to Open with a Bad Guy), it sparked an idea for my post today. Can a story that begins with a dead guy be worthwhile if they’re only on the page for a short scene? How can an author make a scene like that count? Or should they? How much effort should you put into one scene and a dead guy?

An author can choose to make any death be about the dead body and the unlucky stiff who finds it, or the detectives who seek justice, or the families left behind. The body can be for shock value, or be a twist in the plot of a sagging middle, but when should a victim be more?

Bottom Line – For every scene you choose to write, make every character count.

In the stories I write, I like to give a face to the dead. If I choose to open with a victim not long for this world, I have to create a vivid glimpse into their life–a quick snapshot into who they are–enough for readers to care about them. Every word and every visual has to count.

I’m not talking about TELLING the reader who the victim is. I’m talking about SHOWING their life in vivid imagery & their voice and character traits. You only have one shot to make it memorable.

In THE LAST VICTIM, I open with the murder of Nate. My psychic FBI profiler, Ryker Townsend, first “meets” Nate in a nightmare of haunting images he must decipher. As Ryker uncovers the puzzle, he must put himself into the boots of Nate to hunt his killer. Nate’s life as a young father, living on a remote island in Alaska, becomes a troubling mystery.

How could an isolated loner like Nate cross the path of a prolific serial killer known throughout the Pacific Northwest? Ryker treks into the mountains of a remote island in Alaska and as he sees more of Nate’s life, he begins to know him and grieve for his passing.

For a few reasons, I made a deliberate choice to begin THE LAST VICTIM as seen through the terrified eyes of Nate when he knows he will die. His last thoughts are of his son. I wanted the reader to care about finding this heartless killer by choosing to make the reader care about Nate.

Excerpts from THE LAST VICTIM

Beginning of the scene

The soothing murmur of an ocean ebbed through Nathan Applewhite’s mind until he felt the waves and made them real. Now as cool water lapped the sandy shore to make frothy lace at his bare feet, he looked up to a cloudless sky—the color of a robin’s egg—that stretched its reach to forever. Fragments of his senses came together. Every piece made him yearn for more. When warm skin touched his, he knew he wasn’t alone and he smiled. He held a tiny hand. His five-year old boy Tanner walked the strand of beach beside him.

The memory came to him often, but it never stayed long enough. The pain always yanked him back.

 

ENDING of Nate’s Life:

End of the Scene – as he’s dying

Nate blocked out the cruelty of the voice. Only one thing mattered now. As the familiar face above him blurred, it got replaced with another—the sweet smiling face of his little boy Tanner—and the rumble of a wave hitting the shore. Sunlight made Tanner squint when he looked up at him. His son let go of his hand and ran down the beach with a giggle trailing behind him.

Hey, little man. Wait up. Daddy’s coming.

With sand caked to his feet, Nathan took off running after his little boy. The two of them splashed in the waves and made shimmering diamonds with their feet. He never caught his son. Time had ticked down to its final precious seconds. He only had one way to say good-bye to Tanner. Nate watched him run and he listened to his little boy laugh until—

Pain let him go and set him free.

KEY “DEAD GUY” STEPS TO EXPLORE

1.) IMAGINE DEATH

If you choose to write through the eyes of someone who’s dying, what must that feel like? It’s hard to do. You must face your worst fears, yet try to put death into words that will be palatable to the reader (not overly graphic) with imagery that will haunt a reader. It takes thought to craft a scene that’s hard to forget for readers, but David Morrell, author of the Rambo series, did that for me when I first read  FIRST BLOOD.

The first time I read a story with a scene written in the POV of someone killed was written by Morrell. I don’t want to give anything away, but a key character dies by a shot gun blast to the head. Morrell wrote it from the POV of the dead guy and I never forgot it.

My first attempt to try Morrell’s scene came when I wrote my first suspense book (the 2nd book I sold to HarperCollins). In an opening scene I wrote in NO ONE LEFT TO TELL, my assassin dies at the hands of a worse killer. His throat is cut. I researched the medical descriptions of what this must be like. After all, there is no expert in dying who is still speaking and can share their wisdom. It’s a one-way ticket.

I had to imagine his assassin’s death and make choices. Death by exsanguination (loss of blood) might be similar enough to drowning. I researched drowning symptoms to pepper them into the action. Due to the violence in the scene, I also pictured a terrified rabbit in the jaws of a wolf, bleeding out. Would a rabbit mercifully lapse into shock and not feel what would happen? I wrote that kind of “rabbit shock” for my bad guy as he died in the arms of the man who butchered him.

At the start of the scene, the assassin wants to retire and he pictures the beach of his dreams. After he makes one last score, it turns out to be one too many. He’s hunted in the dark, in a maze of others like him. When he finally confronts his killer and his throat is cut, he drowns in his blood. As he pictures “his” beach–in shock–he sinks to the bottom of the ocean fighting for breath. It made the killing easier for readers to take, but I needed to establish how cruel the villain of the book would be, so readers would fear more for my woman cop.

I’ve found these scenes can be a challenge, but one worth taking. Below is the end of the scene in Mickey’s POV.

Excerpt – NO ONE LEFT TO TELL

“You’re mine now.” The intimate whisper brushed by his ear. It shocked him. The familiarity sounded like it came from the lips of a lover. “Don’t fight me.”

For an instant, Mickey relaxed long enough to hope—maybe all this had been a mistake. Then he felt a sudden jerk.

Pain…searing pain!

Icy steel plunged into his throat, severing cartilage in its wake. A metallic taste filled his mouth. Its warmth sucked into his lungs, drowning him. Powerless, Mickey resisted the blackness with the only redemption possible. He imagined high tide with him adrift. He struggled for air, bobbing beneath the ocean surface. The sun and blue sky warped with a swirling eddy. Mercifully, sounds of surf rolling to shore clouded the fear when his body convulsed. Dizziness and a numbing chill finally seized him. The pounding of his heart drained his ability to move at all.

A muffled gurgle dominated his senses—until there was nothing.

2.) GIVE YOUR VICTIM A FACE

Even if your victim is on the page as a soon-to-be dead guy, you have a choice to show the reader who they are. Make them real or keep them as a cardboard stiff and a prop. If you paint a vivid enough picture of their life, you can show how they will be missed by their family or even how they touched the life of the cop who must investigate their death. It’s an opportunity to show violence in a different way and to thread the victim’s humanity throughout your story. It can also show the heroic qualities of your detective or your main character(s). Done right, you can make the reader feel their loss in different ways. Your story becomes more emotional.

3.) PLANT RED HERRINGS

Use the victim’s POV to plant mystery elements & red herrings for the reader to decipher. A victim’s death can serve to showcase clues on the identity of the killer (did he or she know their killer) OR the victim can be an unreliable narrator for the author to plant misdirection clues for the reader to stumble over. Milk that death scene for all its worth.

4.) DON’T WANT TO KILL IN A VICTIM’S POV?

If you’re squeamish about killing a victim and showing the reader what that feels like, you can opt out. You don’t have to stay in their POV. You can write up until the moment they die, in a dramatic adrenaline rush. Or if you switch from inside their head at the last second, you can change POVs to someone who is with them, forced to watch them die. That can milk the emotions of a scene as well.

5.) PEPPER YOUR SCENE WITH HUMANITY

A victim is leaving many people and memories behind. If you choose to make that unimportant–where they are only a corpse for the coroner to autopsy–you’ve missed out on an opportunity for emotion. All people who die leave something or someone behind – a wake where their life had been. If you make it important for your story, it will open your reader’s eyes to you as an author and it will showcase your character’s humanity.

In Mickey’s case in NO ONE LEFT TO TELL, I wanted to show his cocky attitude when he believed as a killer that he was invincible, but there is always someone worse. Mickey’s death paved the way for my villain to hit the stage.

In Nate’s case in THE LAST VICTIM, his son mattered most to him. Even in death, his boy is the only thought he had. It gave him peace. I wanted the reader–and my character, Ryker–to miss him.

Below is an excerpt that shows how I kept writing Nate into the story, long after he died. In this scene, my FBI profiler is hiking to a remote cabin in the mountains of an isolated island in Alaska where Nate lived. He’s there to understand Nate’s life to know how he crossed paths with a prolific serial killer.

Excerpt – THE LAST VICTIM

I listened to the hypnotic sounds of the forest and let the subtle noises close in. A light breeze jostled the treetops and birds flitted in the branches over my head. My boots made soft thuds on the decomposing sod under my feet. Nature had a palpable and soothing rhythm.

Nathan Applewhite had been where I stood now and I knew why he would’ve chosen to make his home on the island. There was a soul quenching refuge I sensed in my bones. I knew Applewhite must’ve felt the same. Perhaps like Henry David Thoreau, Nathan had sought the nurturing solitude of the woods because he ‘wished to live deliberately’ and get the most of his life.

Nate had chosen a quiet, simple life. The fact he was dead now—after being tortured and murdered—struck a harsh blow in me. It was an odd feeling to miss someone I’d never met, but the more I saw of Nate’s life, the greater I sensed the wake of his absence. Violent death was never fair. The haunting words of David Richard Berkowitz, Son of Sam, seeped from my brain.

I didn’t want to hurt them. I only wanted to kill them.

FOR DISCUSSION:

1.) Have you written a scene in the POV of a dying person? What challenges did you have?

2.) What authors have written scenes you will never forget and why did they stick with you? Your examples don’t have to be death scenes. (With my books in boxes from my last move, I am without examples for my posts and am forced to use MY books. Sorry about that.) 

The Last Victim

When a young hunting guide from a remote island in Alaska is found brutally murdered, his naked body is discovered in the Cascade Mountains outside Seattle—the shocking pinnacle to a grisly Totem of body parts. Nathan Applewhite is the fourteenth victim of a cunning serial killer who targets and stalks young men.

FBI profiler Ryker Townsend and his team investigate and find no reason for Nate to have mysteriously vanished from his isolated home. But Townsend has a secret he won’t share with anyone—not even his own team—that sets him on the trail of a ruthless psychopath, alone.

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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.

 

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Tips on Writing Believable Conspiracies for Thriller Fiction

Jordan Dane
@JordanDane

 

www.cgpgrey.com

“Just because you’re paranoid, doesn’t mean they aren’t after you.”
– Joseph Heller, Catch-22

Conspiracy theories have captured our imaginations for many decades. With the advent of the Internet, such theories have proliferated from the comfort and anonymity of your cell phone with your fake handles. Rightly or wrongly, the anonymity of the Internet has spurred conspiracies and brought them into our homes, linked to our smart phones and other devices.

Some popular, long standing conspiracies involve:
• A secret world order that controls the globe – Illuminati/Knight Templar
• The government secrets from Area 51/Roswell/Alien Autopsy
• Reptilian aliens walk on two legs among us
• The JFK assassination – Oswald wasn’t alone
• The moon landing was fake
• The FDA is withholding the cure for cancer

“WHAT IF” questions can generate plot ideas. Many conspiracy theories revolve around big institutions like the church, educational institutions, big oil, rogue agents operating within the CIA, a secret government agency,Wall Street, big pharma or similar organizations that touch people’s lives and make them vulnerable. Your notion of conspiracy can be domestic or foreign, localized or global, political, religious, military or big corporations.

Here are some popular movies that were based on conspiracy theories:
Wag the Dog – White House officials and a Hollywood producer create a fake war to distract the public from a sex scandal involving the US President.(1997)
All the President’s Men – Based on Watergate and secret factions operating in our government.
Manchurian Candidate – An evil corporation brainwashes US soldiers into fighting in Iraq in order to create a perfect assassin capable of eliminating undesirable political rivals. (2004)
Syriana – An energy analyst, a CIA agent, a middle-eastern prince, and a corrupt lawyer become embroiled in a high-level assassination involving Big Oil. (2005)
Network – Upon learning of his dismissal, failing news anchor Howard Beale goes on hugely popular rants quickly angering the Powers That Be. (1976)
JFK – Oliver Stone’s masterpiece documenting District Attorney Jim Garrison’s struggle to prove the involvement of a conspiracy behind the assassination of US President John F. Kennedy. (1991)
The Insider – A research chemist turns whistle blower (Jeffrey Wigand) and threatens to reveal to the world Big Tobacco’s cover up of the negative health effect of cigarette smoking. (1999)
They Live – A drifter accidentally discovers a pair of sunglasses which enables him to see Aliens among us, the true rulers of the world. (1988) (I can’t believe I actually saw this one.)

If you want to add a twist to your plot, consider combining multiple conspiracy theories that might not be related on the surface. I once combined a secret global human trafficking ring making illicit use of the dark web and combined it with a news story set in India where people were getting robbed on the street for their kidneys and other organs. I envisioned a contemptible shadowy organization that traded human flesh online and used my energy trading experience to visualize how such a group would conduct business across a network that resembled the control panels at large oil refineries (places I had seen many times).

Medical Conspiracies

Like telling a good ghost story, tap into fears people would believe. Not too far-fetched. Medical conspiracies are a great combination of personal vulnerability with a high stakes thriller plot. Think of the many ways we all accept certain medical procedures as normal. What if a covert group interferes with a “normal” procedure and hunts innocent victims without reason or a connection to the crimes? A great example of a medical thriller based on a believable fear is Michael Palmer – The 5th Vial.

Seemingly unrelated victims across the globe are targeted by a top secret cabal of medical specialists dealing in illegal organ donation. Standard blood work—and the 5th vial—put a target on their backs and seal their fate.

Robin Cook’s Coma is another classic medical thriller where certain victims are targeted and their bodies are harvested for illegal organ donation after the victims are suspended in a coma state. Innocent patients go in for standard and routine operations, only to become the latest addition to a body farm in a secret facility operated by wealthy patrons through the Jefferson Institute.

8 Key Ways to Writing Believable Conspiracies

1) Take advantage of paranoia. Mistrust and suspicion are keys to pulling off a believable conspiracy plot. Even if readers haven’t considered darker subversive motives at play during relatively routine activities, trigger their paranoia with your plot and a different way to look at it.

2) Write what you fear. If you fear it, chances are that readers will too. Convince them. Exploit common fears and highlight deeper ways that get readers thinking. In fiction, it works to grip readers in a personal way. The fears we all share—the things that wake us up in the middle of the night—can tap into a great plot.

3) Villainous motivation must feel real. You can be over the top but give your diabolical conspiracy a strong and plausible motivation. Don’t be vague. Drill down into your conspirators and justify their motives and existence from the foot soldiers on up the line.

4) Give your bad guys believable resources. Make it seem insurmountable to stop them. Think of the infrastructure it would take to plausibly pull off your thriller plot. Have them use believable technology, science and manpower to give them the appearance of Goliath when it comes to your hero/heroine fighting their diabolical acts.

5) Know organizations and your governmental jurisdictions to give your plot teeth. How do they operate in secret? Give them a plausible connection to organizations the reader may know about. Draw from organizations or systems readers will understand. If you’re too vague, readers will dismiss your plot as unlikely and a shadowy plot with no substance.

6) Make the risks personal for your hero and heroine. High stakes are important, but force your main character(s) to dig deep to fight through their fears and insurmountable odds. This is what will keep readers rooting for your characters. Make them worthy of their star role. A global phenomenon can put readers on edge, but bring the impact down to the personal stakes of real human beings for maximum impact.

7) Ripped from the headlines stories can add layers of credibility. The best fictional thrillers come from events or news that readers are familiar with.

a.) Re-imagine a well known historical event. Add your best twist to a conspiracy makes your work more interesting and forces readers to think.

b.) Or dig into a headline story for facts that are not readily known. Often that story will be deeper than most readers are aware of, especially if there are personal human stories within the big headline. I used the Mumbai terrorist attack to add bones to some of my stories. I’ve also used the National Geographic’s TV show Locked Up Abroad in my book The Echo of Violence and wrote my own version of those amazing events when a married couple (Christian missionaries) were abducted and held for ransom for a year by a small terrorist cell. It saddened me to realize that only one of the missionaries came back. They had gone to the Philippines for a second honeymoon to celebrate their wedding anniversary. I didn’t exploit their horrific story, but I re-imagined a “what if” scenario involving a nun.

FOR DISCUSSION:

1.) What conspiracies can you imagine from today’s headlines? Get crazy. Add humor or scare the hell out of us.

2.) Do you have helpful resource links for writers interested in conspiracies?

3.) What book sticks in your mind that scared you with a plausible and frightening conspiracy?

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Smell Your Story

by James Scott Bell
@jamesscottbell

I was nosing around for the subject of today’s post, and sniffed out the sense of smell. It is under utilized in fiction. We rightly concentrate on sight and sound, because those are the most immediate and pervasive senses, necessary for the telling of a story. But touch, taste, and smell should be used judiciously to enhance the narrative.

Today, let’s take a whiff of some ways you can use smell in your fiction.

Create a Tone

At some point in the beginning of a scene, use smell to help set the tone. In Michael Connelly’s The Narrows, FBI agent Rachel Walling arrives at a desert crime scene, the work of the notorious serial killer, The Poet:

As they got close to the tents Rachel Walling began to smell the scene. The unmistakable odor of decaying flesh was carried on the wind as it worked through the encampment, billowed the tents and moved out again. She switched her breathing to her mouth, haunted by knowledge she wished she didn’t have, that the sensation of smell occurred when tiny particles struck the sensory receptors in the nasal passages. It meant if you smelled decaying flesh that was because you were breathing decaying flesh.

Boom. I’m there.

Reveal a Theme

In Jordan Dane’s No One Heard Her Scream, San Antonio detective Rebecca Montgomery is ordered into her lieutenant’s office:

Lieutenant Santiago’s office smelled of coffee and stale smoke, a by-product of the old homicide division, before anti-smoking legislation. Central Station had been smoke-free for quite a while, but the stench lingered from years past, infused into the walls. No amount of renovation had ever managed to eliminate the odor.

Not only does this give us an added descriptor of the scene, but it also signifies the conflict between the younger detective and the old-school guard of the department.

Make a Comment

Travis McGee, the creation of John D. MacDonald, is a houseboat-dwelling “salvage expert” who gets dragged into various mysteries. One of the marks of a McGee is when he riffs on some contemporary issue, or makes a generalization that tells us about his view of life. In Nightmare in Pink, McGee is waiting on a bench at a police station, watching “the flow of business.”

It is about as dramatic as sitting in a post office, and there are the same institutional smells of flesh, sweat, disinfectants and mimeo ink. Two percent of police work is involved with blood. All the rest of it is a slow, querulous, intricate involvement with small rules and procedures, violations of numbered ordinances, complaints made out of spite and ignorance, all the little abrasions and irritations of too many people living in too small a space. The standard police attitude is one of tired, kindly, patronizing exasperation.

Now we know why McGee prefers to live on a houseboat, and goes around the cops when he’s on the job.

Show the Inner Life of a Character

McGee again. After the slings and arrows of the mystery in The Turquoise Lament, we have an epilogue. McGee is on his boat, The Busted Flush, with his friend Meyer. They’re playing chess.

I had Meyer crushed until he got cute and found a way to put me in perpetual check with a knight and a bishop. We turned off all the lights and all the servomechanisms that click and queak and we went up to the sun deck to enjoy the September night, enjoy the half moon roving through cloud layers, enjoy a smell of rain on the winds.

I love that smell, too, which carries with it both a sense of peace (which McGee needs) and a portent of coming storms—setting up the next McGee adventure. Nicely done, John D.*

So remember, it never stinks to use the sense of smell in your stories. Does that make scents?

*NOTE: The word queak in the last clip is in the print version I own. I wonder if JDM made a typo and then decided it sounded good, even though it’s not in the dictionary.

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12-Archetypes: A Framework for Creating a Cast of Memorable Characters

Jordan Dane
@JordanDane

Wikimedia Commons-Falkue

How do characters come to you? For me, each book can be different. I don’t have a set method, nor do I want to nail my process down. I’ve awakened in the middle of the night with a character speaking to me about his or her story. I leap from bed and rush to the bathroom with pen and paper in hand to jot down notes.

Sometimes from my preliminary research, I can meld 2-3 ideas together and a character might spring from that work. For example, I might realize I need an adventurer hero, a love interest and one of them might need a scientific background or have other special cognitive skills to pull off the plot that’s developing. Those characters come at me slowly and build, where I sometimes throw in fun hobbies or weirdness to keep the plot interesting.

Have you ever gone back into a novel you’ve already written and examined character archetypes?

You can also do this deep dive for themes you generally write about, even if it’s not a conscious awareness you have when you first start your project. I write from a gut level. Too much structure might inhibit my process, but I do find it interesting to take a closer look after I finish writing a book, especially if it sells well and the feedback is good from industry professionals. It’s helpful to dig into a plot I created organically to find threads of themes I love to explore.

Let’s take a closer look at character archetypes. In researching this post, I found a more comprehensive list of 99 Archetypes & Stock Characters that Screen Writers Can Mold that screenwriters might utilize in their craft. Archetypes are broader as a foundation to build on. Experienced editors and industry professionals can hear your book pitch and see the archetypes in their mind’s eye. From years of experience, it helps them see how your project might fit in their line or on a book shelf.

But to simplify this post and give it focus, I’ll narrow these character types down to Swiss Psychiatrist Carl Jung‘s 12-Archetypes. Listed below, Jung developed his 12-archetypes, as well as their potential goals and what they might fear. Goals and fears can be expanded, but think of this as a springboard to trigger ideas.

TYPE/GOAL/FEAR

1.) Innocent

GOAL – Happiness

FEAR – Punishment

2.) Orphan

GOAL – Belonging

FEAR – Exclusion

3.) Hero

GOAL – Change World

FEAR – Weakness

4.) Caregiver

GOAL – Help Others

FEAR – Selfishness

5.) Explorer

GOAL – Freedom

FEAR – Entrapment

6.) Rebel 

GOAL – Revolution

FEAR – No Power

7.) Lover

GOAL – Connection

FEAR – Isolation

8.) Creator

GOAL – Realize Vision

FEAR – Mediocrity

9.) Jester

GOAL – Levity & Fun

FEAR – Boredom

10.) Sage

GOAL – Knowledge

FEAR – Deception

11.) Magician

GOAL – Alter Reality

FEAR – Unintended Results

12.) Ruler

GOAL – Prosperity

FEAR – Overthrown

I recently sold a series to The Wild Rose Press. Book 1 is called THE CURSE SHE WORE – A Trinity LeDoux novel.

TRINITY – When I looked back at my heroine, Trinity appeared to be a combination of two archetypes, until I gave her a closer look. On the surface, she’s an innocent AND an orphan, but when I examined her from the GOAL and FEAR angles, I saw her clearly as an ORPHAN. No family. She’s homeless and living on the streets of New Orleans. She hasn’t known much happiness and punishment would only make her more stubborn. Her soft underbelly lies in her own thoughts on where she belongs and what she deserves. She keeps her life at a distance from others–her self-imposed exclusion. She thinks she doesn’t need anyone until she meets Hayden, but what she has planned for him, there won’t be anything left to build on. Loyalty can be a double-edged sword.

HAYDEN – My hero Hayden Quinn doesn’t fall neatly into the HERO category. Because of his psychic ability, he’s become a CAREGIVER to a small needy Santeria community in New Orleans. But his gift didn’t help him when he needed it most. He’s drawn to help others, but his ability only reminds him of the worst day of his life.

CROSSED PATHS – As a child of the streets, Trinity exploits Hayden’s guilt and grief to get what she wants. He’s unable to say no because of his guilt. For an author, it’s not easy to walk a line of conflict that I wanted to sustain throughout the first novel in this series. Surprises and unexpected outcomes twist through the plot until the very last page of book 1. The roots of their conflict grow deeper and extend into book 2.

SUMMARY: Whether you use these 12-archetypes to analyze a completed manuscript or consider them when you begin framing a new story, these building blocks can sustain an effective character study and get you thinking. It helped me dive deeper into my characters and this will help me develop the series. Any series needs the stakes to escalate and it all springs from a foundation of knowing your characters well. You have to keep punishing them. Show the reader why your characters deserve star status.

Can you see how you might utilize a list if archetypes to infuse your creative process?

When you consider these basic types, imagine pitting them against one another for sustained conflict. In the case of Trinity and Hayden, she risks putting his life at risk out of her loyalty to a dead friend. Any hope she had for a future is snuffed out by her own decisions.

For him, the very gift that had been a blessing failed him at the worst time of his life. Now his gift might kill him, but he can’t resist protecting Trinity. It’s in his nature.

All Hayden and Trinity have in common is death.

FOR DISCUSSION:

1.) As an exercise, forge conflict between two archetypes of your choosing to create a one-liner plot pitch.

2.) Share your main character archetype from your current or latest WIP. Does the Carl Jung matrix above help you define your character?

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The Curse She Wore – A Trinity LeDoux Novel

 They had Death in Common                                                 

Trinity LeDoux, a homeless young woman in New Orleans, has nothing to lose when she hands a cursed vintage necklace to unsuspecting Hayden Quinn at one of his rare public appearances—a wealthy yet reclusive clairvoyant she hopes to recruit for a perilous journey. She prays that the jewelry she’d stolen off a body at a funeral will telepathically transport the powerful psychic to the murder scenes of two women at the exact moment of their deaths—even though the killings take place 125 years apart and span two continents.

When the ill-fated necklace connects the brutal crimes in a macabre vision, Hayden becomes a sympathetic believer. After enduring the tragic loss of his beloved wife and child, Hayden is touched by Trinity’s vulnerability and her need for justice in the cruel slaughter of her best friend, the rightful owner of the necklace.

Hayden and Trinity are two broken people who have nothing but death in common when they take on a dangerous quest. They must stop a killer from resurrecting the grisly work of Jack the Ripper by targeting the ancestors of the Ripper’s victims. Trinity will learn the hard way that trespassing on Fate’s turf always has its reckoning.

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How Writing is like a Good Brisket Recipe – 8 Key Questions for Every Writer

Jordan Dane

@JordanDane

When this post is released on TKZ in the wee hours of the morning, my brisket will be cooking low and slow all night and waiting to be swaddled in heavy foil. I’m praying for a crispy thick bark, an elusive phenomenon for me. My house is filled with an incredible aroma. Someone should bottle it.

There is a genuine art form to making a perfect Texas-style smoked brisket and I already know I will never be worthy, but I’m giving it a go. My older brother is a God when it comes to being a pit master. He’s given me tips and I am sticking to them…as much as my headstrong mind will allow me. I am my mother’s ‘let’s wing every recipe’ daughter.

I will be posting pictures and recipe tips on my Instagram account where I focus on my low carb ketogenic diet and other interests.

Just like a good, tried and true recipe is for brisket, we pick up new tips but keep what works. The same goes for writing. There are ways we all use to build upon our craft methods of writing a novel. We try new things to see what works. We discard other methods that we’ve outgrown as we evolve.

Below are some questions I’d like for you to answer if you see anything that fits you. Feel free to add what you’ve learned about writing in your comments. I am a sponge for picking up new stuff.

Writer Questions – Share your Experiences

1.) Are you still finding time to read? Do you read outside the genre you write? Even when life gets busy, reading can be a comfort, but it can also open your eyes to new techniques or interesting POVs or genres. Always be a student when it comes to your writing craft. You will keep growing.

2.) Do you cherish the time you write, where you write and make sure you don’t get interrupted? Life, family/friends and your day job can pile on to add stress in your life. Is your writing the first thing to go? I hope not. Even if you only finish a page a day, that’s progress. I find that once I establish a routine, my body can react in a bad way if I stray from my writing schedule. I can physically get the shakes. Even when I had my day job, I made sure to write every evening and on weekends. It wasn’t easy but it paid off.

3.) How do you capture those big ideas that can spring on you any time of day or night? Do you keep notebooks all over the house or a voice recorder? I get lots of ideas while I’m driving. The best ones, I pull over and reach for my purse where I keep a small notepad and pens. Or better yet, get someone to drive you so your genius is unfettered. Is there a place where you consistently get your big ideas? No pictures if you tell me “the shower.”

4.) Do you have personal rules/discipline when it comes to unplugging from social media and the internet while you are writing? My usual day is writing 9:00 am until 3:00 pm with short breaks to care for my dogs and grab a snack. I try to get up every 3 hours to stretch and walk and replenish the well for a quick change of scenery but I don’t get to emails or social media until after I’ve achieved my word count goal. YES, I have a daily goal. I generally shoot for 1500-2000 words per day and do rolling edits to keep my progress going on the overall project. But social media and emails are a time drain. No sneak peaking as a diversion when you hit a wall. Pick another way to shake out the cobwebs.

5.) Do you read your work aloud? After all these years, I still read my edits aloud. It’s a great way to insure you have a natural cadence to your dialogue and prose. Even if you don’t do this every day, I recommend doing it for important passages/proposals or as one of your final draft processes. This is the best way to find words you’ve left out.

6.) Do you use the first third to a quarter of your book to set up your world building and character introductions? An editor with a large publishing house said something at a writer’s conference about expecting to read the basic set up with characters and conflict within the first 3 chapters. Now it may not be 3 chapters exactly, as I see it now, but he wasn’t wrong about how to establish your world for the reader. Even if you don’t plot ahead of time, expect that readers and editors and agents will expect you to set that foundation for your story and include your cast of characters and their conflicts in the first part of the book.

7.) Do you plan the ending of your book while you’re working on your plot idea or are you willing to let it happen when you get there? If you’re like me, each book can be different. Sometimes I get up in the middle of the night with a new character telling me the ending to his/her story. True. That doesn’t happen with each book, but when it’s that strong that it wakes me, I listen. On the other hand, I am flexible enough to see new ways to add twists. I want to be open to new character motivations too. More times than not, I have found better books by staying open to my endings. How rigid are you? Have you ever been pleasantly surprised with an ending you never expected, just because you followed a rabbit trail or discovered something new about your main character?

8.) How open are you to criticism? Does it matter who gives it? I used to be more prickly when anyone criticized my masterpiece, but after having many good editors from the publishing houses I’ve worked with and solid beta readers, I’ve grown very open to their suggestions. I think of their criticism as a collaboration to make the book better. I may not always take every suggestion. Only the author should decide what makes sense for the world they are building, but pick your battles. Generally, if someone is confused or something isn’t working for them (even if they can’t describe it exactly), I pay attention and try to find a solution. I’ve never regretted that approach. For anyone taking the time to give a critique, take what they say and make changes where it’s appropriate, even if you have to come back to their feedback later. Keep an open mind.

FOR DISCUSSION:

1.) Share your answers to any of the questions I’ve mentioned above–the questions that resonated with you the most.

2.) Add any new questions or tips that you have found a must to your process. What are your core “must dos” and what have you discarded?

3.) Any brisket tips? I promise I will listen, even if you’re not from Texas.

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