How Web Content Writing Will Make You a Far Better Writer

Word of Warning: This is a long, drawn out post of nearly 6,000 words. It’s not that I went to a lot of work today to cook something new. No. Far from it. In fact, I’m really lazy at the moment and decided to regurgitate something I wrote a few years ago when I produced commercial web content articles full-time. Hopefully, this piece I published on my personal blog at DyingWords.net is still relevant and might be useful to other writers & readers who hang around the Kill Zone. BTW, this piece is designed to be scanned, not painfully read word-by-word. Here goes:

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Web content writing is a different skillset than conventional writing. Most writers are taught to write linearly. We follow a rigid format flowing from basic idea through wordy and detailed exposition, then summarizing with forgone conclusion. I’m guilty of this. Likely you are, too. But it’s not how modern web writing goes.

The internet changed the game. The world wide web impacts every published piece you write. Fortunately, learning how to write effective website content makes you a more practical, productive, and prosperous writer regardless of your niche or genre. And understanding why proper web content writing is different will make you a far better writer in today’s digital world.

How do I know this will improve your writing? Because for the past 9 months, you haven’t seen much of me around the DyingWords blog. I’ve been busy learning a new skillset. That’s writing content for commercial websites. Working with my daughter, Emily Rodgers and her HealthyContentAgency.com online business, I’ve written over 350,000 words for 279 web content pieces. 87 have been longform articles averaging 2850 words. 192 have been shortforms between 500 and 600 in word count. This experience made me a far better writer.

I’m a far better writer because I’m forced to economize words and time while being internet friendly. I take foreign concepts (to me) and formulate them into understandable explanations with definite purpose. To get paid, my articles must inform, educate, or entertain readers. Deadlines are strict. Pieces have to deliver value for paying clients. They also have to be found on the internet. That involves accurate research, drafting in a search engine recognition format, and maximizing your proof/ship time. Although commercial web content writing is highly specialized, the techniques are also useful for writing novels and non-fiction.

Web Writing Techniques also Work for Novels and Non-Fiction

Learning web content writing is a large learning curve but definitely pays off. And I know it’ll pay off for you. If you let me show you how, I promise practical information on how to write professional webpage content and blog posts that’ll improve your overall writing skills. That includes purpose, clarity, and—most importantly—your productivity. This translates to pay. It means making money from freelance internet business writing if that’s your interest. Or, you can apply these constructive tips to any of your writings.

Writing good website content is not the same as producing old-style material for print magazine articles, news pieces, marketing hype, technical documents, or internal memos. Even if you’re already a successful novelist or have numerous publication credits in mainstream journalism, you’ll up your writing game by learning what’s required in producing today’s proper online content material. It’s especially relevant to bloggers and authors who host their own websites.

Here’s practical advice—not general theory—that’s guaranteed to improve your writing and make you a far better writer.

Understand What Makes Effective Web Content Writing

Web content writing is all about helping people easily understand and retain information on topics they’re actively seeking. It’s also about being found on the net. Good webpages for commercial application are carefully designed to give prospective buyers useful detail about products for sale or information offered. It’s not about direct selling, though.

The idea is to give readers sufficient reason to pursue actions without being pushy. It’s education. Not pure promotion. That might encourage a purchase directly online, visiting a physical retail site, or contacting the vendor directly to acquire a product, service, or information relevant to their needs. It’s also about giving readers a reason to stay on the site, return, and recommend it to others.

Writing effective web content is hard work. It involves three separate sub-skillsets employed in three equal parts.

Research is the first part of developing content. You can expect research to take over one-third of your project time. This is unavoidable as you’ll be given topics you have limited or no personal knowledge about. Then you have to make your words portray intelligent thoughts.

Science is the second part. You need to know how basic technology applies to building an article designed for Search Engine Optimization or SEO. It’s a skill beyond understanding Word or surfing the net. You have to work within Google’s rules of computer science.

Creativity is the third ingredient. You need to put researched material into a clearly readable scientific application that meets client needs. It must be original. It cannot remotely resemble plagiarism as Google will spot that instantly and punish your sins. Besides, your client is paying for fresh content—not cut & paste.

This is as close to a magic formula for web content writing as there is. It’s the combination of factors that resonate with Google, show your work, and let time-pressed readers stay with your article from start to finish. It needs to be relevant, readable, and retrievable. That takes some drilling down to pull off.

Website Content’s Goal is to be Found

There’s far more to effective content writing than setting a hook and reeling a fish. First, your bait has to be found. This is where Google comes in. Understanding how Google works is the key to knowing how to draft, formulate, and execute a web page or post that does its job. That’s to be discovered and convert readers into taking action. Fortunately, there’s not a big mystery around how Google’s search engine works.

Before taking an in-depth look at Google’s operation, let’s review the main elements of properly written web content. “Content” is the term for your combination of words that deliver a message. It also goes further to include everything you do to make a piece internet friendly. Years of writing experience can be good or bad for content writers. I certainly had old habits to break and lots to learn when I branched into building web content. But it’s made me an all-around better writer.

Good content writing is clear and concise. It’s aimed at a specific audience. Content writing is not the same as “copywriting” or “market writing”. These specialties are hard-sell focused. They’re meant to quickly persuade a defined target market into buying.

Product descriptions and feature/benefit lists are good examples of copywriting. Content writing takes a softer, rounded approach to conversion. Content writers are good explainers. We take difficult, complex concepts or mundane information and make it digestible.

Think USB — Unique, Specific, Beneficial

The acronym USB in web content writing doesn’t mean your flash drive though it’s sage advice to back your work up. USB is a framework to formulate your content so it works for your audience. Once you know the intent of your piece, you need the information to provide solutions for whoever is reading it.

For instance, you’re likely looking for the solution to being a better writer.  That’s why you’re reading this. There’s nothing for sale here. The information’s free. Specifically, I just want to share my unique experience for your benefit.

The best approach in helping others is to make sure all content is:

Unique, where it’s not ripping off other sites. It’s fine to convey the same ideas or general information but it has to dig into sources and be an original presentation.

Specific, where it’s not just a general overview of the topic. Rather, it’s non-general and specifically includes relevant information the reader can use.

Beneficial, where the content has some take-away value. It’s more than just telling the reader. It’s showing them something and allows them to take action.

Content writing is entirely strategic. Before anything is written, content writers develop a series of objectives that form critical goals. This includes a researched understanding of the target market and material specific to the topic. This can be time-consuming. However, it’s crucial to success. It’s specific to the audience and the goals of the client who commissioned your writing the piece.

Before Writing Web Content, You Need to Consider:

Who your target audience is including gender, age range, location, and education.
What the website visitor’s mindset is when they enter the site.
What the audience can learn or achieve from the visit.
What the primary business goal is.
What the secondary business goals are.

The universal truth of all web users is they require something when they visit a website. They have a need. Your job as a content writer is to fill it. It’s vital—absolutely critical—that content not be written for content’s sake only.

It has to be clear, engaging, understandable, and useful to them. Good webpage content has strategically placed keywords and key phrases but they can’t be so artificially stuffed that they won’t make sense or read smoothly. That’s a turn-off and a sure-fire recipe for click-aways.

Remember, people normally visit websites for one of three reasons:

  1. Information
  2. Education
  3. Entertainment

What you’re doing with content writing is solving problems for people. Knowing your target audience lets you develop the style and breadth your content will take. This is where your personal voice makes a huge difference in setting the tone. It’s like the difference between talking to a bubbly teen and conversing with a pompous Ph.D. It depends on who you’re writing to.

The approach is to be yourself, yet be in tune and respectful with the audience you’re speaking with. It’s also extremely important to consider how internet users or online audiences prefer to read. Internet audiences scan content. They don’t really read.

Consider How Online Audiences Read

Capturing an online reader’s attention is challenging, to say the least. Chartbeat, an internet analytics service, reports that 55 percent of visitors spend fewer than 15 seconds on a webpage before they click away. And Internet Live Stats state there are more than 900 million active websites on the net with 3.5 billion Googles searches done per day.

Getting the right reader to find your content is tough. Having them stick around long enough to absorb your information and then take the desired action is even tougher. We’ll discuss getting them onto your webpage in a bit. Right now, let’s talk about how online audiences read.

The vast majority of internet users don’t actually read webpages. Not in the conventional word-by-word sense that novel or magazine article readers do. Internet readers are conditioned to scan material. Their eyes dart about the page searching for relevant words suggesting links to information they’re after.

This is the main factor that makes web content writing so different from composing and constructing content for printed publications. Google Analytics says that 79 percent of web readers scan instead of closely reading. They skip what they perceive as unnecessary as they’re literally hunting for what they regard as useful. Subconsciously, you’re doing this right now.

Studies repeatedly show scanners take in the first two or three words in a sentence. They ignore the center, then grab the final few words. Scanners do this with paragraphs, as well. But scanners are highly attracted by breaks in information blocks done by imbedded formatting.

Highly Effective Imbedded Formats Appealing to Scanners are:

—Text formatting with bolds, italics and underlining
—Short paragraphs and abrupt sentences
—Word count applicable to subjects
—Highlighted paragraph headers
—H1, h2, h3, h4, heading tags
—Bullet and numbered lists
—Still and video images
—Tables & graphics
—Color variation
—Block quotes
—Whitespace
—Visual flow
—Hyperlinks

Effective content writing is formatted with Google in mind. Don’t think you can trick Google when you’re writing webpage content. This search engine has been around too long and is far too sophisticated for that. You need to understand how to work with Google through Search Engine Optimization or SEO.

The trick is to take SEO principles and work them into your format. You optimize content to get Google’s attention. That means everything you do. Format. Links. Images. Key material. Paragraphs. Sentences. Grammar infractions. Headers. Quotes. Colors. Lists. Bolds. Bullets. Italics. Underlines. Tags. Whitespace. And Words. It’s a holistic concept and it works.  All information must be relevant to your topic information. You need to draft it into engaging words that are attractive to Google. It’s the world’s largest search engine and you have to feed Google what it likes.

How Google Finds Attractive Content

They use Googlebots. Ever hear of them? Well, Googlebots have heard of you. Googlebots are probably the most important information invention since the big bang of the internet itself. They’re responsible for making Google a multi-billion dollar international conglomerate.

Think of the internet as a beach and the web content piece you’re writing as a grain of sand. You need to make your writing grain shine among billions of grains in the sand. You do that by understanding what the Googlebots are looking for and position yourself to be found.

Search engines like Google constantly look for good content to hit on. That’s the purpose of their existence. They want to help people find what they’re looking for on the web and report it on Search Engine Response Pages or SERPs.

Inserting Key Words and Key Phrases

Googlebots are incredibly sophisticated. They’re able to filter through trillions of information bits and sort what they feel a Googler truly wants. It’s all about determining relevancy to the end user. Google’s search engine does this partly by identifying keywords and key phrases the searcher inputs.

It could be something like writing web contentweb writinghow to write effective website contentproper web content writing, writing content for commercial websitesweb content piecesweb content writinghow to write professional webpage content and blog postsimprove your overall writing skillsmaking money from freelance internet business writingtips on web content writingwriting good website contentproper online content material and practical advice.

Or, it could be any combination of these 27 different keywords that were carefully selected and strategically placed as key phrases in the first 7 paragraphs and 457 words of this article. That’s a total of 62 combined words for a ratio of 1 in 7 or 14% of the opening content being key material and I bet you didn’t recognize the technique on first read. And it’s not “keyword stuffing” because the written content is readable, informative, offers value, and not obviously repetitive.

That’s the difference between artificially-stuffed material that Google passes over and properly written content that Google recommends. If Google senses you’re salting or stuffing key material just for the sake of tricking the search engine into giving your piece a higher SERP rating, it’ll send you to the back of the same bus plagiarism hitched a ride on. You might as well walk than mess up key material.

What are the Best Web Content Keyword and Key Phrase Practices?

—Keys sound best when natural and not “stuffy”
—Make sure keys read naturally for the human audience
—Keys don’t have to be exactly as the best ratings indicate
—Main keys should appear within the first two paragraphs
—Imbed the best key in metadata description
—Keys should appear twice if they don’t seem repetitive
—Use keys in titles and subheadings
—Use variations of keys throughout the content
—Integrate short keywords and longtail key phrases
—Question-based keys are effective but tricky to write
—Question-based keys work best in headings
—Web content keywords and key phrases work well as bullet points

Don’t make your keywords and key phrases too rigid. “Stop words” are just fine in planning your keys. They’re the filler and connector words like “what”, “are”, “the” & “and” in the preceding subheader question. Google will skip right by them and for good reason. They’re looking for good, readable content and the header “Best Web Content Keyword Phrase Practices” just seems a bit stiff and salted.

The trick to keywords is carefully researching what your target audience is looking for and what they’re likely going to plug into the search bar. In this case, I’m specifically targeting writers who want to improve their skills by applying techniques used in producing excellent online content. I’m betting that many readers host their own blogs/websites and want to up their traffic.

I’m also doing shameless promotion by adding links to Emily’s HealthyContentAgency.com business and my resources page at DyingWords.net. Don’t be afraid to page through our sites and get tips on writing website content writing. And feel free to follow the hyperlinks to other great web content.

Google Loves Hyperlinks as much as Keywords

Google also loves fresh, original content that has value. Google’s technology is approaching spooky artificial intelligence, and it can instantly recognize a good piece of content that will help the user. It also knows what’s shit, clickbait, and plagiarized. Google’s primary mission is to search the net and be helpful. Hyperlinks from one good site to another are highly helpful as long as they’re staying on the same relative trail.

Hyperlinks or backlinks really unlock the power of the internet. Search engines recognize this information sharing device that you’ve helped them with and will reward you with higher rankings as long as your imbedded links are to other credible content. Links don’t have to be just to written content on websites. Google loves visuals so YouTube links, Instagram, Pinterest, Twitter, Facebook, or whatever site you can work into being relevant is fair game.

An excellent example of relevant linking is to Google itself. Google AdSense has a thing called Keyword Planner. It a key phrase analyzing tool where you plug in and play with key material you suspect may be best for your content. It’ll give you advice and ratings on what works best according to Google’s search history. Here’s a trade secret. You can also do similar key material searches at Amazon who has the world’s second largest search engine. And a little known but super site is SERPS that works great in rating key words and phrases.

Relevant hyperlinks are a value-added feature in good web content that works to Google’s favor. You’ll increase your overall SERP performance by using valid hyperlinks just as you’ll increase SERP standings by taking a holistic approach to building the entire content in your piece using proper web content techniques. It’s the entire composition that Google assesses and a real case that the whole is greater than the sum of its parts.

Googlebots Look at the Total Content Package

Primarily, they love to find information that many people will find useful. Google measures this with a complex algorithm that calculates many details—website visits, page views, lengths of stays, links to other similar content, social media likes—and recommends relevancy of content. It becomes a vicious circle where good content generates large traffic and this cycle grows with Google’s promotion.

Goggle recognizes the entire picture of how web content pieces are formatted. They see and rate formatting, graphics, headers, sentence and paragraph structures, bullets, graphs, whitespace, images, and highlights. Google’s not just looking for a factual read. They’re looking for fun, too. Google knows how internet readers scan, and they want to recommend the best overall reading experience.

And there’s speculation that Google’s becoming a Grammar-Nazi. They’re rating style and substance as well as spelling, grammar, and proper punctuation just like Amazon is now doing when you upload a manuscript. That’s why it’s so important your writing be shipped at the highest standard—a modern internet standard—because Google is watching how you’re optimizing its search engine.

Search Engine Optimization for Google Content

Google’s trade secrets are seriously guarded. Its technology is ever-evolving but generally involves four separate areas that good web content writers need to know. All four should be addressed when drafting a web content page. That applies to all forms of content—short and long form pages, feature articles, static web pages, and even your books.

Your novels and non-fiction books that are published on Amazon are just as vulnerable to Googlebot sniffing as your own writer website and weekly blog posts. Think of the times you’ve entered a search phrase on Google and how it’s identified an Amazon publication. That’s no accident. The same thing’s going on with your blogs and guest posts, and it’s a fact of life for your author site.

You can’t hide on the net so the best thing you can do is work with it. That’s the value in understanding how good web content will make you a far better writer. This isn’t new fad or a current trend. It’s a long-tern reality that the internet has changed the way we write to do business. Fortunately, it’s not a hard game to learn how to play.

Four Main SEO Parts for Content Writers to Know

There are 4 main parts in SEO for content writers to know—written, media, tags and authorship. Each one is a separate entity but vital to balance if you want to increase web content exposure and rank high in search results. Let’s look at what each part is.

Written is the core of your internet content writing piece. It’s substance over style every time because Google can’t yet recognize what makes a writer great but it sure tells when writing is bad. A unique voice is desirable but for content it has to deliver information and substance that fits the topic and is helpful. Good content has solid sentence structure, grammar, and sound reasoning. It’s not cutesy and requiring someone to “get it”.

Media refers to visuals. That can be photo images, infographics, illustrations, tables, video, or anything that Google can see. The old saying, “A picture is worth 1,000 words” is so true in boosting your content recognition. Again, it has to be relevant and useful. There are technical tips to know about media insertion such as Alt Tags that briefly define what the picture is. That’s more for the webmaster to worry about, but a content writer needs to be aware of the importance.

Tags go with meta descriptions in getting identified on the web. They also relate to website layout as opposed to content writing. But tags and meta descriptions are hugely important in building an overall effective website or post. The difference between tags and description are tags are visual on the actual piece as it appears on the web and meta description is how it’s presented on SERPs.

Authorship is the authority behind the content. The author’s credentials are attached to the article and give it street creds. The higher profile the content writer has, the better the SEO chance the piece has. An example is my HuffPost profile. I might not get paid for most of these pieces but my SEO ranking is far better because of my authorship on the Huff. Take advantage of every authorship exposure you can. Build a professional profile with a good headshot and link it to every content piece you write. Your SERPs will reward you.

Good Headlines are Highly Important

I’ve found writing effective headlines one of the trickiest parts of content writing—whether for a commissioned client or my own blog posts. There’s an art to this, so I turn to my internet friend Jeff Goins who’s one of the best content writers on the market today. Jeff’s TribeWriters course is excellent value, and he really puts headline writing into perspective.

“Headlines are the first thing people see,” Jeff says. “They need to be attractive, interesting, and descriptive. Headlines should be objective and transform the reader from a browser to being engaged. You need a trigger word such as ‘how’ or ‘why’, a keyword like ‘ways’ or ‘techniques’, a promise like ‘will’ or ‘fix’, and an adjective such as ‘important or quickly’.”

Let’s analyze this blog post’s headline.

“How Web Content Writing Will Make You a Far Better Writer”

Trigger Word — “How”

Keywords — “Web, Content, Writing, Writer”

Promise — “Will Make You”

Adjective — “A Far Better”

Jeff Goins also says there are three basic types of headlines.

World View — “Why Every —— Should ——”

Establish Authority — “What I Know About ——”

Achievement — “ How I ——”

Blogging king Jon Morrow of Smart Blogger has another take on effective headlines in his free pdf download Headline Hacks — A Cheat Sheet For Writing Blog Posts That Go Viral. Jon breaks down good headlines into three simple categories.

The How-To — “How To —— A Million Dollars”

The List — “17 —— To Make Money”

The Bonus — “Get Rich While You ——“

There are excellent web-based headline analyzing tools available. When I was struggling with this blog post’s caption, I threw at least a dozen combinations into CoSchedule and it liked “Web Content Writing Will Make You a Far Better Writer” the best. Check the screenshot image (left) and note how it fits into Jeff Goins’s concept.

If you’re handed commercial pieces like Emily administers in HealthyContentAgency.com, you’ll probably have the headlines pre-assigned. That’s good because you can burn up a lot of valuable research, writing, and proofing time struggling for headlines that work. Speaking of researching, writing, and proofing, I’ll show you my actual process that’s let me become proficient in putting out web content pieces at a commercial pace.

First, I’d like to share some general tips for web content writing.

General Tips for Writing Web Content

No doubt there’s a knack to web writing just as there is with every other form of written communication. Top fiction genre writers have their tricks. So do front-line journalists. While these high-profile pen monkeys get their share of glory, there’s not much in it for lowly web scribes. We just put out volume that works on the internet and we stay in the shadows. Most commercial content is ghost-written, anyway.

But there are a number of tips that can help you fine tune web content writing. You can take them over to your own particular brand of wordsmithing. Or, you can leave them as you wish. In no particular order, here are twenty-one content writing ideas I’ve picked up and found to work.

1. Use an active, informal voice. Ditch the passive, formal. Make it personal but not too slick. Find a balance but don’t kill yourself if you use the passive voice, We all speak that way. Being aware is the main thing.

2. Use a mix of short and long sentences. Try not to use more than one conjunction for independent clauses. Yes. There’s nothing wrong with one-word sentences.

3. Use 3-4 sentences per paragraph.

4. Make whitespace your friend. It makes scanning easier.

5. Use a subheading or bold highlight every 5-10 paragraphs.

6. Place keywords in headings and subheadings.

7. Don’t use fancy words. If you need a thesaurus or dictionary, you’re struggling with the wrong word.

8. Write toward a lower-grade audience. I ran the first four paragraphs of this post through the Readability Analyzer app and it rates this content at a Grade 6 reading level. That’s cool!

9. Careful with acronyms. Spell out the entire phrase first, then use the acronym or abbreviation.

10. Work with strong nouns and verbs. Minimize adverbs and adjectives. But not always.

11. Exclamation marks are for 11-year-olds!!!

12. Know grammar rules so when your break ‘em you do so intentionally.

13. You’ll never learn how to properly use commas so don’t sweat it.

14. Invest in The Elements of Style by Strunk & White.

15. Read lots of web articles and blog posts. Learn from the good. Chuck the bad.

16. Never ship work without proofreading. Never. Never. Never. Full stop.

17. Use self-editing tools like Grammarly but there’s no replacing a human eye.

18. Shortform content pieces have their place, but longforms are preferred by Google.

19. Shortforms are between 500-900 words. Longforms are 2300+.

20. Today, a rule of thumb is “the longer, the better”. This post is 5932 words.

21. Always use a Call To Action (CTA) at the end of your content. It’s a must.

Putting Web Content Researching, Writing, and Proofing into Practice

Here’s where the ink hits the page or the images hit the screen in the web writing world. I mentioned that I’ve cranked out over a third of a million commercial web words in three-quarters of a year. That’s not counting all the personal blog posts I’ve written, books I’m working on, and a pile of email messages.

I’ve worked out a system and recorded some stats that I’d like to share with you. I’m not saying it’s the best way to research, draft, and proof/ship web content pieces. It just works for me and is the best use of time I can make. I also analyzed the last ten pieces and took an average of time spent in each category and how that displays as a time and effort percentage. I’ll show it to you, but first here’s how I put content writing into practice.

Research

I probably spend too much time researching a topic. But in order to sensibly draft it, I have to understand it. Then the words flow and I can make my words per hour (WPH) cost effective. In other words, it has to return a decent dollar per hour (DPH) because all web content assignments are paid on a flat rate, not by the actual time they take to complete.

I start research by Googling the meat of the topic and see what comes up. For instance, “How To Write Web Content” has 38,800,000 results. That’s a whack of stuff to pour through. Fortunately, Google ranks the best links on the top SERPs so I go from there. (Hmm… I wonder if these content writers intentionally wrote the pieces with SEO in mind to score high rankings…)

Once I find existing content that seems useful, I copy and paste it to a Word.doc and then format it to Ariel 10-point in black on white with 1.15 line spacing and 6-after paragraph spacing. This makes for easy reading and a minimal amount of paper and ink used when printed. I find around 10 articles and stop. Then I print them to hard copy and go over them with a yellow highlighter and a red pen. That’s my code system for identifying pertinent info and facts.

Drafting

Now it’s time to switch hats and start the creative process of drafting the piece. I also switch locations. I do research and reading at home where I have an internet connection but to be time effective, I leave the house and go to the nearby university where I’ve claimed a quiet place in the library. It’s my spot. This change of location changes my mindset. I’m far more productive than at home and not distracted by the phone, door bell, or sneaking peeks at pets on the net.

I’m nearly twice as efficient at the library. It gets me out and around young, vibrant people as well as being surrounded by thousands of books and millions upon millions of knowledgeable words produced over hundreds of years of researching and writing by some of the brightest minds the world has ever known. Plus, I like it there and it’s quiet.

I’m not a fast writer, but I’m clean. I do a bare-bones outline with the introduction, the main points, and the call to action.

Then I start writing. Again, I use Arial font but in 12-point. It’s easier to see on the screen for an old guy like me. The first 500 words are slow and then it takes off. I take a 10-15 minute break once per hour or so, get up, and walk around. This is really important. I rarely go back and review during the draft stage. When the word count for the assignment is reached, I save and go home.

Proofing/Shipping

Now comes the proof/ship phase and it’s quick. I paste the Word.doc into Grammarly and go through it. Grammarly’s great, but it can’t read your mind. Once I catch mistakes like typos, spacing, and bad form, I take the amended Word.doc and change the font to Tahoma 10-point. This proofreading trick really helps to look through a different perspective. Then I scan the document rather than read it word by word. Over the years I’ve developed an ability to speed read. I can accurately cover a 3K word doc in about 10 minutes. And under my breath, I’m reading it out loud.

Once the Word.doc is as clean as I can get it, it’s time to ship. There’s no point beating this thing because it goes to another set of eyes before delivering to the client. I simply ship an email attachment and save it to a folder. Then it’s out of sight, out of mind, and on to the next. I find one longform of around 3K words is enough for one day but it depends on what has to be done and by when.

Something I’ve really learned is how to work within deadlines.

Consistently researching, writing, and shipping within a limited time frame really boosts productivity. It also boosts confidence. That applies to all other forms of writing including my own blog posts and novels. That’s the biggest takeaway I’ve gained from learning how to write web content—applying web content writing principles to novel writing. Overall, it’s made me a far better writer.

I record exact stats on how my research, draft, and proof/ship time efficiency works out. I carefully record my time into blocks rounded off to 5 minutes. When the piece is shipped, I divide the total time by 60 for an hourly calculation. Then I work it into the percentage of time it took for each phase as well as dividing the total word count (WC) by the actual writing time for the number of words per hour (WPH). I also divide the total project time by the flat fee for the return on overall dollars per hour (DPH).

Some days production and pay are good. Some days, not so good. That’s how the web content writing business goes. Here are the stats for the average of my last 10 longform assignments.

Total Project Time — 5.83 hr
Total Research Time — 2.0 hr
Average Research Percentage — 36.2%
Total Drafting Time — 3.28 hr
Average Drafting Percentage — 59.3%
Total Proof/Ship Time — 0.25 hr
Average Proof/Ship Percentage — 4.5%
Average Word Count (WC) — 2990
Average Words Per Hour (WPH) — 912

I also keep precise track of the dollar per hour return, but I’m reluctant to share specifics to protect confidential pricing structure. It all depends on the amount charged to a client and how efficient my time is. You can make decent money ($50/hr+) from content writing if you get good assignments and produce quality work fast. Generally, a flat rate will be a set for the article and you can break that down to a certain fraction of a cent per word.

I don’t think I can speed up my drafting time, but I probably do too much researching. However, to cut this down, I probably wouldn’t get sufficient knowledge to write an informative and valuable piece that’d be found on Google. That’s the whole point of the exercise. And it’s why I’m getting paid for web content writing.

I hope you’ve got some decent information and tips on how to write effective web content from this. I sincerely believe it’ll help make you an overall better writer. And here’s the call to action:

Please share this article on social media and email it to friends who’ll benefit.

——

Over to you Kill Zoners. At least the ones who’ve managed to stick with and stay awake in this class. Have you done commercial web content writing? Do you write personal blog posts and web-style pieces? How does this piece relate to your work? And what do you have to share with the rest of us? The floor is open for comments.

——

Garry Rodgers is a retired homicide detective and coroner who reincarnated as a crime writer and indie publisher. Garry’s based-on-true-crime series are an 8-book run on real cases he worked on (or real cases that worked on him). Now, Garry’s onto a new venture—a hardboiled detective fiction series called City Of Danger.

Aside from telling lies on Amazon, Kobo, and Nook, Garry Rodgers is also an old boat skipper with a 60-tonne Marine Captain ticket to prove it. He puts it to use around his home on Vancouver Island in British Columbia on Canada’s west coast.

Is Blogging Worthwhile for Thriller and Mystery Writers?

To blog or not to blog? That is the question. (For thriller and mystery writers, that is.) Whether ’tis nobler in the mind to suffer the slings and arrows of outrageous troll comments or bravely take pens against a sea of **crickets**.

If Shakespeare were alive in this internet day, my bet’s the Bard would blog—despite the extraordinary effort required to consistently publish and the resounding risk of no return. He, himself, said so: “The heart-ache and the thousand natural shocks that flesh is heir to, ’tis a consummation.”

We writers on the Kill Zone, and we followers of our blog, are not Shakespeare. We’re resilient mortals, albeit with self-doubt and insecurities, and consumed with pursuing the written word. Including weakly weekly words pounded out on WordPress.

Is blogging worthwhile for thriller and mystery writers? My take? Absolutely!

I hit the blog publish button on June 30, 2012, and I have no regrets. I’ve put out 400+ pieces on DyingWords.net, and it’s returned more satisfaction than I can count. Money? No, not directly. But there’s a much bigger picture to author blogging than direct monetary reward.

Let me count the ways. Blogging has helped build my writing and technical skills, it’s allowed me considerable craft experimentation, it’s educated me in so many ways, it’s forced discipline and motivated me to meet deadlines, and blogging has let me network with like-minded writers on an international scale. I’ve built a brand through blogging, I’ve met influencers or force-multipliers, and I’ve been humbly invited to guest post on prominent sites.

Looking back, I see blogging has done one overall and invaluable thing for my writing adventure. It’s given me discoverability. Being discovered on a global scale loops back to indirect commercialization—making money by having readers buy my books. Blogging has been so, so worthwhile, and I will not lose momentum.

“And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought
And enterprises of great pitch and moment
With this regard their currents turn awry
And lose the name of action”
~William Shakespeare / Hamlet

Running a regular blog isn’t for every thriller and mystery writer. Quite frankly, it’s a lot of bloody work. Many writers see blogging as a time suck with a low entry barrier where they compete with hacks who pollute the blogisphere with, well… shite.

I don’t worry about that. I’ve learned to do my own thing, and it’s slowly paid off. I look at blogging as a long-term venture—not some sort of a get-rich-quick scheme. (Spoiler Alert — nothing quick about getting rich with writing, and even Wild Bill Shakespeare made little money during his world-changing career.)

However, none of us are Bards, yet there’s never been a better time to be a writer. I sincerely mean this. We have amazing tools and resources to build our skills, cull our craft, network, and get discovered. Let’s look at why thriller and mystery writers should blog.

Improving Skills

Practice makes perfect. Although there’s no such thing as perfection—as far as I know—writing is a skill to be learned. It’s not Shakespearean-God-given talent for almost all of us. Whether you aspire to quill the next great American novel, outsell Rowling and King, or stack readers to your mail list, serious writers strive to improve. It’s a daily slog through other blogs and seeing what currently works.

What currently works for others may not work for you. “Current,” in blog terms, is as recent as a whale sighting. Blog things change fast. They surface and dive, but writing basics really don’t. Many times, blogging is about making old things seem new.

My experience in improving skills? Practice by publishing. Polish Erase the purple prose. Edit with efficiency. And keep on learning.

Experimentation

What’s writing without experimenting with your voice? “What’s voice?” my cow’s milk cheese, white bread, and raw leek sandwich once asked. Until I started blogging, I had no concept of “voice.”

Blogging taught me to free my voice. No, it’s not like free as in clothes-dropping and whirling-around-the-stripper-pole that my new neighbor Pamela Anderson performed in her video with Elton John. And yes… seriously… I’m not messing with you. Pam Anderson is my new neighbor, and that’s for a blog at another time.

See. I just experimented with my writing and my voice, and I know you’re going to read it when I post What I See With My Cabala’s Tripod-Mounted Bushnell Telescope When Pam’s Bedroom Blinds Slightly Crack.

Education

My blog has a tagline. It’s “Provoking Thoughts on Life, Death, and Writing.” Life. Death. Writing.

The blog–trogs of yesterday and the top-bloggers of today say, “Stick to your niche.” I didn’t know what a niche was when I started blogging. Till then, I thought a niche was my sister’s daughter.

But I learned what a niche was, and I found it. Education is a good thing. Education is something you’ll learn in spades when you blog. Continual education has let me learn to blog a lot about life, death, and writing. From that, I’ve learned a ton.

Discipline, Motivation & Deadlines

This is where my cop training came in—long before I was a writer. I was humiliated and soul-crushed in basic training—never mind physically worked to the mat—but I learned mental toughness and the power of teamwork.

Teamwork, motivation, deadlines, and discipline invoke mental toughness. It’s the underscore or underline of personal achievement. To put out blogs or articles, writing pieces day after day, and believe in yourself as a professional scribe, you have to psychologically put yourself in a winner mentality.

Discipline is putting your butt in your chair and your fingers on the keys. Motivation is personal—motivation is believing in your purpose and knowing you have deadlines. Deadlines are having this post up on the Kill Zone every second Thursday morning.

Blogging does this.

Networking

That’s why we’re all here at the Kill Zone. Not just the regular contributors who always have to constantly improve, experiment, educate, discipline/motivate, and meet deadlines. We network. And we critique each other. Often silently.

Blogging—and in my opinion—no better media lets you network more than blogging. I don’t mean just following my blogsite, or TKZ, or the hoards of SM-listed blog sites. There’s a whole wide world of blogging out there, and there’s a secret. That’s to tap into the blog community you want to be recognized by.

It’s by commenting.

Everyone in this TKZ thriller and writing community wants to network. Bloggers and followers inclusive. Sure, some contributors are prominent names and some commentators are new. Putting your comment on a TKZ post is a powerful networking move. Be assured prominent people are reading your comment, and they’re influencers who’ll help lift you.

Influencers/Force Multipliers

Writing. Blogging. Publishing. Marketing. This is a cooperative community. Not a competitive one. We help others to help themselves.

Influencers are folks who have gone before. They may be writers who’ve “made-it” as traditional publishing names. They may be teachers who go above and beyond to help other up-comers in indie publishing. And they may be peers who share what currently works, and what doesn’t for all of us in this crazy biz called writing, regardless of how you’re published.

Force-multipliers are big hitters. They have the success, credibility, and presence to endorse new-comers and guys like me. That might be an encouraging return comment on a blog post comment, or a SM shout-out reaching thousands.

Discoverability

Your return—your magic reward—from thriller and mystery writing blogging is discoverability. Yes, there’s a learning curve and a lot of work, but it’s so, so worth it.

I’ve blogged for over nine years. My followers aren’t huge by some scales, but I’ve amassed 2,100 qualified email list followers. My website clicks are around 800 a day. And when I send a DyingWords.net post out every second Saturday morning at 8:00 PST precisely, I get about 350 faithful readers clicking through.

These faithful readers discovered me through my blog. I look at it this way—if I called a town hall meeting every second Saturday morning and 350 showed up—with my bookselling table at the back of the room—I’d be happy with my blogging audience.

I don’t have a town hall, but my table is virtual, and my venue is open 24/7/365—internationally. It keeps growing as my blog keeps feeding it, and the spin-offs from my blog help discover me.

My secret sales sauce? Discoverability. It used to be called, “Word of Mouth.” Now it’s, “Word of Mouse.”

To me, as a Thriller and Mystery writer, “To blog or not to blog” isn’t the question. It’s the answer.

What about you Kill Zoners? Is blogging worthwhile?

——

Garry Rodgers is a retired homicide detective with a second career as a coroner responsible for investigating unexpected and unexplained human deaths. Now, Garry has reinvented himself as a crime writer and indie publisher.

An avid and active blogger at DyingWords.net, Garry Rodgers has also guest written for many sites including commissioned articles for the HuffPost. Garry lives on Vancouver Island in British Columbia at Canada’s southwest coast.

Crime Writing — Do You Like Yours Hardboiled or Noir?

“Your crime writing is dark. Very dark. Do you consider it noir? Hardboiled? How do you slot your sub-genre?”

A podcaster recently put this to me. I was stumped. I knew my stuff was tragic and gore, but I had no strong concept of what noir and hardboiled really were—although I’d heard the terms many times. I thought they were just for the marketing department, but I made it my mission to find out.

What’s old is new again, hardboiled and noir. That certainly seems the case in resurrecting old crime story classics. Look at the resurgence of Agatha Christie. Netflix writers now idolize Elmore Leonard as the dialogue man. Say the names Raymond Chandler, Dashiell Hammett, or Mickey Spillane, and you’ll find an old-style legion of fans ready to tear this book house down.

Women aren’t excluded from the Hardboiled &Noir Club. No, ma’am. Besides Dame Agatha (I kneel before her), there are Dorothy Sayers, Dorothy B. Hughes, Patricia Highsmith, and (still going) Sara Paretsky. In their footsteps today, we have Megan Abbott, Val McDermid, and the intriguing hardboiled/noir writer Christa Faust.

So what’s the difference between noir and hardboiled, if there is any? From what I’ve just read, I’d say hardboiled is dark and noir is much darker. Noir is the French word for black. The term “noir” is somewhat more recognized in film, where hardboiled (hard-boiled) is common to print.

Either way, each term has its tropes and sub-genre idiosyncrasies. At its core, noir is dark and grim. Noir is urban gothic—hopeless. Hardboiled is gritty and unsentimental. Hardboiled is more like an action movie with a character-driven plot where the protagonist triumphs as best as they can.

Megan Abbot is one smart lady. She’s considered one of today’s masters in noir and hardboiled. I read a fascinating interview with Ms. Abbott where she defined “hardboiled” vs “noir” crime fiction. Here’s her quote:

Hardboiled is distinct from noir, though they’re often used interchangeably. The common argument is that hardboiled novels are an extension of the wild west and pioneer narratives of the 19th century. The wilderness becomes the city, and the hero is somewhat of a fallen character, a detective or a cop. At the end, everything is a mess, people have died, but the hero has done the right thing, or close to it, and order, to a certain extent, has been restored. ‘Law and Order’ is a good example of modern hardboiled.

Noir is different. In noir, everyone is fallen, and right and wrong are not clearly defined and maybe not even attainable. In that sense, noir speaks to us powerfully right now when certain structures of authority no longer make sense. We wonder, ‘Why should we abide by them?’ Noir thrived in the 40s after the Great Depression and during the war. It was popular during Vietnam and Watergate and is on the rebound again. ‘Breaking Bad’ is a good noir example.

It’s hard to sum-up noir and hardboiled better than this. Maybe another quote adds to clearing the smoke-filled alleys. The protagonist in noir must himself (herself) be part of the scummy world. The protagonist in hardboiled is a white knight in a world of scum.

Historically, hardboiled crime writing set itself on the perpetually-rainy, mean streets of American cities that were darkened by something more than night. Conventional tropes were the loner detective with a fedora and trench coat whose oak-desked, ceiling-fanned office operated in the low rent district. He looked out on the city of danger through Venetian blinds, chain-smoked, and was never far from a bottle of Scotch. The rebel gumshoe with a moral code spoke in nuanced dialogue saying “dames” for women, “gams” for legs, and “gat” for his gun.

Noir, on the other hand, sees little good in the world. Basically, everything and everyone is F’d. Noir crime writing examines psychological instability in people and their institutions. Being dangerously unstable is the key characteristic of noir protagonists. It might be a key characteristic of successful noir writers, too.

Examining noir and hardboiled isn’t complete without looking at these sub-genre’s origins. This isn’t a chicken-or-egg thing. It’s generally accepted that hardboiled came first and expanded into noir. Some may argue differently, and that’s what the comment section is for.

A hundred years ago, Brits were the kings and queens of crime fiction. Edgar Allen Poe paved the way for Agatha Christie and Arthur Conan Doyle to refine the cozy mystery genre. Here, scenes took place in confined trains and enclosed mansion libraries where the sleuth deducted the facts and announced the villain.

Americans, being the troublesome colonists they’ve always been, rebelled against criminally-correct plots and characters. America was shaped by an unregulated frontier that found its way to the roaring speakeasies of Chicago and the cold, cold heart of the Big Apple. Naturally, the North American public wanted a new brand of perpetrator and a hardboiled crime-fighter to match.

A Pinkerton detective shaped the hardboiled crime fiction world in the 1920s. Dashiell Hammett’s protagonist, Continental Operative, fought crime in the streets without sentimental emotion or official sanction. In 1923, Hammett teamed with a pulp magazine called Black Mask. This opened the door for hardboiled-cum-noir greats like Raymond Chandler with his Philip Marlowe character and Mickey Spillane with Mike Hammer.

Today, we have unique twenty-first-century hardboiled writers and characters. Michael Connelly has done well with Harry Bosch, to say the least. So has Lee Child with Jack Reacher.

And there’s a new girl on the block who writes about as dark and action-packed as you can get. Christa Faust has the chops to make her hardboiled noir, and she’s got the creds. Christa grew up riding subways and walking New York streets. She worked Times Square peep shows and practiced as a professional dominatrix. Now, Christa Faust is published by Hard Case Crime.

Yes, what’s old is new again. Hardboiled and noir are alive and well in crime writing city. That’s a good thing. And to answer the podcaster’s question, “How do you slot your sub-genre? Hardboiled or noir?” I have to say poached on the soft-runny side with a slice of dry, whole wheat toast. I’m an optimistic sort with a healthy infection of unorthodox attitude, and I’m not a psycho noir-person.

What about you Kill Zoners? Do you like your crime writing hardboiled or noir?

——

Garry Rodgers is a retired cop and coroner. Now, he’s an indie crime writer whose personal experiences with the light and dark side of life find their way into the pages of his books. Garry is about to release the seventh publication in his twelve-part, based-on-true-crime series. Watch for Beyond The Limits on ePlatforms this month.

Garry Rodgers lives on Vancouver Island at the Canadian west coast. He hosts a popular blog at DyingWords.net and occasionally checks his Twitter account @GarryRodgers1. Garry’s Amazon Author Page is open 24/7 as well.

Are You a Writing Success or an Imposter?

Success, by definition, means different things to different folks. Most writers probably see “success” as being published—repeatedly. They work hard, take risks, and accept that being exposed to failure is part of success. They’re confident souls and keep-on-writing regardless of what others think. Then, there are those who outwardly “make it” but, deep inside, see themselves as imposters.

Yesterday morning, I was reading an online article at Global News which is one of Canada’s leading media sites. The piece was occasionally interrupted with paid ads by prominent players like Ford, Ikea, Microsoft, Audible, and Formica who financially support Global so they can survive in the commercial news biz. All of a sudden I went, “Whoa! Am I really seeing this?”

Before my eyes was an advertisement from Rakuten Kobo, and there was the cover of my newest publication. Kobo chose my book Between The Bikers as their featured promotion and exposed it before I don’t know how many critical eyes. And this Global ad was bought and paid for by Kobo—not me. I knew nothing about the promo before stumbling upon it.

I said to Rita, “Well, will you look at this…” My wife glanced, smiled, and replied, “You’re quite the success.” I had to agree, but then I immediately thought of an earlier email exchange with a highly successful UK writer friend who told me he suffers from Imposter Syndrome (IS).

Before going into what Imposter Syndrome might be, I had to click on Dictionary.com for two definitions:

Successnoun

  1. the favorable or prosperous termination of attempts or endeavors; the accomplishment of one’s goals.
  2. the attainment of wealth, position, honors, or the like.
  3. a performance or achievement that is marked by success, as by the attainment of honors: The play was an instant success.
  4. a person or thing that has had success, as measured by attainment of goals, wealth, etc.: She was a great success on the talk show.

Imposternoun

  1. a person who practices deception under an assumed character, identity, or name.

This got me thinking, What if I’m just an imposter, a bullshit clown, and this Kobo recognition hasn’t been honestly earned? I know that friends, family, and former police colleagues—as well as fellow writers—are going to see this thing, click on it, and expose me for what I might truly be. Oh, the humiliation…

I don’t know who, or how many, saw the Kobo ad. I guess upcoming stats will tell if the promo was successful, but the startling experience made me think of my UK friend and what was going on with his IS insecurity. So, I did some Googling and came up with a fascinating article and self-examination on the New York Spirit psychology-therapy site titled What Is Imposter Syndrome? It opens like this:

“Welcome to the world of the Imposter Syndrome. It is a secret world, inhabited by successful people from all walks of life who have one thing in common – they believe that they are not really good enough. They might be men or women, young or old. And imposter beliefs are not always related to work; I have met ‘imposters’ who feel they are not good enough parents, husbands, wives, friends or even not good enough human beings. These are all variations of Imposter Syndrome, especially when there is little objective evidence to support the sufferers firmly held self-beliefs that they are frauds.

The term ‘Imposter Syndrome’ or ‘Imposter Phenomenon’, was first coined in 1978 by clinical psychologists Pauline R. Clance and Suzanne A. Imes in a paper entitled ‘The Imposter Phenomenon in High Achieving Women: Dynamics and Therapeutic Intervention’.

 The condition was described as being ‘an internal experience of intellectual phonies’ that afflicted some high-achieving women. In their paper, Clance and Imes described their sample group of 150 women as follows, ‘despite their earned degrees, scholastic honors, high achievement on standardized tests, praise and professional recognition from colleagues and respected authorities… [they] do not experience an internal sense of success. They consider themselves to be “impostors”.’ They go on to explain that these women believe they have only achieved their success due to errors in selection processes, or because someone has overestimated their abilities, or that it is due to some other external source.”

Drs. Clance and Imes list three characteristics that define Imposter Syndrome:

  1. Persistently attributing your success to external factors like luck or others.
  2. Believing others have an inflated view of your skills, abilities, and talents.
  3. Fearing you’ll be found out and exposed as a fake.

The New York Spirit piece notes that Imposter Syndrome isn’t a recognized mental health condition. (I checked with the DSM-5 and it’s not.) However, through Wikipedia I found a book by researcher Valerie Young titled The Secret Thoughts of Successful Women: Why Capable People Suffer From the Impostor Syndrome and How to Thrive in Spite of It. In her book, Ms. Young identified five subgroups this syndrome falls into.

  1. The perfectionist
  2. The superwoman/man
  3. The natural genius
  4. The soloist
  5. The expert

Ms. Young states more than 70% of people experience impostor syndrome at some point in their career. That’s regardless if they’re a rocket surgeon, brain scientist, or crime/thriller/mystery writer.

Back to the New York Spirit article. I love quizzes and was most interested in taking their short self-assessment to see whether or not I had Imposter Syndrome. This is how NY Spirit described it: This quiz is based on the common symptoms outlined above and is not meant to be a diagnostic mental health tool, but rather a quick and simple way to ascertain to what degree you feel like you are an imposter. It goes like this…

How easy do you find it to accept praise?
Very hard — 1    Quite hard — 2    Quite easy — 3    Very easy — 4

When you do something well, how likely are you to dismiss it as not really much (eg it was easy, anyone could have done that, it was nothing special).
Very likely — 1    Quite likely — 2    Not very likely — 3    Not at all likely — 4

When you do something well, how likely are you to attribute your success to luck?
Very likely — 1    Quite likely — 2    Not very likely — 3    Not at all likely — 4

When you do something less well, how likely are you to attribute your failure to luck?
Not at all likely — 1    Not very likely — 2    Quite likely — 3    Very likely — 4

When you perform poorly, or fail, how likely are you to attribute your failure to your own lack of skill or not working hard enough?
Very likely — 1    Quite likely — 2    Not very likely — 3    Not at all likely — 4

When you do something well how likely are you to attribute your success to other people’s input (‘they helped me’)?
Very likely — 1    Quite likely — 2    Not very likely — 3    Not at all likely — 4

When you do something poorly how likely are you to attribute your failure to other people (‘it was their fault’)?
Not at all likely — 1    Not very likely — 2    Quite likely — 3    Very likely — 4

How important is it for you to be the best at something that matters to you?
Very important — 1    Quite important — 2    Not very important — 3    Not at all important — 4

How important is success for you?
Very important — 1    Quite important — 2    Not very important — 3    Not at all important — 4

How likely are you to focus on what you have not done well compared to what you have done well?
Very likely — 1    Quite likely — 2    Not very likely — 3    Not at all likely — 4

How important is it to you to find a ‘hero’ to befriend and impress?
Very important — 1    Quite important — 2    Not very important — 3    Not at all important — 4

How often do you feel afraid to express your views lest people discover your lack of knowledge?
Very often — 1    Quite often — 2    Not very often — 3    Not at all/rarely — 4

How often do you find yourself unable to start a project for fear of failing?
Very often — 1    Quite often — 2    Not very often — 3    Not at all/rarely — 4

How often do you find yourself unwilling to finish a project because it isn’t yet good enough?
Very often — 1    Quite often — 2    Not very often — 3    Not at all/rarely — 4

How happy are you to live with a piece of work you have done that you know isn’t perfect?
Not at all happy — 1    Not very happy — 2    Quite happy — 3    Very happy — 4

How often do you find yourself thinking that you are a fraud?
Very often — 1    Quite often — 2    Not very often — 3    Not at all/rarely — 4

How worried are you that your lack of skill/talent/ability will be discovered?
Very worried — 1    Quite worried — 2    Not very worried — 3    Not at all worried — 4

How important is validation from others to you (e.g. praise)?
Very important — 1    Quite important — 2    Not very important — 3    Not at all important — 4

How To Score

According to the piece, the lower your numeric score, the more likely it is you have Imposter Syndrome. The scoring range is from 18 to 72 and (as a rough guide) any score below 36 indicates some sort of IS element is going on in your personality. Again, this is not an accredited test and has to be looked at with a bit of “ooo-kaaay…”.

You’re probably wondering how I made out. I tried to be as honest as possible, and I scored 55. I suppose that indicates I’m relatively comfortable with my butt in the chair with my fingers on the keys. What about you? Go ahead. Take the IS quiz and share your score with your fellow Kill Zoners.

Another thing for Kill Zoners… how do you define “success”? While I was surfing the New York Spirit site, I found an article by Jessica Kitching titled How Do We Measure Success? In it, she says, “If you wake up with a passion for what you do, a purpose that excites you, and a momentum to keep going, then you are a success. I am not ashamed to label myself a writer. I am a writer. I love what I do. How many other people can say that?”

*   *   *

Garry Rodgers is a retired homicide detective with a second career as a coroner. Now, Garry has reinvented himself as a crime thriller writer who masquerades as a commercial success.

He lives on Vancouver Island at British Columbia’s southwest coast and regularly imposters as an old boat skipper. Visit DyingWords.net which is the real website and popular blog for Garry Rodgers.

How To Get Away With Murder

Murder. It’s forever been the stuff of books, movies, poems and plays. Everyone from Shakespeare to Agatha Christie told foul-play murder stories. That’s because, for gruesome reasons, murder cases fascinate people.

I think murder is the great taboo. It’s also the great fear of most people except, maybe, for public speaking. Jerry Seinfeld quipped, “At a funeral, the majority of people would rather be in the casket than giving the eulogy.”

Yes, murder is the ultimate crime. In mystery books and Netflix shows, murder cases are solved and neatly wrapped up in the end. This leaves the reader or audience with the satisfaction of knowing who done it and probably why.

That’s not always the truth in real life. Many murders go unsolved for a long time. Some go cold and are never resolved. Statistics vary according to region, but probably a quarter of murders never get cleared.

Thankfully, most murders are easy to solve. They’re “smoking guns” where the killer and victim knew each other, the killer left a plethora of evidence at the scene or took it with him, witnesses saw the murder take place, or the bad guy confessed to the crime. That’s really all there is to getting caught for committing a murder.

So, why do roughly twenty-five percent of people get away with murder? It’s because they don’t make one of these four fatal mistakes. Let’s look at each in detail and how you can get away with murder.

Leaving Evidence at the Scene

Did you ever hear of Locard’s Exchange Principle? It’s Murder Investigation 101. Dr. Edmond Locard was a pioneer in forensic science. Dr. Locard held that at every crime scene the bad guy would leave evidence behind that would connect them to the offense. Locard summed it up this way:

“Wherever he steps, whatever he touches, whatever he leaves, even unconsciously, will serve as a silent witness against him. Not only his fingerprints or his footprints, but his hair, the fibers from his clothes, the glass he breaks, the tool mark he leaves, the paint he scratches, the blood or semen he deposits or collects. All of these, and more, bear mute witness against him. This is evidence that does not forget. It is not confused by the excitement of the moment. It is not absent because human witnesses are. It is factual evidence. Physical evidence cannot be wrong, it cannot perjure itself, it cannot be wholly absent. Only human failure to find it, study and understand it, can diminish its value.”

Dr. Locard was absolutely right—most of the time. That quote was from the early 1900s. It was long before the sophistication of DNA profiling and amplifying light to find invisible fingerprints. Today, trace evidence shows up at the micro level, and there’re ingenious inventions used to find it. But… not always.

I’m familiar with a high-profile and unsolved murder case from 2008 where two killers enticed a female realtor to a house and savagely stabbed her to death. It’s a long story. A complicated story. And, so far, they’ve got away with the murder.

The victim was totally innocent. She was set-up as a sacrifice to protect someone else who was a police informant. The police know full well who the killers are—a Mexican man and woman from the Sinaloa drug cartel—but they’ve never been charged. It’s because they left no evidence of their identity at the scene. They’ve also never broken the other three murderer-catching rules.

There’s more to scene evidence than DNA and fingerprints. There are dozens of evidentiary possibilities including hairs, fibers, footwear impressions, chemical signatures, organic compounds, match heads, cigarette butts, expended shell casings, spit chewing gum, a bloody glove or a wallet with the killer’s ID in it. (Yes, that happened.)

Removing Evidence from the Scene

The flip side of Locard’s Exchange Principle is the perpetrator removing evidence from the scene that ties them back to it. This can be just as fatal to the get-away-with-it plan as left-behind evidence. And, it happens all the time.

Going back to the unsolved realtor murder, there’s no doubt the killers left with the victim’s blood on their hands, feet and clothing. This innocent lady was repeatedly shived. The coroner report states her cause of death was exsanguination which is the medical term for bleeding out.

For sure, her killers had blood on them. But, they made a clean escape and would have disposed of their blood-stained clothes. That goes for the knife, as well. Further, the killers did not rob the victim. They didn’t steal her purse, her identification, her bank cards or even the keys to her new BMW parked outside.

The killers also didn’t exchange digital evidence to be traced. They used a disposable or “burner” phone to contact the victim to set up the house showing. It was only activated under a fake name for this one purpose and was never used again. The phone likely went the same place as the bloody clothes and knife.

Being Seen by Witnesses

I once heard a judge say, “There’s nothing more unreliable than an eyewitness.” I’d say that judge was right, at least for human eyewitnesses.

Today’s technology makes it hard not to be seen entering or exiting a murder scene. There’s video surveillance galore. Pretty much everywhere you go in an urban setting, electronic eyes are on you. You’re on CCTV at the gas station, the supermarket, the bank, in libraries, government buildings, transit buses, subways and on the plane.

In bygone lore, the killer often wore a disguise. That might have fooled human surveillance, but it’s hard to trick cameras that record evidence like get-away vehicles with readable plates. It’s also hard to disguise a disguise that can be enlarged on film to reveal uniquely identifiable minute characteristics.

Back to the unsolved realtor slaying again. The killers were seen by two independent witnesses when they met their victim in the driveway outside the show home. One witness gave the police a detailed description of the female suspect and worked with an artist to develop a sketch. It’s an eerie likeness to the Mexican woman who is a prime person-of-interest along with her brother—a high-ranking member of the El Chapo organization.

Unfortunately, there’s just not enough evidence to charge the Mexicans. They left no identifiable trace evidence behind at the crime scene. Whatever evidence they might have taken from the scene hasn’t been found. There was no video captured and the eye-witnesses can’t be one hundred percent positive of visual identity.

There’s also the fourth missing piece to the puzzle.

Confessing to the Murder

Murderers are often convicted because they confessed to the crime. Sometimes, they confess to the police during a structured interrogation. Sometimes, they confess to a police undercover operator or paid agent during a sting operation. Sometimes, their loose lips sink their ship by telling an acquaintance about doing the murder. And sometimes, they’re caught bragging about the murder on electronic surveillance like in a wiretap or through a planted audio listening device—a bug.

Police also arrest and convict murderers after an accomplice turns on them and decides to cooperate with the investigation in exchange for a lesser sentence. Then, there are the revenge situations. The murderer has confessed to an intimate partner who they thought they could trust and couldn’t.

That has yet to happen in the unsolved female realtor murder. There is no doubt—no doubt—that a group of people know what happened in her murder. It’s known, with probable certainty, who the Mexican pair are. It’s also known, with probable certainty, who the real police informant was and who conspired to protect them by offering the innocent victim as a sacrificial slaughter to appease the Sinaloa cartel’s “No-Rat” policy.

This murder case can be solved once someone in the group decides to reveal evidence implicating the killers. That likely won’t be anything in the Locard arena or in the eye-witness region. It’ll be an exposed confession that will solve this case.

Someone will eventually talk. The current problem is that everyone in the conspiracy circle is connected by being blood relatives, being a member of the Hispanic community and being involved in organized crime. Their motive to talk is far outweighed by their motive to stay silent.

Takeaway for The Kill Zone Gang

If you’re a mystery/thriller/crime writer, always consider these four crime detection principles when working your plot. No matter how simple or complex your plot may be, the solution will come down to one or more of these points. If it doesn’t, then your antagonist is going to get away with murder.

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Garry Rodgers is a retired homicide detective and forensic coroner, now an investigative crime writer and successful indie author. Garry also hosts a popular blog at his website DyingWords.net and is a regular contributor to the HuffPost.

Garry Rodgers lives on Vancouver Island in British Columbia at Canada’s west coast. He’s a certified 60-Tonne Marine Captain and spends a lot of time around the saltwater. Follow Garry on Facebook, Twitter and BookBub. He has stuff on Amazon, Kobo and Nook, too.