Tag Archives: writing

Finished the Draft. Now What?

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Finished the Draft. Now What?
Terry Odell

marked up manuscript printed in 2 columns

Since my last post, I reached “the end” of the current manuscript. Yippee! Of course, now the real “fun” begins. Editing. Previously, I’ve talked about how I attempt to fool my brain with printing the manuscript in columns and in a different font. You can find that post here. That’s what I’ll be doing for the next several weeks before sending it off to my editor.

One thing I’m super happy about is that I found a title. I know some authors can’t start writing without one. For me, it’s usually the last thing I come up with. I can think of only two exceptions. What’s In A Name? got its title when I was forced to fill out an entry sheet for a RWA chapter contest. There was this big, blank line that said “Title.” The title was almost a placeholder, but I realized that it actually fit the story. Subconscious at work? Maybe. Probably.

The other one was Starting Over which is exactly what I was doing. It wasn’t so much a name of the manuscript, but rather the name I gave the folder in my computer where I would be saving drafts, chapters, notes, etc. The title worked, for the book, too, as it turned out.

When rights reverted, indie publishing still wasn’t a thing, so I approached another publisher. They accepted it, but didn’t want the same title, so it became Nowhere to Hide, which I kept when rights from that publisher reverted to me.

What was I talking about? Right. The new book and its title. It’s part of my Mapleton Mystery series, and the pattern for titles throughout has been a two-word title, the first word being “Deadly.” You’d think coming up with one word would be easy. Ha! Not for me.

Since I had finished the draft, I had some idea of a theme (I don’t think of those when I start, either). It came to me. Deadly Ambitions. It worked, my writing buddy liked it, and my editor liked it.

That puts me one step closer to publication.

But first, I have to whip this draft into shape.

We talk about first pages a lot here at TKZ. They’re important. Very important. It’s been months since I’ve written my first chapter, and there were changes as there always are when I’m starting a new book. Am I starting in the wrong place? Am I info dumping? Will it entice new readers to keep going? (The current wip is the 9th novel, and the 12th work in my Mapleton mystery series.) I write them so they can be read as stand alones, but there’s always the temptation to make sure new readers don’t feel confused when I introduce recurring characters. I know that bugs the heck out of me, which is the main reason I prefer to start with book one in a series. JSB is always saying readers will wait for answers, but how long?

My Mapleton books are small town police procedurals. Sort of. I’ve had reviewers comment that there’s a “cozy feel” to them. But they definitely do not fit the rules/guidelines/expectations of a cozy.

When I’m reading, I like seeing the off-the-job side of my protagonist. Through the series, Gordon has dated, become engaged, married, and is now at the “newlywed phase is starting to wear off” point. Angie, his girlfriend-fiancé-wife has been with him in some capacity since book one.

My dilemma, as is frequently the case, is how much page time she gets, along with how much page time Daily Bread, the diner she runs, gets. Are readers going to want to skim those scenes to get back to the Cop Stuff and Chief Stuff Gordon has to deal with? In the current book, she’s playing a significant role and is personally involved in one of Gordon’s cases. (No spoilers.) She’s part of the opening scene, but is it too much? Not enough? I’ll pose that question to you, TKZers.

These were the opening paragraphs in my first draft.

Gordon Hepler, Mapleton, Colorado’s Chief of Police, moseyed over to Jerry Illingsworth, newly elected mayor of the city. This was Jerry’s night, and it was in full swing. The event room at the Community Center was filled with his supporters, all enjoying the food and drink.

Angie, his wife, was in charge of the food, and she’d done a great job, deviating from the usual fare at Daily Bread. Jerry had requested something more upscale, and she’d been happy to comply, especially since her restaurant was closed for remodeling. The extra work provided much needed income.

Gordon snagged a shrimp-topped canape—Angie’s term. Gordon called them nibbles—from a passing server. The group around Jerry wandered off, and Gordon moved in to congratulate the new mayor.

“Would it be inappropriate for me to say It’s about time?” Jerry gave a quiet laugh. “Three recounts before Nelson Manning accepted—reluctantly is too kind a word—defeat.”

When I started my edits, I thought I’d devoted too much ‘dumping’ of who Angie was and her role, so I tightened it to this. (Only the second paragraph was changed.)

Gordon Hepler, Mapleton, Colorado’s Chief of Police, moseyed over to Jerry Illingsworth, newly elected mayor of the city. This was Jerry’s night, and it was in full swing. The event room at the Community Center was filled with his supporters, all enjoying the food and drink.

Gordon snagged a shrimp-topped canape—his wife Angie’s term—from a passing server. She was the chef, so she would know. Gordon called them nibbles. The group around Jerry wandered off, and Gordon moved in to congratulate the new mayor.

“Would it be inappropriate for me to say It’s about time?” Jerry gave a quiet laugh. “Three recounts before Nelson Manning accepted—reluctantly is too kind a word—defeat.”

What’s your take? Too much? Too little?

~~~~~

woman pouring a smoked Manhattan into a glassOh, and for those of you who are interested in my images from our anniversary getaway last month, you can find them here.

New! Find me at Substack with Writings and Wanderings

Danger Abroad

When breaking family ties is the only option.

Madison Westfield has information that could short-circuit her politician father’s campaign for governor. But he’s family. Although he was a father more in word than deed, she changes her identity and leaves the country rather than blow the whistle.

Blackthorne, Inc. taps Security and Investigations staffer, Logan Bolt, to track down Madison Westfield. When he finds her in the Faroe Islands, her story doesn’t match the one her father told Blackthorne. The investigation assignment quickly switches to personal protection for Madison.

Soon, they’re involved with a drug ring and a kidnapping attempt. Will working together put them in more danger? Can a budding relationship survive the dangers they encounter?

Available now.

Like bang for your buck? I have a new Triple-D Ranch bundle. All four novels for one low price. One stop shopping here.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

The Latest in Marketing Ploys

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The Latest in Marketing Ploys
Terry Odell

I’m sure we’ve all seen requests to feature our books hitting our inboxes, often several a day. Until recently, they’ve been straightforward, like this one:

I’m a content creator (not a marketer) who helps authors bring their books to life through cinematic trailers—whether it’s fantasy, romance, thriller, or memoir.
I’ve had the chance to read your book, and it truly resonated with me.
New release or backlist, a powerful visual hook can instantly boost engagement and reach.
I’ve created trailers that connect deeply with readers and stand out across platforms.
Happy to send a few samples so you can see the quality firsthand.
Let’s chat and explore how we can make your story unforgettable.

Note that it says “read your book.” No mention of which one. Sometimes they do pick a book from our publication list, sometimes, like the one above, they just say “a book.”

Others want to “help you sell” your book. They go on to tell you where they’ll promote it, and how many followers or subscribers they’ll reach.

If I’m in a snarky mood, sometimes, I’ll reply with a “You want to feature my book? Go ahead. You have my permission” as if I didn’t realize (gasp) that I had to pay for the service. These all end up trashed.

Most recently, I got one via the Author’s Guild that starts out “Dear Great Author.”
Yeah, right. I’m going to hire you when you don’t know who I am. Not.

My website says “I’d love to hear from you,” and I do try to respond. When this email hit my inbox, it seemed legit.

Hi Terry,
I came across your book CRUISING UNDERCOVER and after reading the synopsis, it truly caught my attention.
I’m a big book lover and was curious to ask, what inspired you to write it?

I answered his question (it came from and was signed by a person’s name, not a company), and got this response (copied and pasted; typos are his)

Yes sure its enjoyable
You can feel it in the book — that it came from somewhere deep.
It’s not just a story. It feels like a message that needed to be heard.
If you don’t mind me asking, did you write it more for yourself, or for someone else to finally get it?

Still sounded enough like a reader to offer another answer, albeit a brief one. And then … the real reason he sent the message:

This is actually the kind of work I do. I help authors like you give their book more life after it’s published — so more readers actually feel what you wrote.
There are a few simple ways to do that:
I can help you get Goodreads reviews (which link to Amazon)
Create a short, powerful book trailer
Improve your Amazon listing so it stands out
Build your social media or help you launch the book properly
Even make you a clean author website or help with email marketing
You don’t need everything — just whatever feels right to you.
Would any of that help right now?

Off to the trash with you!

That one was initiated by a person, with some generic but potentially believable comments about the book/my writing. But lately, things have taken a different turn. These solicitors are using AI to make it sound as though they’ve actually read the book, and they’re pulling people in. Are they scammers? Or just misleading the people they’re targeting? Or is there a difference?

I’ve had my share of these, and they’re increasing.

There was this one:

Subject line: Truly Inspired By Your Work.
Hello there,
I hope this message finds you well. I recently came across your work while doing some research, and I have to say—it immediately drew me in. Your story resonated with me on a deep level, and I truly admire the incredible effort and creativity behind it.
I’d love to know—what first inspired you to start writing? Also, are there any upcoming releases or current projects you’re excited about? I’m really looking forward to following your journey and staying connected to your work.
Thank you for sharing your voice with the world.
Julian Creativity

The signature and the lack of a specific book reference were enough for me to send this straight to trash.

One of the groups I belong to has a thread of people reporting how their no-longer-active Instagram accounts have been scraped for solicitations. Others are getting emails that are up front about their goal—get you to pay for their services, but they are getting far more personal.

Some examples from friends willing to share:

I just finished reading about The Smiling Dog Café and felt like I’d stepped into something quietly magical one of those rare places where story, heart, and healing intersect. The blend of grounded human grief and otherworldly comfort, paired with canine intuition and coffee that stirs memory, is a truly special formula. This is the kind of book that readers discover and share because it speaks to something deep, universal, and comforting.

I’m Elijah, a book marketer specializing in indie authors who tell stories with soul. I’d love to help amplify the reach of The Smiling Dog Café through a campaign that honors its tenderness while putting it in front of the exact readers who will embrace it.

The recipient did pay for this service, and did get some reviews, but he reported “Several reviews followed quickly, all of them sounding like they were written by AI, and from reviewers with only one or two reviews under their belt.”

Another friend shared this with me:

Reading Return to Hoffman Grove felt like stepping into the messy, tender terrain of old friendships, unspoken regrets, and the quiet bravery it takes to begin again. You’ve written more than a romance. This is a deeply human story of emotional reckoning, healing, and the powerful grip of the past.

What stood out to me most is how honestly you portray the layers between Cinda and Brody. Their bond is more than romantic; it’s threaded with loyalty, betrayal, and the kind of childhood closeness that never quite lets go. The way you let their tension simmer beneath every interaction makes their slow reconciliation all the more rewarding. And Cinda’s emotional arc, especially her instinct to go it alone, even when she’s surrounded by people who care feels true to life and beautifully nuanced.

But Return to Hoffman Grove isn’t just about relationships. You weave in mystery and quiet suspense with a deft hand. The house fire, the mounting threats, and Brody’s unraveling career all add urgency and depth without ever distracting from the emotional core. It’s that balance of plot and heart, of past and present that makes this story so compelling.

This was followed with a plug for the sender’s company, with the offer of a ‘snapshot’ of what they could provide, which turned out to be quotes for 3 levels of service, ranging from $150 to $400 on Goodreads Listopia lists.

My friend didn’t bother responding.

What about you, TKZers? Any of you being hit by these AI generated marketing ploys as well as the ‘old-fashioned ones? Do you respond? Have you tried any with good results?

New! Find me at Substack with Writings and Wanderings

Danger Abroad

When breaking family ties is the only option.

Madison Westfield has information that could short-circuit her politician father’s campaign for governor. But he’s family. Although he was a father more in word than deed, she changes her identity and leaves the country rather than blow the whistle.

Blackthorne, Inc. taps Security and Investigations staffer, Logan Bolt, to track down Madison Westfield. When he finds her in the Faroe Islands, her story doesn’t match the one her father told Blackthorne. The investigation assignment quickly switches to personal protection for Madison.

Soon, they’re involved with a drug ring and a kidnapping attempt. Will working together put them in more danger? Can a budding relationship survive the dangers they encounter?

Available now.

Like bang for your buck? I have a new Triple-D Ranch bundle. All four novels for one low price. One stop shopping here.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

Talent vs. Grit

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Talent (noun): a natural skill or ability to be good at something, especially without being taught.

* * *

A couple of weeks ago, James Scott Bell mentioned the enormous talent of James Cagney, and that got me wondering about just what talent is and how much it plays a part in success.

We’ve all heard sports scouts talk about athletes who are “naturals.” They’re highly recruited for what seems to be their inborn ability to play the game. Most of us don’t have that kind of obvious talent, but each of us has certain inborn abilities that we can capitalize on. But how can we identify what we’re really good at? One way is by taking a talent test.

I’m not a particular fan of personality tests or talent identification tests. I think testing for specific skills is more useful. But in preparation for writing this blog post, I took a talent quiz at ProProfs. (I have no idea if their test is a reliable judge of specific talent, but I thought it would be fun to see their assessment.)

Among other things, the results indicated that I have a creative flair for story-telling. That was encouraging, but it doesn’t mean I’ll be able to wip (misspelling intended) out a 70,000 word masterpiece while sipping my raspberry-coconut smoothie and having my nails done. It won’t solve the plot problems I’m having with my next book or teach me more about the genre-specific structure I need. It also won’t do much to ensure my text is error-free or help me format and upload the book to the major retail sites. For all those, I need something more.

* * *

Grit (noun): firmness of character; indomitable spirit; pluck.

The answer may lie in an individual’s passion and perseverance, otherwise known as “grit.” While talent may give you a head start in life, it’s grit that will get you over the finish line.

A 2013 article in Forbes magazine identified five characteristics of people who have grit.

  1. Courage – The ability to manage the fear of failure.
  2. Conscientiousness – Working tirelessly, trying to do a good job, and finishing the task at hand.
  3. Endurance – Having the stamina to achieve long-term goals.
  4. Resilience – The ability to remain optimistic and confident in the face of unforeseen problems.
  5. Excellence vs Perfection – Striving for excellence, not perfection.

The Forbes article also quotes from a 1907 speech by Theodore Roosevelt that illustrates the essence of true grit:

It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strived valiantly; who errs, who comes again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly.

* * *

Finally, in a Psychology Today article, Michael D. Matthews, PhD, argues that neither talent nor grit alone will lead to success.

The message here is clear. Grit is indeed a critical factor in achievement. But it is best applied to tasks and goals for which you have the innate talent and interest to sustain growth. Engage in honest self-appraisal and identify what you have the physical and cognitive skills to be good at, then use your grit to fan the talent flame. Love what you are good at and be good at what you love. Your talent will only take you so far; you need grit to be great. And accomplishing difficult tasks provides a foundation for a life of meaning and purpose.

 

So there you have it. Talent and Grit. You need both to make the cut.

* * *

So TKZers: Have you ever taken a quiz to identify your talents? How would you compare talent and grit in writing? Which of the five characteristics of grit in this article do you most identify with?

* * *

 

Another Side of Sunshine: A Reen & Joanie Detective Agency Novel 

10-year-old Reen and her 9-year-old cousin Joanie have plenty of talent and grit, but is that enough to find the treasure hidden by the mysterious Mr. Shadow?

Click the image to go to the Amazon book page.

Compromises

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Compromises
Terry Odell

cover of The Triple-D Ranch novels by Terry OdellFirst, if you’ll indulge me, I have a new release. Not exactly a new book, but after being away, having family visiting, writing breaks to do research, hitting the 30K wall, and other real life interruptions, I feared the wip wasn’t going to be finished in time for a pre-holiday release.

What did I do? Triggered by an acceptance for a BookBub Featured Deal on July 9th for In Hot Water, book 1 in my Triple-D Ranch Romantic Suspense series, I decided to bundle all 4 books in the series as a box set.

I checked with the marketing gurus at BookBub, and they suggested that a release of the bundle before the featured deal would be a good option. I pulled the manuscripts for all four books into a single file and made the necessary adjustments to front and back matter. Since the first 3 in the series were released in 2016, there were some formatting issues to deal with, but it didn’t take long to have a manuscript file ready to upload.

I went into a lot of the process in a post a while back, so I’m not going to repeat any of that now. If you’re interested, you can find it here.

The new book, brilliantly titled, “The Triple-D Ranch Series” is available for purchase at most popular e-tailers. Here’s a link to one-stop shopping.

And on to the post topic: Compromises

Sue’s post on Monday reminded me of our move from Florida to Colorado way back in 2010. Although this is no longer my path to publication, I know a lot of TKZers are, or are hoping to be, traditionally published. The road to publication, like moving into a new house, can be filled with compromises.

During our renovations and remodels, we found ourselves compromising on a lot of issues. Sometimes it was a matter of money—deciding what things we were willing to cut from our dream plan, and where we were willing to shell out the extra cash. We decided to go with underfloor heating in the bathrooms. However, a custom job, with the heat mat made to order for the bathroom was prohibitively costly compared with the off-the-shelf versions. The compromise meant we were restricted to the sizes the mats came in; we couldn’t get the heat mat under the tile of the entire bathroom, leaving a few areas where the tiles remain cold. But having that extra course of tiles heated wasn’t worth the price differential. It was easier to learn to take a bigger step into the hall bath if you were barefoot, avoiding the first row of tiles.

Another compromise – we had a lot more room in our former house. Finding places for things that went into our wall units and china cabinet meant more furniture. We ended up with a large curio cabinet in the living area. However, it doesn’t have any interior lighting, so as far as displaying treasures goes, it’s not really the perfect system. It ended up being a liquor and glassware cabinet.

We ordered two bookcases for the downstairs, but when they arrived, we realized that one was a shade too tall for where we wanted to put it. (Never thought about the bulkhead ceiling on that side of the room, or how tall the bookcases would be.) So, we found another spot for the second unit, which ate up several feet of wall space, meaning when we get furniture for the room, we’re going to be limited in what will fit where.

When writing, you’ll also learn to make compromises—unless, of course, you’re writing strictly for yourself. Everyone says ‘write the book of your heart.’ But if you want people to read your books, you’re going to have to consider what the readers want. The book of your heart might not be marketable.

Somewhere along the line, you have to decide which battles are worth fighting and which aren’t. Some, you’ll never win. If a publisher wants humor, and you’re not a funny person, maybe that’s the time to realize that your efforts might be better spent elsewhere. Or maybe they want deep, dark suspense, full of serial killers and psychopaths, and you prefer lighthearted mystery. Are you capable of writing what they want? Will you feel like you’re struggling to get each word on the page? Assuming you’ve done your homework and submitted your work to a publisher who publishes what you write, and it’s accepted, what’s next? You’re going to have to deal with an editor who works for the publisher, and knows what they’re looking (or not looking) for.

For example, my editor for When Danger Calls, one of my early traditionally published novels, told me the publisher would nix any use of the word ‘penis.’ She said their readers didn’t like to read it. Was there a point to arguing with this one? No. Easy enough to change.

Another publisher didn’t like the use of brand names. Sometimes, a brand name serves as an immediate image for readers. I had to fight (and contact the companies) to use Knob Creek and Denny’s in a book.

On a grander scale, some genres have their own reader expectations and publishers have their own guidelines.

Once you’re aware of what your publisher and editor expect, you’ll find that you’re compromising with yourself during the writing process. Just like you learn to avoid that first course of tiles in the bathroom, you won’t use those ‘forbidden’ words. If you’re writing a contemporary series romance, you’ll learn to get your hero and heroine on the page and involved immediately, because that’s what readers of that genre want, and the publisher expects you to meet their expectations. If you’re writing a mystery, your readers will assume it’s a “murder mystery” and they’ll want to see that dead body right away.

Even indie authors might have to compromise to meet reader expectations. I’ve written almost 35K words in my next Mapleton mystery, and there’s no dead body. Yet.

How about you, TKZers? Have you had to compromise to keep your submission or book marketable?

New! Find me at Substack with Writings and Wanderings

Danger Abroad

When breaking family ties is the only option.

Madison Westfield has information that could short-circuit her politician father’s campaign for governor. But he’s family. Although he was a father more in word than deed, she changes her identity and leaves the country rather than blow the whistle.

Blackthorne, Inc. taps Security and Investigations staffer, Logan Bolt, to track down Madison Westfield. When he finds her in the Faroe Islands, her story doesn’t match the one her father told Blackthorne. The investigation assignment quickly switches to personal protection for Madison.

Soon, they’re involved with a drug ring and a kidnapping attempt. Will working together put them in more danger? Can a budding relationship survive the dangers they encounter? Available now.

Like bang for your buck? I have a new Triple-D Ranch bundle. All four novels for one low price. One stop shopping here.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

Multi-tasking

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The secret to multitasking is that it isn’t actually multitasking. It’s just extreme focus and organization. —Joss Whedon

* * *

The term “multi-tasking,” sometimes called “multi-processing,” has become part of the lexicon of modern writers. Multi-tasking implies doing two or more things at one time.  Although it’s not possible to have the brain consciously working on two different problems at the same time, many of us say we’re multi-tasking when we think about the plot of our next book while doing brain-free activities like household chores, etc.

In the world of computers, the term “multi-processing” means there are two or more processors, now called ‘cores,’ working inside the computer. Neither of them is doing more than one job at a time. However, since there are multiple cores, they can accomplish multiple tasks in parallel.

The term “multi-programming,” however, describes a single processor that works on one thing at a time, but may swap tasks to be more efficient. For example, if one process has issued a print command, the processor may initiate the print, then return to the original process to continue or even start another process. It may appear that it’s doing multiple jobs at the same time, but it really isn’t.

So multi-tasking for writers where concentration is involved is more like multi-programming. We each have one brain and can only process one thing at a time, but we can swap tasks in and out to maximize our efficiency.

I’ve been thinking about this a lot lately because I’m in the midst of a multi-tasking hurricane. My husband and I are moving to another home, and even though we thought we had pared down all the stuff we own, we seem to have acquired more! I’m sitting in the middle of dozens of boxes, mostly books, with more to be packed. And then there are all the other things that need to be taken care of when moving from one place to another.

In addition to all that, my first middle grade novel, Another Side of Sunshine, launched a couple of weeks ago and requires some attention in the marketplace. The next book in the series is in the final stages of editing, and I’ll need to spend some time reviewing the entire manuscript and running text-to-speech on it. Then there’s the second book in the Lady Pilot-in-Command series which is partially written but needs significant hours of work. Email requires attention, and there’s always a need to post on social media, run a promotion, communicate with other authors, and of course, write a bi-weekly TKZ post.

In order to accomplish all these tasks and retain a modicum of sanity, I need to multi-program – swap from one task to another in the most efficient way possible. I’m finding that spending 30 minutes to an hour on one thing, then switching to another works pretty well. Refocusing turns my attention to the matter at hand and gives the boys in the basement a chance to continue working on all the other tasks.

I’ll be at the new home today and not sure how much connectivity I’ll have there, but I’ll check in when I can.

* * *

So TKZers: Even without moving from one home to another, there are dozens of writing-related tasks that we have to keep up with. How do you manage them all? Do you divide your day up into time slices? Any secrets you want to share with the rest of us?  

* * *

 

Cryptic clues, the elusive Mr. Shadow, and the promise of a hidden treasure combine to give the Reen & Joanie Detective Agency their first challenge. But they can’t multi-task. They have to solve the clues in a sequence, and they only have three days to find the treasure before time runs out. Can they do it?

Click the image to go to the Amazon detail page.

Creative Words of Wisdom

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Recently I’ve been recentering myself on creativity and the creative side of writing. I just finished Elizabeth Gilbert’s Big Magic, which discusses creativity and the creative process, and decided to dive into the KZB archives for more wisdom on creativity.

Unsurprisingly, I hit paydirt.

First up is Joe Moore on the qualities of creative personalities. Then, James Scott Bell talks about both creative time and how it can help keep your brain youthful. Finally, Garry Rodgers lays out how to behaviors that help creativity and those which hinder it.

There has been active debate on whether creative genius is dependent on mental illness or insanity. This debate continues further by stating that madness alone cannot suffice as Source for creativity. Nay, nay. An openness to experience, intelligence and wisdom complete the mysterious formula. They are actually writing papers on the subject. The bottom line: Creative people make creativity a way of life.

We can all name artists, musicians, writers, scientists, etc. who inspire us with their fascinating and divergent thinking. (Look at our own Basil Sands, for goodness sake.) The argument for creative personalities presented by Hal Lancaster during the late 90’s in The Wall Street Journal stated six basic qualities exist:

  1. Keen powers of observation.
  2. Restless curiosity.
  3. An ability to recognize issues that others miss.
  4. An ability to generate numerous ideas.
  5. Persistently questioning the norm.
  6. A talent for seeing established structures in new ways.

Do you see yourself in any or all of the above? I do, which is fun. But, what really appeals to me is the recurring theme of madness in creative beings. After all, if you’re considered a little crazy you need no excuses for your behavior. I like that.

Joe Moore—January 31, 2012

I have long taught the discipline of a weekly creativity time, an hour (or more) dedicated to pure creation, mental play, wild imaginings. I like to get away from my office for this. I usually go to a local coffee house or a branch of the Los Angeles Library System. I also like to do this work in longhand. I mute my phone and play various games, like:

The First Line Game. Just come up with the most gripping first line you can, without knowing anything else about what might come after it.

The Dictionary Game. I have a pocket dictionary. I open it to a random page and pick a random noun. Then I write down what thoughts that noun triggers. (This is a good cure for scene block, too.)

Killer Scenes. I do this on index cards, and it’s usually connected to a story I’m developing. I just start writing random scene ideas, not knowing where they’ll go. Later I’ll shuffle the stack and take out two cards at a time, and see what ideas develop from their connection.

The What If Game. The old reliable. I’ll look at a newspaper (if I can find one) and riff off the various stories. What if that politician who was just indicted was really an alien from a distant planet? (Actually, this could explain a lot.)

Mind Mapping. I like to think about my story connections this way. I use a fresh blank page and start jotting.

After my creativity time I find that my brain feels more flexible. Less like a grouchy guy waiting on a bench for a bus and more like an Olympic gymnast doing his floor routine.

Now, I’m going to float you a theory. I haven’t investigated this. It’s just something I’ve noticed. It seems to me that the incidence of Alzheimer’s among certain groups is a lot lower than the general population. The two groups I’m thinking of are comedians and lawyers.

What got me noticing this was watching Carl Reiner and Mel Brooks being interviewed together, riffing off each other. Reiner was 92 at the time, and Brooks a sprightly 88. They were both sharp, fast, funny. Which made me think of George Burns, who was cracking people up right up until he died at 100. (When he was 90, Burns was asked by an interviewer what his doctor thought of his cigar and martini habit. Burns replied, “My doctor died.”)

So why should this be? Obviously because comedians are constantly “on.” They’re calling upon their synapses to look for funny connections, word play, and so on. Bob Hope, Groucho Marx (who was only slowed down by a stroke), and many others fit this profile.

And I’ve known of several lawyers who were going to court in their 80s, still kicking the stuffing out of younger opponents. One of them was the legendary Louis Nizer, whom I got to watch try a case when he was 82. I knew about him because I’d read my dad’s copy of My Life in Court (which is better reading than many a legal thriller). Plus, Mr. Nizer had sent me a personal letter in response to one I sent him, asking him for advice on becoming a trial lawyer.

And there he was, coming to court each day with an assistant and boxes filled with exhibits and documents and other evidence. A trial lawyer has to keep a thousand things in mind—witness testimony, jury response, the Rules of Evidence (which have to be cited in a heartbeat when an objection is made), and so on. Might this explain the mental vitality of octogenarian barristers?

There also seems to be an oral component to my theory. Both comedians and trial lawyers have to be verbal and cogent on the spot. Maybe in addition to creativity time, you ought to get yourself into a good, substantive, face-to-face conversation on occasion. At the very least this will be the opposite of Twitter, which may be reason enough to do it.

James Scott Bell—July 8, 2018

Improving creativity starts with a foundation of subject knowledge, learning a discipline, and mastering a proper way of thinking. You build on your creative ability by experimenting, exploring, questioning assumptions, using imagination, and synthesizing information. Learning to be creative is like learning a sport. You need a desire to improve, develop the right muscles, and be in a supportive environment.

You need to view creativity as a practice and understand five key behaviors:

  1. Associating—drawing connections between questions, problems, or ideas from unrelated fields.
  2. Questioning—posing queries that challenge common wisdom.
  3. Observing—scrutinizing the behavior of others in, around, and outside your sphere.
  4. Networking—meeting people with both common and different perspectives.
  5. Experimenting—constructing interactive experiences and provoking unorthodox responses to see what insights emerge.

Read this as — listen, watch, ask, mingle, and stir. Sir Richard Branson has a mantra that’s bred into the corporate DNA of his Virgin staff — A-B-C-D — Always Be Connecting Dots. Branson swears that creativity is a practice and if you practice these five behaviors every day, you will improve your skills in creativity and innovation.

Now, if these five behaviors put you in the right direction for improving creativity, then there must be behaviors to avoid. I found eight:

  1. Lack of courage—being fearful of taking chances, scared of venturing down new roads, and timid about taking the road less traveled. Fear is the biggest enemy of creativity. You need to be courageous and take chances.
  2. Premature judgment—second-guessing and early judgment of outcome severely restrict your ability to generate ideas and freely innovate. Let your initial path expand and follow it to its inevitable destination.
  3. Avoidance of failure—you can’t be bold and creative if you fear failure. Creativity requires risk and making mistakes. They’re part of the process.
  4. Comparing with others—this robs your unique innovation and imagination. Set your own standards. Be different. Something new is always different.
  5. Discomfort with uncertainty—creativity requires letting go and the process doesn’t always behave rationally. Accept that there’s something akin to paranormal in real creativity.
  6. Taking criticism personally—feedback is healthy, even if it’s blunt and harsh like 1&2-Star Amazon reviews. Ignore ridicule. Have thick skin, a tough hide, and don’t let criticism get to you.
  7. Lack of confidence—a certain level of uncertainty comes with any new venture. Some self-doubt is normal but if it becomes overwhelming and long-lasting, it will shut down your creative abilities. The best way to create is to first connect with your self-confidence.
  8. Analysis paralysis—overthinking renders you unable to make a decision because of information overload. “Go with your gut” is the answer to analysis paralysis.

Aside from positive and negative behaviors, there is one overall and outstanding quality that drives successfully creative people.

Passion…

Passion is the secret to creativity. It’s the underlying feature that’s laced the successes of all prominent creators in history.

Garry Rodgers—June 29, 2023

***

  1. What qualities do you believe creative people possess?
  2. What ways do you like to let your creativity play?
  3. What behaviors have helped your creativity? What ones have hindered you?

Is This Writing Good?

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I’m always intrigued when I hear someone say, “That was a really good book” or “This is great writing.” I’ll ask, “What makes it so?” Inevitably, I’ll get varied answers.

Probably the first response is, “Because I liked it.” Or, “Because it held my interest.” Or, “I could hear the voice as if it were talking directly to me.” Or, “It made a lot of sense.”

One of the greatest compliments a writer can get is, “I couldn’t put it down.” I’ve had a few of these over the years, and they really made my day. The best one was, “You. You kept me awake until four in the morning, and I had to go to work the next day.”

So, what makes writing good? I stumbled upon a meme the other day that made me reflect on what good writing is. Timeless storytelling techniques that still hold true and probably outclass most of what is taught to, and produced by, modern scribes.

It was a page by JRR Tolkien, the father of modern fantasy, who wrote The Hobbit in 1937 and The Lord of the Rings trilogy in 1954-1955. I read it and reread it, paying attention to what Tolkien was pulling off. Here’s the image.

I’m not going to critique Tolkien, but I see touches I would have never considered.

Like using an exclamation point in the middle of a sentence. Repeating a sentence in the same paragraph but reframing it in backdrops. A single sentence of three repeated words…

World building… invented languages… unique and memorable character development… superb, captivating storytelling…

I can’t accurately explain why I think Tolkien was a good writer. It’s like Supreme Court Judge Potter Stewart said in his landmark ruing on obscenity, “I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description; and perhaps I could never succeed in intelligibly doing so. But I know it (pornography) when I see it.”

Kill Zoners — What are your thoughts on this Tolkien page? And what makes for good writing? BTW, you might have to open the page image in a separate tab to enlarge it for clarity.

Voice Revisited

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Voice Revisited
Terry Odell

Travel gods willing, I’ll be in the air much of the day, on my way to Hubster’s Bucket List trip of a Mississippi River cruise on a paddlewheeler with a few extra days in New Orleans to enjoy the sights–and the food. I’ll respond to comments when I can.

In my last post, Dr. Doug Lyle spoke about voice being the most important thing that sells your next book, so I’m revisiting a post I did on the subject of voice back in 2021, with some additions and other modifications. (There’s a free short story read in this version.)

I’m looking at two aspects of voice: Character and Author.

Part A. Character Voices, or “Give Them Their Own.”

I recall reading my first book by a best-selling author. A male character discovered a young girl, about 5 years old, who had been left to die in the woods. He brings her to his cabin and finds she cannot or will not speak. I was impressed with the way the character spoke to the child—it seemed exactly how someone should deal with that situation. However, as more characters entered the story, I discovered that he spoke that way to all of them. Not only that, almost every character in the book spoke with that same “Talking to a Child” voice. Obviously, it doesn’t bother the millions who buy her books, but it bugged the heck out of me. And it’s consistent with all her books in that series. It wasn’t just a one-time deal.

It’s important in a book that characters not only sound like themselves, but don’t sound like each other. That means knowing their history, their age, education, as well as occupation, nationality—the list goes on. Ideally, a reader should be able to know who’s speaking from the dialogue on the page without beats, tags, or narrative.

Cowboys don’t talk like artists, who don’t talk like sailors, who don’t talk like politicians. And men don’t talk like women. They’re hard-wired differently. I’m a woman, and in my first drafts the dialogue will lean in that direction. After I’ve written my male characters’ dialogue, I go back and cut it down by at least 25%.

A few tips to make your characters sound like themselves.

Don’t rely on the “clever.” Dialect is a pitfall—more like the Grand Canyon. If you’re relying on phonetic spelling to show dialect, you’ll stop your readers cold. Nobody wants to stop to sound out words. You can show dialects or accents with one or two word choices, or better yet, have another character notice. “She heard the Texas in his voice” will let the reader know.

Give your characters a few simple “go to” words or phrases. For me, this is often deciding what words my character will use when he or she swears (since I write a lot of cops and covert ops teams, swearing is a given). Then, make sure he or she is the only person who uses that word or phrase.

Keep the narrative “in character” as well. This especially includes internal monologue, and even extends to narrative. Keep your metaphors and similes in character. If your character’s a mechanic, he’s not likely to think of things in terms of ballet metaphors.

What your character says and does reveals a lot to your readers. Workshops I’ve attended have given out the standard character worksheets (which have me screaming and running for the hills), but it’s the “other” questions that reveal your character. What’s in her purse? What’s in his garbage? What does he/she order at Starbucks? Would he/she even be caught dead in a Starbucks? James Scott Bell’s workshops include excellent examples.

How do you keep your characters distinct? How do you get to know them? Do you need to know a lot before you start, or are you (like I am) someone who learns about them as you go?

Which brings me to Part B: Authorial Voice, or “Stay the Hell off the Page.”

After  a presentation I gave for a local book club, one member said she’d read one of my books. Her comment was, “You write the same way you talk.” And, after I sent a chapter to my critique partners, one said, “This sounds very Terry.” That, I think, sums up “voice.”

Any author starting out tries to write what she thinks a writer should sound like. She might work hard to make her characters sound unique, and true to their backgrounds, but all the other stuff—the narrative parts where the character isn’t speaking—sounds stilted. It sounds “writerly.”

But what the characters say isn’t quite the same as “Authorial Voice.” Think of all the renditions of the national anthem performed at sporting events. The words are the same, the notes are the same, but each singer performs it in their unique voice.

The author’s voice is all the other words, the way the sentences are put together, how the paragraphs break. Can anyone confuse Harlan Coben with Lee Child? Janet Evanovich with Michael Connelly? Even Nora Roberts has a distinctive voice that is recognizable whether she’s writing a romance as Roberts, or one of her “In Death” futuristics as JD Robb. There are those who say the authorial voice is the writer’s style.

When I was a fledgling writer, I experimented. One such experiment was a short story in a voice that seems very different from the way I write now. Perhaps it was because I’d been reading a book my cousin recommended, which was not what I usually read. At any rate, it’s a very short story, and was almost my first paid writing gig. Alas, the magazine folded before the offered contract was issued. When I wrote it, it was more of an exercise in POV; first his, then hers. It’s called “Words” and you can download it for free here. For those of you locked into your Kindles, you can find it here. (Amazon is cranky about freebies.) I’d be curious to know if anyone sees my current voice with the one in this short short.

Your authorial voice will develop over time and (one hopes) will become recognizable. It’s important to learn the ‘rules’ of writing before trying to be distinctive. In the art world, we recognize artists by their style. The Star Spangled Banner opens countless events, yet even though the notes are the same, they presentations vary. Immensely.

Before artists of any format—music, poetry, prose, acting, create their own recognizable style, they learn the basics. Before your voice will develop, you have to write. And write. And write some more.

Try looking at your manuscript, or the book you’re reading. Find a passage that’s filled with narrative. How do you, or the author in question deal with it? Is it in the same vein as the dialogue, or do you get jolted out of the story because all of a sudden there’s an outsider taking over? If it’s a funny book, the narrative needs to reflect that sense of humor. If it’s serious, the author shouldn’t be cracking wise in narrative. If your character speaks in short, choppy sentences, then he’s likely to think that way, too. Again, the narrative should continue in that same style.

You want your voice to be recognized, but not intrude on the story. If you want the reader caught up in the story and the characters, you, the author have no business being on the page. Every word on the page should seem to come from the characters, whether it’s dialogue or narrative. You’re the conduit for the story and the characters. You’re there so they shine, not the reverse.

It takes practice—and courage, because you have to put “you” on the page, and not the “writer.” But when you finish, you should have your own special work. You won’t be a cookie-cutter clone. Rule of thumb—if it sounds “writerly”, cut it. When the words flow from the fingertips, that’s probably your own voice coming through. Let it sing.

New! Find me at Substack with Writings and Wanderings

Danger Abroad

When breaking family ties is the only option.

Madison Westfield has information that could short-circuit her politician father’s campaign for governor. But he’s family. Although he was a father more in word than deed, she changes her identity and leaves the country rather than blow the whistle.

Blackthorne, Inc. taps Security and Investigations staffer, Logan Bolt, to track down Madison Westfield. When he finds her in the Faroe Islands, her story doesn’t match the one her father told Blackthorne. The investigation assignment quickly switches to personal protection for Madison.

Soon, they’re involved with a drug ring and a kidnapping attempt. Will working together put them in more danger? Can a budding relationship survive the dangers they encounter?
Available now.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

The Diary of a CEO

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Steven Bartlett is an interesting young guy, He’s a self-made, multi-millionaire entrepreneur and host of a highly popular podcast called The Diary of a CEO. Recently, he released a book with the same title, subtitled The 33 Laws of Business and Life.

I just read Bartlett’s book, and I can say it’s no run-of-the-mill motivational, self-help spiel that promotes the law of attraction, manifestation, and unicorn-inflated fairy fluffs. This is an outlier look at what works and what doesn’t work. And there’s good stuff in here for writers.

Here’s the jacket copy:

Steven Bartlett has never been one to follow conventional rules. He’s achieved extraordinary success and emerged as one of the greatest marketing minds of our time by doing things differently. But there is a method to his maverick style.​

Between founding and running a global digital marketing agency, investing in over forty companies, creating a hit podcast, and launching a venture fund for minority businesses, Bartlett has learned valuable lessons about success and failure, discovering a set of principles that he uses to guide him on his journey from strength to strength.​

In The Diary of a CEO, he presents these thirty-three fundamental laws for the first time. Inspired by his own experience, rooted in psychology and behavioral science, and drawn from the conversations he’s had on his podcast with the world’s most successful entrepreneurs, entertainers, artists, writers, and athletes, these laws will ensure excellence and help you take real steps toward achieving your most daring goals.

From the power of ‘leaning into bizarre behavior’ to learning to ‘out-fail the competition’ to ‘never asking for consensus on creativity’ to ‘making pressure your privilege’ to understanding why ‘you must be an inconsistent leader,’ Bartlett provides counterintuitive and fresh insights to lead you on the path to success.

These laws will stand the test of time and will help anyone master their life and unleash their potential, no matter the field.

There’s a lot to digest in this work. A lot to ponder, and a lot to make you say, “That’s a different way to look at it.” But there’s one law (#27) that hit home for me as a writer.

It’s The Discipline Equation: Death, Time, and Discipline. This law teaches you how to be disciplined in anything you set your mind to through a simple “discipline equation”, and why discipline is the ultimate secret to being successful in any ambition we have. Like writing.

Discipline involves the strict allocation of time—the one resource we all have equally in a day, a month, a year. Bartlett uses an analogy called Time Betting where we’re issued poker chips of time blocks and can bet (gamble) upon the results of how we use them. He does this to make you realize how vitally important, precious, and valuable each chip—each minute and hour of your day—truly is.

Setting aside Bartlett’s figure that the average person spends 3.15 hours per day on their smartphone, he offers an intriguing formula for discipline:

Discipline = Value of Goal + Reward of Pursuit – Cost of Pursuit

Bartlett says that success is not complicated, it’s not magic, and it’s not mystery. Luck, chance, and fortune may give you a wonderful tailwind, but the rest will be a byproduct of how you choose to use your time. Most of it hinges on finding something that captivates us enough to persevere daily and use a goal that resonates profoundly enough to remain steadfast in our pursuit.

Success, especially writing success, is the embodiment of discipline—though it may not be easy, its core principles are beautifully simple.

Kill Zoners — Thoughts?

Left Coast Crime Report

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Left Coast Crime Report
Terry Odell

I’m back from Left Coast Crime, and I just know that you’ve all been waiting with bated breath to see how things went on the “Behind the Badge” panel.

Even if you’re not, I’m going to tell you anyway.

The four panelists covered a broad range of police stories. We had a time travel book where the cop lived in the past, another protagonist in the present, but they discovered a time portal (by accident) and could communicate with each other. The author’s challenge was getting the police procedures in place in the 1930s right, since the present-day protagonist wasn’t connected to law enforcement.

Another book was set in Pittsburgh, where someone had called in a crime, giving no more information than it was “under a bridge.” Given the city has over 400 bridges, the author had to figure out what the cops would do. (Hint: bridges all have their unique sounds, and they had the recording of the phone call.)

The third panelist’s book was set in Hong Kong in the 1960s, and since he’d lived there, he had a good idea of how things worked. As a reader, I accepted he’d done his homework, since I didn’t have any idea how cops operated in a totally different culture. Lots of corruption going on.

Then there was me, with my current-day, small town police force.

All in all, the moderator did a good job of asking questions that let us talk about the topic while keeping our answers related to our books, since this was a reader’s conference, not one focused on the ins and outs of doing the writing.

Audience questions were also relevant and fun, especially the one about why I set my book in a made up town. My answer was basically, “Because if I set it in a real town, I have to get everything right.” I went on to explain the problems I had writing Nowhere to Hide, which is set in Orlando, where I was living at the time.

But perhaps the best part of the panel for me was when the moderator said he’d read one of my books and was impressed with how I’d nailed the police procedures, and that he thought I’d done a wonderful job with my characterizations and descriptions.

The only panel I attended that was more geared for authors was one on marketing, and how much there is to do, and how much it can cost. I think most of us in the audience were taken aback by the marketing professional who said how much we should be spending on a book launch. (Note: I won’t be spending close to that figure.)

We don’t get into politics here at TKZ, but I’m merely reporting on what happened. There were a lot of apologies given to attendees from Canada.

In presentations given by the Guest of Honor, Sara Paretsky, she said she had almost called to cancel her attendance but decided she had to come, and prayed that there were enough air traffic controllers on the job for her flight. I have to say, she’s pulled me out of my writing slump. She feels as terrible, angry, and scared about the current situation in our country, but she said it’s important for us to keep our voices out there so we’re not giving in. When I finished writing Danger Abroad, (Available for preorder!) I wasn’t sure I could write another book, but now I’m back at the keyboard.

And speaking of being back at the keyboard, I decided the next book would be another Mapleton Mystery, the 10th novel in that series. In getting started, I realized my brain couldn’t handle a months-long hiatus while I was writing Danger Abroad, which is a Blackthorne, Inc. novel. When I started writing the new book, it took almost a full page before I realized that I was writing from Angie’s POV, not Gordon’s. Had to fix it. Luckily, it was only one page that needed fixing, and I’m an author. I know how to do that.

OK, TKZers. The floor is yours.

New! Find me at Substack with Writings and Wanderings

Danger Abroad

When breaking family ties is the only option.

Madison Westfield has information that could short-circuit her politician father’s campaign for governor. But he’s family. Although he was a father more in word than deed, she changes her identity and leaves the country rather than blow the whistle.

Blackthorne, Inc. taps Security and Investigations staffer, Logan Bolt, to track down Madison Westfield. When he finds her in the Faroe Islands, her story doesn’t match the one her father told Blackthorne. The investigation assignment quickly switches to personal protection for Madison.

Soon, they’re involved with a drug ring and a kidnapping attempt. Will working together put them in more danger? Can a budding relationship survive the dangers they encounter?

Available for pre-order.

Like bang for your buck? I have a new Mapleton Bundle. Books 4, 5, and 6 for one low price.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”