Tag Archives: writing craft

From Cockpit to Keyboard: What ‘Aviate, Navigate, Communicate’ Teaches Novelists

Posted on by

Never wait for trouble. —Chuck Yeager

* * *

 “Aviate. Navigate. Communicate.”

When I was taking private pilot lessons, my instructor drilled this three-word phrase into me in every lesson as essential to successful flying. Although you need to keep all three of these skills in mind and not fixate on any one of them, there is a priority order.

Aviate. Fly the plane. This is always first. The pilot must maintain the altitude, airspeed, and position in the air (attitude). Things can get busy in the cockpit, and a mechanical failure or some other unanticipated issue can divert a pilot’s attention from simply flying the plane. The Society of Aviation and Flight Educators notes:

A famous example of failure to follow the established aviation priorities is the crash of Eastern Airlines Flight 401. In December 1972, the crew of a Lockheed L-1011 TriStar became focused on the malfunction of a landing gear position indicator light for the nose gear. The plane subsequently descended into the Everglades northwest of Miami, killing 101 of the 176 people on board (two people died more than seven days after the accident).

Navigate. When you’re flying an aircraft, you need to know where you are and where you’re going. Whether the pilot is navigating or there’s a separate navigator onboard, their job is to monitor the flight and make adjustments as needed to get the plane to its destination. Mistakes in navigation can lead to loss of situational awareness and accidents.

Communicate. Air Traffic Control is the pilot’s friend. They direct flights to keep safe distances between planes and provide instructions for safe takeoffs and landings. Pilots communicate with ATC using protocols that must be followed or the communication fails. For example, the English language is the standard established by the International Civil Aviation Organization (ICAO) to ensure safety and clear communication. On initial contact with ATC, the pilot uses the “4 W’s” (who you’re calling, who you are, where you are, what you want).

* * *

From Cockpit to Keyboard

It seems like everything I do relates back to writing these days. Fortunately, a failure in the writing process isn’t as dangerous as in flying, but we might be able to map Aviate, Navigate, Communicate onto the writer’s job. Here’s a simplified look at the process:

Aviate: Write the book. Keep it moving forward. Don’t decide to clean out that closet once again because you’re looking for an excuse to avoid writing. And don’t rewrite Chapter One for the fortieth time to get it just right. TKZers: How do you keep moving forward? Do you allocate a certain number of words or hours per day to your work? How long does it take you to write a novel? 

Navigate: While you’re writing, keep an eye on where you’re going. Does each scene move the story forward, or are you getting bogged down in unnecessary subplots or long, boring backstory? TKZers: How do you avoid getting off course when writing?

Communicate: Editors, critique partners, and beta readers are the author’s friends. Use their input to revise and polish the story. Clear communication will enable the author to make the necessary changes. TKZers: What types of communication do you use to improve the final product?

* * *

So TKZers: Do you use a method like “Aviate, Navigate, Communicate” to complete your novels? Tell us about it.

 * * *

 

 

Knights in Manhattan begins on a flight that has encountered rough air. But there may be more turbulence inside the cabin than outside the airplane.

Click the image to go to the Amazon book page.

Building a Mystery

Posted on by

For years, my library colleagues would ask when I was going to write that library mystery. Afterall, I read mysteries, was a writer, and worked at library, so it seemed like a natural fit to them. While I thought about it I continued writing fantasy and science fiction.

Finally, in 2020, after I’d retired from the library, the desire to write a cozy library mystery novel grabbed me. As I finished the final novel in my Empowered series, I read a bunch more mysteries of all sorts, from Matthew Scudder to more Agatha Christie to Sara Rosett’s Murder on Location cozy series.

I also read books on writing mysteries: Mystery Writers of America’s How to Write a Mystery, How to Write Killer Fiction by Carolyn Wheat, our own KZB alum Nancy Cohen’s Writing the Cozy Mystery, Sara Rosett’s How to Outline a Cozy Mystery Workbook, as well as her Teachable course on writing cozies. Sara’s course also included interviews with cozy mystery authors like Lynn Cahoon and Anna Castle. I discovered very useful handouts at Castle’s website from a workshop she gave on mystery writing.

I read more mysteries, and watched mystery TV series like Midsomer Murders, Elementary, Monk, the new Father Brown series, Perry Mason, and Columbo.

My published fantasy novels had crime and mystery elements, so writing an actual murder mystery should be a snap, right?

I wasn’t surprised it wasn’t that easy. I consider actual mystery novels to be one of the hardest types of fiction to write, and took the challenge seriously, which was a good thing. From the time I began outlining my first library cozy mystery, then called Death Due, until I published the final version, A Shush Before Dying, over two years had passed. I wrote three different versions, with numerous outlines. I did a deep dive into upping my revision game after finishing the first draft.

The second book in the series, Book Drop Dead came faster, being completed in year.

I’m an outliner, who, once upon a time, discovery wrote (AKA “pantsed”) his novels. For me, figuring out story structure was the secret that unlocked being able to create a story that worked. Mysteries were no different.

Cozy mysteries, like other mysteries, usually center around a murder. For me, that meant learning who the murderer was, and why they committed the crime, before outlining the book. I began each book by creating an electronic document file which became a novel journal where I could brainstorm about the mystery, the killer’s shadow story (something I learned from our own James Scott Bell), spin out the web of suspects, background notes, and simple outlines I could flesh out later.

***

Mystery foundation

These make up the foundation of the mystery I’m building, and key to my process is asking myself questions about each.

Killer: Who and why? What lead them to kill, and why did they murder the victim? How do they react when they learn they are being investigated by our sleuth-hero?

The Victim: Often someone who is despicable in at least some of the time, and often at the center of a conflict, but they can be something other than a jerk—quirky perhaps, misunderstood, or even a good person who ran afoul of a killer. What was their relationship with the killer?

The setting: the location and community where the murder takes place. For my own cozy mystery, the setting was easy: the public library. I wanted the era to be the 1980s, when I began my at-first accidental career. This was the library before the Internet, when the card catalog ruled and staff used “dumb” terminals to check out books, stamping the date dues on a label on a page at the front of the book.

The public library then and now is a community in its own right, as well as a meeting ground for other communities, which provide opportunities for all sorts of situations and characters. How does the setting shape the murder, and the investigation?

The sleuth-hero: What pushes them to investigate the murder instead of leaving it to the police? Amateur sleuths are often nosy, curious, driven to solve puzzles. This describes my librarian-sleuth Meg Booker. The hero may be motivated to solve the crime because of personal concern if a friend is the suspect or survival if they themselves fall under suspicion.

In other cases, it may be the sense that thing about the murder doesn’t fit the facts as the police see them. The hero must have a reason to investigate and discovering that reason is vital. In cozy mystery the reason is often personal. The sleuth may have a connection to the victim, or to the person the police believe is the killer, as is the case in my first Meg Booker mystery.

The Web of Suspects:  For me an ideal number of suspects is five to seven. The motivations can be similar, but it helps build the mystery if at least some have different motives for murder. For instance, two suspects might both be rivals with the murder victim for a job promotion, while three more have possible motives unrelated to the day job.

***

Plotting

The next thing I like to tackle is my story structure. I’m a fan of our own James Scott Bell’s signposts, such as the opening Disturbance, the Doorway to Act II, and especially the Mirror Moment. I brainstorm how the murder plays out, how the sleuth’s investigation begins and progresses, and what the killer does in response.

I’m an outliner, so I began putting the mystery into a beat outline, with sign posts marked and key scenes laid out. I’ll do additional brainstorming in a novel journal, a separate electronic document.

***

The Arc of Suspicion

I also work out what I call “the arc of suspicion,” which is the sleuth-hero and readers progression in who they suspect committed the crime. I posted about this here. I’m going to crib from that earlier post and share the beats of the suspicion arc. I don’t necessarily write all these out, but keep them in mind as the story progresses, brainstorming as needed:

  1. The arc begins with noticing something is off about someone’s behavior, or a set of circumstances.
  2. Doubt ensues.
  3. Then, discovering “evidence” which increases suspicion. This can be an overheard conversation, reading a note or email, seeing a meeting without hearing what is being said, looking at a pattern of behavior, perhaps behavior out of character for the suspect, etc.
  4. Discovering a lie, or a false alibi can heighten suspicion.
  5. There can be a deepening fixation on a suspect’s behavior, words, deeds, and trying to figure out what they were thinking, why they did what they did, etc.
  6. Acting on that suspicion to the point of taking risks and putting yourself in potential jeopardy. This often precedes the confrontation/reveal in the final act of a mystery.
  7. Given that mysteries usually have multiple suspects, there will be a point where the sleuth (and the reader) rule out a person because of evidence, alibi, or learning what the secret was that made a particular individual act suspicious to the main character.
  8. Of course, heroes and readers often suspect more than one character at the same time, so the arcs can overlap. Sometimes the behavior or evidence is one thing, which leads to doubt about a particular person. Doubt which might deepen to suspicion or might simmer in the background. Or, even forgotten for the moment, until the end, when new evidence makes the sleuth suddenly suspect that person with a cold-in-the-bones feeling.
  9. Finally, the sleuth’s suspicions lead to the actual killer and/or can lead the killer to them.

***

Drafting

As I write the first draft, I’ll come up with new ideas, clues etc., and, if they make the grade, will add them to my outline.

***

Revision and feedback

Revision is where I work to fix plot holes, add missing clues, clarify motives if needed, along with the usual revision tasks of improving scenes, pacing, characterization, setting details etc. I then send the revised novel to my beta readers, who give me invaluable feedback on whether the mystery worked for them, where they were surprised, if they guessed the identity of the murderer, etc. I then make any additional changes based their feedback.

***

The resources which helped me learn how to build a mystery

Nancy Cohen’s Writing the Cozy Mystery. Nancy’s book provides an instructive break down of the elements of a cozy mystery.

Sara Rosett’s How to Outline a Cozy Mystery. Rosett  gives the building blocks of a cozy mystery, as well as different outlining methods, tips on clues and red-herrings, conventions of cozies etc. While Rosett’s online course on writing a cozy mystery appears to be no longer available, the book still is.

Carolyn Wheat How to Write Killer Fiction. Wheat looks “the funhouse of mystery” as well as the “rollercoaster of thriller,” and reading the book gives a useful comparison between the two as well as the elements of each.

Hallie Ephron Writing and Selling Your Mystery Novel. Ephron’s book is a deep dive into the elements of mystery, looking at plotting, characters, mystery, sense of place, revision, as well as advice on publishing, both traditional and self-publishing.

Mystery Writers of America How to Write a Mystery. A collection of essays by mystery masters also covers the different aspects of mystery fiction.

***

So, this is how I build a mystery. If you write mysteries, what tips you do have?

A Lighthearted Look at Writing

Posted on by

A Lighthearted Look at Writing
Terry Odell

I’ve had editing on my mind lately. The process with my editor is I send her my “best I can make it” file, which she returns with her feedback. I make the adjustments as I see fit and send it back.

I’ve just returned my second round of edits, and I’ve also gone through the tedious process of letting my computer read the manuscript to me, which reveals things we’ve both missed. In this phase, it’s less about the story and more about accuracy. The eyes glaze over.

I stumbled across this piece buried in my hard drive. The closest I came to finding its origin was William Safire, Fumblerules: A Lighthearted Guide to Grammar and Good Usage , New York Times, November 4, 1979; later also published in book form. Most sources gave credit to “Anonymous.”

Although the piece is designed to be humorous, the points made are legitimate considerations to make while writing and editing.

How to write English

Remember to never split an infinitive. The passive voice should never be used. Do not put statements in the negative form. Don’t use contractions in formal writing, and don’t use no double negatives. It is incumbent on one to avoid archaisms. Proofread carefully to see if you words out or incorect speling. It has come to our considered attention that in a large majority of cases, far too many people use a great deal more words than is absolutely necessary when engaged in the practice of writing sentences. If you reread your work, you can find on rereading a great deal of redundant repetition can be removed and eliminated by rereading and editing.

A writer must not shift your point of view. If the writer is considerate of the reader, he won’t have a problem with ambiguous sentences. Don’t write a run-on sentence its hard to read you must punctuate it. If a dependent clause precedes an independent clause put a comma after the dependent clause. But avoid commas, that are not necessary, and don’t overuse exclamation marks!!! Use the semicolon properly, always use it where it is appropriate; and never where it isn’t. Reserve the apostrophe for it’s proper use and omit it when its not needed. In statements involving two word phrases, make an all out effort to use hyphens, but make sure you hyp- henate properly.

Take the bull by the hand and avoid mixing metaphors. Always pick on the correct idiom. Avoid colloquial stuff, and trendy locutions that sound flaky. Also, avoid all awkward or affected alliteration. Unqualified superlatives are the worst of all. Beware of and eschew pompous prolixity, and avoid the utilization of enlarged words when shortened ones will do. Avoidification of neologisms strengthenifies your prosification. Avoid using sesquipedalian words. It is not resultful to transform one part of speech into another by prefixing, suffixing, or other alterings. Perform a functional iterative analysis on your work to root out third generation transitional buzz words. Steer clear of incorrect forms of verbs that have snuck into the language. The de facto use of foreign phrases vis-a-vis plain English in your written tete-a-tetes makes the sentence harder to understand.

Everyone should be careful to use a singular pronoun with singular nouns in their writing. Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents. Writing carefully, dangling participles must be avoided. If any word is improper at the end of a sentence, a linking verb is. Write all adverbial forms correct. Verbs has to agree with their subjects, and the adverb always follows the verb. This sentence no verb. Which is not a complete sentence, but merely a subordinate clause. A preposition is something you should never end a sentence with. And don’t start a sentence with a conjunction.

Last but not least, avoid dyed-in-the-wool cliches like the plague; seek viable alternatives.

OK, TKZers. Sometimes it’s nice to take a break, right?

New! Find me at Substack with Writings and Wanderings

Deadly Ambitions
Peace in Mapleton doesn’t last. Police Chief Gordon Hepler is already juggling a bitter ex-mayoral candidate who refuses to accept election results and a new council member determined to cut police department’s funding.
Meanwhile, Angie’s long-delayed diner remodel uncovers an old journal, sparking her curiosity about the girl who wrote it. But as she digs for answers, is she uncovering more than she bargained for?
Now, Gordon must untangle political maneuvering, personal grudges, and hidden agendas before danger closes in on the people he loves most.
Deadly Ambitions delivers small-town intrigue, political tension, and page-turning suspense rooted in both history and today’s ambitions.

Preorder 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.”

#WriteTip: The Stubborn Elephant

Posted on by

Writing a novel is a huge commitment. It takes time and consistency and perseverance from beginning to end.

Imagine, if you will, a rider on the back of a stubborn elephant. The rider is excited to head out on a new adventure, but the elephant wants no part of it. The rider tries everything to make the elephant move — coercion, threats, bribes, begging, and bargaining — but nothing works. The elephant refuses to budge. And rightfully so. They’re majestic animals, with thoughts and feelings and families who love them, not amusement rides.

The frustrated rider jumps off the elephant, tugs the reins, shoves him from behind. Nothing works. If a two-to-seven-ton animal doesn’t want to budge, good luck trying to change their mind.

What if I told you this same struggle continues to play out in a writer’s mind while drafting a novel?

It’s true. Our brains have two independently functioning systems responsible for completing tasks: the rational side and the emotional side.

The rider is rational.

The elephant is emotional.

When these two sides clash, the writer accomplishes nothing. They may work all day, but they’re spinning their wheels. It’s an awful feeling.

The rational rider is small and insignificant compared to the emotional elephant. We can lie to ourselves about fame and fortune or whatever the big dream is, but unless we’re emotionally invested in our goals, it’ll never happen. The field of broken dreams is littered with stubborn elephants.

Numerous scientists have studied productivity, and they all agree on one thing: Having fun makes us more productive.

Pro Tip: Don’t worry about your word count. If you keep checking to tally your words, you’ll add unnecessary stress. Enjoy the journey of crafting a storyline. Block out all distractions and have fun with your characters.

The closer the reward, the harder we work.

We live in a world of immediate gratification. It’s why we’re told to use a universal link for our books. No one wants to click twice.

The coffee drinker will buy more coffee when their loyalty card is about to run out. Why? To score a free coffee.

This behavior is known as the goal gradient hypothesis, first discovered in rats and other animals in 1932 by Clark Hull PhD. The same holds true for humans. The bigger the task (crafting a novel), the harder we must work to get the reward (a complete first draft) and the easier it is to give up.

Pro Tip: Break the WIP into small goals. “I will have one piece of chocolate when I finish this chapter.” By rewarding yourself for reaching smaller goals, it builds confidence and joy and momentum.

Making Visible Progress Improves Motivation

Researchers offered participants two types of loyalty cards: a ten-point card and a twelve-point card with the first two spots already stamped. Can you guess which one they chose?

Even though both cards required the participants to buy ten coffees, the twelve-point card was the clear favorite. Why? The two stamps created the illusion that the participants would receive a free coffee sooner. While the distance to the goal was the same, those stamps showed visible progress.

Visible progress boosts motivation.

Pro Tip: End every writing session mid-scene. Doesn’t matter if the words are flowing. Stop. The next morning, it’s much easier to finish a scene than stare at a blank page.

I play mind-games with myself all the time. Once I’ve written the final page of the manuscript, I mark it with *** and keep going. Everything after the asterisks becomes the hook for the next book. That way, I never start a new manuscript with a blank page.

Productivity Fluctuates Throughout the Day

Researchers found that memory, perception, and problem-solving skills fluctuate according to a person’s chronotype, the natural inclination for your body to sleep (i.e., early bird vs. night owl).

I’m most productive in the mornings and between 7 p.m. – 8 p.m. It’s strange, I know, but for some reason new ideas pop into my mind between those hours, so I write in Notes on my phone.

Consistency trains the brain.

Pro Tip: Take note of when you’re most productive during the day. If you can’t write at that time, train yourself to write at the second most productive time of day for you.

Surprising Facts Improve Learning and Memory

Moments of intellectual surprise can boost memory, curiosity, and make you a more effective learner. Also, those who are curious about the world — like writers — and learn on a regular basis (i.e., research) extend their longevity and lower their risk of brain-related diseases like Alzheimer’s or dementia.

A few fun facts that may surprise you:

  • Jays are not blue. There are no blue feathers in the Animal Kingdom. What we see is an optical illusion. Blue Jays are gray.
  • A Greenland shark born before Isaac Newton was still alive in 2020.
  • Polar Bears are not white. Though polar bear fur appears white, it’s actually transparent. Long hollow hair shafts reflect light much like ice does, making polar bears appear white or yellow. Beneath their thick coats, polar bears have black skin that absorbs the sun’s warmth. To a deer, polar bears look green.

Pro Tip: If you’re stuck, research other elements of the story. You might be surprised by what you find. Never stop learning.

All these actionable tips and tricks will help you move the elephant in the right direction.

Lighting

Posted on by

Lighting
Terry Odell

Light and Color

Image from Wikimedia Commons

In a couple of hours, the Hubster and I will be heading out on a vacation. I confess I’m a food junkie, and watch a lot of cooking show, so when I saw there was a “Chefs Making Waves” cruise where TV celebrity chefs would be taking over the restaurants, I didn’t need a lot of virtual arm-twisting to sign up. Once we board, I’m going off the grid (the cruise line wants $30 or $40/DAY for ONE device for their internet package) and I’m too cheap for that.
I should be around today to respond to comments, but between having edits for Deadly Ambitions to finish and being in travel mode, I hope you’ll forgive a rerun of a 2020 post I did on dealing with light in your writing.

Light is important when we’re writing—and I’m not talking about having enough light to work by. I’m talking about how much we can describe in our scenes. One of my critique partners questioned a bit I’d written (yes, it’s from one of my romantic suspense books).

She stepped inside and closed the door behind them. Placing her forefinger over her lips, she shook her head before he could speak. She unbuttoned the top button of his shirt. Then walked her fingers to the second, sliding the disc through the slit in the fabric. Then to the third, then the next, until she’d laid the plaid flannel open, revealing the tight-fitting black tee she’d seen at the pond this morning when he’d given her the shirt off his back.

His comment: “It’s night. Do you need to show one of them turning on a light?” Maybe. More on that in a minute.

In a book I read some years back, the author had made a point of a total power failure on a moonless night. There was no source of light, and the pitch-blackness of the scene was a way for the hero and heroine to have to get “closer” since they couldn’t see.

It didn’t take long for them to end up in bed, but somehow, he was able to see the color of her eyes as they made love. I don’t know whether the author had forgotten she’d set up the scene to have no light, or if she didn’t do her own verifying of what you can and can’t see in total darkness. Yes, our eyes will adapt to dim light, but there has to be some source of light for them to send images to the brain. If you’ve ever taken a cave tour, you’ll know there’s no adapting to total darkness.

In the case of the paragraph I’d written, the character had seen the man’s clothes earlier that day, so she’d probably remember the colors, especially since the tee was black. And you’ll note, I didn’t say “red and green plaid shirt.”

I won’t delve too deeply into biology, but our retinas are lined with rods and cones. Rods function in dim light, but can’t detect color; cones need more light, but they can “see” color. (All the “seeing” is done in the brain, not the eyes.)

We want to describe our scenes, we want our readers to ‘see’ everything, but we have to remember to keep it real. This might mean doing some personal testing—when you wake up before it’s fully light, check to see how much you can actually ‘see’. The ability to see color drops off quickly. So even if you see your hands, or the chair across the room, or the picture on the wall, how much light do you need before you can leave the realm of black and white? What colors do you see first? When it gets dark, what colors drop off first. Divers are probably aware of the way certain colors are no longer detectable as they descend.

Here’s a video showing what happens.

And another quick aside about seeing color. Blue is focused on the front of the retina, red farther back. This makes it very hard for the brain to create an image where both colors are in focus. It’s hard on the eyes. For that reason, it’s probably not wise to have a book cover with red text on a blue background, or vice-versa. You can look up chromostereopsis if you like scientific explanations. For me, I’m fine with “don’t do that because it’s hard to read.”

How do you deal with light and color in your books? Any examples of when it’s done well? How about not well?

New! Find me at Substack with Writings and Wanderings

Deadly Ambitions
Peace in Mapleton doesn’t last. Police Chief Gordon Hepler is already juggling a bitter ex-mayoral candidate who refuses to accept election results and a new council member determined to cut police department’s funding.
Meanwhile, Angie’s long-delayed diner remodel uncovers an old journal, sparking her curiosity about the girl who wrote it. But as she digs for answers, is she uncovering more than she bargained for?
Now, Gordon must untangle political maneuvering, personal grudges, and hidden agendas before danger closes in on the people he loves most.
Deadly Ambitions delivers small-town intrigue, political tension, and page-turning suspense rooted in both history and today’s ambitions.

Preorder 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.”

Creating Buzz

Posted on by

Creating Buzz
Terry Odell

Buzzy Bee toyIn my last post, I talked about how the cover for Deadly Ambitions came to be. I mentioned in a response to a commenter, that with the book in the hands of my editor and an extended period before the book will go live, I need to put on my dreaded marketing hat and come up with ways to generate some buzz.

Unless you can afford to hire a publicist, I don’t think it matters whether you’re indie or traditionally published—you’re still going to have to do a lot of the heavy lifting. Publishers don’t fork over the big bucks for most of their authors.

If you’re working with social media platforms, you’re going to want visuals, be they ads, memes, or whatever you call them. I’m not a graphics designer, so I rely on other programs.

I’ve found two resources that have helped me: Mockup Shots and Canva. (I do have paid accounts at both.) I know a lot of authors use Brush instead of Canva, but I found it too limiting since I create images for a lot more than book promo (like for my blog, newsletter, and TKZ).

Mockup Shots is very easy to use to generate images featuring your book. You plug in your cover, and it creates a huge number of choices. These are just a few.

You pick the ones you like and download them. Here are a few I picked.

Next, I take the mockups, and any images of my own I might want to use, and upload them to Canva. From here, it’s a lot of playing around with all the options and tools they offer.

My go-to design template is their landscape Facebook size, but you can choose your own dimensions. From there, it’s a matter of dragging the image(s) onto the template, and adjusting the size using the “handles” for lack of what I’m sure is a more correct term.

Next, I add the text. I have several tag lines so my projects won’t all be the same. I also have snippets of text from the manuscript. Canva gives you the opportunity to choose fonts, size, color, outline, shadows … more features than I need.

Another handy feature is the transparency adjustment. I tend to use this for my backgrounds so my text is more conspicuous. There’s also a position feature, so you can move your additions forward and backward. You go to the ‘text’ on the left sidebar and play around from there.

Another thing I like about Canva is they have people who will help you. I’ve used them. A lot!

Once I’ve finished, I download the file as a jpg (best for sharing). Rinse, repeat.

Here’s what I’ve come up with so far.

I’m not fond of the marketing side of publishing as an indie, but at least playing around with these sorts of images is something I enjoy. Now, it’s a matter of deciding how to put them to best use. Suggestions welcome!

Oh, and before I forget. I’ve set Deadly Ambitions up as a preorder. The ‘go live’ date is January 14th, so I have plenty of time to work on honing my marketing skills.

What marketing/promotion tools do you use? Likes? Dislikes?

New! Find me at Substack with Writings and Wanderings

Deadly Ambitions

Peace in Mapleton doesn’t last. Police Chief Gordon Hepler is already juggling a bitter ex-mayoral candidate who refuses to accept election results and a new council member determined to cut police department’s funding.

Meanwhile, Angie’s long-delayed diner remodel uncovers an old journal, sparking her curiosity about the girl who wrote it. But as she digs for answers, is she uncovering more than she bargained for?

Now Gordon must untangle political maneuvering, personal grudges, and hidden agendas before danger closes in on the people he loves most.

Deadly Ambitions delivers small-town intrigue, political tension, and page-turning suspense rooted in both history and today’s ambitions.

Preorder 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.”

 

Writing for Children

Posted on by

When you’ve spent your entire career writing adult thrillers and true crime, switching to a children’s chapter book takes some getting used to. Jumping back and forth between the two is even more difficult. After struggling with both projects, I decided to stick with one till completion, then finish the other.

Because my chapter book is meticulously outlined and half-written, I chose to concentrate on that project first. Plus, a chapter book’s optimal range is 10,000 words — a fraction of the word-count of an environmental thriller.

When I read the opening sequence of my chapter book, it seemed too advanced for young readers. I needed to stop, home in on my target age group, and relax the language and pacing. After all, early readers don’t have the same mental acuity as adults. They need easier wins.

Children’s books are separated into three categories, all with different guidelines for word choices, pacing, viewpoints, and the amount and style of illustrations.

  • Picture books
  • Chapter books
  • Middle Grade

Picture Books

A standard picture book is 32 pages long.

Picture books follow a compact story arc with a beginning, middle, and end. Jump into the action quickly, introduce a problem, and have the main character solve it by the end. The “rule of three,” where a problem recurs three times before a solution is found, is a common and effective technique. Illustrations will convey much of the emotion and setting, so your text should focus on the action and dialogue. Avoid using words to describe what the illustrations show. A picture book is meant to be read aloud, so the language needs to have a natural rhythm and flow.

Ages 3-5: Around 500 words, these stories have simple language and relatable topics like starting school, picky eaters, or a nighttime routine. Illustrations consume the pages—big, bright, and fun.

Ages 4-8: These picture books can be slightly longer, up to 800 words, with a slightly more complex plot. Still, you’re limited, because the illustrations take center stage.

As a visual medium, the writer must consider how the story will unfold across two-page spreads.

Chapter Books

To write a chapter book, you need to develop relatable characters, create a simple yet engaging plot, and break the story into short, purposeful chapters that build a new reader’s confidence. A typical chapter book is aimed at the 7-10 year age group and has a word count between 5,000 and 15,000 words. The sweet spot is 10,000. This allows the writer more freedom than a picture book.

Chapter books fall between early readers and middle-grade novels. The target audience is a new independent reader who’s often supervised by an adult. A solid, unique story idea is the foundation of a successful chapter book—especially since many are written as a series—that includes the main plot and core theme(s).

If you include an ill-advised subplot, be careful not to divert focus from the main plot. The young reader is just beginning to get comfortable reading on their own. Making the story easy to understand and follow is essential. Sure, many chapter books are read aloud to an adult, but don’t rely on that. What if the child is reading alone?

A chapter book must have a full narrative arc. If you watch a plethora of animated films, you’ll see they’re all structured like an adult novel or movie. And so, that’s exactly what I did. The story should be action-packed with lots of dialogue to hold a new independent reader’s attention, but never leave the main character and sidekick in trouble for long. A flip of the page is more than enough suspense.

Around 48-80 pages, chapter books often include black-and-white illustrations at the beginning of each chapter or where you want to show the new reader what’s going on. For example, when I introduce a new animal character, I’ll include an illustration to cement that picture in the reader’s mind. Because the illustration is in black-and-white, I need only mention color rather than a detailed description.

Middle Grade Novel

Most middle grade novels are geared toward ages 8-12. They are the in-between books for readers who have outgrown chapter books and are too young to emotionally handle or enjoy themes and ideas found in young adult novels. Middle grade novels run about 30,000-55,000 words.

Young readers need to relate to the characters, but they don’t mind “reading up.” Meaning, the main cast should be in the upper range of the target age group. For some reason, 13 and 14 year-old characters are considered a no-no. They’re too old for middle grade novels (perhaps due to puberty?) and too young to star in YA.

If you choose to write in this genre, you may want to read this article about middle grade novels. In it, the author includes an important distinction:

“What may work for an 8-year-old likely won’t work for a 12-year-old. So although we bundle it all into middle grade, the genre actually has two sub groups. This is important to understand in order to know your audience when writing, and thus appropriately adjust your themes and word count.

Two Sub-Categories

  • Lower Middle Grade

Lower middle grade novels tend to be read by kids aged 8 to 10 years old. There may be a sub plot or two, but the main plot will dominate the focus, and all themes will certainly be G or PG rated.

  • Upper Middle Grade

Upper middle grade novels can have a higher word count, and will be read by children aged 10 to 13 years old. There will likely be a subplot or two that help to carry the story in a substantial way. Themes may be a bit more complex, or PG or PG-13 rated.”

Even though I spent quite a bit of time researching techniques for my new target audience, I enjoy the challenge of writing a children’s chapter book. It’s rewarding, fun, and exciting.

Have you ever considered writing for children? Do you write children’s books now? If so, for what age group? Any tips to share? Categorize your favorite children’s book and tell us why you loved it as a child.

Making the Best of Chance Encounters

Posted on by

Making the Best of Chance Encounters
Terry Odell

Writing often means dealing with things you don’t know much about. Or anything about. Now, while I write fiction, which means I get to make stuff up, I strive to have everything in the realm of plausibility. The line between “that could never happen” and “that might happen.”

Searching the interwebs can help, but talking to real people can get you tidbits that make for a more interesting scene.

Where do you find these people? Just about anywhere, it turns out.

Online, perhaps. I was following a blog written by an army guy. I left the occasional comment, and I felt comfortable approaching him electronically with questions about terminology, and he was happy to answer, even calling me on the phone (with a very strange Caller ID number that had the Hubster wondering what was going on) to go into more detail.

Another writing acquaintance’s husband was also military, and has been willing to answer questions and make suggestion to add authenticity to my scenes.

I was participating in a Civilian Police Academy in Orlando, and after a talk by a homicide detective, I approached and asked if I could get in touch if I had questions. He said it would be fine, so I gave him a call and offered to buy him a cup of coffee. He asked if there was an Ale House near me, and if he could invite some friends. Best money I ever spent, and one of those friends (now retired) is still my go-to guy for cop stuff.

Likewise the SWAT commander who taught a workout class at the Y I belonged to. I made my “cup of coffee” suggestion, and we met at a local Starbucks (where he drank tea—not what you’d expect from a SWAT guy, but it adds character depth). Since I was writing a book set in Orlando at the time, I needed details, so I called and asked him what color the carpet and walls were in the Orlando Police Department Headquarters. Despite working there, he was clueless, but he invited me down for a tour. I was there in under half an hour. Got some great details.

I belong to an online group called Crimescenewriters, and it’s full of people in law enforcement-related fields. They’re always happy to share their expertise, and I’ve filled in many a gap with their answers. People you know, either in person or virtually. One TKZ contributor gave me plenty of information when I needed to blow something up. I’ve picked the brains of my medical professions when in their offices for appointments.

But sometimes, it’s a personal chance encounter that gives the information I need. Years ago, while visiting our son in Colorado Springs, well before we moved to Colorado, I was seated next to a couple of military guys. Given how many military facilities are in Colorado, it’s likely you’ll find several on most flights.

I am not a military person. Make Love, not War was the slogan circulating when I was in college. But, since I was writing one of my early Blackthorne, Inc. novels about a covert ops team, I needed some information about where my characters might be hiding out. The man sitting next to me went on to explain about a vast number of tunnels. Were they exactly where my scenario was taking place? Not quite, but close enough to feel comfortable writing a “that might happen” scene.

On another flight, I noticed the man next to me was reading a airplane pilot-related magazine. I asked if he was a pilot, and he said he was. I proceeded to give him a scenario and he filled in details. (Note: if you want “Bad Stuff” to happen on a flight, it’s best not to ask any of the crew.) On yet another flight, I was marking up my manuscript with my trusty red pen, and the man sitting next to me, in a pilot’s uniform, asked if I was an author.  He started that conversation, but he gave me plenty of information for the book I was working on at the time. Turned out he wasn’t just flying commercial jets, but he also had helicopter experience. More fodder.

Just last week, I was wandering the aisles of Walmart, and there was a group of firefighters shopping throughout the store. One man’s shirt said Paramedic, so I stopped and asked him if he had a moment to answer some questions. He said, “of course” and I fleshed out a troublesome scene I’d been writing. He gave me his phone number and told me to get in touch if I had more questions. I did, so we had a few text exchanges, and I think I’ve fixed that scene. Even named a character after him, with his permission, of course.)

One caveat. With any research, you should verify the information. Often, sources, be they human or cyber bots, don’t agree. For example one of my medical people told me the paramedics would probably administer a specific drug. When I asked my paramedic, he said they used to, but it’s no longer approved, and their list of “dos and donts” is updated annually.

But, that’s where the “I get to make stuff up” comes into play.

And, I’ll add that for me the hardest part of research is knowing what you don’t know. I can look up what constellations will be visible at a certain date and time at a specific locations because I know I don’t know that. But I never thought to look up whether a make and model of car came with a manual transmission option, because I thought all cars gave buyers that choice. Fortunately, one of my early readers pointed it out before it was published.

OK, TKZers, Where do you get your information when you’re stepping into waters uncharted for you. Anything you thought you knew, but turned out you were wrong?

TKZ:

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.”

Writing Process Problems

Posted on by

Writing Process Problems
Terry Odell

Skimmer standing on a beach, beak wide openI’ve finally reached the “I’m home” mindset. Dealt with all the administrivia, household chores, and feel like I’m back in my routine. Which means it’s time for serious work on the wip.

This one’s given me more trouble than usual. Normally, my “organic” writing process means I start at the beginning, let things unfold until I hit “the end.”

To quote E.L. Doctorow”

“It’s like driving a car at night. You never see further than your headlights, but you can make the whole trip that way.”

“Planning to write is not writing. Outlining, researching, talking to people about what you’re doing, none of that is writing. Writing is writing.”

Not so this time. I was approaching the 50K word count when I realized the “Bad Stuff” that I’d been writing about happened way to soon, at least for a novel-length work. Even a short novel-length work.

What to do?

I went back and looked at my plot threads and realized I’d left a lot of them hanging around waiting to be dealt with later. I figured I’d better deal with them sooner. Trouble was, fitting chapters (which turned out to be nine) into points well ahead of chapters I’d already written led to continuity inconsistencies.

I’d added the death of a character. That’s what you do when you get to the muddled middle, right?

Unless he shows up alive five or six chapters down the road.

I liked the new chapters and they were moving things along. Until I ran into other inconsistencies. I ended up having to look at my chapter summaries to see when and where things happened. Of course, as expected, things I thought unimportant when doing my summaries turned out to be information I needed later.

Then, there were the decisions to make. Move things around? Leave things where they were but adjust bits and pieces for continuity. Scrap things altogether?

Writing out of order has never been part of my process, but every book is different, and now I had to deal with going back in page time, write the scene, and deal with reweaving the changes into the book so that it would appear seamless.

Of course, the organic writer in me found that one fix led to an entirely new plot thread, which then had to be worked in, often going way, way back in the manuscript to lay some foundations, with slight detours along the way to research things for the new threads. The book covers quite a time spread, much of it not on the page, but accuracy counts.

Also, probably due to my Mississippi River cruise and my recent birding trip, my ability to recall details seems to have left the building. A character talking on the phone to another is noting facial expressions? A character appears riding in another character’s car after said character told him to meet at the house?

Other things I seem to have lost track of. Who said what to which character, and when? Who was in the scene when it was said? It’s as if when the text scrolls off the screen, it leaves my memory, too.

Could it maybe have something to do with time spent processing my birding images? That’s an entirely different skillset, and my brain can’t seem to handle both.

Nevertheless, I persevered, and over last weekend, I had caught up to where I noticed the structure failure and am now working to finish the book. I’m still dealing with the right time to wrap up each thread.

I know I’ll have to be very diligent when it comes time to do my first editing pass. There may be some serious restructuring going on.

And, because I promised to tell you about my birding trip, here’s a link to my Substack, where I did a brief recap.

And a “bird foodie” post on my blog.

If you’re interested in more pictures, you can find them (another work in progress) here.

Your turn. Has your basic writing process ever had to change? How did you deal with it?

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.”

Fluff, Flab, and Filler

Posted on by

Canada wildfires are affecting the air quality in my area. The National Weather Service wrote, “acceptable; however, the air quality may pose a moderate health concern for a very small number of individuals.”

Strange statement, considering three out of four of my closest friends feel like they have a sinus infection or head cold. I wouldn’t classify 75% as a “very small number of individuals.” Also, who writes for the National Weather Service? Can’t be a professional writer, or “very small” wouldn’t be the term they used.

Substitutes for “very small”

  • Tiny
  • Minuscule
  • Minute
  • Few
  • Diminutive
  • Limited
  • Trifling
  • Teensy-weensy
  • Slight

The subject of fluff arose last week while I was reading a brand new writer’s partial manuscript, including a prologue that was all backstory—important for her to know but irrelevant to the reader.

Rather than teach her how to tighten her writing, I focused on scene structure and techniques to force her characters to do something, anything. After several pages of notes, the fluff conversation could wait. The last thing I wanted was to obliterate a young writer’s dreams. Instead, I gave her a gentle nudge in the right direction.

For those farther along in their journey or career, recognizing fluff is an important subject. Those pesky buggers that sneak into first drafts and weaken our writing are better known as filler words and phrases aka fluff or flab.

If a filler word serves a purpose, such as to enhance characterization in dialogue, keep it. The objective is to tighten the writing by eliminating unnecessary words or phrases that might distract the reader.

Filler/Fluff/Flab Words 

Just

Just should almost always be deleted.

Original: I just couldn’t bear to say goodbye.

Rewrite: I couldn’t bear to say goodbye.

That

That litters many first drafts, but it can often be deleted without any harm to the original sentence.

Original: I believe that all writers should kill their darlings.

Rewrite: All writers should kill their darlings.

The original sentence has another problem. Did you catch it? Believe in this context is a telling word. Any time we tell the reader things like “I thought” or “He knew” or “She felt” or “I believe,” we slip out of deep POV. Thus, the little darling must die, as I did in the rewrite.

So

Original: So, this huge guy glared at me in the coffee line.

Rewrite: This musclebound, no-necked guy glared at me in the coffee line.

Confession: I use “so” all the time IRL. It’s also one of the (many) writing tics I search for in my work. The only exception to eliminating this, or any other, filler word is if it’s used with purpose, like as a character cue word.

Really

Original: She broke up with him. He still really loves her.

Sometimes removing filler means combining or rewording sentences.

Rewrite: When she severed their relationship, his heart weakened.

Very

We’ve established where the National Weather Service went wrong with very, but I’ll include it anyway.

Original: He made me very happy.

Rewrite: When he neared, my skin tingled.

Of

To determine if “of” is necessary read the sentence with and without it. Makes sense without it? Delete. Doesn’t? Keep it.

Original: She bolted out of the door.

Rewrite: She bolted out the door.

Up (following an action)

Original: He stood up tall.

Rewrite: He stood tall.

Down (following an action)

Original: He sat down on the sofa.

Rewrite: He sat on the sofa.

Want(ed)

Want/wanted are telling words. Rewrite to preserve deep POV.

Original: I really wanted the chocolate cake.

Substitute with a strong verb, such as: I drooled over the chocolate cake. One bite. What could it hurt?

Came/Went

Both are filler words because they’re not specific enough.

Original: I went to the store to buy my favorite ice cream.

Rewrite: I raced to Marco’s General Store to feed my craving for coffee ice cream.

Had

Too many had words give the impression the action took place prior to the main storyline. If it is used in a flashback, one had in the opening sentence signals the beginning, one at the end closes the scene. But if it’s clear the action occurred in the past, had can often be omitted.

Original: I had gazed at the painting for hours, waiting for the eyes to move.

Rewrite: For hours, I gazed at the painting. The eyes never moved.

Well (to start a sentence)

Original: Well, the homecoming queen attended the dance without the homecoming king.

Rewrite: The homecoming queen attended the dance, stag.

Literally/Basically

Original: I basically had to drag her out of the bar by her hair.

Rewrite: I dragged her out of the bar by her hair.

Original: I literally laundered money today. Still plucking bills from the lint filter.

Rewrite: I laundered money today. Still plucking bills from the lint filter.

Actually

Original: Actually, I did mind.

Rewrite: I minded.

Highly

Original: She was highly annoyed by his presence.

Rewrite: His presence infuriated her.

Totally

Original: I totally didn’t understand a word.

Rewrite: Huh? *kidding* I didn’t understand a word. Was that English?

And any other -ly adverb. Can you substitute with a strong verb or noun instead?

Anyway (to start a sentence)

Original: Anyway, I hope you laughed, loved, and lazed on your summer vacation.

Rewrite: I hope you laughed, loved, and lazed on your summer vacation.

Fluff Phrases

Most of these phrases should be omitted. If used for a purpose, like to enhance characterization with a catch phrase, feel free to keep it. Otherwise, delete. It’s even more important to eliminate fluff if you’re still developing your voice.

A bit

Original: The movie was a bit intense. Lots of blood.

Rewrite: Intense movie. Blood galore.

There is no doubt that

Original: There is no doubt that football season begins in the fall.

Rewrite: Football season begins in the fall.

The reason is that

Original: The reason is that I said you can’t go.

Rewrite: Because I said so, that’s why (shout-out to moms everywhere!).

The question as to whether

Original: The question as to whether the moon will rise again is irrelevant.

Rewrite: Whether the moon will rise again is irrelevant.

Whether or not

Original: Whether or not you agree is not my problem.

Or worse: Whether you agree or not is not my problem.

Rewrite: Whether you agree is not my problem.

This is a topic that

Original: This is a topic that is close to my heart.

Rewrite: This topic is close to my heart.

In spite of the fact 

Original: In spite of the fact that he said he loved you, he’s married.

Rewrite: Although he professed his love, he’s married.

Or: Despite that he claimed to love you, he’s married.

The fact that

Original: The fact that he has not succeeded means he cannot do the job.

Rewrite: His failure proves he cannot do the job.

In order to

Original: In order to pay bills online, you need internet access.

Rewrite: To pay bills online, you need internet access.

At the end of the day

Original: At the end of the day, we’re all human.

Rewrite: We’re human. Fallible.

Not gonna lie

This phrase irritates me, is overused by the younger crowd, and only raises questions.

  • Why would you lie? We’re having a friendly conversation.
  • Never considered you’d lie, but now I’m suspicious.

Original: Not gonna lie, that chocolate cake almost killed me.

Rewrite: That chocolate cake almost killed me.

I’ve joined the crowd affected by air pollutants from the wildfires. Please bear with me today. Not feeling my best. But don’t let that stop you from adding filler words & phrases I missed.