Tag Archives: writing craft

First Page Critique: Scattershot

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Another brave writer submitted their first page for critique. Catch ya on the flip-side.

Scattershot

It wasn’t supposed to be this way.  We had it planned, Tom and I. We said goodbye to friends – hoping retirement would be an adventure in everything we did. To drive cross country to New England, a picture postcard of snow and autumn leaves coloring the landscape in hues of red, orange, and yellow.  The Coronavirus took my Tom a week before the move.  His labored breathing and limp body placed in the ambulance drove him to the hospital.  I tested negative.  I never saw him again.

It wasn’t supposed to be this way.   Oh sure, plans change, but no one ever thinks death will stop you cold.  Well, it stopped Tom and the hospital confirmed my worst fears.  Grateful to the nurse who held his damp, feeble hand, I listened to his last gasp from the speakerphone.  Tom was gone, the house was sold, and the movers expected me in Connecticut in two weeks to unlock the door.  My new life began without the love of my life.

My name is Joanna Seavers, and I am a 59-year-old retired teacher living in the age of Covid-19 or the Coronavirus or whatever the hell it’s called.  Who knows, and who cares?  All I know is the world stopped for Tom and me in 2020, and everyone else for that matter.

One thing I’ve learned in life, even in a pandemic, is never stop planning. It’s what keeps you alive.  You need a reason to get up in the morning, so I got up.   The pandemic wound down, and I drove north.  Businesses reopened and the population was injected with the second shot of the lifesaving serum.  Mask wearing became optional, but on occasions, I still wore the cloth covering my nose and mouth.  You can’t be too careful in a crowd.

Driving down the highway, the virus in my rearview mirror and Alfie, Tom’s faithful bird dog, really a raven, sitting in the passenger’s seat.  Not sure why my husband had a pet raven, but the relationship remained solid for fifteen years.  I read somewhere domestic ravens have a life span of 40 years, so it was a good thing Alf’s loyalty shifted to me.  We clicked and his companionship sustained me as we drove from the Bay Area out of California, not looking back to what we had lost.

I like the voice of this first page. The biggest problem for me was the lack of emotion. The words are there, but it’s not visceral. You can’t gain empathy for Joanna unless the reader feels her pain. As written, she doesn’t seem all that broken up. If Tom’s death is the trigger that kickstarts Joanna’s quest, it needs to pack a bigger punch. Because the first time I read this page, I thought maybe she’d planned his death…till she mentioned the coronavirus.

Dig deeper, Brave Writer. She’d pinned all her hopes and dreams on retiring with Tom. They had plans, plans they talked about for years. Where’s the grief? Where’s the heartache? Where’s the anger over not having the chance to hold him on his deathbed, of one last kiss, of professing her undying love to the man she’s spent a lifetime with? Tom’s death acted more like a minor blip in Joanna’s life.

To deliver a bigger bang, you need to let the emotions unfold gradually. We’re not fine one minute and hysterical the next. Emotions build in layers, change and intensify, and finally reach a crescendo. For Joanna, Tom’s death should be soul-crushing.

Actually, this is the perfect example of why JSB recommends interviewing characters.

A few questions for Joanna could be:

When did you first know Tom had the virus?

What made you call an ambulance?

How did you feel when the medics said you couldn’t accompany Tom to the hospital? Lost? Empty? Frightened?

Did you have a physical response?

Who broke the news of your husband’s decline? What’d s/he tell you? How did it feel to hear those words?

Are you a different person without Tom? What’s changed?

The reader doesn’t need to know every detail, but you do. Joanna’s past will affect her future. You may be thinking, but Sue, Joanna’s the type to raise her chin and forge ahead. Fair enough. But her silent keening should still bleed through.

Five Stages of Grief

  • Denial
  • Anger
  • Bargaining
  • Depression
  • Acceptance

The character should bounce between each stage to mimic real life. A step forward to depression, two steps back to anger, etc.

Infuse Emotion

I like the echo of “It wasn’t supposed to be this way,” but let’s force the reader to feel those words.

Quick example:

It wasn’t supposed to be this way. We had a plan, Tom and I. We had a chance at a new beginning, a fresh start. We had hopes and dreams for retirement. But now, emptiness consumed me, the pit widening more each day. If the movers didn’t expect me in two weeks, I’d never leave Tom’s grave. How did this happen? Why us? We were so careful, so diligent about protection. We made all the right moves. And for what? So I could drive cross-country alone?

Notice I never mentioned what happened to Tom. All readers know is he’s dead, she’s devastated. Let the reader flip pages to find out why. In the next paragraph offer a bit more and get the hero moving.

Example:

It wasn’t supposed to be this way. Tom and I dreamed of life in New England, with its snow glistening on autumn leaves, hues of Scarlet, orange, and gold-painted landscapes. Pointless now. Muted shades of black and gray zipped by the driver’s window. Up ahead, a motorist leaned under the raised hood of a minivan. (Or whatever the case may be.)

 I added the motorist to accomplish two things:

  • It gets our hero moving, active rather than ruminating.
  • It hints at trouble to come.

Delete the part where Joanna introduces herself. It’s the lazy way out. You can do better.

Add dialogue. Keeping with my motorist example…

I pulled in behind the van, and a man craned his neck around the side of the hood. Not a female. Crap. I should’ve let Dr. Rosenthal change my prescriptive lenses before I left.

The stranger approached my window. “Thanks for stopping.”

“No problem.” I held a tight smile, jabbed a chin at the van. “What happened?”

“Outta oil. I could use a lift to the gas station.”

Joanna resists. The motorist pushes. Against her better judgment she gives in. Blah, blah, blah. During the drive the conversation turns.

“Really appreciate this.” He blows into cupped hands (the cold signals she’s on the east coast). “I’m Frank, by the way.”

“Joanna.”

Boom. Now the reader knows her name. Keep in mind, Joanna’s a woman alone. Other than her first name she isn’t likely to tell this stranger her life story.

“What do you do, Joanna?” The way he said my name raised the tiny hairs on my forearms.

“Retired.”

“From what, Joanna?”

Never had my name sounded so creepy. Tom wouldn’t have allowed a stranger in the car. If he were alive, we’d be halfway to Connecticut by now. (See how I slipped in her destination without slowing the pace?)

Frank rested his hand on my knee. “Joanna?”

Mute, my gaze shifted between his hand and the road. “Is the gas station much farther? My husband’s expecting me.”

“So, you’re not from the area?”

“Umm, I…uh…”

“Where are you from, Joanna?”

Each time my name rolled off his tongue my stomach somersaulted, flipped, acids splashed against the liner. Damn you, Tom! We vowed to grow old together. You promised to never leave me.

“Michigan,” I lied, unwilling to share details about my route from the west coast to the east.

And on and on it goes. I don’t have room for a line edit, but keep in mind there’s only one space after a period.

Pets

The last thing I’ll mention is the raven who materialized out of nowhere. As a die-hard corvid lover, I hope you’re not using the bird as symbolism for doom, gloom, or death. Pets needs a valid role in the plot. If the raven doesn’t fill that need, please consider removing it.

As written, it doesn’t sound like Joanna ever bonded with the family pet, a gigantic bird whose lived in her home for 15 years. It’s odd. When a wife loses her husband, (or vice versa) she clings to any and all traces of him, including his possessions (i.e. Tom’s favorite football jersey, the collar saturated with his scent). A loyal feathered baby should act like Joanna’s life preserver, and not a pet she hardly knew.

Main Takeaway

Concentrate on the fine art of storytelling, less focus on backstory. Allow readers to get to know Joanna in bite-sized pieces. Force the reader to flip pages. And they will, if you avoid filling in the blanks right away. The inclusion of story questions, conflict, dramatic moments, and hints of danger (valid or misinterpreted) helps to create a compelling mystery that strangleholds the reader.

Thank you for sharing your work with us, Brave Writer. Pandemic stories will flood the marketplace, if they haven’t already. Thus, it’s more important than ever to craft a visceral thrill ride so yours rises above the rest.

Over to you, TKZers! I excluded a few things to avoid turning this post into a book, so please mention them in the comments. How might you improve this first page?

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Beware the “ING” Construction

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Beware the “ING” Construction
Terry Odell

ING constructionI know this topic was mentioned recently, and apologies for not being able to find the post to credit the author. Perhaps it came up in the comments. No matter the source, I thought this craft topic worth another look, especially after a recent read.

We all have our favorite sentence construction. For the author in question, the book was overrun with sentences starting with gerund phrases – those “ing” words.

At the very first writer’s conference I attended, an agent said she would reject a query with more than 1 sentence beginning with the “ing” construction. Her explanation—it’s too easy to make mistakes with that sentence structure.

What mistakes? We’ve been told that construction with “was/ing” is a sign of weak writing. He was running. She was dancing. It’s stronger to say “He ran” (or sped, or rushed). Or “She danced” (or pirouetted, or waltzed, or sashayed) But there are more ways overusing gerunds can get you into trouble.

Dangling and misplaced modifiers. (Note. You don’t have to be able to know which is which, as long as you know they’re wrong and how to fix them.) A misplaced modifier is too far away from the thing it’s supposed to modify, while a dangling modifier’s intended subject is missing from the sentence altogether.

First, the misplaced modifier. In my first crit group, I held the prize for creating an answering machine that gave neck massages. I’d written, “Rubbing her neck, the blinking red light on the answering machine caught Sarah’s eye.” Ooops. (But I would like a machine with that function!)

Make sure the noun or pronoun comes immediately after the descriptive phrase. Thus, the above example could be “Rubbing her neck, Sarah noticed the blinking red light on the answering machine.”

And example of a dangling modifier: “Walking into the room, the smell was overpowering.” Corrected, it could become, “Walking into the room, they encountered an overpowering smell.”

Next, and the one this post-inspiring author was most guilty of: the non-simultaneous action. “Running across the clearing, John dove into the tent.” Or, “Opening the door, Mary tripped down the stairs.”

John can’t be getting into the tent while he’s running across the clearing. And Mary needs to open the door before she goes downstairs.

When you’re looking over your manuscript, you might want to flag words ending in “ing” and take another look to be sure you haven’t made any of these basic errors.

ING Construction

If you’re using Word, you can do a “find” using wild cards to flag words ending in “ing.” In Word, which is what I use, it’s Edit/Find/More. Then check the “use wildcards” box, and then special, where you’ll find the command for end of word, which is the > symbol.

That means, you should type ing> into the search box. Then you can either look at them one at a time, or check the “highlight all items found in:” box. True, you’ll get words that aren’t gerunds that end in ‘ing’ – thing, building, etc., but it’ll give you a place to start.

Any examples to share–from your own reading or writing?

OK, one more thing, a brag moment. The Mapleton Mystery Novellas was selected as a top pick for 2020 at Kings River Life Magazine.

 

 

Deadly OPtions e-ReaderAre Gordon’s Days in Mapleton Numbered?

Now available for pre-order. Deadly Options, a Mapleton Mystery/Pine Hills Police crossover.

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

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Writing Tips from Elmore Leonard’s Boyd Crowder

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If you haven’t watched Justified, check it out. It’s a goldmine for writers. The FX series is based on Elmore Leonard’s short story, Fire in the Hole, and three books, including Raylan. In fact, all the actors wore wrist bands that read WWED — What Would Elmore Do?— to stay true to the creator’s vision.

Elmore Leonard worked on the show till his death in 2013.

The series follows Raylan Givens, a U.S. Marshal, played by Timothy Olyphant, who returns to his hometown of Kentucky to take on the local criminal element. Boyd Crowder, an old friend, proves to be his toughest nemesis. Raylan may be the hero, but Boyd, the villain, steals almost every scene. Boyd is calm, funny, and deadly. The back-and-forth between Boyd and Raylan is absolutely mesmerizing. Elmore Leonard did a masterful job of creating these two characters.

I’m not sure if we mere mortals could pull off such a memorable character like Boyd, but he sure is inspiring. Aside from Leonard’s expert characterization, the remarkable talent of Walton Goggins never lets you see the full picture as clearly as you think you do. Just when you’ve figured Boyd out, he switches sides and teams up with Raylan to bring down a bad guy.

Writing Tip: The best villains have at least one endearing characteristic.

To Elmore Leonard’s credit, Raylon also blurs the line between hero and anti-hero.

Writing Tip: The best heroes are flawed.

Fun fact: Walton Goggins only signed on for the pilot episode, in which Boyd was supposed to die, but Elmore Leonard wanted to explore the character in more depth. The rest, as they say, is history.

Boyd Crowder’s Characterization

Rap sheet: Silver-tongued bank robber turned low-level Kentucky kingpin with higher aspirations and an occasional religious “born again” streak.

Superpower: Nobody who knows this many 50c words has fewer compunctions about stabbing you in the back. Nobody likely to stab you in the back knows this many 50c words.

Kryptonite: He’s desperately in love with his former sister-in-law.

Writing Tip: When crafting characters think outside the box.

What makes Boyd truly stand out is his poetic dialogue, which we’ll get to in a sec. First, let’s look at a few of his one-liners.

Arguing with a man who has renounced reason is like giving medicine to the dead.

I believe you dictate the river of fate through your own actions.

I’ve learned to think without arguing with myself.

A man who speaks out both sides of his mouth deserves to have it permanently shut.

I’ve been accused of bein’ a lot of things. Inarticulate ain’t one of ’em.

He’s right! I should probably note: Until you’re as famous as Elmore Leonard, attempting the following dialogue in your WIP might not work. 😉

Boyd: Well, well, well… I hesitate to ask what brings us the pleasure of this divine coincidence that we find ourselves crossing paths this fine spring morning.

Translation: What are you doing here?

Boyd: I fear, my brother, I am in a quandary as to your inner thoughts and the impact of said ruminations on your future actions in this here hollow.

Translation: What’s up?

Boyd: Mr. Augustine, seeing as how Drew Thompson’s already in the Marshalls’ custody, why you’re cutting off the tail of my cousin and offering him up is opaque to me.

Translation: What do you want?

Boyd: I fear that within my belly stirs the emanations of desire for a product that sates the ache within.

Translation: I’m hungry.

Boyd: Well, my darling, being a lowly omnivore like yourself, I shall choose from this glorious list of animal flesh—the edible prize that men have hunted and killed for centuries, incidentally—a rounded flesh of cow, slipped within a doughy mattress, saddled with cheddar.

Translation: I’ll have a cheeseburger.

Boyd: Be that as it may, I sense within me a growing, nagging torpor that seeks a temporary hibernation in a solitary area for comfort and slumber.

Translation: I’m going to bed.

Make no mistake. Boyd is a dangerous guy. Check out one of the best murder speeches ever written.

That’s a rap, folks! May 2021 be your most successful year yet.

Have you watched Justified or read Fire in the Hole?

Join the giveaway for a chance to win 33 fast-paced thrillers and a new e-reader! No email required.

Enter to win here: https://t.co/k0oZKfcIYX?amp=1

Good luck!

 

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Playing Tricks With Editing.

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Playing Tricks With Editing.
Terry Odell

Playing Tricks With EditingFirst–Happy New Year, everyone, and welcome back to TKZ.

Over the break, I finished my personal edits on the manuscript of my next Mapleton Mystery, and I thought I’d share some of the tips I’ve discovered over the years for that final pass before turning the manuscript in.

We want to submit the cleanest possible manuscript to our editors, agents, or wherever you’re submitting. By the time most of us hit “The End”, we’ve been staring at the manuscript on a computer screen for months. We probably know passages by heart, we know what it’s supposed to say, and it’s very easy to miss things.

What we need to do if fool our brain into thinking it’s never seen these words before.

Editing TipsTip #1 – Print the manuscript. It’s amazing how much different it will look on paper.

Tip #2 – Use a different font. If you’ve been staring at TNR, choose a sans-serif font. In fact, this is a good time to use the much-maligned Comic Sans.

Tip #3 – Change the format. You want the lines to break in different places. I recommend printing it in 2 columns, or at least changing the margins. That will totally change the line scan, and it’s amazing how many repeated words show up when the words line up differently.

Tip #4 – Read away from your computer. Another room, or at least the other side of the room.

The above are all “Fool the Brain” tricks. Moving on to my basic process.

Tip #5 – Read from start to finish.

As I read, I have a notepad, highlighters, red pen, and a pad of sticky notes. This pass isn’t where I fix things; it’s where I make notes of things to fix. I don’t want to disrupt the flow of the read by stopping to check out if the character drove a red Toyota or a green Chevy. I have a foam core board by my chair, where I’ll post my sticky notes. Also, because it’s a hard copy, there’s not simple “Find” function.

When repeated words or phrases jump out, I note them on a sticky for a future search-and-destroy mission. I’ll circle or highlight words that could be stronger, or places where I might be able to come up with a metaphor that doesn’t sound writerly.

I’m also critical of “does this move the story?” as I’m reading. The beautiful prose might not be all that beautiful when reading it in the context of the entire novel. Don’t be afraid to use that red pen. On the flip side, you can also note where a scene needs more depth, or something needs foreshadowing. Are characters behaving consistently? Or do their personalities change because the author needs them to do something for the plot.

Another thing I look for is named characters. Naming a character tells the reader “this is an important person.” Do they play enough of a role in the story to earn a name? Can they be deleted, or referred to generically?

Once I’ve reached the end, I’ll go back to the computer and deal with the notes I’ve made.

The last pre-submission editing chore for me—and it’s a tedious one—is to let the computer point out all the clunkers I’ve missed. Because, despite all the ‘trickery,’ the story is still familiar enough that I don’t catch everything.

For this, I use a program called “Smart Edit.” (I might do a full post on this software another time.) I use the version that’s a Word add-on, and run its checks. I know I have my standard crutch words, but it seems that every manuscript brings a few new ones that I lean on too heavily.

Once I’m finished with the Smart Edit purges, the manuscript goes off to my editor. My work up front means she should be able to spend more time looking at the story, and less time dealing with clunky prose.

The last step for me, which comes right before I’m ready to publish, is to let Word read the manuscript to me. I’ve talked about that before, and using ears instead of eyes is another way to trick the brain into thinking the story is new. And yes, I still find things to fix.

What about you? How do you deal with whipping your manuscript into shape before submitting it?

Heather's ChaseMy new Mystery Romance, Heather’s Chase, is available at most e-book channels and in print from Amazon.

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

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Tips to Create a Series Bible

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By Sue Coletta

Lately, I’ve been consumed with creating a series bible for my Grafton County Series. So, I thought I’d share some tips to help you avoid making the same mistakes. Mistakes like thinking highlighted notes on my Kindle were enough to jog the ol’ memory bank. Mistakes like scribbling notes on scrap paper or a whiteboard. Mistakes like tabbing umpteen pages in the previous paperbacks.

Yep. I’ve done all of the above and more. Hence why I’ve had to reread every book in the series. It’s been months since I’ve written in the Grafton County Series. When I set out to plan my WIP, I’d forgotten a lot of details. In my defense, I did write a true crime book, another Mayhem Series thriller, and new true crime proposal in between.

Though it’s fun to spend time with my characters, it’s also a ton of added work, work that could’ve been avoided if I had a series bible in place. Don’t be like me. Even if you’re writing book one, start your series bible now.

Format

We first need to decide on a format for our series bible. Some writers use Scrivener. Others prefer Evernote or a Word.doc. The most popular choice is to print the series bible and organize in a three-ring binder. Pick the format that works best for you.

Organize by Color

Choose one color for each book in the series. Every detail you list in the series bible should correspond to the book’s color.

Example…

Book 1: Blue

Book 2: Red

Book 3: Purple

Book 4: Green

By color-coding, if you need a detail from the series bible while writing, one glance will tell you when the fact occurred.

Details to Include

  • Description of main characters
  • Description of secondary characters
  • Description of villains, including monikers (if applicable)
  • Victims
  • Characters’ profession
  • Killers MO (if applicable)
  • Pets, including deceased pets (if applicable)
  • Tattoos/piercings (if applicable)
  • Scars, emotional and physical
  • Jewelry
  • Marital status/relationships
  • Important dates
  • Family ties
  • Themes
  • Setting
  • Backstory
  • Housing
  • Accent (if any)
  • Décor
  • Cherished treasures
  • Timelines
  • Future scene ideas

Most of the above list is self-explanatory, but I do want to point out a few things.

Character Description

An important part of the series bible is character description. Savvy readers will notice if your MC has a small ankle tattoo from her college days in book one, then claims s/he’d never be stupid enough to get one in book five or six.

In this section be sure to include the basics: hair & eye color, height & weight (approximate, if you’ve never detailed this attribute), style of dress, skin tone/complexion, tattoos & piercings (if applicable), favorite perfume/cologne, injuries and physical scars.

When I listed Sage’s injuries/physical scars, I couldn’t believe what I’d done to this poor woman. Here’s a small sample from my story bible.

  • thick neck scar that tugs at the skin
  • white lines zigzagging across her right forearm
  • lost unborn child from rape
  • scar from incised wound on right wrist
  • orbital floor fracture (broken eye socket)
  • fractured cheekbone
  • broken nose
  • faint scar from stitches on left wrist
  • faint scar from stitches on upper lip
  • faint scar from stitches on right cheek
  • faint scar from stitches on forehead

And that’s only the first two books!

Emotional Turmoil

Since I write psychological thrillers, it’s vitally important for me to track each character’s emotional toll. Past experiences define and shape our characters into the people they are today. An emotional sketch of each character allows us to find triggers and/or weaknesses to exploit in future books. *evil grin*

Incidentally, I do the same for pets. For example, Sage and Niko have two dogs, Colt and Ruger. These dogs have lived through harrowing experiences, and they’ve developed certain habits that stem from those experiences. Animals feel things as deeply as we do. If the pets emerge unscathed, the characterization won’t ring true.

Details

Tiny details matter. For example: When Sage gets nervous, she plays with a Gemini pendant, sliding it back and forth across the necklace. Now, the pendant is turquoise and silver, but for some reason, I wrote “gold” chain in book one. Because this necklace holds sentimental value, Sage would never switch the pendant to a different chain. This minor detail has never been a problem for me. Rarely, if ever, do I mention the color of the chain. Too much description slows the pace.

But what if I decide to kill her some day? Or fake her death? That necklace could become a key piece of evidence. See what I’m sayin’? Even if we never intend to use the minor detail when we list it, we still should include it in the series bible in case we change our mind.

Smell

The nose knows! In my Grafton County Series, the medical examiner practically bathes in Aramis cologne. Anyone within fifteen feet knows he’s entered the crime scene before they ever spot him. It’s become a running joke. I could never forget that detail, but I still include it in the series bible under his name just in case.

What did slip my mind was Sage’s perfume. This might not sound like a big deal, but for this series, it’s an important detail. During tender moments, Sage’s husband Niko breathes her in. The soft aroma of Shalimar mushrooms across his face, with notes of lemon, iris, jasmine, rose, patchouli, sandalwood, and vanilla. He loves that about her. If I didn’t include this detail in the series bible, future books wouldn’t ring true.

Side tip: If you’re struggling for a scent, ask your husband/wife or significant other. We all have a scent that’s uniquely ours. Maybe they love your shampoo, skin cream, body wash, after-shave, or scented deodorant. Once you find the answer, transfer that scent to your lead or secondary character. Or show your character cooking, baking, or eating. Food is an easy way to include one of the most under-appreciated senses in fiction: smell. If the character is eating, be sure to include taste, too. Bonus!

Décor

Does your character have a favorite chair? List it in the series bible.

Does your character hate the hard sofa? Jot down why in the series bible.

Did you focus in on an antique timepiece or cuckoo clock in a past book? Describe it in the series bible.

What about a wall safe or gun cabinet? Be sure to include the combination in the series bible.

Example: After a hard day at work, Niko collapses in his Lay-Z-Boy. I’ve never described the recliner in detail. Never had a reason to. Instead, I simply wrote “Lay-Z-Boy” under Niko’s name in the series bible.

He also has a favorite coffee mug, with #1 Dad inscribed on a gold shield. If Sage poured his coffee into a different mug, fans of the series would wonder where it went.

Minor details can impact series characters in an emotional, conflict-driven way.

What if Sage came home to find Niko’s mug shattered on the kitchen floor? Better yet, what if she found it on the bedroom floor? I’ve made it a point to mention this mug in every book. It’s a Grafton County series staple. One glimpse of the shattered mug, and Sage would leap to the conclusion that someone’s been in the house. In reality Colt or Ruger might have knocked it off the counter or bureau. How it wound up on the floor isn’t important (yet). What is important is that I’ve created conflict just by showing the shattered mug.

Future Scenes

A funny thing happens while creating a story bible. Scene ideas flood the creative mind. While working on my series bible, not only have I finished planning my next Grafton County Series thriller, but I gained at least one new premise for a future book, as well. I even stormed through writing the first few chapters of my WIP. And that may be the best reason of all to create a series bible—to get the creative juices pumping in the right direction.

Can’t think of a plot for your next WIP? Review the story bible. It’s a lot easier than re-reading the entire series. Trust me on that. 🙂

Need tips for writing a series? Check out the group TKZ post.

Do you use a series bible? If you do, any tips to share? If not, what’s your process to ensure consistency throughout the series?

His name is Paradox and he poses his victims in RED cocktail dresses, RED roses in place of eyes. He will kill again if his riddles aren’t solved within 24 hours.

Can Niko and Sage stop him before the clock runs out?

Look Inside SCATHED: https://books2read.com/SCATHED

 

 

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What Winnie the Pooh Taught Me About Writing

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What Winnie the Pooh Taught Me About Writing
Terry Odell

First, on this Veterans Day, a thank you to all who have served.

Winnie the Pooh and WritingWhen I was a child, my dad would read Winnie the Pooh (the REAL one, not the Disney version) to me and my brother. I loved his voices (Years later, when an old movie was playing on the television, I heard Eeyore’s voice. I ran out to look and it was a W.C. Fields movie. I didn’t know my dad had been doing “real” voices when he read—but I digress.)

Another thing I remember from my dad’s reading was the way he began each chapter in a Very Important Voice. And the way each chapter was titled, “In Which…” followed by a few words telling us what the chapter was about.

Winnie the Pooh and Writing

(Kind of like “circles and arrows and a paragraph on the back of each one…” but I digress again.)

Although I certainly don’t title my chapters, the “In Which” approach helps make sure I’m putting something on the page that belongs there.

Too often, it’s easy to get carried away with description, or dumping in some back story, or including that “wonderful” scene that came to you when you overheard a conversation at the coffee shop, or salon, or when you were people watching and saw someone who just had to be in the book. So you write it, and it’s wonderful, and you’ve captured the moments perfectly. But is it moving the story. Is it something worthy of including in your “in which” summary of the scene.

Because you should be summarizing the scenes, either before or after you write them. And there need to be plot points (which is the official writerly term for “in which”). You’ll notice I used the plural. A scene had better be carrying more than one. While there’s no rule, and no exact number, I’d recommend shooting for three. Scene length, of course, can cause variations, but whatever happens in that scene needs to relate to the story.

Which brings me to kinds of scenes. Here’s a quick summary, gleaned from a RWA workshop, although most will carry over to any genre.

  • Prologue – not required. In fact, unless there’s a huge time gap between this and the opening, it should probably be Chapter One. There’s also a difference of opinion as to whether agents want to see prologues when you’re submitting.
  • Opening – should draw the reader in.
  • Set-up  — foreshadows something to come
  • Validation – shows the character at work
  • Conflict
  • Push – moves characters apart
  • Pull – moves characters closer together
  • Reaction – also referred to as “sequel” (or shower scene, where the character would reflect on what just happened). These can slow the pace, so they’re falling out of favor. If you need one, make sure it’s important, and don’t linger too long.
  • Flashback – use sparingly – they’re often found in reaction scenes
  • Flash forward—rarely used in romance; author intrusion. Tends to be omniscient POV, which can intrude as well.
  • Reversal/Black moment – everything goes wrong
  • Climax – characters must make choices
  • Conclusions – wrap up those dangling threads
  • Epilogue – not required. Common in romance (although I’m not fond of them, personally)

Do you ever find scenes in books you’re reading, even very well-written scenes, that leave you wondering what they’re doing there? Have you found them while writing your own books?

Heather's ChaseMy new Mystery Romance, Heather’s Chase, is available at most e-book channels. and and in print from Amazon.

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

+13

Use Color to Test Your Story

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It’s been months since I shared the saga of the injured raven vs. my beloved “pet” crows, but there’s a good reason for that. I didn’t have an ending till last Thursday. For a while I thought I did, but I needed to verify my suspicions. Ignore the colors as you read. I’ll show you cool writing trick at the end. 🙂

When the story left off, I was trying to figure out how to feed “Rave” without angering my beloved Poe and her murder. While I weighed my options, the crows scolded the raven from all directions.

I have a strict “no fighting” policy in my yard. When anyone breaks this rule, I reinforce my disappointment by withholding food till they smarten up. A wise crow doesn’t anger the human who controls a never-ending supply of tantalizing treats. Needless to say, the attacks stopped as long as Rave stayed within the property lines. If she crossed the dirt road to the woods, my rules were no longer in play, and they divebombed her.

Brilliant birds.

Two weeks later, Poe signaled for me to use her summer rock. I’d created two separate feeding areas so Dad (my husband) didn’t have to shovel the lower yard — affectionally named Animal Planet for its greenery, flowers, and throngs of wildlife who visit — and Mumma didn’t have to schlep through thigh-high snow all winter.

The change in feeding area reset Poe’s murderous hatred toward Rave. By feeding Poe and family on Animal Planet and Rave on the winter rock in the upper yard, I’d restored a modicum of peace.

Until about a week later when Rave thought Poe’s rock looked tastier than hers. Or perhaps, she remembered switching rocks in the warm weather with her dad, Odin. Hard to say for sure what prompted her to move to the woods near the summer rock when our new arrangement worked so beautifully.

Poe was NOT pleased about Rave’s decision.

For the umpteenth time I tried to capture Rave to bring her to a rehabber. And once again, she outmaneuvered me. Maybe she’d be okay on her own? The question replayed on an endless loop, followed by the grave reality of a fox, Great Horned Owl, Fischer cat, raccoon, or black bear crossing her path during the night.

Sleepless nights wore me down.

For two-plus-weeks I wrestled with what to do. Then one day I stopped looking at the situation through my eyes — human eyes — and viewed it from Poe and Rave’s perspective. Once I did, all the years of researching corvids flooded my mind with ideas.

One of crows’ amazing abilities is delayed gratification. Meaning, crows will wait for food if the food they’re waiting for is tastier than the scraps that await them now (Ravens can do this, too, but don’t when they’re injured).

With this theory in mind, I offered Poe a deal.  As the alpha, she’s the only crow I needed to convince. The others would fall in line behind her.

“Poe, if you let Rave eat, I’ll bring out your favorite treats after she’s safely out of sight.”

Now, I’d love to tell you Poe agreed right away, but the truth is, she wasn’t thrilled with the idea at first. Every time I served breakfast, lunch, or dinner, the crows emptied the rock within seconds. Just once I needed Rave to beat Poe to the rock.

It took about three days before Rave worked up enough courage to race Poe to the rock. Afterward, when Rave hopped back into her new wooded digs, I offered Poe raw chicken breast, her favorite kibble, and of course, I replenished the peanut pile.

Success!

Rave on her own special rock.

Day after day, Poe waited for Rave to eat and I made good on my promise. But then, Rave would climb up on this new rock at the tree-line to check out the menu before proceeding toward the summer rock.

The proverbial lightbulb blazed on. If I used both rocks — one for Poe and family and one for Rave — I could potentially decrease the animosity between them. And it worked. For the next few weeks, Poe never ventured near Rave’s rock at feeding time, and vice versa.

What happened next stunned me into submission.

Toward the end of nesting season, Poe sent the fledglings and elder siblings on patrol with Edgar. Shakespeare, known fondly as “Shaky” (Poe’s mini me), stayed with Mumma. Breath trapped in my lungs as Poe swaggered into the woods in search of Rave. Uh-oh. This can’t be good.

Moments later, “low-talking” indicated Poe and Rave were hashing out a few things. Shrubbery obscured my view. There’s nothing I could do but wait. Watch. Pray Poe wouldn’t morph into Hannibal Lecter or Buffalo Bill.

Seconds felt like years.

After several heart-stopping minutes, Poe sauntered out of the woods for a little worm-hunting while Shaky played lookout (since birds are most vulnerable on the ground, crows post a sentinel in the trees). To my surprise Rave lumbered right past Poe, so close the feathers on their wingtips almost touched. Rave climbed up the rock to the feast on chicken thighs, peanuts, sunflower seeds, and kibble. Poe even allowed Rave to eat the dead mouse!

That’s when it dawned on me — these two majestic animals had struck a deal.

Poe watching Rave’s six from the grass below.

With this new arrangement, Rave waited for the crows to tell her if it was safe to step into the open.

Many sharp-shinned hawks flooded our area, and an injured raven equaled easy prey.

In return for Poe’s service, Rave only ate half the food. She even tore off a piece of chicken and tossed it to Poe on the grass below. 

The good times didn’t last long.

Each year when the new fledglings leave the nest, Poe escorts the crowlettes to my yard to practice landing on branches and learn how to slalom through the maze of trees. Normally, it’s a special occasion filled with hilarity and awe.

Not this year.

When Poe brought the fledglings, trepidation surfed their wake. Rave still asked for permission to approach the rock, but Poe’s cutting glare indicated an emphatic, “Don’t you dare come near my babes.”

What could I do? I couldn’t scold Poe for protecting her young. I also couldn’t let Rave starve. A niggling sensation burrowed bone-deep for the next three weeks. Every time Poe, Edgar, and the elder siblings left to teach the fledglings crucial life lessons, I jogged down to the rock to feed Rave.

The situation wasn’t ideal for any of us, but we dealt with it. Until we couldn’t any longer.

Animal Planet turned menacing — dangerous — as a rebellious fledgling ventured past the rock into the woods, in line with Rave’s hiding spot, her home-away-from-home doubling as a hollowed bush.

Poe scolded the fledgling to back away, but he refused to obey. That tiny crow acted like he’d been sworn in as the new sheriff in town, a LEO hellbent on destroying the interloper in their midst.

The situation spiraled toward disaster.

One sultry July morning he’d had about enough of Poe’s “rules” and swooped down in full attack-mode. Ear-piercing caws tornadoed through the trees. I raced toward the woods to intervene before the others joined their brethren.

Whether this incident had anything to do with Rave’s future plan, I couldn’t tell, but she disappeared for three days. Upon her return, she stocked up on food and rested for two days. Vanished for another three days, returned for two. She seemed to have a set route to a precise location. Two days on, three days off. The routine never wavered. Two days on, three days off.

Could Rave be a mother? What if the scuffle with Poe’s fledgling convinced her to find her own? Crows and ravens have similar nesting patterns. If Rave had chicks in the nest when she got hurt, they’d be fledging, too.

More and more I became convinced that she was searching for her family during those three days away. Though this theory filled me with warmth, I still panicked every time she left. Until the day Rave soldiered into the yard with more confidence than she’d had in months, and her shiny black plumage had regained its luster.

For hours she perched on a rock near the house and exercised the injured wing. She even attempted short, low flights, about two feet off the ground for ten feet at a time. Day after day for a solid week, she waited for Poe to soar out of sight before practicing her flying, each day gaining more lift.

When I bustled down the hill to Animal Planet the following day, one flawless raven feather laid on the rock — a thank you from Rave — and I wept, keening over my loss. I’d prayed for Rave to heal, to thrive, but I never got the chance to say goodbye.

Would I ever see her again?

All summer I searched the sky for Rave. Every now and then my husband said he heard gronking in the woods, which brought me some solace. Still, I longed to see her one last time.

Two weeks ago, I had an early appointment that forced me out of the house early on a Friday morning. As I hustled up the walkway, gronk, gronk, gronk emanated from the woods across from the driveway.

I darted across the dirt road. “Rave?”

“Gronk, gronk, gronk.”

“Rave! I missed you so much!”

A black silhouette peeked out from behind a tree trunk. “Gronk, gronk.”

“I wish I could stay, but I can’t. Please come back, baby. I need to make sure you’re okay.”

A week rolled by with no word from Rave. Last Thursday, she strutted across Animal Planet with her bill held high, chest out, confidence and pride oozing off every feather. When she stepped on to Poe’s rock, disappointment crossed her face. The crows had devoured every morsel.

Rave stared up at the window. “Gronk, gronk?”

“Rave,” I called back. “One sec, honey. Be right out.”

That’s all the reassurance she needed. With her spectacular black wings spread wide, Rave leaped into the air and flew to the branch overlooking the rock. I bustled down to Animal Planet, my gaze locked with hers, my emotions rising over the rims of my eyes, joyous tears spilling down my cheeks. Rave’s healthy, happy, and loved.

Now, pull the screen away and look at the colors. It’s a rose garden. Brown = soil (exposition/narration). Red = roses (action/dialogue). Green = leaves (emotion, inner dialogue, and foreshadowing). Too much soil, you’ll have gaps in your garden, wasted space. Too many leaves will overshadow your roses. With too many roses, you can’t see the beauty of each blossom.

This technique is easy to do in Word. I wouldn’t recommend it for a blog, as it’s labor-intensive to manually input colored highlights via CSS. You’re worth it, though. 🙂

One last note: If you come across sentences that contain emotion, exposition, and/or action, it’s fine to highlight it with one color. No need to nitpick. You’re looking at the story as more than the sum of its parts.

 

In other news, Pretty Evil New England released yesterday!  Congratulations to Priscilla Bettis for winning the giveaway!

 

+10

Tips for Distant Settings

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Things I’ve learned about setting a book in real places, especially distant ones.

Distant SettingsWhen the Hubster and I decided to celebrate our 50th anniversary with a trip to the British Isles, of course I had “book” in the back of my mind. However, an international setting wouldn’t have worked with any of my existing series, and since I never plot in advance, I decided to enjoy our tour, taking pictures and notes of what we were seeing and doing and just wait and see what might bubble to the surface.

Distant SettingsOur trip began in Northern Ireland with a visit to our daughter, who had pointed out that she moved there 12 years ago and we’d never visited. From there, we had a couple days in London where I got to meet one of my critique partners face to face for the first time. Given we’d been in our little group for about 15 years, that was another “it’s about time” moment.

From there, we visited Scotland, and then Ireland. When we got home, I decided I’d write a short and sweet romance. Write it quickly, understanding that it’s not my true “brand” but that I had to publish something to justify writing off at least part of the trip.

Well, I soon discovered I’m not a short and sweet romance author, and mystery elements insisted on working their way into the story. What I ended up with is Heather’s Chase: an International Mystery Romance which is closer to my brand, although it’s a stand alone and still a bit of a one off. Nevertheless, it was an educational experience.

My Tips

Distant SettingsLess is more. My first drafts went into phenomenal detail about absolutely everything. Airports. Train stations. Hotels. Food. All the places we stopped, what we saw on the drives. Given we were traveling for well over two weeks, that would have been a LONG book. A sense of place is good. Overwhelming readers is not. I had to keep reminding myself to make sure everything related to the plot and characters. I wasn’t writing a travelogue.

Stay true to time. Readers familiar with the area will know that you can’t get from A to B in two hours, or that when you’ve had your characters on their bus for five hours, it’s really a twenty-minute drive.

Distant SettingsYou’ll always miss something. Unless you’ve got your plot mapped out before your trip, once  you start writing, you’ll have a scene to write and—lo and behold—you missed taking a picture, or didn’t take the right notes. I spent a LOT of time on the internet rechecking facts, looking at maps, and refamiliarizing myself with some of the attractions we visited. If I couldn’t find exactly what I needed, I reminded myself I was writing fiction—another reason not to name real places. On the occasions where my characters were eating in real, named places, I made sure I had pictures and menus. Same for attractions.

Distant SettingsDon’t make up real stuff. One of the reasons I made this book a stand alone was because our trip didn’t include visits to police departments (although I snapped a picture of a vehicle in Ireland, “just in case”). Also, it would be unrealistic for my American characters to have any access to law enforcement in several different countries.

Be nice. I also opted not to name the specific hotels or restaurants (mostly). For one thing, it gave me the freedom to change the décor, layout, amenities, or the restaurant menus. And, if something “bad” happened, I wasn’t going to incur the wrath of those establishments.

It’s about flavor. Although my characters didn’t visit Northern Ireland, I did include a character from the same town we’d visited when we stayed with my daughter. I made sure she vetted all his dialogue. For example, people in Northern Ireland use the word “wee” as a meaningless adjective. I was asked for my wee credit card, given a wee receipt, offered a wee bag for my purchases. My British critique partner was very helpful with vocabulary as well.

All in all, I had a great time ‘revisiting’ my trip to the British Isles while I was writing the book, and being able to incorporate my experiences into Heather’s Chase.

Want to see more pictures? Click on the book cover below, then scroll down to “Special Features.”

Heather's ChaseMy  Mystery Romance, Heather’s Chase, is  available at most e-book channels. and in print from Amazon.

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

+8

The Smoke Eater: 1st Page Critique

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Another Brave Writer submitted his/her first page for critique. My comments will follow. Enjoy!

The Smoke Eater

Reid never witnessed a sunset out of the plane, but the moment was a testament of god’s creation. He was amazed by the radiant heaven through thin clouds of twilight where the earth and sky merged into the silver-black horizon.

Above the horizon was a spectrum of a blue dark glass, teasing the twilight of angels above. Underneath, the fading glow of what lingered on the terrain was smothered by the dark. It was a cruel but beautiful waltz between a master darkness and its mistress of the light. The horizon slowly narrowed, and the radiance ran parallel to its ruthless nocturnal predator that grew with virulence. What was left of the fading light seemed to be distorted as if an imaginary barrier was blocking the warmth from reaching Reid?

He wondered if it was the trick of the glass, but his inner being that wouldn’t allow for comfort. Deep down, he struggled with the truth that he could be easily smothered by his own darkened fear just like the nighttime drape smothering the day.

Reid turned his head at the sound of a woman’s voice and quickly said, “If I fall asleep, please be careful with me.”

The stewardess frowned and tilted her head.

Reid sensed she didn’t understand and he didn’t know what to say. Telling this woman that he could become violent when he slept didn’t seem like the right thing to do but he had to say something. He was struggling to stay awake and he refused to take the medication with only a few hours left in the flight.

Reid didn’t know how much longer he could stay lucid. “If you need to wake me, give me a nudge, or throw something small at me, and stand back. I startle easily… in my sleep.”

The stewardess stood there, indifferent.

Reid was starting to feel uneasy, that he might have said too much. He told himself, how stupid could I be, that he essentially told an airline attendant that he was a threat, admitting that she needed to avoid him should he become violent. Then he realized that it was worse, he just acted strangely on a middle eastern airline that was passing into Asia. He might as well have yelled out that he was carrying a bomb.

 * * *

Intriguing, isn’t it? There’s a lot to love about this first page. The concept of a MC who’s violent while he sleeps piqued my interest right away. It also raised numerous story questions. Why is he dangerous while he sleeps? What happens to the unfortunate people around him if he drifts off? Could he kill? Has he killed before? How does he know he’s dangerous if he’s asleep?

Bravo, Brave Writer, for not telling us yet! “Something” happened in the MC’s life prior to this flight, and we’ll keep flipping pages to find out what that is. Great job!

Now for the technical stuff…

When I received the unformatted first page, I broke up the text into more manageable paragraphs. The lack of formatting could be caused by copy/pasting into the body of an email. In case the manuscript’s littered with large chunks of text, please remember white space is our friend. Transitions are also vital to keep the reader engaged. For more on these two areas of craft, see Jim’s post and Terry’s post.

Paragraph 1:

Reid never witnessed a sunset out of the plane, but the moment was a testament of god’s creation. He was amazed by the radiant heaven through thin clouds of twilight where the earth and sky merged into the silver-black horizon.

The first line isn’t bad, necessarily, but it also doesn’t draw me in. Plenty of folks haven’t flown before. That in and of itself isn’t intriguing, thought-provoking, or emotional. It’s only after we read the first page that we can envision why this plane ride could turn deadly, and that’s too late.

Paragraph 2:

Above the horizon was a spectrum of a blue dark glass, teasing the twilight of angels above. Underneath, the fading glow of what lingered on the terrain was smothered by the dark. It was a cruel but beautiful waltz between a master darkness and its mistress of the light. The horizon slowly narrowed, and the radiance ran parallel to its ruthless nocturnal predator that grew with virulence. What was left of the fading light seemed to be distorted as if an imaginary barrier was blocking the warmth from reaching Reid?

Beautiful imagery, but the writing could be tighter. By rearranging words and deleting filler, we paint a clearer picture.

Above the horizon was a spectrum of a blue dark glass, teasing teased the twilight of angels above. Underneath, the dark smothered the fading glow of what lingered lingering on the terrain was smothered by the dark. It was a cruel but beautiful waltz between a master of darkness and its mistress of the light (<– love that line!). When tThe horizon slowly narrowed, the sun’s ruthless nocturnal predator overshadowed its and the radiance ran parallel to its ruthless nocturnal predator that grew with virulence. What was left of the fading light acted as seemed to be distorted as if a an imaginary barrier was blocking the warmth from reaching Reid’s face.?

Paragraph 3:

He wondered if it was the trick of the glass, but his inner being that wouldn’t allow for comfort. Deep down, he struggled with the truth that he could be easily smothered by his own darkened fear just like the nighttime drape smothering the day.

“Wondered” is a telling word. For more on deep POV, check out a previous 1st Page Critique. “Inner being” also struck me as an odd choice. My suggestion would be to rewrite these two sentences.

Quick example: Is it a trick of the glass? Why, with the breathtaking view before him, could he not relax? The truth caved his stomach. If he weren’t careful, the darkness within him could smother his light, too. (Still not great, but you get the picture.)

All the last two paragraphs need are a couple tweaks to deepen the point of view. Easy peasy. Let’s do it. Changes are in red.

Reid turned his head at the sound of a woman’s voice, and quickly said, “If I fall asleep, please be careful with me.”

The stewardess frowned and tilted her head. Reid sensed She didn’t understand. Not many people did. How could he tell a stranger he could violent when he slept? and he didn’t know what to say. Telling this woman that he could become violent when he slept didn’t seem like the right thing to do but he had to say something. He was Struggling to stay awake, and he refused to take the court ordered (if it fits the story) medication with only a few hours left in the flight. But what if he couldn’t stay lucid? Reid didn’t know how much longer he could stay lucid.

With no easy way around it, he said, “If you need to wake me, give me a nudge, or throw something small at me, and stand back. I startle easily… in my sleep.”

The stewardess stood there, indifferent.

Reid was starting to feel uneasy (don’t tell us, show us! Is he fidgeting? Picking at his cuticles?), that he might have said too much. He told himself, how stupid could I be, Stupid, Reid, stupid. You just told a flight attendant you’re a threat. that he essentially told an airline attendant that he was a threat, admitting that she needed to avoid him should he become violent. Oh, no! He’s on a middle eastern airline heading to Asia (btw, Asia’s too broad. Tell us where the flight’s landing.). She probably thinks he’s got a bomb strapped to his chest. Then he realized that it was worse, he just acted strangely on a middle eastern airline that was passing into Asia. He might as well have yelled out that he was carrying a bomb.

Brave Writer, take a moment to look closer at this critique. For the most part, all I did was rearrange your words and delete filler. This first page works because of your hard work. Stand proud. And thank you for submitting an excellent first page.

Over to you, TKZers! Would you flip the page? What’s your favorite line? Any suggestions/comments for Brave Writer?

+10

Tiny Creatures Deconstruction Part II

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And we’re back with Part II of Tiny Creatures deconstruction. In Part I, we looked at characterization, plotting, pacing, and the importance of raising story questions. In this segment, let’s narrow in on story structure, scene development, character arc, word choices, and story rhythm.

First, a quick review of Tiny Creatures Deconstruction Part I to allow you to see the full character arc. Within a four-part story structure, each Part of the character arc equals 25%.

Part I: The Setup

  • introduce the protagonist
  • hook the reader
  • setup 1st Plot Point through foreshadowing and establishing stakes
  • establish empathy for the hero

In the first quartile, Tiny Creatures introduced the viewer to our tiny hero in an empathetic way and we bonded with her right away. We also learned about Raven, who we believed was the villain. And the writer setup the 1st Plot Point — a life or death chase which defined the stakes.

Part II: The Response

  • protagonist reacts to new goals/stakes/obstacles revealed by the 1st Plot Point
  • hero doesn’t need to act heroic yet
  • she retreats, regroups, experiences doomed attempts
  • remind the reader/viewer of the antagonistic forces at play

Tiny Creatures excelled in this area as well. Remember when Raven chased our tiny hero around the cabin? That scene established the life or death stakes, and Miss Rat reacted by fleeing. She also feared the human. Which is exactly how she should act in the second quartile of the character arc.

Part III: The Attack

  • Midpoint information/awareness causes the protagonist(s) to change course
  • hero is now empowered with information on how to proceed
  • not merely reacting anymore
  • hero also ramps up battle with inner demons

A perfect example of this occurred in Tiny Creatures when our tiny hero summoned the courage to face her fears and freed the raven from the fisherman’s trap.

Now, let’s return to the deconstruction. Keep in mind, we’re still in Part III of the character arc.

Tiny Creatures, Episode 6 Deconstruction Part II

Once released from the trap, Raven cocks his head at the rat. Their gazes lock, linger. “The raven is puzzled by the rat’s action, but grateful nonetheless.” He leaps into the sky.

The fisherman returns from an early morning outing, and the raven calls out to warn Miss Rat to get out of sight (Remember all those intriguing characteristics of the raven we learned in The Setup? Now they take on new meaning. Raven’s intellect actually compliments Miss Rat’s strengths, and together they morph into a winning team). Our tiny hero scurries back into the shack as the fisherman examines his busted trap on the front porch.

As our tiny hero curls into her boot home, the camera pans out to the surrounding area. “The Everglades are home to many animals.” Camera closes in on an alligator. “The American alligator is a keystone species crucial to the health and wellbeing of the ecosystem.” (red herring to get our blood pumping—more tension builds + story questions. Will our heroes face this beast?)

Camera pans out to a body of water in the Everglades, cleverly disguised, and we’re not sure why. (We’ll keep watching to find out. Which expertly demonstrates why it’s important to withhold information.) “But some animals aren’t always welcome. An exotic species introduced by humans, the Burmese python doesn’t naturally belong in the Everglades. Despite this fact, it has everything it requires to multiply and dominate these delicate waterways.” (Notice the harsh “dominate” paired with “delicate.” Perfect word choices send subtle clues of emanate danger.)

The slow and agonizing action of the Burmese python sliding into our tiny hero’s drainpipe would tremble even the steeliest heart. (That image alone proves my point about the Tiny Creatures Netflix series — the writer has mastered the art of suspense. Showing a murder or attack is far less suspenseful than the moments leading up to it. Examples: A lone pinecone crunches under the weight of a stranger’s boot behind you on the hiking trail. The flick of a butane lighter amidst the darkened forest around your property while you sip an evening cocktail at the picnic table. You get the picture. 😉)

Sampling the air, the python flicks its tongue. “An intense odor is coming through the pipes.” <dramatic pause> “It can smell a rat.” (Raising the stakes even higher — our heroes don’t stand a chance against this formidable villain.) The python slithers through the drainpipe. “Although the Burmese python is one of the largest snakes in the world, they’re surprisingly agile climbers. To shift their heavy, elongated frame, specialized muscles under their belly propel them forward.” (This smattering of backstory shows how skillful and deadly this predator is AND drives the plot. Lesson: Any and all backstory should be employed with purpose. If it doesn’t benefit the plot, don’t include it.)

<cue dangerous music as the python flows through the dark pipe>

“Continuously flicking its forked tongue, it analyzes its surroundings.” The python emerges from the toilet in the shack (paying off an earlier scene that showed our tiny hero traversing the same route). “The snake can taste (“taste” is another perfect word choice) chemical trails in the air left behind by passing prey.” (Gulp. He referred to our tiny hero as prey! This scene conjures images of the snake swallowing our tiny hero, and our fear mounts with anticipation.)

<cue music that evokes urgency> Camera focuses on the sweet rat munching on a crumb, unaware of the dangerous intruder.

“Instead of adopting an ambush attack, it likes to stalk its unsuspecting prey slowly and silently. Able to open its mouth five times wider than its own head, the rat is an easy meal for the python.” (Can you feel the stakes raising more and more?)

The camera flashes between the snake and our sweet little hero.

“Using heat-sensitive pits lined along its upper lip, the python possesses infrared vision. This allows it to detect warm things.” (setup of 2nd Pinch Point)

The python slithers across the floor as Miss Rat climbs up to a workbench. The close-up of a fly adds to the chilling scene. (We’re glued to that screen as a gazillion questions race through our mind — the epitome of nail-biting suspense.)

Camera gives us a quick peek of outside the shack. “The fisherman has grown up on the Everglades, and he still honors the good ol’ days.” Near the window of the shack, a transparent plastic bag holds water and five coins. “Sunlight passing through the bag acts like a prism, scattering light in all directions. The idea is that it dazzles and confuses flies, keeping them away.” (We think this is just an interesting tidbit of backstory . . . until the camera zooms in on our tiny hero near the bag.) The camera narrows on the python. “But it might not be just the flies that get confused (python’s character flaw).” The snake approaches the bench. “The python has the advantage of not only seeing the rat but also feeling it.” (The writer could’ve used “senses” instead of “feeling,” but the later invokes more terror.)

The python slithers up the wooden leg of an upholstered chair—painfully slow—and we chew our cuticles raw. “Detecting the heat signature as far as three feet away, the rodent appears illuminated.” (Another perfect word choice. “Rodent” ratchets up the tension. Mean ol’ snake doesn’t know our tiny hero like we do!)

Unaware of the danger, Miss Rat munches on another tasty morsel.

“The python slithers ever closer. Its target lies dead ahead.” (2nd Pinch Point, perfectly placed at 62.5%)

Raven lands on the outside windowsill above the bench, but the window is closed. “The raven notices the snake (MRU motivation) and calls out to warn the rat (MRU reaction). But it’s no use. Our tiny hero’s loud munching overpowers the raven’s call (MRU motivation). Time for more drastic action (Scene Goal = Get inside the shack).”

Raven bangs on the glass pane with his strong beak (MRU reaction) to no avail (Scene Conflict = Glass won’t shatter).

“The snake’s hearing is sensitive only to low frequency sounds (villain’s character flaw). And so, it remains unperturbed the raven’s tapping.” With the Burmese python on the cushion of the chair near the workbench, the writer delivers the final blow. “Fixating on its victim, it retracts its body to strike position.” (Tension reaches a boiling point — we cannot look away! + MRU motivation)

Still frantically trying to get inside, Raven slides his beak around the edges of the windowpanes, hammers at the glass, and screeches at high decibels (MRU reaction).

Nothing works. (Suffocating suspense; we’re paralyzed by fear.)

Camera zooms in on the bag suspended next to our tiny hero. “The hanging water bag has gradually heated in the sun (MRU motivation). Now the snake senses two warm targets (MRU reaction + Scene Disaster). Any small movement from either will trigger the snake’s predatory instinct to strike.”

With his bill Raven hammers the crevice between the doors of a shudder-style window (Sequel Reaction).

Helpless, our hero’s furry back faces the python (Sequel Dilemma). Murder is afoot! But right when things look their bleakest (All-is-Lost Moment perfectly placed between 2nd Pinch Point & 2nd Plot Point), the raven busts through the window.

“The raven’s sudden appearance has foiled the python’s ambush.” The snake slithers down the chair leg (MRU motivation). From the safety of the workbench Raven scolds the python as it flees across the floor (MRU reaction + this scene pays off the earlier scene where we learned about the snake’s stomach muscles + Sequel Decision doubles as the next Scene Goal: keep his little buddy safe).

With our tiny hero safe from the python (MRU motivation), Raven hops back on the windowsill (MRU reaction) just as the fisherman enters the shack. The Burmese python in his shack (MRU motivation) causes him to snatch a grabber tool off the wall (MRU reaction).

“Usually the cryptic nature of these snakes makes them hard to detect in the grass. But in the shack, there’s nowhere to hide.”

With the mechanical grabber, the fisherman grips the snake by its head and bundles it up in a long pillowcase. “Expertly catching the snake, the fisherman plans to take it far away.” He loads the python-filled-sack on the boat (MRU motivation). “The rat retreats to the safety and protection of her home (MRU reaction).”

<cue peaceful music as we roam the Everglades> The narrator adds a few lines about the rich landscape (weaving in backstory and allowing the viewer a well-needed break = expert pacing) as the fisherman returns home. “The waters and banks of the Everglades provide humans with endless opportunities.” Inside the shack, the fisherman turns on a gas burner and sets the tea kettle on top. (A close-up of the flame forewarns a potential hazard.)

“After an exhaustingly long day on the water, the fisherman’s work isn’t done yet. He sets about preparing and maintaining his much-loved equipment, working late into the early hours of the morning.” (2nd Plot Point, perfectly placed at 75%)

Our tiny hero curls up in her boot and falls asleep.

The fisherman makes and repairs lures at the workbench. “Such delicate work requires a lot of focus.” He scrubs a hand across his weary eyes. “But, as the saying goes, you shouldn’t burn the candle at both ends.” (forewarns danger + further sets up Climax.)

Our tiny hero peeks out from the boot at the fisherman, who leans back in his chair. Light snoring fills the room (MRU motivation). “A rat never passes on an opportunity to fuel up, and she quickly collects crumbs dropped by the fisherman.” (MRU reaction)

Wicked cute close-up of our tiny hero munching away on a snack (just sayin’). “The noise of the whistling kettle draws the attention of the rat, who anxiously watches as a gust of wind through the opened window ignites a disaster.”

The tail end of a paper towel roll catches fire — <cue dramatic music> — and a flaming sheet falls to the floor. (Climax begins)

Character Arc Part IV: The Resolution

  • hero summons courage and growth to come up with a solution
  • overcomes inner obstacles
  • conquers the antagonistic force
  • all new information must be referenced, foreshadowed, or already in play by this point to avoid deus ex machina.

“Unaware of the catastrophe spreading around him, the fisherman slips into a deeper sleep.” Music from his ear buds lulls him into tranquility.  

Smaller fires break out everywhere (MRU motivation).

“The rat realizes she must act fast if she is to save her home (Scene Goal).” She scans the room. But she’s so tiny (Scene conflict). She scampers up to a wooden rack of pots and pans suspended from the ceiling, and chews through the rope (using the same behavior she learned at the Midpoint when she freed the raven from the trap; thus, this scene also pays off that earlier scene + MRU reaction). Pots and pans crash on the floor.

“The rat’s actions fall on deaf ears.” (Scene Disaster)

Like a black beacon of hope, Raven emerges through the smoke-fueled haze (Sequel Reaction). He lands on the fisherman’s crossed leg, but he doesn’t wake. <cue dramatic music> He screeches and squawks. The fisherman is out cold (Sequel Dilemma).

“The raven calls loudly. It appears to be trying to help the fisherman (nice role reversal, right? Which also illuminates Raven’s true character—3rd Dimension of Character). The raven is not giving up. This situation calls for more drastic measures.” (Sequel Decision doubles as the next Scene Goal = save his little buddy and the fishing shack)

Fire dances dangerously close to the fisherman’s leg as our two heroes communicate, as if forming a plan. But Miss Rat has done all she can. It’s up to Raven now.

While the rat looks on in horror, Raven’s gaze follows the wire from the ear buds to the human’s chest. Flames grow higher around the fisherman (MRU motivation + Scene Conflict).

<cue louder dramatic music> “Time to get physical.” Grabbing the wire in his beak, he tugs and pulls, but it’s no use. Those ear buds won’t budge (Scene Disaster). Nonetheless, he preserves. With all his might Raven muscles one last jerk (Sequel Reaction) and the ear buds pop loose.

“The fisherman’s woken to an alarming spectacle (Sequel Dilemma).” Raven escapes to the windowsill (Sequel Decision = survival) as the fisherman jolts to his feet. Our tiny hero ducks out of sight. “Fires are common in the Everglades. And luckily, he is well-prepared for such an emergency.” The human extinguishes the blaze.

“The heroic efforts of both the rat and the raven meant the fire didn’t get the chance to cause too much damage. The human has cheated death. And he has the rat and the raven to thank.” (Nice twist, right?)

The camera narrows in on both these amazing animals. Raven takes to the sky as our sweet rat climbs down to the floor (Scene Goal = to rest after a job well done).

“But the rat is left without a home.” Camera zooms in on her charred boot (Scene Conflict + setup of the ending). “She must find a new place to rest her weary head.” Our tiny hero climbs into a duffle bag, and her tail slips beneath the partially opened zipper.

Come morning, the sun rises to a new day.

“Troubled by the fire, the fisherman seeks solace on the water.” He collects his equipment, including the duffle bag (Scene Disaster), and sets off on his boat to clear his mind.

Our tiny hero’s nose twitches out a small opening in the bag. As the raven’s gaze follows his buddy being swept away by the human, his lower bill slacks. “Concerned by where the fisherman is taking the rat, the raven follows closely behind from the air.” (Sequel Reaction)

Camera pans out to show the vastness of the Everglades (indicates danger + story questions. Where will our tiny hero end up?). The boat putts through an open channel.

“The fisherman has an unexpected stowaway. But luckily for the rat, she comes from a long line of seafaring ancestors.” (This fact comforts the viewer and begins the setup of the denouement.)

Camera narrows on our tiny hero’s innocent face, shadowed by the duffle bag (Sequel Dilemma).

“As the boat engine stops, he sets up his fishing equipment.” The fisherman unzips the duffle bag but doesn’t spot the rat. “The rat owes a lot to the fisherman. The shack has provided a shelter to her and any future offspring.” (Perhaps the human isn’t all bad after all.)

Our tiny hero crawls out of the bag and into unfamiliar surroundings. Still, she remains quite perky (3rd dimension of character — her true character. And we love her even more.)

He casts. Casts again and again.

“All over the Everglades animals do what they must to survive.”

Camera flashes to the alligator, the python, the iguana, the fly, and then a wide pan from above showing the raven soaring toward the boat with his majestic outstretched wings. (Fantastic cinematography! Which novelists can also create by etching a vivid mental picture in the reader’s mind.)

“In a delicate ecosystem such as this, a balance between predator and prey is critical.”

Raven lands on the boat (Sequel Decision = ensure his little buddy’s safety).

“Through their trials and tribulations, the rat and the raven have developed a mutual respect and understanding for one another. These two lonely souls have formed an unlikely bond, proving that no matter where you’re from or who you are, it’s your actions that truly define you.” Silhouettes of our two heroes perched on the side of the boat.

“The once great rivalry that existed between them has transformed into an even greater friendship.”

Raven and Miss Rat turn to face each other as the sun sets in the background, brilliant orange and blue hues splashed across the horizon.

“Now with the support of one another, anything is possible.” (What a great last line! We leave the story with our hearts overflowing with love for these two incredible animals.) And the denouement is complete.

Highlights of the Writer’s Skill

 

The writer locked us in a stranglehold from the very beginning by raising the Central Dramatic Story Question (shown in Part I). Which became the jumping off point for more and more story questions. Each scene written with a purpose, to either setup a future scene or pay off an earlier one. The proper stringing of scenes ensures the viewer’s attention would never waver.

Also notice how the writer never loosened the death-grip around our throats for more than a brief moment (perfectly placed respites). And through characterization (shown in Part I), the writer periodically forced the viewer to change our perception of the hero, anti-hero, and almost every villain we encountered. Most importantly, perfect plotting kept us engaged from the first sentence to the last.

What’s not to love about Tiny Creatures?

 

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