KN Magazine: Articles
Adding Sizzle to Dialogue / Susan Mills Wilson
We read thrillers because of the way they make us feel. Our hearts pound. Our blood races. We itch to turn each page. Sometimes, though, it’s hard for us to enjoy a good thriller without stimulating dialogue.
Susan Mills Wilson understands how hard it can be for authors to thread tension through their story from beginning to end. In this week’s blog post, Susan Mills Wilson details how she creates tension through dialogue.
Happy reading!
Clay Stafford
Founder Killer Nashville
Publisher / Editorial Director Killer Nashville Magazine
Adding Sizzle to Dialogue
By Susan Mills Wilson
I love the recent Geico commercial where a Jason Bourne-like character receives a call on his cell phone. He thinks it is his partner coming to rescue him from the bad guys who are chasing him on top of a high-rise building. While his mother is talking about squirrels in the attic, the spy-guy single-handedly fends off the “muscle” sent to kill him. He tells Mom it’s a bad time and asks if he can call her back later. The conversation between the two is routine and ordinary. It is the action that piques our interest. This can be true in writing stories.
A writer can’t have car chases, explosions, fistfights, or murder in every scene, but it is important to have tension on every page. Imagine a man and a woman having a conversation in a restaurant. Their dialogue might be important to advance the storyline, but suppose their discussion is amicable, and even worse, there is no chemistry between them. Boring, huh? A writer can turn up the heat to make the scene more interesting by adding simple things. For instance, picture this scenario: Their server is the man’s ex-girlfriend. To make matters worse, she is still angry about their break-up and has been waiting for the opportunity to seek revenge. Do you think he is going to get the pasta he ordered set down on the table, or dumped in his lap?
If you’ve ever sat through a meeting, you know it can be dull. Your mind wanders and you hope you’re not asked a question because once the boss starts talking about unrealistic goals for next
year, you’ve already tuned him out. I don’t like to write dialogue between characters in an office unless it is a heated exchange or I can add something interesting like the distraction of a window washer hanging precariously on his platform.
In my latest novel, Meltdown , I have written about a conversation between two homicide detectives as they drive through traffic on their way to question someone about a shooting. There is nothing earth-shaking about their dialogue. My purpose is to reveal one of the detectives’ attraction to a beautiful female suspect. While his partner drives, he presses him about unflattering, sexist remarks made about the woman. However, his partner is determined to get off the subject by complaining about the driver ahead of him. He rants because the woman has plenty of time to make her left turn but waits to make her move in front of an approaching tractor-trailer just in the nick of time. He shouts at the lady, even though she can’t hear him. It is nothing more than simplistic nonsense to add a little punch to the scene.
Of course, dialogue itself can add tension. Because I write romantic suspense, I try to keep the sexual tension present not only in body language, but in spoken words. Even the tone makes a difference in setting the scene and the emotion. Sometimes there is a hidden meaning or double meaning in what the character says. In Meltdown, Detective Chris Lagoni is frustrated with Megan Moore, a beautiful young woman who has impeded his murder investigation at every turn. After he blows up at her for withholding information, she walks away in protest. He finds her meditating on her living room floor. He says to her, “Maybe it will help your inner peace if you just come clean.”
Dialogue also can be deceptive and throw us off scent. In another novel of mine, Her Lying Eyes, a Southern belle socialite makes sweet naïve remarks, looking more like Melanie Hamilton than the manipulative Scarlet O’Hara. She is never considered to be dangerous. In a twist near the end of the story, her claws come out.
Think about the impact of dialogue in movies. Everyone likes to recall favorite memorable lines. It is not only what is said, but what is happening at the time the actor gives the line. My favorite is from Jaws when Police Chief Brody says, “We’re gonna need a bigger boat.” The line is simple but says a lot. What makes the line so effective is the look on Brody’s face when he first gets a glimpse at the massive size of the great white shark.
It is a challenge for a writer to keep the tension going throughout the story, but as an author of gritty suspense, I feel an obligation to do so or end up disappointing my readers. I hope I always listen to my own advice: Turn up the heat to make the story sizzle, or risk having it sit on the back burner (or shelf, collecting dust).
Susan Mills Wilson is a native of North Carolina where she lives with her husband and pampered golden retriever. An avid football fan, she pulls for the Carolina Panthers as long as they’re winning. She cannot function or be approached by another human being until she has her morning coffee. In addition to writing gritty novels and short stories, she enjoys writing a blog on a range of topics. She is the leader of the Charlotte Writers Club Mystery Critique Group.
She has published three romantic suspense novels: Good Gone Bad, Her Lying Eyes, and Meltdown . Much of her research on law enforcement came from attending Killer Nashville and participating in three citizen police academies where she was given a certificate of completion, but thankfully no gun or shield. She is currently working on her fourth novel, Hunt for Redemption, which is due out later this year.
She can be found on Facebook, on Twitter @smillswilson, and on her website at http://susanmillswilson.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Bailey Harris, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Adding Sizzle to Dialogue / Susan Mills Wilson
We read thrillers because of the way they make us feel. Our hearts pound. Our blood races. We itch to turn each page. Sometimes, though, it’s hard for us to enjoy a good thriller without stimulating dialogue.Susan Mills Wilson understands how hard it can be for authors to thread tension through their story from beginning to end. In this week’s blog post, Susan Mills Wilson details how she creates tension through dialogue.Happy reading!
Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Adding Sizzle to Dialogue
By Susan Mills Wilson
I love the recent Geico commercial where a Jason Bourne-like character receives a call on his cell phone. He thinks it is his partner coming to rescue him from the bad guys who are chasing him on top of a high-rise building. While his mother is talking about squirrels in the attic, the spy-guy single-handedly fends off the “muscle” sent to kill him. He tells Mom it’s a bad time and asks if he can call her back later. The conversation between the two is routine and ordinary. It is the action that piques our interest. This can be true in writing stories.
A writer can’t have car chases, explosions, fistfights, or murder in every scene, but it is important to have tension on every page. Imagine a man and a woman having a conversation in a restaurant. Their dialogue might be important to advance the storyline, but suppose their discussion is amicable, and even worse, there is no chemistry between them. Boring, huh? A writer can turn up the heat to make the scene more interesting by adding simple things. For instance, picture this scenario: Their server is the man’s ex-girlfriend. To make matters worse, she is still angry about their break-up and has been waiting for the opportunity to seek revenge. Do you think he is going to get the pasta he ordered set down on the table, or dumped in his lap?
If you’ve ever sat through a meeting, you know it can be dull. Your mind wanders and you hope you’re not asked a question because once the boss starts talking about unrealistic goals for next
year, you’ve already tuned him out. I don’t like to write dialogue between characters in an office unless it is a heated exchange or I can add something interesting like the distraction of a window washer hanging precariously on his platform.
In my latest novel, Meltdown , I have written about a conversation between two homicide detectives as they drive through traffic on their way to question someone about a shooting. There is nothing earth-shaking about their dialogue. My purpose is to reveal one of the detectives’ attraction to a beautiful female suspect. While his partner drives, he presses him about unflattering, sexist remarks made about the woman. However, his partner is determined to get off the subject by complaining about the driver ahead of him. He rants because the woman has plenty of time to make her left turn but waits to make her move in front of an approaching tractor-trailer just in the nick of time. He shouts at the lady, even though she can’t hear him. It is nothing more than simplistic nonsense to add a little punch to the scene.
Of course, dialogue itself can add tension. Because I write romantic suspense, I try to keep the sexual tension present not only in body language, but in spoken words. Even the tone makes a difference in setting the scene and the emotion. Sometimes there is a hidden meaning or double meaning in what the character says. In Meltdown, Detective Chris Lagoni is frustrated with Megan Moore, a beautiful young woman who has impeded his murder investigation at every turn. After he blows up at her for withholding information, she walks away in protest. He finds her meditating on her living room floor. He says to her, “Maybe it will help your inner peace if you just come clean.”
Dialogue also can be deceptive and throw us off scent. In another novel of mine, Her Lying Eyes, a Southern belle socialite makes sweet naïve remarks, looking more like Melanie Hamilton than the manipulative Scarlet O’Hara. She is never considered to be dangerous. In a twist near the end of the story, her claws come out.
Think about the impact of dialogue in movies. Everyone likes to recall favorite memorable lines. It is not only what is said, but what is happening at the time the actor gives the line. My favorite is from Jaws when Police Chief Brody says, “We’re gonna need a bigger boat.” The line is simple but says a lot. What makes the line so effective is the look on Brody’s face when he first gets a glimpse at the massive size of the great white shark.
It is a challenge for a writer to keep the tension going throughout the story, but as an author of gritty suspense, I feel an obligation to do so or end up disappointing my readers. I hope I always listen to my own advice: Turn up the heat to make the story sizzle, or risk having it sit on the back burner (or shelf, collecting dust).
Susan Mills Wilson is a native of North Carolina where she lives with her husband and pampered golden retriever. An avid football fan, she pulls for the Carolina Panthers as long as they’re winning. She cannot function or be approached by another human being until she has her morning coffee. In addition to writing gritty novels and short stories, she enjoys writing a blog on a range of topics. She is the leader of the Charlotte Writers Club Mystery Critique Group.
She has published three romantic suspense novels: Good Gone Bad, Her Lying Eyes, and Meltdown . Much of her research on law enforcement came from attending Killer Nashville and participating in three citizen police academies where she was given a certificate of completion, but thankfully no gun or shield. She is currently working on her fourth novel, Hunt for Redemption, which is due out later this year.
She can be found on Facebook, on Twitter @smillswilson, and on her website at http://susanmillswilson.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Bailey Harris, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Adding Sizzle to Dialogue / Susan Mills Wilson
We read thrillers because of the way they make us feel. Our hearts pound. Our blood races. We itch to turn each page. Sometimes, though, it’s hard for us to enjoy a good thriller without stimulating dialogue.Susan Mills Wilson understands how hard it can be for authors to thread tension through their story from beginning to end. In this week’s blog post, Susan Mills Wilson details how she creates tension through dialogue.Happy reading!
Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Adding Sizzle to Dialogue
By Susan Mills Wilson
I love the recent Geico commercial where a Jason Bourne-like character receives a call on his cell phone. He thinks it is his partner coming to rescue him from the bad guys who are chasing him on top of a high-rise building. While his mother is talking about squirrels in the attic, the spy-guy single-handedly fends off the “muscle” sent to kill him. He tells Mom it’s a bad time and asks if he can call her back later. The conversation between the two is routine and ordinary. It is the action that piques our interest. This can be true in writing stories.
A writer can’t have car chases, explosions, fistfights, or murder in every scene, but it is important to have tension on every page. Imagine a man and a woman having a conversation in a restaurant. Their dialogue might be important to advance the storyline, but suppose their discussion is amicable, and even worse, there is no chemistry between them. Boring, huh? A writer can turn up the heat to make the scene more interesting by adding simple things. For instance, picture this scenario: Their server is the man’s ex-girlfriend. To make matters worse, she is still angry about their break-up and has been waiting for the opportunity to seek revenge. Do you think he is going to get the pasta he ordered set down on the table, or dumped in his lap?
If you’ve ever sat through a meeting, you know it can be dull. Your mind wanders and you hope you’re not asked a question because once the boss starts talking about unrealistic goals for next
year, you’ve already tuned him out. I don’t like to write dialogue between characters in an office unless it is a heated exchange or I can add something interesting like the distraction of a window washer hanging precariously on his platform.
In my latest novel, Meltdown , I have written about a conversation between two homicide detectives as they drive through traffic on their way to question someone about a shooting. There is nothing earth-shaking about their dialogue. My purpose is to reveal one of the detectives’ attraction to a beautiful female suspect. While his partner drives, he presses him about unflattering, sexist remarks made about the woman. However, his partner is determined to get off the subject by complaining about the driver ahead of him. He rants because the woman has plenty of time to make her left turn but waits to make her move in front of an approaching tractor-trailer just in the nick of time. He shouts at the lady, even though she can’t hear him. It is nothing more than simplistic nonsense to add a little punch to the scene.
Of course, dialogue itself can add tension. Because I write romantic suspense, I try to keep the sexual tension present not only in body language, but in spoken words. Even the tone makes a difference in setting the scene and the emotion. Sometimes there is a hidden meaning or double meaning in what the character says. In Meltdown, Detective Chris Lagoni is frustrated with Megan Moore, a beautiful young woman who has impeded his murder investigation at every turn. After he blows up at her for withholding information, she walks away in protest. He finds her meditating on her living room floor. He says to her, “Maybe it will help your inner peace if you just come clean.”
Dialogue also can be deceptive and throw us off scent. In another novel of mine, Her Lying Eyes, a Southern belle socialite makes sweet naïve remarks, looking more like Melanie Hamilton than the manipulative Scarlet O’Hara. She is never considered to be dangerous. In a twist near the end of the story, her claws come out.
Think about the impact of dialogue in movies. Everyone likes to recall favorite memorable lines. It is not only what is said, but what is happening at the time the actor gives the line. My favorite is from Jaws when Police Chief Brody says, “We’re gonna need a bigger boat.” The line is simple but says a lot. What makes the line so effective is the look on Brody’s face when he first gets a glimpse at the massive size of the great white shark.
It is a challenge for a writer to keep the tension going throughout the story, but as an author of gritty suspense, I feel an obligation to do so or end up disappointing my readers. I hope I always listen to my own advice: Turn up the heat to make the story sizzle, or risk having it sit on the back burner (or shelf, collecting dust).
Susan Mills Wilson is a native of North Carolina where she lives with her husband and pampered golden retriever. An avid football fan, she pulls for the Carolina Panthers as long as they’re winning. She cannot function or be approached by another human being until she has her morning coffee. In addition to writing gritty novels and short stories, she enjoys writing a blog on a range of topics. She is the leader of the Charlotte Writers Club Mystery Critique Group.
She has published three romantic suspense novels: Good Gone Bad, Her Lying Eyes, and Meltdown . Much of her research on law enforcement came from attending Killer Nashville and participating in three citizen police academies where she was given a certificate of completion, but thankfully no gun or shield. She is currently working on her fourth novel, Hunt for Redemption, which is due out later this year.
She can be found on Facebook, on Twitter @smillswilson, and on her website at http://susanmillswilson.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Bailey Harris, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Using the Enneagram to Develop Characters / Margaret Mizushima
We all have different methods of analysis to make sense of the human mind—both the one we live in, and the ones we create when writing. When writing her new series, author Margaret Mizushima turned to the inside-out character development of the Enneagram personality types for her leads. Whether you’re an armchair psychologist or a personology neophyte, you’ll find Margaret’s thought process full of valuable character creation techniques for your own work.
Happy reading!
Clay Stafford
Founder Killer Nashville
Publisher / Editorial Director Killer Nashville Magazine
Using the Enneagram to Develop Characters
By Margaret Mizushima
When preparing to write Killing Trail: A Timber Creek K-9 Mystery, I used a familiar tool to develop my two protagonists, Deputy Mattie Lu Cobb and Cole Walker, DVM. This tool is a character profile that starts out like a job application with identification, educational, and historical background, and a wide variety of physical characteristics, including gestural and speech habits. Most writers have seen this type of profile before. I also include a section for internal and external goals, conflict, and motivation.
But before writing my first Timber Creek K-9 mystery, I knew I wanted to create a series, and I knew I wanted to be with these characters for several years. So I tried something that was new for me: I decided to assign a personality type from the Enneagram to my two protagonists, so that I could really get inside them and recognize how they interpreted their worlds. This would help me identify how the two would react in given situations.
Personality typing wasn’t new to me, since I’d participated in team-building exercises where the Myers-Briggs personality inventory had been used. But I discovered the Enneagram on my own by reading Helen Palmer’s book, The Enneagram: Understanding Yourself and the Others in Your Life. Palmer describes nine basic personality types and labels them the Perfectionist, the Giver, the Performer, the Tragic Romantic, the Observer, the Devil’s Advocate, the Epicure, the Boss, and the Mediator. (Other authors have written about the Enneagram and have labeled the points differently.) Palmer adds the caveat, “The Enneagram, however, is not a fixed system. It is a model interconnecting lines that indicate a dynamic movement, in which each of us has the potentials of all nine types, or points, although we identify most strongly with the issues of our own.”
Purposely avoiding my own type, I assigned Mattie and Cole different points on the Enneagram. Mattie became a One, which Palmer calls the Perfectionist, and Cole became an Eight, the Boss. Then I researched Palmer’s chapters on these two types and created four to five page lists of characteristics for each.
Here are a few examples of characteristics that make up Mattie’s type: “Ones learned to behave properly, to take on responsibility, and be correct in the eyes of others.” “Ones are convinced life is hard and ease must be earned, that virtue is its own reward, and that pleasure should be postponed until everything else gets done.” “Preoccupied with what ‘should be’ and what ‘must be done’.”
Thus, when Mattie is presented with an invitation to a party, it holds no interest for her. She’s a loner with a stiff set of expectations for herself and others. She knows right vs. wrong and doesn’t trust others to make decisions for her—a downfall in her partnership with a patrol dog, but a characteristic that she learns to come to grips with. Something I found most interesting is that many Ones choose careers in law enforcement, which came in handy for creating this deputy.
On the other hand, as a point Eight, Cole Walker comes into situations with a different mindset. A few characteristics of his type are: “Eights feel secure when they can control a situation by calling the shots and making other people obey.” “Love is more often expressed through protection than through demonstrations of tender feelings. Commitment means taking the beloved under their wing and making the way safe.” “Their central issue is control. Who has the power and will that person be fair? The preferred position is to take charge.”
Eights have often grown up in an environment where others, such as siblings and parents, exert power and authority in a way that forces them to learn how to stand up for themselves at an early age. They are focused on justice, being fair, and protecting those they love. Think of the alpha wolf in the pack, the dealer of tough love. When Cole is faced with raising his two daughters on his own—daughters he’s not spent much quality time with, since he views himself as provider of food, shelter, and material comforts—he finds himself at a loss for how to express love and tenderness.
Palmer gives a detailed description of this complex system of personality types, as well as illustrations of how each type reacts in times of stress or comfort. I found reading the entire book and typing myself helpful before trying to apply the information to characters. There are many other books on this subject, but this is the one I’ve found most useful for this purpose. I’m by no means an expert in this field of study, but when applying it to character development, a writer doesn’t have to be. The system can become another tool to provide depth.
Margaret Mizushima is the author of Killing Trail: A Timber Creek K-9 Mystery, which was named Debut Mystery of the Month for December 2015 by Library Journal, and has been nominated for an RT Reviewer’s Choice award for Best First Mystery. She lives in Colorado where she assists her husband with their veterinary practice and Angus cattle. She can be found on Facebook, on Twitter @margmizu, and on her website at www.margaretmizushima.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Using the Enneagram to Develop Characters / Margaret Mizushima
We all have different methods of analysis to make sense of the human mind—both the one we live in, and the ones we create when writing. When writing her new series, author Margaret Mizushima turned to the inside-out character development of the Enneagram personality types for her leads. Whether you’re an armchair psychologist or a personology neophyte, you’ll find Margaret’s thought process full of valuable character creation techniques for your own work.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Using the Enneagram to Develop Characters
By Margaret Mizushima
When preparing to write Killing Trail: A Timber Creek K-9 Mystery, I used a familiar tool to develop my two protagonists, Deputy Mattie Lu Cobb and Cole Walker, DVM. This tool is a character profile that starts out like a job application with identification, educational, and historical background, and a wide variety of physical characteristics, including gestural and speech habits. Most writers have seen this type of profile before. I also include a section for internal and external goals, conflict, and motivation.
But before writing my first Timber Creek K-9 mystery, I knew I wanted to create a series, and I knew I wanted to be with these characters for several years. So I tried something that was new for me: I decided to assign a personality type from the Enneagram to my two protagonists, so that I could really get inside them and recognize how they interpreted their worlds. This would help me identify how the two would react in given situations.
Personality typing wasn’t new to me, since I’d participated in team-building exercises where the Myers-Briggs personality inventory had been used. But I discovered the Enneagram on my own by reading Helen Palmer’s book, The Enneagram: Understanding Yourself and the Others in Your Life. Palmer describes nine basic personality types and labels them the Perfectionist, the Giver, the Performer, the Tragic Romantic, the Observer, the Devil’s Advocate, the Epicure, the Boss, and the Mediator. (Other authors have written about the Enneagram and have labeled the points differently.) Palmer adds the caveat, “The Enneagram, however, is not a fixed system. It is a model interconnecting lines that indicate a dynamic movement, in which each of us has the potentials of all nine types, or points, although we identify most strongly with the issues of our own.”
Purposely avoiding my own type, I assigned Mattie and Cole different points on the Enneagram. Mattie became a One, which Palmer calls the Perfectionist, and Cole became an Eight, the Boss. Then I researched Palmer’s chapters on these two types and created four to five page lists of characteristics for each.
Here are a few examples of characteristics that make up Mattie’s type: “Ones learned to behave properly, to take on responsibility, and be correct in the eyes of others.” “Ones are convinced life is hard and ease must be earned, that virtue is its own reward, and that pleasure should be postponed until everything else gets done.” “Preoccupied with what ‘should be’ and what ‘must be done’.”
Thus, when Mattie is presented with an invitation to a party, it holds no interest for her. She’s a loner with a stiff set of expectations for herself and others. She knows right vs. wrong and doesn’t trust others to make decisions for her—a downfall in her partnership with a patrol dog, but a characteristic that she learns to come to grips with. Something I found most interesting is that many Ones choose careers in law enforcement, which came in handy for creating this deputy.
On the other hand, as a point Eight, Cole Walker comes into situations with a different mindset. A few characteristics of his type are: “Eights feel secure when they can control a situation by calling the shots and making other people obey.” “Love is more often expressed through protection than through demonstrations of tender feelings. Commitment means taking the beloved under their wing and making the way safe.” “Their central issue is control. Who has the power and will that person be fair? The preferred position is to take charge.”
Eights have often grown up in an environment where others, such as siblings and parents, exert power and authority in a way that forces them to learn how to stand up for themselves at an early age. They are focused on justice, being fair, and protecting those they love. Think of the alpha wolf in the pack, the dealer of tough love. When Cole is faced with raising his two daughters on his own—daughters he’s not spent much quality time with, since he views himself as provider of food, shelter, and material comforts—he finds himself at a loss for how to express love and tenderness.
Palmer gives a detailed description of this complex system of personality types, as well as illustrations of how each type reacts in times of stress or comfort. I found reading the entire book and typing myself helpful before trying to apply the information to characters. There are many other books on this subject, but this is the one I’ve found most useful for this purpose. I’m by no means an expert in this field of study, but when applying it to character development, a writer doesn’t have to be. The system can become another tool to provide depth.
Margaret Mizushima is the author of Killing Trail: A Timber Creek K-9 Mystery, which was named Debut Mystery of the Month for December 2015 by Library Journal, and has been nominated for an RT Reviewer’s Choice award for Best First Mystery. She lives in Colorado where she assists her husband with their veterinary practice and Angus cattle. She can be found on Facebook, on Twitter @margmizu, and on her website at www.margaretmizushima.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Using the Enneagram to Develop Characters / Margaret Mizushima
We all have different methods of analysis to make sense of the human mind—both the one we live in, and the ones we create when writing. When writing her new series, author Margaret Mizushima turned to the inside-out character development of the Enneagram personality types for her leads. Whether you’re an armchair psychologist or a personology neophyte, you’ll find Margaret’s thought process full of valuable character creation techniques for your own work.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Using the Enneagram to Develop Characters
By Margaret Mizushima
When preparing to write Killing Trail: A Timber Creek K-9 Mystery, I used a familiar tool to develop my two protagonists, Deputy Mattie Lu Cobb and Cole Walker, DVM. This tool is a character profile that starts out like a job application with identification, educational, and historical background, and a wide variety of physical characteristics, including gestural and speech habits. Most writers have seen this type of profile before. I also include a section for internal and external goals, conflict, and motivation.
But before writing my first Timber Creek K-9 mystery, I knew I wanted to create a series, and I knew I wanted to be with these characters for several years. So I tried something that was new for me: I decided to assign a personality type from the Enneagram to my two protagonists, so that I could really get inside them and recognize how they interpreted their worlds. This would help me identify how the two would react in given situations.
Personality typing wasn’t new to me, since I’d participated in team-building exercises where the Myers-Briggs personality inventory had been used. But I discovered the Enneagram on my own by reading Helen Palmer’s book, The Enneagram: Understanding Yourself and the Others in Your Life. Palmer describes nine basic personality types and labels them the Perfectionist, the Giver, the Performer, the Tragic Romantic, the Observer, the Devil’s Advocate, the Epicure, the Boss, and the Mediator. (Other authors have written about the Enneagram and have labeled the points differently.) Palmer adds the caveat, “The Enneagram, however, is not a fixed system. It is a model interconnecting lines that indicate a dynamic movement, in which each of us has the potentials of all nine types, or points, although we identify most strongly with the issues of our own.”
Purposely avoiding my own type, I assigned Mattie and Cole different points on the Enneagram. Mattie became a One, which Palmer calls the Perfectionist, and Cole became an Eight, the Boss. Then I researched Palmer’s chapters on these two types and created four to five page lists of characteristics for each.
Here are a few examples of characteristics that make up Mattie’s type: “Ones learned to behave properly, to take on responsibility, and be correct in the eyes of others.” “Ones are convinced life is hard and ease must be earned, that virtue is its own reward, and that pleasure should be postponed until everything else gets done.” “Preoccupied with what ‘should be’ and what ‘must be done’.”
Thus, when Mattie is presented with an invitation to a party, it holds no interest for her. She’s a loner with a stiff set of expectations for herself and others. She knows right vs. wrong and doesn’t trust others to make decisions for her—a downfall in her partnership with a patrol dog, but a characteristic that she learns to come to grips with. Something I found most interesting is that many Ones choose careers in law enforcement, which came in handy for creating this deputy.
On the other hand, as a point Eight, Cole Walker comes into situations with a different mindset. A few characteristics of his type are: “Eights feel secure when they can control a situation by calling the shots and making other people obey.” “Love is more often expressed through protection than through demonstrations of tender feelings. Commitment means taking the beloved under their wing and making the way safe.” “Their central issue is control. Who has the power and will that person be fair? The preferred position is to take charge.”
Eights have often grown up in an environment where others, such as siblings and parents, exert power and authority in a way that forces them to learn how to stand up for themselves at an early age. They are focused on justice, being fair, and protecting those they love. Think of the alpha wolf in the pack, the dealer of tough love. When Cole is faced with raising his two daughters on his own—daughters he’s not spent much quality time with, since he views himself as provider of food, shelter, and material comforts—he finds himself at a loss for how to express love and tenderness.
Palmer gives a detailed description of this complex system of personality types, as well as illustrations of how each type reacts in times of stress or comfort. I found reading the entire book and typing myself helpful before trying to apply the information to characters. There are many other books on this subject, but this is the one I’ve found most useful for this purpose. I’m by no means an expert in this field of study, but when applying it to character development, a writer doesn’t have to be. The system can become another tool to provide depth.
Margaret Mizushima is the author of Killing Trail: A Timber Creek K-9 Mystery, which was named Debut Mystery of the Month for December 2015 by Library Journal, and has been nominated for an RT Reviewer’s Choice award for Best First Mystery. She lives in Colorado where she assists her husband with their veterinary practice and Angus cattle. She can be found on Facebook, on Twitter @margmizu, and on her website at www.margaretmizushima.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Old Days, New Ways: Self-Publishing / Robert J. Randisi
Killer Nashville 2016’s John Seigenthaler Legends Award recipient Robert J. Randisi has seen his fair share of rejection letters. After all, the road to publishing is never easy, and you don’t publish over 650 books without walking off all kinds of early disappointments. The industry at present, however, makes it seem possible to avoid that painful process through self-publishing. In this week’s guest blog, Randisi takes a hard look at this shortcut, and shares his advice.
Happy reading!
Clay Stafford
Founder Killer Nashville
Publisher / Editorial Director Killer Nashville Magazine
Old Days, New Ways
By Robert J. Randisi
Back in the late 1970s, when I was trying to break into the publishing business with private eye fiction, editors were telling me that the Private Eye was dead. But I persevered, and my first novel, The Disappearance of Penny (1980), was a private eye novel. Not long after its publication, I founded the Private Eye Writers of America. Our aim was to honor and further the private eye genre, elevating it to more than just a mystery subgenre, and now that PWA and the Shamus Award are starting their 35th year, I think we managed to succeed. And one of my recent books, The Honky Tonk Big Hoss Boogie (Perfect Crime, 2013) was the first in a new private eye series set in Nashville. The second book, The Last Sweet Song of Hammer Dylan (Perfect Crime), will follow later this year. And on we go…
But reminiscing about the days when I broke into the business makes me think of writers asking me today how to break in. Wow, how things have changed. Back then, I had to mail the manuscripts to editors and wait months for a reply—often a “No,” or “Does not suit our present needs.” I know writers who have collected 400, 500, 600 such rejection slips from publishers, and yet never lost their enthusiasm. Rather, those slips were merit badges, showing that they were paying their dues. Eventually, many of us got that first acceptance letter, and went on to a career.
But there are now countless outlets for authors who don’t want to wait for that acceptance letter: not when they can simply put the books out themselves. Ebook publishing and self-publishing have replaced all those rejection slips. Is this a good thing? Some say yes, some say no. Just look at the proliferation of self-published books on Amazon. Try to read some of them. A good portion are badly written and poorly edited, if they’re edited at all. There are books out there that, after years of rejection, have been published by authors who had the time and excess income to publish the books themselves. (Many of them were not published previously for good reason!)
Now, I’m not making any kind of sweeping statement that self-publishing is bad, or that all self-published books are bad. I’m saying that some writers’ impatience to be published has resulted in badly written, badly edited books making it to the marketplace. And there are books out there by published writers who are finding it difficult to stay published in the current environment, which have also been too hastily rushed to market.
So while I make no sweeping allegation that all self-published books are bad, I do offer these words of advice: BEFORE you send that manuscript out to be formatted and published by Smashwords or Kindle or Createspace, READ it over again and again; BEFORE you publish the book, invest some disposable income in a good editor, to be sure the grammar, sentence structure, and punctuation are correct.
As much as you may feel sure that the book is “fine”, there are many, many good writers out there who are BAD editors. To paraphrase the legal industry, “The author who edits his own book has a fool for an editor.”
Robert J. Randisi is the author of the Miles Jacoby, Nick Delvecchio, Gil & Claire Hunt, Dennis McQueen, Joe Keough, and The Rat Pack mystery series. The Honky Tonk Big Hoss Boogie (Perfect Crime Books), the first book in the Auggie Velez Nashville P.I. series, appeared in 2013. Upon My Soul(Down & Out Books, 2013) is the first book in the “Hitman with a Soul” Trilogy. The second book is Souls of the Dead(2015, Down & Out Books). His recent novel McKenna’s House (Crossroad Press) has been called his best book yet by several reviewers. The 10th book in his Rat Pack series, When Somebody Kills You, was published in Sept. 2015 by Severn House. He is the editor of over 30 anthologies. All told, he is the author of more than 650 novels, many of which have been Westerns.
His Housesitting Detective series appeared from Dagger Books in 2015, with the first book, Dry Stone Walls.
He is the founder of the Private Eye Writers of America, the creator of the Shamus Award, the co-founder of Mystery Scene Magazine and the American Crime Writers League with Ed Gorman, and one of the founders of Western Fictioneers and the Peacemaker Award. He is also the editor of How to Write a P.I. Novel for Writer’s Digest.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Old Days, New Ways: Self-Publishing / Robert J. Randisi
Killer Nashville 2016’s John Seigenthaler Legends Award recipient Robert J. Randisi has seen his fair share of rejection letters. After all, the road to publishing is never easy, and you don’t publish over 650 books without walking off all kinds of early disappointments. The industry at present, however, makes it seem possible to avoid that painful process through self-publishing. In this week’s guest blog, Randisi takes a hard look at this shortcut, and shares his advice.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Old Days, New Ways
By Robert J. Randisi
Back in the late 1970s, when I was trying to break into the publishing business with private eye fiction, editors were telling me that the Private Eye was dead. But I persevered, and my first novel, The Disappearance of Penny (1980), was a private eye novel. Not long after its publication, I founded the Private Eye Writers of America. Our aim was to honor and further the private eye genre, elevating it to more than just a mystery subgenre, and now that PWA and the Shamus Award are starting their 35th year, I think we managed to succeed. And one of my recent books, The Honky Tonk Big Hoss Boogie (Perfect Crime, 2013) was the first in a new private eye series set in Nashville. The second book, The Last Sweet Song of Hammer Dylan (Perfect Crime), will follow later this year. And on we go…
But reminiscing about the days when I broke into the business makes me think of writers asking me today how to break in. Wow, how things have changed. Back then, I had to mail the manuscripts to editors and wait months for a reply—often a “No,” or “Does not suit our present needs.” I know writers who have collected 400, 500, 600 such rejection slips from publishers, and yet never lost their enthusiasm. Rather, those slips were merit badges, showing that they were paying their dues. Eventually, many of us got that first acceptance letter, and went on to a career.
But there are now countless outlets for authors who don’t want to wait for that acceptance letter: not when they can simply put the books out themselves. Ebook publishing and self-publishing have replaced all those rejection slips. Is this a good thing? Some say yes, some say no. Just look at the proliferation of self-published books on Amazon. Try to read some of them. A good portion are badly written and poorly edited, if they’re edited at all. There are books out there that, after years of rejection, have been published by authors who had the time and excess income to publish the books themselves. (Many of them were not published previously for good reason!)
Now, I’m not making any kind of sweeping statement that self-publishing is bad, or that all self-published books are bad. I’m saying that some writers’ impatience to be published has resulted in badly written, badly edited books making it to the marketplace. And there are books out there by published writers who are finding it difficult to stay published in the current environment, which have also been too hastily rushed to market.
So while I make no sweeping allegation that all self-published books are bad, I do offer these words of advice: BEFORE you send that manuscript out to be formatted and published by Smashwords or Kindle or Createspace, READ it over again and again; BEFORE you publish the book, invest some disposable income in a good editor, to be sure the grammar, sentence structure, and punctuation are correct.
As much as you may feel sure that the book is “fine”, there are many, many good writers out there who are BAD editors. To paraphrase the legal industry, “The author who edits his own book has a fool for an editor.”
Robert J. Randisi is the author of the Miles Jacoby, Nick Delvecchio, Gil & Claire Hunt, Dennis McQueen, Joe Keough, and The Rat Pack mystery series. The Honky Tonk Big Hoss Boogie (Perfect Crime Books), the first book in the Auggie Velez Nashville P.I. series, appeared in 2013. Upon My Soul (Down & Out Books, 2013) is the first book in the “Hitman with a Soul” Trilogy. The second book is Souls of the Dead (2015, Down & Out Books). His recent novel McKenna’s House (Crossroad Press) has been called his best book yet by several reviewers. The 10th book in his Rat Pack series, When Somebody Kills You, was published in Sept. 2015 by Severn House. He is the editor of over 30 anthologies. All told, he is the author of more than 650 novels, many of which have been Westerns.
His Housesitting Detective series appeared from Dagger Books in 2015, with the first book, Dry Stone Walls.
He is the founder of the Private Eye Writers of America, the creator of the Shamus Award, the co-founder of Mystery Scene Magazine and the American Crime Writers League with Ed Gorman, and one of the founders of Western Fictioneers and the Peacemaker Award. He is also the editor of How to Write a P.I. Novel for Writer’s Digest.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Old Days, New Ways: Self-Publishing / Robert J. Randisi
Killer Nashville 2016’s John Seigenthaler Legends Award recipient Robert J. Randisi has seen his fair share of rejection letters. After all, the road to publishing is never easy, and you don’t publish over 650 books without walking off all kinds of early disappointments. The industry at present, however, makes it seem possible to avoid that painful process through self-publishing. In this week’s guest blog, Randisi takes a hard look at this shortcut, and shares his advice.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Old Days, New Ways
By Robert J. Randisi
Back in the late 1970s, when I was trying to break into the publishing business with private eye fiction, editors were telling me that the Private Eye was dead. But I persevered, and my first novel, The Disappearance of Penny (1980), was a private eye novel. Not long after its publication, I founded the Private Eye Writers of America. Our aim was to honor and further the private eye genre, elevating it to more than just a mystery subgenre, and now that PWA and the Shamus Award are starting their 35th year, I think we managed to succeed. And one of my recent books, The Honky Tonk Big Hoss Boogie (Perfect Crime, 2013) was the first in a new private eye series set in Nashville. The second book, The Last Sweet Song of Hammer Dylan (Perfect Crime), will follow later this year. And on we go…
But reminiscing about the days when I broke into the business makes me think of writers asking me today how to break in. Wow, how things have changed. Back then, I had to mail the manuscripts to editors and wait months for a reply—often a “No,” or “Does not suit our present needs.” I know writers who have collected 400, 500, 600 such rejection slips from publishers, and yet never lost their enthusiasm. Rather, those slips were merit badges, showing that they were paying their dues. Eventually, many of us got that first acceptance letter, and went on to a career.
But there are now countless outlets for authors who don’t want to wait for that acceptance letter: not when they can simply put the books out themselves. Ebook publishing and self-publishing have replaced all those rejection slips. Is this a good thing? Some say yes, some say no. Just look at the proliferation of self-published books on Amazon. Try to read some of them. A good portion are badly written and poorly edited, if they’re edited at all. There are books out there that, after years of rejection, have been published by authors who had the time and excess income to publish the books themselves. (Many of them were not published previously for good reason!)
Now, I’m not making any kind of sweeping statement that self-publishing is bad, or that all self-published books are bad. I’m saying that some writers’ impatience to be published has resulted in badly written, badly edited books making it to the marketplace. And there are books out there by published writers who are finding it difficult to stay published in the current environment, which have also been too hastily rushed to market.
So while I make no sweeping allegation that all self-published books are bad, I do offer these words of advice: BEFORE you send that manuscript out to be formatted and published by Smashwords or Kindle or Createspace, READ it over again and again; BEFORE you publish the book, invest some disposable income in a good editor, to be sure the grammar, sentence structure, and punctuation are correct.
As much as you may feel sure that the book is “fine”, there are many, many good writers out there who are BAD editors. To paraphrase the legal industry, “The author who edits his own book has a fool for an editor.”
Robert J. Randisi is the author of the Miles Jacoby, Nick Delvecchio, Gil & Claire Hunt, Dennis McQueen, Joe Keough, and The Rat Pack mystery series. The Honky Tonk Big Hoss Boogie (Perfect Crime Books), the first book in the Auggie Velez Nashville P.I. series, appeared in 2013. Upon My Soul (Down & Out Books, 2013) is the first book in the “Hitman with a Soul” Trilogy. The second book is Souls of the Dead (2015, Down & Out Books). His recent novel McKenna’s House (Crossroad Press) has been called his best book yet by several reviewers. The 10th book in his Rat Pack series, When Somebody Kills You, was published in Sept. 2015 by Severn House. He is the editor of over 30 anthologies. All told, he is the author of more than 650 novels, many of which have been Westerns.
His Housesitting Detective series appeared from Dagger Books in 2015, with the first book, Dry Stone Walls.
He is the founder of the Private Eye Writers of America, the creator of the Shamus Award, the co-founder of Mystery Scene Magazine and the American Crime Writers League with Ed Gorman, and one of the founders of Western Fictioneers and the Peacemaker Award. He is also the editor of How to Write a P.I. Novel for Writer’s Digest.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Make Crime Pay—Mining Memories and Other Scar Tissue / Jeffrey B. Burton
Repression’s a pretty useful technique, as far as traumatic memories are concerned. It’d be hard to function if we carried all our baggage around on a daily basis. But those ugly moments do resurface, and it’s difficult to resist the desire to redeem them. Luckily, we writers have one of the most convenient and effective means of repurposing suffering through our power to create. In this week’s guest blog, author Jeffrey B. Burton offers advice on turning pain into gain, by transforming it into the emotional architecture supporting your story.
Happy reading!
Clay Stafford
Founder Killer Nashville
Publisher / Editorial Director Killer Nashville Magazine
Make Crime Pay—Mining Memories and Other Scar Tissue
By Jeffrey B. Burton
“Write what you know,” they say. Really? Has Michael Connelly ever captured a serial killer? Has Lee Child ever clobbered five guys in a bar fight? Did Harlan Coben’s college flame disappear for decades only to resurface with earth-shattering revelations?
Not likely.
However, you can develop a riff on that old writers’ adage and mine your real-life experiences—those painful memories—for unique perspectives, some great dialogue, and a rich cataract of emotions.
One example—junior high was the equivalent of gen pop in the Attica prison yard, but I had the system figured out. By loudly insulting a bully, you alert the teacher that trouble was brewing, so said teacher could rush in and separate combatants before any blood was spilled.
Alas, the system failed me in ninth grade when Mr. Hendricks, my algebra teacher, took his time meandering across the classroom to break up a verbal scuffle that morphed instantaneously into my new status as human punching bag. Hendricks stopped to answer a question or two along the way, perhaps clap a few erasers, and possibly plan a trip to Greece before yanking Dave Morton off me.
Two lessons were learned that day. First, getting punched in the face is something to be avoided and, second, I think that devious Hendricks bastard took his own sweet time on purpose. Sure, I may have bruised Morton’s knuckles and gotten blood on his T-shirt; sure, I walked around like an extra from Fight Club that week, but still… not one of my finer moments.
However, it serves as great writing fodder for the maelstrom of mixed sentiments—the overlapping pangs of fear, panic, and terror—involved in any type of physical conflict. I stirred a few of these feelings into The Chessman, where a character reflects back on his challenging adolescence. Of course, my fictional doppelganger equated himself in fisticuffs much better than factual Jeff.
Another example—an eye-catching cook where I washed dishes took a shine to sixteen-year-old me, and in my bumbling amateurish manner I was ginning up the courage to ask her out. I was in that young-dopey-flirty stage and my little heart went pitter-pat as I waltzed out to my car at the end of a late evening shift only to discover that—HOLY SHIT!—there was no car.
So it’s one a.m., and my soon-to-be girlfriend chauffeurs me around the mall’s enormous parking lot, slowly, as though I suffered from Alzheimer’s and had forgotten parking four hundred yards away from the restaurant. From there she drove me to the police station, where I was left with the task of calling my father, waking him, and letting him know that his days of griping about the mileage on his station wagon were over.
As for my budding paramour… Well, she never spoke to me again. I’m hazy to this day about what was actually mentioned in her car that night as she carted me about town, but evidently I muttered every four-letter word in the book, and then some.
Not one iota of fun at the time, but the episode did provide an interesting twist on the three-act structure: Boy meets girl, boy loses girl, boy also loses the family car. Plus, I’ve placed lost love under the microscope in several of my short stories (High Score, The Mourning, The Reuniting).
A final example—my university-assigned roommate knew a 300-pound Samoan named Clete. Clete carried a lock-knife on his belt and may or may not have been attending college (I’m going to say not). One afternoon after class, I returned to my dorm room to find Clete selling full-length leather jackets to a parade of female students. His inventory of overcoats stacked high atop my bed.
“Where’d you get all these jackets?” I asked.
Clete looked like he wanted to rip my head off. “They fell off a truck.”
I pulled my university-assigned roommate aside for a moment and whispered, “You can’t sell these here. If the cops find out, we’re screwed.”
“You can’t tell anyone,” my university-assigned roommate replied, eyes wide, deadly serious. “Clete will kill us.”
My initial reaction was to check the Greyhound schedule for points south. Instead, I spent that month believing at any moment I would be arrested as part of the notorious Lake Street Leather Gang, or get my throat slashed when Clete inevitably got around to tying up loose ends. Decades later and I’ve yet to place Clete directly in any of my writing, as I’d sure hate to answer the door chime one evening only to find him on the front stoop, lock-knife at the ready. But I’ve certainly utilized that gut-wrenching sense of flight with characters in both The Chessman and The Lynchpin.
So the next time you’re stumped and in search of realistic emotions or character motivations or pithy dialogue, make crime pay by scouring through some of the less-than-pleasant situations you’ve found yourself embroiled in; you know, your memories from hell and other such scar tissue.
As for me, whenever I begin kicking about ideas for a villain, all I need do is sit back and ask… WWCD?
What would Clete do?
Jeffrey B. Burton’s mystery/thriller, The Chessman, came out to some excellent reviews, including a starred one in Publishers Weekly, and went on to sell to publishers in Germany, The Netherlands, Turkey, and the U.K. It comes out in mass media paperback in April of 2016. Jeff’s follow-up thriller, The Lynchpin, came out in 2015. Jeff was born in Long Beach, California, but grew up in St. Paul, Minnesota. He received a BA in journalism at the University of Minnesota. Burton is an active member of International Thriller Writers, Mystery Writers of America, the International Association of Crime Writers, and the Horror Writers Association.
Find more of his work at www.jeffreybburton.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Make Crime Pay—Mining Memories and Other Scar Tissue / Jeffrey B. Burton
Repression’s a pretty useful technique, as far as traumatic memories are concerned. It’d be hard to function if we carried all our baggage around on a daily basis. But those ugly moments do resurface, and it’s difficult to resist the desire to redeem them. Luckily, we writers have one of the most convenient and effective means of repurposing suffering through our power to create. In this week’s guest blog, author Jeffrey B. Burton offers advice on turning pain into gain, by transforming it into the emotional architecture supporting your story.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Make Crime Pay—Mining Memories and Other Scar Tissue
By Jeffrey B. Burton
“Write what you know,” they say. Really? Has Michael Connelly ever captured a serial killer? Has Lee Child ever clobbered five guys in a bar fight? Did Harlan Coben’s college flame disappear for decades only to resurface with earth-shattering revelations?
Not likely.
However, you can develop a riff on that old writers’ adage and mine your real-life experiences—those painful memories—for unique perspectives, some great dialogue, and a rich cataract of emotions.
One example—junior high was the equivalent of gen pop in the Attica prison yard, but I had the system figured out. By loudly insulting a bully, you alert the teacher that trouble was brewing, so said teacher could rush in and separate combatants before any blood was spilled.
Alas, the system failed me in ninth grade when Mr. Hendricks, my algebra teacher, took his time meandering across the classroom to break up a verbal scuffle that morphed instantaneously into my new status as human punching bag. Hendricks stopped to answer a question or two along the way, perhaps clap a few erasers, and possibly plan a trip to Greece before yanking Dave Morton off me.
Two lessons were learned that day. First, getting punched in the face is something to be avoided and, second, I think that devious Hendricks bastard took his own sweet time on purpose. Sure, I may have bruised Morton’s knuckles and gotten blood on his T-shirt; sure, I walked around like an extra from Fight Club that week, but still… not one of my finer moments.
However, it serves as great writing fodder for the maelstrom of mixed sentiments—the overlapping pangs of fear, panic, and terror—involved in any type of physical conflict. I stirred a few of these feelings into The Chessman, where a character reflects back on his challenging adolescence. Of course, my fictional doppelganger equated himself in fisticuffs much better than factual Jeff.
Another example—an eye-catching cook where I washed dishes took a shine to sixteen-year-old me, and in my bumbling amateurish manner I was ginning up the courage to ask her out. I was in that young-dopey-flirty stage and my little heart went pitter-pat as I waltzed out to my car at the end of a late evening shift only to discover that—HOLY SHIT!—there was no car.
So it’s one a.m., and my soon-to-be girlfriend chauffeurs me around the mall’s enormous parking lot, slowly, as though I suffered from Alzheimer’s and had forgotten parking four hundred yards away from the restaurant. From there she drove me to the police station, where I was left with the task of calling my father, waking him, and letting him know that his days of griping about the mileage on his station wagon were over.
As for my budding paramour… Well, she never spoke to me again. I’m hazy to this day about what was actually mentioned in her car that night as she carted me about town, but evidently I muttered every four-letter word in the book, and then some.
Not one iota of fun at the time, but the episode did provide an interesting twist on the three-act structure: Boy meets girl, boy loses girl, boy also loses the family car. Plus, I’ve placed lost love under the microscope in several of my short stories (High Score, The Mourning, The Reuniting).
A final example—my university-assigned roommate knew a 300-pound Samoan named Clete. Clete carried a lock-knife on his belt and may or may not have been attending college (I’m going to say not). One afternoon after class, I returned to my dorm room to find Clete selling full-length leather jackets to a parade of female students. His inventory of overcoats stacked high atop my bed.
“Where’d you get all these jackets?” I asked.
Clete looked like he wanted to rip my head off. “They fell off a truck.”
I pulled my university-assigned roommate aside for a moment and whispered, “You can’t sell these here. If the cops find out, we’re screwed.”
“You can’t tell anyone,” my university-assigned roommate replied, eyes wide, deadly serious. “Clete will kill us.”
My initial reaction was to check the Greyhound schedule for points south. Instead, I spent that month believing at any moment I would be arrested as part of the notorious Lake Street Leather Gang, or get my throat slashed when Clete inevitably got around to tying up loose ends. Decades later and I’ve yet to place Clete directly in any of my writing, as I’d sure hate to answer the door chime one evening only to find him on the front stoop, lock-knife at the ready. But I’ve certainly utilized that gut-wrenching sense of flight with characters in both The Chessman and The Lynchpin.
So the next time you’re stumped and in search of realistic emotions or character motivations or pithy dialogue, make crime pay by scouring through some of the less-than-pleasant situations you’ve found yourself embroiled in; you know, your memories from hell and other such scar tissue.
As for me, whenever I begin kicking about ideas for a villain, all I need do is sit back and ask… WWCD?
What would Clete do?
Jeffrey B. Burton’s mystery/thriller, The Chessman, came out to some excellent reviews, including a starred one in Publishers Weekly, and went on to sell to publishers in Germany, The Netherlands, Turkey, and the U.K. It comes out in mass media paperback in April of 2016. Jeff’s follow-up thriller, The Lynchpin, came out in 2015. Jeff was born in Long Beach, California, but grew up in St. Paul, Minnesota. He received a BA in journalism at the University of Minnesota. Burton is an active member of International Thriller Writers, Mystery Writers of America, the International Association of Crime Writers, and the Horror Writers Association.
Find more of his work at www.jeffreybburton.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Make Crime Pay—Mining Memories and Other Scar Tissue / Jeffrey B. Burton
Repression’s a pretty useful technique, as far as traumatic memories are concerned. It’d be hard to function if we carried all our baggage around on a daily basis. But those ugly moments do resurface, and it’s difficult to resist the desire to redeem them. Luckily, we writers have one of the most convenient and effective means of repurposing suffering through our power to create. In this week’s guest blog, author Jeffrey B. Burton offers advice on turning pain into gain, by transforming it into the emotional architecture supporting your story.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Make Crime Pay—Mining Memories and Other Scar Tissue
By Jeffrey B. Burton
“Write what you know,” they say. Really? Has Michael Connelly ever captured a serial killer? Has Lee Child ever clobbered five guys in a bar fight? Did Harlan Coben’s college flame disappear for decades only to resurface with earth-shattering revelations?
Not likely.
However, you can develop a riff on that old writers’ adage and mine your real-life experiences—those painful memories—for unique perspectives, some great dialogue, and a rich cataract of emotions.
One example—junior high was the equivalent of gen pop in the Attica prison yard, but I had the system figured out. By loudly insulting a bully, you alert the teacher that trouble was brewing, so said teacher could rush in and separate combatants before any blood was spilled.
Alas, the system failed me in ninth grade when Mr. Hendricks, my algebra teacher, took his time meandering across the classroom to break up a verbal scuffle that morphed instantaneously into my new status as human punching bag. Hendricks stopped to answer a question or two along the way, perhaps clap a few erasers, and possibly plan a trip to Greece before yanking Dave Morton off me.
Two lessons were learned that day. First, getting punched in the face is something to be avoided and, second, I think that devious Hendricks bastard took his own sweet time on purpose. Sure, I may have bruised Morton’s knuckles and gotten blood on his T-shirt; sure, I walked around like an extra from Fight Club that week, but still… not one of my finer moments.
However, it serves as great writing fodder for the maelstrom of mixed sentiments—the overlapping pangs of fear, panic, and terror—involved in any type of physical conflict. I stirred a few of these feelings into The Chessman, where a character reflects back on his challenging adolescence. Of course, my fictional doppelganger equated himself in fisticuffs much better than factual Jeff.
Another example—an eye-catching cook where I washed dishes took a shine to sixteen-year-old me, and in my bumbling amateurish manner I was ginning up the courage to ask her out. I was in that young-dopey-flirty stage and my little heart went pitter-pat as I waltzed out to my car at the end of a late evening shift only to discover that—HOLY SHIT!—there was no car.
So it’s one a.m., and my soon-to-be girlfriend chauffeurs me around the mall’s enormous parking lot, slowly, as though I suffered from Alzheimer’s and had forgotten parking four hundred yards away from the restaurant. From there she drove me to the police station, where I was left with the task of calling my father, waking him, and letting him know that his days of griping about the mileage on his station wagon were over.
As for my budding paramour… Well, she never spoke to me again. I’m hazy to this day about what was actually mentioned in her car that night as she carted me about town, but evidently I muttered every four-letter word in the book, and then some.
Not one iota of fun at the time, but the episode did provide an interesting twist on the three-act structure: Boy meets girl, boy loses girl, boy also loses the family car. Plus, I’ve placed lost love under the microscope in several of my short stories (High Score, The Mourning, The Reuniting).
A final example—my university-assigned roommate knew a 300-pound Samoan named Clete. Clete carried a lock-knife on his belt and may or may not have been attending college (I’m going to say not). One afternoon after class, I returned to my dorm room to find Clete selling full-length leather jackets to a parade of female students. His inventory of overcoats stacked high atop my bed.
“Where’d you get all these jackets?” I asked.
Clete looked like he wanted to rip my head off. “They fell off a truck.”
I pulled my university-assigned roommate aside for a moment and whispered, “You can’t sell these here. If the cops find out, we’re screwed.”
“You can’t tell anyone,” my university-assigned roommate replied, eyes wide, deadly serious. “Clete will kill us.”
My initial reaction was to check the Greyhound schedule for points south. Instead, I spent that month believing at any moment I would be arrested as part of the notorious Lake Street Leather Gang, or get my throat slashed when Clete inevitably got around to tying up loose ends. Decades later and I’ve yet to place Clete directly in any of my writing, as I’d sure hate to answer the door chime one evening only to find him on the front stoop, lock-knife at the ready. But I’ve certainly utilized that gut-wrenching sense of flight with characters in both The Chessman and The Lynchpin.
So the next time you’re stumped and in search of realistic emotions or character motivations or pithy dialogue, make crime pay by scouring through some of the less-than-pleasant situations you’ve found yourself embroiled in; you know, your memories from hell and other such scar tissue.
As for me, whenever I begin kicking about ideas for a villain, all I need do is sit back and ask… WWCD?
What would Clete do?
Jeffrey B. Burton’s mystery/thriller, The Chessman, came out to some excellent reviews, including a starred one in Publishers Weekly, and went on to sell to publishers in Germany, The Netherlands, Turkey, and the U.K. It comes out in mass media paperback in April of 2016. Jeff’s follow-up thriller, The Lynchpin, came out in 2015. Jeff was born in Long Beach, California, but grew up in St. Paul, Minnesota. He received a BA in journalism at the University of Minnesota. Burton is an active member of International Thriller Writers, Mystery Writers of America, the International Association of Crime Writers, and the Horror Writers Association.
Find more of his work at www.jeffreybburton.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Overcoming a Writer's Biggest Fear—Marketing and Promotion / DiAnn Mills
How do you eat an elephant? One bite at a time, or so the saying goes. And for writers, there aren’t many elephant-sized responsibilities more disheartening than the modern-day must of self-promotion. Here to break down the timeline of a standard marketing campaign is this week’s guest blogger DiAnn Mills. She’s already cut your food up for you, authors. It’d be a shame if you left it sitting there.
Happy reading!
Clay Stafford
Founder Killer Nashville
Publisher / Editorial Director Killer Nashville Magazine
Overcoming a Writer’s Biggest Fear—Marketing and Promotion
By DiAnn Mills
We writers embrace words, brainstorming sessions, hours of writing, and constructive criticism, but there is one critical aspect of the writer’s life that shakes us to our core...
Marketing and Promotion:
The nightmare of our career.
We think we have the notion,
But can’t move past the fear.
Okay, I’m not a poet—I write suspense. But I’m sure you understand where this is going. We writers must market and promote our stories and our brand. No running or hiding. It’s necessary if we are to be successful in placing our novels into the hearts and hands of readers. So let’s crawl out of our cave mode and discuss ways to approach the scary monster called marketing and promotion. I think you’ll find it can be easy and even enjoyable.
Number one on the list is creating an outstanding book, the kind of suspense novel that marches through the graveyard of those who’ve failed to promote, wielding determination and the sword of skill.
Number two is having an active presence on a highly read blog (yours or a group site), Facebook, and Twitter. We writers deepen our brands through social media to leave a positive image that oozes with professionalism.
Those are the basics. Now this next section of information makes novel promotion simple. I’m a firm believer in organization, and when I write a novel, spreadsheets keep me rooted in reality.
After we sign a contract with a publisher or decide when a novel will be published, the work hovers over us. A writer gets ahead of the marketing and promotion stress by developing a Timeline Task countdown. This is an indicator of what needs to be accomplished approximately a year before a book is released. Some logistics vary depending on whether you are traditionally published or not, but this will give you an idea for creating your own Timeline Task spreadsheet.
12 months out:
Contact online and print publications to arrange for ad and banner placement. Make sure they are in place for the month of the book release.
Recruit your Street Team.
Reach out to prominent authors in your genre for possible endorsements. This allows the endorser to schedule reading the novel.
Write blogs that connect to the novel. Stockpile them—you will be glad later.
9 months out:
Order bookmarks and postcards.
Arrange guest blogs and schedule in your calendar when they will appear. Remember, these have already been written.
Arrange production of book trailer.
Arrange production of author interview video.
Announce to Street Team and brainstorm promo ideas.
6 months out:
Contact TV and radio stations for interviews.
Create contest ideas with giveaways.
Goodreads: update bio, headshot, ask-the-author section, add new release to books, link to blog posts, update page; be active! http://www.goodreads.com/author/guidelines
Design secret Pinterest Boards.
Use postcards to notify libraries of new book
3 months out:
Mail ARCs.
Keep Street Team posted.
Confirm all blog spots, ads, banners, etc.
Seek events to speak and sign.
Check that all online platforms and retail stores have updated bio and photo.
Arrange launch party or signing for big day.
6 weeks out:
Mail author copies or e-copies of book to Street Team.
Mail author copies or e-copies of book to reviewers.
Encourage pre-orders.
Post book trailer and author interviews.
Book release:
E-mail blast
Blogs appear
Constant presence on social media platforms.
Thank those who helped make the release a success.
Small tokens of thanks sent.
Contests announced.
Follow up:
Keep the momentum going by sharing deleted scenes, research, character insight, and behind-the-scenes action.
Party time!
All of the above is fairly easy. But we don’t have time to fashion all those social media posts at a moment’s notice. Here is where a Proactive Marketing and Promotion spreadsheet is used. By using this aid during the proposal and writing phase, a writer keeps her sanity and confidence intact.
At the completion of each scene, fill in a row that contains columns for the following:
Scene #
Blog Ideas
Contest Ideas
Facebook Post
Giveaways
Hashtags
Pinterest Board Ideas
Speaking Topics
Tweetables
Video Ideas
Other/Misc
I recommend keeping track of the various blog sites, the contact person, e-mail address, word length, website, date contacted, date due, date e-mailed, date when the blog appears, and a comment section. The last one is helpful if a giveaway is offered or particular specs needed for the post.
Marketing and promotion organization begins when the idea for a fabulous book enters our minds. As we imagine plot, characters, setting, research, and dialogue, we also envision how our book will reach readers. What is your favorite method of enticing readers?
DiAnn Mills is a bestselling author who believes her readers should expect an adventure. She combines unforgettable characters with unpredictable plots to create action-packed, suspense-filled novels. Her titles have appeared on the CBA and ECPA bestseller lists, won two Christy Awards, and been finalists for the RITA, Daphne Du Maurier, Inspirational Readers’ Choice, and Carol award contests. Library Journal presented her with a Best Books 2014: Genre Fiction award in the Christian Fiction category for Firewall.
DiAnn is a founding board member of the American Christian Fiction Writers; a member of Advanced Writers and Speakers Association, International Thriller Writers, and the Faith, Hope, and Love chapter of Romance Writers of America. She is co-director of The Author Roadmap with social media specialist Edie Melson where she continues her passion of helping other writers be successful. She speaks to various groups and teaches writing workshops around the country. DiAnn has been termed a coffee snob and roasts her own coffee beans.
She’s an avid reader, loves to cook, and believes her grandchildren are the smartest kids in the universe. She and her husband live in sunny Houston, Texas. DiAnn is very active online and would love to connect with readers on any of the social media platforms listed at www.diannmills.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Overcoming a Writer's Biggest Fear—Marketing and Promotion / DiAnn Mills
How do you eat an elephant? One bite at a time, or so the saying goes. And for writers, there aren’t many elephant-sized responsibilities more disheartening than the modern-day must of self-promotion. Here to break down the timeline of a standard marketing campaign is this week’s guest blogger DiAnn Mills. She’s already cut your food up for you, authors. It’d be a shame if you left it sitting there.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Overcoming a Writer’s Biggest Fear—Marketing and Promotion
By DiAnn Mills
We writers embrace words, brainstorming sessions, hours of writing, and constructive criticism, but there is one critical aspect of the writer’s life that shakes us to our core...
Marketing and Promotion:
The nightmare of our career.
We think we have the notion,
But can’t move past the fear.
Okay, I’m not a poet—I write suspense. But I’m sure you understand where this is going. We writers must market and promote our stories and our brand. No running or hiding. It’s necessary if we are to be successful in placing our novels into the hearts and hands of readers. So let’s crawl out of our cave mode and discuss ways to approach the scary monster called marketing and promotion. I think you’ll find it can be easy and even enjoyable.
Number one on the list is creating an outstanding book, the kind of suspense novel that marches through the graveyard of those who’ve failed to promote, wielding determination and the sword of skill.
Number two is having an active presence on a highly read blog (yours or a group site), Facebook, and Twitter. We writers deepen our brands through social media to leave a positive image that oozes with professionalism.
Those are the basics. Now this next section of information makes novel promotion simple. I’m a firm believer in organization, and when I write a novel, spreadsheets keep me rooted in reality.
After we sign a contract with a publisher or decide when a novel will be published, the work hovers over us. A writer gets ahead of the marketing and promotion stress by developing a Timeline Task countdown. This is an indicator of what needs to be accomplished approximately a year before a book is released. Some logistics vary depending on whether you are traditionally published or not, but this will give you an idea for creating your own Timeline Task spreadsheet.
12 months out:
- Contact online and print publications to arrange for ad and banner placement. Make sure they are in place for the month of the book release.
- Recruit your Street Team.
- Reach out to prominent authors in your genre for possible endorsements. This allows the endorser to schedule reading the novel.
- Write blogs that connect to the novel. Stockpile them—you will be glad later.
9 months out:
- Order bookmarks and postcards.
- Arrange guest blogs and schedule in your calendar when they will appear. Remember, these have already been written.
- Arrange production of book trailer.
- Arrange production of author interview video.
- Announce to Street Team and brainstorm promo ideas.
6 months out:
- Contact TV and radio stations for interviews.
- Create contest ideas with giveaways.
- Goodreads: update bio, headshot, ask-the-author section, add new release to books, link to blog posts, update page; be active! http://www.goodreads.com/author/guidelines
- Design secret Pinterest Boards.
- Use postcards to notify libraries of new book
3 months out:
- Mail ARCs.
- Keep Street Team posted.
- Confirm all blog spots, ads, banners, etc.
- Seek events to speak and sign.
- Check that all online platforms and retail stores have updated bio and photo.
- Arrange launch party or signing for big day.
6 weeks out:
- Mail author copies or e-copies of book to Street Team.
- Mail author copies or e-copies of book to reviewers.
- Encourage pre-orders.
- Post book trailer and author interviews.
Book release:
- E-mail blast
- Blogs appear
- Constant presence on social media platforms.
- Thank those who helped make the release a success.
- Small tokens of thanks sent.
- Contests announced.
Follow up:
- Keep the momentum going by sharing deleted scenes, research, character insight, and behind-the-scenes action.
- Party time!
All of the above is fairly easy. But we don’t have time to fashion all those social media posts at a moment’s notice. Here is where a Proactive Marketing and Promotion spreadsheet is used. By using this aid during the proposal and writing phase, a writer keeps her sanity and confidence intact.
At the completion of each scene, fill in a row that contains columns for the following:
Scene #
Blog Ideas
Contest Ideas
Facebook Post
Giveaways
Hashtags
Pinterest Board Ideas
Speaking Topics
Tweetables
Video Ideas
Other/Misc
I recommend keeping track of the various blog sites, the contact person, e-mail address, word length, website, date contacted, date due, date e-mailed, date when the blog appears, and a comment section. The last one is helpful if a giveaway is offered or particular specs needed for the post.
Marketing and promotion organization begins when the idea for a fabulous book enters our minds. As we imagine plot, characters, setting, research, and dialogue, we also envision how our book will reach readers. What is your favorite method of enticing readers?
DiAnn Mills is a bestselling author who believes her readers should expect an adventure. She combines unforgettable characters with unpredictable plots to create action-packed, suspense-filled novels. Her titles have appeared on the CBA and ECPA bestseller lists, won two Christy Awards, and been finalists for the RITA, Daphne Du Maurier, Inspirational Readers’ Choice, and Carol award contests. Library Journal presented her with a Best Books 2014: Genre Fiction award in the Christian Fiction category for Firewall.
DiAnn is a founding board member of the American Christian Fiction Writers; a member of Advanced Writers and Speakers Association, International Thriller Writers, and the Faith, Hope, and Love chapter of Romance Writers of America. She is co-director of The Author Roadmap with social media specialist Edie Melson where she continues her passion of helping other writers be successful. She speaks to various groups and teaches writing workshops around the country. DiAnn has been termed a coffee snob and roasts her own coffee beans.
She’s an avid reader, loves to cook, and believes her grandchildren are the smartest kids in the universe. She and her husband live in sunny Houston, Texas. DiAnn is very active online and would love to connect with readers on any of the social media platforms listed at www.diannmills.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Overcoming a Writer's Biggest Fear—Marketing and Promotion / DiAnn Mills
How do you eat an elephant? One bite at a time, or so the saying goes. And for writers, there aren’t many elephant-sized responsibilities more disheartening than the modern-day must of self-promotion. Here to break down the timeline of a standard marketing campaign is this week’s guest blogger DiAnn Mills. She’s already cut your food up for you, authors. It’d be a shame if you left it sitting there.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Overcoming a Writer’s Biggest Fear—Marketing and Promotion
By DiAnn Mills
We writers embrace words, brainstorming sessions, hours of writing, and constructive criticism, but there is one critical aspect of the writer’s life that shakes us to our core...
Marketing and Promotion:
The nightmare of our career.
We think we have the notion,
But can’t move past the fear.
Okay, I’m not a poet—I write suspense. But I’m sure you understand where this is going. We writers must market and promote our stories and our brand. No running or hiding. It’s necessary if we are to be successful in placing our novels into the hearts and hands of readers. So let’s crawl out of our cave mode and discuss ways to approach the scary monster called marketing and promotion. I think you’ll find it can be easy and even enjoyable.
Number one on the list is creating an outstanding book, the kind of suspense novel that marches through the graveyard of those who’ve failed to promote, wielding determination and the sword of skill.
Number two is having an active presence on a highly read blog (yours or a group site), Facebook, and Twitter. We writers deepen our brands through social media to leave a positive image that oozes with professionalism.
Those are the basics. Now this next section of information makes novel promotion simple. I’m a firm believer in organization, and when I write a novel, spreadsheets keep me rooted in reality.
After we sign a contract with a publisher or decide when a novel will be published, the work hovers over us. A writer gets ahead of the marketing and promotion stress by developing a Timeline Task countdown. This is an indicator of what needs to be accomplished approximately a year before a book is released. Some logistics vary depending on whether you are traditionally published or not, but this will give you an idea for creating your own Timeline Task spreadsheet.
12 months out:
- Contact online and print publications to arrange for ad and banner placement. Make sure they are in place for the month of the book release.
- Recruit your Street Team.
- Reach out to prominent authors in your genre for possible endorsements. This allows the endorser to schedule reading the novel.
- Write blogs that connect to the novel. Stockpile them—you will be glad later.
9 months out:
- Order bookmarks and postcards.
- Arrange guest blogs and schedule in your calendar when they will appear. Remember, these have already been written.
- Arrange production of book trailer.
- Arrange production of author interview video.
- Announce to Street Team and brainstorm promo ideas.
6 months out:
- Contact TV and radio stations for interviews.
- Create contest ideas with giveaways.
- Goodreads: update bio, headshot, ask-the-author section, add new release to books, link to blog posts, update page; be active! http://www.goodreads.com/author/guidelines
- Design secret Pinterest Boards.
- Use postcards to notify libraries of new book
3 months out:
- Mail ARCs.
- Keep Street Team posted.
- Confirm all blog spots, ads, banners, etc.
- Seek events to speak and sign.
- Check that all online platforms and retail stores have updated bio and photo.
- Arrange launch party or signing for big day.
6 weeks out:
- Mail author copies or e-copies of book to Street Team.
- Mail author copies or e-copies of book to reviewers.
- Encourage pre-orders.
- Post book trailer and author interviews.
Book release:
- E-mail blast
- Blogs appear
- Constant presence on social media platforms.
- Thank those who helped make the release a success.
- Small tokens of thanks sent.
- Contests announced.
Follow up:
- Keep the momentum going by sharing deleted scenes, research, character insight, and behind-the-scenes action.
- Party time!
All of the above is fairly easy. But we don’t have time to fashion all those social media posts at a moment’s notice. Here is where a Proactive Marketing and Promotion spreadsheet is used. By using this aid during the proposal and writing phase, a writer keeps her sanity and confidence intact.
At the completion of each scene, fill in a row that contains columns for the following:
Scene #
Blog Ideas
Contest Ideas
Facebook Post
Giveaways
Hashtags
Pinterest Board Ideas
Speaking Topics
Tweetables
Video Ideas
Other/Misc
I recommend keeping track of the various blog sites, the contact person, e-mail address, word length, website, date contacted, date due, date e-mailed, date when the blog appears, and a comment section. The last one is helpful if a giveaway is offered or particular specs needed for the post.
Marketing and promotion organization begins when the idea for a fabulous book enters our minds. As we imagine plot, characters, setting, research, and dialogue, we also envision how our book will reach readers. What is your favorite method of enticing readers?
DiAnn Mills is a bestselling author who believes her readers should expect an adventure. She combines unforgettable characters with unpredictable plots to create action-packed, suspense-filled novels. Her titles have appeared on the CBA and ECPA bestseller lists, won two Christy Awards, and been finalists for the RITA, Daphne Du Maurier, Inspirational Readers’ Choice, and Carol award contests. Library Journal presented her with a Best Books 2014: Genre Fiction award in the Christian Fiction category for Firewall.
DiAnn is a founding board member of the American Christian Fiction Writers; a member of Advanced Writers and Speakers Association, International Thriller Writers, and the Faith, Hope, and Love chapter of Romance Writers of America. She is co-director of The Author Roadmap with social media specialist Edie Melson where she continues her passion of helping other writers be successful. She speaks to various groups and teaches writing workshops around the country. DiAnn has been termed a coffee snob and roasts her own coffee beans.
She’s an avid reader, loves to cook, and believes her grandchildren are the smartest kids in the universe. She and her husband live in sunny Houston, Texas. DiAnn is very active online and would love to connect with readers on any of the social media platforms listed at www.diannmills.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Honk If You Love Stories / Robert Mangeot
A universal formula for the perfect story doesn’t exist. If it did, we’d all be billionaires with a library full of bestsellers apiece—or, perhaps, no one would. But there are critical elements that we must include to give our stories what they need. J. B. Manas’s post a few weeks ago broke several successful thrillers down into three key ingredients. Robert Mangeot’s blog this week continues the conversation on story mechanics with an ambitious single-engine approach.
Happy reading!
Clay Stafford
Founder Killer Nashville
Publisher / Editorial Director Killer Nashville Magazine
HONK IF YOU LOVE STORIES
by Robert Mangeot
Some would call it a bold claim, condensing millennia of storytelling power and purpose into a single word. Seriously, one lousy word for why some stories get retold around the campfire and on the page while others… well, not so much? Yes, only the too-bold would go bumper sticker on so rich a history, which is why I’m too-boldly saying the word rhymes with conch.
Honk.
As in honking. A Big Honking Moment, separating the great and memorable stories from the merely good.
Hang on a second. I don’t mean a story must end in a shoot-out or go purple with melodrama. In fact, the best BHMs may be understated, even fleeting. I mean a pitch-perfect moment, where the lens flips inward and something is lost or gained, and every element that came before gels into a wallop of truth.
Here’s a test: read start-to-finish a few stories by acknowledged masters. Somewhere at or near the end of each piece, I promise, will be a resonant burst the author has driven us toward. With Conan Doyle’s “A Scandal in Bohemia”, it is Holmes asking for a photo of Irene Adler, knowing she has bested him. In Poe’s “The Tell-Tale Heart”, the insane narrator’s dementia finally hounds him into revealing the corpse. Other BHMs might be uplifting, bleak, funny, lyrical, brutal. A whiplash twist or the doom we’ve seen coming from Jump Street.
Which should not confuse a story’s BHM with its climax. Smarter people than I—say, those that don’t use big and honking as terms of literary analysis—define a climax as the height of action. Action, as in when the struggle against external forces is most intense. Our heroine or hero will win or lose that struggle, and from thence comes the internal. Consequences. Knowledge. Newfound strength or sudden regret. If the climax is the height of action, the BHM that follows is the height of resonance.
Take Flannery O’Connor’s “A Good Man Is Hard to Find”. To oversimplify genius, it is the story of an unlikeable grandmother who manipulates a family road trip into the one she prefers. Her conflicting duplicity and jumbled sense of personal goodness leads to a really unfortunate decision of country lane and a life-but-mostly-death situation. The slam-bang climax, 22 of 23 pages in, is the grandmother’s murder. The BHM slithers into the last few paragraphs, where her killer, the Misfit, then holds forth on life. Without O’Connor grounding things there, her painstaking build-up floats away disconnected, and the murder loses its intended point about morality and moral codes. Too smart for that, O’Connor constructed a moment so honking that it crackles sixty years after first publication.
If a BHM makes or breaks a memorable story, how does one honk up a manuscript? A few lessons learned the hard way:
1. Be intentional.
I’ve come to think of short stories as ending delivery mechanisms. A BHM at the close turns a solid piece into a fiction cruise missile armed with a major warhead. Simply being conscious of a BHM’s potential in the planning stages makes finding one more likely.
2. More is not more.
If one BHM makes a great story, then two or three must be awesomeness itself, right? Wrong. A story has its natural lifts, but only one of them can be the highest. That’s the one to focus on; too much honking risks imbalance and over-emotional noise.
3. Stop the clock.
The BHM marks when the main conflict and character shifts are over. There may be further events to resolve or consolidate things, but after the BHM, a story is all about the finish.
4. Thread it through.
BHMs may arrive by inspiration, but ultimately they are built through sentence-by-sentence lead-up, from the opening passage. The BHM ties up every narrative and character thread that came before into a unified whole. It’s not too bold to guess any loose threads are darlings, and like any darlings, they need to meet your Inner Misfit.
So, if you’re interested in pumping up your storytelling, do what the best storytellers have done for millennia: honk. Bring us a big and honking moment of truth. Make it anything from the subtlest whisper to the hardest hammer blow, anything that delivers the relatable jolt we other folks around the fire came to hear—and to hold onto.
Robert Mangeot lives in Nashville and is the current chapter Vice President for Sisters in Crime Middle Tennessee. His short fiction appears in various anthologies and journals, including Lowestoft Chronicle, Murder Under the Oaks, Mysterical-E, and Mystery Writers of America PresentsIce Cold: Tales of Intrigue from the Cold War. His work has won contests sponsored by the Chattanooga Writers’ Guild, On the Premises, and Rocky Mountain Fiction Writers. His third story for Alfred Hitchcock Mystery Magazine hits newsstands March 2016. Learn more about his writing and his wandering the snack food aisles. Find more of his work at www.robertmangeot.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Honk If You Love Stories / Robert Mangeot
A universal formula for the perfect story doesn’t exist. If it did, we’d all be billionaires with a library full of bestsellers apiece—or, perhaps, no one would. But there are critical elements that we must include to give our stories what they need. J. B. Manas’s post a few weeks ago broke several successful thrillers down into three key ingredients. Robert Mangeot’s blog this week continues the conversation on story mechanics with an ambitious single-engine approach.
Happy reading!
Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
HONK IF YOU LOVE STORIES
by Robert Mangeot
Some would call it a bold claim, condensing millennia of storytelling power and purpose into a single word. Seriously, one lousy word for why some stories get retold around the campfire and on the page while others… well, not so much? Yes, only the too-bold would go bumper sticker on so rich a history, which is why I’m too-boldly saying the word rhymes with conch.
Honk.
As in honking. A Big Honking Moment, separating the great and memorable stories from the merely good.
Hang on a second. I don’t mean a story must end in a shoot-out or go purple with melodrama. In fact, the best BHMs may be understated, even fleeting. I mean a pitch-perfect moment, where the lens flips inward and something is lost or gained, and every element that came before gels into a wallop of truth.
Here’s a test: read start-to-finish a few stories by acknowledged masters. Somewhere at or near the end of each piece, I promise, will be a resonant burst the author has driven us toward. With Conan Doyle’s “A Scandal in Bohemia”, it is Holmes asking for a photo of Irene Adler, knowing she has bested him. In Poe’s “The Tell-Tale Heart”, the insane narrator’s dementia finally hounds him into revealing the corpse. Other BHMs might be uplifting, bleak, funny, lyrical, brutal. A whiplash twist or the doom we’ve seen coming from Jump Street.
Which should not confuse a story’s BHM with its climax. Smarter people than I—say, those that don’t use big and honking as terms of literary analysis—define a climax as the height of action. Action, as in when the struggle against external forces is most intense. Our heroine or hero will win or lose that struggle, and from thence comes the internal. Consequences. Knowledge. Newfound strength or sudden regret. If the climax is the height of action, the BHM that follows is the height of resonance.
Take Flannery O’Connor’s “A Good Man Is Hard to Find”. To oversimplify genius, it is the story of an unlikeable grandmother who manipulates a family road trip into the one she prefers. Her conflicting duplicity and jumbled sense of personal goodness leads to a really unfortunate decision of country lane and a life-but-mostly-death situation. The slam-bang climax, 22 of 23 pages in, is the grandmother’s murder. The BHM slithers into the last few paragraphs, where her killer, the Misfit, then holds forth on life. Without O’Connor grounding things there, her painstaking build-up floats away disconnected, and the murder loses its intended point about morality and moral codes. Too smart for that, O’Connor constructed a moment so honking that it crackles sixty years after first publication.
If a BHM makes or breaks a memorable story, how does one honk up a manuscript? A few lessons learned the hard way:
1. Be intentional.
I’ve come to think of short stories as ending delivery mechanisms. A BHM at the close turns a solid piece into a fiction cruise missile armed with a major warhead. Simply being conscious of a BHM’s potential in the planning stages makes finding one more likely.
2. More is not more.
If one BHM makes a great story, then two or three must be awesomeness itself, right? Wrong. A story has its natural lifts, but only one of them can be the highest. That’s the one to focus on; too much honking risks imbalance and over-emotional noise.
3. Stop the clock.
The BHM marks when the main conflict and character shifts are over. There may be further events to resolve or consolidate things, but after the BHM, a story is all about the finish.
4. Thread it through.
BHMs may arrive by inspiration, but ultimately they are built through sentence-by-sentence lead-up, from the opening passage. The BHM ties up every narrative and character thread that came before into a unified whole. It’s not too bold to guess any loose threads are darlings, and like any darlings, they need to meet your Inner Misfit.
So, if you’re interested in pumping up your storytelling, do what the best storytellers have done for millennia: honk. Bring us a big and honking moment of truth. Make it anything from the subtlest whisper to the hardest hammer blow, anything that delivers the relatable jolt we other folks around the fire came to hear—and to hold onto.
Robert Mangeot lives in Nashville and is the current chapter Vice President for Sisters in Crime Middle Tennessee. His short fiction appears in various anthologies and journals, including Lowestoft Chronicle, Murder Under the Oaks, Mysterical-E, and Mystery Writers of America Presents Ice Cold: Tales of Intrigue from the Cold War. His work has won contests sponsored by the Chattanooga Writers’ Guild, On the Premises, and Rocky Mountain Fiction Writers. His third story for Alfred Hitchcock Mystery Magazine hits newsstands March 2016. Learn more about his writing and his wandering the snack food aisles. Find more of his work at www.robertmangeot.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Honk If You Love Stories / Robert Mangeot
A universal formula for the perfect story doesn’t exist. If it did, we’d all be billionaires with a library full of bestsellers apiece—or, perhaps, no one would. But there are critical elements that we must include to give our stories what they need. J. B. Manas’s post a few weeks ago broke several successful thrillers down into three key ingredients. Robert Mangeot’s blog this week continues the conversation on story mechanics with an ambitious single-engine approach.
Happy reading!
Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
HONK IF YOU LOVE STORIES
by Robert Mangeot
Some would call it a bold claim, condensing millennia of storytelling power and purpose into a single word. Seriously, one lousy word for why some stories get retold around the campfire and on the page while others… well, not so much? Yes, only the too-bold would go bumper sticker on so rich a history, which is why I’m too-boldly saying the word rhymes with conch.
Honk.
As in honking. A Big Honking Moment, separating the great and memorable stories from the merely good.
Hang on a second. I don’t mean a story must end in a shoot-out or go purple with melodrama. In fact, the best BHMs may be understated, even fleeting. I mean a pitch-perfect moment, where the lens flips inward and something is lost or gained, and every element that came before gels into a wallop of truth.
Here’s a test: read start-to-finish a few stories by acknowledged masters. Somewhere at or near the end of each piece, I promise, will be a resonant burst the author has driven us toward. With Conan Doyle’s “A Scandal in Bohemia”, it is Holmes asking for a photo of Irene Adler, knowing she has bested him. In Poe’s “The Tell-Tale Heart”, the insane narrator’s dementia finally hounds him into revealing the corpse. Other BHMs might be uplifting, bleak, funny, lyrical, brutal. A whiplash twist or the doom we’ve seen coming from Jump Street.
Which should not confuse a story’s BHM with its climax. Smarter people than I—say, those that don’t use big and honking as terms of literary analysis—define a climax as the height of action. Action, as in when the struggle against external forces is most intense. Our heroine or hero will win or lose that struggle, and from thence comes the internal. Consequences. Knowledge. Newfound strength or sudden regret. If the climax is the height of action, the BHM that follows is the height of resonance.
Take Flannery O’Connor’s “A Good Man Is Hard to Find”. To oversimplify genius, it is the story of an unlikeable grandmother who manipulates a family road trip into the one she prefers. Her conflicting duplicity and jumbled sense of personal goodness leads to a really unfortunate decision of country lane and a life-but-mostly-death situation. The slam-bang climax, 22 of 23 pages in, is the grandmother’s murder. The BHM slithers into the last few paragraphs, where her killer, the Misfit, then holds forth on life. Without O’Connor grounding things there, her painstaking build-up floats away disconnected, and the murder loses its intended point about morality and moral codes. Too smart for that, O’Connor constructed a moment so honking that it crackles sixty years after first publication.
If a BHM makes or breaks a memorable story, how does one honk up a manuscript? A few lessons learned the hard way:
1. Be intentional.
I’ve come to think of short stories as ending delivery mechanisms. A BHM at the close turns a solid piece into a fiction cruise missile armed with a major warhead. Simply being conscious of a BHM’s potential in the planning stages makes finding one more likely.
2. More is not more.
If one BHM makes a great story, then two or three must be awesomeness itself, right? Wrong. A story has its natural lifts, but only one of them can be the highest. That’s the one to focus on; too much honking risks imbalance and over-emotional noise.
3. Stop the clock.
The BHM marks when the main conflict and character shifts are over. There may be further events to resolve or consolidate things, but after the BHM, a story is all about the finish.
4. Thread it through.
BHMs may arrive by inspiration, but ultimately they are built through sentence-by-sentence lead-up, from the opening passage. The BHM ties up every narrative and character thread that came before into a unified whole. It’s not too bold to guess any loose threads are darlings, and like any darlings, they need to meet your Inner Misfit.
So, if you’re interested in pumping up your storytelling, do what the best storytellers have done for millennia: honk. Bring us a big and honking moment of truth. Make it anything from the subtlest whisper to the hardest hammer blow, anything that delivers the relatable jolt we other folks around the fire came to hear—and to hold onto.
Robert Mangeot lives in Nashville and is the current chapter Vice President for Sisters in Crime Middle Tennessee. His short fiction appears in various anthologies and journals, including Lowestoft Chronicle, Murder Under the Oaks, Mysterical-E, and Mystery Writers of America Presents Ice Cold: Tales of Intrigue from the Cold War. His work has won contests sponsored by the Chattanooga Writers’ Guild, On the Premises, and Rocky Mountain Fiction Writers. His third story for Alfred Hitchcock Mystery Magazine hits newsstands March 2016. Learn more about his writing and his wandering the snack food aisles. Find more of his work at www.robertmangeot.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Give "Go Set A Watchman" Its Due / Blake Fontenay
In the month since the passing of legendary American author Harper Lee, we have seen a great deal of turmoil, as a nation and as a world. Political unrest and racial tension continue to plague our society to this day, reminding us of the importance of books like To Kill A Mockingbird, which inspire us all to take a stand for what is right.
For many of her fans, Ms. Lee’s controversial Go Set A Watchman failed to live up to the moral caliber of To Kill A Mockingbird, but, as former journalist and Killer Nashville Noir: Cold-Blooded author Blake Fontenay examines in this week’s guest blog, there’s important and relevant inspiration to be found in Go Set A Watchman, as well.
Happy reading!
Clay Stafford
Founder Killer Nashville
Publisher / Editorial Director Killer Nashville Magazine
Give Go Set A Watchman Its Due
By Blake Fontenay
(Spoiler Alert: If you haven’t yet read Go Set A Watchman but intend to, don’t look at this post until you have.)
When the news broke that a “new” Harper Lee novel had been discovered and was slated for publication, I remember what an uproar it caused.
There were some who worried that the book, Go Set A Watchman, would somehow tarnish the legacy Ms. Lee created for herself when she wrote her Pulitzer Prize-winning novel, To Kill A Mockingbird.
Since Ms. Lee’s passing on Feb. 19, I’ve been reflecting on that concern.
First of all, I believe Ms. Lee’s legacy is safe, on the strength of To Kill A Mockingbird alone. Unless we find out later that she was using the literary equivalent of steroids when she wrote that classic, I think her status as a hall of famer is assured.
Having said that, I would also add that I don’t think Go Set A Watchman is as bad a book as many critics have made it out to be.
My initial reaction to Go Set A Watchman was resentful. As a little-known author, I was irritated by the idea that some famous writer could submit to a publisher what was essentially a rough draft and it would immediately become a bestseller.
I thought about how many talented authors work in obscurity while a select few churn out books that the masses snap up in drugstores and airport kiosks.
But there’s no sense crying about that. It is what it is. Big-name authors like John Grisham, Michael Connelly, and Sandra Brown could publish 400 pages of random keystrokes that would sell like ice scrapers in Buffalo.
When I actually got around to reading Go Set A Watchman, I had other issues with the book.
For one, I thought there were way too many flashbacks. The story shifts so abruptly back and forth between the present and the past that I thought I would need to be fitted for a neck brace.
Also, I didn’t find the grown-up Scout to be a very likeable protagonist. Maybe I have some gender bias on this point. I attended a book club discussion about Go Set A Watchman in which the participants, who were primarily women, admiringly described her as spunky or feisty. In the book, Scout looks down her nose at just about everybody from her hometown and toys with the affections of the guy who has worshipped her since childhood. To me, that goes beyond spunkiness into the realm of something far less appealing.
But I’m sure the most controversial aspect of Go Set A Watchman is its depiction of Atticus Finch, Scout’s father, not as the pillar of moral rectitude he was in To Kill A Mockingbird, but as an unapologetic racist.
One of my friends, who loved To Kill A Mockingbird and worshipped Atticus Finch, said Go Set A Watchman was so bad that it ruined her memory of the first book. (I had a similar reaction to Aliens 3, so I can relate.)
Here’s the thing, though: The ending of Go Set A Watchman is what makes the book interesting and thought-provoking. After discovering her father and most of the people she has known all her life are racists, Scout decides against leaving her small Alabama hometown for a more enlightened life in New York City.
That’s not a classic Hollywood ending. However, I think it’s a lot more realistic.
Very few of us get the opportunity in our daily lives to face down an angry mob and show it the error of its ways, as Atticus Finch heroically did in To Kill A Mockingbird. Racism and other forms of bigotry are pervasive in our society, but they manifest themselves in subtle ways.
Most often they come in the form of comments from co-workers, neighbors or even family members. In Go Set A Watchman, Scout faces a similar scenario.
In real life, pulling up stakes and moving to some racial utopia isn’t an option. (Based on my reading of history, Scout’s New York of the 1950s wouldn’t have qualified as such a utopia, anyway.)
When Scout decides to remain in her hometown, she pledges to remain true to her own principles and try to affect change in attitudes wherever she can. And that’s probably the best any of us could hope to do in our own lives.
Go Set A Watchman may have been written more than half a century ago, but it’s very relevant to the times in which we live and the conflicts we must still confront.
In my mind, that doesn’t qualify the book a classic, but it’s not a legacy-spoiler, either.
Blake Fontenay spent more than 25 years as a reporter, columnist and editorial writer for metropolitan daily newspapers—including the Sacramento Bee, (Jacksonville) Florida Times-Union, Orlando Sentinel and (Memphis) Commercial Appeal. He won several awards for editorial writing while at the Commercial Appeal.
Since leaving the newspaper business, he has worked as the communications director for Tennessee’s Comptroller, Treasurer and Secretary of State. He is currently the coordinator for the Tri-Star Chronicles project at the Tennessee State Library and Archives.
His debut novel, The Politics of Barbecue, was published by John F. Blair Publisher in September, 2012. The Politics of Barbecue won the Independent Publishers Book Awards gold medal for fiction in the South region in 2013. Scouts’ Honor, which was released in July 2014, is his second novel.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Give "Go Set A Watchman" Its Due / Blake Fontenay
In the month since the passing of legendary American author Harper Lee, we have seen a great deal of turmoil, as a nation and as a world. Political unrest and racial tension continue to plague our society to this day, reminding us of the importance of books like To Kill A Mockingbird, which inspire us all to take a stand for what is right.For many of her fans, Ms. Lee’s controversial Go Set A Watchman failed to live up to the moral caliber of To Kill A Mockingbird, but, as former journalist and Killer Nashville Noir: Cold-Blooded author Blake Fontenay examines in this week’s guest blog, there’s important and relevant inspiration to be found in Go Set A Watchman, as well.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Give Go Set A Watchman Its Due
By Blake Fontenay
(Spoiler Alert: If you haven’t yet read Go Set A Watchman but intend to, don’t look at this post until you have.)
When the news broke that a “new” Harper Lee novel had been discovered and was slated for publication, I remember what an uproar it caused.
There were some who worried that the book, Go Set A Watchman, would somehow tarnish the legacy Ms. Lee created for herself when she wrote her Pulitzer Prize-winning novel, To Kill A Mockingbird.
Since Ms. Lee’s passing on Feb. 19, I’ve been reflecting on that concern.
First of all, I believe Ms. Lee’s legacy is safe, on the strength of To Kill A Mockingbird alone. Unless we find out later that she was using the literary equivalent of steroids when she wrote that classic, I think her status as a hall of famer is assured.
Having said that, I would also add that I don’t think Go Set A Watchman is as bad a book as many critics have made it out to be.
My initial reaction to Go Set A Watchman was resentful. As a little-known author, I was irritated by the idea that some famous writer could submit to a publisher what was essentially a rough draft and it would immediately become a bestseller.
I thought about how many talented authors work in obscurity while a select few churn out books that the masses snap up in drugstores and airport kiosks.
But there’s no sense crying about that. It is what it is. Big-name authors like John Grisham, Michael Connelly, and Sandra Brown could publish 400 pages of random keystrokes that would sell like ice scrapers in Buffalo.
When I actually got around to reading Go Set A Watchman, I had other issues with the book.
For one, I thought there were way too many flashbacks. The story shifts so abruptly back and forth between the present and the past that I thought I would need to be fitted for a neck brace.
Also, I didn’t find the grown-up Scout to be a very likeable protagonist. Maybe I have some gender bias on this point. I attended a book club discussion about Go Set A Watchman in which the participants, who were primarily women, admiringly described her as spunky or feisty. In the book, Scout looks down her nose at just about everybody from her hometown and toys with the affections of the guy who has worshipped her since childhood. To me, that goes beyond spunkiness into the realm of something far less appealing.
But I’m sure the most controversial aspect of Go Set A Watchman is its depiction of Atticus Finch, Scout’s father, not as the pillar of moral rectitude he was in To Kill A Mockingbird, but as an unapologetic racist.
One of my friends, who loved To Kill A Mockingbird and worshipped Atticus Finch, said Go Set A Watchman was so bad that it ruined her memory of the first book. (I had a similar reaction to Aliens 3, so I can relate.)
Here’s the thing, though: The ending of Go Set A Watchman is what makes the book interesting and thought-provoking. After discovering her father and most of the people she has known all her life are racists, Scout decides against leaving her small Alabama hometown for a more enlightened life in New York City.
That’s not a classic Hollywood ending. However, I think it’s a lot more realistic.
Very few of us get the opportunity in our daily lives to face down an angry mob and show it the error of its ways, as Atticus Finch heroically did in To Kill A Mockingbird. Racism and other forms of bigotry are pervasive in our society, but they manifest themselves in subtle ways.
Most often they come in the form of comments from co-workers, neighbors or even family members. In Go Set A Watchman, Scout faces a similar scenario.
In real life, pulling up stakes and moving to some racial utopia isn’t an option. (Based on my reading of history, Scout’s New York of the 1950s wouldn’t have qualified as such a utopia, anyway.)
When Scout decides to remain in her hometown, she pledges to remain true to her own principles and try to affect change in attitudes wherever she can. And that’s probably the best any of us could hope to do in our own lives.
Go Set A Watchman may have been written more than half a century ago, but it’s very relevant to the times in which we live and the conflicts we must still confront.
In my mind, that doesn’t qualify the book a classic, but it’s not a legacy-spoiler, either.
Blake Fontenay spent more than 25 years as a reporter, columnist and editorial writer for metropolitan daily newspapers—including the Sacramento Bee, (Jacksonville) Florida Times-Union, Orlando Sentinel and (Memphis) Commercial Appeal. He won several awards for editorial writing while at the Commercial Appeal.
Since leaving the newspaper business, he has worked as the communications director for Tennessee’s Comptroller, Treasurer and Secretary of State. He is currently the coordinator for the Tri-Star Chronicles project at the Tennessee State Library and Archives.
His debut novel, The Politics of Barbecue, was published by John F. Blair Publisher in September, 2012. The Politics of Barbecue won the Independent Publishers Book Awards gold medal for fiction in the South region in 2013. Scouts’ Honor, which was released in July 2014, is his second novel.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Submit Your Writing to KN Magazine
Want to have your writing included in Killer Nashville Magazine?
Fill out our submission form and upload your writing here: