Another New Year’s Day by M.M. Gornell

Madeline (M.M.) Gornell is the author of six award-winning mystery novels. Her current literary focus is Route 66 as it traverses California’s Mojave Desert. Madeline is a lifetime lover of mysteries, and besides reading and writing, is also a potter. She lives with her husband and assorted canines in the High Desert. For more information, visit her website or Amazon Author Page.

Another New Year’s Day

Had a birthday not too long ago—my marker for beginning a year, not January 1st. A day for assessment and commitment (more often than not, re-commitment!). And Writing, these years, is the first item on the dreaded list. And even with all the time that’s accumulated behind me, instead of stretching endlessly ahead of me, it’s a constant yearly amazement why I haven’t figured certain things out a long time ago. A New Year for me, means a lot of “should have known” head-scratching.
This year, number one, was my dissatisfaction with where I am writing-wise, and promotions wise. On the Writing-front, “No more excuses,” I’m telling myself on B-day, I have to physically write more.
Should be spending more time writing. Deciding that was easy. So far, writing one book a year is not enough. But trying to figure out when, how, where—all those little niggling details are the hard part. So, after my New Year’s Day introspection, I was whining to a friend about how I’m flitting around not writing, who in response looked at me like I was crazy, then said, “You’re always writing. What are you talking about?”
She pointed out things like: I’m constantly picking-up unusual people and place names, also asking details about places and people no one else would bother with, and saying things like, “What a place for a murder?” or “I wonder why that happened?” or “What else was going on then?” or “Where you around when?” etc. She also most candidly offered, I spend a lot of time “listening” in a particular way. I stopped there—too much personal insight. I didn’t want to know in detail what particular meant. She also offered, “I bet you wake up thinking about writing, and go to sleep thinking about writing.” Guilty as charged.
So why am I publicly sharing all this B-day stuff? When I first sat down to write this post, I was thinking maybe it would be a help to anyone else struggling with the question of not enough dedicated computer or pen-to-paper time. I.e., 1000 words a day, or 3 pages a day, or, or… Plenty of thresholds out there to claim as your own. But now as I’m wrapping up this B-day meandering, I realize it’s because I wanted to share an important insight I finallyinternalized. Knowing about my writing, knowing about me even, isn’t an exclusively inside-to-outside progression kind of thing.
The looking glass needs to talk back. And I don’t mean writing critique groups—something more encompassing I can’t fully articulate yet. But hoping you get the point. Writing is a great adventure—made even better with a few road signs. Feeling pretty lucky I have some people in my life who’ll tell me the truth. But I don’t think we can always count on that, so here’s a nugget to be taken away. Occasionally step back, then look in.
And for my “writing more” resolution. Decided I’m just fine. Ha! However, I did make some promotions resolutions; but they can keep until the next time I’m up.

Poetry in E-motion 
by Jackie Houchin

Jackie is a retired photo-journalist, a book reviewer and blogger. She loves to travel, to read (of course), and has a favorite, very intelligent cat named Story (what else?). She is involved in her church ministries for children and the elderly and admits to being a “sinner saved by God’s grace.”
Several years ago I took a creative writing class at Glendale Community College, hoping to develop my skills in fiction writing. I was disappointed to discover in the first ten minutes of class that the instructor, Bart Edelman was a poet and that poetry would be the main thrust of the class. 
Great.
I confess I’m not a fan of poetry, perhaps because I don’t know how to write it or read it.  Rhyming verse, as in hymns, ballads and old Rock ‘n Roll songs, is fun, understandable, and easy, but all that “free verse stuff” (often without punctuation and capitalization) seems like words scattered on the page without thought or purpose.
I considered dropping the class, but in the end, I decided to endure. Maybe I would learn something.
Mr. Edelman soon had us learning about the types of poems – Italian, Elizabethan and Shakespearean sonnets, haiku, tercets, ballads and such. We reviewed meter, construction, and how to “cheat” by contracting words.
In each session our homework assignment was to write a poem to the exact standard we’d learned, submitting all our notes and scribblings to show our process. I picked up a couple books on rhyming words and grudgingly got to work.
Surprisingly I began to enjoy the task. I’ve always been a lover of words, and to see them coming together from the hidden recesses of my mind to form beauty and sense amazed me. I saw character, setting, description, even dialogue. Huh! And I found that as I wrote the poem, hidden emotions – hurt, anger, sorrow – came out on the paper. I read it and had to acknowledge the truth I’d written. Whoa!
Edelman made me rewrite that first poem titled “Change of Face” four times, but in the end I got an “A-” on it.  
Sonnets with their strict meter and line placements appealed to me.  And again, as I wrote and rewrote lines and thoughts, the beauty of the words amazed me. Humor and entendre also surfaced. Wow!
I wrote a sonnet about my work as a photographer of civic light opera productions, titled “Drama, Focused and Exposed.” Can you guess the three Andrew Lloyd Webber musicals?
In gauzy fog beneath the ancient stage,
The masquerading maestro longed to own
Christine, his light and life.  But now in rage
He damns his love.  She’s gone and he’s alone.
A requiem, a funeral most grim.
But Argentina’s eyes must cry no more.
A comet flaring fast then growing dim,
A queen, a saint, belov’d, adored… a whore.
The chosen son – among his brothers loathed –
In rainbow hues paraded, dreamed, advised.
From Potiphar and prison cell, unclothed;
He rose like worshipped sun, adorned and prized.
These images through lens; my claim to fame!
With help, of course, from the Sir-What’s-His-Name.
I wrote a Terza Rima Tercet titled “Rude Awakenings” which came from some deep emotions of disappointment, danger, and disillusionment.
A candy bar, a car; his tools to stalk
A sweet young girl. She smiles and reaches…“No!”
They cry, “With strangers you must never talk!”
A tender boy, experimenting, slow.
(He loves me true. He’ll marry me. He will!)
A plunge; I cry!  He smiles and leaves. I know.
An angry boy, a son not mine, but still
I welcome him and offer help and love.
Rejection. Threats! Then me, he tries to kill.
Apologies, in recognition of
his infidelities, to her he brings,
And candy too, and gems…but not his love.
The final day, collecting all his things.
“We’re downsizing,” they’d said. “Now take a walk.”
“Oh… here’s a watch for your retiring.”
When we came to Haiku – those weird 5 – 7 – 5 syllable lines – I wrote about a 65 year old memory of my father’s death titled, “Daddy’s Demise.” I actually remember reaching on tiptoes into the casket and touching his cold hard hand.
Fatherless daughter
On tiptoes views him, reaches—
touches death’s cold hand.
Tears of grief squeezing
From a child’s eyes; bitter juice
pressed from unripe fruit.
Clods of earth; humans
Long returned to dust, welcome
box and body home.
Autumn’s crimson leaves
Drip like blood, blanketing earth—
Quilts warming the dead.
Like evening tides
eroding sand castles; life
fades from memory.
Okay, I know that was sad!  I also wrote a 35 line ballad based on the colorful life of someone I knew – but I won’t include that here.  I had SUCH fun with that one!
The poem – an Italian sonnet – I am most proud of, which was also included in the college literature book that year, tells of my personal emotions about my boys growing up and leaving. It’s titled “Empty Nest.”
Flown far from home my offspring; eagles now,
Were embryos and hatchlings; homely, plain,
Then fledglings yearning for the sky.  “Unchain
Us Mom,” they begged, then fled my homey bough.
First came the empty chairs at meals, (Oh, how
I missed their narratives of pain and gain!)
Then girls arrived, and cars and wives to claim
My boys.  Now men, with rows their own to plow.
But all’s not lost.  There’s peace and calm once more,
And rooms reclaimed and far less work to do.
There’s time for hobbies, gardens and decor.
And wives become new daughters. Furthermore,
There’re children, grand and great, and one more due.
Returned; the progeny of those I bore.
I got A’s on all these poems, often with an “excellent!” following. I thought I’d aced the class with a solid “A,” then Edelman pulled me aside. He couldn’t give me an A in class, he said, unless I wrote a free-form poem.
Ugh!  Just when I had begun enjoying the form and beauty of constructed verse, I had to let it go, throw words willy-nilly on the page and hope they passed the test.
For inspiration our instructor showed a film in class about a young Jewish boy hidden in a Swiss school during Hitler’s reign of terror. Goose-stepping soldiers eventually found him and…. well, the atrocities I saw burned in me and eventually came out on paper in my poem titled, “Reparations.”
Perhaps it’s not the free verse poem Edelman expected, but I noticed he cringed and squeezed his legs together as he read it. Raw emotion, unrestricted by order and form can be strangely cathartic.
Shall I include it here?  I might get some backlash. Oh well, here goes.
Kill them slowly…
Murderous bastards,
all of them arrogant
in their Aryan race and place.
Kill them slowly…
Blue-eyed scum
coldly wrenching gold teeth
from bloody gums, greedily.
Kill them slowly…
Golden haired giants
gleefully blackening bodies
and bones of boys and girls.
Torture them, burn them,
peel skin from their backs!
Torment them, rape them,
rip babies from their bellies!
Pluck out their eyes
and teeth and hair and nails.
Castrate them! Punish them!
Please…
Oh, God! 
Forgive them slowly…
In their quest for purity,
they exterminated the brilliant and the wise.
In their depravity, they left the world
bereft of light and art and grace.
In looking for the “solution”
they sacrificed the sanctified;
the chosen ones…
Abraham’s race.
Emotion, controlled in strict style or released just as it comes out, enriches writing in all genres. I still don’t write poetry as a rule, but the thing I learned is that beautiful (or terrible) images and emotions revealed in words is the substance of  good writing.
I got that “A” in the class. I even got the job of taking Edelman’s author photo for the back cover of his book of poetry. (I made him look pretty good.)

Looking for Meaning by Gayle Bartos-Pool


A former private detective and reporter for a small weekly newspaper, G.B.Pool writes the Johnny Casino Casebook Series and the Gin Caulfield P.I. Mysteries. She teaches writing classes: “Anatomy of a Short Story,” “How To Write Convincing Dialogue” and “Writing a Killer Opening Line.” For more information about Gayle, visit her website!






For the past several months I have written blogs on the 5 Elements of a Story as outlined by Aristotle in The Poetics. Mine weren’t deep, philosophical discussions. They were just good, solid writing tips and techniques. So far we have covered Plot, Character, Setting, and Dialogue. Each of these is an integral aspect of a good story.

Without Plot, you have your annual Christmas letter. Without Character, you have a travel guide. Without Setting, you have an essay. And without Dialogue, you don’t have much reality to your story.

The final element is Meaning. Or: “What is the point to your story?” If you don’t have a point, why write the story? You might think the plot is the meaning, but the plot is simply what characters do in a specific time and place, enhanced by what each character has to say about it.

The Meaning is a higher concept. It’s the theme. There aren’t all that many concepts out there: Man against Man. Man against Nature. Man against Machine, Man against Himself, Man against God. Even if you have a dog as your hero, it would be Dog against Man, Dog against Dog, or Dog against Nature or Machine. (God loves dogs so there wouldn’t be any conflict between them. Sorry, I digress.)

Any good western has a guy in a white hat battling a guy in a black hat. Even in good, old-fashioned detective tales you have man against man (hero against killer) or maybe it’s hero against femme fatale.

The new movie, Everest, has men battling that mountain. My latest book, Caverns, coming out in October, pits man against nature until the heroes realize the rats in the caves underneath the city of Chicago aren’t their biggest problem.

The silent movie, Modern Times, has man battling the machine age. Or how about 2001: A Space Odyssey when the human is trying to outsmart the computer. (Obviously in real modern times and the real future, now, every gadget used in a CSI TV show works, nobody’s cell phone ever loses a signal or runs out of battery power. But that would be a different story. Sorry… Again I digress.)

Then there is Man against Himself. This is often a psychological tale where the man is trying to find himself or save himself. The Days of Wine and Roses and The Lost Weekend pit an alcoholic against the bottle in his fist. Whether it’s alcohol, drugs, or maybe a nymphomaniac female and her cravings, they are each fighting a battle against their addiction. And since they are the only one in the room, it’s the character against himself or herself. Society really doesn’t have a place in that scenario.

There are tales of man (and I use the term facetiously in this case) against God as in The Screwtape Letters. The devil is definitely having his issues with God.

And as in some instances, the man or woman doesn’t have to win. The Tale of Two Cities ends with Sydney Carton walking to the gallows. The plot might lead him to Madame Guillotine, but it’s his self-sacrifice that takes him on his final journey and the ultimate meaning of the story.

It is up to the writer to find those obstacles against which his or her characters can struggle. The writer creates a character with traits that either defy and overcome the odds or succumbs to them, because in the final analysis all stories are really about man vs. himself. 

Can the hero triumph over his limitations? Will the hero find himself, his courage, and his soul in that struggle?

What is your story trying to say?  What are you trying to say?

Publishing in Ezines by Kate Thornton



Kate Thornton is a retired US Army officer who enjoys writing both mysteries and science fiction. With over 100 short stories in print, she teaches a short story class and is currently working on a series of romantic suspense novels. She divides her time between Southern California and Tucson, Arizona. You can find out more about Kate at her Amazon page.




From BLUE MURDER, David Firks’ ground-breaking classy online mystery magazine from the late 1990s to FLASHING IN THE GUTTERS, Tribe’s incredible venue for edgy and raw – beyond noir – flash fiction, ezines have come and gone. These two fine ezines have unfortunately gone. But let’s get back to them in a few minutes.

WHAT ARE EZINES? 


Ezines are online magazines. They range in visual quality from beautifully-designed and finely-illustrated to very plain to so ornate it’s hard to figure out where the writing is. Fiction of all genres, non-fiction, self-help even specialty hobby ezines abound on the net – just Google your favorite phrase and you’re bound to come up with an ezine in your field of interest.

WHAT DO THEY OFFER?


The most obvious advantage is immediacy. Ezines often have a submissions turn-around time measured in minutes or hours rather than months. No SASE required, just electrons. Usually you can submit via email and you can send either in the body of the email – just cut & paste your whole story in – or as an attachment if the ezine permits. Always read the submission guidelines to see what they want.

Archiving is a wonderful thing – most ezines will archive your work online as a matter of routine, allowing you (and your fans) to access your work in past issues. Most ezines will also take down – after the initial publication time –  any work you do not wish to have archived.

They also offer one of the widest readerships possible for your stuff – billions of readers from all over the world can access your writing. This is not to say they necessarily will, only that they can. Many have hit counters or readership statistics available, so you can get an idea of how popular a particular ezine is.


The most popular sites, like SLATE (which no longer publishes fiction) are operated just like a print magazine in many respects. Others are the online presence of actual print magazines, like THE NEW YORKER, and may even share editorial staff, guidelines and publication of submissions with their sister print magazine.

There is a certain amount of prestige accorded many ezines. Literary fiction ezines in particular serve a discriminating community, while many of the genre ezines are also routinely read by prize committees. The Pushcart Prize, Derringer and other prizes have been awarded to fiction published in ezines.

WHAT ABOUT MONEY?


Well, some pay quite well and some do not pay at all. Always check the guidelines for payment.

Some pay in cents-per-word, others in flat rate, still others in merchandise or print copies of sister magazines. Payment can be by check or through electronic funds transfer. I keep a PayPal account just for this.

WHAT ABOUT COPYRIGHT? WHAT RIGHTS HAVE I SOLD?


As in print magazines, the ezine usually copyrights your story for the duration of its run (the current issue) at which time the copyright reverts to you, the writer. As with other magazines, you need to read the contract or guidelines.ALWAYS KNOW WHAT YOU HAVE SOLD! (Back in the late 1990s, I sold all rights to several stories. At the time this sounded good as they paid me $100 per short story. But a few years ago a film company wanted to negotiate the rights to one of my stories and guess what – I didn’t own it!)

Generally, the rights you have sold are First Electronic Rights and sometimes First World Rights which include First Print rights. This means you have reprint rights still in your bag to sell at a later time, either to a print magazine or to another ezine. Usually, with an ezine, you have sold your rights for a specific duration, and then allow archiving.

WHAT ABOUT PEOPLE STEALING YOUR STUFF?


Let me be very clear – publishing your work online in an ezine does not negate your copyright nor does it put your work in the public domain. That said, I just don’t encounter it very often, and I do a regular net search looking for my materials.

WHERE CAN I FIND EZINES?


Here are a couple of guides. But Google is your friend when it comes to searching! And use your forums and online writing groups – many of them have market listings.

RALAN’S is one of the best market guides.

NewPages Guide to Online LiteraryMagazines is a good reference for literary fiction

LIFE EXPECTANCY


Well, ezines come and go pretty quickly. BLUE MURDER ceased production when the editor, David Firks, suffered a severe illness. FLASHING IN THE GUTTERS was taken down by the editor, Tribe. Others come and go as interest sparks or wanes or as editors shift gears or change directions.

Here’s a current non-paying venue that is particularly friendly to mystery submissions and a joy to read: KINGS RIVER LIFE, Lorie Lewis Ham’s delightful ezine. They publish new issues on Saturdays and always have a short story contest.

I miss the long-gone classic venues, but new ones spring up daily. So best of luck out there – I love the internet and the world it brings me.

Another Kind of Journalism by Bonnie Schroeder

Bonnie Schroeder is the author of Mending Dreams as well as published short fiction. Find out more about Bonnie at her website.

 

 

 

 

ANOTHER KIND OF JOURNALISM

I came of age in the 1960’s, the era of Hippies and anti-war protests, the Summer of Love and psychedelia. Dropped out of college to marry an art student. Lived in a loft in Downtown Los Angeles before it became the fashionable Arts District.
A lot of good writing material there—if only I’d taken better notes.
I didn’t start keeping a journal, however, until 1974. Here’s the first entry, from January of that year, scribbled in a blue-vinyl-covered spiral-bound notebook: “This journal was a gift from John, who will soon be my ex-husband.”
I didn’t consciously craft that sentence as a story opening; it just came out that way, from my brain to my fingers to the pen on the page. And at least I was able to write authentically about the ups and downs of a no-fault divorce in California.
I’ve become a devoted journal-writer since then and have lost track of the number of notebooks I’ve filled. It’s become a need, a way to preserve and (maybe) make sense of what goes on in my life.
Those lost years in the 60’s? I can research in libraries and online until the cows come home, but it won’t reveal what I personally was thinking and feeling and experiencing in those days. My journal is a repository for all life’s oddball experiences, good and bad, beautiful and ugly—all waiting to spring to life again.
But journal-writing has another, even more valuable application: it’s great writing practice.
For years I worried that I wasn’t doing my journal writing the “right way,” not filling pages with long, elaborate, lyrical descriptions and all that. Then I realized, that’s not necessarily what it’s all about. Journaling is simply practice in putting words on the page and building up those writing muscles.
Whether you intend to or not, once you keep a journal, you do start to notice the world around you more carefully as you strive to record and interpret your experiences, in as much interesting detail as possible. The challenge presents itself without your even trying.
And remember this: nobody’s looking (unless you want them to) so you free yourself to experiment with phrasing and structure, to invent whatever and whoever you want, to create fiction as well as re-create fact.

There are a ton of how-to books on journaling out there. I have two favorites that are especially relevant to me. When I’m feeling stuck or just need a break from my current project, I sometimes turn to them to jump-start my writing in unexpected directions.

·       The CreativeJournal by Lucia Capacchione
·      The NewDiary by Tristine Rainer
As for all those notebooks stashed away in my garage? I finally wised up and started keeping my journals on the computer, using MS Word (and a password protected file.) This has several advantages: my handwriting is horrid (the only D I ever got in school was in penmanship), I don’t have to make room in the file cabinet for yet another notebook, and the entries are searchable in case I want to look something up quickly. I confess, however, that sometimes only the scratch of the pen on paper will quell the writing itch, so I succumb and then in my OCD fashion retype the entry into the digital file “for future reference.”
I didn’t inventjournaling, of course. A lot of writers, better and more well-known than I (hello, Anaïs Nin) have even published their journals. Some have written novels in journal format (one of my personal favorites is Doris Lessing’s The Golden Notebook.) It seems a fairly common trait among writers, this deep-rooted urge to put words on paper, to capture and describe (or invent) their experiences, even if/when their words aren’t meant to be read by anyone else.
So let me ask: do YOU keep a journal? Does it add value to your writing life? If you haven’t been journaling, did this post make you want to consider it?

 

The Long and the Short of it….by Rosemary Lord

Sometimes I want to read in a hurry: quickly turning pages to find out what’s coming, racing through an exciting mystery. Other times I enjoy lingering in the luxury of words – savoring the colorful, evocative descriptions. Immersing myself in the mood of the piece.
I became aware of this as I began to read the English Best Seller, The Girl On The Train, by Paula Hawkins. I saw a smart format that moved the story along quickly. Written diary-style. Staccato. Divided with headings into morning and evening. Sentences very, very short, each session about a page. Although the diary entries increase in length heavily deeper into the book.

It starts off with brief descriptions of what the girl in the title saw on her daily train journeys back and forth to work. She makes up her own stories about the people she observes daily. We’ve all been there. I did that, fresh out of school, following similar train routes when I worked in London years ago. Train journeys are an excellent opportunity for writers imagination to run wild.

But it was the quick, short approach that caught my attention. Short descriptions, simple words written in the first person. No luxuriating in similes. Nothing sentimental. ‘Just the facts, Ma’am.’ It’s hip and sharp. And it works. This book was #1 on the L.A. Times Bestseller List.


But my problem is that I write about the past. A slower, gentler past. I get steeped in creating a mood of a by-gone era. Admittedly, I sometimes get carried away with my sometimes verbose descriptions and my writer friends on this blog will reign me back in. But a short, staccato, present tense would not work for what I want to say in my 1920s-set novels. Although I am getting better. 


For the past 5 years I have been working to save an historic Hollywood building from being turned into a condo-resort-with-swimming-pool. And as there were elderly ladies involved, it led to me to write the historical aspects, their stories and why the Woman’s Club of Hollywood should be saved. My first submissions were red-penciled by the legal teams. The Court, they pointed out, just wants the facts, no flowery descriptions, no emotions, and few – if any – adjectives. I learned to cut the information to the bone, with no sidetracks. It was explained to me that with thousands of legal pages to read, one needs the court to understand the story – without getting bored. Keep it simple. A twelve-step program phrase that is very useful.

I used the ‘keep it simple and short’ theme consistently when I was writing the updated version of Los Angeles Then and Now last year. Although I find it much easier to keep things simple when writing non-fiction. I did that as a journalist for years. Editors give you very little space in which to tell the entire story.

So, when I returned to working on my Lottie Topaz novels (Yeah!) that are set in the world of silent movies and Prohibition in Hollywood, it was with a renewed enthusiasm and fresh approach. While my novels and character’s voice are not really the place for that 2015 staccato tone, I have divested my writing of some of its frippery. And some of the descriptions that I just loved – well, they had to go.( Although my fellow blogger GB Pool uses an excellent, Chandleresque staccato tone in her Johnny Casino books. But that’s a subject for a whole other blog…. )


So, the long and the short of it is that there is room for both styles. It depends on the nature of your writing. I will leave you and return to my dusty, dry days of sweet-smelling orange groves, endless blue skies and the clang of trolley cars in the distance and the world of Hollywood in the 1920s. 


Building a Better Villian by Miko Johnston

Miko Johnston is the author of Petals in the Wind.  
She first first contemplated a writing career as a poet at age six. That notion ended four years later when she found no ‘help wanted’ ads for poets in the Sunday NY Times classified section, but her desire to write persisted. After graduating from NY University, she headed west to pursue a career as a journalist before switching to fiction. Miko lives on Whidbey Island in Washington. You can find out more about her books and follow her for her latest releases at Amazon. 


BUILDING A BETTER VILLAIN
Call me TINO – tolerant in name only. I recently noticed many of my odious characters share a certain trait, which would be fine if that trait related to being dislikable. However, the similarity my antagonists share is physical – they’re gross in every sense of the word.
It made me wonder if I have a deep-seated bias against those who share this physical attribute. But wait, I’ve read many books with villains who ‘look’ like mine. Does that make me biased, or just lazy?
So that got me thinking – how do you build a better villain, one who is complex and human, who doesn’t fall into the easy prejudice category? It’s one thing to make your villain a classic enemy, like a terrorist or Nazi. They’re no challenge to make despicable; we recognize them as bad from their title. You can say murderers, a staple of mysteries, are easy villains, while action/adventure genres almost demand evil characters bent on destroying the world. But that isn’t enough to create a truly memorable bad guy.
The most fascinating villains are the ones we can relate to on a certain level, no matter how vile their behavior, unconscionable their deeds, or distasteful their appearance. For villains who are pure evil there must be something about them that intrigues us beyond their horrific actions. What draws us to Robert Benchley’s shark in Jaws, or Thomas Harris’ Hannibal Lecter in Red Dragon, is not so much their conduct as their nature. Unlike the hero, it’s not about the villain’s vulnerability, but ours – to the likes of them.
As writers, we must build characters, not caricatures, which means we have to find some redeeming qualities in our villains. That’s not to say the nemesis has to be admirable, but like a protagonist who is purely good is boring, so is an antagonist who is one-dimensional. If we give our heroes some imperfections, we must also balance our villains with enough positive qualities to make them real without making them nice.
To build this kind of villain, think of how many real life villains are smart (Ted Kaczynski), charming and attractive (Ted Bundy), or charismatic (bin Laden). What makes them villains is the way they used those positive qualities in a negative way. This type of villain should present a genuine challenge for your hero by having the power or ability to exploit your protagonist’s weaknesses. Whether a mighty army against a ragtag bunch of freedom fighters or a devoted family man bent on annihilating one segment of society, the greater the task to defeat him the more invested we’ll be in the story.
Villains don’t have to be evil. It surprised me to learn that one synonym for ‘villain’ is ‘antihero’ – I’ve always thought of them as protagonists – flawed people you empathize with, even like, despite their badness. Whether Kurtz from Heart of Darkness, Count Dracula and Frankenstein, Moriarty from Doyle’s Sherlock Holmes books, or Michael Corleone in The Godfather, these antiheroes fascinate us and we often root for them. Even when their actions horrify us. 
It reminds us that villains don’t have to be wicked moustache twirlers, rope in hand. Haven’t we all known good people who’ve had a momentary break and done bad things? Some, like BTK killer Dennis Rader or Susan Smith, go well beyond bad, but what shocked us most about them was their very ordinariness.
To build this kind of villain, write a character biography to create a backstory. Then seek a motivation for the deed, one that readers can relate to, with a believable trigger. That will provide a reason, which is different from an excuse. Bad can never be excused, but if we understand what provoked the bad – fear, shame, anger – we won’t view the character as a really evil person but as a real person who did evil.
It’s a subtle but important difference. It’s what makes them complex and human.

The Human Mind (Yes this has something to do with writing!)


I like three word titles, but this time, The Human Mind was just too obtuse.
In one of my prior lives, I majored in Philosophy with a minor in Psychology. The academic choices of a naive twenty year old I don’t think are of interest, or relevant, except as background for why I thought this blog was a good idea.

Philosophy gave me a logical thinking grounding, and Psychology appealed to my interest in always wanting to know “why?” Nonetheless, I’ve ended up being more of a “pantster,” than a thinking ahead “outliner” and laying out kind of writer. And when it comes to “why,” I sure like leaving “what if” loose ends and unresolved questions in my stories. Especially about the future. Logic and “why”—apparently went out the window.
Which leads me into the heart of this post. The numerous articles on how to do this or that (especially if it’s something computer related!) are wonderful, and my saviors in our electronic age. However, the “ten things” you have to do, or the “ten no-nos” or the “ten rules” for writing, editing, etc. sometimes hit a sour note. And they shouldn’t, because people are always asking those questions, and we’re all eager for help and answers.
But in the background areas of my “human mind” runs the belief everyone is different, and contradictory. And picking and choosing what works for you is the only one answer I wholeheartedly believe in repeating. That being said, I’ve pontificated while on many a panel, in many a blog, and answered many a question about “should and shouldn’t” behavior. Even had numbered lists. Guilty as charged.

Madeline (M.M.) Gornell

Finally, here’s the conclusion and connections to these thoughts(which started as musings on my way home back to the high-desert from a lovely lunch in Arcadia with some wonderful author friends—you know who you are): Not only is every author unique in our approach to writing, but also contradictory in our thoughts, actions, personalities, and life philosophies—and these contradictions, whether we want them to or not, in many ways define our writing style, the characters we develop, and the tales we tell.

A good thing, I think.

The Difficulties of the Back Cover Description

If I know an author well, I will simply pick up a copy of his or her book, confident that I’ll enjoy the read. I’ve seldom been disappointed this way.  But what if I don’t know the author? What will make me lay down my money and take the book home, or even download it at a cheaper price from Kindle? After all, this is the position I have to assume most readers will have toward me when they first discover my books.

The back cover description is the key.

It’s ridiculous, if you think about it, that an author must condense the plot, the character’s arcs, the entire novel into a paragraph or two that will entice the reader to want more. But something on that back cover has to convince me the book is worth my time. Here is the back cover from Elizabeth Peter’s first Amelia Peabody mystery. (It’s a bit of a cheat, as my mother recommended it to me.)

“Crocodile on the Sandbank”

Amelia Peabody, that indomitable product of the Victorian age, embarks on her debut Egyptian adventure armed with unshakable self-confidence, a journal to record her thoughts, and, of course, a sturdy umbrella. On her way to Cairo, Amelia rescues young Evelyn Barton-Forbes, who has been abandoned by her scoundrel lover. Together the two women sail up the Nile to an archaeological site run by the Emerson brothers – the irascible but dashing Radcliffe and the amiable Walter. Soon their little party is increased by one – one mummy, that is, and a singularly lively example of the species. Strange visitations, suspicious accidents, and a botched kidnapping convince Amelia that there is a plot afoot to harm Evelyn. Now Amelia finds herself up against an unknown enemy–and perilous forces that threaten to make her first Egyptian trip also her last…

The basic story is that a spinster goes to Egypt and runs into a lost young woman, two brothers, and a mummy, but notice the adverbs and adjectives:  irascible, suspicious, perilous, scoundrel. The verbs are strong as well: embarks, rescues, abandoned, threaten.

These word choices also work because the characters and situations are bigger than life, which I think comes through.

Radcliffe is described as “irascible but dashing”, which gives the reader a hint of fireworks and romance.

Out of this description, I’ll tell you what would have made me open the book.

“…a singularly lively example of the species.”

I LOVE dry, understated, and usually British humor. What a hysterical way to describe a mummy! That alone would convince me to open the book, because it’s my kind of writing style. I would also look inside to check out the writing style because there are only two authors who are good enough to make me suffer through present tense.

1. Condense the story into a few lines.
2. Choose strong adjectives, adverbs and verbs.
3. Make sure the description reflects the tone of the book.

 Sounds easy, right?

Take your latest tome and apply the rules. Can you improve your description?

Dialogue – The Workhorse of the Story By Gayle Bartos-Pool

Dialogue – The Workhorse of the Story
By Gayle Bartos-Pool
Dialogue is the workhorse of the novel, short story, and screenplay. Even Silent Movies had dialogue. Dialogue performs several functions. It provides: Character Development; Plot Advancement, and Action or Movement.
In other words: It brings the story to life.

Dialogue Enhances (Describes) the Character – How a character speaks and acts says a lot more about him or her than just the words. Dialogue tells the place of birth, type of education, her temperament, his soul. Speech patterns denote character just as costumes do for an actor whether it’s a stammer or a dialect.
“Honey, somethin’s happened to yer livin’ room. Did ya’ll get another dawg?”

Dialogue Advances the Plot – and Provides Pacing – Good dialogue always adds something to the plot, whether it builds tension, relieves tension, imparts needed information to the other characters (and the reader), animates the story, thus moving it along; or even slows down the pace when you need a breather.
“Why’d you get out of the fund?”
“Frankly, I was scared. They played too rough.”
“They?” That got my attention. “Who’s they? Does Racine have a partner?”

Dialogue provides real time action. You are in the room with the characters as they speak. You are eavesdropping or right in the middle of the conversation. Or the character might be speaking directly to you. And dueling dialogue between opposing characters brings the reader right into the action. But note: as the argument gets more heated, the length of the sentences gets shorter.
“I never loved my wife!”
“Did you kill her?”
“No!”
Dialogue gets you Up-Close and Personal – Provides Tone and Mood while it brings the reader into the story. – How the words are delivered sets the verbal stage on which the scene is set; a whisper denotes mood just like a rant.
I lowered my voice before asking her my next question. “Do you outrank him?”
“No, I sleep with him,” Trin whispered.
 Remember: A character blurting out information that advances the plot is far more interesting than a long narrative description. But note: Dialogue is the illusion of conversation.
In order to know how a character speaks or acts, or even the words he uses, you must get to know your characters…intimately.
First, make the characters seem real to you as well as to your readers. Let them speak to you and trust them. Most writers will tell you they actually “hear” their characters, and it is that particular “voice” that makes a character unique.

Archie Wright’s the name. Dishing dirt’s the game. My sandbox: Hollywood. The most glamorous and glitzy, vicious, and venomous playground in the world. If you come for a visit, bring your sunscreen and your shark repellant.
Make a character sound different from the other characters with him by adding: a dialect or a foreign accent or words to denote an education or lack thereof. Add rhythm to their speech to show how the person is thinking at the time: hesitation vs. rapid-fire.  Word choice might show a character’s education level, but keep it consistent; a drugged out biker probably won’t quote Shakespeare, but a  professor in prison might quote Hamlet.
Speech should:  Move the plot along by telling us something about the character; convey information about the plot; add to the mood; change the POV to get another character’s side; and add to the reality of the piece. Just make sure somebody (a character or the reader) learns something new during any conversation. But if something is conspicuously held back, make sure it is found in the next chapter or at least by the end of the story.
If there is no purpose to the dialogue, rewrite it or dump it.

“Larry and I didn’t have children. We had two ‘vipers’ instead, just to be different. And to tell you the truth, if they didn’t kill their father, they hired someone to do it. But their funds are limited now. They’ll have to do the deed themselves.”
Language & Body Language
Simple gestures describe the characters more fully than words alone. Instead of: “Go ahead. Date my ex-wife!” he shouted. Try: “Go ahead. Date my ex-wife,” he said while slamming his fist into the wall.

Body language or Stage Business Helps Dialogue.
            “I love you,” he said.
She blew smoke in his face. “How nice.”
Instead of a constant stream of he said/she said, use stage directions to show how someone is reacting while talking.
“I’m crazy about you, too,” she said, looking at her watch.
Internal monologue can shake things up.
I couldn’t believe they found Brad’s body. I thought I buried him deeper.
Things to Avoid:
Expository dialogue: “As you know, Fred…”
Pleasantries: “Hello. Nice weather we’re having.”
Long speeches – Unless you’re Shakespeare; less is always more in dialogue.
Adverbial action tags like: “I loathe you,” she said fiercely. –can be replaced with action: “I loathe you,” she said, grinding her cigarette into the back of his hand. “Have a nice day.”   Instead of: he said gravely. Try: with his head bowed he said…  
Sometimes what the character doesn’tsay is important: “I knew you wouldn’t care if I left you,” he said. She bit her lip.
Keep you, the writer, out of the piece. Don’t let your thoughts get tangled with those of your characters.
Write a biography of your main characters, whether it’s a paragraph or a page, describe who they are, where they came from, their background. Where a character was “born,” went to school, and his neighborhood will dictate his speech pattern, whether it’s a Southern drawl, a French accent, or a gangsta rapper from the ‘hood.’
If you are having difficulty, start with a “stock character” straight from central casting. If you want a villain, pick a character from some old movie, like Edward G. Robinson, and than mold him into your own creation. You can always find a picture in a magazine that fits the type of person you want in a particular role. Cut the picture out and devise a background for him or her.
If you know your characters, you can find their individual voice, even if the character isn’t human. Dogs, cats and birds have found their way into great stories.
After you have written your scene, read it aloud or have someone else read it to you, or use one of the many software programs that reads your work back to you. It will make a huge difference. You will hear things you didn’t know you wrote (both good and bad) and you will pick up the redundancies and misused words. And you just might find out how good you are at writing dialogue.
Let your dialogue work for you. It has a lot to say.