Tag: Ideas

Acting Class 101

By Gayle Bartos-Pool

If we’re lucky, we learn stuff everywhere we go in life. I did just that when I moved to California when I was twenty-five. I wanted to write for television and the movies. Me and five million other people. Since I didn’t know anything about the “business” of Hollywood, I thought it would be a good idea to take an acting class to see what writers needed to know when creating a screenplay character.

I happened to get a job working for a talent agent, and he got me in an acting class. This one was taught by Bruce Glover. You might have seen him in the James Bond movie Diamonds Are Forever. He played the sinister/funny character that was trying to kill off Bond.

What Bruce taught was when you’re playing a character, large part, small part, or walk-on, have your character do something that makes him stand out. Have a menacing smile or a delivery of your lines that has everybody notice you. Many famous actors started as bit players and went on to fame and fortune when they did something that stood out on the screen. And that doesn’t mean just having a pretty face.

As a writer, I figured that when I wrote characters, large or small, I would give them something that stood out. It might be their clothes that telegraphed what economic bracket they fell into or a whacky giggle to show that maybe their elevator didn’t go up too many floors. Maybe it’s the words they use that show their high-toned upbringing or their lack of education.

While taking that class, I had to do an improvised scene with another actor. We were to be boyfriend and girlfriend who were having problems. As the other actor and I were chatting on stage pretending we were seeing eye-to-eye while all the time pointing out the major problems we were having with the other character, I had a piece of paper in my hand that I said was the love letter he had written to another woman. I kept folding it in half, long-ways, until it looked like a knife. Obviously, my character was signaling what I wanted to do to my soon-to-be-ex boyfriend. Actions speak louder than words sometimes.
I try to give most of the characters I write that little bit extra to define them, too.

That acting class wasn’t the only one I took. I got lessons from Rudy Solari and Guy Stockwell. Both men had long careers in Hollywood. What Rudy had actors do was write a biography for the character they were playing so they knew exactly who they were when they stepped on the stage. It didn’t have to write pages and pages, just a brief background of that character, stating where he came from, how he was raised, his education, and what he wanted out of that scene.

What this did for the actor was let him know what motivates his character because in a screenplay, the writer usually just provides the dialogue, maybe how the line should be spoken like a whisper or yelling, and a few physical actions like running away or punching someone. Of course, the director will provide even more of those directions.

But the writer of a novel or short story needs to know who this character is, what motivates him, and things like his age, hair color, and stature, because when you’re writing a story, you don’t want to get to page 275 and have your twenty-five-year-old character with black hair all of a sudden be a thirty-six-year-old blond.

I write a short biography for all my main characters, adding to it as I think about what their past might have included that will help the current story angle. And I keep a Character List for everybody appearing in the story so I know who is who, and who they know, and why they’re there. It sure helps when I get to a spot and need to know all the previous things I wrote about that character like their age, hair color, or their role in the story.

And something else about those two acting classes, they gave me the confidence to get up in front of an audience when I’m talking about the books I wrote. I already know my motivation: get people to read.

Group Post #1 – How do you handle TECHNOLOGY?

Occasionally, we have an open spot on our blog schedule. One of our members suggested we all (or those able) could jump in for a group blog question.  Our first was suggested by Miko Johnston.

How do you incorporate ever-changing technology in your writing, especially in a series that covers years?

Jackie Houchin — In my short stories, I use the technologies needed in the story’s time and place. I used GPS settings to find a long-buried stash in one mystery set in modern New York. In that story, the dates were firmly set by newspaper clippings. In my missionary kids’ series set in modern but rural Africa, cell service is spotty (indeed, you can’t even be sure of electricity), so I use these technologies but don’t depend on them.  Actually, “no cell service” adds to the suspense of the moment when an emergency happens.

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Gayle Bartos-Pool — If you write stories set in the Roaring Twenties, you might want to include a bunch of things to define that era, like telephone operators connecting you to whomever you are calling or a radio program providing music and some news. There were no televisions or cell phones back then. The automobile was new with the Ford Model T, and assembly lines were just gearing up. 

Every era has its newfangled gadgets, but do they have to do more than set the stage in the story? Sometimes, too much detail distracts from the narrative unless there is one particular thing that plays a key role in your story, like the old typewriter with the damaged key and the ransom note with that same twisted letter. That’s been done before in several old movies, but it worked. 

But if you are writing a contemporary tale, do you have to rely on the main character’s cell phone on every page? After a while, it gets old to have the characters pull out his or her phones rather than use their eyes and ears to see the problem at hand.

I do like gadgets, but I don’t depend on them totally in my books. My characters will use a computer, but they use their brains more.

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Miko Johnston — Back in the 1990s, before I started my series of historical novels, I attempted to write a (then) present-day mystery thriller that centered around a secret high-tech device. The problem was that I knew nothing about the subject and figured what I’d made up would ring false with knowledgeable readers, so I put the manuscript aside. Twenty years later, I revisited the story and realized I knew enough about what had been developed back then to finish the story with authenticity. 

I do incorporate technology in my modern work as it’s such an integral part of life now. For example, my short story, Senior High, comically follows three older women who travel to Washington, one of the first states to decriminalize marijuana. Although they haven’t “partied” since the seventies, they decide to get high one more time but can’t figure out how until Siri comes to their aid.

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EXERCISING YOUR VOCABULARY

by Miko Johnston

When I think back to the dark days of the Covid pandemic, I don’t focus on the panic or the shortages. I remember the isolation. Although I had the good fortune of my husband at home and kinship through technology, I found conversations very limited. I began contacting people in my life whom I rarely saw but stayed in touch with, usually with a Christmas card, but many of my friends from the past were mired in their own woes or didn’t respond. Worse, despite having ample time to finish my novel in progress the distress kept me from writing anything…for eighteen months.

I still recall an evening at least six months into the lockdown. My husband, exhausted from yard work, went to be early. His older son called that night. In the past, I’d speak to him briefly before passing the phone to his father, but neither of us wanted to wake him. As I spoke to my stepson I began to realize how much I craved company, even if only over the phone, so what would have normally been a five-minute call stretched into over an hour. I think he, too, longed to talk, and for the same reason.

Our conversation was stilted at first, but not because of any personal reason. He and I were merely out of practice. We’d pause to think of the right word or string more than a few words together in a sentence. It took about five minutes to verbally limber up before we could chat ‘normally.’

That served as a wake-up call. From that day on, I began playing word games. It kept me entertained and, more importantly, prodded me to keep my vocabulary alive and active. Anything that forced me to plumb my memory for words (and spelling). I know many writers use writing prompts, but I wasn’t yearning to write better as much as speak better. I needed something deeper than that.

I began with Spelling Bee, a New York Times creation that gives you a ring of six letters with a seventh letter in the middle. You form words, four letters or more, that must include the center letter. I even got my husband hooked on the game; we still play it almost daily and compare our lists. Later, I added Wordle to my daily routine. You get six chances to find the five-letter word of the day – if you’re not familiar with it, you can read the instructions on the NYT website.

In both cases, trying to figure out the words stimulated my brain. Sometimes, words would pop into my head, even if they didn’t fit the puzzle. That’s when I decided I needed more stimulation and started inventing my own puzzles.

Wordle inspired a new way to challenge myself. I’d pick the first two letters of potential words and list as many as I could. I’d start with my “prompt” letters and work my way through the alphabet with the goal of reaching at least fifty words. As with my conversation with my stepson and my daily dose of word games, the more I challenged myself, the more words I could recall, and the faster they came to me.

Here’s an example:

HOW MANY WORDS CAN YOU MAKE THAT BEGIN WITH THE LETTERS:

BR——-

RULES:

  • Words must be at least five letters
  • No adding prefixes like S; ED; ING; LY; NESS to a root word of four or less letters
  • Only one version of the same word is allowed (ex: float OR floated OR floating)
  • Homographs are allowed with variations in the spelling to reflect their different meanings

(ex: score [to make shallow cuts]; score [to earn a point] becomes scoreboard)

  • No abbreviations
  • No foreign words unless they’re in common English usage (ex: pasta; rondo; bidet; pashmina)
  • No proper nouns
  • No acronyms (ex: AWOL)
  • No hyphenated words or contractions

GOOD LUCK!

Choosing a Theme

by Linda O Johnston

Every writer writes what they know and what they love—at least, hopefully. Sometimes, it’s also a specific genre or genres.

Of course we can go all sorts of directions in our writing as well as in our lives.

But me? It’ll come as no surprise to those of you who know me or read my stuff that I love dogs. And they’re not only important in my life. They’re important in my writing. And they’re the general theme of my writing.

I have had sixty-two novels published so far, with the sixty-second, my fourth Shelter of Secrets story for Harlequin Romantic Suspense, available starting now. It’s CANINE PROTECTION. Yes, canine. And number sixty-three, the fifth in my Shelter of Secrets series, CANINE REFUGE, will be published next year. I can’t tell you offhand how many of my books have featured dogs, but the great majority of them have.

Why? Well, they always say to write what you know, and I know dogs, and yes, I love them. My first mystery series, the Kendra Ballantyne, Pet-Sitter Mysteries, featured a tricolor Cavalier King Charles Spaniel named Lexie—the same name as one of the Cavaliers I owned when I wrote those stories. And Kendra was a lawyer who lived in the Hollywood Hills with Lexie. Yes, I was a practicing lawyer then, living in the Hollywood Hills, writing what I knew, kind of.

And right now, my first ruby Cavalier, Roxie, is staring at me as I write this. Her tricolor sister Cari is sleeping somewhere else, but she very often snoozes under my computer desk as I write.

 Yes, I’m hooked on Cavaliers, but I don’t write much about them since I don’t want to overdo it with my readers. But other dogs, including service dogs, K-9s, and even pets—yes!

And including shelter dogs, like those in my Shelter of Secrets series which is ending next year. I’ve started writing the first book in a new series. And surprise, it also features dogs!

I’m always fascinated to learn why other writers write what they do—and if they also have ongoing themes in what they write.

So please comment here, you writers who are reading this. Do your stories contain any ongoing themes, and if so, what—and how did you decide to feature them?

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Image by Ermir Kolonja from Pixabay

The Case of The Runaway Bride

By Jill Amadio

Outraged at my character deciding to get herself murdered far too early in my mystery, I was also furious that she had the temerity to go out on her own and run off with my carefully organized plot. She wasn’t actually a bride, but she sure was a runaway. And a female.

How dare she!  I had barely sorted out a new setting and spent time researching a lonely location in the UK when this forward young woman opted out of my book. Not only had she escaped from my timeline, but she was also in the wrong place.

Her impulsive decision and demise threw two other characters, one the murderer, into complete confusion. I almost felt them turning to me and saying, “Now what?”

Keeping control of one’s fictional characters is usually a given. Like chess pieces, the author can move them here and there with impunity. We can, and often do, change people and places around but the decision has to be the writer’s.

Something similar happened to me once before. In my second mystery, I knew who the killer was, and I looked forward to her denouement. However, the more I wrote her, the more I came to like her. The upshot was I had to choose a different character as the murderer and thus change his gender and personality, to say nothing of his traits and habits.

However, my runaway person really put me over a barrel with her unexpected death. Should I write her out completely? Force her to stay alive a little longer? What did her early, unplanned demise mean to the rest of the storyline, the remaining characters, and my peace of mind?

It seemed that the best thing to do was to move the chapter in which she wrote herself gone forever to the end of my Word document so that I wouldn’t have to look at that chapter until l I decided where to fit it in, given the new circumstances.

Actually, I knew exactly where and when I wanted her to meet her end, but her decision to die on her own terms threw me into disarray. To say nothing of writer’s block.

I perused my synopsis, wondering if I should wedge her in where she wanted to be, but again, it was clear that her interference meant a lot more work. I would have to rearrange people and places, maybe add a new character and perhaps an extra victim, if any of her shenanigans were to make sense.

Another thought – must I re-think my POV? In order to get her back in line, would she be satisfied with being re-written in first? Her dramatic demise certainly was a plea for help. On the other hand, I had envisioned and written her with poor eyesight and she wore glasses. How did that affect the decision to off herself?  Was she too vain to wish to continue as one of my characters? I saw my authority begin to dissolve.

So, in a heroic effort to re-establish and re-claim my jurisdiction – after all, she was supposedly my creation – I finally decided I needed to be very firm with her. She could not just go around deciding how, when, and where to become the center of the action. What if others followed her lead?

Ah! Maybe that was her problem. She felt like a minor character rather than a major one. She wanted more attention. Still, offing herself hardly seemed the way to go about it since, once she was dead, she had no way to enjoy the fruits of her action. I’d not planned for her to play a prominent part. I guess she realized she was definitely not the important character she thought she deserved to be.

Again, I had a lightbulb moment. Therein lay the danger of a runaway character. They imagine they have a more significant role in the plot or a different personality than the author provides. Writers know that characters make a story. When your fictional book people populate your imagination and come alive their actions determine the story.

Readers want to be swept away into the life of a character. This silly woman ruined that purpose. I was sorely tempted to discard any reference to her and replace her with a male.

As I continued to figure out what to do, I began to question my understanding of human nature. Then I remembered that this runaway lady was not human but a creation—an AI. Perhaps my fellow Residence writers can suggest a solution. Am I being a Pollyanna?

“Off The Top”

by Jackie Houchin

What do I mean when I say, “off the top of my head…”?

Dictionaries say it means derived from the knowledge you have in your memory or impromptu, without previous thought or preparation.

Does it mean the same as “seat of my pants”?  Hmm. We often say we are “pantsers” when we sit down and start writing a story without a formal outline.

Although I love outlines, pages of notes, and lists of resources, I often sit down and simply start writing. Some call this ‘free writing,’ and it sometimes begins with a prompt. I did that recently with a short story I wrote using the prompt “The Convenience Store Was a Sad Place.”  That prompt made me think of our neighborhood store and gas station. I pictured myself walking into that store, looking around, dealing with a smarty-pants cashier, and away I wrote. The story came to me in a series of vivid mind pictures.

Was it seat-of-my-pants? Or something “derived from the knowledge I had in my memory.” Hmmm.

More recently, in April, to be exact, I joined a month-long Writers Digest PAD Challenge. The idea was to write a Poem-A-Day (PAD) on the daily prompt they gave. You could write any type of poem, from a limerick to a sonnet or free verse.  (I liked the shortness of this challenge.)

I did it. For nineteen days, at least. And the poems were totally “off the top of my head.”

April 1 – An optimistic poem.

There once was a gal with a lump.

When first it was found, she did jump.

“Oh, my! I shall die!”

Was her terrified cry!

But a doctor cut out that bad bump.

 

April 3 – A sad poem.

The rosebud is gone.

Cut from a lily-white breast.

Warm tears down the drain.

 

April 4 – A mistake poem, one you made or witnessed.

The mistake was mine. I’ll confess

I love whodunnits. But I digress.

I put down the fiver. I looked away

Hmm, stab or shoot? Which way to slay?

Wait! I’m not stealing a book!

Look in my bag? Really, just look!

There’re TWO books by Christie???

Well, I declare. It IS a mystery.

 

April 8 – A major event poem.

I gasp and stutter and lisp,

For today, I saw an eclipse.

The sun was gone

But not for long

It returned; its edges all crisp.

 

Off the top of my head – derived from knowledge I have in my memory.

It was fun for those nineteen days last April. There were longer poems, too, and some more serious.  I’ve often said I’m a short writer. I don’t think I could actually write a book, although I’ve tried.  I admire the Writers In Residence here on this blog for doing just that!

Do you write short or long?  Off the top of your head or from detailed outlines?

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If you want to see more of my PAD poems, go to my blog, Words and Reviews, and scroll down the right-hand side column to April 2024. 

In the week before June ended, there was a 7-day challenge by Writers’ Digest for personal essays. Again, you have a topic, and you write about it.  My first one was about “a job experience,” and I titled it “Knick-knack, Paddywhack, Give A Dog a Bone.”  You can find that one on my blog site at: Words and Reviews Essays. 

BRINGING CHARACTERS TO LIFE

by Miko Johnston

We can plot our stories well, describe settings vividly, and touch on all the senses, but the heart of any story is its characters, and they need more than a heart to make them come alive.

I began writing fiction, or more accurately, learning how to write fiction, while working in a library. It gave me access to numerous books and magazines for self-study. One book in the collection devoted a chapter to creating characters, complete with a checklist of traits and their opposites – outgoing vs shy; scholarly vs uneducated – from which the prospective writer could choose and assemble. I found the idea silly and worse, useless. Whether in my writing or my reading, I want characters to resemble real human beings, only more interesting than the average person. You can’t achieve that by compiling random parts. Just ask Dr. Frankenstein.

We’re told to have our characters want something and then keep it from them, make them fight for it. Good advice, crucial for plot. We must describe them with enough detail so the reader can visualize them; again, good advice. Backstories and bios, family and friends, strengths and flaws, jobs and hobbies or interests. How they dress. What and who they like or dislike. The dark secret in their past that drives them forward or holds them back. These big picture details lay a foundation for characters. However, it takes more to breathe life into them. Whether you call them quirks, idiosyncrasies or eccentricities, these subtle differences add a realistic quality to them.

Although our individual quirks may differ, we all have them, which makes this a commonality. In other words, a human trait.

Think of Robert Crais’ Elvis Cole and his affection for cartoon characters, the dry humor of Nelson DeMille’s John Corey, or the fussy Inspector Poirot and his eggs in Agatha Christie’s mystery series. Master art restorer Gabriel Allon inherited his talent, as well as trauma, from his Holocaust survivor mother. And while we naturally empathize with a blind girl like Marie-Laure in “All The Light We Cannot See”, the way she copes with it makes her mesmerizing.

There are two general types of quirks – nature and nurture. Nature includes those the character was born with, such as personality types or bio-physical traits like an intellectual disability or a club foot. A life experience, whether an acquired taste or an emotionally painful experience, would fall under the nurture category. In all cases, how the character has internalized the trait leads to the quirk.

Quirks have to be worked organically into the story. They shouldn’t be unrooted in the character’s history or biology. They should play a role in the character’s thoughts, emotions or actions. They need to be noticeable, but not too blatant; subtle, but not too vague. Readers need to discover them on their own by being shown the behaviors rather than being told about them.

A character’s quirks can be related to their physicality, the way they dress or groom themselves, their behavior or personality, or they can be completely random. Here’s one example: money. Most everyone I’ve met has a philosophy, or criteria, about what they’re willing to spend on something. They’ll be tight-fisted about some things and looser, even extravagant about others. What does it say about a character who’ll spend hundreds of dollars on tickets to the opera, a Broadway play, or the Superbowl, but won’t pay two dollars for a can of tuna in the supermarket unless they get a double-off coupon? Or worse, not buy it at all because they can remember when it cost thirty-nine cents? It says they’re “human”.

Ultimately, it’s not so much a matter of “what” a character does or doesn’t do, what they like or dislike, that makes them full-fledged humans. It’s the “why” that makes it interesting and brings them to life. Always listen to your character, for they’ll often tell you what’s right for them. For hints on this, see Gayle’s earlier post.

When treading the fine line between character and caricature, here’s what to avoid:

  • Cliched or overused idiosyncrasies. If I had a dollar for every alcoholic PI, or divorced or widowed detective, I could pay my cable bill for a year. If you’ve seen it before, add a new twist. If you’ve seen it over and over again, avoid it like the plague (humor intended).
  • An assemblage of unrelated quirks, as if selected from a list found in a book (jab intended). Author Rex Stout’s Nero Wolfe tends his orchids, reads voraciously, and feasts on gourmet food from the comfort of his luxurious home. The genius of his character is how all his passions connect.
  • Limit the number of quirks, or else – well, just ask Dr. Frankenstein.
  • Don’t overdo the ones you use. Quirks are like seasoning – you need enough to enhance the flavor without overpowering it.

If you found this post helpful, leave a comment, and feel free to contribute your suggestions for making characters come to life. Frankly, my ulterior motive in writing this comes as much from my goal to write books with believable and engrossing characters as my desire to read them.

Miko Johnston, a founding member of The Writers in Residence, is the author of the historical fiction series, “A Petal in the Wind”, as well as a contributor to several anthologies including the about-t0-be-released “Whidbey Island: An Insider’s Guide”. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

Teaching a Writing Class?

by Jill Amadio

Teach a writing class? I have enough trouble getting myself to work on my next mystery, of which I only have one-third finished. However, I am working full-speed on my new career as a writing coach.

Westport, CT, has more than its share of elderly, I was told at the town’s country-club-style senior center where I use their gym. The executive director figured many of the members would love to write their life story if only they knew how.

Interesting, I thought, because I have been looking for a paying job. I’ve written four biographies under my own name and a few as co-author. My greatest contribution to assisting another person’s attempt to get their autobiography on the page has been as a ghostwriter. I’ve written 15 for clients. This is the kind of book you can write with no repercussions tied to your own fragile persona. No one can take potshots at you for you putting on the published page swipes or dislikes for certain relatives, remembered experiences that showed others as fools, or perhaps an opportunity to lay bare your absolute hatred of your cousin’s prize poodle. I do, however, urge a client’s caution, and I try to appeal to their good nature if they have one.

So, did I want to take up the challenge of teaching some old fogies like myself how to write their memoirs? The idea appealed to me. I had never taught anyone anything in my whole life. Well, maybe a few table manners to my kids.  So, yes, I accepted the challenge to help anyone over 65 jot down their life story in presentable and publishable form.

Creating a curriculum was my first worry. What would I teach? The elements of style came immediately to mind. I’d want to know how to structure a book, create my personal style, and how to write down my thoughts and feelings.  I’d want to know how to describe places and people, events and experiences that had made up my world since birth and were still occupying my psyche both physically and mentally.

For the first class, I asked my students to create a Timeline, a list of each year of their life with a significant note, and a few words to mark why it was memorable.

 I decided that handouts were important because I had always loved receiving them at writers’ conferences, so I found Rudy Vallee’s timeline I’d created back in 1989, as well as a champion cowboy’s timeline that chronicled his trek across America from coast to coast on horseback. One handout was a list of 106 descriptive verbs I’ve used for years.

In addition to the Timeline, I also mapped out writing techniques and elements for the following classes. In addition to Structure, Style, and Context, I added how to write Characters, Flashbacks, Settings, Cliffhangers, Editing, Beginnings and Endings, Publishing, and Marketing.  I became so enamored of my advice I began to inspect my own WIP and make changes. I dredged up a few tips and notes I’d taken at various conferences and thus was able to flesh out my curriculum.

An observation about the students. They were extremely keen to learn how to write their memoirs. It was clear some of them had been thinking about writing such a tome for a few years but had no idea how to do it. By the homework I gave them, i.e. the Timeline, they returned to class time and time again more enthusiastic than ever. I told them to always interrupt me any time with questions, hoping that my fear they’d forget them before the end of class was not apparent.

Among these senior students, limited to 12,  were a school bus driver, a poet, an attorney, an ad saleswoman, a lady from Germany who escaped the Nazis, a couple of teachers, a financier, and an accountant. One gentleman dropped out after lesson #2 because he said now that he was about to describe his life, he found it too painful to do so. Another gentleman said he doubted he would continue because as a reporter, he was trained to write lean, and that was the antithesis of writing a book. I told him I’d initially experienced the same hesitation when I was first approached about ghostwriting. My editor at the magazine I wrote for said that a CEO had called asking for a referral to a writer for his business book. Before calling him back with a recommendation, she asked me if I’d be interested.

“A book? A whole book? No way!” I said.  “I enjoy writing the 3,000-word articles for the magazine, but 70,000 words? Forget it.”

“Think of it this way,” the editor said. “Approach each chapter as an article. And the pay is really good.”

“Oh. Okay, I’ll do it.”

After that first book, I received many referrals and became a ghostwriter. A few people contacted me through my website, www.ghostwritingpro.com.  One client, a banker, asked me to ghostwrite her novel about financial fraud.

“Hmm,” I said. “Sounds a bit boring. How about we add a murder to spice it up?”

“Yes! How many murders can we have?”

The publishing of that book inspired me to create my own Tosca Trevant mystery series while I continued to ghostwrite as my main source of income.

Back to my seniors’ class. The atmosphere was informal, friendly, and focused. I showed them several of my memoirs and said that although we only had eight hours in total with which to cover the subject, it at least would get them started thinking and planning.

By lesson #4, we all felt comfortable with each other reading aloud the homework. One lady was writing her memoir only for her grandchildren and refused to share it with us. But everyone else was eager for everyone’s critique. The lawyer fella incorporated funny poems into his memoir, and someone else brought us to chuckles with her descriptions of working in a donut shop as a teenager. The German lady brought us to tears with her childhood memories of fleeing the Nazis

That first 8-hour course was popular enough to be repeated, and later in the spring, I shall be teaching How to Write a Short Story or Essay. Luckily, when I lived in Laguna Woods, CA several of my stories were published in the community’s anthologies over the years, although I can’t remember ever writing an essay. Tips for my seniors, anyone?  

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Jill’s article was posted by Jackie Houchin

SPRING INTO WRITING

by Miko Johnston

Ah, what a year it’s been, beginning with a harsh and, in some places, treacherous winter. So far, spring has not been much better or safer in many parts of the country. It took a long while to arrive and settle down on the West Coast. Hubby and I took a last-minute vacation to sunny Sicily to escape the cold and gloom for a few weeks and postponed our annual winter trip to LA for months until we could travel around by car instead of rowboat. Both escapes kept me away from writing for a while.

I’ve always enjoyed spring, a time of renewal, and probably more so this year after the winter we’ve been through. Thoughts turn from shoveling snow to shoveling dirt in the garden, from watching the overflowing rivers subside to marveling at the regeneration of fauna and flora.

Part of that rejoicing can include a return to writing.  Here are some suggestions to inspire you.

I           Change it up

If you’re finding it difficult to focus on your manuscript, or daunting to consider starting one, then don’t. Think about other things to write: short stories, flash fiction, a travel memoir, a chapter from your life. Perhaps a letter – yes, snail mail – to a long lost friend or relative. Buy (or make) some blank-inside cards and create your own birthday, anniversary, get well, and sympathy messages.

In short, forget about your WIP for now, but don’t stop putting words on the page. As we always say, writing is writing.

II         Revisit

If you’re writing in more than one point of view and your WIP isn’t going forward, you may have the wrong character in the driver’s seat.

I recently critiqued pages from a romantic suspense novel which had two protagonists. One chapter felt stodgy IMO, and the female came off as cold and unkind. The author had written the scenes in the male character’s point of view, so he only got to observe her behavior. I suggested redoing the chapter in the female’s POV, since she was undergoing the emotional upheaval. I felt if the reader understood what led to her bad behavior, they would find her more sympathetic.

If you get stuck, try rewriting the troublesome scene in another character’s POV.

III        Revise

One of my favorite quotes about writing has always been: “Books aren’t written – they’re re-written”. Not everyone accepts or believes that.

Some writers tend to think it’s permanent once you’ve written something. We forget that until a manuscript is published, it can always be changed. In my last book, I introduced new characters whom I barely knew. I stopped writing when Covid hit before returning to the partial manuscript a year and a half later. As the story developed I got to “know” the new characters better. With my first draft complete, I went back to their first appearance to find vague conversations and a lack of detail. Using my more intimate knowledge of these characters, I sharpened their dialogue and expanded their descriptions.

If your characters are flat and generic, get to know them better. If your opening doesn’t grab the reader’s attention, your middle sags, or your ending falls flat, rework that section until you’ve solved the problem (for suggestions and tips, search through our archives, including my BACK TO BASICS: WRITER’S BOOT CAMP series).

IV        Forget about Perfection

The opposite problem is to get locked into revisions, snipping away or changing words, sometimes back and forth, all in an attempt to make the manuscript flawless. It won’t happen. It never happens. Finish it. Polish it. Then hire a good editor who will clean up your grammar as well as plot holes. Lastly, find a beta reader, or readers, to give you an unbiased opinion. Do the best work you can, and then let it go.

Trust me, I understand how difficult it can be to carve out time to write, especially if we have no pressing need (such as a deadline from our publisher) to do it. However, remember this: you can’t call yourself a writer if you don’t write.

Now please excuse me, I have a novel to finish.

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Miko Johnston, a founding member of The Writers in Residence, is the author of the historical fiction series, “A Petal in the Wind”, as well as a contributor to several anthologies including the about-t0-be-released “Whidbey Island: An Insider’s Guide”. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

Dropping Clues Along the Way

by Gayle Bartos-Pool

Gayle at Bill's House Sept 2022

I have read a lot of mysteries over the years and have written quite a few myself. My detectives, whether they are a professional or a talented amateur, always gets the bad guy or gal. Writers like a happy ending.

Most detectives, private or otherwise, usually spot a few clues toward the end of the story that help them pinpoint the culprit responsible for the previous mayhem. Jessica Fletcher in the Murder She Wrote TV series usually came across a major clue early on in the hour show, but she doesn’t put two and two together until after the last commercial break. It might be formulaic, but most of us like the show and the redundant plotline enough to come back for more.

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But there are a few variations of the theme that are kind of fun to write. While I was writing one of the new stories in my latest book called The Four Detectives, I was having trouble with how I was going to finally catch the would-be killer. In this new book, I have taken the three private detectives from my three previous mystery series, added a retired cop from a stand-alone book, and have them join forces in a new detective agency. But I couldn’t figure out how to get this one P.I. to catch the killer before she struck again.

First, I was going to have the killer turn the tables on Ginger Caulfield and blame her for the killing she was planning, but after researching how long it would take for Gin to go to court and deal with lawyers and judges and the media was way too time consuming. Some of these court cases take years. This was to be a short story, not Gone with the Wind.

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I knew how I wanted Gin to get ensnared in the plot against her, but getting her out was taking too long, so I had another thought. What if she smelled a rat early on and turns the tables on this would-be menace?

Not that this hasn’t been done before, but I wanted to actually drop a ton of clues throughout the story so my readers might start getting the hint early on and guess what was coming. This method would allow the reader become the detective, too.

I did this by putting quotation marks around a few words. That usually means the word has a double meaning. And I have a character grin at certain times after they say something that might not require a grin. That telegraphs to the reader that the statement probably has a hidden implication. Or I had a character hesitate when they shouldn’t be hesitating. That usually means somebody’s lying. I added a number of these “tells” just like a bad poker player does when his actions let other players know what kind of a poker hand the guy is holding. Usually a bad one.

As for me, the writer, I wanted to give the reader some clues that they might put in their fertile brain to see if they could solve the case along with my detective. It was a fun journey and I think my private detective got a laugh out of it, too.

Writers always need a way to tell a story that entertains the reader, but it’s fun for the writer when they can have some fun as well. Write On!

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