Thursday, June 19, 2008

Have We All Gone Mad?


Write, that's what we do. We lock ourselves inside a room with our computers and mugs of coffee or glasses of wine or whatever and type into the wee hours of the night until we can no longer keep our eyelids open. We dig into those dark little corners of our minds and conjure up wonderful characters, amazing story lines, and incredible twists and turns with only one goal in mind -- that readers will love our characters and stories as much as we love creating them.

That's the fun part. But the next step in the process will either make or break an aspiring author. Recently, I've heard more than one horror story from authors who are or have tried to get their foot in the publishing world's door. It goes something like this: http://www.youtube.com/watch?v=Zo1XFz0kac0

Okay, so it’s a bit exaggerated, but those who have been there understand where I’m coming from. Unfortunately, I don’t have an answer for how to avoid or how to handle that type of situation, except to say that success begins with you. So here goes, my ten tips of the day:

1. Don't give up!

2. Set a realistic goal and then focus on it.

3. Listen to the voice in your head but write from the heart.

4. Seek out a mentor; a knowledgeable, experienced writer who will push you forward -- someone who will force you to become the writer you never thought possible. Let him/her critique your work. Remember that pats on the back are nice, but they won't get you as far as an honest, straight-forward critique. Better to have your work scrutinized by a mentor (someone who actually cares and believes in you) than to risk rejection by an agent or publisher or, if your book gets published, a reviewer.

5. Time is precious. Ask for help then pay it back and forward.

6. Study the craft and research your work. It, or the lack of it, will show.

7. No pain, no gain, baby. Don't fall in love with your words. Nothing you write should be written in stone. Sometimes you have no choice but to rewrite that perfect line for the sake of the plot. If I had a penny for every word/entire chapters I’ve cut from my books, I’d have a fortune. So go ahead, cut and rework it! There's nothing better than to think you've done your best and then realize you've just topped your best effort.

8. Believe in yourself. If you don't, no one else will. Why should they?

9. And for God's sake, don't type "The End" until you know deep down, I mean really deep down in your heart that it's the best it can be. How will you know when it's "perfect?" Set your work aside for several days, weeks or months. Read it again with fresh eyes. Typos and awkward phrases will jump out at you, but if you can read through the piece without picking up the red pencil, you're probably close. Now go back to #4.

10. When you reach your goal, don’t forget those who have helped you along the way – go back to #5.

That's it, so what are you doing surfing the net? Go write!


Marta Stephens writes crime mystery/suspense. SILENCED CRY (2007) is available online at familiar shops such as all the Amazons, Barnes & Noble, Borders, Books-a-Million, and Powells, Other locations include but are not limited to those listed on my website, http://www.martastephens-author.com/buy_%20it.html.
Look for THE DEVIL CAN WAIT in the fall, 2008.

Wednesday, June 18, 2008

The Blank Page

© Marta Stephens 2008, all rights reserved




Long before I decided to write fiction, my first love was art, so I can’t help but compare the writing process to the method I use when I oil paint. In both instances I begin with a white surface that begs to be filled. I start with an outline of the shapes (my plot), determine the perspective points (point of view character), and then decide the direction of the light and shadows (those wonderful subplots, twists, and turns). Obviously there’s more to consider when we write, but all the same, it is a layering process of writing, editing, and letting the prose rest. If you were to paint an object in the foreground of the canvas before the background was dry to the touch, you’d end up with a muddied mess. Writing is no different. It can’t be rushed.

When I start working on a new novel I consider the crime first. What happened, who did it, how, when, and why? It’s essential to the development of the plot. Next comes the cast of characters. Several of the characters such as Homicide Detective Sam Harper and his partner Dave Mann appear in all of my books, however, the villains change and I usually introduce two or three other protagonists. I write back stories on each new character to understand their motivation. A brief synopsis will give me a rough idea of the storyline; the order of the events and how I want the book to end. Details don't play a role at this point of the planning, all I'm trying to do is understand the big picture rather than the individual scenes and of course, all of this is apt to change as the story evolves. I also find that making a list of the chapters along with a brief 1-2 line description of what happens in each helps me keep an eye on the timeline. The characters and deciding how their paths will cross is the next critical step -- developing the subplots.

The second and most important thing for me to do is to get inside the character's head. I have to understand his motivation, what has led him to this point, how does the character feel physically, mentally, spiritually, and what external factors are affecting his behavior or decisions. Without a clear understanding of these things, it's hard to know how the character will act, react, and cope with the situation he is in. I also try to get a feel for what good or bad things are going on outside of the character's control that may affect him emotionally (i.e.: friends, family, job, relationships, weather, etc.).

Once I'm comfortable with the direction the manuscript is going in, I’ll type a chapter a day, let it rest for several days and then go back and work on the edits. I may go through this process six or seven times a chapter before I’m ready to move on to the next one. Eventually I’ll read the entire manuscript and start tweaking the prose and adding details.

My method certainly doesn’t guarantee that there won’t be rewrites. Bur regardless of the process used, there are no fast and easy solutions or magic wands to completing a novel. It's a never-ending process that takes patience, practice, and perseverance.

Tuesday, June 17, 2008

Words You'll Never Use (But Wish You Could)

English is an awesome, complex, infuriating, wonderful language. Many an English-speaking writer has held a long love affair with words, with their many nuances and combinations capable of evoking so much. It's said that a writer's toolbox should contain a multitude of words in order to paint the most perfect picture possible (without, yanno, actual pictures).

However, there are some wacky and wonderful words you just won't ever find in a book, unless the author is a) unbelievably pretentious, b) completely clueless, or c) going for that rush-for-the-dictionary reaction, because there is just no other word.

Here are just a few of the words you'll never see in one of my novels - despite my most fervent desire to use them:

Erinaceous: Like a hedgehog

Denefestration: The act of throwing someone or something out a window

Sturm and drang: Storm and stress (root: German)

Mesonoxian: Pertaining to midnight

Floccinaucinihilipilification: An estimation that something is valueless (go ahead and try to pronounce that one :-)

Nihilarian: A person who deals with things that lack importance (e.g., your boss)

Mungo: A dumpster diver (person who extracts valuable things from the trash)

Soodle: To walk or stroll leisurely

Groak: To watch people eating, and hope they'll ask you to join them

Blinkard: A person with bad eyes; or one who is dull and stupid

Artuate: To tear limb from limb

Tyrotoxism: To be poisoned by cheese

Ananym: A pseudonym devised by spelling one's name backwards

Widdiful: A person who deserves to be hanged

Nudiustertian: The day before yesterday

Pulveratricious: Covered with dust

Wamble: To stagger

Aren't these fun? I'd love to work some of them into my fiction. If only I had a character that was like a hedgehog; I'd use erinaceous in a heartbeat. Feel free to add your own weird words, or borrow some of mine. :-)

Now, if you'll excuse me, I'm off to artuate a Nihilarian . . .

Sunday, June 15, 2008

Surviving the Submissions Process

© Cait Myers 2008 all rights reserved



If you’ve recently completed your novel, then I offer you my congratulations. I should also warn you, though, that it’s only after you’ve written “The End” that the real hard work and frustration begins. There is no simple formula for getting your work accepted by a publisher. It’s down to hard work, research, patience and a lot of luck. Here are a few tips which should increase your chances.

Before submitting your novel anywhere, you must be absolutely sure that it is ready. Have you proof-read it, once, twice, three times? I can almost guarantee that, if you place your manuscript aside for a while and then proof it again later, you will find something you’ve missed. If any of your family or friends have the time, hassle them to read your work and take on board their suggestions. And be honest with yourself; do you really think your work is good enough to be submitted? If you are unsure, leave this manuscript and work on something else for a time. Upon re-reading your novel a couple of months later, you may even decide to completely rewrite your work.

Once your manuscript is as perfect and polished as you can make it, the next step is to seek out suitable publishing houses. For the UK, The Writers’ and Artists’ Yearbook or The Writer’s Handbook are good places to start. And, of course, the internet is a great resource. Most of the major houses will only accept submissions which arrive via an agent. If you’re looking for agency representation, then check out the resources listed earlier for suitable contacts. As a small, independent publishing house, BeWrite Books accepts submissions directly from the authors, so that is what this article will focus on. When hunting for suitable publishers, there are a few questions that you should bear in mind:

- Does the publisher accept direct author submissions?

- Does the publisher’s catalogue include books of the same genre, style and target audience as your own novel?

- Are you happy with the reputation and the quality of the work produced by the publisher?

- If your novel has a specific genre such as fantasy, romance, memoir or children’s fiction, is there a specialist publisher you could submit to?

If your book fits a tightly defined genre, then there will probably be a niche publisher somewhere who caters for it. On the other hand, if your book defies classification, for example “contemporary fiction”, then you should seek out a publisher with a more general catalogue of titles.

Once you have decided on the publishing house you would like to submit to, find out their submission requirements. If you can’t find them on their website, then contact them directly and ask them to send you a copy by post or email. It is absolutely essential to read the requirements thoroughly and follow them word for word. I cannot stress this enough! Many submissions are rejected because a prospective author hasn’t followed the process correctly; an acquisitions editor will be wary of an author who appears to ignore the requirements, since this doesn’t bode well for a future working relationship. Also, if your book doesn’t exactly match the genre or word count requirements of the publisher, then don’t submit. Even if you’re convinced that your novel is an instant classic, you’d be wasting your time submitting it to the wrong publisher.

Once you’ve confirmed that your novel meets the publisher’s requirements in terms of genre and minimum or maximum word count, then you need to prepare your submission. Generally, a publisher will request a covering letter, a synopsis and a few sample extracts from the book, although this varies from house to house.

If your prospective publisher accepts electronic submissions, then confirm that the format of your work matches their requirements in terms of file format and size.

Be aware that many publishers will not accept pre-published work. If your novel has already appeared in print or eBook format, including self-publishing or “vanity press”, then it is essential that you make this clear with your initial submission. Similarly, you should point out whether or not you are submitting to multiple publishers.

Generally, a synopsis will also be requested. Synopsis writing is an art form in itself. There are numerous books written on the subject, and a quick internet search will give you dozens of articles on the subject. The synopsis will generally be your first chance to impress an acquisitions editor, and is equally important as your sample chapters. It must be well-written, typo-free and instantly attractive. It should also explain your novel clearly and concisely, without holding anything back. Don’t include any “teasers”. A well-written and presented synopsis that covers the book’s key themes, ideas and mood will get you a long way in the submissions queue. Try to explain concisely the “point” of your novel.

If a publisher doesn’t ask for the first three chapters to be submitted in chronological order, they may ask for a selection from your work. A good rule is to always send the first chapter, since this sets the tone for the whole novel. Our editors are certainly obsessed with great openings. Then, choose your next extract with care. Is there a particular chapter which captures the essence of what you wish to say? Is there a section you’re particularly proud of, or which captures some high drama? If family and friends have read your manuscript, ask them to suggest some memorable passages. If others were impressed by the prose, dialogue or plotting of a certain chapter, it could well impress the acquisitions editor.

In the cover letter, explain your motivation for writing the novel, and also mention any experience relevant to the subject matter. You should avoid bragging excessively though. Also, if you include any endorsements, make sure they are appropriate. An editor won’t be impressed by the fact that your mum thought this was the best book ever! It is also a good idea to avoid comparing your work to other authors. If your work has similarities, then the editor will recognize this.

Before making your submission, re-read it carefully once again. A spelling mistake or grammatical error can make the difference between acceptance and rejection. If the publisher asks for three-thousand words as an initial submission and there is a mistake in that small extract, then the publisher will naturally assume that there will be many more in the complete manuscript. Many of the mistakes will be simple ones, and the spell-checker in your word processing software is a great help, but no substitute for a painstaking proof-read.

Be Prepared

Many publishing houses receive an avalanche of submissions every day, and some won’t even look at your work unless you are represented by a literary agent. Others will read each submission carefully and assess each one on its own merits. This process takes time, so you should expect a month or two to go by before you hear any response. If anything changes in the meantime, for example you move house, or have your work accepted by another publisher, or decide to re-write your novel, or you plan to self-publish instead, then it is essential to inform the publisher. Although things may seem quiet, it could be that your manuscript is circulating amongst the acquisitions editors, who will be frustrated if they later learn that their efforts have been wasted. This could lead to a blacklisting with a particular publisher.

If a publisher expresses interest in your novel, then the next stage of hard work begins. You may believe that your novel is finished, and you may even have paid to have it professionally edited, but in any case, a reputable publisher will assign you an in-house editor. Be prepared to consider all their suggestions and work with them. Their aim is not to dilute your work, but to improve it. You may have to accept some criticism and make changes that you may not completely agree with, but part of the process of being published involves accepting the professional opinions of your editor. A good editor will strive to create a strong relationship with an author in order to “get inside their head” and help the writer realize their vision. As an author, you must be flexible and open to advice.

If, on the other hand, your work is rejected, take it in good grace. A rejection doesn’t necessarily mean that your creation is awful; it could just be that it doesn’t fit in with a publisher’s tastes. Just because one publisher knocks back your novel, this is no reason to give up. Re-assess your work and you may find areas for improvement. Then, submit to another suitable publisher. Many authors hope for feedback from acquisitions editors as to why their work hasn’t been accepted, but this isn’t always possible. Frequently there aren’t enough hours in the day to offer a detailed critique of every rejected manuscript.

The Work Itself

As I’ve already said, there is no simple answer on how to write a novel that will be published. In the vast majority of cases, an author’s first work is never published, and when they re-read it later in their career, the reasons become obvious! A novel must be original, interesting and well-written. Remember that you’ve got to grab the reader’s attention. And by “reader”, I also mean acquisitions editors, publishers and customers, so your opening chapter and synopsis is critical. I’m not asking you to murder a key character in your first paragraph, but try and make it as “grabby” as possible. You’ve got to hook your reader!

Good luck!



Cait Myers is publisher of the UK-based publishing house, BeWrite Books. Since its foundation in 2002, it has published over one hundred original fiction and poetry books. She currently lives in Munich, Germany, with her partner, Alex.

Playing in Colors

Red berries
Cold with morning dew
Quench my thirst

-
- Aaron Paul Lazar 2008

Good morning! I hope your day has dawned as sunny as our Sunday has here in upstate New York. Af ter a few days of drenching rain, it's rather welcome.

Let's try something new today, okay?

Frankly, I'm tired of editing for months on end. Sure, it's the natural extension of writing a dozen books - and every new book I write means there's another editing job looming on the horizon. Seems like there's not nearly enough time for just fun writing anymore. You know what I mean: that wonderful experience where the story gushes from you in dazzles of color and bursts into glorious action. Mmm. That's the best.

I just want to soak in some brilliant hues and write something fresh and new. I'm craving it, badly, and I think this morning we all deserve a few moments to stop, think, and write something deeply satisfying.

How about you? Ready for a break? Would you like to participate?

Above is a haiku I wrote last year, with an accompanying photo. Do any of the following images inspire your writer's soul?

If Haiku is your thing, try your hand at it. Post your work anytime this week, and I'll add it to this article, beneath the photo that inspired it. We'll all bask in the beauty of your words. Or something like that! ;o)

I'll post your work beneath the photos when you either send it to me via email at aaron dot lazar at yahoo.com, or simply type it into the comments box. Be sure to let me know what image inspired you.

Let us know which image inspired your poem. Remember, if you want to try a haiku, use either of the following formats (in syllables):


three


five


three

or

five


seven


five
-
One final note - if poetry isn't your thing, feel free to whip up a flash fiction piece, or perhaps the first chapter in your next novel. Or maybe you'll delve into a lovely dialogue based on someone in or near the scene of the above images.

By the way - Marta inspired me yesterday to play a bit with flash fiction through inspiration, after I'd written the above haiku/imagery piece. Funny, I guess June 14th was the day for inspiration all around. Well, it was flag day, wasn't it? Maybe there's something in that! I've posted my piece written in 15 minutes below - not very elegant or "edited," by any means, but it was fun. I based it on the challenge by Donna Sundblad's Pumping Your Muse writing prompt blog to write about a crime that takes place while hiking. Sorry it makes this blog a little long today, but most of it is just pictures!
-
Are you ready to write? Okay, good. Now get busy!

-Aaron

Sky reflected in stream

Perfect inversion

A blameless sky at my feet

Today, I'll touch it

- SW Vaughn

Still morning water

Reflecting glorious sun

Also stills my soul


- Rhetta A.


Salmon poppies in early morning

Fluttery and pink

Lifting flirty twirling skirts

Dancing a can can
- Patricia F.


Ah, the wild glory

A field of salmon poppies

So extravagent!
- Rhetta A


Like pink tissue bowls

Holding berried cabernet

Raising us a toast
- Patricia F.


Salmon poppies sing

Delicate pink and black songs

Refreshed I am now
- Cori Anders



Light through windows, courtesy of grandson, Gordie (4)


Johnson's blue geranium




Foggy field at dawn



Roses in afternoon sun


Day has come and gone

Her roses swallow the light

Hold it there for me


- Patricia F.

Winter sunrise

Feathered sky

Hills gilded in pink

Wake my soul


- Patricia F




Abandoned doorway

Come home soon

Wayward family.

I wait here.


- Patricia F.


"He went out to get some kindling," Mary said, looking through the clouded window at a robin on a branch. "Never came back. Just left the barrel there on the stoop." Her knarled hands lay in her lap like nesting birds."But he'll come home again. I'll just wait here. He can't be too much longer.""Miss Mary?" A voice rattled the windows of her mind. "It's about time you got out of bed. Breakfast is getting cold. And there's Bingo today down in the Rec Room."Mary closed her eyes against the light. The robin tapped at her window, begging to be let in.


- Patricia F.,

***

Here's the flash fiction I wrote based on Donna Sunblad's prompt. Just for fun!

She saw it all in slow motion again, sitting there on the rocks high above the Letchworth Gorge. She saw the blood pool in the dirt on the trail and the calm hand that pulled the pocketknife out of her boyfriend’s back.

The musty smell of wet leaves coated the inside of her mouth. She ran her tongue over her lips, noticing for the first time a warm salty wound where she’d bit through the skin. Somehow, it tasted good. And the distraction felt welcome.

This way, she wouldn’t have to think about him. The way his dull brown eyes had dimmed and gone dark when she’d turned him over. She banged her fist against her head over and over again.

“Stupid! Stupid! Stupid!”

The attack had been unexpected, out of the blue. She turned her attention to the rock on which she perched, ready to fly into the abyss. Mica sparkled from its crevices. She picked at a large piece, dislodging it and looking at her spooky eye in the reflection.

She wanted to cry. She wanted to scream. But her brain clamped down on her so hard she had to squirm in place rather than give in.

Squinting at the crows that cackled overhead in the beech tree, she shouted up to them.

“Shut up!” They responded, and one flew in lazy circles, close to her.

She felt the panic rise again. Pictured Fred’s eyes when he told her about Lucy. Pictured the calm red surf that had filled her heart and had made her reach for the knife, oh so slowly.

Oh yes. He’d deserved to die. He’d really had it coming.

She stood, brushed her bloody hands on her jeans, and leapt from the cliffs to the glistening river water that curved in a metallic ribbon below.


***


Aaron Paul Lazar writes to soothe his soul. The author of LeGarde Mysteries and Moore Mysteries enjoys the Genesee Valley countryside in upstate New York, where his characters embrace life, play with their dogs and grandkids, grow sumptuous gardens, and chase bad guys. Visit his websites at http://www.legardemysteries.com/ and http://www.mooremysteries.com/ and watch for his upcoming release, MAZURKA, coming in 2008.

Saturday, June 14, 2008

Weddings Can Be Murder

© Marta Stephens 2008 all rights reserved

I was just visiting Donna Sundblad's Pumping Your Muse Prompt blog, and found a wonderful 15-minute writing challenge I couldn't resist. She's listed several prompts but I thought that in honor or our 28th wedding anniversary today, murder at a wedding seemed ... well ... appropriate.

So here it is, my 15 minute flash fiction. Couldn't stop to think, so with my egg timer set for 15 minutes I typed. ;)


* * *

No one noticed that Rodney Timms hadn’t moved in over an hour. He was sitting on the grass some distance away from the wedding party and leaning against the old Maple at the far end of the lawn. A small faded red spot on his the front of his shirt raised a guest’s eyebrow.

“Wine. Shame he can’t control his drink,” Mrs. Filler said with a shake of her head.

Doris Timms bit her lip then sipped her punch. “Typical.”

While the two women watched Rodney sleep, another guest walked up behind them.

“And what are you two lovelies doing?” Mr. Allan asked.

“Why it’s Rodney.” Mrs. Filler pointed an accusing finger at man leaning against the tree. “Drunk as usual.”

“Well, it is a wedding.” Allan smiled and raised his glass. “Let him have his fun, I say.”

“But his own daughter’s wedding!”

“That’s Rodney for you. Why do you think we divorced?” Doris took anther sip. “Nothing but problems, that one. I didn’t want him to come—he insisted. In fact, I begged him. I knew something like this would happen.”

Allan gave Doris a consoling patted on the back. “Just let him sleep it off. In the morning everything will be better. You’ll see.”

“Yes, I’m sure you’re right,” Doris said. "In fact, I know it."

As Mrs. Filler and Mr. Allan walked away, a smile tugged at the corner of Doris’s mouth while she continued to stare at her former husband. Moments later she heard another family friend, David, call out her name. She could sense he was only a few feet away.

“Doris, what,” he paused for a moment. “You dropped something.” He carefully picked up the ice pick with his napkin then lowered and raised his glance. He glanced at Rodney and frowned. His mouth grew taut.

Doris froze. She clutched her purse and stared him square in the face wondering what he was going to do with the bloodied ice pick he held in his napkin; the one that had fallen out of her purse. The pick with her prints and Rodney’s blood on it. Damn, she always liked David. Now she’d have to take care of him too.


Please stop by Donna's blog and take the challenge. It's great fun!!

Marta Stephens
www.martastephens-author.com

Friday, June 13, 2008

Tools of the Writer's Trade

copyright 2008, R. C. Burdick

"Writing requires tools?" Absolutely, but fret not, as a writer's tools are not found in your typical box of wrenches. You see words are the writer's tools. Each writer has a storehouse of these tools, of course, so what is it about this abundant commodity that separates the wannabe writer from the master wordsmith? Quite honestly, it's the same measure separating the neophyte and master in any endeavor: expertise—a quality acquired through practice.

"Yes," you may argue, "practice is fine, but there are a plethora of how-to and self-study books available to all writers, whether targeted to the beginner or the accomplished."

This is true; however, no array of books can negate the just-stated fact about practice. But just any practice will not suffice. What's the best path? For our purpose, let's assume decent mastery of spelling, punctuation, grammar, and mechanics. With these skills under control, anyone could string words correctly, but the excitement of such would read on par with a technical manual. What's missing? The "word picture," an image produced by the writer with use of concrete details, an essential "practice" all writers should include in their writing.

To see this at work, think of the adage about a picture being worth a thousand words. This is true, as abstract words provide only a cloudy sketch of a scene whereas vivid words paint a picture and bring a scene to life. With children's books this goal of vivid over abstract is accomplished with pictures that capture interest and lead the child through the story, an approach truly worth a thousand words. Adult writing is different, of course, but it's still the vivid scene, produced with words instead of pictures, that captures and maintains reader interest. This holds true whether writing a novel or a letter to a friend.

As just mentioned there's an array of how-to books addressing this aspect of the writing craft, each brimming with examples and all worth learning, but for now let's touch on just a few of the elements guaranteed to breathe life into the most mundane writing.

One item to consider is the SIMILE, a figure of speech that compares one thing to another. Do you remember this famous one by Tennessee Ernie Ford? "He was as nervous as a long-tailed cat in a room full of rocking chairs." With this simile a reader can readily see the character's uncertainty and fleeting eyes whereas to have said, "he was nervous" would only convey fact, not image.

Then there's the METAPHOR, a means of transforming one thing to another as opposed to comparing. "The First Sergeant was a bull dog, snarling and barking orders at the new recruits." In these few words of transformation through metaphor, the reader easily sees this character's demeanor.

Remember, however, figures of speech are imaginative expressions not to be taken literally. The words AS and LIKE introduce a simile. With a metaphor the introductory word is WAS. Also keep in mind that while simile and metaphor will liven your writing, too much of a good thing can be bad. As in all aspects of writing, balance is the key.

Another helpful item is to search for areas in the writing where you can convey a picture without actually instructing the reader in what to see. The how-to books refer to this as "showing, not telling," and it's easy to do. How about showing an old and battered car instead of simply stating its condition? "As I approached Jerry's apartment, I saw his Honda Civic at the curb. Two of its tires were flat and the vehicle's color, once the shade of ripe sugarcane, was now streaked with rust and blotches of body-shop primer."

The flip side of the above approach also works well—conveying a picture by stating what something is not. Direct question: "How was your trip to the Bahamas?" Indirect answer: "We didn't find the Blue Lagoon." In using this approach of conveying an image, the writer allows the reader to imagine WHAT IT IS by simply stating WHAT IT IS NOT.

And don't forget action verbs, as many fail to convey full sense or deeper meaning of how the action was done. A good example is a character walking from one point to another. What picture does this convey? Actually, there's none. How about strode, which is to walk with long steps, especially in a hasty or vigorous way? Need a different image for your scene? Maybe lumbered is your word—to move clumsily or heavily. Or how about ambled—to walk slowly or leisurely. Each of these words describes the action of walking, but they also carry specific image within their meaning. This is the word picture using concrete details.

Don't stop here, however. Nouns can also be weak at times, so replace them with ones brimming with detail. Is the dwelling in your scene a large, lovely, sprawling home? If so, sharpen the image by saying the home was palatial. Other ubiquitous examples might include a tree, a dog, or an aircraft. Give these items life by making them specific: a stunted juniper, a blue-eyed Dalmatian, and a Lockheed L-1011.

Words are the tools of the writer's trade, and one of the best tricks of this trade is creating the word picture—a practice all writers should master.

***
R. C. Burdick began writing for publication in 1982. He has published dozens of articles and short stories and also counts two mystery novels among his credits: THE MARGARET ELLEN (2004) and TREAD NOT ON ME(2005). Additionally, his short story collection, STORIES ALONG THE WAY, won the 2002 Royal Palm Book Award. As a contributing writer his work has appeared in the Chatsworth Times, The Time Courier, and The St. Petersburg Times. His work in progress includes Death At Bear Creek Summit and Bottom Feeders, a sequel to The Margaret Ellen. Since 2001, Burdick has also been a columnist and contributing writer for Inky Trail News. Visit www.bobburdick.com for additional information.

Thursday, June 12, 2008

Are you a hobby writer?


copyright Kim Smith 2008


Are you a hobby writer? What is that? Well, according to Merriam Webster, it is :
-- a pursuit outside one's regular occupation engaged in especially for relaxation--

I think I am a hobby writer to some extent. There is nothing more relaxing than sinking into a chair, pulling my laptop onto my lap, and tapping the keys for a few hours. The resulting work can be something funny, enlightening, freeing. No matter if I am writing about a young Elf looking for his identity, a woman from a different time looking for her missing husband, a mysterious man seeking revenge, or poetry, I am happy.

I remind myself as I work hard to promote my new "profession" as a published author, that the whole reason for doing what I do, and love to do, is because it is something relaxing. I believe the person who said "unpublished authors should enjoy their freedom, because once you are published it changes". Not in a bad way, just in a different way. No longer do you focus on story alone, but now must consider the audience who will read that story, and try to get it done under a deadline. Deadlines are anything BUT relaxing, but again, you just gotta love the process.

As summer really takes over my region of the world I realize how much I love the relaxation side of writing. My husband bought us a nice swing and we go out each evening and sit together and discuss our day and just relax. When he is otherwise occupied, I take the laptop there, and in the shade of my big tree, just let everything flow onto the page.

ahh! real relaxation. And to think, once I thought being a hobby writer meant you didn't get paid for it! ha! This is payment one could love for a lifetime.

So, if the world asks if you are a hobby writer, heartily tell them yes, you are. I know I will.

Tuesday, June 10, 2008

All I Need Are Two Little Words


The book is done, author and editor agree on the edits, and the blurb is finished. The worst part is behind me, right?


It was until I decided the book needed a new title.

Oh, everyone agreed it should be changed, but how do you describe what might be a 300-page book in two to three words? Obviously, I haven’t figured it out yet or I wouldn’t be writing this post. Not the easiest thing to do. Those two or three words have to tie to the story and grab the reader’s attention.

Well, fear not, the title is somewhere within the pages of the book. Thus far I’ve reread the key chapters where I thought I’d find the answer and studied the blurb. I jotted down several verbs and nouns that described the feel and focus of the book. I moved the words around hoping, waiting for that WOW title to jump out at me. Thus far, I have three pages of meaningless words, laughable combinations, and only a handful of possibilities. Not very good ones at that.

It’s been several days since my obsession began with words like, kill, evil, death, and disguise. And by now, I’m certain I’ve driven my family and friends completely mad with my outbursts. I mean, how often do families sit down to eat their evening meal and have mom blurt out, “Strike Me Dead!” I’m sure by now someone would be more than glad to oblige, but that’s another story.

Have a feeling it’s going to be another long day.

The Big R

As I may have mentioned previously, I'm currently on submission through my agent with my latest manuscript. Many writers - myself included - look forward to the day when rejections are no longer a fact of life, and it's not hard to think that once you have a good agent, your days of hearing "I just didn't love this" are over.

This is sadly untrue. Yesterday my agent and I received the first rejection for this submission.

I'd been expecting it, but rejection still hurts. One of the writer's greatest challenges is to realize and accept that not everyone is going to like everything you write - and that goes for editors, readers, peers and reviewers. There will always be someone there to say no. It's inevitable.

Rejection never gets easier to take . . . but the time it takes to get over it does become shorter, the longer you stay in the game. It only took me a few hours to stop stinging and feeling resentful, and jump back into my latest WIP - a sequel to the novel that was rejected. After all, there are tons of other editors out there.

It helps, too, that I have Bernard's Letter to lift my spirits. Go ahead, click the link. You'll feel better too. :-)

In closing, I have just one thing to say:

PISS-MIDGET!

Sunday, June 8, 2008

The Ultimate Reward


copyright 2008, Aaron Paul Lazar

What do you picture when you dream about your book's success? Do you envision readers stopping you in the grocery store with stars in their eyes? Getting on Oprah? Seeing your book in the front window of your local Borders?

Or maybe you dream of your book riding at the top of the NY Times bestseller's list for months at a time? How about dining with Dean Koontz and his dog, Trixie? The sweet dog has passed over, sadly, but she still writes from "the other side" for the newsletter Dean publishes for her. Of course, this repast would be followed by a glowing, personal endorsement of your works by Trixie, and if you're lucky, maybe Mr. Koontz himself.

Am I close?

Are you being honest?

Over the years I've pictured several of these dazzling dreams happening to me. Including a multi-million dollar movie deal in which Harrison Ford plays Gus LeGarde. And of course, the world would fall in love with the LeGarde family and beg for more each year.

I imagined quitting my engineering job, staying home to write, making enough money to pay down the debt and take care of long needed repairs, like the twenty-six windows that shake and rattle every time the wind blows.

I envisioned copies of my books in everyone's home library. Worldwide, mind you. Not just in the States.

Lots of dreams. Big dreams. And all revolved around the traditional definition of success.
Recognition. Adulation. Confirmation that my work is valued. And enough money to take care of a small country.

A few weeks ago something happened that changed all that.

Judy, one of my lunchtime walking partners, had been canceling walks and working through lunch to make extra time to care for her elderly mother. We all admired her, watching as she shopped for her mom, took her to numerous doctors' appointments, and tended to her increasing needs with fortitude and devotion. She was one of five siblings, but took the bulk of the responsibility on her shoulders.

The cancellations increased in frequency, and it seemed we'd never see our friend on the walking trails again. We worried when her mother was admitted to the hospital. Up and down, her progress seemed to change like the December wind that skittered across the parking lots at work.

Judy was absent a few days, then a few more. Something felt wrong.

Then came the dreaded email. The subject line always seems to say the same thing. "Sad News." Judy's mom had passed away, released from her earthly bonds and finally free to float among the angels.

When Judy returned to work a week later, she shared stories about her mother's final days. One of them surprised me greatly, and fundamentally changed my definition of success.

Judy read to her mother during her final stay in the hospital. For hours on end. She happened to have my second book, Upstaged, handy and began to read to her during her responsive times. Sometimes her mother would just lie there with her eyes closed, and Judy didn't know if she was listening. Frequently, she'd ask, "Do you want me to continue reading, Mom?"

Her mother would respond. A nod or a short word.

"Yes."

A nurse perched behind Judy and became involved in the story, too. So Judy would continue reading aloud, giving comfort to her mother and providing a little armchair escapism to her nurse. Solace came from the tentative loving voice of her daughter, close and warm. And she was reading my words.

It floored me.

In a flash, I realized if one woman could be comforted on her deathbed by my books - I'd already reached the definitive pinnacle of success.

You'll never know how your stories will affect the world. Not until it happens. So keep writing and imagine the best. Not the money, not the fame, not the ability to quit that day job. Imagine affecting one solitary soul in their final moments on this earth, and you'll have pictured... the ultimate reward.

***
Aaron Paul Lazar writes to soothe his soul. The author of LeGarde Mysteries and Moore Mysteries enjoys the Genesee Valley countryside in upstate New York, where his characters embrace life, play with their dogs and grandkids, grow sumptuous gardens, and chase bad guys. Visit his websites at http://www.legardemysteries.com/and http://www.mooremysteries.com/and watch for his upcoming release, MAZURKA, coming in 2008.

Friday, June 6, 2008

Finding a Form by Anne Morgellyn


Murder by 4 welcomes Anne Morgellyn, writing professor, singer, pianist, and author of three psychological thrillers: THE PINCUSHION, (BeWrite books 2008), DISREMEMBERING EDDIE (BeWrite Books, 2003) and REMOVING EDITH MARY (BeWrite Books, 2004).

I am often surprised (though less often these days, now that I no longer move in snooty London writing circles) at the patronising sidelining of so-called ‘genre’ fiction. When I started out, I had no clear direction as a writer, though I certainly had big literary ambitions (don’t we all?) which caused me to disdain generic classifications. Then I got a hot-shot agent, who pronounced my work as ‘midlist.’ In British publishing terms, this means one who is set adrift in the wide Sargasso Sea of letters, not quite experimental enough (high-toned-literary, forward-thinking, form-subverting) to make the Booker Prize shortlist, and certainly not honed or sharp enough to slip into the fast-streamed shoal of genre titles. In spite of my hot-shot agent and his pulling power, I stayed in those doldrums for quite some time.

The trouble with midlist fiction is that it is all over the place. It can be about pretty much anything, although usually on a quiet enough level that doesn’t rock any boats or induce a messy catharsis. It is the fiction preference of Middle England - which is not quite the same as Middle America, although I have sat in the kitchen of a Vermont farmhouse and listened to public broadcast radio programmes which come pretty close. Middle Englanders like BBC Radio 4 (Radio 3 is often too challengingly highbrow), which runs a series about the everyday lives of rural folk (The Archers), from a studio in Birmingham - complete with sound effects from the farm, and has been doing so for more than three decades. It says little about the human condition, in all its gory splendour, and a lot about home comforts and the safety of the known world. I am getting to the age where I am more than happy to settle for home comforts too – but not as a writer. And I haven’t yet quite succumbed to the cosy, whimsical charms of The Archers on Radio 4.

Genre fiction, although often very bad, at least knows where it is going. There are clear conventions, which must match the expectations of readers. I like the way that readers of genre fiction compartmentalise themselves into groups with strong preferences, for hard-boiled detective stories, say (the great Raymond Chandler) or gruesome pathologies (Kathy Reichs) or anodyne romances; or the new genres, which may or may not stay the course, like chick lit (Candace Bushnell) or the strange new thriller subgenre where the story is narrated from beyond the grave (THE LOVELY BONES et al). Genre fiction is edgy, which is why it is curious that British writers from the social milieu that now listens to BBC Radio 4, pioneered it: Sir Arthur Conan Doyle, Agatha Christie, and a century before them, Jane Austen and Charlotte Bronte, who set the blueprint for Romance with a capital R, spawning the monstrous hybrid tea-rose that was Barbara Cartland (why did she have to be British, too?). No one would call these literary lions genre fiction writers now, except, possibly Agatha C (and Cartland of course). But just as it is possible to have a cross over from classical to popular music styles, so is it possible to take the best of genre fiction conventions (their terrific insistence on formal principles – the imperative of strong plotting, of telling a good story) and inject them with literary genes. An example from the past would be Dostoyevsky’s CRIME AND PUNISHMENT, a precursor of the detective story, and a satisfying thriller in its own right, though with literary morals and colours. From the present, I’d cite Annie Proulx, whose Pulitzer-winning THE SHIPPING NEWS shows how a writer at the top of her craft can start with a potentially mid-list premise and turn it into a fusion of generic conventions (page-turning pacing, some noirish characters indeed) and a commentary on the triumph of even the most craven human spirit, narrated in a highly original prose style that immediately, but always engagingly, marks its credentials as a literary novel. Proulx succeeds in her linguistic experiments where James Joyce fails: yes, he was the more groundbreakingly literary writer; but who, in all honesty, can confess to staying awake throughout the whole of ULYSSES? And who, except the most self-flaggelating academics, has even finished FINNEGAN’S WAKE?

Genre fiction welcomes its readers. It panders to them, keeps them entertained. It knows they put food on its table. From a teaching perspective, it gives a good model for structural awareness and offers a strong bench test for the viability of ideas and the sustainability of material (plotting). I don’t pretend to be in any way efficient at it, but when my second agent, on reading a draft of mine, told me to ‘tighten the thriller threads a bit more’ – it was perhaps the best advice I ever had. It brought a new focus and discipline to my work. I wasn’t all over the place anymore. I had found my form.

What is that then? Well, I am shy to define it, but it seems to follow the conventions of the psychological thriller: atmospheric (dark) location (in the case of the trilogy, a certain seedy side to London, with its grimy, politics-ridden old public hospitals and shabby apartment buildings); odd-ball, rather than hard-boiled characters; a protagonist (narrator) who suffers from terminal anxiety – and angst; a cool pathologist, who doesn’t quite know as much as he thinks he knows; and a body, of course. Mine aren’t murder stories exactly: any suspicious cause of death is in the mind of the narrator. But death features highly, as a sustaining motif – both for the narrator’s own take on the world (depressive!) and for its dynamic impact on those who are left behind to sort out the mess. I can honestly say that none of the events in my books was experienced by me personally; which, again, is something that attracts me to genre fiction: you don’t need to ‘write what you know’ (as you almost certainly need to do with midlist). You need to do some research, sure; and, in the case of my London locations, know a bit about the area; but beyond that, the fantasy is entirely yours. You are free to roam the reaches of your story world but always within the binding conventions of your genre (with your reader always in mind). It’s again something of a curiosity that our best British thriller/murder writers (Ruth Rendell and Minette Walters) are women whom would have been termed ‘genteel’ fifty years ago (as was Agatha Christie); and yet they are able – through sheer force of fantasy, to create generic worlds that are dark, pulsating with menace, drenched in blood. Good genre writers can write their material and shut the door at the end of the day (or return, as Mozart did, on a much higher plane – but it’s a fair enough analogy!) to his game of billiards). It’s close to journalism writing in that it is writing at its most focused and professional. Readers seem to respond to that work ethic, too, which is perhaps why the best selling fiction writing is almost exclusively generic.

And still it isn’t up there with the gods?

Why?

Anne Morgellyn, 16.5.08
***
Bio: For years I was a London-based broadcast journalist, at one time covering soft-news features in Europe and Russia for PBS; then I relocated to Cornwall, on the far south western Celtic fringes of the UK, in search of my paternal roots. A parallel career here, as a university teacher, bankrolled my writing time while I raised my daughter. I was formerly Teaching Fellow in Creative Writing for Exeter University, and also devised the Write Time distance learning programme for the Open College Network here in Britain. I still teach part time, currently on fiction and play-writing programmes for the Open University – the largest provider of distance learning courses in higher education in the world – and, I think, the world leader (though naturally, I am biased!). But, increasingly, my passion is for music: I am a classical pianist and singer, making recent forays into jazz and gospel – fantastic!; and I am myself completing a Music Diploma with the OU next year, which means I get to see the learning experience from both sides now, as student and teacher. The third of my trilogy of psychological thrillers, THE PINCUSHION, is to be published by BeWrite books late in 2008. The first two are: DISREMEMBERING EDDIE (BeWrite Books, 2003) and REMOVING EDITH MARY (BeWrite Books, 2004) My blogs (I am a novice blogger – so bear with me!) are at: www.intertalea.blogspot.com And at: www.topicofcancer.blogspot.com - Yes, I forgot to mention: I am a cancer survivor, too – but don’t let that put you off. (It hasn’t stopped me!)

Thursday, June 5, 2008

The Corn of Happiness


The Corn of Happiness, you ask?No, that is not a typo. Let me explain.

I have a very enthusiastic ChiaPom (that’s part Chihuahua, part Pomeranian) named Tinkerbell (yes, we all name these dogs Tink) and she loves her toy, a bright yellow corn with a squeaker in it. She totes it around in her little mouth begging anyone who will pay attention, for a game of fetch. And fetch she will, until you both drop.

Recently, Mr. Corn was torn in two, and became dangerous for her to keep playing with. I had to do the unthinkable and throw it away. Now before anyone gets upset with me, I had a perfectly new Mr. Corn all ready to give her.

Tink didn’t understand. She barked, she cried, she whined, and she begged me to please “please, please get my toy out of that ugly, stinky box”. She didn’t want a new Mr. Corn. The Corn of Happiness in the garbage was her baby, her life, her true love.

New Mr. Corn didn’t smell right, and it didn’t taste right. She sniffed it and promptly resumed her cry for the lost toy. She pursued her love for Old Mr. Corn (now lying deep in the pile of papers in my kitchen can) even when I became nasty and threatened her life. Even when I tried to interest her in a treat, she refused and went back to the trashcan, determined to change my mind about this situation.

She just refused to give up.

I learned a valuable lesson.

Never quit.

That seems so easy to say and so hard to do for some. In the writing world, we work and strive to craft a piece that is publishable, only to hear someone say, “not for me”, “just sold one like this” “didn’t love the characters enough”. To have our work rejected, tossed in the old round file, is as frustrating as Tink and her torn toy. It is so easy to shove that one aside, and go on to something else, abandoning our Corn of Happiness because we didn’t succeed the first time out (or the second or the third).

Well, believe me, after a time of listening to my baby dog’s unhappiness vocalized as loudly as she could muster, I caved. I dug the dang thing out and gave it back to her. Yes, the squeaky dog gets the toy.

And if we want our work to be published, and given its time in the sun, we just have to be like a determined ChiaPom, and never give up.

Take any suggestions you receive from agents, editors, and others who read your work, and turn your piece into something more. Keep sending it out over and over, and never waver in your desire to find it a home. The only difference between a published author and a seeking one, is the word “yes”.

Wednesday, June 4, 2008

Writing a Series

© Marta Stephens 2008 all rights reserved

Whenever I mention that my Sam Harper books are a series, the same questions keep coming up: “Are they a sequel? Does one book pick up where the other leaves off?”

No, a series are stand alone works. The reader will be able to read any one of the Sam Harper Crime Mystery books and know the characters well without having to read the previous books, but PLEASE, don’t let that stop you!!

Although I write crime, the relationships between characters play a major role in their development. One reviewer put it like this: “ ... the characters are real - they hurt, they fall in love, they suffer angst and explode with anger.” Therefore, what will be obvious to those who begin with book one, SILENCED CRY, is how the characters mature and grow on personal and professional levels throughout the series. The police captain forces Harper and Mann into a partnership in SILENCED CRY which of course causes some friction. Although they have their differences, they eventually work things out. So too, they learn from each other which is true to how realize life relationships work.

The beauty of a series is that they feature the same set of characters who are placed in different situations. They are allowed to respond to new challenges based on previous experiences. The cast of regulars such as Sam Harper, his father Walt, Sam’s detective partner, Dave Mann, forensics expert, Carter Grave and crusty medical examiner, Jack Fowler will help usher in new criminals and a few interesting players in each book. Although the plots may change drastically, each book will have its own unique set of twists and turns and impossible crimes for Harper to solve. And dare I mention it? In the second book Harper falls for a woman who drives him crazy but makes his weak at the knees.

For me, writing a series has been a labor of love but not without trials and errors. I was fortunate to stumble onto my characters early in my writing career. It’s taken time, however, to really get to know them but I find that with each new book, their dialogue and interactions with other characters has become easier to write. Sometime, if I’m lucky, they dictate the story which makes things easier and allows me the chance to focus on developing the plot.

SILENCED CRY was a series of “firsts.” Like all new writers, I was learning the craft, trying to create believable characters, attempting to find my voice, sorting through “my” style of writing, while creating an interesting, complicated plot that would hold the reader’s interest. Although I continued to work on all of those points, by the time the second book became a reality, I had settled into a rhythm and the story poured out of me—first draft, 63,000 words in 83 days. Granted, I spent the next several months editing it, but it was tremendously fun book to write.

Now as I work on the third book, I’ve discovered an exciting new idea to ponder. One of the new characters demands her own series. So now the challenge is to make sure that her characterization fits the plot and works well in this book but that I give her traits that will make her a strong, likeable protagonist in her own right.

Tuesday, June 3, 2008

Silenced Cry Excerpt

© Marta Stephens 2007 all rights reserved

Normally, Tuesdays are S. W. Vaughn's days to post, but our good friend is off on a much deserved vacation for a few days. In an effort to keep the blog going, I decided to take Aaron up on his suggestion of a couple of weeks ago about posting the excerpt from my debut novel, SILENCED CRY. Although it's a bit longer than our standard posted, here is the first chapter. Look forward to your comments.




Chapter 1


The hour-long sessions started at nine in the morning, twice a week, whether narcotics detective, Sam Harper liked it or not. The only good thing about this damp and cold Massachusetts morning was that it marked the midpoint of Harper’s commitment. Internal Affairs had drilled him for three days in a row. Now the police shrink wanted a piece of him. He was sick of her dogged questions. That was his job, to wear the other guy down. Three sessions left, three hours of digging into his past, into the events of that night – that goddamned night.

Neither the mild vanilla scent floating up from a flickering candle on the doctor’s desk nor the subtle gurgle bubbling from a tabletop fountain were doing their job to relax him. Harper rubbed the arms of the leather chair with his thumb as he calculated his next move. He stared at her and finally broke the silence.

“You ever kill a man, Doc?” A subtle twitch of her brow told him he had her attention. “A split second. That’s all it takes, pull the trigger, and whoosh! He’s gone.”

Dr Brannon lowered her gaze and resumed her scribbling. The navy overstuffed chair seemed to swallow her small frame.

“Why did you go there?”

“Mellow was our only link in the case. At least that’s what Gillies thought. He told me every damned thing hinged on getting to Mellow before homicide got their hands on him.”

“And you had reservations?”

Harper looked away as the Chandler Police Department psychiatrist took notes of his crumbling life.

“Does it matter?” His glance swept up to the dark paneled wall behind her desk. Framed certificates hung in an orderly row like crows on a wire. They mapped out her qualification and gave credence to her ego. He didn’t need her to question his motives or to dig into his past and drag the memories of that night to the surface. They were there, frozen in Harper’s mind – the second he got off his round. He’d never forget the blast or the hammering rain beating against his face. The look of Frank Gillies’s lifeless eyes had scorched itself into his memory. Harper leaned forward and dropped his head. Fists jammed against his eyes as if to rub out the intruding images. He had spun the moment any number of ways, but the outcome never changed.


Brannon crossed her legs. She folded her hands and tapped her fingertips. She watched in silence, waiting to analyze his next thoughts.

“You do realize you don’t go back to work without these sessions.” She picked up the notepad again. The sound of her pen striking twice against its surface made dull impatient clicks. “Look, Detective. No one said this was going to be easy, but you have to open up. You are the only one who can do it.”

Harper didn’t buy her attempt to bring him back into the conversation. He didn’t know if he could, as she said, open up. He pursed his lips and glanced out the window.

"Damned wind’s picking up again, Doc.” He buried his mouth in the L of his thumb and index finger touching the outer corner of his eye. He rose and turned his back to hide the familiar burning that blurred his vision. Apprehension had become his unwelcome companion, a reminder of the failings he refused to accept. Anger crept in. It bubbled and seared holes into his sense of reason.

“Should’ve been me.” He closed his eyes, pinched the bridge of his nose, and cleared his throat. “I was right in Mellow’s line of fire. The damned piece was inches from me.” The thrust of his fist made a hollow sound against his chest. “You don’t get it, do you?”

“Yes, I do. Let’s start there.”

“What’s the point? You know what happened. We’ve been over it a million times. Don’t you get tired of listening to this crap?”

“It’s the only way.”

“We can talk all you want. Won’t change a damned thing. Won’t bring him back.” He dropped back into his chair and swept a hand across the stubble he hadn’t shaved in three days. “What’re you going to do? Tell me to think happy thoughts? Will that do it? Is that going to stop the dreams?”

“Tell me about them.”

“Not today.” He wrestled between his grief and growing suspicions of Gillies. What really went down five days ago in front of the Roving Dog Saloon? He jabbed a white knuckled fist onto the arm of the chair and looked away. Every sordid detail came rushing back without prodding. “It was past eleven that night when Gillies got the tip that Mellow had violated parole.”



***

“Come on. Gotta go.” Detective Frank Gillies rushed to Harper’s desk and slammed an opened hand against it on his way to the elevator. “The big guy just answered our prayers.”
Harper caught his partner’s grin and his thumbs up gesture. The gray had gone beyond Gillies’s temples to the mass of short locks that covered his head. Harper’s glance dropped to the new spot that had landed on his partner’s tie six hours before from a greasy burger. One of many meals that had settled around Gillies’s middle.

“Let me guess, Stewart Martin’s leaving.” Harper turned to the next page in the file. He prayed every day that Detective Martin would transfer.

“Yeah right. Soon buddy, real soon, but not tonight. Word is Mellow blew a guy’s brains out.” Gillies struggled to slip his arms through the narrow sleeves of his overcoat.

“Wasn’t he just released a couple of days ago?” Harper was unmoved by the news. Mellow was nothing to their case against Jimmy Owens. They were after the supplier, not the low-end dealer. “When was this?”

“Few minutes ago. Over on Calvert near the Trenton overpass. Homicide’s on their way. Come on.” Gillies shook his head. “Will ya put that crap down already?”

Harper turned his head in time to see a bolt of lightning crackle and spark across the eastern sky followed by a quick clap of thunder. He adjusted his sight on the windowpane and the ribbons of rain flowing down the glass. “We don’t need him.”

“He knows where to find Owens.”

“Di Napoli is on it.”

“Di Napoli can’t find his ass with both hands. Move it, Harper!” Gillies rushed toward the fourth floor elevator and jabbed the down button.

Harper glanced at his watch. It was exactly eleven twenty-five p.m. He grabbed his coat off the back of a chair and motioned to Gillies he would meet him downstairs. His partner was a master at spewing out insults. Harper wondered how he had managed to measure up to the man’s expectations when Di Napoli, the eight-year veteran undercover assigned to work with them, couldn’t. He took the steps two at a time and reached the lobby as the elevator doors opened.

“He’s out, what, four days and breaks parole?” Harper pressed Gillies. “It’s a waste of time. The guys in Homicide aren’t going to let us anywhere near him. Hell, you know what they’re like. Bunch of assholes.”

“No shit. That’s why we’re going someplace else.”

“Where?”

“A dive over on Howard and Third. Just got a tip the fucker’s sitting in a booth there right now.”
Harper pulled his coat collar up and looked out the glass doors. The March rains were pounding down for the fourth consecutive day. The odds on staying dry weren’t adding up in his favor. He swept a glance over to Gillies’s and caught a similar sense of hesitation before the two of them made a run for the car.

Another bolt of lightning lit the sky followed closely by a clap of loud thunder.

***

“Harper?” Dr Brannon leaned her head to one side. “Where did you go?” The light of a small Tiffany lamp on the corner of her credenza illuminated the right side of her face. “Want to let me in on your thoughts? It’s just you and me here,” she said, tapping her pencil on her notepad again.

He threw back his head against the back of the couch and closed his eyes. His left foot dangled over his knee while the restless right tapped on the floor.

“Right. You, me, and that thing.” He motioned toward the tape recorder on the coffee table.

She glanced at her watch. “Cut the crap, Harper. This is your third session and you have been defiant from the very beginning. Let’s get one thing straight. I’m not out to get you, understand? The bad guys are out there.” She pointed toward the door. “You want to fight them, fine. Go ahead. But walk out that door and I’ll make sure you don’t come back.” She stared at him in icy silence. “You don’t have a choice, Detective.”

“The hell I don’t. I risk my life every goddamn day. That’s my choice just as much as it was my duty to follow my partner to the dive that night. I didn’t do anything wrong. And there’s not a damned thing you can do to change it.” Heat rushed to his face. “Who do you think you are, anyway? All you do is sit in your office and analyze the hell out of us. Where do you get off ordering me around?”

“You have a problem with authority?”

“Just you.”

“Interesting. Let’s get back to what you were thinking a minute ago.”

He hated her self-assurance. He frowned – wished he could run. He glanced at the door then turned to focus his sight on the wet bark of the maple tree in front of the window. “It’s spitting snow.”

“Damn it, Harper. I’m sworn to secrecy. Nothing you say leaves this room.” She paused for a moment. “I am not going to risk your confidence unless you give me reason to think you are capable of hurting yourself or others.” Again, she waited for a response. “Did you hear me?”

“Guess it’s only rain.” Guilt continued to eat at him. If only he’d shot sooner. If only he had known. If only. The questions outweighed the number of plausible answers. He rose to his feet again and paced.

“No one was supposed to get killed. Not Mellow, sure as hell not Frank.” His fingers sliced through his hair and spiked the blond strands with the random pass of his hand. The knot in the pit of his gut tightened like a vise. The sessions, the job; he had to get through one to have the other. “I just wanted the truth. What the hell was Gillies thinking?”

“He knew the risks,” she said, without taking her eyes from him. “Let’s talk a minute about you. What have you been doing with yourself?”

“What difference does it make?” He knew the drill. Sure, the shrink time was mandated, but he didn’t want to talk about himself and the baggage he had swung over his shoulder. She remained straight-faced and waiting. There was no way around it that he could see. The doc seemed as determined to make him talk, as he was to remain evasive.

“I finished a fifth of Scotch, and when I was good and drunk, I watched soap operas. Only damned thing I know more depressing than me these days.”

“You do that often?”

“I’m fine. All right? I can handle the booze.”

“How do you know I was asking about the booze?”

She caught him off guard with that remark. How damned stupid was he anyway?

“Do you think you have a problem with it?”

Harper sized her up with a seasoned glance. Her dark green sweater set off the red tones in her hair that curved slightly beneath her chin and framed the curvature of her face. She was easy on the eyes but too damned clinical for his taste. Nothing worse than a scrutinizing shrink to kill the moment. He assumed she was in her thirties, like him, but obviously twice as smart and a lot more obnoxious. Part of him wanted to tell her about Frank Gillies, how he died, and the thoughts that had haunted him since that night. He could still hear Gillies’s voice as they ran out to the car. He fingered the change in his pocket, leaned his forehead against the cool windowpane, and tuned her out.

***

Harper rushed into the car and slammed the door. He wiped his face and secured the straps of his bulletproof vest.

“What’s Mellow doing in a bar?” he asked Gillies. “Is it near the scene?”

“Nah. It’s down in Avondale.” Gillies switched on the siren and cut through traffic. “Hole in the wall place smack in the middle of slum lord row.”

“That’s clear across town. How long ago was the shooting?”

“What do I look like, some fucking information sign?” Gillies growled. “How the hell should I know? Idiots in homicide can figure that one out.”

“You sure your informant has it right this time?”

“What the hell’s with ya and the million fucking questions? All we need to do is talk to the guy about Owens before homicide gets to him.”

“Doesn’t make sense,” said Harper. “Most shooters would run like hell, not stop for a drink. Besides, what makes you think he’s going to talk now when he wouldn’t before?”

“No one accused him of having brains, ya know what I’m saying, college boy? You and me, we’d be out of jobs if little shits like him had any brains.”

“Who called in the shooting?”

“Shit, Harper. Here, let me get my crystal ball out.” Gillies sneered. “That’s Homicide’s problem, I could give a rat’s ass about it.” He shook his head. “All right, look, someone in dispatch called up about the shooting. Thought we’d want to know. That’s all. Just following a lead, all right?”

Harper knew about Gillies’ connections. Not who they were or how he managed them, but that they existed. They didn’t always pan out, but the grin that split Gillies’ face and the urgency in his voice implied this one was a sure thing.

“Seems stupid of Mellow to screw up right after making parole.”

“Yeah, well, like I said, if little shits like him had brains we wouldn’t be here.”

Harper had seen anger take over people’s minds. It shoved them over the edge without saying how far or how hard they would fall. Maybe Mellow hadn’t figured the distance yet.
Gillies turned off the headlights and nosed the unmarked patrol car into position across the street from the Roving Dog Saloon. The deserted street and the rain thumping against the car roof gave a false sense of tranquility.

Harper glanced across the way at the tavern door and the red neon lights shaped like a dog just above it. The dog’s legs and tail appeared to move back and forth making him seem to rove for a good mug of beer. The sign’s light cast an eerie red glow and shimmered off the wet objects beneath it. Harper pulled up his collar, cupped his hands around his mouth, and blew warmth into them.

“What now? You’re sure he’s in there?”

Gillies winced as he watched the windshield wipers slap the water from side to side. “Only one way to find out. It’s your turn, rookie.”

“The hell it is. I ran after the scum in the Capelli case, remember? Chased the guy five blocks through a foot of snow before you cut him off with the car. You can be so damned smug sometimes. You and that stupid grin of yours. This wasn’t even my call.”

“Ah, come on. Rookies aren’t allowed to say no. Besides, you’re younger. What are ya, thirty-one, thirty-two now?”

“Cut the jabs.”

“What? What’d I say?”

“Cut the rookie and college boy bit.”

“I’m just joshing with ya. Don’t go getting sensitive on me, all right?”

“It gets old.” It was almost midnight. Harper was tired and in no mood for Gillies’ mindless humor. “Haven’t been a rookie in years.”

“Is that so?” Gillies chuckled and threw him a playful punch. “All right. Listen. Ya don’t even have to talk to the asshole. Just see if he’s in there. Don’t want him running out the back or nothing and have to chase the little creep in this shit.”

“That’s it, huh?” Harper leaned his head against the window and watched the rain. “It’s not letting up.”

“Go on. It’ll take ya two minutes. We’ll wait him out. Ask him a few questions and go home.”

***

“Was that a typical surveillance?” asked Brannon. Expressionless eyes studied him from behind a set of silver framed reading glasses.

“No. We always worked together before. That night.” Harper shook his head. “Nothing made sense. One minute we’re just going to talk to the guy. Next thing I know I’ve got two fatalities to answer for and I don’t know what in the hell happened.”

“What do you mean, you don’t know?”

“We didn’t need Mellow to get Owens. Gillies knew it as well as I did. He acted as if we were the only ones on the case. There was a whole team of us including some undercover. But Gillies, he was so bent on going after Mellow that night. It was almost as if …”

“What?”
“He wouldn’t take no for an answer. What the hell was I supposed to do? He was the senior partner. Had to trust his judgment.”

“Did you?”

“That’s what we’re supposed to do, trust each other.” Harper lowered his glance. “That night, after it was over, I checked with dispatch.” He swallowed hard. “There was no shooting reported anywhere on or near the Trenton overpass.”


***
Read the collection of SILENCED CRY reviews at http://www.martastephens-author.com/critical_reviews.html

SILENCED CRY (2007)
THE BLACK PEARL (2008)

Sunday, June 1, 2008

Amazon Reviews... and Mothers-In-Law

copyright 2008 Mayra Calvani

You’ve published your book. You’ve sent it to many review sites and begun collecting rave quotes for promotional use. You check Amazon regularly to see whether any readers have written anything about your book. They have! Wonderful. The comments are positive. You keep checking almost everyday until—what’s this?!—suddenly you find a HORRIBLE review at the top of the list.

You’re aghast. Your face flushes as if a subterranean volcano exploded inside of you. How dare anybody say anything negative about your masterpiece creation? What an atrocity. This is sabotage!

After a few glasses of wine, you tell yourself you’re a reasonable person. You realize chances are not everybody can love your book.

But there are negative reviews and there are negative reviews… and this is book annihilation! This particular review seems to have been written by someone who not necessarily hates the book, but hates YOU.

This happened to a friend of mine recently. A few days after her book came out in Amazon, someone wrote a mean, nasty review.

The review in question was something along these lines: “This is the WORST book I’ve ever read in my entire life. It is filled with thousands of spelling, grammatical mistakes and clichés. Please don’t waste your book on this book. You’ll regret it for as long as you live…” etc, etc, etc… The review went on and on, its author clearly deranged or driven by sweet revenge.

Not surprisingly, my friend later found out that it had been written by her dear mother-in-law in reaction to how my friend depicted her in the novel (Lesson: DO NOT use your mother-in-law as one of your characters).

I know the lady in question, and while I think it’s true that she has “sagging cheeks like day-old pancakes” and clammy hands like “large wobbly maggots,” as my friend wrote in her novel, I believe she shouldn’t have gone so berserk. I mean, there’s something to be said for self control, right?

If any of you is the victim of such atrocity, there’s something you can do about it. Remember that Amazon wants you to sell your book almost as much as you do (they should—they take 55% off the retail price!), so all you have to do is contact them and explain them the situation. Most likely they’ll remove the review. Email them at: http://us.f387.mail.yahoo.com/ym/Compose?To=community-help@amazon.com.

But pleeeeeease don’t contact them for negative reviews that were clearly written by serious readers or reviewers, otherwise they’ll think we authors are egotistical maniacs who break at the slightest lashing … and we wouldn’t want that now, would we? (It’s important to keep our true nature low profiled.)

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June is 'Book Reviewing' month at Blogcritics Magazine! To promote the release of The Slippery Art of Book Reviewing, author Mayra Calvani will be interviewing 15+ reviewers and review editors during the month of June. Learn all about the business of book reviewing and what's in the mind of some of the most popular reviewers on the internet today. Some of the guests will include: Alex Moore from ForeWord Magazine, James Cox from Midwest Book Review, Irene Watson from Reader Views, Andrea Sisco from Armchair Interviews, Magdalena Ball from The Compulsive Reader, Sharyn McGinty from In The Library Reviews, Lea Schizas from Muse Book Reviews, Linda Baldwin from Road to Romance, Hilary Williamson from Book Loons, Judy Clark from Mostly Fiction, and many others! To see the complete lineup, visit: The Slippery Book Review Blog.Stop by and leave a comment under the interviews for a chance to win a Virtual Book Tour (sponsored by Pump Up Your Book Promotion, a $150 value!) or a $50 B&N gift certificate!

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Multi-genre author, reviewer, dog lover and animal advocate Mayra Calvani hails from San Juan, Puerto Rico. She's a regular contributor to Blogcritics Magazine and American Chronicle. When she is not writing, she enjoys reading, playing the violin, interviewing other authors for her blogs and newsletters and watching too many reruns of Gilmore Girls. Visit her website at http://www.mayracalvani.com/.