TWO WEEKS UNTIL I . . .

Yesterday, Tuesday the 17th of July, I did it. I submitted, per guidelines of the publisher, my query letter and first two chapters of my next book, Blood Will Have Blood. 

On their website it says if they are interested they will contact you within two weeks. So two weeks until I know if they are interested or not.

I will be happy either way. If they reject-and the odds are they will-I can publish the e-mystery on Amazon where my other books are. But it would be nice if they said “We want to read the final two chapters.” It would mean getting more feedback during the process of getting into ink print, rather than digital print.

I have had rejections from agents and publisher with other submissions, so rejection is not a problem. It happens to all of us. But every time you try, you have hope and now I have hope for two weeks.

But I will not be idle. I am making progress on my next mystery by researching painting styles and what artists may have been doing in the mid 1920’s, writing character profiles, expanding and editing the first chapter, and determining how many characters I should have, not wanting the reader to juggle too many. I also have short stories to write for another collection.

So I will not be staring at the phone waiting for the call, nor checking my inbox to see if they will use email to contact me. On the other hand, though it has been less than 24 hours since I submitted, I think they should have contacted me by now. After all, those were really good chapters. Can’t imagine what the hold up is.

Getting back to reality, I found the publisher through a free subscription to Authors publish Magazine. They provide lots of information on publishers, markets for all types of writing, and free downloads of information. It is a good place to get leads of who is accepting submissions, whether in print or online. I get no kickbacks for telling you about them, no hidden agenda. Just pointing to something that can provide help for  writers.

And now back to working on my next book-whether in ink or digital format.

coyotemoon_silentmurder (1)

Starting a Novel

In the beginning . . .

is the problem. The problem being how to begin. To outline or not to outline that is the question, whether it is more noble to create a roadmap and follow it through to the final destination at the outline’s end, or freelance and go where imagination (madness) takes you. In other words, take the road less traveled.

I opt, as usual, for madness. I like freelancing, making the story up as I go along. I have mentioned this before as I feel it gives the imagination free reign. I am also lazy and an outline is more work, and the less work the better. But in either case the opening is crucial. It must set the tone, it must draw the reader in to the story. It should introduce blah, blah, blah. Every writer has read all the advice about beginning  a story. And if you have read enough advice you have discovered conflicting ‘rules.’ So lets move on.

Let let me tell you about my new project because it has a bearing on how I start my new novel.

It is a murder mystery set in the spring of 1928 and is a follow up to my soon to be published e-mystery Head on a Grave. That story took place in the Pacific Northwest during November of 1927 when my lead Chet Koski having dispatched of a killer earlier in the year in Silent Murder, is given a vacation by his boss at Paramount Pictures, so he goes to visit his cousin in Centralia, Washington.

While the killer was caught, one person, who may or may not have been involved has proved elusive. Chet who lost his screenwriting job chasing the killer and not returning to work is going to stay in Washington to work on a novel.

That is the background to set up the next novel.

Research is important and during this time there was an artists colony on Hood Canal, which, by the way, is not a canal, but a fjord. It is a long story, feel free to click the link. So Chet, who is a writer, or at least he thinks he is, decides to go the Canal and find the artists who are painters, and blend in with the art colony. So that is the setting.

But we must begin the story with something exciting. Like the body of a dead woman washing ashore on the canal.  The opening paragraph is written in the omniscient point of view.

And then, as in Head on the Grave, I break the rules and change to 1st person as Chet gets out of bed and kills, or tries to, kill a black ant. This leads to a conversation with his actress wife and partner in solving murders, Eveleen.

So what have I accomplished so far. I have let you know I am working on a new novel, let you know a novel is soon to be published and given you a link to another novel, one I like a great deal and hope you read it if you have a Kindle or Kindle app, and given a link to the origin of Hood Canal.

I have done this because I am stuck on what happens next in my novel and was hoping to free up my creativity by writing a blog. That’s my story anyway and I am sticking to it.

And sense it is baseball season here is a link to the below e-novel based on a  true story you can read for 99 cents and help me feed my cat. Thanks for reading my blog.

dugout (1)

 

 

How to Write when You are SICK!

You know the feeling. First you clear your throat, then a cough, but you feel fine. But the cough becomes more frequent, you feel tired you lose your appetite as the cough gets worse. Forgive me for using the V word, as in vomit, but we must. So you cough, you blech, cough and blech, and you can’t write because you no longer care.

I am sure you know the feeling when your body is about to blech, up chuck, throw up, puke, vomit, toss your Oreo cookies. Anyway that is the feeling I would get, but instead of the aforementioned I had a rasping, hacking cough coming from the pit of my soul.

I stayed in bed waiting for death. It never came.

Naturally in this condition I could not write. I had little to no energy. I lost five pounds in four days. Sadly I gained it back through vanilla ice cream, Hershey’s chocolate syrup, potato chips, and other healthy foods.

Once the body shuddering cough subsided a bit, downgraded to merely coughing without gut wrenching pain I could write. But not much.

I was able one day to finish a short story. I had only to write less than 700 words to finish. And I started another a couple days later, only about 500 words. A couple days later I start a novel, but only a couple hundred words.

That was all I could do. I still wasn’t eating and I was still tired, languishing in laziness, sickness, a foggy head, and a lack of ice cream with Hershey’s chocolate syrup.

The problem as a writer with sickness that goes on for three weeks, an illness that saps your energy, your thought processes, and your creativity, is that you get out of the habit of writing and when you get out of your habit, stray from your discipline, it takes some time for you to get back into the swing.

So the best you can do when this befalls you is wait until you feel something resembling your previous humanness and then  write a blog about your sickness. Like I have just done. Now I know I am back into writing. And just as soon I down a huge bowl of vanilla ice cream with Hershey’s chocolate syrup, I will get back to my unfinished short story.

Thanks for reading and good health to you.

 

coyotemoon_silentmurder (1)

What Should Writers Steal?

I was sitting at a desk doing volunteer work for an organization I belong to, and sitting not far away were a group of six or seven middle age-or older-women at a long table holding a monthly meeting. I could not hear anything specific in their discussion, but since they were in my direct line of vision and since they were preoccupied with whatever they were discussing I was an unobtrusive observer.

And I could spy. And I could steal without being noticed.

One of the women had a hairstyle best described as worn-out Brillo pad. She chewed gum with intense fierceness, unlike a cow who enjoys her cud with gourmet bliss. At one point the woman got up and left the building, coming back about six minutes later. I believe she had gone out for a cigarette; she had that ‘air’ about her. And she had, what I assumed, was fresh cud-excuse me-gum in her mouth. She went back to her seat and resumed her chew. A short while later a man and woman came in.

The man wore a bright knit cap, knitted with the colors of the rainbow, plus colors that existed only on the cap, in a horizontal pattern that encircled his head. The man bent over to look in a display case. I noticed a perfect circle a few inches in diameter cut out of the top of the cap. He was bald-at least in that spot. I imagined that if he wore the cap in summer, he might have a cute little tan spot at the top of his head. I didn’t ask him about the strange circle at the top of the cap for I didn’t want to break my observation. A spy can’t make contact with his quarry. You understand right?

The point is not why he had cutout that small circle in his knit cap, nor is the point about what the woman was doing with her gum, but what you can steal from around you. What you can use in describing characters in your story.

When you observe people, what they wear, how they walk, anything that stands out, you make a mental note, or like me, write it down in my small pocket notebook-when nobody you are observing can see you of course. You are the spy, you are the thief, and you must be discreet.

Character traits, odd little tics and quirks, make your characters more believable and identifiable to your readers. When your reader sees the character in their minds they are more involved with your story.

My observations of people I have stolen from and transformed into fictional characters can be found in my e-Books on Amazon. The descriptions of the books can be found in my header.

 

coyotemoon_silentmurder (1)

 

What should a writer pretend to be when writing dialogue?

Before I answer the question posed I want to set the scene before two characters talk.

In a short story I am working on, a man is walking down a hallway, stops in front of a door with a security window, punches a code into a keypad, and enters into another hallway.

I do not tell what the facility is, but through describing what the man sees in the hallway, like the color of the walls and what type of pictures or posters are hanging on the wall and using phrases like ‘institutional carpet’ and what he observes by watching people, some of whom are looking at a TV, though few seem to be comprehending, the reader should get the idea that the man is in a nursing home.

The man walks into a room where a woman is sitting and looking out the window. He pulls up a chair and begins to talk. So now we have  a setting. And now they must talk.

When faced with a conversation, especially an emotional one and one with a twist, and a conversation that must reveal character , a lot of thought must go into the dialogue.

You must know your character, know how he talks, and know his personality. What you need not know is how the conversation will end. If you chose to think of how it will end and write towards that end that works too. For me, I like to make it up as I go along. Like an improve actor.

If I know my character, then I can imagine the conversation. As I write I know the man is going to reminisce about two things. One will is about how happy he was when he got married and the other is the worst day of his life when his two children, home from college, are killed in an auto accident.

So, like an actor, I go with the scene. A writer must get into the character’s head and pretend to be the character. Writing fiction requires you, not to think, but to feel. A good actor feels the words, understands the emotion. Once you feel the emotion of the words, the dialogue flows. It did for me, usually does. And in this moment where the man says more than the woman he is conversing with I come up with something that makes it all work, including the twist.

You see, the man thought he was talking to his wife. The woman said that she was not his wife, that her children were not dead. She made short interjections, then asked him to call a nurse, three of four times she would break in and ask for the nurse.

When the nurse does come she sees the man and an empty chair.

The man was not in the right room, his wife is dead, the woman who lives in the room was watching TV in the activity area, and the man had dementia.

But you never say what the facility is. You never give the background like a reporter giving news. You reveal through descriptive imagery and through dialogue, imagining you are an actor, not on the stage, but on the page.

Finished imaginings of mine are found at the top of my web page and the e-books are available on Amazon.

Thanks for reading.

GUESS WHAT WRITERS NEED TO EXERCISE?

If you are like me, and I feel sorry if you are, then you may have a physical exercise plan like running, walking, something cardio or with weights, maybe all of the above. I have a written plan next to my desk for me to easily see. But again, if you are like me, you are well intentioned, but find excuses that you tell yourself are legitimate so you can do something else, like watching  reruns of Two and a Half Men, staring at the wall to make sure the paint is drying properly, or putting your books in alphabetical order by color.

But physical exercise is not what I mean to tell writers about, though it is good when you spend a lot of time sitting at the keyboard to keep your heart and body from degenerating into mush by exercising. Lack of exercise cause your muscles to atrophy, you gain weight, and friends tell you are getting grouchy. Where I live it rains December and January, the clouds are cloudy all day, and everyone is a grouch. I can feel muscles turning to mush as I write.

The same is true of writing. The brain may be an organ but, like the heart, which is a muscle, it must be exercised. Writers must either write or practice on a regular basis. The reason has less to do with keeping your grammar sharp or expanding your vocabulary. It has to do with keeping the creative part of your mind sharp.

The more frequent you write the more creative thoughts emigrate from your subconscious, settle into your creative consciousness and introduce themselves. But if you ignore the opportunity presented to you, it will retreat back into the deep cortex of the right side of your brain, and if it gets petulant with you it will hide out in the cold, analytical left side of the brain and will never be heard from again.

Being well intentioned with physical exercise will not get you into shape. Doing the work will. 30 minutes or an a hour a day.  Exercise your heart and body. And being a well intentioned writer will not spur your creativity. You must exercise your imagination, whether an hour a day or every other day, but do it frequently.

You can make your own writing schedule based on your time availability. But do it. Your brain will thank you.

You can click one or all of my e-book titles above to see the results of paying attention to the right side of the brain. They are available on Amazon.

 

 

I raise the curtain behind a writers madness in writing a sentence

Writing is rewriting. The following is based on a short story I am starting. I thought it might be fun and instructional to show what goes through a writers mind as he/she tries to get a sentence and paragraph.  So let’s peek into my madness.

 

THEY COULDN’T GET OUT, THOUGH SOME COULD GET IN.

I know who ‘they’ are, the reader doesn’t. ‘They’ could be humans, or ‘they’ could be animals. The sentence needs clarity.

THE PEOPLE INSIDE COULDN’T GET OUT, THOUGH PEOPLE OUTSIDE THE DOOR COULD GET IN.

More specific, yet dull.

A CODE ON THE DOOR WAS NEEDED TO GET IN. THREE NUMBERS TO PUSH, THEN A CLICK WAS HEARD, THEN ONE PUSHED THE DOOR OPEN, LOOKING THROUGH THE WINDOW TO MAKE SURE SOMEONE INSIDE COULDN’T GET OUT, OR RATHER SHOULDN’T GET OUT.

Better, but awkward, does not say how the code is used. Does someone say “Alexa, please open door” or say three numbers, or are buttons pushed on a security pad. Also grammar is bad.

A MAN WALKED DOWN THE CARPETED HALLWAY, THE WALLS HUNG WITH INOFFENSIVE CHEERFUL POSTERS LEADING TO THE DOOR.

Problem is the walls are not hung, the posters (framed-should have used framed posters) are hung, and that is not what leads to the door.

A MAN WALKED DOWN THE INSTITUTIONAL CARPETED HALLWAY TOWARDS A THICK METAL DOOR WHICH HAD A REINFORCED WINDOW. FEW USED THIS HALLWAY, ONLY VISITORS AND STAFF AND THERE WAS ALWAYS MORE STAFF INSIDE THAN VISTORS. NEXT TO THE DOOR WAS A SECURITY PAD. THE MAN PUSHED THREE BUTTONS ON THE PAD, HEARD THE CLICK OF THE DOOR, BUT BEFORE PUSHING THE DOOR OPEN, THE MAN BRIEFLY PAUSED TO LOOK THROUGH THE WINDOW IN THE DOOR TO MAKE SURE IT WAS SAFE TO OPEN. THERE WERE PEOPLE WAITING TO GET OUT AND THEY MUST REMAIN. IT WAS CLEAR.

I like this. I used institutional carpeted to give the reader a hint of the type of building. I used ‘few used this hallway’ to make the reader wonder why (part of the hook if you will). And for the same reason wrote ‘more staff than visitors’ so that the reader will wonder what kind of place has more staff than visitors along with ‘few used this hallway.” The hallway and the building I hope arouse the reader’s curiosity. Then we have some action the man ‘pushed,’ ‘heard,’ and ‘paused.’ And finish with people inside must remain. And why.

If your first reaction is this is a jail, it is not. My intent is to describe what is inside the door through the actions or inactions of the people inside, doing so without telling you what the building is, but by describing what is going on it will become clear to the reader. Always better to show, not tell. I am not sure I am done with the opening paragraph. But it is time to move on to the second, to move forward, then go through it all over again.

 
The point for writers is to just write a simple sentence no matter how bad it looks, and then expand. Just starting gets the creative juices going. It may be slow for a bit, but then it picks up and you get on a roll. And as every writer knows, that is when magic happens.

My e-books are found on Amazon.

Loonies_In_Hollywood-375x712coyotemoon_silentmurder (1)

Shakespeare and R L Stevenson altered our minds without drugs

Myth can be created by folklore like Paul Bunyon, a tall tale to be sure, but myths can also arise, inadvertently by an author, from popular fiction that takes on a life of it’s own.

Two cases in point.

Treasure Island by Robert Louis Stevenson. The popular conception of pirates is that they buried their treasure because that is what happened in the novel. But there is only one known pirate to do that and it was Captain Kidd, who was more a privateer than pirate. It depended on whether his contemporaries liked him or not. More disliked him than liked him, so to us he is a pirate. Winners write history.

Think of it logically. Why would pirates bury their treasure and return later to dig it up. The entire crew knows where it is, so each larcenous crew member now looks at each other with distrust and paranoia. And don’t think the captain was the boss. A pirate captain was elected by the crew and he did nothing without a vote from the crew. And the crew wants the loot and they want it now. They have been at sea a long time and they want rum and women.

In truth pirates took ships, their cargo, and most of the crew of the captured ship. At one point, Kidd had three captured ships in tow. They would go to a friendly pirate port and sell everything they could, keeping supplies they needed.

The only reason Kidd buried nearly a million dollars in jewels and goods is that he was headed back to New York to answer charges of his piracy so he had to bury the evidence. Didn’t help. Most of his treasure has been found. But other pirates and ‘X’ marks the spot maps are pure fiction, not history. Thank to Long John Silver and R.L. Stevenson.

Another example comes from Shakespeare’s play Anthony and Cleopatra. Everyone believes Cleo was bitten by an asp while she was a prisoner of the Romans. That is what happens in Old Will’s play, but whether Will was passing on the lore he knew or he made it up, the asp is now our truth. Check any crossword puzzle.

The Romans found her dead. There were two puncture marks. From an asp? Well, according to other records she committed suicide by a poisoned hairpin, not an asp. Poison was a big seller in Egypt. Cleo was found in her private chambers. As a prisoner she would not have access to snakes, nor would she keep them in her rooms. But a snake is more dramatic because the audience would be more fearful of a dangerous snake than poison. Poison being more passive. 

And now you know the truth of the matter. Until it changes once again. You never know. It just shows the power of the written word, the power of story telling, and how we believe what we read, even if it is fiction.

Here are two of my fictional e-novels at Amazon. Both based on true stories. Perhaps another myth will arise from one of them. With your help of course.

dugout (1)

Loonies_In_Hollywood-375x712

 

The dilemma of telling people you’re a writer

A few days ago I received my online newsletter from Authors Publish.  It contains two leads for publishing houses, but what caught my interest was a short piece about what happens when you tell people you are a writer.

Number one of the five is the imposter syndrome. I have always been hesitant telling people I am a writer. The reactions I have gotten have not been positive, leaving me at times, feeling like an imposter. To this point, other than a brief memoir in a book published in 2012 and two short stories published locally in an annual book, I have published three e-novels and two short-story collections on Amazon. I also wrote film reviews for a newspaper for eleven years and did a few freelance stories. I received positive feedback during that period.

Yet I still hesitate.

I told a woman the other day about my short story published in an edition of the locally published book and she told me she wrote a piece for them a few years ago-and then made sure she deflated me my saying -“They publish anything sent to them.” I don’t know why she blew it off, and I question whether everything send is published.

Another woman said she only reads ‘real books’ and e-books are not real. Perhaps she fears the digital world. Then there are relatives. My closest cousins don’t read much, if at all, and though one wanted one of the annuals where my short story was published, he has never read, to my knowledge, the story. He had said he would tell me how he liked it, but that was about seven months ago. No phone call, no email, no smoke signals, not a wisp of contact. My other cousin said she still has not read the story. She never reads.

Is there any doubt why I sometimes feel like an imposter and any doubt why I hesitate to tell people I am a writer.

My best experience was reading my latest short story at the kickoff for the last annual collection of local writers. One woman said she read the story three times, and the man who puts the writings together for publication told the group how much he liked the story, why he liked it, and pushed me to read the opening page of my short story.

Though I hesitate, I am getting better at it. I have learned that detractors often have insecurities as I noted about the woman who said they publish anything. Like the Taylor Swift line ” haters are going to hate” so stay away from the haters and the negative nellies. They are not worth your time. I have found a positive group of local writers to share writing and experiences with, so am moving forward.

Keep away from people who try to belittle your ambitions. Small people always do that, but the great make you feel, that you too, can become great.-Mark Twain.

I am coming out of  the “I am a writer” closet.

I am a writer, like it or not, take it or leave it.

“Peanuts” Character Reveals Writing Secret

A classic Peanuts cartoon strip by Charles Schulz appeared in a recent Sunday newspaper and the punchline exemplifies what some writing gurus have advised.

Linus is at his school desk writing on the theme of returning to school after summer vacation. Over three captions we see he has written this: ” No one can deny the joys of a summer vacation with its days of warmth and freedom. It must be admitted, however, that the true joy lies in returning to our halls of learning. Is not life itself a learning process? Do we not mature according to our learning. Do not each of us desire that he…”

And there it stops.

The next three panels show him taking the paper to the teacher’s desk, handing in the paper, and returning to his desk.

Then you see him saying “Yes, Ma’am? Oh . . Why, thank you . . I’m glad you liked it . . ”

The final panel shows him sitting sideways, one elbow on the desk behind him where Charlie Brown is sitting. Linus says, “As the years go by, you learn what sells!”

Linus knew his audience; it was the teacher. And he also knew what she wanted, in essence, to hear, so he wrote what she wanted, hoping to ingratiate himself, of course, and get a good grade.

If there is a hot market that readers are feasting on, you can jump on that bandwagon and if the bandwagon is not crowded and the market has yet to be devoured, you have a shot of finding an audience. But what is hot now can soon fade away.

Or you can write what you want to write and hope you find an audience. If you write in the genre that most appeals to you, I belive your writing will be better.

Each approach has its drawbacks, nothing is guaranteed, but you must chart your writing course through tricky waters no matter which direction you go. Write well, edit even better, and write a little everyday. And be cool like Linus.

I turned in my e-books to Amazon

Loonies_In_Hollywood-375x712coyotemoon_silentmurder (1)