Tag Archives: creative nonfiction

Curiosity and Creativity for Writers

Today’s post is an excerpt from my book, Ready, Set, Write: A Guide to Creative Writing, which takes you on a tour through the world of creative writing while offering writing ideas and inspiration. This is from chapter thirty-one, “Curiosity and Creativity.” Let’s find out how fostering curiosity can increase your creativity. Enjoy!

Curiosity and Creativity

Even though inspiration abounds all around us, we writers sometimes get stumped. We search for essay topics, plot ideas, and interesting language for our poems. Unfortunately, our searches don’t always yield desirable results.

But by fostering curiosity, we can ensure a constant stream of creativity. Some of the best writing ideas come from asking simple questions: Who? What? Where? When? Why? How?

Most writers are curious by nature. We look at the world around us and wonder at it. Who are these people? What are we all doing here? Where are we heading? Why do we do the things we do? How will we move forward?

Remember how curious you were as a child? Everything you encountered spawned a series of questions because you were trying to learn and understand the world around you. Bring that childlike curiosity back, and you’ll always have a full supply of inspiration.

It doesn’t matter what form your writing takes or what genre you’re writing in. By fostering curiosity, you can create a fountain of ideas.

Below are some questions you can use to get inspired. Mix them up, change them around, and come up with your own list of questions:

Who

  • Who is this about?
  • Who can help?
  • Who is standing in the way?
  • Who am I?

What

  • What is the goal?
  • What are the stakes?
  • What is the underlying message?
  • What if…?

Where

  • Where did it all begin?
  • Where have we been?
  • Where should we go?
  • Where does it end?

When

  • When did it start?
  • When did things change?
  • When will things improve?
  • When will it be too late?

Why

  • Why did they do it?
  • Why does it matter?
  • Why take a risk?
  • Why are we here?

How

  • How did this happen?
  • How does this make people feel?
  • How does this sound?
  • How will this get resolved?

If you can keep your curiosity on fire and continue coming up with new questions, you’ll find that you can write your way into answers and constantly discover new writing ideas along the way.

As you work through your writing projects, you can also use questions to help you overcome hurdles that are preventing you from crossing the finish line. Not sure how to move a plot forward? Start asking questions. Don’t know how to begin your next poem? Ask questions. Want to write a piece that is informative and entertaining? Ask away.

Throughout time, many great thinkers have used questions to prompt creative and critical thinking. Sometimes, one question will lead to the next, and you’ll end up with more ideas than you thought possible. As long as you keep your curiosity well oiled and let those questions flow, you’ll never be at a loss for inspiration.

Activity

Open one of your writing projects, and make a list of at least twenty questions that get to the heart of your project. Be sure to include a mix of who, what, where, when, why, and how.

As an alternative, try using any of the questions from this chapter as writing prompts. Simply place a question at the top of a page, and then start writing in response to the question.

Do you have any favorite techniques for developing new writing ideas? Are there any questions you ask to get through a project or to come up with new project ideas? What are you curious about? Share your thoughts and ideas by leaving a comment.

By Melissa Donovan

Source: writingforward.com

Visit us at First Edition Design Publishing

How Novelists Can Say More with Less

Less is more. More impacting. More riveting. More intriguing. Throughout history, marriages have failed and wars have been won or lost over a mere word or two. Jesus said, “Let your yes mean yes and your no mean no.” Simply stated, as was his style.

I often share with my clients something my eleventh-grade English teacher used to spout frequently: “Say what you mean. Don’t say what you don’t mean.”

The best way to say what you mean is to use only the words you need—the most appropriate words for your context—and discard the rest. Think of the pages of your novel as expensive real estate. Writers who want to write well should aim to be as picky about the words they string together as the foods they eat or the clothes they wear. Pickier.

Bogging Down Your Writing Is a Bad Thing

Your novel’s pacing will be greatly affected by word choice. If you bog down your sentences with unnecessary words, your scenes will drag. In addition, using boring, flat, or weak verbs and adjectives will make the reading dull, no matter how exciting your plot might be.

Take a look at this Before passage and see if you can spot some of the problems. Then read my revision and compare.

 Before:

Suddenly, lightning struck!!! It was so loud and noisy, Debby screamed and lost hand control of her drinking glass, spilling it and shattering it on the Italian stone coffee table. Somehow, the power was gone, a blackout took place, and Debby trembled as she fearfully listened to the thunder rolling in louder in waves than usual. She felt it was so loud, the house began to shake. As if being in the middle of an earthquake. She began to cry and instantly the danger passed and everything was calm.

Debby was still frozen, too afraid to move much. She slowly turned her head to the left and then to the right as she focused her attention on what was going on through the front room window. She heard the sound of a loud vehicle idling outside of her home and that sound grew louder. Approaching the window with caution, she slowly pulled the left curtain open. Her eyes widened as she saw an old run-down rusty car parked out in front of her house. It showed no headlights . . . just sitting and idling with an ominous sound coming from its tailpipe.

A cold draft suddenly made Debby tremble greatly as she began to see what was starting to materialize. Two red beams of light, very small, like tiny eyes, began to glow from within the car where the driver was sitting on the front seat. The glow grew brighter and then she realized suddenly that they were indeed eyes and they were gazing right at her!!! Debby started to gasp for breath and she felt her heart was suddenly stricken with intense pain as if there was a tight grip of a fist around it . . . tightening. As her pain grew, her body began to crouch forward, nearly ripping the curtain off its rod.

Was that exhausting to read? Try this.

 After:

Without warning, lightning struck. Debby screamed and dropped her glass, which shattered on the Italian stone coffee table. The lights flickered out, and she trembled as thunder shook the house as if an earthquake rolled under it. Then, the night quieted, except for the patter of heavy rain and the murmur of distant thunder.

Debby froze, trembling. She turned and peered through the front room window. A motor idled on the street. With barely a touch, she pulled the curtain aside. A badly damaged black-and-white patrol car sat parked in front of her house, headlights off, no red-and-blue flashing lights. An ominous sound came from its tailpipe.

A cold draft tickled Debby’s neck as she watched two red beams of light, like eyes, glow inside the dark car where a driver sat. The glow grew brighter and Debby gasped. They were eyes—and they were gazing right at her.

A stab of pain made Debby clutch her chest. With a cry, she buckled with her fist entangled in the curtain and fell to the floor, the fluttering cloth covering her face like a shroud of death.

The first thing you probably noticed is the word count dropped by about a third. Think about ditching adverbs and replacing weak verbs with stronger ones. Avoid excessive punctuation, such as multiple exclamation marks.

A great way to seek and destroy extraneous words and passages is to use Word’s Find and Replace. Search for it was, there were, ing, and ly. Often a word ending in ing will reveal a wordy phrase, and ly will catch adverbs (we’ll cover pesky adverbs in a later chapter).

Overall, take the time to consider each word you use and see if you can’t come up with a better word, maybe one more colorful or descriptive. A phrase like “It was interesting and I liked it” is not interesting, and readers won’t like it. Write in your unique style and genre, but do it well.

Think of rewriting as creating a reduction sauce. The more you can eliminate those words and phrases that are not rich in flavor, the less you will have in the end. Which is more. And more, in most cases, is better.

What words or phrases do you often use that are superfluous?

Source: livewritethrive.com

Visit us at First Edition Design Publishing

M MacKinnon on How to Write Paranormal Fiction

Writing fiction with paranormal elements can be tricky, especially in a modern setting. You want your readers to suspend their disbelief and just go with the story. You don’t want them to roll their eyes because the concept of your paranormal world is too far-fetched. Today we’re talking with paranormal romance writer M MacKinnon to get her take on writing paranormal fiction.

How to Write Paranormal Fiction

Paranormal elements in a story should be necessary and seem natural within the confines of the setting and plot. The paranormal should fit in because it feels right and makes sense for the plot of the story, not because you’re trying to jump on a popular trend.

Paranormal fiction is a genre I fell in love with at a young age, so I was super excited to talk with this month’s interviewee to discuss how she developed her paranormal romance series, The Highland Spirits Series.

M MacKinnon is the author of The Comyn’s Curse, a paranormal romance set in Scotland. She began her writing career with Downton Abbey fanfiction. Eventually, she found The Write Practice and completed the first draft of her novel in our 100 Day Book course last year. The Comyn’s Curse is out in select bookstores and online merchants as of today.

You can get in touch with M MacKinnon via her website (where she offers a free short story for signing up for her email list), Facebook, or Twitter.

Now let’s dive into MacKinnon’s paranormal world!

Congratulations on the release of your first novel, The Comyn’s Curse! Tell me a little about the book and the series it opens.

I had no idea what paranormal romance is. After my first stay (a month) in Inverness, Scotland, I came home with a driving urge to write something about the magic of the Scottish Highlands. I did some research on legends and found the legend of the handless ghost who is said to haunt Rait Castle, near Nairn.

Something about the one paragraph synopsis (it was all I could find anywhere) called to me, and I became quite irate on behalf of the ghost. She had no name and in some tales wasn’t even a woman! So I decided to write her story, give her a name and a romance, and draw a parallel between the woman who had lived and died in 1442 and a fictional American girl from New Jersey, who is her descendant.

The book is my love affair with Scotland, its history and mysteries.

Part way through the plotting of The Comyn’s Curse, I knew that there would have to be more—the story just had to continue. So I decided to make it a trilogy and dedicate the next two novels to Aubrey’s two best friends who had supported her through her travails.

The second features her friend Kate, a police detective, and the third is about her friend Colleen, a nurse. Each will have a real legend from the past, each will involve the girls traveling to Scotland and finding love in the Highlands, and each will have a mystery and danger beyond the ghost story. The Piper’s Warning, Kate’s story, is in second-draft phase, and The Healer’s Legacy, Colleen’s tale, is plotted and about three chapters in.

I’m glad I made the decision, because I love my characters, including my ghosts, and I want to do right by them.

The novel takes place primarily in Scotland. I know you visited the country to do research. Can you talk about your research process a bit?

I really didn’t start my research until I came home, because the idea for the story didn’t come until then, but I was able to incorporate a lot of information gleaned as a tourist and quite a bit from the books I bought while there. I’m a huge history nut, and I tend to haunt bookstores. (See what I did there?)

My research on Rait, a ruined hall castle outside Nairn, came about first through a Facebook group called “Save Rait Castle”. When we went back last August for our second visit, I went first to the members of that group, who are passionate about the preservation of what’s left of the castle, and asked if anyone would be willing to guide my husband and me on a pilgrimage to the castle.

We met a wonderful Scottish gentleman named Victor Cameron, who has an acknowledgment in the book, got to know him, and spent an amazing day touring the castle I had written about for almost four months! A truly emotional experience. In fact, I stood in the doorway of the castle and cried.

If you couldn’t have visited, how would you have gone about researching?

I would have had to rely on the library and my bookstores, as well as social media sites like the one I found. I probably wouldn’t have written a book based in Scotland, though, if I hadn’t been there to experience its magic.

The Comyn’s Curse is a paranormal romance novel that has a backdrop containing real places and current events. How do you weave paranormal elements into a modern story? What techniques do you use to walk that fine line between a reader’s suspended disbelief and being too far-fetched?

Well, I knew I needed to have a modern romance in order to make the story click, and I wanted to make the life (or afterlife) of my ghost a bit more pleasant than history did, so I decided to create a parallel between the two main characters in the book, with Aubrey, my protagonist, unknowingly being the descendant of the Rait Castle ghost. The curse was created in order to give a reason for the ghost to be hanging around, with Aubrey being the solution she has sought for almost seven hundred years.

I had both my modern protagonist and her ultimate love interest come together in a purely normal way, but then find that each was descended from one of the lovers of the past. The paths of both couples intersected at key points in the book.

What made you decide to include paranormal elements in this story? Did you want to go in that direction from the start?

Yes, the story started with the real legend of the ghost with no hands. I couldn’t find any more than a paragraph on her, anywhere, but something about her fate called to me and I felt I had to give her a better life (or afterlife) than she had received in that one paragraph.

Even the castle is forgotten by many Scots who live very near it; they’d never heard of Rait Castle in the book store at the local Inverness mall! It just seemed wrong. I’ve righted history, and I think the ghost is very grateful.

Do you like to stay within paranormal canon, or make up your own ‘rules’ for your paranormal elements?

Well, funny you should ask! The first (and only!) time I pitched the book was to a young agent who told me that she didn’t think my book was paranormal romance at all, and she should know because she dealt primarily with that genre.

I was fairly devastated because I suddenly felt “genre-less,” but other authors told me to stick with my own thoughts on my own story, and fortunately I did. I was somewhat relieved to see in the Kirkus review that my work was a “pleasing cross-genre novel” that had “something for everyone.”  It explained a lot.

That’s tough to hear that from an agent. Did you think of cutting the paranormal elements to make it “fit” better in a genre?

No, I was never going to give up my ghost! I just felt that it was my fault that I hadn’t sold the concept in a pitch which lasted five minutes. The whole idea of trying to sell a book which includes history, romance, ghosts, and conspiracy in a few minutes was daunting, and frankly, I thought it was ridiculous.

What I did think about was how to find the genre in which the story fit best, and as I said to that agent, “well, it has ghosts, and romance, doesn’t it? How can that not be paranormal?”

She had no answer, which was fine with me.

Is there anything about writing the paranormal that was more difficult than sticking to reality?

No, since the paranormal part of the story was actually real history, that was the easiest part. Making it fit the modern era was a bit more difficult, but as soon as I met Aubrey, my protagonist, everything fell into place. It just seemed right.

You also have some espionage and mystery thrown in there. Can you talk about your plotting process?

I decided fairly early in the plotting that I would have not only the parallel stories of the past and present romances, but a mystery as well, because . . . well, I love mysteries. So I researched Brexit and invented a villain who was conspiring to undermine the new surge toward a second referendum for Scottish independence in the wake of Brexit.

I decided to structure the novel into “books” or parts, each beginning with a short piece from 1442, then two modern chapters, a modern “conspiracy” chapter from the POV [point of view] of the antagonist, and then two more modern chapters. The three stories parallel each other until the end, when they all come together in a climactic series of events.

What’s one thing you’ve struggled with in your writing and how did you overcome it?

I think the main struggles have been with the mechanics faced by beginning authors, such as head-hopping, show don’t tell, and over-use of proper English. (I was an English major, and the idea of not using semicolons when two independent clauses are put together was very difficult to overcome at first!)

I also tend to edit as I go, rather than just writing and then going back to it later, which can cause thesaurus headaches and insomnia as I lie there rewriting in the darkness, but I’m not sure that’s such a bad thing. I suspect it’s just my style.

Any other advice you’d like to give aspiring writers out there?

Any chance you have to join a writer’s group like The Write Practice, any courses like 100 Day Book or NaNoWriMo, DO IT! Don’t let anyone tell you that you don’t have it in you, or that your story shouldn’t be told. Find a good editor and be accepting of his/her advice—there’s a reason they’re in that business.

My most fervent advice is to find other authors and share, critique and allow yourself to be critiqued. The more you help others with their writing, the more they’ll invest in yours, and everybody wins! I’ve made some amazing friends doing this, and I don’t think I’d be looking at the launch of my first novel in a three book series without them.

What’s next for you?

After the launch of The Comyn’s Curse, I’ll refine and submit The Piper’s Warning, probably this summer. While that is going on I’ll dive back in head first to The Healer’s Legacy.

I have a YA fantasy novel, Slither, which is five chapters in and waiting patiently on the shelf for this Scottish stuff to be finished (I haven’t the heart to tell those characters that it may never be finished), and I fully intend to get back to that at some point.

I do think that fantasy and paranormal romance are my forte, but I’ll be staying in that genre, but I love mystery and may someday write a thriller too. Who knows? It’s part of the joy of writing, isn’t it?

Your Turn to Write Paranormal Fiction

Not sure where to start writing paranormal fiction? Try taking an obscure legend or myth and turning it into the basis for your next story. Be sure to make the paranormal elements necessary to the story, so that without them, it couldn’t work as it does.

Who knows—your paranormal story might just send you traveling the world!

M MacKinnon would like to thank Meghan McKeever of New York Book Editors and DartFrog Books for their support in getting her work into readers’ hands. The Comyn’s Curse is available now on Kindle and in paperback. And stay tuned for the remaining books in the series!

How do you keep paranormal fiction elements “realistic” enough for your readers? Let me know in the comments!

By Sarah Gribble

Source: thewritepractice.com

Visit us at First Edition Design Publishing

Top 9 Influential Female Characters In Science Fiction

Let’s take a look at some influential science fiction female leads and see how we can use them in our writing.  Here’s some strong, complex creations … None of them scream, faint or need rescuing. They’re the ones getting the job done. These 9 are my personal trail-blazers of female science fiction. Let’s go!

1) Princess Leia

We had already seen earlier in Star Wars that Leia could handle herself. The way she dealt with Vader and Tarkin after she was captured showed us that. But it was when Han Solo and Luke came to rescue her that Leia became so much more than a conventional damsel in distress. By taking over what had been seen as the male role, rescuing herself and generally wise-cracking her way out of trouble, she created a whole new type of character.

Write Tip: Change the action around! Get your characters doing what nobody (even the other characters) expects. If you can get the reader wondering ‘Where did that come from?’, you’re halfway there.

2) Ellen Ripley

The ultimate case of the quiet one, a by-the-book member of the crew … Yet she turned out to be the baddest of the bunch. She could fight if she had to, but that wasn’t what she was all about. Ripley had heart, integrity. A woman who could rise to challenges and one-line with the best of them.

Ripley displayed a range of emotion beyond a science fiction action hero. Ripley wasn’t snappily dressed, or the Hollywood idea of a conventional female character when she first appeared but that didn’t matter … In fact, this added to her appeal. She was anyone who saw wrong and wanted to sort it.

Write Tip: A character’s journey can start with the triggering of an emotion. It creates empathy with the reader or viewer; everyone relates to them. Identify a strong one and probe it with a sharp stick.

3) Sarah Connor

Sarah had a journey too, from timid waitress to protector, to fugitive soldier. Events, as they had with Ripley, changed her. While learning you’re the mother to the leader of the resistance in the future would be enough to change anyone, Sarah handles it.

If the movie had been made in earlier days, Sarah would be screaming and fainting and waiting for rescue. Instead, she proved she could do whatever was needed to keep the people she loved safe. And while she was about it, she showed us that just about anyone could do it too, if they ever had to.

Write Tip: What doesn’t kill a character makes them adapt. Give them a logical reason to change, a vision of what could be if they do.

Science Fiction Was Never The Same Again

Thanks to these three, the world of science fiction would never be the same. It was as if the genre had cottoned on to what a lot of people knew to be true. Real women could be the focus of a story! Not just one-dimensional eye candy or a motivator for men.

These women were strong and capable. They were in control, and they did it all with a witty reposte, just to remind you that they had the answer and they weren’t afraid to lead the way. They weren’t just female versions of the male action hero with martial arts and big guns (although they could do that as well). No, they had backstory, baggage. It made them human, believable, even aspirational.

Let’s take a quick look at a few more …

 4) Sarah Jane Smith

Doctor Who companion, nosy journalist and one of the first to use her wits and intuition over muscle and firepower. As well as being totally fearless, she was one of the team, redefining the role from that of helpless decoration to one of strong equal. And doing it with an opinion.

Write Tip: Every partnership has a hero and a trusty sidekick, two parts of a whole character. Why not give the sidekick the real power (the hero need never know)?

5) Dana Scully

She was the rational sceptic to Mulder’s excitable believer, the woman of science, sent to debunk and explain. Probably the greatest reason for the show’s success, her dogged determination to find an explanation left you wondering just where the truth ended. Although not averse to action, she proved that you could be just as effective with a computer or a test tube.

Writers tip: Every story needs a basis infact, once you convince the reader that you know what you’re talking about, they’ll follow your fiction.

6) Olivia Dunham

Another intelligent one, with the baggage that made her the ideal choice to investigate the fringes. Like Scully, the quiet voice of calm when it’s all going crazy.  Reserved but with purpose and empathy, unmoved by the revelations unfolding before her. And she had a double in an alternative universe, which is pretty cool.

Write Tip: Once you’ve got your fact out of the way, always remember; nothing has to be true, but everything has to sound true.

 

7) Andorra Pett

Andorra who? I hear you ask. Well, she’s my creation, my contribution to the genre. Andorra’s an amateur detective for the space age. She’s a person more on the thinking side of things, independent and initially unaware of how clever she is. Out of her depth at the start, as Andorra’s story progresses, she learns so much about herself. What’s more, in the process, as have so many before her, she changes. She finds the strength to survive and the courage to grow.

Write Tip: Never be afraid to take your character (and your reader) out of their comfort zone. Their reactions might surprise both of you.

8) Kaylee Frye

An engineer, and why not? Women can do anything. Resourceful and yet naïve; dependable and vulnerable, all at once. As well as keeping Serenity running; she was the glue that held the crew together, loved by everyone. To top it all, she knew what a Crazy Ivan was!

Write Tip: Having engineers or other specialists in your cast gives you the ability to impart backstory in conversation, even in the middle of the action. A few short sentences between characters is so much better than pages of boring facts.

9) Kathryn Janeway

Starship commander and breaker of rules. In the same way that a man had to do what a man had to do, it was her job to keep everyone together and get them home. If the means justified the end, she was willing to try it. Sometimes emotional, sometimes calm, always adaptable, like any good commander.

Write Tip: You need a focal point, a constant. It can be part of your setting, a place or an object. Or it could be a dependable character, a rock in an ocean of uncertainty.

Which are your faves? Let me know!

By Lucy V Hay

Source: bang2write.com

Visit us at First Edition Design Publishing

Magic Without Rules

Your Hosts: Brandon, Mary Robinette, Margaret, and Howard

When we say “without rules” we’re talking about stories whose magic is not held under logical scrutiny for the reader. There are lots of reasons why you might do this, and in this episode we’ll talk about not just about the why, but also the how.

Credits: This episode was recorded by Dan Thompson and mastered by Alex Jackson

Play

Take a story with rule-based magic. Now have the rules all go wrong, the characters realize they don’t really understand the rules at all.

Source: writingexcuses.com

Visit us at First Edition Design Publishing

Creative Writing Courses. Would You, Should You, Could You?

Hanif Kureishi famously dismissed the teaching of writing, saying that writing a story is:

‘a difficult thing to do and it’s a great skill to have. Can you teach that? I don’t think you can.’

(According to Philip Hensher, Kureishi teaches creative writing at Kingston University, ‘ineffectually‘)

We all learn to write. If you’re serious about something, generally you will want to learn how to do it well. I wonder why some writersfeel they need to look down on aspiring writers once they have been published and claim writing is some ‘mystical gift’. It’s not; it’s a skilled craft. It’s one you need to keep learning; you never reach a golden plateau.

Serious writers have always sought and will always seek teachers long before their work gets to an editor’s desk.

In defence of teaching creative writing, Kurt Vonnegut said:

‘A tough guy, I forget which one, is asked to speak to a creative writing class. He says: “What in hell are you doing here? Go home and glue your butts to a chair, and write and write until your heads fall off!” Or words to that effect.

‘My reply: “Listen, there were creative writing teachers long before there were creative writing courses, and they were called, and continue to be called, editors.”’

Ernest Hemingway apprenticed himself to Gertrude Stein; T.S. Eliot to Ezra Pound. Tennessee Williams and Flannery O’Connor took courses at the University of Iowa.  an McEwan, Kazuo Ishiguro, Anne Enright, Tracy Chevalier took classes at UEA. Kit de Waal studied creative writing at Oxford Brookes. The list is long. Few are the published authors of fiction who didn’t learn their craft.

A writing school formalizes the apprenticeship that, throughout history, has been valuable to artists. But digital technology and the internet means the school can come to the student, extending good schools to those who can’t up-sticks, quit jobs or travel long distances.

Of course, one of the perks of a school is association not just with students but with published writers, and usually, that’s what’s missing on a creative writing course. Ideally, you will want to find a course, or a school, where you can rub shoulders with published authors and of course get personal feedback from a writer whose work you like.

Most writers would prefer to be writing than doing anything else, but many good writers teach. They wouldn’t do so if it wasn’t exciting to watch writers become authors, to learn the skills and craft.

Grace Paley says she likes the company of her students; she says it mitigates against the solitude of writing. But there’s more to it than that.

‘The really good thing about dealing with novice writers is that it keeps you in the mind of a beginner. It is a way of staying honest and preventing complacency and hardness from setting in.’ EL Doctorow.

Wallace Stegner taught Larry McMurtry and Ken Kesey to write. Michael Cunningham teaches, as do Zadie Smith, Salman Rushdie, Tobias Wolff, Toni Morrisson, Jonathan Safran Froer, Maya Angelou, Junot Diaz, EL Doctorow.

If I could have chosen any writer as a teacher, it would have been Kurt Vonnegut. ‘Start as close to the end as possible’. ‘Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them — in order that the reader may see what they are made of.’ ‘Give the reader at least one character he or she can root for.’

Writers write and teach, and not for entirely altruistic purposes but because as EL Doctorow says; it helps. It helps you, as a novelist, see better sometimes what doesn’t work, and what does.

It’s a symbiotic relationship between teacher and student and although JM Coetzee used this phrase to describe a more illicit relationship between teacher and student, this is a quotation with which my writers are familiar as I have made the observation a few times when working with them:

‘The irony does not escape him: that the one who comes to teach learns the keenest of lessons…’ JM Coetzee, Disgrace.

At The Novelry, I am not the only ‘teacher’. Within the community, our writers, some aspiring and some published, teach each other, and that makes it hugely enjoyable.

‘The very best thing you can be in life is a teacher, provided you are crazy in love with what you teach… .’ Kurt Vonnegut.

In Fay Weldon’s recent book of advice to would-be novelists, she pointed out in the first pages that writers need to up their game, as so many are benefiting from creative writing courses. (She, herself, teaches.)

Vonnegut said he wished he had attended a good creative writing course at the beginning of his writing career.

‘To have done so would have been good for me.’

He quoted an author who regretted not having taken a course when he was starting out as a novelist.

‘That would have saved him, he said, the several years he wasted trying to find out, all by himself, the best way to tell a story.’

What should you be looking for in a novel writing course?

You should be looking for a serious course with a community where publication is the acknowledge end-game to ensure you learn good habits and working skills. You should be looking for a real-life working method because it is necessary for all writers, not just those starting out, to keep a backstop day-job to enable you to be free to write what you want. An online writing course, created to offer what school’s offer – a good tutor, the company of working authors – can be just the thing if it gives you personal feedback and attention. You can associate with your peers and ideally better writers, on your own terms in your own time, and that’s my idea of heaven. Solitude, when you have time to write, and support round the clock.

But the clincher, the deciding factor, has to be wit.

Look for a course with nerve. Where determination is matched by good humour.

The Founder of the Writers’ Workshop in Iowa, Paul Engle, told Vonnegut that if they ever got a building, he’d have this motto above the door.

‘Don’t take it all so seriously.’

Enjoy your writing. Learn to enjoy laughing at your own jokes; for that’s what it’s about, day-in, day-out. Good times and bad. When you write, the bad times are at least ‘material.’

 


 

Look to tick these boxes:

 Award-winning published novelist author tutor
 One-to-one classes with the tutor
All materials online
 Personal support
 Writing group support
 Published novelists in group
 Writers online forum
 Events
 Retreats
 Submissions planning
Links with literary agents and publishers
☑ Published students
☑ Enrol anytime

How do the online creative writing courses compare?

Source: thenovelry.com

Visit us at First Edition Design Publishing

What Can Flash Fiction Do For Novel Writers?

Are you familiar with flash fiction? Have you dismissed it because you write novels or screenplays or something significantly longer? Well, don’t give up on it just yet. Writing and publishing flash fiction can help in ways you probably weren’t aware, as Gila Green is here to explain.

Book publishing is a tough, competitive business. Still, there’s no reason to make the road harder to travel. Enter flash fiction—an excellent way to break into both fiction and nonfiction book publishing.

Flash fiction pieces are very short stories that still include their own character development and plot. Other names for flash fiction include nano fiction, micro fiction, postcard fiction, and sudden fiction. Usually anything under 1,000 words is considered flash, but it can be as brief as fifty.

If your goal is to publish long, you may be thinking that writing short is a waste of time. I’d like to share five ways writing and submitting flash fiction can shorten the road to novel publication.

Practice Working with Editors

In publishing you absolutely cannot have enough contacts. When you publish flash fiction you will be dealing with an editor—at least one, and sometimes two. Occasionally, you’ll correspond with an acquisition editor who accepts your work and directs you to the editor of that specific genre, or that specific issue. No matter how short your pieces are, that experience working with editors is valuable. You will be that much more polished when communicating with a potential novel editor one day.

Contacts, Contacts, Contacts

If you get particularly lucky, there will be a well-established guest editor for that issue, and you’ll have that editor’s direct contact e-mail and a reason to communicate. This happened to me recently. Imagine my delight when my piece was accepted and I received a personal email from Alicia Elliott with her comments on my work.

You might ask yourself how connecting with editors on very short pieces can really make a difference to you. First, remember that most editors of literary magazines and anthologies are published writers. When your book is under consideration and you receive that all-too common email asking about your marketing plans, you can include that editor’s name as a potential contact.

Second, if you send that editor a polite and personal email, he or she might in future consider giving you a blurb for your novel or a recommendation for a writer’s retreat, advice, or news about industry events.

Examples of a light, personal touches you might include in such a message:

  • “It was a pleasure working with you and I hope we have a chance to work together again soon in future.”
  • “Please add me to your mailing list for future issues and events.”
  • You might also join the publication’s social media and interact in a positive way. I have continued to ‘like’ magazines that have published my work and to communicate with editors on LinkedIn, briefly sharing news. You can also expand your writer’s community this way, far beyond the editor who accepted your piece.

Another point to consider is that flash doesn’t stop at magazines; there are also flash anthologies. Some of those magazines and anthologies are linked to small presses like Akashic Books—a publisher who asks for themed flash fiction and then puts out themed story collections.

This means one short piece could land you as an author in an anthology from a respected press. Not only will that be on your bio, but all of the writers published with you will be pushing that anthology. That’s a lot more marketing partners than you’d have on your own, and it is great exposure for a future novel.

Versatility

Contrary to popular belief, flash isn’t always associated with fiction. Writing a memoir? There’s a micro-memoir online magazine waiting for your submission. There’s nonfiction flash essay and flash event writing, too. Erika Dreifus has put together a fantastic list here. The wonderful versatility of flash applies to genre as well, including crime flash, romance, horror, and most other categories.

Practical Experience

Finally, flash fiction is an excellent way to develop your skills as a writer. You have to make the reader fall in love with your story very quickly, and that takes ability and talent. It’s worth practicing and will improve your novel writing, making it that much more publishable.

Flash Writing as a Dress Rehearsal

I’ve met more than one novelist who told me her novel started with an admired flash piece that she decided to expand. Don’t be surprised if you end up ditching the novel you’re struggling with and stretching out your flash piece to full-manuscript size once you see the micro version of it up on a popular site. There’s nothing like applause to stir up some imagination and motivate you to write more.

In conclusion, no matter what novel genre you’re writing, flash fiction can help you break into publishing your longer works. The most prestigious magazines, including The New Yorker, are big flash fans. If the biggest names in literature are excited about it and publishing it, it’s worth a second look.

By BECCA PUGLISI
Source: writershelpingwriters.net

Visit us at First Edition Design Publishing

6 Questions to Help Nonfiction Writers Find Their Niche

Today’s guest post is by Erica Meltzer of The Critical Reader.


In 2008, I took a trip to the bookstore that altered the course of my career.

I was working as a freelance tutor and had recently been hired to help prepare a student for the Writing (grammar) portion of the SAT. In need of practice material, I went down to my local Barnes & Noble and began flipping through the standard prep books. As I read, I grew increasingly frustrated: in some, the questions were too easy, in others too hard. Some of them targeted concepts that were not tested, or omitted concepts that were tested. And overall, the tone and style seemed somehow…off.

I’d had a handful of gigs writing practice questions for various test-prep companies, but until that point, it had never occurred to me that I could publish my own materials. But as I stood in Barnes & Noble flipping through those books, I thought, “I can do so much better than this.”

Although it would be more than three years before my first book, The Ultimate Guide to SAT Grammar came out, I stumbled upon a couple of key lessons about the business of bookselling that day:

  • First, no matter how many books have been written about a topic, there is probably some important facet that has not yet been covered thoroughly or well.
  • Second, a key driver behind success is understanding how you fit into the existing landscape, what distinguishes your work, and why it is likely to appeal to a particular audience.

One of the downsides self-publishing is that you don’t receive support or feedback from publishers about how best to position yourself; as a result, you must be willing to devote time to investigating your market and analyzing your role within it. I write nonfiction, so that’s what I’m going to focus on here, but that said, much of what I discuss here can be applied to fiction as well.

Even if you do not go so far as to type up an actual document, you should be able to answer the following questions.

1. How saturated is your market?

You can get a good sense of the answer to this question with just an eyeball test: do the books on your topic cover a shelf in the bookstore? A couple of shelves? An entire bookcase? (Or, if you’re looking online, how many pages of titles come up when you type in the category?)

If there are already dozens of books available, you’ll need to spend some time reading through them in order to understand what’s been done. As a general rule, the more that’s been written, the more specifically you’ll need to define yourself. For me, this happened to be a straightforward matter: as someone whose verbal score was more than 200 points points higher than her math, I had never been able to tutor all sections of the exam and was in no position to author a general SAT book. If I wanted to write a halfway decent guide, I would have to focus on the verbal portion only.

2. Where are the niches?

Unless you are capable of offering a truly unique perspective, you should avoid aspects of your subject that have already been written about extensively. Instead, try to tailor your expertise to important but neglected sub-topics or sectors of your market. Grateful readers become loyal readers (and are more likely to leave glowing reviews).

For my first book, I deliberately chose to focus on a relatively overlooked portion of the SAT. Although there were several combined reading/writing guides available, there was not one guide that dealt exclusively with grammar in an in-depth way. Having spent years mastering everything from relative pronouns to the subjunctive in various foreign language classes, and then teaching those same concepts over and over again in context of the SAT, I was exceptionally well positioned to write a serious grammar book aligned with the exam.

In addition, there was almost no material designed specifically for students aiming for top scores. Even if they made up only a small percentage of the 1.5 or so million annual test-takers, they still numbered in the tens of thousands and, as I learned when they began contacting me via my blog, they were desperate for challenging material.

In fact, this group proved so enthusiastic that I barely needed to spend money on marketing: both students and parents discussed my books extensively on highly trafficked websites, allowing me to build readership naturally. I followed the same subject-specific approach for my following books, first moving to the more daunting SAT reading and then repeating the process for the English and reading portions of the ACT.

Note: If you’re not sure how to go about matching your expertise to your readers’ needs, spend some time reading through websites and blogs devoted to your topic in order to get a feel for what issues readers face and what questions aren’t being answered. While writing my books, for instance, I spent hours reading a popular test-prep forum so that I could address students’ questions and misconceptions directly.

3. Who are the major players in this genre? Is there a single title or set of titles that dominates the market?

Regardless of what you intend to write about or how many books have already been devoted to that topic, you need to understand your competition. Even if you do manage to suss out a neglected corner of the market, your book will almost certainly overlap with other titles, some highly successful.

The question is: why do the top-selling titles do well? Do they sell briskly because they have a devoted following (as evidenced by hundreds of enthusiastic reviews) or do people buy them merely because they are the only books available (as suggested by a smaller number of lukewarm or generic reviews)?

If the former, you shouldn’t expect to seriously compete, at least not right away; if the latter, you might have a better chance of breaking in. I was lucky in that most of the top-selling titles in my genre held that position simply because there were few alternatives; given the option, many readers were happy to try something new.

4. Are any successful titles self-published?

The appearance of self-published books among the more popular titles signals that readers are open to trying works by less established authors. While it isn’t always possible to tell whether a book is self-published, check the book’s copyright page to see if an established publisher is listed.

If your market is dominated by traditionally published titles, you are not necessarily at a disadvantage. Because traditional publishers are by necessity driven by their bottom line, they are less likely to take on potentially risky projects. As a result, there may be ample room for new voices or fresh takes on familiar material.

When I finished my first book in 2011, for example, the same few names had essentially defined the SAT/ACT market for decades, and there was plenty of room to shake thing up—even though the market appeared closed from the outside. The standard books were written either by tutors who knew the tests well but weren’t particularly well versed in the actual subjects, or by classroom teachers who knew their subjects well but had limited knowledge of the exams.

With the advent of platforms like CreateSpace, tutors who were also math or English experts could publish materials that had been extensively tested with students. Because those books did well, other tutors were encouraged to publish guides, fundamentally reshaping the market. Today, about 10 of these books typically rank among the top-selling SAT/ACT guides on Amazon.

It’s gratifying to know that I’ve played a role that shift: shortly after his first book was released, the author of the top-selling ACT Science guide informed me that my books had inspired him to go ahead and write his own. Like me, he had noticed a gaping hole in the market—there was not one guide devoted solely to that subject—and decided to plug it.

5. What do the existing books do well, and where do they fall short?

As you read, notice—and preferably jot down—what aspects you find most enjoyable and engaging, and which ones you find wanting. While it is important to consider obvious factors (content, tone, style, and flow), you should also consider subtler issues such as formatting and font. When I went through the existing SAT prep books, for example, I noticed that from a visual standpoint, their questions often looked nothing like those on the exam. As a tutor, I understood that students were frequently thrown off by deviations from the actual test and wanted to practice on material that felt authentic in form as well as content. As a result, I made sure that my practice questions were identical in terms of font, size, and spacing, to those on the real exam. That kind of subtle attention to detail helped reader feel that my books were preparing them for exactly what they’d face and made them more inclined to trust my work.

And finally…

6. What do you do better, or know more about, than anyone?

In other words, what specifically can you offer readers that will cause them to bypass other works and zero in on yours? Obviously, this isn’t a zero sum game—readers will often buy multiple books on a given topic—but you must know what sets you apart. All the market research in the world won’t matter unless you are genuinely invested in your topic and able to write about it with ease and (ideally) flair. Readers almost certainly won’t be passionate about your book unless you are as well. This is the biggest question you need to answer, preferably before you even write a word.

Source: janefriedman.com

Visit us at First Edition Design Publishing

Nonfiction Writers: Beware the Curse of Knowledge

Today’s guest post is excerpted from Writing to Be Understood by Anne Janzer (@AnneJanzer) a professional writer who has worked with more than one hundred technology companies, writing in the voice of countless brands and corporate executives.

Few of your readers care about what you know, no matter how many years you have spent accumulating that wisdom. They care about what they need or want to understand.

You share much in common with your readers: you both live a world with numerous, competing demands on your attention, limited time for “deep reading,” and perhaps a longing for simplicity and clarity.

How do you provide the right amount of information without either oversimplifying the subject or overloading the reader? You’ll have to decide what to include and what to leave out. The more you love your subject, the harder this decision can be.

Beware the curse of knowledge

Think of a well-known, familiar song, like “Happy Birthday” or “Jingle Bells.” Sing it to yourself in your head. Then, find a friend and ask them to guess the song as you tap out its rhythm.

You won’t expect them to get it right away, but you might be surprised and frustrated by how long it takes them to correctly guess the tune rattling around in your head. At least, that’s what psychologist Elizabeth Newton found when she tested this very thing.

In 1990, Newton was a graduate student in psychology at Stanford University. She conducted an experiment in which half of the participants (the tappers) were asked to tap out the rhythms of common songs, while the other half (the listeners) guessed the songs. The tappers estimated how long it would take the listeners to name the right tune.

The people tapping were inevitably surprised by the listeners’ inability to hear the tune that matched the rhythm. It seemed obvious to the tappers. This study illustrates a phenomenon known as the curse of knowledge, or the challenge of getting out of our own heads.

Once we know something, it’s difficult to remember not knowing it. We take our knowledge for granted.

We can spot other people suffering from the curse of knowledge pretty easily. We’ve all seen it:

  • The physician who speaks in medical terms you don’t know
  • The academic author who writes a paper, intended for a general audience, filled with terms that only a graduate student would understand

These people aren’t trying to hoodwink or confuse you. They simply forget that you don’t know what they know. 
It’s much harder to detect symptoms of this tendency in our own behavior. When smart, caring people write incomprehensible stuff, the curse of knowledge is usually to blame. It plagues experts who write for the layperson, or the industry insider addressing an outsider. 
Of course, a few knowledgeable and expert communicators avoid the curse of knowledge with apparent ease, but let’s consider them outliers and confess that the rest of us struggle with it. The greater your knowledge, the stronger the curse.

Nonfiction writers confront this problem in many phases of the work. For example, we cannot proofread our own work effectively because we already “know” what’s on the page. We use terminology that readers don’t know because it is habitual to us. 
You can defeat the curse of knowledge during later phases of the work by enlisting others for editing and proofreading. But you must avoid the curse earlier still, when deciding what to cover and how to approach it. Get outside your own head.

Go wide or go deep

Before you write a single word, you face a fundamental decision about exactly what you want and need to cover. Answer these three questions.

  1. Breadth: Will you cover a single issue or a wide range of topics?
  2. Depth: Should you dive into details? How many are necessary?
  3. Background: How much does the reader already know, and how much will you need to backfill?

These decisions depend almost entirely on your readers. For a distinct, well-defined audience, you may be able to cover a wider range of concepts related to your topic. When addressing a general audience, you may choose to focus on the most important things, and avoid excessive detail.

The final form also matters. A book gives you more room to roam; readers expect a greater breadth or depth of coverage.

If you are expert in a topic, you may choose to cover it in great detail. For example, masterful biographers like Doris Kearns Goodwin and Walter Isaacson do deep dives into their subjects’ lives, creating works that span several hundred pages. If that’s your approach, you will need to dedicate time and effort to maintaining the reader’s interest. The depth of a treatment can narrow the potential audience of readers.

For some books, breadth is part of the essential value, as in Neil deGrasse Tyson’s Astrophysics for People in a Hurry. As the title promises, it describes a massive topic in a slim volume. Tyson went wide, not deep. Writing about complex topics effectively at this level is a rare skill. Tyson deploys analogies with care, frames the content in a human context, and shares his personal enthusiasm and sense of wonder to guide the reader through the universe. The book is a masterful example of writing about a complex and abstract topic.

There’s no easy answer to the question of how broad or deep your treatment should be. It depends on your purposes and the needs of your audience.

Self-indulgent writers include everything they feel like covering. Thoughtful writers who seek to be understood focus on fit and purpose. Sometimes you have to let things go or put them aside for another project. Focus on serving your reader.

Simplicity vs. oversimplification

Designers, businesspeople, and others often refer to of the KISS principle, which is an acronym for Keep It Simple, Stupid.

As a design philosophy, Keep It Simple, Stupid makes sense. Don’t create systems that are more complex than necessary. However, people mistakenly apply the KISS mantra as a filter in other fields, including political messaging, sales materials, and descriptions of technology.

Simplicity isn’t always the answer. The KISS mantra can become a convenient excuse for hiding complexity that you would rather people not see, such as:

  • Removing transparency from investments, because investors don’t need to know the possible risks
  • Not disclosing details of policies because voters won’t bother with the fine print
  • Not communicating to patients the complete range of treatment options available or the potential risks of a recommended course of action, for fear of delaying the preferred course of treatment.

Taken to the extreme, the KISS mantra shields us from the complexity that we should understand. 
Certain readers crave simplistic explanations or easy answers that spare them the cognitive work of understanding things that don’t hold their interest. Others, however, may suspect that you’re hiding important details or talking down to them.

When explaining complicated topics, beware of the boundary between simplicity and oversimplification. 
We want to believe that the world is simple enough for us to understand. We like to think that we don’t need layers of experts arbitrating between reality and ourselves, but when we ignore the true complexity of situations, we can inadvertently mislead readers.

Sabine Hossenfelder has heard some pretty wild theories about physics—hypotheses that she believes arise from the oversimplification of scientific topics for the general public. Hossenfelder is a theoretical physicist at the Frankfurt Institute for Advanced Studies, and writes about physics for publications like Forbes and Scientific American. She is also author of the book Lost in Math: How Beauty Leads Physics Astray.

Her insight into the dangers of oversimplification, however, arises from years spent running a “Talk to a Scientist” consulting service, which she started as a graduate student and still maintains today on her blog, BackReaction. For a small fee, members of the public can pose questions about physics, neuroscience, geology, and other topics, or submit their own ideas about physics. Those theories are creative, interesting, and often not grounded in scientific reality.

She blames this, in part, on the tendency of journalists covering the field to simplify the message so much that they mislead readers.

In describing the experience of running the physics help line, she reports, “The most important lesson I’ve learned is that journalists are so successful at making physics seem not so complicated that many readers come away with the impression that they can easily do it themselves. How can we blame them for not knowing what it takes if we never tell them?”

Deciding what to include

Deciding what to cover and what to leave out challenges everyone. Writers, speaking coaches, and others share their advice about striking the right balance.

When you’re an insider in an industry, seek advice from those who are outsiders. Just make sure you find the right people to ask.

Linda Popky could be considered a Silicon Valley insider. She was named a Top 100 Women of Influence by the Silicon Valley/San Jose Business Journal, and works with tech companies as the founder and president of Leverage2Market Associates. She’s also the author of the book Marketing Above the Noise: Achieve Strategic Advantage with Marketing That Matters.

When writing about topics in which she has expertise, Popky takes care to counteract her insider status. “There are two dangers to knowing your subject matter well. First, you think everyone else knows it already, and as a result, no one understands what you write. Or, you think that nobody knows this stuff, and you go into excruciating detail.”

She handles the situation by finding other people to give her an outsider’s perspective. The key, says Popky, is getting feedback from the right individuals. “You need people who understand the audience and provide the right level of feedback at the right time. Find individuals who can express themselves and identify when something doesn’t work for them. They need the honesty to say if something is confusing.”

Source: janefriedman.com

Visit us at First Edition Design Publishing

How to Talk About Policing In Crime Fiction

A few weeks back, I was drinking with some buddies at a writers’ convention when I felt a tap on the shoulder.

“I want to introduce you to a fan,” someone said.

Like any dignified author at this stage of my career, I whipped around so fast that the Brooklyn Lager bottle nearly flew out of my hand. A man in his sixties stood before me with his hand out—square-jawed, clear-eyed and firm of grip, in a well-tailored suit. He looked like exactly the kind of well-respected man who smiles and says “I don’t read novels” when I meet him in other circumstances. Exactly the kind of reader I’ve been trying to win over for most of my career. A prosecutor, I was told. Even better! Someone who had been in the trenches and would appreciate the nuances and shades of gray I tried to bring out in my novels.

“I just want to see you people get it right,” he said, shaking my hand.

“Thank you.” You people?

“Every week, I never miss the show.”

“Oh, that’s terrific.” I nodded. “Glad you like it. I’ll tell my friends who work on it.”

Of course, he was talking about one of the broadcast network television series I’ve written for. The ones in which justice usually wins out in the end, and the police and prosecutors are unmistakably the heroes.

We exchanged a few more pleasantries and then went back to our conversations. And quietly, I laughed at myself. Of course, he was talking about one of the broadcast network television series I’ve written for. The ones in which justice usually wins out in the end, and the police and prosecutors are unmistakably the heroes.

Now don’t get me wrong. I’m not anti-cop by any means. In fact, I wanted to be a police officer for most of my childhood. And I don’t even think it’s enough to say, as many leftists like myself grudgingly do, “the police have a tough job.” There are parts of police culture that I don’t just respect, I envy. The hard work, the diligence, the ability to knock on doors day and night and talk to literarily anyone. And the humor. For Christ’s sakes, no one tells darker jokes or can make you laugh harder than an honest cop after a few drinks.

I have more than a few good friends who I revere in various police departments, and truth be told there have many years when I would have had a very hard time doing my job without them. Their stories need to be told, and I’m proud to have been among the people telling them, and grateful to have had the opportunity.

But those aren’t the only stories.

***

About a month after the writers’ convention, I had lunch with a guy I know named Sundhe Moses. We met at Junior’s, on Flatbush Avenue in Brooklyn, near the housing project where he grew up. Sundhe spent 18 years in prison for allegedly shooting and killing a four-year-old girl as she roller-skated past a building in Brownsville. Earlier this year, Sundhe’s conviction was overturned and his name was cleared. In the decision, the judge cited the involvement of one Detective Louis Scarcella, who Sundhe said had coerced him into making a false confession by beating him and choking him. Scarcella denied doing any such thing, but it’s worth noting that twelve other convictions have been overturned so far in cases where the same detective is said to have abused defendants, fabricated confessions, and—this is true—used the same crack addict-prostitute as a key witness in six separate investigations.

“That’s thirteen people’s lives,” Sundhe told me over his sandwich. “People talk about police corruption. But if you take it out of that context, it’s almost more like the story of a serial killer.”

“That’s thirteen people’s lives,” Sundhe told me over his sandwich. “People talk about police corruption. But if you take it out of that context, it’s almost more like the story of a serial killer.”

Now it just so happens that I’m about to publish a novel about a cop who may be a serial killer. Such a thing is possible. A former California police officer named Joseph DeAngelo now stands accused of being the Golden State Killer, responsible for at least a dozen murders and more than fifty rapes over a forty-year period. And there are other cases around the world, including the infamous 10 Rillington Place killer John Christie, a War Reserve police officer who raped and strangled seven women in the 1950s.

But my novel, Sunrise Highway, isn’t really about that kind of individual pathology. It’s about how the rest of us could allow it to happen, in smaller ways, by being complacent, self-satisfied, or comfortable with the status quo. Making the decision not to ask the wrong questions at the wrong time, because it would unsettle the system and make our lives more complicated.

I wanted to tell a story about the pathology of a system that would not only permit a criminal to survive within it, but to rise up and get promoted as a leader (obviously, that couldn’t happen in, say, politics or corporate life). Yes, there have been books, a few movies, and a couple of TV shows like The Shield about individual dirty cops, but those are the exceptions. Most audiences want the lines between good and evil to be drawn clearly, and they want the heroes to trail no shadows in their wake. I wanted to write a book that asked some tougher questions about the world we’re living in.

“It’s not just the Scarcellas doing it on their own,” Sundhe told me. “A lot of other people have to be involved when there’s an injustice like this.”

I think it’s no accident that there’s never been a long-running TV show (at least none that I can think of) about a lawyer or a cop who defends the innocent and gets them out of jail. People want familiar stories after a long day at work and they certainly don’t want to be lectured. And I don’t blame them. I’m not in the business of lecturing anybody or showing them the light anyway. What I do want to do is give you something you’re not expecting, a suspenseful story from an angle that you might not have considered. And if you’re alive these days and halfway sentient, you have to admit the good guys aren’t always good. And getting down to the reality of that can be as riveting and scary as Silence of the Lambs.

If you’re alive these days and halfway sentient, you have to admit the good guys aren’t always good.

At the end of our meal, Sundhe, who is writing a book about his experiences, started talking about the difference between real life and what you see on the screen.

“You know what’s funny?” he said as the waitress dropped the check next to the pickles and cole slaw. “The other night I was watching a horror movie with my girlfriend. Can’t think of the name but there was all this tension in it because the killer was stalking this woman and her daughter.”

“Yeah?” I shrugged and picked up my water, thinking it could be one of a thousand films.

“And then at the end, just when you think they’re going to escape, he kills them both.”

“Ha.” I put down my glass. “Didn’t see that coming.”

“No.” Sundhe nodded. “And my girlfriend hated it. Because she didn’t think that’s how it was going to be. But sometimes life is like that. You don’t always get the ending you want.”

Source: crimereads.com

Visit us at First Edition Design Publishing