Crime Writing Conferences by Christina Hoag

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Conferences: Where to go? Which to Choose?
By Christina Hoag

 

For crime fiction authors, the good news is that there are plenty of  writing conferences. The bad news is that there are plenty of writing conferences. It can be hard to choose the best investment for your money and time.

I decided not to choose. I just went to a slew of them, although not all by any means. Not only did I have a great time at every one, I found value in all of them. Each offers something different, and from each I took away things I didn’t know before, as well as a host of new friends. Frankly for me, networking is one of the best reasons for attending conferences. I love meeting other writers and discussing writing, publishing, reading. These are my peeps!

The two biggies are Bouchercon, held in a different city every year, and Thrillerfest, held in New York City every year. Both get well over 1,000 attendees. I chose to attend Thrillerfest this year, leaving Bouchercon for 2018. Thrillerfest is the most expensive con of the bunch, plus Manhattan is a pricey destination, which is something to keep in mind. But this is the place for networking and there’s plenty of opportunity to mingle with the biggest names in the business from Lee Child to Lisa Gardner. Thrillerfest also hosts a separate event, Pitchfest, which attracts a ton of top agents and editors, a key advantage to being in the center of the publishing industry.

There are also a host of smaller regional conferences, usually sponsored by local chapters of the Mystery Writers of America and/or Sisters in Crime. These typically attract 200-300 attendees, including published and aspiring authors as well as fans, and cost in the range of $200 to $350. Most offer authors a chance to participate as panelists and to sell and sign their books in the con bookshop. This makes them great promotional vehicles if you’ve got a new book out or are simply seeking exposure.

However, cons have different requirements for panelists so that may affect where you choose to go if promotion is your goal. Sleuthfest, held around Florida, for example, requires panelists to be published by approved publishers. Killer Nashville is friendly to independent and pre-published writers while New England Crimebake in Boston does not allow authors to request panels and selects its own. Magna cum Murder in Indianapolis, California Crime Writers Conference, held biannually in Los Angeles, and Left Coast Crime, offered in a different western city every year, generally offer authors panel spots.

Another factor to look at is the con’s subgenre emphasis. Malice Domestic, held annually in Bethesda, Maryland, is geared to cozies and traditional mysteries while Thrillerfest is as its name suggests.

Finally, you may choose a particular conference simply because it’s in a place you want to visit or where you have friends or family. Whichever conference you choose, you can save by planning well in advance and taking advantage of early bird prices, which usually start the year before. Another cost-cutting tip: you can stay in less expensive hotels, or AirBnBs, or with friends and Uber back and forth. I’m already looking forward to my next conference in 2018!

Christina Hoag is a former journalist for the Miami Herald and Associated Press who’s been threatened by a murderer’s girlfriend, had her laptop searched by Colombian guerrillas and phone tapped in Venezuela, hidden under a car to evade Guatemalan soldiers, posed as a nun to get inside a Caracas jail, interviewed gang members, bank robbers, thieves and thugs in prisons, shantytowns and slums, not to forget billionaires and presidents, some of whom fall into the previous categories. Her noir crime novel Skin of Tattoos (Martin Brown Publishing, 2016) was a finalist for the Silver Falchion Award for suspense, while her thriller Girl on the Brink (Fire and Ice YA, 2016) was named to Suspense Magazine’s Best of 2016 YA list. She also writes nonfiction, co-authoring Peace in the Hood: Working with Gang Members to End the Violence (Turner Publishing, 2014. Christina makes her home in Los Angeles and lives on the web at www.christinahoag.com.

 

Her novel Skin of Tattoos is available at Amazon

 

 

Skin of tattoes

 

 

When Cyco Lokos gang member Magdaleno (Mags) Argueta comes home to Los Angeles after serving prison time for a robbery, he wants nothing more than to start a new life. However, there’s one obstacle he has to overcome first…his old life.

Mags tries to let go of his bitterness–he was framed by Rico, the new leader of the Cyco Lokos–and stay out of gang life for the sake of his Salvadoran immigrant family and his girlfriend Paloma, but trying to integrate into society after a stint in prison doesn’t come easily. Faced with low job prospects and Rico’s demands to help the Cyco Lokos make money, a broke and disillusioned Mags makes the only choice he can. However, Mags soon discovers that loyalties have shifted, including his, and being a part of the Cyco Lokos with Rico in charge is far more dangerous and uncertain than it used to be. With his sister pregnant by a rival gang member and his own relationship with Paloma, his best friend’s sister, a violation of gang code, Mags becomes caught in a web of secrets, revenge, lies, and murder that might ultimately cost him everything.

 

Amazon | Goodreads | My review

 

 

 

 

How to Harness the Difference between Plot & Story with Steve Alcorn

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How to Harness the Difference between Plot and Story with Steve Alcorn

 

 

Original air date Feb. 15, 2018 TCK Publishing Epi. 176

Duration 32 min

Full Transcript

 

 

Steve Alcorn Author pic

 

 

Steve Alcorn is the author of a wide range of fiction and nonfiction works. His novels include the mystery A Matter of Justice, the historical novel Everything In Its Path, and the romance Ring of Diamonds (under the pseudonym Sharon Stevens). His best-selling history of the Imagineers who built Epcot, Building a Better Mouse, was co-written with author David Green.

During the past decade Steve has helped more than 30,000 students turn their story ideas into reality, and many of his students have published novels they developed in his classes, taught through http://writingacademy.com

When he isn’t writing and teaching, Steve is the CEO of Alcorn McBride Inc., a leading theme park design company.

 

 

 

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The Clue to Character by Mystery Writer Daniella Bernett

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The Clue to Character
Daniella Bernett

 

Where would a story be without a character? Character is the engine that drives the narrative. For me, it is a magical process. Imagine having the omnipotent power to create and mold a person on the page. Not only do I get to conjure up the character’s physical attributes and such details as a birthdate, but I have the opportunity to develop his or her personality. Evil or noble? Intelligent or foolish? Witty or dull? Take a smidgen of this and add a pinch of that, and voilà a person starts to emerge. To be believable, the reader must be given intimate insight into the character’s thoughts and emotions, likes and dislikes. One has to understand the motives behind why a character reacts a certain way. Of course to be fully formed, the author must imbue the character with both admirable qualities and flaws. After all, in real life nobody is perfect. So too must it be on the written page. Once the author is satisfied with the character sketch, then the real fun begins: unfurling the imagination to weave the tale.

 

When writing a mystery series, the essential component is a sleuth to solve the crime. Here, the author is presented with two possibilities: professional detective or amateur sleuth. It all circles back to character and the story that the author has in mind for him or her. For my series, I chose the amateur sleuth. My protagonists are journalist Emmeline Kirby and jewel thief Gregory Longdon.

 

 

Business, internet, technology concept.Businessman chooses Inves

 

 

 

 

Why a journalist? A journalist is inherently curious about many subjects. His or her job is to ask questions to uncover the truth and ensure transparency. Naturally, a journalist would be intrigued by crime, especially murder. The determination to find answers and see that justice is served are all important.

 

Now, how does a jewel thief fit into the model of a sleuth? Aren’t lying and evading the law a thief’s modus operandi? Isn’t this in stark contrast to a journalist’s reverence for the truth and justice? Most definitely, but that’s exactly the point. A portrait in contrasts. Who better than someone on the wrong side of the law to discern the twisted workings of a fellow criminal’s mind? A thief immediately recognizes things that the honest person would never even contemplate. In Gregory’s case, he has a certain code of honor. Murder is an offensive transgression. A line that should never be crossed. Thus, I have two diametrically opposed sleuths who are of one mind when it comes to the taking of a human life: the culprit must pay for the crime, otherwise chaos would reign in the world.

 

Meanwhile to round out my ensemble, I have Chief Inspector Oliver Burnell and Sergeant Jack Finch of Scotland Yard. They represent “the law” in all its gravitas. While their job is to hunt down criminals, sometimes the law’s constraints chafe and make their task more difficult. That’s why I have Gregory. He is Burnell’s nemesis. They have an adversarial, cat-and- mouse relationship. As a thief, Gregory has more flexibility to maneuver and never misses an opportunity to needle the chief inspector. Burnell, for his part, has been thwarted in his many attempts at catching Gregory red-handed. Will he ever succeed? The jury is out on that question.

 

There are myriad things to consider when delving into the essence of what makes a captivating and appealing character. The author must much achieve a delicate balance of shadow and light, intrigue and clarity, to give the story meaty substance and an air of authenticity. It’s an ongoing challenge, but one that you as a writer have to explore in every book as you seek to make readers truly care about your characters. Once readers make an emotional connection, you have them hooked because that means they want to know the story behind the character.

 

 

 

 

Daniella Bernett Author Photo

 

 

 

Daniella Bernett is a member of the Mystery Writers of America NY Chapter. She graduated summa cum laude with a B.S. in Journalism from St. John’s University. Lead Me Into Danger, Deadly Legacy and From Beyond The Grave are the first three books in the Emmeline Kirby Gregory Longdon mystery series. She also is the author of two poetry collections, Timeless Allure and Silken Reflections. In her professional life, she is the research manager for a nationally prominent engineering, architectural and construction management firm. Daniella is currently working on Emmeline and Gregory’s next adventure.

 

Visit www.daniellabernett.com or follow her on Facebook at Facebook or on Goodreads

 

 

 

 

What Is Suspense by Crime Writer Sue Coletta

Suspense film. Serie géneros cinematográficos.

 

 

What is Suspense?

 

Suspense arises from our readers anticipation of what’s about to occur. They worry, even fear, what will happen to the characters they love.

To build suspense, we need to raise our readers concern over how our POV characters’ plans can go array. Ever hear this comment when talking books with a friend? Nothing really happened so I stopped reading. I’ve put down numerous books for the same reason, and some by authors who are household names, authors who should know better. But that’s the thing about suspense. It’s not easy to hold our readers hostage for 300 pages. By employing the following techniques we have a better shot of grabbing them by the throat. Then it’s just a matter of not letting go.

 

“Show that something terrible is about to happen, then postpone the resolution to sustain the suspense.” ~ Writer’s Digest

 

 

 

Promise Word on Green Puzzle.

 

 

 

Promises, Promises

Every book makes a promise to the reader. The difference between concept and premise is, something happens to the main POV characters that disrupts their lives. If you’re not familiar with the difference between concept and premise, there’s no one better to learn from than Larry Brooks. He has several posts on the subject, including this 3-minute workshop video.

Rather than asking yourself, “What should happen next?” Try: “What can I promise that’ll go wrong? Problems that will bring my characters to their knees.”

The central dramatic story question promises an intriguing quest.

By making promise after promise, we keep our readers engaged. Don’t tell the reader, of course. Instead, hint at the trouble to come; tease the reader into finding out. Do it right away, too. We need to establish our CDSQ on page one. If we can accomplish it in the first paragraph, all the better.

Every promise, no matter how minor, should either setup or pay off a future scene. Once a promise is paid, make another. The largest promises, like the central dramatic story question, should be paid off in the climax.

For an example of a CDSQ, let’s look at Wings of Mayhem.

After unknowingly stealing his trophy box, can Shawnee Daniels a forensic police hacker by day; cat burglar by night, stop the serial killer who’s destroying her life before he murders everyone she loves?

If your story drags, it’s often due to the lack of tension and/or suspense. In other words, you haven’t made your reader worry enough. How can we fix a dragging plot? By making bigger, more important, promises. Promises that will devastate our hero and secondary characters. Promises they might never recover from.

 

 

 

Strategy on Pocket Watch Face.

 

 

 

Don’t Give Away Too Much Too Soon

This is a story killer. Don’t explain what’s happening, or why. Trust the reader to figure it out on their own. I realize it’s not always easy. After all, we know what will happen next (at least we should), and we can hardly wait for the reader to find out.

Trust me on this. Keep it to yourself for as long as possible.

No info. dumps! Just because we know our characters’ backgrounds does not mean our readers need to know it. Share what’s relevant to the story, or enough about the POV characters so the reader can empathize with them. Sprinkle the information throughout the story rather than dumping it all at once.

 

Characters’ Goals

“To create powerful suspense, make your hero face her greatest fear, and risk losing the thing that matters most to her.” ~ Dan Brown

No matter how we try to build suspense, if our readers don’t care about our characters, we’re sunk. Contrary to belief, the reader doesn’t have to like our characters, but they do need to empathize with them. That’s the key word: empathy.

For three-dimensional characters, we need to know their backgrounds, flaws, world views, religious beliefs, causes they support/protest, fears, concerns, mannerisms, dialect, profession, childhood, history with other characters, how they look, how they act in difficult situations, how they dress, nervous tics, scars, tattoos, favorite music, food, I could go on and on. We don’t need to show all these things, but we do need to know our characters as well as ourselves in order to slip into their skin.

To build suspense the character must have goals that really matter to them. What does she want it, and why? What happens if she doesn’t get it? What’s standing in her way? A strong hero needs a strong opponent. If our character is more timid, then we better make sure she desperately needs to achieve her goal. If she doesn’t do X, then Y will happen. Y is bad. The reader doesn’t want Y to happen. Hence, they stiffen up and pay attention. Bam! You’ve just built suspense.

 

 

“A murder is not suspense. An abduction with the threat of a murder is.” ~ Brian Klems

 

 

Violence, Where and When?

I love this quote from Brian Klems, because it’s so true. The act of violence isn’t suspenseful. The snapping of twigs as our character stumbles through the darkened forest, knowing the killer could attack at any moment is suspenseful. Or the squeaky floorboard on the second floor when the character is home alone. The phone ringing in the middle of the night. A knock at the one door the character never uses. Footfalls gaining on the character when they’ve wandered off the hiking trail. Tires screeching around the corner, the headlights appearing in the rear view mirror seconds later. The click of a shotgun in the deadly quiet milieu. A single flame that shoots from the tip of a lighter in the dark. The possibilities are endless.

 

 

Sentence Rhythm

Our sentence rhythm should match the reader’s emotion. Many of us do this automatically. Ever notice when you’re writing a suspenseful scene how you’ll pound the keyboard? When you’re slowing the pace, your fingers glide over the keys. Same holds true for sentence rhythm. Fragmented, staccato sentences quicken the pace. Long, run-on sentences tend to slow it down. As with most things in writing, though, there’s an exception. You can use run-ons to increase suspense if you vary the sentences with shorter ones.

 

Example from MARRED:

Adrenaline masked my pain, and I sprinted from room to room, closed and secured all the windows and double-checked the locks on the front and back doors, bolted upstairs, and pressed my foot on the sliders’ security bar. Colt and Ruger watched me zip around the house, not knowing what was wrong. Ruger gave up and laid his head on crossed paws while Colt bounded over and stayed on my heels.

When I returned to the kitchen table, the phone rang again. My gaze locked on the handset, and I froze. Colt’s face ping-ponged between me and the phone. He put the pieces together in his mind, trotted over, and knocked the receiver off the cradle, gently clasped the handset in his lips and carried it to me. By using his training to aid me, he was trying to help, but at that moment, it was the last thing I wanted him to do.

I didn’t speak.

Mix staccato and fragmented sentences with longer sentences to create an overall effect of balance and maintain rhythm in your writing. Is every sentence in the scene the same length? The reader will fall asleep.

 

 

 

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Scene and Sequel Structure and Motivation-Reaction Units

I’ve discussed these subjects several times, so I won’t repeat the tips here. You can find a couple of the posts here: Importance of MRUsScene and Sequel in Action.

 

Start Late, End Early 

Start each scene with a story question, intrigue, or conflict. Our goal is to arouse the curiosity of our reader. Keep them guessing. (Start late) If we make it easy on them, and answer all their questions at once, there’s no reason for them to keep reading.

We can’t wrap up our scene in a nice little bow, either. That’ll undo everything we’ve worked so hard to accomplish, to hook them in the first place. Rather, end on a note of uncertainty, or with a new challenge. (End early)

 

Scene Cuts or Jump Cuts

This is a cinematic technique that can work in any genre. Create a series of short, unresolved incidents that occur in rapid succession. Stop at a critical point and jump to a different scene, maybe at a different time and place, maybe with different characters.  For example, we could pick up a scene where we left off earlier. Or switch from protagonist to antagonist. Or from one tense scene to another. Rapid alternations keep the reader in a state of suspense.

 

Micro-Tension

Micro-tension is the moment-by-moment tension that keeps readers in suspense over what’ll happen in the next second. The Fire in Fiction by Donald Maas is a fantastic resource that discusses micro-tension. When the emotional friction between characters reaches a boiling point we’ve built suspense. Keep in mind, the characters don’t have to be enemies. Husband and wife. Tension between partners. Parent and child. Micro-tension is added in numerous ways. An easy way is with dialogue.

 

 

 

Sue Coletta author pic

 

Member of Mystery Writers of America, Sisters in Crime, and International Thriller Writer, Sue Coletta is a bestselling, award-winning author of psychological thriller/mysteries. In 2017, Feedspot awarded her Murder Blog as one of the Top 50 Crime Blogs on the net. Sue’s also the communications manager for Forensic Science and the Serial Killer Project. She’s also a proud member of the Kill Zone, where she blogs every other Monday. Learn more about Sue and her books at

 

Website | Amazon | Goodreads | Twitter | Facebook

 

Writer’s Block: Can You Use it as a Tool? By Melinda Leigh

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Writer’s Block: Can You Use it as a Tool?

Writing is both fulfilling and frustrating. There are days, that no matter how much I want and need to make progress on a book, I am unable to put words on the page. Or, if I do force myself to write, every word feels wrong. I know I’ll be deleting most of them the next day.

When I first starting writing, this terrified me. But over the past ten years, I’ve learned that writer’s block is my subconscious telling me that something has gone wrong in my book. There a plot hole issue or a problem with a character arc. I need to back up and reassess.

 

 

 

The 3D guy got over the challenge

 

 

 

I often will go back to the beginning and read the entire manuscript. So that I don’t feel as if I’m wasting time, I use this time to edit. When I return to the stopping point, sometimes I’ve recognized the problem and put the book back on track. If I’m still stuck, I reach out to a writer friend and talk through the issue.

So next time you’re struggling with writer’s block, give your WIP a good edit. Reassess your plot, make sure your characters are following their arcs, and then reach out to a friend to talk about why you’re having trouble. It’s possible your story has wandered off course and needs to be redirected.

 

 

 

 

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Amazon Charts and Wall Street Journal bestselling author Melinda Leigh is a fully recovered banker. A life-long lover of books, she started writing as a way to preserve her sanity while raising her kids. Over the next few years, she learned a few things about writing a book. The process was much more fun than analyzing financial statements, and she decided to turn her hobby into a career. Melinda’s debut novel, SHE CAN RUN, was nominated for Best First Novel by the International Thriller Writers. She is a RITA® Award Finalist and has earned three Daphne du Maurier Award nominations, Two Silver Falchion Awards, and Two Golden Leaf Awards.

Melinda holds a 2nd degree belt in Kenpo Karate. She’s dabbled in Arnis stick fighting, studied Brazilian Jiu-Jitsu, and taught women’s self-defense. She lives in a messy house in the suburbs with her husband, two kids, a couple of shelter dogs and two rescue cats who clearly run the show. With such a pleasant life, she has no explanation for the sometimes dark and disturbing nature of her imagination. Find out more about Melinda by visiting melindaleigh.com.

 

 

A Search Engine For Writers by Elizabeth S. Craig

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A Search Engine for Writers

By Elizabeth S. Craig

 

 

When you’re just starting out as a writer, it can be hard to figure out how to improve at your craft. There are an overwhelming number of writing reference books out there. There are courses to take. I tried both of those things, but never really felt as if I was getting the information I needed. That’s when I started combing through writing blogs for craft tips.

 

Before subscribing to writing blogs, I’d discovered that Google wasn’t helpful for delivering writing-related links. For example, a search on POV would return results for a show on American public broadcasting.

 

In frustration, I decided to build my own set of reliable resources to help me improve my craft. In a way, I started collecting writing blogs. I’d find a good one and then frequently found that those blogs linked to other blogs in their sidebars…so I’d hop over to see if those blogs were helpful. Finding these blogs and subscribing to them became a fun rabbit-hole of information.

 

I read a lot of blog posts and found tons of useful information on the writing craft, on promotion, and on the industry itself. That’s when I decided it might be helpful if I shared the posts as I found them. I figured that not only would it create some good karma for me, but it might also help to build my social media presence on Twitter at the same time.

 

 

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Since 2009, I’ve been finding writing and publishing-related articles that serve as resources for writers. I use an RSS feed reader and subscribe to over 1,000 writing blogs. Every day, I scroll through the reader, looking for the best posts to share on Twitter.

 

The only problem was that everything on Twitter seemed really ephemeral. The tweets were useful, and they were being shared. But the tweets weren’t the static resource that I wanted to create. I decided to share each week’s links as a roundup on Sundays on my blog. That helped (especially since not everyone is on Twitter). But there wasn’t really an effective way of searching for specific content.

 

In 2010, software engineer Mike Fleming was reading my blog and read on one of my posts: “I’m sure there’s got to be a better way to do this, but I can’t think of it.” He emailed me his idea: a search engine for the writing links. It could be searchable by topic and writers could find a list of resources for any writing-related questions they might have.

 

In January 2011, a special search engine for writers debuted, developed by Mike. Called the Writer’s Knowledge Base, or WKB, it’s a free resource for writers in conjunction with novel organizer Hiveword. You can search by topic or by category (e.g., business, creativity, promo). You can also sign up to have these posts delivered to you via email (customizable by frequency and category). More information about email delivery in Mike Fleming’s post here.

 

 

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I love that I have a hand in sharing all of the amazing information for writers out there. There are now nearly 45,000 articles in the WKB. If you ever find you need help with the writing craft, figuring out how to start your own writer website, or even researching a blog post, I hope you’ll check into this free resource.

 

 

 

Elizabeth S. Craig--Web (2)

 

 

Elizabeth is the bestselling cozy mystery author of the Southern Quilting mysteries, Memphis Barbeque mysteries, and Myrtle Clover Cozy Mysteries for Penguin Random House, Midnight Ink, and independently.

 

Website | Twitter | Facebook | Amazon | Goodreads

 

 

Series by Elizabeth S. Craig

 

 

 

Writing, Rewriting, and Craft with Elena Hartwell

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Writing, Rewriting, and Craft

By Elena Hartwell

As a novelist and playwright, I’m often asked where I get my ideas. Almost every writer I know gets this question, and I think we all feel the same. Ideas are never the problem. That’s the easy part. Ideas are a dime a dozen. The hard part, the magic part, is turning the idea into a polished, final manuscript.

 

The writing process varies wildly from author to author. Some write extensive, detailed outlines. Others sit down with an idea and write scenes on the fly. A number of writers fall somewhere in between, while they may not outline, neither do they sit down and write completely organically. They might write a synopsis or outline a chapter in advance.

 

The various combinations of these methods all work, depending on the writer and the project. There is no “wrong” way to write a novel. The “how” a writer works isn’t why their manuscript sells or doesn’t sell. The primary reason an author’s work has not yet sold is a lack of craft.

 

People who lack craft skills rarely sit down to write a novel. Or if they do, they can start, but never finish. Or if they do finish, they don’t rewrite. Or if they do rewrite, they quit after a single pass. Or, if they do continue to rewrite, they aren’t aware enough of craft to recognize the flaws in their own work. You get the picture. The problem is the writer stops too soon.

 

As a writing coach—I do one-on- one manuscript critiques as well as teaching workshops—there are some fundamental issues I see repeated in early drafts, over and over. These same issues show up in my own work, and probably on some level, in the early drafts of every writer out there. So the first thing aspiring writers can do to increase their chances of writing a successful manuscript, is learn how to identify these problems.

 

 

Coaching sign

 

 

 

The first is a lack of clear objectives, obstacles, and stakes. It’s not enough to have a dead body to write a mystery. Someone has to investigate the murder. The person investigating the murder has to need to solve the crime. If they don’t need to solve the crime (objective) there’s no tension about the investigation. If the solution doesn’t matter to the investigator, it won’t matter to the reader.

 

The sleuth also can’t solve the crime easily, that’s not dramatic. Various impediments (obstacles) have to appear, one after the other, to prevent the protagonist from catching the killer. The more the investigator has to overcome, the more satisfying to the reader when they do.

 

Lastly, it has to matter (stakes). For example, the protagonist with an internal struggle, coinciding with their investigation, is far more interesting than someone who simply goes through the motions of solving a crime.

 

The more important solving the case is to the protagonist, the more dangerous or difficult the journey, and the greater the importance to find the guilty party, the more invested a reader will be. That’s what keeps a reader turning pages.

 

 

The 3d guy got over the challenge

 

 

 

Complex protagonists will also have personal objectives, obstacles, and stakes to go along with their investigation. For example, a crumbling marriage, a child in danger, or overcoming an addiction are common tropes within the genre. When we know an investigator has to choose between catching a killer and saving their marriage, the stakes are high and we breathlessly turn each page waiting to see what the character chooses.

 

Another common error I find is a lack of structure. All stories have an underpinning structure. While there are variations to that structure, for the most part, especially in crime fiction, we start with the world as we know it, which is disrupted by a specific event, followed by rising action, where events pile one on top the other, each more important than the one that went before. This ends with a climactic scene, with the maximum danger to our hero or heroine, followed by a glimpse into the new world order for our characters.

 

If any of these parts are missing, the story can feel unfinished. For example, if we don’t have some sense of what the character’s life was before the intrusion, we don’t know what they are putting at risk. The “world before” can often be well hidden, it might not appear in the first chapter, but later in reflections the character makes as the story progresses, but usually a reader can identify it if they look for it.

 

The middle of a manuscript might falter if a lot of exciting things happen at the beginning, then nothing exciting follows. Rising action is important, because it builds dramatic tension, making it impossible to put the book down.

 

 

 

Under construction

 

 

 

Lastly, an ending can feel unsatisfying if we have no sense of the outcome. Readers don’t need everything tied up in a bow, but they do want the primary threads to be resolved enough to know what the character’s lives will be like after they read “the end.”

 

Dialogue can also be difficult to master. One of the most common problems I see is when authors have their characters say exactly what they feel and exactly what they mean. That doesn’t ring true. People lie all the time. We lie because it’s expedient, it benefits us in some way, it keeps us from hurting others, or we don’t want to get in trouble. We rarely say what we mean, we obfuscate, we dither, we agree out loud when disagreeing feels like a mistake. Dialogue works best when each character speaks distinctly from the others, through word choice, sentence length, grammatical accuracy, and the use of slang.

 

If a writer can identify just these specific problem areas in their own writing, their next draft will be a much tighter, more polished manuscript. It can feel overwhelming to try to identify and fix all the issues I’ve outlined at one time. My recommendation for writers is to choose one aspect and rewrite just for that. Heighten the stakes in one rewrite. Focus solely on dialogue for the next. Breaking down the process into smaller chunks can make each rewrite a more successful venture. This will help the writer get through a series of rewrites rather than attempting one and feeling like the mountain is too high to climb. My final piece of advice. Don’t give up. That’s the only difference between a published author and an unpublished one.

 

 

 

Elena Hartwell author photo with horse

 

Elena Hartwell was born in Bogota, Colombia, while her parents were in the Peace Corps. Her first word was “cuidado.” At the age of nine months, she told two men carrying a heavy table to be careful in their native tongue. She’s been telling people what to do ever since. After almost twenty years in the theater, Elena turned her playwriting skills to novels and the result is her first book “One Dead, Two to Go,” followed by “Two Heads Are Deader Than One.” “Three Strikes, You’re Dead.” For more information on Elena, please visit elenahartwell.com or like her Facebook Page ElenaHartwell/Author. You may get to see cute pictures of her dog and her horses.

 

Amazon | Goodreads | Website | Twitter | Facebook

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Welcome to Mystery Thriller Week 2018

Welcome

 

 

Welcome to Mystery Thriller Week!

 

Here is your chance to win captivating thrillers and exciting mysteries written by fabulous authors! One lucky reader will win one bundle. Can’t decide which one you want? Enter to win them all! Click on the link below and comment on the post to be entered to win. These giveaways end April 17!

 

 Bundle Giveaway: Enter Here

 

 

Group1giveawaysALL

 

 

To enter the giveaway you must comment on the link above that’ll take you to the MTW Facebook Group page. Once you’ve commented on the page you’ll be automatically entered to win a bundle of books. They’ll be grouped by categories so you can choose which you’d like to enter.

 

 

 

Stick around to discover more great books, author interviews, book reviews, podcasts, recommendations, blog tours, writing craft and more!

 

 

Join the FUN!

 

MTW lasts for 11 straight days, April 12-22nd, so there’s plenty of opportunities to celebrate the Mystery & Thriller genre that we all love to read.

 

MTW Thin Banner April 2018

 

Free Webinar

INSTAGRAM is quickly becoming one of the most powerful social media tools for expanding your reach and growing your business. But how can you leverage the platform to reach thousands of clients and customers, without spending hundreds of hours or spending thousands of dollars?

 

Save your spot for a Free Webinar Instagram Training! Publicist Dana Kaye has teamed up with Instagram strategist, entrepreneur & business coach Kelsey Chapman.

**Save your spot: Here

When: Friday April 13, 2018 12:00PM EST

 

Don’t forget to check the MTW 2018 Calendar of Events: 2018 MTW Calendar

Share this post using the hashtag #MTW_2018.

 

See you soon!!

 

 

 

Free Master Class: Connect with Readers, Build your Platform

Build your platform 2 Gabby

 

 

Monday, April 2nd at 1pm ET

 

In this live broadcast, you’ll learn…

 

  • My go-to technique or identifying your audience, so you can get off the content hamster wheel and connect with your reader authentically and with integrity.

 

  • How to identify your core message as a writer, so your platform has focus and intention.

 

  • Who your ideal reader is so you can envision that person while you write and revise your book, and…

 

  • How to identify actual potential readers because imaginary readers don’t buy books.

 

  • What the Breadcrumb Technique is and how to use it to research your potential readers, so that even if you have no platform, you can “borrow readers from more established writers.

 

 

 

Build your Platform 3 Gabby

 

 

What are you waiting for?

Sign up now and you’ll get a an instant cheat sheet download,
plus email updates about the live broadcast.

When: Monday, April 2nd at 1pm ET

Sign up now

 

 

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Gabby P

 

Gabriela Pereira is the Instigator of DIYMFA.com, the do-it-yourself alternative to a Masters degree in writing. While undercover as an MFA student, she invented a slew of writing tools of her own and developed a new, more effective way for writers to learn their craft. She dubbed it DIY MFA and now her mission is to share it with the world. Teaching at conferences and online, Gabriela has helped hundreds of writers get the MFA experience without going to school. She also hosts DIY MFA Radio, where she recreates the MFA speaker series in podcast form.

Before becoming a writer, Gabriela has done lots of wild and nerdy things like: playing violin at Carnegie Hall, singing madrigals in full Renaissance garb, designing toys for kids ages toddler to tween, and taking applied topology and number theory “just for kicks.” Despite her varied interests, Gabriela’s main passions have always been teaching and design. Now at DIY MFA she can bring these two elements together. Her favorite thing to do is come up with new dastardly plans and innovative resources for writers.

 

Facebook | Goodreads | Twitter | Website

 

DIY MFA Gabby P

 

Amazon | Goodreads

 

 

 

Masterclass

 

 

 

 

Introducing Felony Fiction.com Mystery, Thriller, and Suspense Books

Felony Fiction

 

 

Bestselling author Patrcia Loofbourrow  is developing a site called Felony Fiction where you can discover new sleuths, spies, and serial killers.  The site is currently under construction, but will go live on May 1st with a wonderful book fair on the front page.

 

 

Under Development Concept

 

 

How Can I Participate?

 

  • Lovers is mystery, thrillers, and/or suspense, this is for you!
  • Readers will find puzzles, action, and thrills – along with new authors for your library.
  • Promotion for free books.
  • Like the Facebook page.
  • Join the Author Promotion Group.
  • Felony Fiction Book Fair Sign up

 

 

Join now to get updates. Site launches on May 1st & sign ups close April 15th, so act now!

Felony Fiction Book Fair Sign up

 

 

 

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