Allison Brennan on Writing & The Lucy Kincaid series

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Allison Brennan discusses writing and her new books in the Lucy Kincaid series, STORM WARNING and NOTHING TO HIDE.

 

 

How do you determine if your idea is viable enough for a complete novel?

Because I don’t plot, every book idea evolves as I’m writing. Usually, I have a spark of an idea — a premise, a set-up, a character conflict — something that interests me. If the idea isn’t working, I tweak it as I write. Sometimes, a story just flows and the idea was better than I thought. Other times, the initial idea isn’t strong enough to carry a novel — I’ve actually written a couple short stories/novellas on ideas that were good but not “big” enough for 100,000 words. But after three dozen books, I usually know based on the initial story concept whether the idea is viable.

 

 

 

Viability Word Thermometer Potetential Success Business Measurem

 

 

 

Do you approach writing every book the same or does it vary?

Yes. I start with an idea and a character and go from there. I don’t plot. I start at the beginning and write (mostly) linearly. At about the end of the first act (roughly page 100-150) I almost always get stuck and go back to the beginning. I add/cut/edit extensively. Then I finish the book. The first 150 pages usually takes me twice as long to write as the last 300 pages. And, ironically, it’s usually the first act that has more editorial notes than the last act. Go figure! But I can’t seem to do it any other way.

 

 

What are the bare essentials of your writing process? 

A computer and caffeine. LOL. Seriously, I write every day. I start in the morning and write until the kids come home from school—and often later. I wish I could say I write XXX number of words a day then shut it off, but no. I write anywhere from 1,000 to 5,000 a day. Some days—especially in the last act as I’m nearing the end of the book and am really excited about what’s happening, I can write up to 10,000 words in a day. It’s rare, and they need a lot of editing! (For example, once I wrote an entire chapter with no dialogue tags because I was typing so fast!) 

 

 

 

The effects of caffeine on the brain image from coffee beans

 

 

 

 

How would you say your writing process has changed over the years?

Mostly, no. But I have noticed one fundamental change. My first five or six books I wrote from beginning to end, a “sloppy copy” and when back to edit. I wrote fast, a lot of it was a mess, but I had the confidence that I could clean it up in edits. Now, I can’t seem to do that. I edit as I go. About book seven, I realized that if I think I’m writing something that isn’t working, I can’t continue. I have to go back and fix it. This isn’t about the word choices or grammar, it’s about story. If the story isn’t working quite right, I can’t continue without fixing it. The good news is that my first draft is usually really clean and tight. The bad news is that it takes me a lot longer to write that first draft. Now, and for about the last 10-15 books, at the beginning of the writing day, I re-read the last scene or chapter I wrote to get me back into the story (editing as necessary) then write the next scene or chapter. 

 

How do you break down your story into scenes?

Instinct. 

 

 

 

Black luminous computer keyboard and edit key. Conceptual 3D rendering

 

 

 

 

Did you enjoy writing the next Lucy Kincaid books, Storm Warning and Nothing to Hide?

I always love writing. I’m doing what I love. Even when I’m struggling with a story or a scene, I love it. Storm Warning was particularly fun because I knew it was going to be a novella and I could focus on one linear story. The benefit is that I don’t worry about sub-plots, and the story itself tends to be more fast-paced. This has been true for all the novellas I’ve written, so they’re a lot of fun to write. Nothing to Hide started with a solid premise — I wanted to call the book Two Lies and a Truth because each of the widows lied to Lucy about something and Sean’s son Jesse lied to him about something. The book is really about the lies we tell to protect others, and the lies we tell to protect ourselves. 

Anyway, by the end of the book I loved the way it turned out, though I’ll admit at the beginning of the third act I had no idea how I was going to catch the killer (though by that point I knew who it was. And no, I didn’t know when I first started writing who was guilty!)

 

 

 

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How are these two stories related to one another?

They really aren’t, other than sharing the main characters. In fact, Storm Warning more directly relates to the upcoming Lucy Kincaid book Cut and Run. The novella was set against the backdrop of a storm and flooding outside San Antonio. In the beginning of Cut and Run which takes place two months later, Lucy’s team identifies four bodies that had been uncovered in a mass grave after the flood waters passed. Nothing to Hide takes place between those two stories.

 

 

 

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How does Lucy’s background in psychology help her solve cases?

Criminal psychology has always fascinated me, and I’ve read a lot of books about the subject, as well as true crime. Psychology is a tool that can be learned, but mostly it’s a tool that many cops use based solely on experience. So to me, Lucy has the best of both worlds—she’s been trained in criminal psychology, and she has a lot of experience both before and after she became an FBI agent. Now that she has nearly two years under her belt as an agent, she has more confidence in her abilities, but she still calls in those who have more experience to help—as any good investigator will do. 

 

 

 

Successful Investigation, File closed and Case Solved

 

 

 

What dilemma is she facing trying to solve the crimes in Nothing to Hide?

The biggest problem with this case is that there is no apparent motive. The victims are very loosely connected (all married men under forty, all driving home alone at night, all killed by the side of the road when they exited their vehicle for no known reason.) But the men didn’t know each other; no one in their circles knew each other. They were of different races and socio-economic status. They had different family structures. The attack itself was quick but not painless, and as Lucy and her partner quickly learn, each injury was specific. The lack of motive for these crimes is what is keeping Lucy from solving it quickly—plus, there is little forensic evidence. If the crimes are truly random, Lucy recognizes that they won’t be able to solve the murders until the killer slips up and there’s a witness or physical evidence left behind. And so far, nothing. 

As an aside, I wrote the killer so smart that even I had a hard time figuring out how to solve the crimes! I went back to a statement made by retired cop Lee Lofland in one of his blogs: every contact leaves a trace. That means that the killer had to have left something behind, even if they don’t know what it is. So they go back and look more carefully at each crime scene. And while the evidence they do find doesn’t give them enough to find the killer, it does give them a direction to pursue.

 

 

 

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New York Times and USA Today bestselling author Allison Brennan believes that life is too short to be bored, so she had five children and writes three books a year.

Allison has penned more than two dozen thrillers and many short stories. RT Book Reviews calls Allison “a master of suspense” and her books “haunting,” “mesmerizing,” “pulse-pounding” and “emotionally complex.” RT also said that “The Lucy Kincaid/Sean Rogan books are getting better and better!”

COLD SNAP, was a finalist for Best Thriller in the Thriller Awards (ITW) and FEAR NO EVIL (2007) and COMPULSION (2015) won the Daphne du Maurier award. Allison has been nominated multiple times for RWA’s Best Romantic Suspense award, and the Kiss of Death’s Daphne award.

Allison lives in Northern California with her husband, five children, and assorted pets. Her current release is STORM WARNING: A Lucy Kincaid Novella, and NOTHING TO HIDE Lucy Kincaid #14 Available now.

 

www.allisonbrennan.com

 

 

 

 

Writing, Rewriting, and Craft by Elena Hartwell

 

Elena Hartwell author photo with horse

 

 

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.

 

 

path to problem and solution

 

 

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.

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.

 

 

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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.

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.”

 

 

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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.

 

 

Giveaway Colorful Stripes

 

 

One dead two to go imageTwo heads are deader than one imageThree strikes your dead

 

 

 I’d be happy to do a giveaway! Copies of my Eddie Shoes Mystery Series will be available to the first 3 people that sign up for my newsletter win! Send me a PM with your email! More info on the series here:  www.elenahartwell.com

 

 

 

Elena Hartwell author photo with horse

 

 

Elena Hartwell started out her storytelling career in the theater. She worked for several years as a playwright, director, designer, technician, and educator before becoming a novelist.

Elena has more than twenty years of teaching experience and now works one-on-one with writers as a manuscript consultant and writing coach.

She lives in North Bend, Washington, with her husband, two cats, and the greatest dog in the world. When she’s not writing, teaching writing, or talking about writing, she can be found at a nearby stables, playing with her horses.

For more information about Elena, please visit www.elenahartwell.com.

 

 

 

 

 

 

 

 

Becoming a Writer with Kerena Swan

 

 

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Interview

 

What do you do full time?

14 years ago I left a well-paid and secure job as Head of Disability Services for Bedfordshire County Council to start my own company; a care agency supporting children and families with disabilities. It was a scary leap into the unknown and meant investing my own money and a lot of time. For a while I worked full-time as a management consultant during the day and ran the business evenings and weekends, often totalling 70+ hours a week. I expected to have a team of eight carers but now have around ninety staff, including the management team. As I’ve built the business from scratch and have created all the necessary policies and procedures, the service is unique and personal. I have a highly motivated and positive team and together we provide highly valued care to families in need. It’s rewarding and satisfying though can be demanding at times.

 

 

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What’s it like writing with a full time job under a deadline?

I try to take Wednesdays off now and dedicate the day to my writing but it’s disappointing how meetings always seem to crop up on that day. As my company office is set in a large annexe attached to the house I’m always on hand to answer queries or make decisions. It’s convenient being nearby but I never get a proper break so I tend to do most of my writing at the weekends.

 

 

Why do you write?

Writing is no longer a hobby, it’s become an addiction. I’ve spent my career as a social worker and director writing reports, policies, training materials and content for websites. It was only when I was seriously ill in 2016 that I decided I wanted to tick one more thing off my bucket list which was to write a book and get it published. I joined a writing course and from day one I was hooked. I can lose myself for hours when I’m creating a story and am at my happiest when it pulls together. I just wish I’d discovered writing fiction a lot sooner as the market has become saturated with books and is really tough now.

 

 

Work Hard Dream Big written on desert road

 

 

“A professional writer is an amateur who didn’t quit” – Richard Back – What does this quote mean to you? 

As I was born in May I’m a Taurus and one of the characteristics is stubbornness. Once I have decided to do something I won’t stop trying until I’ve achieved it. I still feel like an amateur when I read fantastic authors like Robert McCammon or Michael Robotham but I dedicate time to learning as much about the craft of writing as I can. I study books on character arcs, forensics, and story structures. I research everything thoroughly and have learned how bodies decompose, what patterns blood spatters make and ten ways to bury a body. My husband is alarmed by my searches on the iPad and said I must never write about making bombs or we’ll have the terrorist squad knocking our door down.

I’ve always enjoyed learning and it doesn’t matter how good I am at something I believe there is always room for improvement so will study everything I can on the subject. It feels weird to think of myself as a professional writer but I suppose I am as I’ve earned a little money at it. I’m a long way from earning enough to live on though, so won’t be giving up the day job!

 

 

Metal Wheel Concept

 

 

What are you currently working on?

I’ve just finished the final proof-read of my third novel, a psychological thriller Scared to Breathe, which is being released on the 3rd June. My second novel, a social crime story called Who’s There? was declined by my current publisher as it didn’t quite fit their lists but is being considered by agents. I’m currently writing my fourth novel, Not My Sister, which was inspired by a news article about a woman who took a DNA test and discovered she wasn’t related to her family. It’s another psychological thriller with twists and turns and I’m about a third of the way through the first draft. I have a contract with my publisher for it and hope to release it by the end of the year.

 

****

 

Scared to Breath image

 

 

When Tasha witnesses a stabbing at the train station in Luton, she is compelled to give evidence in court that leads to Dean Rigby being convicted. But when Lewis, Dean’s brother, vows revenge, Tasha is afraid and no longer feels safe in her own home.

Tasha’s partner, Reuben, hopes to marry her and start a family soon. But Reuben is concerned about Tasha’s state of mind and urges her to see a doctor.

When Tasha is left a derelict country house by her birth father, she sees an opportunity to escape Luton and start a new life. After visiting Black Hollow Hall she sees it as the perfect opportunity to live a life without fear.

At first Tasha feels liberated from her troubles. The gardener, William, who is partially paralysed but employed to maintain the grounds of Black Hollow Hall, is welcoming.

But soon Tasha realises the Hall is not quite the idyll she imagined.

When she discovers that a woman jumped to her death there years ago following the murder of her husband, strange events begin to take place and Tasha fears for her safety.

Have the Rigby family found her?
Is someone trying to scare her into selling the house?
Or is she suffering from paranoia as Reuben suggests?

As Tasha’s sanity is put under pressure she begins to wonder if Black Hollow Hall going to be her salvation or her undoing…

 

Extract of Scared to Breathe

 

The sooner I get the door or window fastened the sooner I can get back into the safety of my bed. Huh. Who am I kidding? Only children believe blankets offer security. I cross the hall and enter the small sitting room then through to the library. Nearly there. A draught of cold air wraps itself around my feet and I shiver, goosebumps rising on my arms and legs. It’s so dark, as though all the colours of the daytime have been layered one over the other like printing ink until the only colour left is black. The lantern barely lights a foot in front of me. Maybe Reuben was right. I should have gone back to Luton, at least until the overhead lighting is sorted.

The tall French window smashes into the wall again and this time glass shatters. Damn. I hasten across the room to secure the door to prevent any more panes breaking but before I get there I spring away to my right as something moves to the left of me. Still backing away, I bring the lantern round to see what it was. Or who…

The light from two tiny candles is pitiful. It barely penetrates the darkness but I’m too afraid to step forward again.

‘Who’s there?’ I can’t help asking.

No one answers. Of course they don’t. The storm continues to rage outside and gusts of air surge through the open door making the candles flicker. Making the shadows flicker too. Was that what I’d seen? Am I literally afraid of my own shadow now? I step to the door and with glass crunching underfoot I reach for the handle. It’s cold and wet in my sweaty palm. I’m exposed here and the rain soaks into my wrap while the strong wind flaps it around my legs. I scrape the soles of my slippers on the door sill to dislodge any fragments of glass then drag the door shut. I click the latch then test it to see if it holds. It seems fine but I puzzle over why I couldn’t open it earlier. The wind continues to throw rain through the broken pane but I’ll have to sort it out in the morning.

As I turn back to face the room a sudden flash lights up the wall of the library and I see a man-shaped shadow. My shock turns into a scream then I run, the poker bashing painfully on my shin and my wet slippers skidding on the wooden flooring as I bolt through the sitting room doorway. I catch my shoulder on the frame and pain erupts down my arm. A door creaks behind me but I don’t stop. I weave in and out of the furniture in the drawing room and rush into the dining room. The candle flames gutter and die as they drown in liquid wax. I slam the door behind me and throw the poker and lamp on the floor then grab a dining chair and tilt it, ramming it under the door handle.

It isn’t enough. One push from the other side of the door would send it flying across the room. The chest of drawers. They’ll be better. My breath’s coming in short gasps now and sweat trickles down my sides. My left arm feels numb. I run to the chest of drawers and lean all my weight into it, pushing it across the floor. The feet scratch the polished wood but I don’t care. It crashes into the dining chair sending it skittering away. With the furniture positioned across the doorway I turn and look wildly around. I need something else to go across the other doorway that leads to the kitchen but no. It won’t work. This one opens outwards.

Under the bed.

No. Too obvious.

The cupboard.

I grab my thin duvet and rush to the huge sideboard. I open one of the doors and crawl inside, grateful I’ve emptied it of old rubbish, and tuck the cover under and around my sodden robe. I find a screw head on the inside of the cupboard door and use it to pull the door shut. I wrap my arms around my knees and hunch into as tiny a ball as possible. I rock slowly back and forth, blood pounding through my veins. I’m trembling all over.

I listen.

Nothing.

I put my head on my knees, silent tears soaking into the thin duvet and then lift my head in horror.

I can hear the unmistakable sound of laughter. Deep and male. There’s no doubt about it now. I’m not going crazy or suffering from paranoia. There’s someone in the house.

 

 

 

Kerena Swan image

 

 

Kerena lives on the Bedfordshire/Buckingham border with her husband, son and two cats. She also has two daughters and two granddaughters.

‘Dying to See You’ is Kerena’s first novel, Her second book ‘Scared to Breathe is being released on 3rd June 2019. Drawing on her extensive knowledge and experience in the problematic world of social work, Kerena adds a unique angle to the domestic noir genre.

 

Website | Amazon | Goodreads | Twitter

 

 

 

 

 

 

Who’s In Charge Here?  Getting Jurisdiction Correct in Your Writing

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Who’s In Charge Here?  Getting Jurisdiction Correct in Your Writing

By Micki Browning

 

I recently picked up a novel that featured an FBI agent as a first responder to a burglary investigation at a city residence. The author immediately lost her credibility with me and I put the novel aside. Why? The Feds are about four levels too high for the job. Can federal agents investigate a burglary? Absolutely. Are they the first responder in a city? No.

At some point, a story you’re writing will likely involve a law enforcement character. It may be on a traffic stop, in response to a crime, an encounter in a coffee shop, in another character’s school, or over the neighboring fence. Our nation has more than 750,000 law enforcement officers, so for art to mimic life, there are a couple of things you need to know.

 

 

What is Jurisdiction?

Jurisdiction is easiest to imagine as geographical boundaries, but is best thought of in terms of power. Jurisdiction defines the statutory authority of a government agency—in this case, law enforcement—to act and investigate based on the location of the incident, the type of crime, or the dollar amount at stake.

 

 

Who are you going to call?

Most people don’t worry about jurisdiction. If they need help, they dial 911 and then wait for help. As the master manipulator of your novel, however, you are the dispatcher and it’s up to you to decide who goes. Need a quick response? Local police almost always arrive first.

 

 

911 emergency number

 

 

 

The Locals

The backbone of law enforcement is the patrol force. New York City employs approximately 38,00 officers. A rural agency may only employ a single peace officer. Throw in a county agency and your first responder could be an officer, marshal, or deputy.

So how do you know the difference? If you are writing about an actual agency, it’s easy. Find a computer. Nearly all agencies have a wealth of information regarding size, jurisdiction, rank structure and community outreach on their websites. Photos will reveal the types of vehicles they drive, how they dress and the color of their uniform (which varies considerably).

Every county has a sheriff’s office. The sheriff is an elected official and is statutorily required to provide public safety for the county. Deputy sheriffs perform the patrol grunt work. They also carry out civil law responsibilities, such as serving subpoenas.

By comparison, cities often operate their own municipal police departments. An appointed Chief of Police runs the agency, and the first responders are referred to as officers. But police agencies are expensive to administer, and many cities contract for public safety services from the county sheriff. Likewise, most towns and villages contract from the county, although some operate their own office, and may be called marshals.

On very rare occasions, cities and counties combine agencies, for example the Miami-Dade Police Department and the agencies in San Francisco and Denver. Usually this occurs when the city and county share the same geographical boundaries.

 

 

Polizei - Hintergrund - Banner

 

 

State Agencies

State agencies differ across the nation—and it gets murky fast. Many states have multiple public safety agencies that focus on either investigation or enforcement. Other states run one agency with different divisions.

California combines these functions under the umbrella of one massive agency. Remember the television show CHPs? Well, they do a lot more than ride motorcycles. In addition to patrolling the state’s highways, they also staff a Protective Services Division tasked with capitol, dignitary, judicial and governor protection. The agency oversees the State and Regional Threat Assessment Centers, Counterterrorism and Threat Awareness Section, and the Emergency Operations Center.

 

 

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Federal Agencies

Think state agencies are confusing? Wait until the Feds get involved. The Department of Homeland Security, the U.S. Marshals Service, the Drug Enforcement Administration, and of course, the Federal Bureau of Investigations are familiar names. But don’t forget the Bureau of Alcohol, Tobacco Firearms and Explosives, United States Park Police, or everyone’s favorite, the Transportation Security Administration.

Involving federal agencies in a story typically requires more than casual research. Introducing a character as an officer from the FBI will mark you as a rube. While it is true that they are sworn peace officers, the FBI hierarchy is paved with agents, not officers. And just when you think you may have it all figured out, here’s a curveball. Law enforcement officers in the TSA are Federal Air Marshals. The U.S. Marshals Service, the oldest federal law enforcement agency, is the enforcement arm of the Federal Court System. Their enforcement officers are called U.S. marshals (as opposed to a town marshal). Confused yet?

 

 

US government concept acronym

 

 

Who is the best?

That’s an easy one. It depends on what you need. Every agency thinks it’s the best. Law enforcement is remarkably similar to a family—complete with sibling rivalry, petty jealousies, and intense loyalty. Some departments welcome assistance; others not so much. The truth? The world is shrinking. People are far more mobile, crimes cross borders, and the Internet links continents. Law enforcement cannot be conducted in a vacuum. Departments rely on each other.

Federal task forces give smaller agencies the opportunity to tackle major issues in their communities. The US Immigration and Customs Enforcement Agency launched a task force to address Internet child exploitation. They also assist with cyber crimes, human trafficking and smuggling investigations. The Marshals Service routinely spearheads fugitive task forces. The Drug Enforcement Agency partners with local law enforcement on narcotic task forces.

 

 

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Truth is stranger than fiction

Jurisdiction can be tricky. Regardless of genre, the takeaway for authors is that with a little bit of background information, the truth can be manipulated to fit your story needs. The author at the beginning of the article could have legitimately had an FBI agent respond to a burglary investigation with a few easy tweaks. If the responding local officer noticed something in the home indicative of a federal issue—such as a tie to a bank robbery suspect, a terrorist threat, or if the investigation grew to include a kidnapping that crossed state lines—then the FBI would become involved. There’s even a way to legitimize a responding FBI agent. Set the crime on a Native American Indian Reservation. Some tribal nations have their own agency, but for those that don’t, the FBI holds jurisdiction.

In the end, the criminal justice system is a tangled network of agencies with overlapping jurisdictions and operational goals. But the people who make up those agencies are remarkably similar. Every officer swears to uphold the public trust, and they share a common goal. They tend to be strong-willed, opinionated and honorable. By virtue of law, they have enormous authority, and what they do with it can make great fiction.

This article has been updated. The original version appeared in The Florida Writer April 2015.

 

 

 

Micki Browning 600px photo

 

 

An FBI National Academy graduate, Micki Browning worked in municipal law enforcement for more than two decades and retired as a division commander. She is the author of the award-winning Mer Cavallo Mystery series set in the Florida Keys. Her debut novel, Adrift, was an Agatha Award finalist for Best First Novel. It won both the Daphne du Maurier Award for Excellence and the Royal Palm Literary Award prior to its publication. Her latest thriller, Beached, was released in January 2018. It won the Royal Palm Literary Award for both Best Mystery and the Book Book of the Year.

Micki also writes short stories and non-fiction. Her work has appeared in dive magazines, anthologies, mystery magazines and textbooks. She lives in South Florida with her partner in crime and a vast array of scuba equipment she uses for “research.”

 

www.mickibrowning.com

 

 

 

 

 

 

The Elements of a Bestselling Thriller: Top Tips for Authors

 

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The Elements of a Bestselling Thriller: Top Tips for Authors

by Adam Durnham

 

When it comes to conjuring ideas for a thriller or mystery, authors should create perspectives that are relevant to current readers with a special attention to market trends. What are the possible elements of a bestselling thriller? Read to know more.

After reading a gripping mystery or thriller, do you find yourself thinking about how interesting it was? If you’re an author, there are elements to bestselling thrillers that can help your readers stay on the edges of their seats.

In order to do this, authors may want to strike a balance between the foundational elements of their work and current trends in thrillers and mysteries. Here are some top tips for authors who are planning to create pieces in these special genres.

 

Pick the type of thriller or mystery genre that you want to create

Thriller or mystery novels are broad categories on their own. It is important to know who your target readers are. Knowing your target audiences will help you determine the literary subgenre that you will use. Some thriller subgenres include:

 

  • Psychological thrillers: These thrillers include themes relating to psychological or mental health conditions. The protagonist or the perpetrators in such stories might have mental health issues.
  • Mystery thrillers: These thrillers feature mysteries that revolve around a crime, accident, or another incident. The protagonists in these works find and analyze clues throughout the stories.
  • Science fiction thrillers: These popular thrillers incorporate science fiction topics. Authors may be particularly creative with this subgenre, which may include futuristic themes such as aliens, monsters, human cloning, and entirely new worlds.

 

Developing clear ideas about your subgenres gives you a laser-sharp focus on the elements that you want to place in your story. The focus helps readers feel that your characters, settings, plot twists, and other crucial parts of your work are thematic and fit together cohesively.

 

Choose relevant themes

Theme is quite different from your subgenre. It unifies your story and gives something for your readers to think about as they progress through your story. This is helpful if you want to create a thriller or mystery novel, since you want to provide puzzle pieces that the readers can think about as they approach the end.

 

Consider using thriller or mystery story themes that people find relatable. They can involve problems such as mental health, addiction rehab, crime, or social injustices. These themes can bring value to your readers, especially if your readers advocate for such topics. Your book has a better chance at reaching the best-seller lists if many of your readers have firsthand experience with or knowledge of your themes.

 

Successful writers pay attention to what is happening in the larger culture. When topics about mental health, addictions, crime, or social problems appear in the news, books and movies associated with these relevant themes also appear.

 

Plot your story before beginning to write

Before starting your first chapter, consider creating an outline of your thriller or mystery to develop your plot. Outlines are important for many types of work, but they are especially crucial for thrillers and mysteries because those genres include large amounts of action. Creating a well-plotted story can help you avoid unnecessary fluff and irrelevant elements in your writing.

 

Your plot should include a buildup of conflict, and your characters’ goals and motivations should be consistent with your themes. Thrillers or mysteries can start at the middle of the action to create a thrilling atmosphere that you can heighten for effect.

 

Experiment with multiple points of view

One sign of a great author is his or her flexibility in presenting the points of view of various characters. Some bestselling thrillers and novels shift between the viewpoints of the protagonists and the villains in the stories instead of presenting the story entirely in the third person perspective.

 

Shifting between multiple points of view depends on your theme and other elements of your story. But multiple viewpoints can greatly benefit mystery and psychological thrillers. They can showcase the depth of the story and portray the intrinsic motivations, thoughts, and actions of the characters.

 

Create interesting plot twists

To develop an interesting plot twist, you need to get inside the minds of readers. One element of bestselling thrillers or mystery novels is that many plot twists can appear quite predictable at the beginnings of stories yet profound and surprising at the ends of the same pieces.

You can create these puzzle pieces to appear one way at the beginning and middle of your stories while creating a sense of jeopardy and conflict. Such story construction encourages readers to exercise their common sense and typical thought processes as they proceed through the plot.

When they encounter your story’s plot twist, readers may be surprised and pleased when your writing reveals your actual story. This shift is what makes the story gripping and exciting for readers. Well-written plot twists are one of your greatest tools as an author of mysteries or thrillers.

 

Ready, set, write!

If you keep in mind these elements of writing a bestselling novel, you can stay on top of your game. Great authors create solid foundations for their stories, incorporate creativity, and understand trends that matter to readers.

 

 

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Sibel Hodge Discusses Her Writing Process

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INTERVIEW

 

 

Is your creative approach to writing each novel the same or does it vary?

I often get asked whether I plan out my plot in advance before I start writing. Urgh, the dreaded P word, I think! I hate plotting. Absolutely hate it!

There are some authors who won’t type a single letter until they’ve got every inch of their plot structure finely tuned in advance. Some authors know their characters intimately before they begin writing, down to what they just had for breakfast. And I wish I could be like that, I really do. I think it could make my job a whole lot easier. But I’m definitely a fly by the seat of my knickers kind of girl! If I get too hung up spending a lot of time plotting in advance, I tend to lose my creativity. I start thinking about it too much and get nowhere. I think I must suffer from some kind of plot dyslexia, because as soon as I pull out a pad and pen and start trying to come up with vast plot notes, the words swim in front of my face in a blur and my brain turns to mush. Is there such a thing as plot-o-phobia?

But unfortunately, plotting is a necessary evil if you want to write a novel. Without a plot, it’s just words on the paper. Your plot should encompass all sorts of things: goals of the characters, conflict, crises, turning points, climax, resolution. And everything you write should advance the plot, although I personally think when writing comedy, you can get away with a few extras in there!

When I wrote my debut romantic comedy, Fourteen Days Later, I didn’t have a clue about any kind of plot, or characters, or structure. All I knew was that my heroine had to do a fourteen-day life-changing challenge, where she completed a new task every day. I knew my ending, but I didn’t have a clue what happened anywhere else. Hmm…slight problem, I hear you say! Well, yes, but as soon as I started tapping out the words on the keyboard it all developed naturally. My characters invented their own plot as they went along.

So far, so good, but what about the next novel? Surely this must’ve been some bizarre fluke, and I’d have to actually think of a plot in advance for the next one. Well, yes and no. My second novel was a comedy mystery. Because of the mystery element, I did need to know a few things before I started. Otherwise how would I weave in all the clues? So this time I did actually write an eency weency plot before I started. It was about three lines for each chapter of things I needed to happen. That was it, though, and I still didn’t have hardly any of my “clues” in there. But again, it all seemed to come together as I wrote it. Creative or crazy? I’m not sure which.

With my third novel, I was getting really stressed trying to plot. I read about different techniques like the Snowflake method and using index cards or graphs, even plotting software, but the plot-dyslexia was kicking in big time! Robert McKee’s Story is an excellent book, by the way, for plotting. (It’s for screenplays but works just as well for novels). But none of it helped me in writing a plot in advance. I wrote a few lines for the first two chapters and after that, nada! So once again, I just started to write and my characters invented their own story. The voices in my head just tell me to do things.

My fourth novel was also a mystery, so again I thought I’d need to at least write some lines of plot to allow for my clues. And this time I did it! Hurrah, I wrote out my plot in advance, doing a storyboard of a paragraph per chapter of things I needed to include. In a lot of ways it was easier to write in this way, but that was the only time I’ve ever managed it.

In my world (which is sometimes scary!) my plot advances on its own, with one scene logically following on from the next. I’m very much character driven. And what works for one author won’t work for another. Even what works for one novel won’t always work for another. However you choose to write a novel or story is very personal. Who knows whether I’ll finally get to write an advanced detailed plot for another novel. Watch this space and I’ll let you know!

 

 

 

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What do you normally begin with?

I usually have a single line idea. For example, with The Disappeared it was that Nicole’s husband died in a plane crash in Africa, but ten months later she receives a letter that could only have come from him. So what happened to him out there? Sometimes I can think of an idea and start on it the next week. Sometimes it has to fester for a year or so to be mixed with another idea.

 

Name some things that has helped your craft as a writer.

Reading. For me, it’s the number one thing that’s helped me understand the craft, to see what I think works or doesn’t work, to understand a writer’s voice that I’m a fan of, and to hone my skills. Then you have to write, write, write! Even if it’s a project that’s never going to be published, it’s all about practice and learning, like anything in life. Also passion is important. If you believe in something so strongly, it will shine through in what you do and motivate you to carry on.

 

 

What are the most challenging aspects of writing?

Every single word! Because one word leads to another and another, which eventually becomes a story (hopefully!). Because I’m not a plotter I can’t relax with my work in progress until I have a first draft and I know for sure I’ve got a story to work with.

 

 

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How do you incorporate pacing in your books?

Chapter length, sentence and paragraph structure, and using multiple points of view are all methods I use to increase or decrease pacing.

 

 

How would you define a Psychological thriller?

A story that messes with your head or emphasises the psychological and emotional states of the character(s). I love psychological thrillers with unreliable narrators, where their motivations or emotions are questionable or you don’t know who to trust.

 

 

What motivated you to write about them?

With The Disappeared it was a documentary I watched, but, unfortunately, I can’t tell you the name now as it will give away the whole story in advance! But I do mention it in my author note at the end of the novel.

When I’m writing I see the scenes playing out in my head, exactly like watching a film. Often they’re accompanied by actors who I think my characters are like or would portray them perfectly. One movie that was also a backdrop in my mind as I was writing this novel was Blood Diamond. And, yes, Leonardo DiCaprio also featured in there, too, who I admire, not just because he’s a hugely talented actor, but because of his work with The Leonardo DiCaprio Foundation that does amazing things for both wildlife and the environment.

Most of my thrillers are inspired by real life events, and research for The Disappearedincluded reading hundreds of online articles from NGOs, government organisations, humanitarian groups, and investigative journalists. I also read many books on the subjects covered in the novel. When I’m writing, I have notes everywhere—snippets of dialogue, character traits and names, statistics, one sentence reminders of things I need to include, and much more. This book was no different, and I had about a hundred pieces of A4 paper filled with the stuff that I had to, somehow, turn into something readable. Fingers crossed readers will experience something that’s both thrilling and exciting, but also authentic and sympathetic to the subject matter.

 

 

In the Disappeared, how did get to know your characters?

I don’t know much about my characters at the beginning of the novel (unless I’m using repeat characters from other books). They always evolve as I’m writing the story.

 

 

 

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Who is Nicole Palmer and what motivates her?

She’s an ordinary woman who’s become unexpectedly widowed. A primary school teacher who believes her husband died in a plane crash in Africa ten months before. But she’s also stronger than she thinks, independent, brave, with a fierce motivation to find out what really did happen to her husband when she realises not everything is as it seems. And she’s about to be tested to the limit.

 

 

Sibel Hodge

 

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Award Winning and International Bestselling Author

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Leave a comment below to enter for a chance to win a free e-book of The Disappeared by Sibel Hodge! 

 

 

 

 

Writing Crime Fiction with Gretta Mulrooney

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Interview with Gretta Mulrooney

 

*Why do you write crime fiction?

 

I write crime fiction because I’m fascinated by motive, secrets, guilt, revenge and betrayal. The genre allows me to cover all kinds of social and cultural issues.  Psychopaths and serial killers don’t interest me. I prefer domestic murders involving people driven to breaking point by rage and disappointment. After all, most people are killed by family members. I like the past breaking into the present and taking revenge – a dish much better eaten cold. A number of my novels have female protagonists and killers. I’m tired of reading about male crime towards women and the world is full enough of that in real life. I reckon that women can be more subtle and strategic in planning to kill and in playing the long game, so you’ll find that theme in some of my books. My crime novels to date have featured a male private detective because I like playing with that genre. I’m now writing a novel with a female police inspector. I love reader feedback and try to respond to everyone who gets in touch.

 

 

*What fascinates you about motive, secrets, guilt, revenge etc.?

I’ve studied psychology and I enjoy considering what propels emotions and actions when writing crime. Guilt and anger are often two sides of the same coin and I like dissecting how these combined emotions can lead to violence and murder. Also, I like to track how every action has a consequence, particularly when the past comes back to bite a character.

 

 

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*What’s your writing process like?

I’d call my writing process organic. I do very little planning. I have the kernel of a plot, create the characters and see where they lead. I often don’t decide on the perpetrator until I’m near the end. Sometimes I’ve changed my mind about who did it at the last minute.

 

 

*What can you tell us about what you’re currently working on?

I’m currently working on my seventh novel about private detective Tyrone Swift. I’m also working on an idea for a novel about a female police detective. I’m having fun with that because I’m creating a fictitious town.

 

 

 

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AUTHOR BIO

I was born and educated in London, of Irish parents. I studied for a degree in English Literature at the University of Ulster, Magee college in Derry. I have worked in education and social care.

I started writing in my thirties and I published four books for children and teenagers with Poolbeg Press, Dublin; A Can of Worms, A Nest of Vipers, A Den of Thieves and I Love You-Te Quiero. These books are available on Amazon.

I have published five literary fiction novels.

Araby and Marble Heart were published by Harper Collins to critical acclaim. They have been translated into Dutch and Spanish.  These books are available on Amazon. They are being reissued in May 2016 by Fourth Estate as Kindle and paperbacks.

Fire and Ice, Out of The Blue and The Apple of Her Eye were published by Robert Hale. These books are available on Amazon.

Out of The Blue was published by Joffe Books as an e book and paperback in February 2016 and is available on Amazon.

Lost Child was published by Joffe Books as an e book and paperback in March 2016 and is available on Amazon. (This was previously published as Fire and Ice by Robert Hale.)

Coming of Age was published by Joffe Books as a e book and paperback in April 2016 and is available on Amazon. (This was previously published as The Apple of Her Eye by Robert Hale.)

I have always been an avid reader of crime fiction and psychological thrillers. I have started a series of crime novels featuring charismatic private detective Tyrone Swift.

The Lady Vanished was published as an e book and paperback by Joffe Books in December 2015 and is available on Amazon.

Blood Secrets, the second novel featuring private detective Tyrone Swift, was published as e book and paperback in spring 2016 and is available on Amazon.

Two Lovers, Six Deaths, the third Tyrone Swift novel, was published as an e book and paperback in December 2016 by Joffe Books and is available on Amazon.

Watching You, the fourth Tyrone Swift novel, was published as an e book and paperback in June 2017 by Joffe Books and is available on Amazon.

Low Lake, the fifth Tyrone Swift novel, was published as an e book and paperback in March 2018 by Joffe Books and is available on Amazon.

Bound By Lies is a boxset trilogy of the first three  novels in the Tyrone Swift series. It was published as an e book and paperback in June 2017 by Joffe Books and is available on Amazon.

 

 

 

 

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Amazon | Goodreads | Website

 

 

 

 

 

 

 

Storytelling with Steven James & Lynn Constantine

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Bestselling author Steven James hosts Lynn Constantine on the Story Blender Podcast

 

 

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This podcast originally appears on thestoryblender.com Feb. 19, 2019. Duration: 55 min.

 

Lynne Constantine is a coffee-drinking, Twitter-addicted fiction author always working on her next book. She is the international bestselling co-author of THE LAST MRS. PARRISH written under the pen name Liv Constantine. Her next book, THE LAST TIME I SAW YOU, comes out on May 7th.

 

 

 

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The internationally bestselling author of The Last Mrs. Parrishfollows that success with an addictive novel filled with shocking twists about the aftermath of a brutal high-society murder.

Dr. Kate English has it all. Not only is she the heiress to a large fortune; she has a gorgeous husband and daughter, a high-flying career, and a beautiful home anyone would envy.

But all that changes the night Kate’s mother, Lily, is found dead, brutally murdered in her own home. Heartbroken and distraught, Kate reaches out to her estranged best friend, Blaire Barrington, who rushes to her side for the funeral, where the years of distance between them are forgotten in a moment.

That evening, Kate’s grief turns to horror when she receives an anonymous text: You think you’re sad now, just wait. By the time I’m finished with you, you’ll wish you had been buried today. More than ever, Kate needs her old friend’s help.

Once Blaire decides to take the investigation into her own hands, it becomes clear that all is not as it seems in Baltimore high society. As infidelity, lies, and betrayals come to light, and tensions rise to a boiling point, she begins to alienate Kate’s friends and relatives with her relentless, accusatory questions, as she tries to find Lily’s killer. The murderer could be anyone—friend, neighbor, loved one. But whoever it is, it’s clear that Kate is next on their list. . .

In The Last Time I Saw You, Liv Constantine takes the lightning pace of The Last Mrs. Parrish and raises the stakes, creating an exquisitely tension-filled and absorbing tale of psychological suspense in which innocent lives—and one woman’s sanity—hang in the balance.

 

Amazon | Goodreads | Website

 

 

 

Liv Constantine authors

 

Liv Constantine is the pen name of USA Today, Wall Street Journal, and international bestselling authors and sisters Lynne Constantine and Valerie Constantine, co-authors of the Reese Witherspoon book club pick, THE LAST MRS. PARRISH. Separated by three states, they spend hours plotting via FaceTime and burning up each other’s emails. They attribute their ability to concoct dark story lines to the hours they spent listening to tales handed down by their Greek grandmother. Their next book, THE LAST TIME I SAW YOU, will be released on May 7, 2019.

 

 

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An Interview with Scott Bell Author of the Abel Yeager Thrillers

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Abel Yeager has settled into a life of domestic bliss with his lovely wife, Charlotte. He’s left the violence and bloodshed behind to concentrate on being a good father and husband. For their long-delayed honeymoon, Abel and Charlie take a Hawaiian cruise. They’re looking forward to hiking volcanoes and sightseeing, once they meet up with Victor “Por Que” Ruiz and his new love, Dr. Alexandra Lopez.

Their idyllic vacation explodes in violence when a group of Hawaiian separatists, incited by a foreign power, rip through the islands, leaving blood and destruction in their wake. When Charlie is caught up with a group of hostages held by the terrorists as human shields, Abel is forced back into warrior mode.

The Hawaiians are supported by a few dozen foreign special forces soldiers, modern gear, and plenty of munitions. Abel has the help of three septuagenarian Vietnam veteran Marines and his pal Victor. Outnumbered and outgunned, Abel will stop at nothing to rescue his wife.

 

Amazon | Goodreads

 

 

 

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*How do you introduce your story to readers in the first chapter?

The beginning of a novel involves three aspects: A character, in a setting, with a problem. (Credit to Monalisa Foster, who came up with the easy definition.) A character means someone with whom the reader can identify. (It doesn’t mean an entire backstory infodump.) A setting is an identifiable place, usually created with minimal brushstrokes, though sometimes more. A problem can be anything from a ticking bomb to a hangnail, and it is rarely the main story problem, though it can be.  I never want to drop an unknown actor into a blank screen and hope the reader will engage–even when starting with an action scene, that’s a recipe for a weak opener.

 

 

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*What comes first before you write a book? An idea, character, specific crime?

Characters are always first. They may not be fully fleshed out, and I may not have everyone’s foibles identified, but I have a general idea of who’s who in the zoo. Next comes the “what if”. What if a truck driving Marine veteran unknowingly picks up a load of cartel cash, which is diverted for delivery to a bookstore? And what if the bookstore is run by a spunky woman who carries a big pistol for protection? What might happen to these two folks if they were jammed together?

 

 

*How do you navigate writing a story without an outline?

Rewrites. Lots of rewrites. Diving into any store without an outline sometimes means I write myself into a corner, but I can’t write to outline. A story is too organic for me to follow a cookbook. Things change. Ideas occur. Characters may go sideways on me. Writing to an outline would be more efficient, but I would get bored and quit.

 

 

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*How do you create your characters?

I look for stereotypes, then I try to twist them up a little. Or I take real life people and exaggerate something in their nature I like, or dislike. The Male Main Character in my Sam Cable mystery series is a big guy with a Boy Scout complex, not always the brightest guy in the room, but a stalwart, straightforward, action-oriented kind of guy, and I juxtapose him with my FMC who’s a small woman with a high IQ and a smartass view of the world. I like to take these different dynamics and throw them in the blender and see what happens.

 

*What’s your experience like writing in first person?

It’s limiting in a lot of ways.  Everyone starts out with 1st person, as it seems natural to tell a story from the “I” perspective, then you quickly realize you’re limited to only the things your POV can sense. I switch POVs from first to third in some novels, which I find helps me jump out of the track and tell a broader, richer story. “They” say don’t do this, but hey. Sue me.

 

 

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*Who is Abel Yeager?

At the DNA-level, Abel is modeled on my paternal grandfather, an uneducated man who was brilliant with mechanical devices and worked with his hands. He was also rumored to have the “hardest fists in the county.” Abel is a sheepdog among the sheep. A protector and a warrior who is fiercely protective of his friends, and bad news to his enemies.

 

 

*Do your books have any thematic elements?

I’m big on the Average Joe theme. None of my characters are James Bond or Jack Reacher types, and they all struggle with day-to-day things like paying the bills. Typically you’ll find my Everyman and Everywoman people thrown into combustible situations and forced to do their best. They make mistakes. They struggle to do the right thing. Sometimes they have to grow to reach their potential.

 

 

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*Name three of the hardest aspects of writing.

1.) The middle. Beginnings are easy, endings are fun. Bridging the gap from the endorphin rush of a good beginning to the pulse-pounding climax takes discipline and work ethic.

 

2.) Plotting. Writing organically (not by outline) can mean scrapping whole sections of a novel. Figuring out how to get my character out of the corner I just wrote him into and keep the plot on track can be a challenge.

 

3.) Waiting. If you trad publish like me, there’s a cycle of waiting that happens with every book and every short story. Query, wait, submit, wait, lather, rinse, repeat.

 

And, just for fun…

 

4.) Reviews. Getting reviews, querying bloggers for reviews, reading reviews and not responding to, or slitting your wrists over, the bad ones…the whole review process is a pain. I typically get good reviews, and I stay in the 4-plus range on average for both Goodreads and Amazon, and yet a single bad review can rub a blister on my ass for days at a time.

 

 

 

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Scott Bell writes because that way he can daydream and claim it on his taxes. A Certified Fraud Examiner and professional Suburban Man, Scott has a wife, two grown kids, and at least one cat sleeping on his keyboard. (The cat, not the wife and kids. They have their own keyboards to sleep on.)

His works include the mystery/thrillers Yeager’s Law, Yeager’s Mission, and April’s Fool, along with the forthcoming Yeager’s Getaway and May Day. He has a Science Fiction novel out called Working Stiffs, and his short stories have appeared in numerous anthologies and online publications.

 

 

Mysteries, thrillers, authors, readers, true crime. Bring your voice. Make some noise in this year’s MYSTERY THRILLER WEEK May 13-24 2019.  #MTW2019 Spread the word.  Sign up to participate:  Participate in MTW 2019

 

 

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The Writer’s Digest Podcast: Old and New Technology with Elizabeth Sims

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The Writer’s Digest Podcast with Gabriela Pereira

 

Episode 11: Writing Technology Old and New with Crime and Mystery writer Elizabeth Sims

 

 

This podcast originally appears on Writer’s Digest December 7, 2018. Duration: 51 min.

 

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Photo credit: Thomas Bender

 

Elizabeth Sims is an American author and writing authority. Her novels include the Lambda Award-winning Lillian Byrd crime series and the Rita Farmer mystery series, and she writes frequently for Writer’s Digest magazine, where she is a Contributing Editor.

Booklist calls her work “crime fiction as smart as it is compelling,” and Crimespree magazine praises her “strong voice and wonderful characters.”
Are you a writer too—or would you like to be one? If so, you might find inspiration in Elizabeth’s book You’ve Got a Book in You: A Stress-Free Guide to Writing the Book of Your Dreams, published by Writer’s Digest Books.

Elizabeth earned degrees in English from Michigan State University and Wayne State University, where she won the Tompkins Award for graduate fiction. She has worked as a reporter, editor, photographer, technical writer, bookseller, street busker, ranch hand, corporate executive, and symphonic percussionist. Elizabeth belongs to several literary societies as well as American Mensa.

To learn more about her and to view a full list of her available works, including free excerpts and book discussion guides, visit www.elizabethsims.com
There you can get in touch and / or join her newsgroup.

 

Writer’s Digest | Elizabeth Sims

 

 

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