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.

 

 

 

SCENE - 3d rendered headline

 

 

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

 

Breaking News: On Becoming Jessica Fletcher by Jon Land

Breaking News Screen over red background

 

 

 

ON BECOMING JESSICA FLETCHER

 

I got the call from my agent on a Sunday afternoon last May.

“Don Bain isn’t well,” he said, referring to another client who’d penned all 46 titles in the Murder, She Wrote series. “He’s not going to be able to write the MURDER SHE WROTE books anymore. Would you be interested in taking the series over?”

It took me all of two seconds to respond. “Absolutely,” I said.

Of course, at that point I had no idea what I was in for because I’d never read a single book in the series, although I was a huge fan of the spectacularly successful television show on which they were based. I’d also never written in first person, much less from the viewpoint of a woman in her 60s. As a thriller author, I’d also never written a mystery, never mind a cozy.

 

 

 

Detective man and dangerous woman with a gun

 

 

 

Go figure, right?

But this isn’t a market to look a gift horse in the mouth. The opportunity was too great to pass up and I proceeded to craft a compelling argument to Don Bain, who I knew and greatly respected as a writer, that I was the right author to replace him, even though I couldn’t be sure at that point I was.

Fast forward almost a year . . . My first effort, A Date with Murder, will be published May 1 and response so far has been astoundingly positive. And I just turned in my second book writing as Jessica Fletcher, Manuscript for Murder, which is slated for publication in November. What’s happened in between has been among the best, and most fortuitous, experiences of my entire career.

How exactly, though, does a long-time, hardcore thriller author transition to softer mysteries with a far lower body count and when the country or even the world are not at stake?

 

 

 

 

Plot - Gold text on black background - 3D rendered stock picture.

 

 

 

Glad you asked! Fortunately, Don had worked with his grandson Zach, who’d become a crucial collaborator for me, on the first 60 or so pages of A Date with Murder. Enough to give me a notion as to the story and, more importantly, a direct link to Jessica’s voice. Finding that voice myself, in my own head, became the first challenge. But it was one that came to me with surprising ease and in true organic fashion. Getting into Jessica’s head became as simple as channeling Angela Lansbury from the classic TV show. I pictured her behind every page, speaking every line.

My mother was also a fan of the show and she plays a big part in all this too, thanks to her subscribing to the Mystery Guild, a book club that provided front list titles in special editions. So our bookshelves were full of classic titles by Agatha Christie, Rex Stout, Earl Stanley Gardner, Ed McBain and many more, and in my early teens I devoured more of them than I can count. I can still remember some of those tales and I decided in writing the MURDER, SHE WROTE series that I’d try to recapture the same feeling I got in reading them.

No easy task, given the fact that Jessica Fletcher is almost without question America’s most famous (amateur) detective. More well-known than Hercule Poirot, Perry Mason and maybe even Sherlock Holmes, never mind the slew of wonderful modern-day sorts from Robert Parker’s Spenser to Sue Grafton’s Kinsey Milhone to Patricia Cornwall’s Kay Scarpetta. That’s a huge challenge for any writer, much less one used to penning only thrillers.

 

 

 

Don't Limit Your Challenges - Challenge Your Limits - Workout Motivation - Fitness Center - Motivational Quote - Sport Illustration - Inspirational - Card Calligraphy Art - Typography

 

 

 

Meanwhile, finding Jessica’s voice might’ve been my first challenge, but the next one was blending it with my own. My style makes great use of hooks, cliff-hangars, and plot twists—often so many of them you have to stop to catch your breath. Almost overnight, A Date with Murder transformed into a hybrid mystery-thriller. A mystery because Jessica is trying to solve the murder of a trusted friend; thriller because she ends up risking her own life to expose a nefarious plot connected to a sinister Internet dating service. I wasn’t going too far out on a limb because Don Bain’s books had often cast her in the role of crusader, solving a murder that hits close to home.

I went into the series knowing that first and foremost I needed to capture the series’ core audience that loves the bucolic setting of Cabot Cove and the regular, established cast of characters Jessica interacts with and plays off of. For the dialogue, I relied on the quick, tart and witty exchanges between Angela Lansbury and the late, great Jerry Orbach as Harry McGraw or Ron Masak as Sheriff Mort Metzger. I wasn’t out to reinvent the wheel, you see, just make it churn a little faster. I’m not sure what was more amazing: How swiftly I took to the process or how naturally Jessica’s words and thoughts started to flow for me.

I wanted to make the series mine, put my stamp on it. But MURDER, SHE WROTE doesn’t belong to me and never will. It belongs to the tens of millions of readers and viewers who’ve come to cherish the stories, watching or reading them over and over again while trying to keep up with Jessica Fletcher. Like all great fictional heroes, she’s timeless, ageless, eternal. After me, someone else no doubt will take the reins of this series. While they’re in my hands, though, I’m grateful for the opportunity enjoy the ride at the same time I give you and all readers the best one I can.

So is A Date with Murder a cozy, a mystery, a thriller? You know, I’m not sure. I do know that I had a blast writing it and here’s hoping you have a blast reading it.

 

 

 

 

Jon Land Author pic

 

 

 

Since his first book was published in 1983, Jon Land has written twenty-eight novels, seventeen of which have appeared on national bestseller lists. He began writing technothrillers before Tom Clancy put them in vogue, and his strong prose, easy characterization, and commitment to technical accuracy have made him a pillar of the genre.

Land spent his college years at Brown University, where he convinced the faculty to let him attempt writing a thriller as his senior honors thesis. Four years later, his first novel, The Doomsday Spiral, appeared in print. In the last years of the Cold War, he found a place writing chilling portrayals of threats to the United States, and of the men and women who operated undercover and outside the law to maintain U.S. security. His most successful of those novels were the nine starring Blaine McCracken, a rogue CIA agent and former Green Beret with the skills of James Bond but none of the Englishman’s tact.

In 1998 Land published the first novel in his Ben and Danielle series, comprised of fast-paced thrillers whose heroes, a Detroit cop and an Israeli detective, work together to protect the Holy Land, falling in love in the process. He has written seven of these so far. The most recent, The Last Prophecy, was released in 2004.

Recently, RT Book Reviews gave Jon a special prize for pioneering genre fiction, and his short story “Killing Time” was shortlisted for the 2010 Dagger Award for best short fiction and included in 2010’s The Best American Mystery Stories. Land is currently writing Blood Strong, his fourth novel to feature Texas Ranger Caitlin Strong—a female hero in a genre which, Land has said, has too few of them. The second book in the series, Strong Justice (2010), was named a Top Thriller of the Year by Library Journal and runner-up for Best Novel of the Year by the New England Book Festival. The third, Strong at the Break, will be released this year, and the fourth, Blood Strong, will follow in 2012. His first nonfiction book, Betrayal, written with Robert Fitzpatrick, tells the behind-the-scenes story of a deputy FBI chief attempting to bring down Boston crime lord Whitey Bulger, and will also be released in 2011.

 

Amazon | Goodreads | Website | Facebook | Twitter

 

 

 

 

 

 

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

Metallic Wrecking Ball Shattering Wall

 

 

 

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.

 

 

 

 

Traffic cop

 

 

 

 

 

 

Melinda Leigh image

 

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.

 

 

Writing, Rewriting, and Craft with Elena Hartwell

Colorful creative word

 

 

 

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A Special Talk with Bestselling Author Steven James

Whispers and secrets

 

 

I had opportunity to ask a few questions from one of my favorite authors and storytellers, Steven James. If you haven’t heard of Steve yet; he’s the critically acclaimed author of the Patrick Bowers Files, the Blur Trilogy, the Jevin Banks series, as well as books on the writing craft.

Steven James also teams up with another Bestselling author, Robert Dugoni, who both are instructors at the Novel Writing Intensive Retreat.

 

Other notables…

  • Steven hosts a great podcast called the “The Story Blender” where he interviews leading storytellers in film, print, and web.
  • His book Story Trumps Structure won a storytelling award.
  • Has twice served as Master Craftfest instructor at ThrillerFest a premier training event for suspense writers.
  • International Thriller Award Finalist, Retailers Choice Award Finalist, Suspense Magazine Book of the Year, Best Crime Thriller Christy Award, and multiple Christy Awards.

 

So if you haven’t been on the bandwagon yet, hop on in!

 

 

Three  pug chihuahua mix - chug-  puppies  in a red wagon

 

 

 

From your recent interviews on the Storyblender which things have stood out to you? Or what have you learned?

A couple of moments pop to mind. When I was interviewing Sandra Brown, she mentioned asking herself the question “What do I know that readers don’t?” and, I believe, in her book she tries only to reveal this on the last page. I thought that was a great question to ask. When I spoke with Hollywood producer Steve La Rue, I asked him who was the main character in the X Files, one of the shows that he championed. He told me that it was Scully because she’s the one who’s transformed throughout the series. This is something that I had believed myself and it was informative to have him confirm it. It’s hard to choose, as our guests have been wonderful, and the interviews are always informative, not just to listeners but also to me.

 

 

 

e-Learning Concept. Computer Keyboard

 

 

In Every Wicked Man, do you have any thoughts on how the next case affects Patrick Bowers?
 
Every Wicked Man is really a story that ties together the prequel series with the chess series, completing the narrative circle. Although Patrick certainly has his work cut out for him tackling the case in this book, it’s a much more intimate look at his relationship with Christie, his wife, and Tessa, his stepdaughter, as he steps into the role of being a father-figure for her.
According to your experience as a storyteller and reader how would you define the imagination?
What an interesting question. I’m not sure how to define the imagination, but I certainly try to appeal to it through the stories that I tell and write. I feel like one of the best ways to do so is through sharing instances where people can identify with either the emotion of an experience or the truth that the story conveys. Very often, humor comes in pointing out truth that people haven’t noticed yet. Sometimes this can be done through exaggeration, but when an audience or when readers identify with something, nod their heads and say “yes, that’s true” or “yes, I’ve experienced that,” then you’ve made the connection to their beliefs and their imaginations.
Are  you pumped for the upcoming ITW online Thriller school?
I’m always excited to share insights that I’ve learned over the last twenty years of being a writer, but this event holds a special place for me because it is targeted at those who write suspense or thrillers just as I do. Another great opportunity that your tribe might be interested in is the Character Conference I’m teaching in October in Atlanta with a couple of other mystery/suspense writers (www.characterconference.com). For anyone who signs up through this interview, if they use the code ALUMNI, they can receive a $25 discount on the registration cost. 

Gabriela Pereira Interviews Jane Friedman – The Business of Writing

podcast

 

 

Episode 194: The Business of Writing — Interview with Jane Friedman

This podcast originally appears on DiyMFA.com April 11, 2018 Length: 39 min.

 

 

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.

 

DIY MFA

 

 

******

 

 

Jane Friedman

 

Jane Friedman has 20 years of experience in the publishing industry, with expertise in digital media strategy for authors and publishers. She’s the co-founder and editor of The Hot Sheet, the essential publishing industry newsletter for authors, and the former publisher of Writer’s Digest. In addition to being a professor with The Great Courses and the University of Virginia, she maintains an award-winning blog for writers at JaneFriedman.com.

Jane has delivered keynotes on the future of authorship at the San Francisco Writers Conference, The Muse & The Marketplace, and HippoCamp, among many other conferences. She speaks regularly at industry events such as BookExpo America and Digital Book World, and has served on panels with the National Endowment for the Arts and the Creative Work Fund.

 

 

The Business of being a Writer Jane Friedman

 

Amazon | Goodreads

 

If you are a writer looking for the business education you feel you never received, I hope this book provides the missing piece. While I try to be encouraging, and want you to feel capable and well informed, I don’t sugarcoat the hard realities of the business. When you decide to pursue a writing career, you’ll experience frustration, again and again, and not just in the form of rejection letters. But it helps to know what’s coming and that your experience is normal. Writers who are properly educated about the industry typically feel less bitterness and resentment toward editors, agents, and other professionals. They are less likely to see themselves as victimized and less likely to be taken advantage of. It’s the writers who lack education on how the business works who are more vulnerable to finding themselves in bad situations.

 

Jane Friedman

Twitter | Website | Amazon | Facebook | Goodreads

 

 

 

 

 

Blog Tour: Black Soul

Black Soul 2

 

 

 

BLACK SOUL by T.J. BREARTON
A gripping and dark international thriller that you won’t want to put down.

A seventeen year-old girl is missing in Honduras.

Free-spirited Rene Sterling vanished ten days ago. Her father fears she’s been sold into sex slavery. Investigators William Chase and Hanna Beckett are his last hope to find her.

The island paradise she was exploring conceals dark crimes, corruption and real danger.

Hanna and William’s mission is to disrupt human-trafficking gangs across the world. But this investigation will push their relationship to breaking point and put their lives at risk.

In a thrilling conclusion, they face a choice between real justice and obeying the law.

Perfect for fans of Stieg Larsson, Jo Nesbo, or Dennis Lehane novels.

This is the fourth book in the best-selling Titan Series, though it can be read as a standalone.

TITAN SERIES:
HABIT, SURVIVORS, DAYBREAK, BLACK SOUL

 

 

Reading on the beach

 

********

 

Book Review - 3d rendered metallic typeset

 

 

I find myself really cheering for William and Hanna in this one. The crimes are hideous and outrageous. They embark on a wild journey to save these children from horrible lives in human trafficking. T.J. Brearton does a wonderful job crafting the perpatrators and the William and Hanna. I’ve been seeing more novels about solving these type of crimes and I’m putting the Titan series on my TBR list! Great job.

 

 

 

 

Awesome Word Rubber Stamp 3D Rating Review Feedback

 

 

 

 

TJ Brearton Author photo png

 

 

BIO
T. J. Brearton is a bestselling author and screenwriter. His books have been on the top 100 list for Amazon Kindle in the US, UK, and Canada. He has written more than a dozen novels from his home in the Adirondacks where he also enjoys competing with his three children for his wife’s attention.

 

Facebook | Twitter | Website | Goodreads

 

 

 

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

 

 

Sign Up website pin label icon

 

 

 

 

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

 

 

 

 

Masterclass: How to Get Reviews with Mark Dawson

Retro TV

 

SPF Podcast 106: How to Get Reviews

 

 

 

Audio | How to Get Reviews Tip sheet | Full Transcript

 

 

 

thumbs up young man

2018 Breakthrough Novel Awards: Join the Competition

Breakthrough Novel Award logo

 

IN SEARCH OF THE NEXT BESTSELLER…

 

 

Breakthrough Novel Awards 2018

 

 

 

CONTEST RULES 

Elimination round will end on May 15, 2018 and entrants who will progress to the Final Round will be notified. One winner will be announced on June 15, 2018.

 

Join the competition: BREAKTHROUGH NOVEL AWARDS 2018

 

 

Trophy number one

 

Could your manuscript be the next bestseller?

 

Join the competition