You never know what's going to spark an idea for a book. It could be something as significant as the spaceshuttle explosion or something as minor as foot odor.
Of course, foot odor is only minor if, a) it isn't yours, b) you aren't stuck in an enclosed area with someone who has it, and c) the foot odor virus doesn't mutate into a killer fungus that strangles your cat.
And, strangely enough, I haven't yet run into the Great Foot Odor Book, though I'm sure it's lurking out there somewhere. This would be a 'must read.'
I got the idea for The Adventures of Guy because of overwhelming reader response to a humor/business article I wrote where I picked on attorneys, calling them poo-poo heads and weasels.
People liked this!
They wanted more!
So I figured I'd go after, not just attorneys, but telemarketers, Grand Pricks, er, Prix drivers, people who throw cigarette butts out of the car window rather than using the handy cigarette tray that comes standard in most cars (including the Grand Prix) and the differences between plumber's butt and a woman's cleavage. Okay, it's a little sophomoric, but it's fun!!
Anyway, the reason this came up was that I was talking with Karen Syed today and she was talking about poisons (yeah, one of THOSE type discussions, ...heh), and I said, "hey, how about a book where a bad guy poisons people and arranges them into the shape of a letter where when he's done he will have spelled his name?"
We both laughed and I thought, "Nah, Rob Walker probably already did this..."
Norm Cowie
www.normcowie.com
The Adventures of Guy ... written by a guy (probably)
and soon The Next Adventures of Guy... more wackiness
Monday, May 7, 2007
Sunday, May 6, 2007
A Dog Year - by Larry D. Sweazy
Every once in a while, and not as often as I should, I read a book for pleasure outside the mystery genre. Not for research, not for knowledge, but for the pure fun of it. I usually buy the book because I read a review, heard an interview, or God forbid, the cover and blurbs attracted me to it.
One such book is A Dog Year (Random House), by Jon Katz. I heard an interview with Katz on The Diane Rehm Show one day, and bought the book the next day. So much for the idea that radio doesn’t sell books. I didn’t know Jon Katz had written mysteries, and at some point I might check them out, but something tells they are out of print since Katz lost his mystery contract several years ago and started writing books about dogs instead. I missed out on the rush to buy Marley and Me, and the other Dog Story Bestsellers, by not paying much attention to the creative canine nonfiction rage of the day. Typically, if I buy a “dog” book, it’s a training manual, or a book about Rhodesian ridgebacks, the breed I own.
Anyway, since I have 2 dogs, and I had just bought a puppy, Katz’s interview struck a chord with me. A Dog Year chronicles Katz’s tenuous relationship with a rescued border collie named Orson. What I liked about this book, and what Katz has taken some heat for, is his honesty. He doesn’t sugarcoat his anger and downright fear when Orson runs off, dashes in front of a bus, then jumps on the roof of a passing mini-van—the very first night he owns him. He screams, he yells, he’s damn near in tears. Some days, Orson is so disobedient he just pisses Katz off. Now…I’m not advocating yelling at your dog, or throwing a choker chain at them to get their attention, or standing in the front yard half naked calling your dog every name in the Swear Book. These are Katz’s actions—I have my own stories of frustration (ask me about our puppy being banned from the kennel we’ve going to for ten years some time).
Like I said, Katz has taken a lot of heat from a certain segment of pet owners who disapprove of raising your voice to a dog. I didn’t buy the book to pass judgment, I bought it to be entertained. So I’m taking a quick left turn away from the training debate as quickly as I can. But remember why I said I liked this book: Katz told the truth, even when it didn’t present him in the best light. Honest writing trumps the day for me anytime over passing judgment.
There are a lot of tender moments in this book, and I recommend if you want to read A Dog Year, read the book that came out before it, Running to the Mountain. You’ll need the information in Mountain to really understand the heart of A Dog Year. Writing a mystery series obviously served Katz well.
In the end, Orson and Jon Katz survive. They come to an understanding. They become a unit, master and his dog, and dependent on each other. Better yet, they become best friends…but it’s not an easy journey. I liked Katz’s writing style, and he’s a good storyteller. It’s a shame the mystery world let him go, but even he admits that his signing lines are ten times longer now than they were when he was writing mysteries. I say good for him…and I’m glad to have found A Dog Year. It made me feel as if I wasn’t the only person in the world whose patience was tried by a dog. I wasn’t alone in my effort to train, what seemed at the time, a dog that refused to be trained. Isn’t that what all good books do? Remind us that we are not alone? Mystery or not?
One such book is A Dog Year (Random House), by Jon Katz. I heard an interview with Katz on The Diane Rehm Show one day, and bought the book the next day. So much for the idea that radio doesn’t sell books. I didn’t know Jon Katz had written mysteries, and at some point I might check them out, but something tells they are out of print since Katz lost his mystery contract several years ago and started writing books about dogs instead. I missed out on the rush to buy Marley and Me, and the other Dog Story Bestsellers, by not paying much attention to the creative canine nonfiction rage of the day. Typically, if I buy a “dog” book, it’s a training manual, or a book about Rhodesian ridgebacks, the breed I own.
Anyway, since I have 2 dogs, and I had just bought a puppy, Katz’s interview struck a chord with me. A Dog Year chronicles Katz’s tenuous relationship with a rescued border collie named Orson. What I liked about this book, and what Katz has taken some heat for, is his honesty. He doesn’t sugarcoat his anger and downright fear when Orson runs off, dashes in front of a bus, then jumps on the roof of a passing mini-van—the very first night he owns him. He screams, he yells, he’s damn near in tears. Some days, Orson is so disobedient he just pisses Katz off. Now…I’m not advocating yelling at your dog, or throwing a choker chain at them to get their attention, or standing in the front yard half naked calling your dog every name in the Swear Book. These are Katz’s actions—I have my own stories of frustration (ask me about our puppy being banned from the kennel we’ve going to for ten years some time).
Like I said, Katz has taken a lot of heat from a certain segment of pet owners who disapprove of raising your voice to a dog. I didn’t buy the book to pass judgment, I bought it to be entertained. So I’m taking a quick left turn away from the training debate as quickly as I can. But remember why I said I liked this book: Katz told the truth, even when it didn’t present him in the best light. Honest writing trumps the day for me anytime over passing judgment.
There are a lot of tender moments in this book, and I recommend if you want to read A Dog Year, read the book that came out before it, Running to the Mountain. You’ll need the information in Mountain to really understand the heart of A Dog Year. Writing a mystery series obviously served Katz well.
In the end, Orson and Jon Katz survive. They come to an understanding. They become a unit, master and his dog, and dependent on each other. Better yet, they become best friends…but it’s not an easy journey. I liked Katz’s writing style, and he’s a good storyteller. It’s a shame the mystery world let him go, but even he admits that his signing lines are ten times longer now than they were when he was writing mysteries. I say good for him…and I’m glad to have found A Dog Year. It made me feel as if I wasn’t the only person in the world whose patience was tried by a dog. I wasn’t alone in my effort to train, what seemed at the time, a dog that refused to be trained. Isn’t that what all good books do? Remind us that we are not alone? Mystery or not?
Saturday, May 5, 2007
Let's talk about belly dancing by Margot Justes
Yes, belly dancing - it all started many years ago, in a club in Madrid, Lucero Tena was on stage and she was magnetic. She was an unforgetable Flamenco dancer.
I have loved classical Flamenco dancing ever since. It is fluid, it is sensual, it is passionate - of course I have to use these words - first of all it is true, and after all I do belong to Romance Writers of America. I will segway to belly dancing don't worry. Every movement is calculated for maximum effect to bring out the most sensory feelings in the perfomer and the audience.
I have found a similarity in belly dancing. The music is exotic and rousing, just listen to Tarkan, a Turkish heart-throb, and you will not not be able to sit still. Whereas I would never in this lifetime attempt Flamenco dancing, I did try belly dancing, and I love it.
The movements portray a very similar feeling, evoke a similar response from the audience. Belly dancing is fun, great exercise, and lightens the spirit. I can shimmy with the best of them, well maybe not the best, but I can assuredly hold my own and I use muscles I never knew I had.
If you want, you too can learn to shimmy, and have fun, don't worry about the pain and muscle strain, that comes the following day.
If you cannot find an instructor, just visit the Sphinx restaurant in Niles, IL. They have dancers, occasionally my instructor is among them.
Till next week,
Margot Justes
www.mjustes.com
A Hotel In Paris
Echelon Press June 2008
I have loved classical Flamenco dancing ever since. It is fluid, it is sensual, it is passionate - of course I have to use these words - first of all it is true, and after all I do belong to Romance Writers of America. I will segway to belly dancing don't worry. Every movement is calculated for maximum effect to bring out the most sensory feelings in the perfomer and the audience.
I have found a similarity in belly dancing. The music is exotic and rousing, just listen to Tarkan, a Turkish heart-throb, and you will not not be able to sit still. Whereas I would never in this lifetime attempt Flamenco dancing, I did try belly dancing, and I love it.
The movements portray a very similar feeling, evoke a similar response from the audience. Belly dancing is fun, great exercise, and lightens the spirit. I can shimmy with the best of them, well maybe not the best, but I can assuredly hold my own and I use muscles I never knew I had.
If you want, you too can learn to shimmy, and have fun, don't worry about the pain and muscle strain, that comes the following day.
If you cannot find an instructor, just visit the Sphinx restaurant in Niles, IL. They have dancers, occasionally my instructor is among them.
Till next week,
Margot Justes
www.mjustes.com
A Hotel In Paris
Echelon Press June 2008
Friday, May 4, 2007
ESTABLISHING SHOTS – by Robert W. Walker
No, this is not about booze. It is about making the right opening moves in your story…first lines and first paragraphs which Establish character and much more.
When you open a story, you really have to rework it and rewrite it so that those opening moments are pure gold…as pure as you can make them. Clear as you can make them as well. Think of every good film that has SET the stage in the very first seconds and minutes of the film. These first shots establish time and place along with tension and character. Perhaps you might have a page or two to interest the reader in a character or the actions being taken by a character, but this can’t possibly happen if your story opens in a miasma of confusion in which we know nothing whatsoever of the setting, the time, the character, perhaps his or her occupation, where his or her hands are at the moment, what action(s) the character(s) are currently occupied with…what pie they have their hands in.
To become proficient at opening chapters and new scenes, all this has to be repeated again…over again with each geographical shift, point of view shift, time shift. Such shifts have to be carefully “glued” together by comforting road signs as with a time word or two such as since, before, then, now, when…
To become proficient at openings, read the back jacket copy of every paperback you can get your hands on, and tell me how many of these “interest” grabbers appear in paagraph one or two: Time period, setting with place names, character’s names (names have resonance), occupation of main character, chief tension or problem.
Take a lesson from the back-flap writers. In fact, become adept at writing your own “flap” to place in your query letter and synopsis. They say never judge a book by its cover, but when the flap is well written, go ahead—judge a book by its synopsis. Learn to write the most important short story you will ever need to write—the story of your story in its most elemental form, my dear Watson.
You can also use this in pitch sessions! You may want to begin with the word WHEN.
Just when Inspector Alastair Ransom had cut off the head of one snake slithering about the gaslit streets of Chicago in 1893, a second fiend raises his ugly head to mar the prosperity of the city and the success of the World’s Fair. In one fell swoop, one sentence, you get the name and profession of the main character, the time period and the location and a teasing tension. Write the copy you’d like to see on the back of your book!
When you open a story, you really have to rework it and rewrite it so that those opening moments are pure gold…as pure as you can make them. Clear as you can make them as well. Think of every good film that has SET the stage in the very first seconds and minutes of the film. These first shots establish time and place along with tension and character. Perhaps you might have a page or two to interest the reader in a character or the actions being taken by a character, but this can’t possibly happen if your story opens in a miasma of confusion in which we know nothing whatsoever of the setting, the time, the character, perhaps his or her occupation, where his or her hands are at the moment, what action(s) the character(s) are currently occupied with…what pie they have their hands in.
To become proficient at opening chapters and new scenes, all this has to be repeated again…over again with each geographical shift, point of view shift, time shift. Such shifts have to be carefully “glued” together by comforting road signs as with a time word or two such as since, before, then, now, when…
To become proficient at openings, read the back jacket copy of every paperback you can get your hands on, and tell me how many of these “interest” grabbers appear in paagraph one or two: Time period, setting with place names, character’s names (names have resonance), occupation of main character, chief tension or problem.
Take a lesson from the back-flap writers. In fact, become adept at writing your own “flap” to place in your query letter and synopsis. They say never judge a book by its cover, but when the flap is well written, go ahead—judge a book by its synopsis. Learn to write the most important short story you will ever need to write—the story of your story in its most elemental form, my dear Watson.
You can also use this in pitch sessions! You may want to begin with the word WHEN.
Just when Inspector Alastair Ransom had cut off the head of one snake slithering about the gaslit streets of Chicago in 1893, a second fiend raises his ugly head to mar the prosperity of the city and the success of the World’s Fair. In one fell swoop, one sentence, you get the name and profession of the main character, the time period and the location and a teasing tension. Write the copy you’d like to see on the back of your book!
Thursday, May 3, 2007
Character Insight! A child's POV
When Promises To Keep was published, my editor thought it should be two books instead of one. So now, as I work on the back half that is not published I've come upon a few obstacles that I had covered early in Promises To Keep, namely character descriptions and insight to their personalities. In order to not feel as if I'm rewriting part of the first book, I had to come up with new ways of describing my characters. I chose to use the children in a few places. They are minor but important characters and this way of writing is nothing new, but to those struggling with a similar problem, I wanted to share with you how I accomplished this.
Promises My Love is the contination of Promises To Keep. It is a family saga, set in the mid 1840's Kentucky. The boy Jimmy in this scene is the son of Francis Frailey, both are main characters. The girl is a neighbor and continues to be a minor character throughout the book. The two children are sitting on the girl's back porch after Jimmy's piano lessons. Jim loves playing the piano, he simply doesn't like his instructor and has been verbalizing his dislike to his young friend Kazarah. Jimmy's little sister Crystal is also with them on the porch steps.
"Pa's home," Jimmy sounded happier now. "An' I bet it won't take 'im two shakes to come looking for Crystal."
Kazarah knew what Jimmy said to be true. Five minutes passed before Mr. Frailey crossed the yard. Kazarah watched as he squatted in front of the little girl. His big hand moved gentle when he stroked Crystal's hair, then Mr. Frailey sniffed as the tot held the bedraggled flower out to him.
"Hmm," his soft voice drifted up. "Who gave you the pretty flower?"
"Dimmy did," Crystal giggled at her daddy, and Mr. Frailey smiled too. Kazarah realized how young and tall Mr. Frailey was compared to her own daddy. Her daddy's hair was almost gone and she liked kissing his rough bewhiskered cheek. But Crissy's daddy dressed perfect in a gray suit and a stiff white shirt. His hair was light-colored and short cropped, nary a scrap of gray like her pa's. And his clean shaven face looked quite proper even when he noticed the scowl Jimmy wore. Mr. Frailey's smile warmed his features when he asked in a quiet voice, "What happened this week?"
Jimmy bounced off the steps, rattling on much like before. As Mr. Frailey lifted Crystal into his strong arms, he patted her ruffled skirt down, but Kazarah still glimpsed pale stockings. Mr. Frailey nodded his goodbye and Kazarah smiled shyly at his kind manners. The threesome sauntered to the big house across the way and Kazarah watched them til they reached their back door.
So, through the eyes of this child Kazarah my readers have a better understanding of Francis Frailey. By the time the POV turns to Francis the reader will already have some insight as to his quiet reserve.
Writing sequels or a series is a great way to build your reader audience. And I hope sharing this excerpt helps in your writing tasks.
Til next time ~
Deb (DL Larson)
Promises My Love is the contination of Promises To Keep. It is a family saga, set in the mid 1840's Kentucky. The boy Jimmy in this scene is the son of Francis Frailey, both are main characters. The girl is a neighbor and continues to be a minor character throughout the book. The two children are sitting on the girl's back porch after Jimmy's piano lessons. Jim loves playing the piano, he simply doesn't like his instructor and has been verbalizing his dislike to his young friend Kazarah. Jimmy's little sister Crystal is also with them on the porch steps.
"Pa's home," Jimmy sounded happier now. "An' I bet it won't take 'im two shakes to come looking for Crystal."
Kazarah knew what Jimmy said to be true. Five minutes passed before Mr. Frailey crossed the yard. Kazarah watched as he squatted in front of the little girl. His big hand moved gentle when he stroked Crystal's hair, then Mr. Frailey sniffed as the tot held the bedraggled flower out to him.
"Hmm," his soft voice drifted up. "Who gave you the pretty flower?"
"Dimmy did," Crystal giggled at her daddy, and Mr. Frailey smiled too. Kazarah realized how young and tall Mr. Frailey was compared to her own daddy. Her daddy's hair was almost gone and she liked kissing his rough bewhiskered cheek. But Crissy's daddy dressed perfect in a gray suit and a stiff white shirt. His hair was light-colored and short cropped, nary a scrap of gray like her pa's. And his clean shaven face looked quite proper even when he noticed the scowl Jimmy wore. Mr. Frailey's smile warmed his features when he asked in a quiet voice, "What happened this week?"
Jimmy bounced off the steps, rattling on much like before. As Mr. Frailey lifted Crystal into his strong arms, he patted her ruffled skirt down, but Kazarah still glimpsed pale stockings. Mr. Frailey nodded his goodbye and Kazarah smiled shyly at his kind manners. The threesome sauntered to the big house across the way and Kazarah watched them til they reached their back door.
So, through the eyes of this child Kazarah my readers have a better understanding of Francis Frailey. By the time the POV turns to Francis the reader will already have some insight as to his quiet reserve.
Writing sequels or a series is a great way to build your reader audience. And I hope sharing this excerpt helps in your writing tasks.
Til next time ~
Deb (DL Larson)
Wednesday, May 2, 2007
TISSUE PAPER THEORY By Morgan Mandel
This does not usually happen to me. I'm very careful to check all the pockets in the clothes I put into the wash. Well, I had a cold. At the last minute I found an extra pair of slacks that needed washing and in they went.
And out came the tissue paper and mixed with all the clothes in the wash. Not a happy sight. I was not a happy camper. What a pain shaking it off, pulling it off, trying to get rid of it.
Well, the Internet is kind of like that. Once you put something on there, it scatters in all directions in places you least expect to find it and sometimes where you don't want to find it.
So, be careful what you put on there or you may not be able to get rid of it.
Well, that's my tissue paper theory. Gotta go - In a rush - Getting ready for vacation - Friday through Mother's Day.Hope to post a blog sometime next week from vacation in between shopping, going out to eat, and my big passion - slots at the casino. If you don't see one and need some kind of blog fix, come on over to Book Place, my new ning network, where people do all sorts of book sharing and promotion - blogs, events, contests, book recommendations, lots more - at http://bookplace.ning.com
Morgan Mandel
And out came the tissue paper and mixed with all the clothes in the wash. Not a happy sight. I was not a happy camper. What a pain shaking it off, pulling it off, trying to get rid of it.
Well, the Internet is kind of like that. Once you put something on there, it scatters in all directions in places you least expect to find it and sometimes where you don't want to find it.
So, be careful what you put on there or you may not be able to get rid of it.
Well, that's my tissue paper theory. Gotta go - In a rush - Getting ready for vacation - Friday through Mother's Day.Hope to post a blog sometime next week from vacation in between shopping, going out to eat, and my big passion - slots at the casino. If you don't see one and need some kind of blog fix, come on over to Book Place, my new ning network, where people do all sorts of book sharing and promotion - blogs, events, contests, book recommendations, lots more - at http://bookplace.ning.com
Morgan Mandel
Tuesday, May 1, 2007
So many conferences so little time
Todd and I returned on Saturday from the Romantic Times Book Lovers Convention (in Houston this year) where his Novelist's Boot Camp was a huge success--standing room only. As often happens several of the attendees asked him to come to their neck of the woods and put on a boot camp for their particular writers group.
The irony is that we have limited time available to tour the country putting on boot camps because of our day jobs but we can't afford to quit our day jobs. Our day jobs come with perks we would not be able to replace as self-employed writers. The benefits that big business can provide - health coverage, retirement plans, paid vacations (to go to writer's conferences)- are too important to overlook. Ergo the saying - Don't quit your day job!
At the same time conferences can cost hundreds if not thousands of dollars (depending on travel, hotel and registration fees) and often writers need a day job to fund their writing expenses. Another reason not to quit your day job.
Why go to conferences? This is an important question for writers to answer for themselves given the expense and time often involved. Promotional opportunities and book signing fairs are often the main reasons. Workshops are usually available on a variety of topics that are important to a writer's career - yes I said career!
For aspiring (and sometimes published) authors a main attraction of conferences and conventions is the opportunity to meet editors and agents face-to-face and to network with them in a way that will hopefully get their manuscript on an editors desk.
Over the years Todd and I have attended many conferences and conventions both local and far away and one thing that has resonated again and again is how many aspiring writers have not done the one thing that all editors and agents want - finish the book. An idea only gets a novice writer so far in this business.
Finishing and polishing the book is the central theme of Novelist's Boot Camp and some editors have specifically recommended Novelist's Boot Camp to aspiring writers, which makes us very happy. In fact, if it weren't for Novelist's Boot Camp I probably wouldn't have a completed first draft myself which I'm now polishing using many of the drills in Novelist's Boot Camp.
In addition to my completed first draft, I have ten beginning novels with anywhere from three to five chapters written and I would bug (probably annoy) Todd with my frustration that I couldn't seem to get past this point in my writing. I often tell people that he wrote the book because of me and all the questions I asked. Now he can just say - RTFB (my variation on geek speak for RTFM - Read the you-know-what Manual). Of course, Todd doesn't say this - he's too much of a professional and a gentleman - but I do read the pieces of Novelist's Boot Camp whenever I need them and I can honestly say that I'm glad that he wrote the you-know-what book!
The irony is that we have limited time available to tour the country putting on boot camps because of our day jobs but we can't afford to quit our day jobs. Our day jobs come with perks we would not be able to replace as self-employed writers. The benefits that big business can provide - health coverage, retirement plans, paid vacations (to go to writer's conferences)- are too important to overlook. Ergo the saying - Don't quit your day job!
At the same time conferences can cost hundreds if not thousands of dollars (depending on travel, hotel and registration fees) and often writers need a day job to fund their writing expenses. Another reason not to quit your day job.
Why go to conferences? This is an important question for writers to answer for themselves given the expense and time often involved. Promotional opportunities and book signing fairs are often the main reasons. Workshops are usually available on a variety of topics that are important to a writer's career - yes I said career!
For aspiring (and sometimes published) authors a main attraction of conferences and conventions is the opportunity to meet editors and agents face-to-face and to network with them in a way that will hopefully get their manuscript on an editors desk.
Over the years Todd and I have attended many conferences and conventions both local and far away and one thing that has resonated again and again is how many aspiring writers have not done the one thing that all editors and agents want - finish the book. An idea only gets a novice writer so far in this business.
Finishing and polishing the book is the central theme of Novelist's Boot Camp and some editors have specifically recommended Novelist's Boot Camp to aspiring writers, which makes us very happy. In fact, if it weren't for Novelist's Boot Camp I probably wouldn't have a completed first draft myself which I'm now polishing using many of the drills in Novelist's Boot Camp.
In addition to my completed first draft, I have ten beginning novels with anywhere from three to five chapters written and I would bug (probably annoy) Todd with my frustration that I couldn't seem to get past this point in my writing. I often tell people that he wrote the book because of me and all the questions I asked. Now he can just say - RTFB (my variation on geek speak for RTFM - Read the you-know-what Manual). Of course, Todd doesn't say this - he's too much of a professional and a gentleman - but I do read the pieces of Novelist's Boot Camp whenever I need them and I can honestly say that I'm glad that he wrote the you-know-what book!
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