IT’S TELEVISION TUESDAY
Keeping It Clean With Post-Apocalyptic Fiction (The Self Publishing Show, episode 178)
Want to write a crime-fiction story but not sure where to start? Are you between drafts and feeling stuck? Do you feel that you just don’t know enough about police work to write a believable police detective protagonist?
In this conversational and fact-filled handbook, veteran police detective Adam Richardson answers the criminal investigation questions most frequently asked by authors and screenwriters. Unlike many other writing guides about “the cop stuff,” the Writer’s Detective Handbook addresses police procedure and criminal investigation from the storyteller’s perspective.
The Writer’s Detective Handbook: Criminal Investigation for Authors and Screenwriters equips storytellers with the ability to tell a great story while keeping the police-work aspects believable. Reading this book will empower you to write the crime-fiction story you’ve been dying to tell!
I can’t say that setting is any more or less important to historical fiction than any other genre as every genre has its conventions. What makes or breaks a novel is how deft an author is at conveying the expected milieu. In that, historical fiction can be unforgiving. Readers who love this genre already know their history. Beware the author who doesn’t check her facts for she will suffer the slings and arrows of critics who remind her that sycamores are an American tree and potatoes come from the New World. For the record, neither of those were my errors but I have heard from readers protesting facts that in other genres would be deemed unworthy of comment.
In historical fiction it’s not enough to be comfortable with the details of your chosen time period. You also have to get that information from your brain through your fingers and into the book in a way that doesn’t stop the flow. For me that requires writing out all the details I think I’ll need for a particular scene, say a meal in a merchant’s house. How many tables are there and how are they set? What’s on the floor? Where are the windows, if there are windows? Is there a newfangled chimney or is there a central hearth? What colors/designs are painted on the walls? What
furniture might there be besides the tables? Is there crockery? How does it smell? What sounds fill the air from nearby homes or their own workshops? Are they close enough to hear the bells from the nearest church? Are there regraters outside in the street selling goods? Is the neighboring merchant shouting out to passers-by about his wares?
Once I’ve answered those questions, I go back and tighten, tighten, tighten, eliminating this, shortening that, until there are just enough details to describe the scene without slowing the action. This is very hard to do for someone who writes history textbooks disguised as novels to educate unsuspecting readers. I want to share every cool fact I’ve learned. To protect my readers, I employ this mantra: “If I love it, take it out.”
I would say very. The historical backdrop is almost like a character in itself. Readers love the details and historical trivia. Otherwise, you might as well stick to a contemporary setting.
Rhys: for me setting drives many of my stories. NAUGHTY IN NICE. TIME OF FOG AND FIRE. Etc etc
And it’s important to get every detail right. I read biographies, accounts of battles, diaries, study old maps.
By Fred Waitzkin
Young writers often ask if I am sometimes afflicted by writer’s block and if I’ve discovered a cure. Most writers wrestle with this malady from time to time. Over the years my relationship to the illness has evolved, and as an older writer I see it as a frustrating companion who at times can offer profound advice.
All authors relish days feeling on fire with a story when sentences pour out, almost without effort or thought. They spill into paragraphs and pages. It feels like riding a magic carpet that will soar on forever. I call such periods, writing within the bubble. But then after days or weeks, inevitably, life gets in the way.
Consider this scenario: I’m just home from a ten-day fishing trip, determined to get back to my manuscript when my grandson Jack begs me to take him to tomorrow’s Mets game. Instead of going to my office I take Jack to the game. We’re both excited as hell about our trip on the subway…. It’s okay. I’d been on a roll with my story. Another day won’t matter at all. As we rumble toward Mets stadium, I pleasantly recall the feeling of riding the carpet, the story pouring out of me…. I’ll be back there tomorrow.
The Mets lose. Jack cries, inconsolable in his new Mets cap as we’re leaving the stadium. “Why do the Mets always lose, Baba?”
I’m thinking about Jack’s sorrow and the Mets string of losing seasons. I’m disgusted with the Mets, a thickening edifice forming between me and my story.
Next morning I’m finally back in front of my computer after an eleven-day break. I take a look at my last chapter…. Pretty good. I sit at the computer waiting for the words to flow…. Nothing. I wait. Nothing. Four more days pass of nothing. I’m pulling what’s left of my hair. Now I’m living outside the bubble.
Okay, seven days of writer’s block. I’m back in my office at 9:30. I make a cup of tea. I pace around a little. I have a lunch date at 12:30. I’m looking forward to that. I stare at my Mac like it’s the enemy. I begin to pace around. I sip tea. I look at my computer. No way I’m sitting there to suffer any more. I snap on my old radio and listen to sports talk radio, a discussion about the Mets falling apart after a promising start to the season. Every year they do it. They cannot hit…. It’s now 11. I look at the computer, shake my head, no way. I pace in the hall. I come back into the office and read the paper. Now it’s 11:50. Almost time to leave for lunch. Not yet, Waitzkin, not yet. I stall another five minutes, pressure building. It’s twelve. Suddenly I throw myself into my chair in front of the keys. I need to leave my office for lunch in 18 minutes. It’s now or never…, and if I’m lucky, the dam breaks. Words pour out. I’m feverishly typing words that wouldn’t come for days. They are gushing out now when I hardly have time to write them, trying to catch them in the air like butterflies, get them into the machine… I’ve written some of my best paragraph this way, when it was do or die.
Another trick for writer’s block: I always carry around a tiny notebook in my shirt pocket. When I’m riding my bike home along the river, thinking about the Mets losing streak, an idea pops into my head. I stop the bike and jot it into the book. I’m talking to my wife Bonnie and an idea suddenly appears. I’m talking to my son. He shakes his head, annoyed, while I scrawl treasure into my notebook. “Dad never listens to me.”
Two days ago, I was stumped how to end an essay about my artist mother. I woke up after a two-hour nap and suddenly I could see the words hanging in the air in front of me. I wrote them in the notebook before they disappeared…. Carry a notebook. Just having it with you elicits ideas.
I wrote my new novel, Deep Water Blues, without once having writer’s block. It was pure bliss, beginning to end. I’d decided I was going to write a short book, 150 pages or less, something I could hold in my head without having to turn back to see what I’d written two or three years earlier. I was determined to write this one fast. And also, I’d gone into it after having written a screenplay, my first. I wanted this new book to move like a movie.
Deep Water Blues describes a gruesome disaster that takes place to a little island civilization—an island once gorgeous, and peaceful, almost Eden like, and in the aftermath, the island becomes decimated by greed, out-of-control ambition, violence and murder. At the heart of it, Deep Water Blues, which was inspired by true events, is an adventure story. I wanted to tell the story fast, fast and violent with no looking back, no flashbacks, mostly taut bold scenes as in riveting film…. Writing this book took me over like a runaway train.
There was no room for writer’s block in my new book. Pace and length and a harrowing story were the key elements. Maybe I’ll try that again.
Inspired by a true story, artfully told by the author of Searching for Bobby Fischer: A Bahamian island becomes a battleground for a savage private war.
Charismatic expat Bobby Little built his own funky version of paradise on the remote island of Rum Cay, a place where ambitious sport fishermen docked their yachts for fine French cuisine and crowded the bar to boast of big blue marlin catches while Bobby refilled their cognac on the house. Larger than life, Bobby was really the main attraction: a visionary entrepreneur, expert archer, reef surfer, bush pilot, master chef, seductive conversationalist.
But after tragedy shatters the tranquility of Bobby’s marina, tourists stop visiting and simmering jealousies flare among island residents. And when a cruel, different kind of self-made entrepreneur challenges Bobby for control of the docks, all hell breaks loose. As the cobalt blue Bahamian waters run red with blood, the man who made Rum Cay his home will be lucky if he gets off the island alive . . .
When the Ebb Tide cruises four hundred miles southeast from Fort Lauderdale to Rum Cay, its captain finds the Bahamian island paradise he so fondly remembers drastically altered. Shoal covers the marina entrance, the beaches are deserted, and on shore there is a small cemetery with headstones overturned and bones sticking up through the sand. What happened to Bobby’s paradise?
Fred Waitzkin was born in Cambridge, Massachusetts, in 1943. When he was a teenager he wavered between wanting to spend his life as a fisherman, Afro Cuban drummer or novelist. He went to Kenyon College and did graduate study at New York University. His work has appeared in Esquire, New York magazine, the New York Times Sunday Magazine, the New York Times Book Review, Outside, Sports Illustrated, Forbes, the Huffington Post, and the Daily Beast, among other publications. His memoir, Searching for Bobby Fischer, was made into a major motion picture released in 1993. His other books are Mortal Games, The Last Marlin, and The Dream Merchant. Recently, he has completed an original screenplay, The Rave. Waitzkin lives in Manhattan with his wife, Bonnie, and has two children, Josh and Katya, and two grandsons, Jack and Charlie. He spends as much time as possible on the bridge of his old boat, The Ebb Tide, trolling baits off distant islands with his family. His novel, Deep Water Blues, will be published in spring 2019. You can find more on Fred Waitzkin at his website or check out some exclusive content on Facebook.
Resources mentioned in this episode:
PATREON: Self Publishing Formula Show’s Patreon page: https://www.patreon.com/selfpublishin…
CONFERENCE DISCOUNT: Go to https://www.inkerscon.com/dawson to save on conference registration, including the digital conference, from Inkers Con
LIVE EVENT: Mark will be speaking in June at Slaughter in Southwold – https://www.suffolklibraries.co.uk/ev…
After being bit by the “I’m going to write a book” bug, I blazed through five months and 113,000 words to create two separate stories. All the time I spent was filled with excitement and enthusiasm, feeling my ‘muse’ on my shoulder cheering me to the finish line.
As it turned out, I realized I was in a race on a very long course, not a drag strip. Completing the first 2 eBooks was just the beginning. As I wrote those stories, each chapter I completed filled my head with new ideas and plot twists for the follow-on story.
After completing the second story to my second trilogy (that’s another by itself) I took the leap and decided to go the self-publish, print-on-demand route by placing my completed work on CreateSpace for all to hold if they so choose.
Unfortunately, while my artist and I struggled with a formatting issue on one of the covers, my ‘muse’ decided to take a nap as it were, without permission. I still had pages of notes and plotlines to work through on my fifth WIP, but my desire and motivation had left on the heels of my ‘muse’.
One thing I do to escape is to listen to music, and this is what I turned to in an attempt to coax my ‘muse’ to return. Thankfully I have an abundance of instrumental music to dive into, and so for several days, actually weeks, I would sit and listen, staring at the proverbial blank page of MS Word in the hopes something would jump out and stick.
My other trick I used in the past, and once again in this case, was rereading my previous work. After writing 3 individuals ‘chapters’, I create a new file allowing me to consolidate what I’ve completed. After this is done, I continue to add my completed pieces until I exceed my word count or page count, whichever comes first.
I’m happy to say, this works for me, but for others, I’m sure they have their own methods, tricks and secrets. In the end, it all comes down to one think, Keep Writing!
By Anthony Harrison
READ THIS FIRST
Today is a writing day. This is about word production. Start at the beginning then go in chronological order. When finished, put the word count in the title. Change the icon to something awesome like a star or something.
STARTUP: Keep a legal pad handy for notes.
-What’s my goal for today’s writing session?
-Word count by 15 minute increment.
-Doubts about my character.
-Doubts about my fictional characters.
-Doubts about the direction of the scene.
-Questions about the next scene.
-Any other interrupting thoughts.
Then at the end of a writing session:
-What did I accomplish? Yay me!
-What should I do before next writing session?
-What will I write next?
-Review these notes before the next Day’s writing.
NOW CRUMPLE IT UP AND THROW IT AWAY! YAY!
KEEP IN MIND WHILE WRITING:
-Why do I love writing?
-What is my story about in a paragraph?
Act 1 is a bitch.
It took me 2 years to write Act 1 of my recently completed WIP Winded Embers. It took 7 months to write Act 2.
Act 3 took less than a week.
Act 1 seems daunting because there are multitudinous variables to organize and implement. You must answer questions like: What does this character want? Why does he want it? Who is in his way? Why?
I’ll stop now lest I begin sobbing. You will revise so breathe.
That is just what comes from the story. Never forget, humans are pre-fabricated with self-doubt and anxiety. This is extra true for creatives who must essentially get naked in public. Accusation and questions will flood you while you write.
What if I suck and have to re-write the entire thing? Wow, am I screwed up for writing about this? Who am I going to offend by writing? Worse, I am not going to offend anyone? Am I writing garbage that doesn’t mean anything?
In my experience (limited though it is) stories tend to come more easily when unimpeded by Writer’s block. Industry secret: Writer’s block= personal problems.
Here is my advice on surviving the production of act 1.
–Create a positive writing habit (more on this in “go Analog”).
–Recruit allies. Writer buddies can shut down your self-doubt and make you work better. There are some questions you cannot answer about your own book. Knowing you have beta readers creates a mental toilet for the questions you can’t answer. “Is my character relatable?” I have Betas for that. ::FLUSH::
–Go Analog. never underestimate the power of paper. Physically setting down a noisome idea is underrated. Nothing gets rid of negative thoughts like a pad of paper. Little in this world is as satisfying as crumpling said thoughts and winging them across the coffee shop into the waste basket. I’m just sayin’
Below is my warm-up. I needed it while writing Act 1. KEY: This worked for me. Use what works for YOU!
Now go write and be awesome, you writer you.
Ames Karas candor.amykaras.com
Minty Fresh Reads. Murder and mayhem, with a sprig of mint.
A Grand Procession of the Writing Community
Reviewing young adult, new adult, and romance since 2013.
Author of the psychological thriller series, Incalculable
Author of the Commune Series
Blog posts from writers of authentic crime fiction.
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New York Times-bestselling author