Finding Inspiration in the Company of Others

By Kathryn Lilley

I'm jet lagged and suffering the after effects of accepting too many cups of wine from the uber-cheery flight attendants of KLM's transatlantic service.  We 're halfway through a return trip from Vienna, where the family and I spent a couple of weeks celebrating my mother-in-law's 90th birthday. (I just hope I'm able to tromp all over cobblestone streets like Mama Cheng does when I'm 90. The woman is amazing.)

I fell madly in love with Vienna. Every corner we turned revealed some medieval-era nook that begged to be explored. There was one bad moment when my wallet got pick pocketed (shame on me for letting my tourist's guard down), but even that misfortune turned positive. We wound up meeting a charming member of the Austrian Polizei; the officer called the credit card companies for me, offered insights about crime and police work in the city, and invited us to tour an amazing military history museum. Our encounter was (almost) worth the pain of losing my driver's license.

Mama Cheng is a huge Mozart fan, so of course we made a pilgrammage to the composer's haunts. The home where he lived during his most successful years is now a museum; its walls are inscribed with his sayings. In one quote, Mozart describes being surrounded by neighbors who included a music teacher, a violinist, and a singer. To paraphrase Mozart: "Being surrounded by the music of other artists gives me many useful ideas for my own work."

As writer-artists, I think we've all experienced the creative boost that comes from the company of other writers. I always return from a writer's conference with new perspectives and a renewed enthusiasm for writing. And of course, TKZ's mission is to provide a virtual watering hole where we share experiences with the craft, hoping to inspire and be inspired.

But Mozart's quote got me thinking that it might be good to seek out even more intensive interaction, such as a writing retreat. I've never been on a retreat, but I visualize it as being peopled with the kind of folk you find at the bar at conferences. Only instead of a bar, we'll be hanging out at a cozy lodge overlooking some sylvan scene. There has to be a fireplace, of course, and great discussions. Other than that, I'm open to suggestions. Have any of you ever been on a writing retreat? How was the experience?

What's in a name?

by Clare Langley-Hawthorne

This weekend I saw Baz Luhrmann's sumptuous, over the top, movie adaptation of The Great Gatsby and was reminded, yet again, of the power certain fictional names have on the psyche. Gatsby. Not a name one easily forgets. Neither is Heathcliff or Mr. Rochester or those great detective names: Sam Spade, Nero Wolfe, Sherlock Holmes and Hercule Poirot. Even the most mundane sounding names can achieve prominence, simply because of their ordinariness (take Harry Potter for example). But naming a character is by no means an easy task. You have to balance the unusual with the commonplace and try to run the gauntlet between a cool, distinguished name and one that verges on being a soap-opera/porn name. So how do you come up with a memorable character name?

First and foremost it must reflect your character.  I find this is a critical first step - finding a character name that reflects the character's voice on the page. I've recently been revisiting an old WIP (finally having worked out the answer to a plot conundrum) and found myself weighing up two versions of the main protagonist's name, trying them on to see which fit best. It's a tricky process and one that has a cascading effect on other character names as well (as I can't exactly have a cast of characters all with names starting with 'M'!). But what other issues do authors need to pay attention to in naming characters? Here are a few:

• Make sure the name is appropriate for the time and place of the story. For example, a story set in Victorian England is unlikely to have a female called Morgan Star. Equally well, it's hard to imagine a contemporary character in their 20s called Edna or Constance (unless there's a good back story or some degree of irony/humour going on!).
• Check meanings/origins of names so you don't inadvertently use an offensive or inappropriate foreign word or name.  Also, sometimes the name can provide the reader with a hidden clue based on the origin or meaning of their name.
• Make sure the name looks great on the page as well as when spoken aloud. On occasion, I have come up with a great name on paper but the pronunciation of it has caused a few tongue twisters (which is a bit embarrassing at book readings!). 
• Don't try to be too clever, too cute or too obscure. The character's name should enhance, not detract from the story so don't make a reader work too hard to decipher  a name. Use the most common spellings unless there is a real reason (a reader will be taken out of a story by a name that they have to struggle to work out).
• Finally avoid names which end in an 's'. I learned this the hard way...

So what about you all - what advice would you give fellow writers about coming up with terrific character names? What are are your favorite characters names? What about character names that set you teeth on edge?

The Two Power Questions Every Writer Should Ask

James Scott Bell
@jamesscottbell

So you're writing along in your latest novel or novella, and you come to a screeching (or, at least squealing) halt. Your story seems stalled for some reason. You don't know what scene to write next.

You sigh, get up from your keyboard, and go to the refrigerator. You take out some of last night's meatloaf or scoop out some ice cream. Maybe you turn on the TV and watch a little TCM or whatever dismal talk show fills the late morning or early afternoon slot in the vast wasteland of visual media.

Finally, you slink back to your keyboard and . . ..you still don't know what to write. You start to wonder, maybe the story itself is flawed. And if this is a novel under contract, and you have already cashed an advance check, and the deadline is, like, soon, you might also feel little trickles of sweat in the armpit area.

So what do you do? I have a suggestion. I call them the two writing power questions.

1. Is there enough at stake?

In my craft books, and workshops, I always stress that the stakes of a story must be DEATH. There are three kinds of death: physical, professional and psychological/spiritual. The core issue in your novel has to be one of these or the book will not be the best it can be.

For example, in a legal thriller—the kind where the story is about a trial––that case has to be a matter of professional life and death for the lawyer. In The Verdict with Paul Newman, he is a bottom-feeding lawyer (no, that's not redundant, thank you very much). He has lost all self-respect. He is drinking too much. His professional life is about over.

And then he gets this case. A family comes to him because one of their own has been rendered a vegetable by the negligence of a large hospital. Okay, maybe he'll get a quick settlement, take the money and stock up on booze. But he goes to the hospital to see her. And suddenly he cares again. He realizes he is this family's only hope. Facing huge odds, he takes the case to the limit. If he loses, it'll be like a little "death."  

That's how it's got to feel to your Lead. In a romance, the death is psychological. It's got to feel to the reader that if the two lovers don't get together, their lives will forever be damaged because they haven't completed themselves with their soul mate. If it doesn't feel that way, why read the book? Who cares?

Much literary or "character driven" fiction is of this kind. In Janet Fitch's White Oleander, for example, the issue is whether Astrid, tossed into the foster care system, will come out whole or irretrievably harmed.

So, make this your first power question: are the stakes death? If not, backup and make it so.

2. How can it get worse?

If you're stranded in a book, just ask yourself what is the next bad thing that can happen? What will make the character's situation worse?

In Scott Smith's classic, A Simple Plan, a normal guy falls into a scheme to score some drug money, maybe without anybody ever finding out. What makes the book so compelling is that it's like a slow motion car wreck. You keep saying to yourself, Don't do that. Please don't do that. And then the character does it, and descends further into a pit that will eventually close around him.

Brainstorm for awhile. Make a list of the bad things that can happen. Come up with ten. Then, finally, ask: What is the absolute worst thing that can happen?

Look at the list and select the best ideas. Then put them in descending order, from bad to worse to worst. That becomes a plan for writing the rest of your book!

Whether you're a pantser or an outliner, these two power questions can blast you through that wall, to the other side where completed novels grow.

How about you? What do you do when you're not sure what to write next?

Walkers!

By Mark Alpert

 

I know I’m coming late to this party, but I love The Walking Dead. A few weeks ago my teenage son and I started watching the show on Netflix as a sort of after-school treat. After a long hard day of Latin and algebra (for him) and manuscript revisions (for me) we sit down together on the couch to enjoy an hour of zombie mayhem. Of course, if you’re a fan of the program you know that the title characters are never called zombies; when the dead come on the scene, the living alert one another with the cry, “Walkers!” And that’s how I greet my son when he comes home from school and drops his incredibly heavy backpack on the floor. I yell, “Walkers! It’s time for Walkers!” and we race toward the living-room couch.

Why do we like it so much? Well, we’ve always had a thing for zombies. I still read to my son before he goes to bed (awww, isn’t that cute, I hear you say) but now I read World War Z instead of Doctor Seuss (yikes, what kind of father are you?) And we both loved 28 Days Later, the movie that originated the man-wakes-up-from-coma-to-find-world-overrun-by-zombies trope that was so shamelessly stolen by The Walking Dead. But there’s something special about the TV show. First, there’s the soap-opera appeal, the affection you develop for characters simply because you see them every day. Second, there’s the sheer bleakness of the characters’ situation, and the blind relentlessness of the enemy they face. It’s like watching a car crash in slow motion. You can’t turn away.

But the most interesting aspect of the show, at least from a novelist’s point of view, is its narrative format. A television series like The Walking Dead doesn’t have the conventional beginning-middle-end structure of most novels and movies. It’s episodic (naturally), and that makes the story feel more like early works of fiction such as Don Quixote, Gulliver’s Travels and The Pilgrim’s Progress. The characters travel from one adventure to the next, and though the details are a little different each time -- in one episode, Don Quixote tilts at windmills, in the next he mistakes a pair of monks for enchanters -- the basic setup of each scene is the same. (Or, to use another example, Gulliver has unusual adventures in a kingdom of tiny people, then in a kingdom of giants, then in a kingdom that floats among the clouds, and so on.) The danger with this kind of format is that it can get repetitious. And in fact, that’s a problem some viewers have with The Walking Dead. Many of the episodes seem to follow a standard, timeworn formula: start with a flashback from the good ol’ pre-zombie days, followed by thirty minutes of dread and sniping among the characters, then someone does something phenomenally stupid or brave and the dead arrive en masse. And every episode ends with a cliffhanger, of course.

On the other hand, the strength of this format is that the whole is greater than the sum of its parts. As you watch episode after episode (my son and I have set a strict limit of no more than one per day) you get the feeling that you’re watching more than the struggles of a small band of survivors. You start to think, “If these people can’t make it, then no one can. If they die, the whole human race is doomed.” The perils and travails come so fast and furious that you can’t help but think of Job and how God killed his family and took away all his possessions just to make a point. The religious theme is made explicit in the first episode of Season 2 when Rick the sheriff’s deputy prays aloud in the country church (after killing the zombies who were sitting in the pews).

Although the show’s format may not resemble a novel’s, The Walking Dead offers lots of good lessons for thriller writers. In too many thrillers (including my own), the heroes are unrealistically resilient; in The Walking Dead, the constant fear and tension chew up the living characters almost as relentlessly as the zombies do. And nearly every character on the show has a mix of good and bad in his or her soul. Many of their actions are heroic and heinous at the same time. I don’t plan to write about zombies anytime soon (I’m too damn scientific -- I just don’t understand how the dead can walk without a working circulatory system) but I’d like to write about the same kind of desperation, the furious battle between hope and despair. Something to think about for the next book!

 

How Much Does Style Matter?

You may have heard of a fellow named Dan Brown. He's written a few novels. He may break out soon. His latest,

Infeno, just hit with a 4 million hardcover first printing. So yeah, the kid may make some dough.

His writing style has been attacked and parodied, as in this from The Telegraph:

The critics said his writing was clumsy, ungrammatical, repetitive and repetitive...They said his prose was swamped in a sea of mixed metaphors.

So here is today's Reader Friday question: How much does style matter? Dan Brown weaves the kind of story that people absolutely lap up on the beach or at Starbucks, or while listening to their iPods as they jog. Sure, his style is not going to win any awards, but so what? 

Or is there a what to consider? 

Writer Apps for Your Phone

Jordan Dane
@JordanDane

I recently upgraded my cell phone and I love being as connected as I am. It feels as if I could exist on my phone and not be so tied to my desk, work-wise. I get all my emails forwarded to my phone. Even when I am traveling on business, I can stay plugged in, but I’ve discovered new things on my cell phone that I’ve converted to my writer tools. Here are a few:

1.) Camera - I love my camera. When I research locations for my books or look at specific settings, I can take a photo easily and save it to create an image board, for world building. Or I can use the image for a feature I sometimes do on certain books, like my debut book - No One Heard Her Scream - My Story Within a Story. I post a pic on my website and tell something about the location, and include an excerpt, so readers can see the setting I used in the book.

2.) Pinterest - I have a Pinterest app where I can create image boards on characters or setting or evocative imagery that reminds me of the feeling of my book. This is usually something I like to do as I get started with a new book, but this Pinterest app is on my phone and I can add to my boards anywhere I am. This means no camera, just searching the internet and pinning any image to my boards.
 
3.) GPS - So I don’t get lost getting to locations I want to research, I love my GPS/Navigation app. I used to have a GAMIN navigator, but you had to buy updates. It’s amazing that there are better navigation apps on your phone for free and they are automatically updated. I can also do voice searches. I feel so Star Trek.
 
4.) Texting - I also love texting now. Who knew? I used to make fun of my niece, telling her that her fingers would fall off from lack of use and she’d only have thumbs if evolution is real. Now my family plays this “GUESS WHERE I AM” game where we send pics of strange places and we all try to guess where the sibs are. It’s like Find Waldo, without the little guy in stripes. As a writer, I can sharpen my “one liner” skills too. Win-win.
 
5.) Tweetcaster – I love this app, or some version of this. It allows me to set up tweets on a schedule in advance so I’m not tied to Twitter to get posts out. I mainly broadcast post links from the few blogs I belong to, so I can promote my friends blogs and interesting articles for my followers or fellow writers. It’s a great app.

6.) Voice Recorder - This app is NOT to be used while you are driving, but it is great to record quick thoughts to save for later. I have one on my phone, but there is also iTalkRecorder and it is a free app.

7.) Dictionary.Com - What is a writer without his dictionary or Thesaurus?
 
8.) NameShake - This is an app I've heard of but have never used. It allows you to research a name, along with any special meanings or history. 

9.) Stanza is a popular ebook reading app that can download off Fictionwise as well as other sites. There are several free apps to download digital content from Amazon, B&N, and others.

10.) GAMES - But where is the FUN, people? When I am waiting for my dentist, Lord knows I need a distraction. I have a very boring Solitaire and I just added Bejeweled Blitz, both free. Okay, no lie. This is a total time suck. Not recommended for serious authors. 

 
What are your favorite apps that you have on your phone? For all you writers on TKZ, what apps have you discovered have become an asset to your writing, rather than a time drain?
 
PS – I am the Simon & Schuster media escort for John Lescroart this weekend when he signs his latest book – The Ophelia Cut – at the local B&N in San Antonio at the LaCantera shopping center at 7:00 PM on Saturday, May 18. If any of you know John, I’d appreciate a shout out to pass along to him or a funny story. If you are in the area, please stop by and see John. Maybe he'll bring his guitar and sing, too.

What’s wrong with said?

By Joe Moore

What’s wrong with the word said? Why is it that some writers, particularly new ones, feel that “said” is so boring they are compelled to find new ways to tag dialog? I think that said may be the best word ever invented. What other word can be used in any story with no adverse effects on the plot or characters? What other word is as transparent, invisible and nondestructive as said?

So if all that’s true, why do so many authors need to look elsewhere for a better word? It’s like a man married to the most beautiful woman in the world but decides to stray and cheat. Said is already the best choice; why go looking anywhere else? And in my opinion, straying from said too often will make the writing look amateurish.

So when an unfaithful author strays from a perfectly happy relationship with said, where do they go? They go to: exclaimed, murmured, screamed, whispered, pleaded, shrieked, demanded, ordered, cried, shouted, and my all-time favorite, muttered. If the dialog is so weak that the writer has to re-explain what emotions or motivations are being conveyed, there may be more serious problems lurking.

“Stop or I’ll shoot!” the officer commanded. Really? Does anyone doubt that “Stop or I’ll shoot” is not a command? Is it necessary for the author to assume that the reader is that dumb? In this case, no dialog tag is even needed. The officer raised his Glock. “Stop or I’ll shoot.”

Then there are the extreme dialog tags, the ones in which humans speak like animals. Here’s a fact: snakes don’t talk nor do dogs or lions or bears. I don’t believe that human speech should be tagged with the sounds animals make.

“I’m going to kill you,” he hissed. No he didn’t. First, it’s physically impossible. Second, it’s melodramatic. And it makes the character look silly. In a serious, dramatic moment, it can stop the reader cold and kick them right out of the story. If a writer wants to compare a character to a snake or dog, that’s fine. But humans don’t talk like snakes because snakes can’t talk. Don’t believe me? Try saying ANYTHING while hissing. Are people staring at you?

Then there’s the laughing and crying dialog tags. “I will defeat you,” he laughed. “I hate you,” she cried. No they didn’t. But here’s what could have happened: His laughter bellowed throughout the room. “I will defeat you.” Between sobs, she shook her clenched fist at him. “I hate you.” Wow, suddenly they don’t sound like carnival freaks.

Finally, there are the dreaded adverb tags. “I’ll get you if it’s the last thing I do,” he said angrily. “Thank you so much,” she said gratefully. If the character’s words are already filled with anger or gratitude, the writer doesn’t need to double-explain it. The reader gets it. Don’t insult their intelligence.

Remember, your characters’ power is in their words, not in how you tag them. If needed, said will do just fine. Or better yet, don’t use a dialog tag.