Category Archives: Books

THE CRAFT OF WRITING A THRILLER – JANUARY 2025

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Welcome back to another year of great writing advice on the CRAFT OF WRITING blog. This year we’re focusing on Genres. We’ll be looking at approaches to writing thrillers, mysteries, romances, and more. Each month I’ll interview an accomplished author who writes in a particular genre, so get ready to learn from the experts!

Today, we’re going to talk about thrillers, and I’m thrilled 😊 to welcome back James Scott Bell. Jim is not only an award-winning author of thrillers, but he’s also well-known for his books on the craft of writing.

His current series is the Mike Romeo Thriller series. Book #1 in that series is shown below.

So read, enjoy, and engage with one of the masters, James Scott Bell.

The Craft of Writing Thrillers with James Scott Bell Share on X

 

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Good news! In recognition of my Lady Pilot-in-Command series, my good friend and master craftsman Dr. Steve Hooley has provided me with this unique and fabulous “Wilbur and Orville 1903” propeller pen. Hand crafted by Steve, the pen is made from Ash, one of the woods the Wright brothers used to build their first aircraft. The market value of this beautiful creation is around $80.00.

The name of each person who enters a comment will be put into the drawing for the pen. So join the conversation and earn a chance to win. I’ll post the name of the winner after 9 PM Central Time tonight.

 

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Welcome back to the Craft of Writing blog, Jim. Let’s jump right into the deep end of the pool: What is your definition of a thriller?

A mystery asks “What happened, and how do the pieces fit?” A thriller asks, “What’s happening, and why is it getting worse?” There’s an atmosphere of imminent danger and death in a thriller.

How are thrillers different from other forms of fiction?

Thrillers are the oldest form of storytelling. A hero goes out to fight dragons or giants. Danger and death! By overcoming the danger, the story gave the community, or tribe, courage, which they needed, because there was always some dread of what was out there in the darkness.

Thus, thrillers reinforce the idea that we—individually and collectively—can make it out of danger alive. And in doing so, defeat evil. That’s an ancient and universal longing.

What’s the most important aspect of a thriller?

A lead character you give a hoot for. No matter how “big” the plot, if a readers doesn’t care that much about the hero, the book will not thrill as it should. We’ve got to be pulling for the hero from page one.

The other important aspect is the villain. A villain has to be fleshed out as much as the hero. A villain never thinks about how evil he is (except Dr. Evil from the Austin Powers movies). A villain thinks he’s justified in what he does. I tell my writing students to write a “closing argument” for the villain, as if he’s trying to convince a jury he was right. That’s so much more chilling than a moustache-twirling stereotype. Read Herman Goering’s testimony in the Nuremberg trials sometime. Talk about chilling. He thought the Nazis were doing good.

Why did you decide to write in the thriller genre?

I was practicing law when I started, and the legal thriller was the big genre. I quickly realized that the quest for justice was the theme I’m most interested in, and the thriller is a natural venue for that. I’ve written stand-alone thrillers, legal thrillers, lone wolf thrillers (my Mike Romeo series), classic Hollywood thrillers (Trouble is my Beat) even nun thrillers (my Force of Habit series). But they all coalesce around justice.

Can you give us a brief outline of the process—from concept to completion—that you use to write a thriller?

I usually start with an idea for an opening chapter. Some bad stuff happens. Why? That’s when I start thinking about plot. I then turn to the possible villain and his motive. Motive is all important. If I have that motive, I can also plot out what I call “the shadow story.” That’s the stuff that is happening “off screen” if you will. While the hero is going along, the villain is making moves and strategizing behind the scenes. I use the shadow story to come up with things that happen in the main plot, the stuff we see in real time.

Then I start putting together a cast. Such as those who help the villain, who are, in mythic terms, shapeshifters. I try to have four or five characters who have motives. Then allies for the hero.

I lay out scene cards in Scrivener, with my 14 signpost scenes (as explained in my book Super Structure). It gives me a map of where I’m going but with plenty of room to “play” with how I get there. My “mirror moment” is what holds it all together.

I write a draft, go over it myself, rewrite and give it to my trusted editor, Mrs. Bell. She gives me great notes. I incorporate those, give a draft to beta readers, rewrite as needed, and finally send it out for a proof read.

What advice would you give an author who decides to write a thriller?

Make sure that something about the plot grabs your heart. It’s not just about being clever. It’s about caring deeply for the characters and issues at stake. And there must be some form of death on the line. It’s usually physical death, but there’s also professional and psychological death to consider.

Besides your own books, what thrillers would you recommend?

Tell No One by Harlan Coben

Intensity by Dean Koontz

Lost Light by Michael Connelly

Are you working on a book now?

I’m always working on a book, and have at least one or two “in development.” I try to be like a movie studio. I’m always pitching myself ideas: “What ifs”, hooks, characters, even opening lines. I have a big document full of great opening lines. All I have to do is put a novel after them. Ha!

Where can we find out more about you and your writing?

It’s all on JamesScottBell.com

I’m also writing whimsical essays on my Substack.

I love the written word. I love to entertain. I love to thrill. And I love creating some smiles along the way.

Thank you, Jim, for being with us today and giving us insight into writing thrillers.

 

The Craft of Writing Thrillers with James Scott Bell Share on X

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Meet James Scott Bell

JAMES SCOTT BELL is a winner of the International Thriller Writers Award and the author of many bestselling thrillers. He is a popular writing instructor and conference speaker, and formerly served as the fiction columnist for Writer’s Digest magazine. Jim attended the University of California, Santa Barbara where he studied writing with Raymond Carver, and graduated with honors from the University of Southern California Law School. He lives and writes in L.A. and blogs weekly at Kill Zone — http://www.killzoneblog.com

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“a spectacular tale of decades-old murder mystery, human drama, and a hint of romance…” —Prairie Book Reviews

Available at  Amazon, Barnes & Noble, Kobo, Google Play, or Apple Books.

THE CRAFT OF WRITING — DECEMBER 2024

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2024 has been a special year on the Craft of Writing blog. The theme of this year’s blog posts was Aspects of the Novel, and each month I interviewed an extraordinary author on a different subject. The results were so full of writing wisdom, I decided to present a snippet from each interview in this, the last post of 2024.

Walking with the Wise - A summary of wisdom from the Aspects of the Novel blog posts Share on X

 

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The name of each person who enters a comment will be put into the drawing for a $10 Amazon Gift Card.

So join the conversation and earn a chance to win. I’ll post the name of the winner after 9 PM Central Time tonight, so be sure to check back to see if you won. (Previous 2024 winners are not eligible to win.)

 

Now, sit back and enjoy walking with our wise friends through Aspects of the Novel. To see the entire interview for any of the choices below, click on the link.

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VOICE (James Scott Bell)

How does an author go about developing his/her own voice?

It’s really a matter of learning ways to let the voice run free. Let it come out naturally as you, the author, are concentrating on the emotion and action and internal lives of the characters. There are various exercises I give in my book on voice, such as the page-long sentence. When I come to a place of high emotion in a scene, I like to start a fresh document and write a single, run-on sentence of at least 200 words. It is free-form, wild text in the character’s voice, not thinking about grammar or structure. It’s just pouring out the emotion as fast and intensely as possible.

What happens inevitably, like panning for gold, is you get a few glistening nuggets. It may even be only one sentence, but that sentence will be choice.

There are other methods, but the great point is that doing this begins to develop a strong “voice muscle” in your writer’s brain, and you get better and better at it the more you exercise it.

 

PLOTTING (DiAnn Mills)

What makes a good plot? Do you advise authors to write to specific plot points (e.g., inciting incident, first pinch point, dark night of the soul)?

This depends on the type of plotter and the method the writer’s brain functions. I’d like to emphasize that the writer must work according to how their brain processes and analyzes story. With that said, I write toward:

  1. The first open doorway which is 1/5 to ¼ of the way into the novel. This is where the POV character determines to go after the goal.
  2. Mid-point, I toss in a wrench. In other words, something about the plot changes the story.
  3. End of middle, the climax.
  4. Resolution

 

ANTAGONISTS (Debbie Burke)

How does a good writer approach creating the antagonist character? Are there exercises a writer can use to develop their villain-creating talents?

A technique I like to use is James Scott Bell’s voice journal. Let the antagonist write out their thoughts, feelings, and beliefs. What are their deepest, most secret desires? Give them the opportunity to express their frustration, anger, and hatred. Putting their emotions into words helps the author get inside their skin and understand why they feel their behavior is justified.

Interview the villain/antagonist. Ask questions. What is their background? How did their parents treat them? Were they bullied or abused? What early losses or failures scarred them?

Another Jim Bell tip: have villains argue their case before the jury that will decide their fate. What compelling arguments can they offer to save themselves from the death penalty?

 

SCENE (Randy Ingermanson)

You also say every scene in a book is a miniature story. Explain that.

Every scene in your book needs to work as a short story. Every single scene. It must have a viewpoint character that the reader can root for (or root against). And it must have a single conflict that gets resolved by the end of the scene.

If you have even one scene that doesn’t work as a story, you’re going to lose readers at that scene. They’ll put the book down. And they’re done with that book.

So you need every scene in your novel to be pulling its weight. If a scene doesn’t work, then you have some options. You can kill the scene—just shoot it right in the head and throw its carcass to the wolves. Or you can fix the scene—figure out why it’s broken and solve the problem.

I have killed a few scenes in my life, but 95% of all scenes can be fixed. If you know how. And my book shows you how. One of the main reasons I wrote my book is to teach authors how to diagnose and fix a busted scene. (And also how to recognize a scene that works so you can leave it alone.)

 

EMOTION (Angela Ackerman and Becca Puglisi)

What part does emotion play in novel writing?

In some ways, emotion is the novel, because the words we choose will steer readers toward what we want them to feel. Is the noise emanating from that dark room a sing-song hum, a melody whispered to a child at bedtime? Or is it a slow, heavy scrape, conjuring the image of a monstrous axe blade being dragged across the floor? As the writer, we choose what we intend readers to feel, and shape our description accordingly. When we do this well, reading becomes an immersive, powerful experience.

To ensure readers are drawn in, though, we must make sure they emotionally connect to our characters first and foremost. We do this by revealing their human layers as they navigate the world around them, showing how they feel, what they need, want, fear, and think. When we do this well, readers connect to our characters because life is an emotional journey, and they find common ground. When we show what’s going on within a character, readers come to see them as someone real. They begin to empathize and become invested in what happens next.

 

DIALOGUE (Larry Leech II)

How does dialogue bring characters to life?

Individuality. Much has been taught about plot, structure, character arc, etc., but I believe readers love to hear a character speak. First, each character must have a distinctive voice. A fifty-year-old white male should not sound like a twenty-two-year-old female person of color. Even two teenage boys should not sound the same. Each has a backstory and moral center that dictates how they speak.

Think of the cinematic voices we know well. Whenever someone says, “Life is a like a box of chocolates,” we hear Forrest Gump. Or “No, I am your father,” we hear Darth Vader. Or “You’re gonna need a bigger boat,” we hear Chief Brody in Jaws.

Also, along with what I mentioned above about the importance of dialogue in story, dialogue also reveals worldview, syntax, and what I call “industry language.” For example, law enforcement and military personnel often say, “I’ve got your six (your back).” A plumber wouldn’t say that.

Along with action, dialogue helps the reader understand the character. And if done effectively, allows the reader to “live” the story instead of reading it.

 

DEEP POINT OF VIEW (Terry Odell)

Now, on to Deep POV:

Deep POV can be thought of as writing a first person book in third person. You are deep inside the POV character’s head, providing the reader with not only the character’s five senses, but also their thoughts and feelings. Because you’re deep into their heads, your readers should feel closer to the characters than if you have an outside narrator, as is the case in shallower third person POV. A test. You should be able to replace he, she, or the character’s name with “I.”

When writing in Deep POV, it’s also important to be true to the character. What would they notice? Two characters walk into a room. (No, that’s not the start of a joke.) One’s a cop; the other is an interior designer. They’ll focus on very different things.

 

ANTI-HEROES (Sue Coletta)

How do you define an anti-hero?

An anti-hero is the protagonist of the story, who straddles the law. Good people doing bad things for the right reason. Nothing is black and white. Anti-heroes thrive in shades in gray.

 

ROMANCE IN CHRISTIAN FICTION (DiAnn Mills)

Toss aside your thoughts about simple themes and tepid emotions that water down the love relationship between a man and a woman, Instead, think about how to include “real” elements and write an authentic and believable story.

  • The joy of true romantic love is real.
  • The emotions are real.
  • The physical, mental, and spiritual challenges are real.
  • The heartbreak of broken relationships is real.
  • The struggle of adhering to God’s way of honoring each other until marriage is real.
  • The blessings of obedience and a Christ-filled relationship are real.

Dipping our toes into the waters of writing Christian romance doesn’t mean we swim in shark-infested waters. According to the American Heritage Dictionary romance is “a feeling of excitement and mystery associated with love.” Love is “an intense feeling of deep affection.”

 

DESCRIPTION (P.J. Parrish)

How would you define descriptive writing?

Wow. That’s a toughie. Well, let’s start with a distinction. There’s explanation and then there’s description. Explanation is you, the writer, just dealing with the prosaic stuff of moving characters around in time and space. Explanation example: The man walked into the room. Simple choregraphy. Gets the job done but pushes no emotional buttons.

But description? That’s where the magic happens. When you work your descriptive powers, you engage the reader’s senses and imagination, maybe tugging on their memories and experiences. The man didn’t just walk into the room.  Rewrite:

The old man stopped just inside the door of the café. He was in his eighties, that much was clear. But as he stood there, erect and with a small smile tipping his lips, heads turned to him. It wasn’t just the panama hat or the seersucker suit. Because the hat was yellowed and his sleeves were frayed. No, we were staring at him because the air around him seemed to vibrate with an aliveness. He caught my eye and started toward me, and my throat closed. It was like looking at my father, the one I had seen only in photographs.

See the difference? The main purpose of descriptive writing is to show the reader a person, place or thing in such a way that a picture is formed in their mind. It means paying close attention to the details by using all of your five senses. Explanation vs description. When you explain something, you try to make it clearer and easier to understand. But when you describe, you’re tugging on their emotions.

 

FAITH IN FICTION (Chautona Havig)

For authors who are interested in including some faith element in their works, what advice would you give them?

I think the key is to reframe the idea of “putting faith into a book.” Instead, look at ways faith might naturally emerge from a character or situation.  That makes all the difference. Jesus talked about insides and outsides of cups. Polishing up the cup of your book to reflect Jesus doesn’t have the power that allowing Him to spill out onto the page naturally does.

The best way I know to make that happen is to fill yourself with Jesus. You can’t write what isn’t in you. Get into the Word. Study it. Talk about it with other Christians. Listen to godly teachers and then go compare what they said with what the Bible says.  I firmly believe that if you fill yourself with Scripture, it’ll come out in your writing and in your reading. You’ll get spiritual lessons from books that the authors never intended.  I know this because I can’t count how many times I’ve told an author, “When I read this and remembered that Scripture, I realized that this other thing was true.” MANY times the author says, “I never caught that connection.”  I got it because of what I was studying at the time. And God used that.  And that is the beauty of Scripture.

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A NOTE FROM KAY

I’m deeply grateful to all the authors who agreed to be interviewed on my blog in 2024 and to all the folks who dropped by to read and/or comment on the interviews. Best wishes to you all for a Merry Christmas and a safe and healthy New Year!

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If you’re looking for a last-minute gift, each of my ebook mystery novels is on sale in December for 99¢. Click on the image of a book to go to the Amazon sales page.

        

Walking with the Wise - A summary of wisdom from the Aspects of the Novel blog posts Share on X

THE CRAFT OF WRITING — NOVEMBER 2024

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This year the CRAFT OF WRITING blog is focusing on Aspects of the Novel, such as Plot, Dialogue, Characterization, etc. Take a look at the discussions we’ve had so far: James Scott Bell on Voice, DiAnn Mills on Plotting, Debbie Burke on Antagonists, Randy Ingermanson on Scenes, Angela Ackerman and Becca Puglisi on Emotion, Larry Leech on Dialogue, Terry Odell on Deep Point of View, Sue Coletta on the Anti-hero, DiAnn Mills on Christian Romance, and P.J. Parrish (Kristy Montee) on Description. If you missed any of these, go to kaydibianca.com/blog and choose the post you want to revisit.

Today, I’m excited to welcome back Chautona Havig, the USA Today best-selling author and podcaster. I find it hard to introduce Chautona because I’ve never known anyone exactly like her. She’s an exuberant personality, and she has written—you won’t believe this—over one hundred and twenty books! And she hosts a podcast that airs twice a week. Given all of that productivity, I can only say I am thrilled that she found time to drop by and discuss an important, and rarely explored, topic on the subject of faith in writing.

To give you a hint of what’s to come, here’s a sentence from Chautona’s own website: “I offer Christian fiction without pretense or apology–lived, not preached.”

 

 

So read, enjoy, and engage with Chautona Havig.

 

Faith in Fiction -- a conversation with Chautona Havig Share on X

 

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The name of each person who enters a comment will be put into the drawing for a $10 Amazon Gift Card.

So join the conversation and earn a chance to win. I’ll post the name of the winner after 9 PM Central Time tonight, so be sure to check back to see if you won. (Previous 2024 winners are not eligible to win.)

 

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Welcome back to the Craft of Writing blog, Chautona, and thank you for joining us!

Thanks for having me back. I always enjoy our conversations.

 

When did you decide to write novels, and what event prompted that decision?

Um… well, I knew I wanted to write at twelve when I read A Tree Grows in Brooklyn, but what prompted my adult foray into actually writing novels was the (seemingly NEVER ENDING) question, “How do you do it all,” when people found out I had eight kids.  They’d say they couldn’t manage with the one or two they had. No matter how many times I pointed out that I got kids one at a time like everybody else, and I had time to adapt and adjust before the next one came, someone else always came along and asked again as if I was some sort of superwoman. Hint: not even close. But one time after I’d said that (the bit about getting kids one or for some people, two, at a time), I thought… “But what if you didn’t? What if you got eight all at once?” That spiraled into things like: What if you didn’t have experience with young children? What if you were only in your early twenties? What if you not only inherited eight kids… but their over-the-top grandmother (read: mother-in-law!), too???  Aggie was born that day, and her antics with her eight nieces and nephews kicked off my writing in earnest.

Oh, and I had another baby after that since it’s such a piece of cake.

 

Have you always written books that had elements of faith?

All but one. I learn best by reading—story is how my brain works. So since the most important thing to me is faith, it was only natural that it would spill out.  I think if I weren’t a blunt, “say it like it is” kind of person, I might write more subtly and infuse a Christian worldview into my writing. I might. But… that’s not really me. I’m very much an open book, and it comes out in my writing.

That said, I did write one book that is most definitely not Christian fiction. It’s a young middle-grade book about a kid who figures out Santa’s secret and kidnaps the jolly old elf to get all the presents for himself.  Although, it doesn’t quite work out how he’d planned.  I like to say there’s nothing redeeming about the story, but… yeah. The kid learns a lesson or three. So… it has a semi-redemptive thread.

The funny thing is that we never “did” Santa as a kid, and we didn’t “do” it with our kids.  They still tease me for writing about that “creepy guy in red fur.”

 

Why have you commited your writing career to writing stories about faith?

I mostly answered that above, but I’ll try for something more succinct. Jesus is such a part of who I am that I don’t know how I would write any other way.

 

How do you include information about faith in your books without it being preachy?

Mostly by not trying to “put faith” in the book. I let it come out. Characters behave in ways that a Christian might—good and bad—and the fallout follows (also good and bad). I don’t try to write with a theme that “teaches something.” The closest I’ve come to doing that was with my Wynnewood books. I wanted to show ONE thing in those:  that the God known as I AM is real and to be trusted even (or perhaps especially) if people aren’t.

 

What genres do you write in? What’s your favorite?

Let’s go with what I don’t write. It’s faster. I’ve never written horror or erotica.  Never will write the latter.  Not sure I’ve done magical realism and not sure I would, although that’s not because I object to it more than because I’m not sure if I’d enjoy the writing. I do enjoy reading it.

My favorite is probably mystery, although… I really just love writing about people and their lives and interjecting my love of Jesus and humor into it all. So… *shrugs*

 

For authors who are interested in including some faith element in their works, what advice would you give them?

I think the key is to reframe the idea of “putting faith into a book.” Instead, look at ways faith might naturally emerge from a character or situation.  That makes all the difference. Jesus talked about insides and outsides of cups. Polishing up the cup of your book to reflect Jesus doesn’t have the power that allowing Him to spill out onto the page naturally does.

The best way I know to make that happen is to fill yourself with Jesus. You can’t write what isn’t in you. Get into the Word. Study it. Talk about it with other Christians. Listen to godly teachers and then go compare what they said with what the Bible says.  I firmly believe that if you fill yourself with Scripture, it’ll come out in your writing and in your reading. You’ll get spiritual lessons from books that the authors never intended.  I know this because I can’t count how many times I’ve told an author, “When I read this and remembered that Scripture, I realized that this other thing was true.” MANY times the author says, “I never caught that connection.”  I got it because of what I was studying at the time. And God used that.  And that is the beauty of Scripture.

 

You are incredibly prolific. How do you manage it?

There’s no great secret. I write.  I know that sounds simplistic and maybe even arrogant, but it is what it is. I write. And I enjoy writing. I had a slow five years the past five… Some consider it weird when I say that because I was putting out four or five books a year, but when you’re used to nearly double that… it’s odd. But that’s okay. Because God had a plan, and now we’re in a new season where I feel like I’m back to being… ME.  Hopefully, that means lots of new books, but I’m also prepared for life to change again. My mom is getting older, and my husband is also getting older. (Okay, I am, too but I’m still relatively young).  They’ll need me more soon, so what I plan may not be what God plans.  I just have to be ready to pivot.

Practically speaking, I develop routines that get me in the writing zone, and I take lots of breaks so I don’t wear myself out.  I’ve been through burnout once.  Lord willing, NEVER again.

 

What Christian authors do you admire?

How long do you have?  LOL.

I love the Mosaic Collection authors and their love for and commitment to the Lord. They all come from a place of grace and support for Christian authors and readers, which I find beautiful. That’s one good place to start!  Um… genre speaking, I’ll try to throw a couple from each out but if you asked me this tomorrow, I’d give different answers, I guarantee you.

Sara Brunsvold (deep faith stories), Suzanne Woods Fisher (beautiful life application of faith), Chris Fabry (fabulous storytelling that encourages my faith), Elizabeth Goudge (not afraid to show the hard stuff and how it could be handled), Joanne Bischof (stunning writing and storytelling), Amanda Dykes (beautiful writing—I usually don’t enjoy writing that I NOTICE the beauty, but I do with her), Amanda G. Stevens (deep faith welling up from stories and a look at troublesome times ahead), Sharon Garlough Brown (falling in love with Jesus as you learn His deep love for you), Sarah Hamaker (rich faith while reading a gripping story), Lisa Phillips (excellent writing—learn just by reading), Kimberley Woodhouse (more excellent writing with unexpected faith lessons), Angela Ruth Strong (rich lessons woven into hysterical writing. Genius), George MacDonald and Michael Phillips (rich, deep faith that keeps me abiding in Him) and this one gal… ugh, what was her name.  Kay Di…something (she’s got my favorite opening scene… ever). 😉

 

I loved being interviewed on your “Because Fiction” podcast. Please tell my blog audience about the podcast and how they can find it.

Because Fiction was supposed to be a way for me to chat about the books I was reading. It quickly morphed into a chat with authors about the books they’re writing as a way for readers to find new authors, learn about new books coming out, and sometimes learn about ones they missed. I’m a huge proponent of nurturing backlists!

It comes out every Tuesday and Friday (except in December) and should be on all the major podcast apps. Or you can go to becausefictionpodcast.com  (it’s also on my sidebar on my blog at Chautona.com/blog)

 

Where can we find out more about you and your work?

Well, lookie there!  I just mentioned it! Seriously, though, Chautona.com is the best place to learn more about me, my books, and what’s coming.  And now that I’ve written that, maybe I should um… update the site. I kind of got behind this year!

 

Thank you, Chautona, for being with us today.

Thanks for having me! I always enjoy a chat with you—on the podcast or on ‘paper.”

 

Faith in Fiction -- a conversation with Chautona Havig Share on X

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Meet Chautona Havig

Using story to connect readers with the Master Storyteller.

Chautona Havig lives in an oxymoron, escapes into imaginary worlds that look startlingly similar to ours, and writes the stories that emerge. An irrepressible optimist, Chautona sees everything through a kaleidoscope of It’s a Wonderful Life sprinkled with fairy tales. Find her at chautona.com and say howdy—if you can remember how to spell her name.

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A note in a forty-year-old Bible compels pilot Cassie Deakin to join the search for a murderer.

Available at  Amazon, Barnes & Noble, Kobo, Google Play, or Apple Books.

THE CRAFT OF WRITING — JUNE 2024

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This year the CRAFT OF WRITING blog is focusing on Aspects of the Novel. So far, we’ve covered Voice with James Scott Bell, Plotting with DiAnn Mills, Antagonists with Debbie Burke, Scenes with Randy Ingermanson, and Emotion with Angela Ackerman and Becca Puglisi. If you missed any of these, you can go to kaydibianca.com/blog and choose the post you want to read.

This month, I’m delighted to welcome first-time guest Larry J. Leech II to the blog. Larry is editor-in-chief of Bold Vision Books and a writing coach to multiple award-winning authors. With more than forty years of writing and editing to his credit, Larry is the perfect professional to talk to us about Dialogue.

So get out your manuscript and get ready to polish that conversation.

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This month we’ll choose one commenter to receive a $10 Amazon gift card, so be sure to join the conversation and earn a chance to win. I’ll post the name of the winner after 9 PM Central Time tomorrow night.

(Previous 2024 winners are not eligible to win.)

Tips and pointers on dialogue from editor Larry Leech II Share on X

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Welcome to the Craft of Writing blog, Larry, and thank you for joining us!

Thank you, Kay, for the opportunity. I’m honored and grateful to share with your readers.

 

Why is the use of dialogue so important in a novel?

We discover as much, if not more, about a character, through their dialogue. We learn about their level of intelligence, their fears, likes and dislikes, goals, and attitude—in both spoken and internal dialogue.

 

Is there any “rule of thumb” as to what percentage of a novel should be dialogue? (I’ve read different opinions on this one.)

I believe the story needs to dictate how much dialogue. While we, editors and coaches, like to see a nice balance of prose and dialogue in a novel, putting a percentage or word count on the amount of the dialogue suffocates the creativity. Some characters are chatty. Others can be tightlipped. So, let the characters decide how much dialogue there should be.

 

How does dialogue bring characters to life?

Individuality. Much has been taught about plot, structure, character arc, etc., but I believe readers love to hear a character speak. First, each character must have a distinctive voice. A fifty-year-old white male should not sound like a twenty-two-year-old female person of color. Even two teenage boys should not sound the same. Each has a backstory and moral center that dictates how they speak.

Think of the cinematic voices we know well. Whenever someone says, “Life is a like a box of chocolates,” we hear Forrest Gump. Or “No, I am your father,” we hear Darth Vader. Or “You’re gonna need a bigger boat,” we hear Chief Brody in Jaws.

Also, along with what I mentioned above about the importance of dialogue in story, dialogue also reveals worldview, syntax, and what I call “industry language.” For example, law enforcement and military personnel often say, “I’ve got your six (your back).” A plumber wouldn’t say that.

Along with action, dialogue helps the reader understand the character. And if done effectively, allows the reader to “live” the story instead of reading it.

 

We’ve all heard the unusual ways authors sometimes substitute words for “said.” (e.g., roared, interjected, whispered.) How important is it to stay away from those?

Readers tend to skip over tags, which are simply a placeholder for those who have spoken. I teach my clients that “said” is preferred (even for the word ‘asked’ with some publishers), but action is preferred over said. People move while they talk. But in many early drafts, I see a lack of action while the characters talk. The characters either feel like they are floating around in space because of lack of setting or if they are anchored in a scene, they sit on their hands and talk with each other.

 

What are some of the other pitfalls writers fall into when writing dialogue?

Great question. The number one pitfall I see is tone after dialogue. If the tone is after the dialogue, the reader doesn’t read with the intended tone. For example: “I hate you,” she said angrily. But by putting the tone before the dialogue, we read with the intended tone. But tone can be substituted with action. For example: She slammed her fist on the table. “I hate you.” Or She giggled. “I hate you.” In each example, we know “she” is mad and being playful.

Second, I often see is the dialogue doesn’t fit the character. A sixty-year-old writing YA usually doesn’t have the language and mindset correct for the characters. The same can be said when someone writes outside their ethnicity or culture. Even if the author has done a lot of research, I encourage them to find someone in that age group, ethnicity, or culture to read for accuracy in the dialogue.

Third, direct address in two-person dialogue is not needed. It’s a waste of words. Remember, projects are based on word count, not page count. An acquisition editor or agent will ask, “How many words is your manuscript?” They don’t ask “How many pages?” So, don’t waste words on unnecessary direct address in dialogue. But, and often there is an exception, direct address between a parent and child can be acceptable.

Fourth, I didn’t think I would spend so much time on this question, most new writers like to include greetings for answering the door or a phone call. Again, wasted words and bogs down the reader. The example I use of how to avoid comes from a Richard Castle novel. Unfortunately, I can’t remember which one. In this scene, the characters Jameson Rook and Nikki Heat meet Rooks’s mother’s at a restaurant. Instead of writing out all the greetings, the author wrote: After hugs and hellos, … In an instant, we see and hear the greetings between the three characters without reading the words.

 

What is a good way to handle internal dialogue? 

Because most publishers I work with don’t want internal dialogue in italics or inside quote marks, action before internal dialogue will set up the internal dialogue. For example, I gave her a sideways glance and smirked. “I hate her.” Obviously, the speaker is talking about someone else, and that looks like spoken dialogue. Without the quote marks, we know it’s internal dialogue.

 

How should a writer approach using dialect?

Some say writing in dialect is like walking a tightrope. The author can turn away readers with too much or oversimplify, which will ruin the impact of the dialect. First, research is important—using the internet, reading books with that dialect, or, if possible, interviewing people who speak in the intended dialect. Second, use sparingly. Don’t overwhelm the reader. Third, as with all dialogue, the dialect should serve the story and, of course, the character.

 

What tips can you give us for writing great dialogue?

Avoid long sentences of explanation. Short sentences and fragments can be a writer’s best friend. Dialogue should be short, snappy, and have tension. Long: “Well, what color dress do you think would be appropriate for a first date with a man I just met online and know little to nothing about?” Short: “Would a blue dress be appropriate? I don’t really know him. We met online. It’s our first date.”

Also, large chunks of dialogue often feel like an info dump. I’ve seen manuscripts with dialogue that tops 150 words. While I don’t like a restriction on word count, that much dialogue will fill up most of a printed page and create a gray blob on the page. To fix that problem, to make the dialogue feel more organic, first make sure every bit of information is needed. Then break it apart with interaction with another character and with action as well.

 

Where can we find out more about you and your work?

Readers can find me on Facebook, Instagram, and my website, which is in the process of being redesigned.

 

Thank you, Larry, for being with us today.

Thank you again, Kay. I’ve enjoyed the opportunity to share.

 

Tips and pointers on dialogue from editor Larry Leech II Share on X

 

***

Meet Larry J. Leech II

Editor-in-Chief at Bold Vision Books and writing coach of award-winning authors, Larry J. Leech II has spent more than forty years writing and editing. He started his career as a sportswriter in southwestern Pennsylvania where he covered prep, college, and pro sports, including the Pittsburgh Pirates and Steelers.

 

In 2004, after 2,300 published articles, Larry moved into the book publishing industry. Since that time, he has ghostwritten 31 books, edited more than 450 manuscripts, and coached hundreds of authors through the writing and publication process. You can find him online on Facebook, Instagram, and his website.

 

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The latest novel from Kay:

 

Private pilot Cassie Deakin has plenty to say about her teammate, Deputy Sheriff Frank White in Lacey’s Star: A Lady Pilot-in-Command Novel.

Available at  Amazon, Barnes & Noble, Kobo, Google Play, or Apple Books.

 

THE CRAFT OF WRITING — MARCH 2024

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This year the CRAFT OF WRITING blog is focusing on Aspects of the Novel, such as Plot, Dialogue, Characterization, etc. In January, James Scott Bell walked us through a discussion of Voice, and last month DiAnn Mills gave us insight into Plotting.

This month, I’m excited to welcome my good friend and colleague Debbie Burke back to the blog. Debbie is the multi-award-winning novelist of the Tawny Lindholm Thrillers with Passion series.

When I learned that she was writing a craft book entitled The Villain’s Journey, I asked her to come on the blog and talk to us about Antagonists. Now this should be fun!

Incidentally, Debbie received a major honor recently when her latest novel, Deep Fake Double Down, was named one of the five fiction finalists for the national BookLife Prize of 2023. Congratulations, Debbie!

 

So get ready. It’s time to meet the bad guys.

* * *

Once again, we’re doing something fun for this interview. The name of each person who enters a comment will be put into the drawing for the unique “Wilbur and Orville 1903” Propeller pen, hand-crafted by my friend and colleague Steve Hooley. The pen is made from Ash, one of the woods the Wright brothers used to build their first aircraft. So join the conversation and earn a chance to win. I’ll post the name of the winner after 9 PM Central Time tomorrow night.

(Previous 2024 winners are not eligible to win.)

 

* * *

Welcome back to the Craft of Writing blog, Debbie, and thank you for joining us!

Kay, I’m happy to visit your terrific blog again and reconnect with your readers.

Last month, I was the lucky winner of Steve Hooley’s stunning propeller pen. The quality and beauty are fabulous. Thanks, Kay and Steve!

 

First off, what is an antagonist? Does the antagonist always have to be a person?

Merriam-Webster defines antagonist as: “one that contends with or opposes another : ADVERSARY, OPPONENT”

An antagonist is a character, situation, or event that stands in the way of the protagonist reaching his or her goal in the story. An antagonist can be a mass murderer bent on world domination; or someone as benign as a mom who says no when her teen daughter wants to stay out late with her boyfriend.

Villains are antagonists but antagonists are not necessarily villains.

To answer Kay’s question, the antagonist does NOT need to be a person.

Natural disasters offer great obstacles in fiction, e.g., tsunami, earthquake, wildfire, a meteor hurtling toward earth, or even a great white shark (Jaws).

Political upheaval and war inspired classics like Gone with the Wind, For Whom the Bell Tolls, and Dr. Zhivago.

Economic and social issues are antagonistic forces that drive great literature. Think of Charles Dickens, Harriet Beecher Stowe, and John Steinbeck.

Weather can serve as an antagonist. In my thriller, Dead Man’s Bluff, a hurricane knocks out power and causes flooding while the main characters are searching for a missing friend. Storm dangers could kill the heroes before the human villains in the story ever get a chance.

Epidemics make frightening antagonists because deadly disease can strike anyone. Examples are The Plague (Albert Camus), The Andromeda Strain (Michael Crichton), and Outbreak (Robin Cook).

In my sixth book, Flight to Forever, the pandemic is the antagonist that triggers all complications in the story.

 

What characteristics define a villain?

Villains come in many different flavors—liars, cheats, thieves, backstabbers, stalkers, bullies, psychopaths, killers, etc. That’s why they’re so much fun to write. Author Ruth Harris says, “There are more ways to be bad than there are to be good!”

I think all villains share two basic traits:

  1. They believe they are righteous and justified in their actions.
  2. They are willing to harm others to achieve their goals.

Villains can be brutal like Captain Bligh (Mutiny on the Bounty) or charming like the talented Mr. Ripley. Some are gutless cowards like Fredo Corleone who betrays his brother Michael in The Godfather Trilogy.

Michael himself starts as a war hero who wants to protect his father, Vito. Vito also began with righteous motives of defending his community against thugs. But both become ruthless villains who wield power and wealth to destroy enemies.

 

Does the antagonist have to be introduced early in the story? And does he/she have to be known to the reader as a villain?

In traditional mysteries, villains are generally not revealed until the end, although they usually appear earlier. Readers enjoy working along with the sleuth to solve the puzzle, putting clues together, narrowing down the suspects. The villain should be well disguised but hiding in plain sight, present enough in the story that the savvy reader might figure out his/her identity.

If, at the end, an author suddenly pulls a surprise villain out of thin air (the unknown Great Uncle Charlie who just arrived after three decades in Argentina), readers feel cheated because they didn’t have a chance to solve the crime themselves. An author has to play fair, or readers resent it.

In detective/police stories, solving a crime often means a long, painstaking investigation, following leads. Toward the end, they finally close in on the villain whose identity may not be known until s/he is arrested. That’s fair because of the nature of that genre.

Suspense and thrillers are a little different. The villain is often known immediately. The reader’s question changes from “Whodunnit?” to “How did they do it?” or “Are they going to get away with it?”

 

People love to hate the villain, but is it possible for readers to feel sympathy for or even attraction to the antagonist?

Oh, absolutely! To me, the best villains are the ones who feel like real people, not cartoons. They may have been abused or terribly scarred by someone or something in their past. A tragedy may have twisted them until they view life and other people in a skewed way. They may have experienced a loss they never recovered from.

A villain evokes sympathy when the reader thinks, “There but for the grace of God go I.”

The villain can also represent the secret, dark desires hidden deep in most people. The villain gets to do what we wish we could do if we weren’t restrained by consequences, the law, or moral beliefs.

 

How does a good writer approach creating the antagonist character? Are there exercises a writer can use to develop their villain-creating talents?

A technique I like to use is James Scott Bell’s voice journal. Let the antagonist write out their thoughts, feelings, and beliefs. What are their deepest, most secret desires? Give them the opportunity to express their frustration, anger, and hatred. Putting their emotions into words helps the author get inside their skin and understand why they feel their behavior is justified.

Interview the villain/antagonist. Ask questions. What is their background? How did their parents treat them? Were they bullied or abused? What early losses or failures scarred them?

Another Jim Bell tip: have villains argue their case before the jury that will decide their fate. What compelling arguments can they offer to save themselves from the death penalty?

 

Give us some examples of antagonists you thought were well-written.

I like antagonists who are self-aware and tormented. They feel they must do what they must do but are conflicted about it. Michael Corleone is a good example.

Memorable villains stand the test of time. I still remember reading A Tale of Two Cities in junior high school where Madame DeFarge knits her list of enemies. Her family’s destruction caused understandable, righteous anger. But revenge consumes her until she feels justified in punishing even innocent people who never harmed her family.

Anthony Hopkins created an unforgettable Hannibal Lecter in the movie version of Silence of the Lambs, but the book delves deeper into the psychology. Lecter burrowed inside people’s brains, knew their thoughts, and anticipated their behavior. Reading about that personal invasion felt enormously creepy.

 

Can you tell us the status of The Villain’s Journey? Do you have a publication date yet?

Thanks for asking about The Villain’s Journey. A bit of background: The Hero’s Journey (by Joseph Campbell) and The Writer’s Journey (by Christopher Vogler) are classic craft-of-writing books about how to create memorable protagonists. But, to my surprise, there wasn’t a corresponding book about villains. So I decided to write it.
Nonfiction is different from fiction because you don’t have to finish the book before submitting to an agent or publisher. Instead, you write a nonfiction book proposal. That is a lengthy, detailed outline of the idea, including sample chapters and a table of contents of topics you’ll cover.
To give you an idea of how much detail, my proposal for The Villain’s Journey is 30+ pages.
That proposal is now being reviewed by an agent. Please cross your fingers that he chooses to represent it!

Tell us more about you. Outside of writing, what other things are you interested in?

Since writing requires waaaay too much time sitting on my rear, I need to exercise often. Zumba is great because it’s a cardio and mental workout that helps concentration, balance, and coordination. Plus, it’s fun. Interestingly, zumba classmates are big supporters of my books.

Living in Montana, hiking is mandatory. I don’t go as far or as fast as I used to but being in nature is still the ideal combination of calming and energizing.

 

Where can we find out more about you and your work?

Please visit debbieburkewriter.com. There are sneak peeks of each book in my Tawny Lindholm Thriller series. They are available at Amazon and major retailers or support your favorite independent bookstore and ask them to order.

Every other Tuesday, you can find me at The Kill Zone (following Monday posts by my friend Kay). I also write about funny, interesting, or unusual news stories on True Crime Thursday.

Thank you, Debbie, for being with us today.

Kay, it’s always a pleasure to answer your wonderfully challenging questions!

 

* * *

 

Meet Debbie Burke

 

 Debbie Burke writes the Tawny Lindholm Thrillers with Passion series. She is a regular blogger at The Kill Zone, a popular website about crime writing. Her nonfiction articles have won journalism awards and appear in national and international publications. She is a founding member of Authors of the Flathead and helps to plan the annual Flathead River Writers Conference in Kalispell, Montana. Her greatest joy is mentoring young writers

 

THE CRAFT OF WRITING — FEBRUARY 2024

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This year the CRAFT OF WRITING blog is focusing on Aspects of the Novel, such as Plot, Dialogue, Characterization, etc. Last month James Scott Bell walked us through a discussion of Voice.

This month, I’m excited to welcome DiAnn Mills, a multi-award-winning novelist and craft of writing expert who will help us master that most important writing skill, Plotting. Here are a couple of her craft books.

So take out your notebooks and pens because we’re going to plot! (And don’t miss DiAnn’s bio at the end of the post.)

* * *

Once again, we’re doing something fun for this interview. The name of each person who enters a comment will be put into the drawing for the unique “Wilbur and Orville 1903” Propeller pen, hand-crafted by my friend and colleague Steve Hooley. Steve has made several of these pens to celebrate the release of my latest novel, Lacey’s Star: A Lady Pilot-in-Command Novel, and I couldn’t be more honored. The pen is made from Ash, one of the woods the Wright brothers used to build their first aircraft. So join the conversation and earn a chance to win. I’ll post the name of the winner after 9 PM Central Time tomorrow night.

(Previous 2024 winners are not eligible to win.)

* * *

Welcome to the Craft of Writing blog, DiAnn, and thank you for joining us!

I’m honored to be here. What fun to talk about the craft of writing. Not everyone speaks our language, so this is fun. As a writer, we are always looking for ways to improve our craft. I’m right there with you by reading and rereading the how-to blogs, articles, and books.

How would you define “plot?” How is a plot different from a story?

Plot is the map a character uses to solve a problem or reach a goal. Each scene contains a specific goal that moves the character forward.

The story is everything that happens to the POV characters on the journey to solve a problem or reach a goal. On that journey, character, plot, emotion, setting, dialogue, and other literary techniques show character growth and change.

Another way to look at the difference between plot and story is this: Plot is the scavenger hunt; story is the people and obstacles, victories and defeats that are encountered along the way.

I have read that plot is the one aspect of writing that authors are most afraid of. Why do you think writers are worried about their ability to produce a good plot?

I think that goes back to technique or how-to. Some writers are seat of the pant or discover writers, often called pansters. Other writers are careful outliners. While others are a hybrid. For the record, I’m the discovery writer.

I use a four-question approach. Before writing each scene, I ask myself the following:

  1. What is the POV character’s goal or problem to solve in this scene?
  2. What new information does the POV character learn?
  3. What backstory is revealed. *Note avoid backstory is the first approximately 50 pages of the novel. This is where the character is “dating” the reader. The story needs to move forward and show the character’s worth to the reader. We’re looking at the reader spending hours with this character. Another caution is to avoid weaknesses and flaws in the POV character for approximately 50 pages – for the same reason.
  4. How are the stakes raised?

The scene is the action. After the scene or a series of scenes, comes an internal reaction resulting from what’s happened in the scene or scenes. This ensures the following:

External – Goal, Conflict, High Stakes

Internal – Reaction, Dilemma, Decision. This is always, always short.

How has the development of a good plot changed over the years? How is it different now than it was a hundred years ago?

I’d say POV and the emphasis of deepening the experience for the character and thus the reader with credible emotions. This makes the plotter tighter/more focused.

What makes a good plot? Do you advise authors to write to specific plot points (e.g., inciting incident, first pinch point, dark night of the soul)?

This depends on the type of plotter and the method the writer’s brain functions. I’d like to emphasize that the writer must work according to how their brain processes and analyzes story. With that said, I write toward:

  1. The first open doorway which is 1/5 to ¼ of the way into the novel. This is where the POV character determines to go after the goal.
  2. Mid-point, I toss in a wrench. In other words, something about the plot changes the story.
  3. End of middle, the climax.
  4. Resolution

And I follow the 4 plot questions for each scene with a short narrative showing the internal reaction.

What role does emotion play in creating a plot?

Everything! Emotion is why a reader keeps turning pages. Characters, and so readers, must experience the 7 universal emotions throughout. surprise, fear, anger, sadness, disgust, happiness, and contempt.

What examples do you have of other authors who have written outstanding plots?

Jerry Jenkins, Charles Martin, Steven James, Hank Phillippi Ryan, David Baldacci, Markus Zusak, Lynette Eason – to name a few.

Are there exercises authors can do to develop their ability to create a good story?

Pray for direction.

Read. Read. Read.

Read the blogs, books, and articles about writing.

Read in your genre.

Read the bestsellers and use them as a textbook by underlining and taking notes.

Attend in person and online writing workshops and conferences.

Write. Write. Write.

Help other writers.

Repeat.

Tell us more about you. Outside of writing, what other things are you interested in?

Reading, cooking and baking, gardening, and spending time with family.

Where can we find out more about you and your work?

Here’s where you can learn more about me and connect with my social media platforms. https://diannmills.com

I love to hear from readers and writers! diann@diannmills.com

Thank you, DiAnn, for being with us today.

***

Meet DiAnn Mills

DiAnn Mills is a bestselling author who believes her readers should expect an adventure. She weaves memorable characters with unpredictable plots to create action-packed, suspense-filled novels. DiAnn believes every breath of life is someone’s story, so why not capture those moments and create a thrilling adventure?

Her titles have appeared on the CBA and ECPA bestseller lists; won two Christy Awards, the Golden Scroll, Inspirational Readers’ Choice, and Carol award contests.

DiAnn is a founding board member of the American Christian Fiction Writers, an active member of the Blue Ridge Mountains Christian Writers, Advanced Writers and Speakers Association, Mystery Writers of America, the Jerry Jenkins Writers Guild, Sisters in Crime, and International Thriller Writers. DiAnn continues her passion of helping other writers be successful. She speaks to various groups and teaches writing workshops around the country.

DiAnn has been termed a coffee snob and roasts her own coffee beans. She’s an avid reader, loves to cook, and believes her grandchildren are the smartest kids in the universe. She and her husband live in sunny Houston, Texas.

Learn about all of DiAnn’s books and connect with DiAnn@diannmills.com.

THE CRAFT OF WRITING — DECEMBER 2023

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HAPPY HOLIDAYS!

As we come to the end of another year, I want to express my sincere thanks to all the authors whom I interviewed in 2023. Their wisdom and experience light the way for the rest of us.

I also want to thank all the readers who visited the blog this year, and I’m especially grateful to those of you who have added your voices to the Craft of Writing posts. You honor us with your participation.

And I offer very special thanks to my friend and colleague Steve Hooley. Steve has made all the pens that we gave away this year, and the quality of his work never ceases to astound me.

* * *

Today is “Name Your Favorite Book(s) Day!”

Leave a comment below with the titles of the book or books you love, and your name will be entered into the drawing for a signed copy of Lacey’s Star and the special “Wilbur and Orville 1903 Mahogany” propeller pen that Steve made.

Everyone will be eligible to win, even if you won a pen before. (I’ll post the name of the winner by 9:00 p.m. on Tuesday, December 19.)

* * *

Best wishes to you all for a joyous holiday season and a wonderful and productive 2024.

Now it’s over to you. Name your favorite book(s) and tell us why you love them.

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