Discreet vs Discrete

Grammar Lesson: Discreet vs Discrete

In my current work in progress (WIP), I wrote this sentence and then wondered if I’d used the correct spelling. “Her low-heeled sandals made a discreet tap-tap as she strode along.” Did I mean discreet or discrete? Was there a difference? And how could shoes make a discreet sound? What did I mean by this? Did the shoes make a quiet sound that would come under the radar? Or was the noise distinctive in some way?

The Daily Writing Tips said both words are adjectives. Discreet means judicious, prudent, circumspect, cautious. Discrete, on the other hand, means separate, detached from others, individually distinct.

According to Oxford Dictionaries, the words are pronounced the same way and share the same origin, but they don’t share the same meaning. Discrete means “separate, as in a finite number of discrete categories, while discreet means careful and circumspect, as in you can rely on him to be discreet.”

Vocabulary.com gives further advice. “Discreet means on the down low, under the radar, careful, but discrete means individual or detached… Remember that the “ee’s” in discreet hide together in the middle of the word, but the “t” in discrete separates them.”

So what did I mean in my sentence above? Was that proper usage? I think so. The meaning I intended was “quiet, on the low-down” rather than “distinctive.”

I did a search in another project and came up with this sentence. It’s obviously wrong now that I know the difference:

“Never mind that he could get dismissed for consorting with a student. That hasn’t stopped him before, but usually he’s more discrete about it.”

Oops, I’ll have to change that one to “discreet.” Live and learn.

Raising Suspense in your Novel

How to increase suspense in your novel was the topic of a Saturday panel at Sleuthfest. Speakers included Laurence P. O’Bryan, Chris Pavone, Charles Salzberg and Alison McMahan as moderator.

What you want to do as a writer is to raise questions in the reader’s mind. You say things, but you don’t explain all of them. Follow the principle of R.U.E.—Resist the Urge to Explain.

Start out the story with a bang. Don’t give all the backstory right up front. Respect the reader to figure things out on his own. Create situations to make the reader care about your character’s backstory. This history can come in during “down” times in the pacing but only in small doses.

Contain mini-mysteries within the overall plot. Give solutions along the way to keep the reader interested, and then raise new questions.

Guide the reader down blank alleys but not too many of them.

Sentences should have velocity.

Leave out the paragraphs readers will skip over. Don’t dump info like descriptions of places or people unless it serves a purpose.

Spread out character background. Reveal things sparingly in terms of character and place.

Mood and temperament of the sleuth can add to the suspense. How is he going to behave? Will he act morally? Relationships add tension. Action shows a character’s true motivation.

Adding a ticking time bomb or a deadline or using bait and switch tactics are other methods to raise suspense. So can a sense of menace, but be subtle. For example, you mention that a character is meeting someone on Monday. Who is he meeting with? What’s going to happen?

“Our job is to keep people reading. Each chapter should have an arc that doesn’t resolve.”

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Disclaimer: These notes are my interpretation and are subject to errors which are mine alone.

View photos from Sleuthfest on my Facebook page. Look for the Sleuthfest 2016 album. Please Like the page while you are there.

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10 Mistakes for Beginning Writers to Avoid

It’s annoying, when I’m judging a writing contest or reading a self-published book, to find common mistakes that could be avoided with editorial help. Unfortunately, many beginning writers don’t even realize they need assistance. They’ll ask a friend or an inexperienced critique partner or a local English teacher to proofread their work, and the result is considered ready for publication. Think again. If you write fiction, you want an expert in the genre to edit your work and not the local journalist who has published nonfiction or the lit professor mired in academia.This post doesn’t apply to indie authors who know the ropes and have an expert eye screen their story.

Revise and polish your work as best you can before submission, whether to a writers contest or a publishing house or even to an editor you might hire. Here are ten common mistakes to avoid.

1. Create an Identifiable Main Character

Get us into the action right away with a sympathetic viewpoint character. Put us in her head and show us the world from her unique viewpoint. Make sure we can identify with this character throughout the story, so stay in her head as much as possible. Even when you use multiple viewpoints, we want to root for the hero.

2. Make Your Characters Likeable

Remember to address your character’s goals, motivation, and conflict. What does your character want? If she wanders aimlessly through life with no particular goals, that makes me as a reader less interested in her. Give me a reason why she behaves that way. Maybe she lacks confidence because of a past event. Maybe she’s afraid of failure. Knowing this will make the reader become more engaged with her. Give her redeemable qualities so we’ll like certain aspects of this person. If not, the reader won’t care, and that’s the death knell to your story. This also applies to the anti-hero. What makes him redeemable? Why should I, the reader, care about him? By balancing action with reaction, you’ll motivate your characters and make them more believable. For every action, you need a reaction. Don’t focus on plot to the exclusion of emotion. Make me care about your characters’ lives.

3. Avoid Bouncing Heads

Don’t switch viewpoints in mid-scene. If you must switch viewpoints, use a space break. Don’t leap into the head of every minor character. We cannot know a person’s thoughts unless we’re in their mind. You have to infer what the other person is thinking through non-verbal cues or dialogue. It becomes very disconcerting when every character we meet has an internal dialogue. Then the story loses focus. Stay in one character’s head. When you switch, indicate it with a space break.

4. Establish the Setting Up Front

As soon as possible into the story, establish the place, season, and time of day. Remember your five senses of Who, What, Why, Where, and When. Try to work these into the opening pages. Examples: Crickets chirped their nightly summer chorus, or late afternoon sunlight glinted off an icicle hanging from the roof. Also, don’t mention a street name or landmark and assume the reader knows where this place is. Be specific and give a location. Use the five senses to bring your settings alive, but remember to describe them from your viewpoint character’s perspective.

5. Watch Your Use of Bad Language

The occasional curse word may be acceptable for a hero who’s a hardass or for a heroine in the urban fantasy genre, but elsewhere it may raise a reader’s hackles. It can also turn off some readers completely, so this language should be sprinkled in judiciously, if at all. Add it only if it helps to define a character, not because you believe it makes your protagonist seem tough. Ask yourself: Is this necessary? If not, leave it out. Or deploy a substitute, like “frak” on Battlestar Galactica. Remember the old adage: Less is better, especially if you want to expand your readership.

6. Show, Don’t Tell

To keep the pace flowing, use dialogue and action and minimal exposition. If you have long passages where nothing happens except the protagonist thinks to herself or explains what happened in the past, the story comes to a dead halt. You want to imbue a sense of immediacy to your story, and that won’t happen unless you involve the reader. Long meandering passages of narration may have been acceptable centuries ago, but that doesn’t work today. Show us what’s happening; don’t tell us.

7. Avoid Flashbacks Like the Plague (and don’t use clichés, either)

The first chapter is your only chance to grab the reader so she’ll continue your story. If you segue into a flashback, the forward momentum is lost. Who cares what happened in the past? Throw in a line or two of dialogue or introspection to show us how the past is relevant to the current action, and then move on. Or make it part of the story action, such as a confrontation with a friend or a hesitation on the part of the main character to perform some act. Work backstory into your chapter with minimal intrusion. Flashbacks, too, will kill pacing, so remove those long passages that reflect past scenes and not the present. Only retain what is necessary to explain the current action.

8. Every Conversation Should Have a Purpose

When I suggest you use dialogue generously, I don’t mean that two friends should get together and chat meaninglessly on matters that don’t move the story forward. Dialogue must serve a purpose: to reveal information, define character, move the plot ahead, offer reaction and reflection on what’s just occurred. So ask yourself as you approach a conversation, what do you want to get across in this segment? If you don’t have a point to make, delete the scene.

9. Use Character Tags Sparingly

Try to replace “he said” or “she said” with actions. Avoid adverbs and show the tone of the conversation in dialogue instead. Don’t use “he thought” or “he wondered” if you are in the character’s head. Do use italics for inner thoughts.

Bad Example:

“You’d better not stick your nose where it doesn’t belong,” he said in an angry voice.

You’re telling me to mind my business? she thought. “I’ll do whatever it takes to find Angie’s killer,” she replied. “You’re the one who should watch your back.”

“Oh, yeah?” he sneered nastily. “Don’t say I didn’t warn you.”

Better Example:

“You’d better not stick your nose where it doesn’t belong.” He towered over me, as though his superior height could intimidate me into behaving.

You’re telling me to mind my own business? You’re the one who should watch your back. “I’ll do whatever it takes to find Angie’s killer.”

“Oh, yeah?” He jabbed his finger in the air. “Don’t say I didn’t warn you.”

10. Proofread Your Work

Would you enjoy reading a book riddled with spelling errors or misplaced commas? No? Then why send one to a contest where mechanics are judged? Proofread your work for typos, dropped quotation marks, missing periods, and misspellings. Same goes for your work before you indie publish it. Get beta readers to help if you can, and definitely hire both a developmental and a copy editor. You want your work to appear professional, not only out of respect for your readers but also for your future career as an author. If the goal is to increase your readership, you’ll strive to publish a polished product so readers will want more.

10 Mistakes for Beginning Writers to Avoid #amwriting #writetip Share on X

Avoiding Info Dumps

An info dump is when you drop a chunk of information on the hapless reader. This can take various forms. Here are some examples:

Overzealous Research

You love your research, and you can’t help sharing it with readers. These excerpts are from Facials Can Be Fatal (Bad Hair Day Mystery #13). The first paragraph is the original. The second one is the revised version.

Original

“The company built houses and rented them to the miners and their families. Single men would have shared a place together, eight to twelve of them in one dwelling. The homes were shotgun style. You could see in through the front door straight back to the rear. Since the miners worked twelve hour shifts, they weren’t all home at the same time. The rent was taken out of their paychecks.”

Revised

“The company built houses and rented them to the miners and their families. Single men often shared a place together. Since they worked twelve hour shifts, they weren’t all home at the same time.”

Original

“The Colorado River Compact of 1922 divided the waters of the Colorado River between seven states and Mexico. Getting it to the farther regions of our state proved difficult. Thus was born the Central Arizona Project Canal, or CAP as we call it. This required pipelines and tunnels to move the water. That can be costly, which is why our cities obtain most of their water supply from underground aquifers. Groundwater is our cheapest and most available resource.”

Revised

“The Colorado River Compact of 1922 divided the resource between several states. The Central Arizona Project Canal, or CAP as we call it, uses pipelines to move the water to the far reaches of our state. That can be costly, which is why many of our cities obtain their water supply from underground aquifers. Groundwater is our cheapest and most available resource.”

Laundry List

Any kind of list runs the risk of being tedious. Here’s a litany of symptoms you might get after being bitten by a rattlesnake. This passage is from Peril by Ponytail (Bad Hair Day Mystery #12):

“You’d have intense burning pain at the site followed by swelling, discoloration of the skin, and hemorrhage. Your blood pressure would drop, accompanied by an increased heart rate as well as nausea and vomiting.”

As this passage wasn’t necessary to my plot, I took it out. Be wary of any list that goes on too long. Here’s another example:

He counted on his fingers all the things he’d have to do: get a haircut, buy a new dress shirt, make a reservation, call for the limo and be sure to stop by a flower shop on the way to Angie’s house.

Do we really need to know all this, or could we say, He ran down his mental to-do list and glanced at his watch with a wince. Could he accomplish everything in one hour flat?

Dialogue

Here’s a snatch of conversation between my sleuth, Marla the hairdresser, and her husband, Detective Dalton Vail:

“I’m going to talk to our next-door neighbor, who happens to be the Homeowners’ Association president,” Dalton told her. “Wait here with Brianna. Since my daughter is a teenager, she won’t understand the argument you and I had yesterday with the guy.”

“Yes, isn’t it something how he made a racist remark?” Marla replied.

“I thought it was kind of Cherry, our association treasurer, to defend you.”

This dialogue could have come from Hanging by a Hair (Bad Hair Day Mystery #11). But why would I have Marla and Dalton talking about something they both already know? This is a fault of new writers who want to get information across. It’s not the way to go, folks. Show, don’t tell. In other words, show us the scene and let it unfold in front of us. Don’t have two characters hack it to death later when they both know what happened. Now if one of these participants were to tell a friend what went down, that would be acceptable.

No doubt you’ve run across info dumps in your readings. Can you think of any further examples or other forms this problem might take?

Avoiding Info Dumps in Your Story #writetip #amwriting Share on X

Self-Discipline

You can’t complete a full-length novel without a strict code of self-discipline. Imagine all the distractions we have throughout the day. How can a writer put these aside to focus intently on a book? How can we face a blank page each day, knowing we have to fill in the words? How can we concentrate day after day, month after month, on the same story until it’s done?

It takes immense self-discipline. You can train yourself to do it. First, you must set an attainable goal. Don’t think about the 300 page manuscript you have to complete or the 80,000 minimum word count. Consider how many pages you can reasonably complete each day. Set a daily goal. Determine what time of day is your most creative and set your starting hour. You will complete your pre-writing rituals and get down to business each day…when?

Now consider how many days per week you’ll be able to get this done. Do you want a five-day work week with weekends off? Or do you have a day job, so you have to binge write on weekends? How about allowing for doctor appointments, lunch with friends, and business meetings? Now set a weekly goal.

Use your tabulations from above to figure out your monthly projections. Then set monthly goals.

Beyond all this is the deadline you set for the first draft. Always leave leeway for sick days or vacations or unexpected visitors from out of town. When is your expected completion date?

Keep in mind that these deadlines are somewhat variable. Let’s say you’ve set five pages per day as your attainable goal. One day you might write two pages. Another day you might write seven pages. But your overall goal is twenty-five pages per week. As long as you reach the weekly goal, you’re okay.

Now comes the hard part. You need to practice BICHOK: Butt in Chair, Hands on Keyboard. You must do this day after day, no matter how tedious it becomes. Progress may seem slow, but even if you complete two pages a day, you’re moving forward. That’s the important thing. Do not stop to revise your work. You can fix it after it’s done. Keep moving ahead.

Non-writers don’t realize how hard it is to accomplish these goals. It’s easier to make plans with friends, play on Facebook, or do the household projects you keep putting off. You’d rather do a hundred other things than stick to a writing schedule. But the only way you’ll write that book is through sheer determination. You WILL do it despite temptation.

So set your goals, grit your teeth, and get your butt in the chair. You’re allowed to take an exercise break, but then sit back down and finish your daily goal. When done, you can have the reward of checking your email and social media and going out to have fun. The next day, it starts all over again. Put on those blinders while you write and keep going full-speed ahead. Many people say they want to write a book. Only a true writer at heart will finish one after the other.

What’s your method for getting the work done?

Young Adult Mysteries

This panel at Bouchercon was titled “Importance of Book Clubs and Young Adult Literacy.” Speakers included Destiny Geddis, Matthew McGrath, B.K. Stevens, and Kaley Whittle, with Tina Whittle moderating.

Disclaimer: These notes are based on my interpretation and any errors are mine.

· This panel included YA readers. They do reviews and have a book club at their charter school. Here is what they wish writers and editors knew about YA.

· YA mysteries have a teenage sleuth. The crime doesn’t have to be a murder. These stories often include elements of self-discovery and current issues for teens.

· Panelists advised authors to talk to young people to see how they speak. TV teens are as accurate as CSI teams on TV. Know your audience. Do the research. Talk to young adults to see what they do and what their friends do. “We don’t use certain words that have become antiques. We talk differently.” They also use different languages between texting, e-mail, talking in person to friends and to adults.

· Not all teen protagonists need a tragic backstory. They don’t have to be misunderstood. They don’t have to be loners, either. There’s lots of diversity in high school.

· Adults are not always evil, mean, unlikable, or uncaring. Avoid clichés like “I’m a teenager and I hate my parents.” Teens don’t rebel against authority in high school. They have to be respectful to teachers. Parents don’t always have to be divorced or dead. Nor does the family dog have to die. Most parents love their kids and try to be good parents and sometimes make mistakes.

· Don’t force the romantic elements. Have your characters be strong on their own, and then they can fall in love. You don’t need a lot of angst. The romance doesn’t always mean boy/girl, or white guy/white girl. Platonic relationships work too. Friendships are also desirable. The romance can lead to character growth when the protagonist has to make a choice.

· Don’t kill off a pet just to elicit an emotional response. Make the emotion natural and realistic to a character who’s connected to readers. Don’t throw in a baby either for the emotional response. Look at http://doesthedogdie.com for a guide to movies.

· Create a diverse cast of characters.

· Treat YA mysteries as seriously as adult mysteries. Readers should have access to clues, and the protagonist should solve the mystery on her own. “We figure things out really quickly and we want surprises. Don’t dumb down the mystery. Give us challenges. Develop the villains as fully as other characters.” Avoid dialogue such as “as you know…”

· Strong female characters do not act like stereotypical men. They can be feminine but strong. Males will read books with a female lead. Don’t follow gender clichés. Guys can be sensitive, and girls can like sports.

· Leave your moral soapbox at home. Subtlety is appreciated. Talk to the reader, not at the reader, otherwise it feels preachy.

· It’s okay to be both serious and funny.

YA writers or readers, what would you add?

Revising Your Manuscript

I’m in the midst of edits for Facials Can Be Fatal, #13 in the Bad Hair Day Mysteries. A couple of the problems I’m fixing are things you should be looking for in your work, also. These include too many mentions of previous stories, info dumps, and extraneous material that doesn’t add to a scene. My own read-through has revealed inconsistencies that I didn’t catch during my prior rounds. Here are some examples.

Excerpt One—Original Scene

“Was the other ship ever found?” Dalton’s rapt expression showed his fascination.

As a history buff, he must be soaking this in, Marla thought with fond affection.

Sam’s face folded into a frown. “The problem with that wreck site, unlike the deeper water where the Atocha sank, is that undercurrents cause shifting sand dunes. The Santa Margarita broke apart in a wide debris field. Through the years, people discovered a trail of artifacts, from gold chalices to silver coins, jewelry, and swords. Then in 1980, Mel Fisher’s company located a section of the ship’s wooden hull, along with items valued at forty million dollars. However, other portions of the ship remained elusive. Records showed eight hundred ounces of registered gold, one hundred and forty-five silver bars, more than eighty thousand silver coins, and millions of dollars in smuggled contraband still missing.” He ticked off each listing on his fingers.

“So that treasure remains unfound?” Dalton scratched his head as though the magnitude of value astounded him.

Sam got up to pace the room. “Another salvage firm from Key West discovered more relics. They contacted Mel Fisher’s company, since his group had the federal permit to explore those waters, and the two companies formed a partnership. Since then, they’ve recovered many more items. I like this one: sixteen thousand natural pearls in an oval leaden box. The largest weighs in at over fifty-two carats, one of the biggest known natural pearls in the world.”

“That’s amazing,” Marla said. “Those ships must have been heavy with all those coins and ingots aboard. No wonder they sank.” Gold jewelry and pearls, emeralds from Columbia, silver from Mexico . . . who wouldn’t kill to obtain such bounty? “How many more ships like those two remain undiscovered?”

“Quite a few.” Sam went on, his words rushing together in his enthusiasm. “In 1733, the Nuestra Espana fleet left Havana for home with three armed galleons and eighteen merchant ships. They encountered a hurricane off Marathon. The San Jose alone was carrying almost seven million pesos in gold when it sank. Many of these wreck sites are charted on maps and have been studied by archaeologists as part of the state’s historical preserves.”

“And yet, not all of the ships that sank have been found?” Marla imagined there must be records of missing cargo dating back in history.

He nodded. “As I said, some thirty to forty known ships have sunk in our coastal waters. There could be hundreds more.”

“What are the laws pertaining to these wrecks? Who owns them if found?”

“According to the Abandoned Shipwreck Act of 1988, any historic find becomes the property of its respective state.”

Excerpt One–Revised Scene

“Was the other ship ever found?” Dalton’s rapt expression showed his fascination.

“That’s amazing,” Marla said. “Those ships must have been heavy with all the gold coins, silver bars and jewels aboard. No wonder they sank. How many more ships like those two remain undiscovered?”

“Quite a few.” Sam got up to pace the room. “Most of the known wreck sites are charted on maps. They’re part of the state’s historical preserves.”

“Who owns the salvage rights to a sunken ship?” Marla asked, wondering about laws regarding lost treasure.

“According to the Abandoned Shipwreck Act of 1988, any historic find becomes the property of its respective state.”

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Excerpt Two—Original Scene

They’d requested a table outside at the rear but under the covered portion, not the lounge part that was just for drinks. Their table, covered with a white cloth, was already set with wine glasses, bread plates, and a glass-enclosed candle when they took their seats. Further out on the wooden deck, the drinkers had bare wood tables open to the sea breeze with some shade provided by green umbrellas. The tables and chairs had been bleached by the sun and looked more ashen in color.

They faced east and the Atlantic Ocean. A tree grew from under the deck, dropping the occasional debris when the wind blew. The view to the side enchanted her with its sandy beach and graceful coconut palms, but she couldn’t see the water stretching out to sea. The sky had darkened and there wasn’t enough illumination from the moon.

After the waitress uncorked their bottle of Chardonnay and they had sampled their first glass, Marla ordered the Boston lettuce salad with watercress, blue cheese, apples, and spiced pecans, while Dalton couldn’t pass up the conch chowder. They both had fish for their entrées; he got the soy glazed grilled tuna steak and she ordered pan-roasted salmon. Dalton, sitting next to a potted red croton plant, reached for a slice of crusty bread.

Excerpt Two– Revised Scene

They’d requested a table in the outside dining area at the rear of the house. Their white-clothed table held wine glasses, bread plates, and a glass-enclosed candle. They faced east and the Atlantic Ocean. The view to the side enchanted Marla with its sandy beach and graceful coconut palms, but she couldn’t see the water stretching out to sea. The sky had darkened, and the moon didn’t provide enough illumination.

After they had sampled their first glass of Chardonnay, they placed their orders. Dalton chose the soy-glazed grilled tuna steak and Marla ordered pan-roasted salmon. Dalton, sitting next to a potted red croton plant, reached for a slice of crusty bread.

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Excerpt Three—Original Scene

Howard lived in Mangrove Isles, a community of pricey homes bordered by canals in east Fort Lauderdale. Since they were already on A1A, it didn’t take them long to get there. His two-story house was well-maintained with iron grillwork on a second-story balcony, ceiling fans on a covered porch, and white outdoor wicker furniture. Majestic palms and other tropical greenery graced the front lawn. The driveway’s red pavers led to a detached three-car garage.

As Dalton parked along the curb, Marla looked up the house via a real estate site on her cell phone. “It’s worth over two million,” she said with a sense of awe, wondering if Howard had a yacht docked out back like many of his neighbors. “Would you believe he has five full bathrooms? The place is listed at nearly forty-three hundred square feet.”

“It must cost a lot of money to maintain.”

“Does he live alone, or is he married?” She didn’t recall his family status.

“He got divorced eight years ago. His kids live with the ex-wife.”

Excerpt Three–Revised Scene

Howard Cohn lived in Mangrove Isles, a community of pricey homes bordered by canals in east Fort Lauderdale. His Mediterranean-style villa had iron grillwork on a second-story balcony, ceiling fans on a covered porch, and hurricane impact windows facing the front lawn. Tropical greenery bordered a paved walkway to the door.

“Does Howard have a family?” Marla asked, unable to recall his marital status.

“He got divorced eight years ago. His kids live with the ex-wife.”

So what do you think? Are these revised versions better? What are your main weaknesses that you look for in revisions?

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Character Development: Lifespace

Do you lie awake at night worrying about future events or reviewing your to-do list? The other night, I couldn’t fall asleep. Too many thoughts and concerns flickered through my mind. When this happens, one technique I use is to grab a handy notepad and pen and scribble down every thought in my head. This might include a list of things I have to get done the next day or a list of my worries, whether realized or not. Writing them down seems to allay some of the anxiety.

Assigning these concerns to a set of worry dolls is another method I might employ. These are miniature Caribbean dolls that you lay out on your nightstand or put under your pillow. Then you assign each doll one of your worries. They fret all night while you can go to sleep, safe in the knowledge that someone else is doing the worrying for you.

I’d suggest a good book, but if it’s too good, you might want to keep reading. So choose a happy story that isn’t so engrossing that you can’t put it down. And if all else fails, there’s always a glass of wine to lull you into a state of tranquility.

What does this have to do with writing? When developing your main characters, you want to do the same thing. Imagine your character’s lifespace. Determine what is in her head at any given moment in time. Here is an early version for Marla Shore, my hairdresser sleuth. Never mind my minimal drawing skills.

What is YOUR main character thinking about right now? Why are these things on her mind? Which ones are the most important to her? How do they influence what she’s going to do next?

Giveaway! Anyone who comments or reblogs this article will be entered into a drawing for a free set of miniature Caribbean worry dolls. Winner will be picked by random.org on Monday morning and posted here. U.S. residents only due to postage constraints.

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Facing the Void

I’m in that void in between books. Having finished my Author’s Edition of Body Wave (Bad Hair Day Mystery #4) and scheduled it for launch on June 16, I can start thinking about my next project. And so far that’s all I’ve done—think about it. This would be Bad Hair Day #14. It’s a direct sequel to Facials Can Be Fatal that follows Peril by Ponytail, my September release. I’ve set this summer for plotting with writing beginning in the Fall.

All I have at this point is the victim. I also have a possible motive, but whether this ends up a red herring or the actual reason for the crime is yet to be determined. My suspect pool is limited to work colleagues. Who else can I bring in? Did the victim have any interests or extracurricular activities that might have gotten him in trouble?

I won’t know the answers until I do my character development charts. But first, I have to figure out the timelines, because this guy’s background indirectly intersects with my sleuth’s life. So where was she when they first met? What does she know about him?

Another person is involved who has a closer relationship to our intrepid hairstylist. How is this person related to the crime? Is it random, or does this character have secrets of her own that could provide a motive?

And what about the so-called crime? Is it plausible? What could be the course of events that led to the victim’s death? Who else might be involved? This necessitates research. I have to ask an expert in the field.

As you see, all I have are a series of questions. But these are things I must ask myself to start the plot formulating in my head.

And then there’s the Wow factor for me. What can I learn that’s new and interesting? This is what really grabs my interest and gets me excited about a story. The idea can come from a newspaper or magazine article, news broadcast, personal experience, or tidbit of information that crosses my path. Maybe as I’m delving into the characters, it’ll come to me. Meanwhile, my story antennae are alert.

If all else fails, I can explore my Dirt File, where I keep clippings of interesting articles about people’s crimes. Or I could explore my General Research files where I stick items that might inspire me. I’m hoping these actions won’t be necessary. Maybe I’ll get an unexpected visit from the muse who will bring me the right idea. Then the pieces will start to fall into place, and a story will form. I call this the Discovery phase because you are discovering what the story is about.

Plotting a new book is a daunting task, but one every writer faces when he finishes one book and contemplates the next. I can’t wing it like some authors. I need the story plotted out in advance. I’ll write a synopsis before beginning page one. This entire Discovery process can take me from one to three months. Then the hard work of writing begins.

How about you? When does your story brain put the pieces together?

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Starting a New Novel

Starting a new novel can either be an exhilarating prospect or a daunting one. No matter how many books you’ve written, this reaction still holds true. If you’re a pantser regarding plot, you might begin with a concept, a character, or a setting. You wing it from there with a general idea of where you want to go. But if you are a plotter like me, you need a roadmap. So how to begin?

Characters Come First

Get to know your main characters. Who are they? What do they want in life? Why do they want it? What stands in their path? Give them internal and external goals. Have them deal with an inner emotional struggle that inhibits them from moving forward. What caused this conflict? How does it relate to the main plot? Let’s say your heroine meets a firefighter that she really likes. But she has an insane fear of fires because her parents died in one when she was little. How can she have a relationship with a guy who’s life is always at risk? Meanwhile, the external plot involves an arsonist. For some reason, he’s targeted her. She has to rely on the hunky firefighter to keep her safe. And so on. But don’t leave the hero out, either. He should have his own reasons for not pursuing a commitment. As for the villain, give him a plausible motivation so the reader can understand his actions if not approve of them.

Determine the path of character growth so you know how things will end. How will your characters change by the end of the story? In this example, the heroine might have to overcome her fear of fires to rescue someone in a blaze—perhaps herself, or the hero who’s been disabled by the villain. She realizes her own inner strength will get her through any adversity. She’s a survivor. And so she can let down her barriers and give her heart to the man she has come to love.

It’s no different when you’re writing a series. In each book, your protagonist must change in some way or realize a truth about herself. Yet her emotional growth can involve a bigger arc that encompasses a number of books. Always solve the external conflict first in a story, and then wrap up the resolution with the insights your character has learned.

Build Your Setting

You’ve done your character development. Now where does your story take place? What is unique about this setting? How can you bring it to life for readers? This is where your world building takes place. Where does your character live? Why did she choose this place? What are its architectural and design elements? How is the setting a character in itself? Describe the sensory impressions you might note if you visited this area. How can you get its flavor across to readers? Why is this setting important to your plot?

Do Your Research

Make sure you get your facts straight about the locale and any issues involved in your story. This can be preliminary research until you begin your story. Then you’ll know what details to pursue. Is there an interesting news article that caught your fancy? Look up more information on the subject and figure out how it relates to your plot. Or perhaps your story is based on something you read or saw on television. You’ll know what avenues to explore. Just be sure you’re as authentic as possible. That goes for your protagonist’s career as well. Use metaphors and similes from her viewpoint. Get familiar with her work lingo and research her occupation.

Plot Your Story

If you like to use the storyboard method, grab a big poster and divide it into squares that represent your chapters. Brainstorm plot points and put them on sticky notes. Plaster these sticky notes around the poster approximate to their timing in the story. Or you can do a chapter by chapter outline instead. Either way, keep track of emotional as well as external plot points. Don’t worry if gaps show in your planning; they’ll fill in later if you lay the groundwork properly.

Keep in mind that each scene must have a purpose and hold tension. Each action is followed by a reaction and a decision. Start with a crisis or “call to action” for your character. Build the complications, layer in the secrets and suspense, determine the plot twists, and aim for an exciting resolution.

Many writers utilize the three act structure in their story plotting:
I. Inciting Incident and Introduction of Characters, Conflicts build to First Turning Point
II. Secrets, Subplots, and Complications, Rising Stakes, Second Turning Point
III: Black Moment for Sleuth, Villain Exposed, Resolution, Character Growth

Hook the Reader

How can you grab the reader at the start? Begin with action or dialogue and move the story swiftly forward. This is not the place for flashbacks or background information. Make sure your protagonist is likable to gain reader sympathy. Make the stakes personal. Consider that you only have the first few pages to make an impression. And just as importantly, end each chapter with a hook. You want to create a page-turner, so keep that tension ramped up.

Tomorrow, visit my piece on Internal Conflict at The Kill Zone.

Tag: writing craft