The Hardest Thing I Ever Had To Do...

Okay, so tell me, what is the hardest thing you ever had to do as a writer? For me it can be expressed in a phrase I was told by an oft-published friend... "There are times when you have to kill your darlings..."

My first reaction was to say: "What?"

The answer I got was simple. The scene was great, it was full of action, both physical and psychological. So what was the problem you ask? It didn't belong in that novel for one very valid reason: It didn't move the story along.

How does a writer determine whether or not to kill his/her darling? I have to read the story out loud at least twice, once with the scene and once without it. If after the second reading I find that the story has not suffered by eliminating my darling, I have to kill it.

Keep in mind the single most important rule of writing (Forgive me if I forget who first said this) "The goal of the writer is to say the most in the fewest words."

Happy writing.

Mystery-Man

Book Review: Heat Lightning by John Sandford

The best-selling author of the Lucas Davenport Prey novels has returned with his second book featuring Detective Virgil Flowers.

Flowers is called up to investigate a series of killings that appear to be the work of the same killer. He determines that all of the victims had a common link; they served in Vietnam in the turbulent period before the U. S. pullout and eventual fall of the South Vietnamese govenment.

I found the book to be as fast paced and absorbing as Sanford's prior works and in many ways find Flowers to be a much more interesting protaganist than Lucas Davenport. I highly recommend this for lovers of mystery/thriller novels.

Mystery-Man

Over The Fence: On Writing Short Stories vs Novels

The other day I was outside when my neighbor called to me over the fence. He and I don't talk a lot so I was not sure what he wanted. However curiosity got the better of me and I meandered over.

"I hear you do some writing," he said.

"Yes," I said, "I've published some work."

"Well, I'm thinking of writing a book and I wondered if you could help me out."

That got my attention. If there's anything I can spend hours talking about, it's writing. "Sure, what do you need to know?"

"Everything."

"Well," I said, "that narrows it down some." I couldn't help but smile.

"Seriously," he replied, "I've done some technical writing for my company, but I've never written fiction. Surely, there are some basic rules and guidelines."

"My best advice is that first and foremost, you should have an idea of what you want to write."

"I want to write a mystery novel."

"Well, a lot of writers start out with short stories. There aren't a lot of paying markets, but there are tons of online magazines looking for material. If nothing else, it will help you build a writing resume for when you finish the novel and start seeking an agent to represent you."

"Do I need an agent?"

"No, but they have something most new writers don't have."

He looked a bit skeptical. "What's that?"

"Contacts in the publishing industry. Many agents worked at various publishing houses before setting out on a career as an author's representative. But that's a bit premature, lets talk about writing something first. The agent will come later."

"Okay. So what's the difference between a short story and a novel; other than a bunch of pages."

"Well, it's really not all that complicated," I said. "Let's use an analogy."

"Okay." He leaned against the fence and I knew I had his interest.

"A short story is like robbing a liquor store."

His brow wrinkled. "Really?"

"Yes, there isn't a lot of time for plot or character development; so like a liquor store heist; you get in, get the loot and get out fast. A novel on the other hand is like robbing a bank or an armored car. It requires a lot of planning and time."

"I get it. In a short story you need to get to the point fast; whereas in a novel you can spend some time developing the story."

"Exactly." I glanced at my watch. "I have to run some errands. Tell you what, why don't we meet here again tomorrow and we'll discuss plot."

He smiled and said, "Sounds like a plan to me. See you then."

DEADFALL Reviewed

Level Best Books' sixth annual anthology of crime stories by New England writers has been given a glowing review by Rae Francoeur in the Arts Section of Wicked Local , a local distributed newspaper in Rockport, Massachusetts.

The review states in part: "Deadfall: Crime Stories by New England Writers" is a veritable cache of inventive ways to die, offbeat characters that kill, and crime fighters who thought they'd seen it all." The review goes on to mention several of the anthology's stories, including: I found myself laughing a number of times. "Bagging the Trophy" by Vaughn C. Hardacker is a lively, funny story about a lawyer with the attorney general's office who's trying to get a suspected killer to implicate himself.

To read the review in its entirety click here to go to Wicked Local's website.

Every Writer's Library Should Include:

Andrew McAleer, author of Mystery Writing in a Nutshell (The World's Most Concise Guide to Crime and Suspense Writing), has published a book that should be in every writer's library. The 101 Habits of Highly Successful Novelists is available through http://www.amazon.com/.

McAleer is an accomplished writer whose books include: Appearance of Counsel, the Afterword to the Edgar Award-winning biography, Rex Stout: A Majesty's Life, and the well-received P.I. novel, Double Endorsement. The editor of Crimestalker Casebook, Mr. McAleer is an active member of the Private Eye Writers of America and the Mystery Writers of America. He has contributed to numerous publications including The Strand, Mystery Scene, Hardbroiled, Mystery Time, The Baker Street Dispatch, Whitechapel Journal, Futures, The Lizzie Borden Quarterly, and The Gazette: Journal of The Wolfe Pack. His legal essays include a critical analysis of the Lizzie Borden Grand Jury and the History of Suffolk Law School. President of the Boston Authors Club, Mr. McAleer practiced criminal law privately in Massachusetts and taught The Master Sleuths at Boston College. He is the 2003 winner of the Speckled Band's Sherlock Holmes Revere Bowl Award. At this time he is pursuing a life-long ambition and is a new member of the United States Army.

WRITERS' GROUP GUIDELINES

A good writers' group is not a social teaparty (Although the members will form close personal bonds--how can they not? Where else will you find a group of people who will (or should) tell you what you need to hear, not necessarily what you want to hear.). If a group is to meet its purpose guidelines should be set at the first meeting. Here are some that one of my groups uses.

Purpose: The Purpose of this writers’ group is to help writers grow as writers whether they are seeking publication or not.

1. This is a safe place to read and discuss your work.

§ What is said in this group is said in confidence.

§ What is said in this group is said out of care and support.

§ As a writer you don’t know what you are really writing until you read it out loud.

§ As a writer of published works you must be (or appear to be) comfortable reading your own work out loud.

§ All group members hear the work at the same time.

2. Sharing of resources.

3. Open discussion of writing.

Expectations:

1. Come prepared to participate.

2. Share your news and industry contacts – good and bad – with the group.

· Helpful magazine articles.

· New markets.

· Upcoming workshops.

· Contests.

3. Be respectful of others opinions. We can disagree, critique, and debate but we must do so without attacking another group member or another group member’s opinion.

4. Share tactfully.

5. Bring no more than 1000 words to share with the group.

6. Offer to read for others (especially for newbies and second or third – or more – readings).

7. Decisions on projects, etc. are by group consensus.


Agenda:

1. Introductions.

2. Group business.

3. News.

4. Agent/Publisher contacts.

5. Critiques.

I realize that over time, as personal relationships grow, many of these guidelines will fall by the way. In fact, for a small group of 3 to 4 writers, they may not apply at all. But, if your group is large (I've been in groups that were as large as 10 to 15 writers), you should strictly adhere to the '1000 words', which is about 4 pages in manuscript format. Only you and your group can determine what works best for you.

Guidelines For Critiquing Another Writer's Work.

Every year at this time I hear many writers comment that they need to find a GOOD writing critique group. If you are a member of a group already here's some guidelines my group uses for Critiquing.

CRITIQUE GUIDELINES

1. Listen to what the author says (s)he wants/needs from the critique. That is your minimum responsibility to the author.

2. Be positive. Think positive, constructive, dietetic (i.e. not too sweet) sandwich cookie with your critique.

3. Be tactful. You may have to eat your own words so make sure you wouldn’t mind eating them.

4. Ignore the genre of the actual writing, critique the writing itself.

5. Begin with your over all opinion.

6. Critique as the story flows from beginning to end.

7. Be as detailed in your critique as possible.

a. Ask the author questions to find out intent.

b. Make comments as clear as possible.

c. Pay attention to active vs. passive voice.

d. Does scene advance the story?

e. Try to make suggestions as to how the writer may improve his/her work; rather
than sound as if you are rewriting the author’s story for him or her.

8. If the author wants/needs to tighten his/her writing point out where this could happen.

9. End on a positive note.