You’re in the book store’s fiction section browsing the new arrivals. A cover catches your eye. You pick up the book and open it to the first chapter. The narrative waxes on about a cottage in an idyllic rolling meadow with grass so green that it takes your breath away. You continue to read about that bucolic scene for four more pages and feel your eyes closing as your consciousness wanes. Your eyes snap back open as you put the book back and move on to the next.
    The opening chapter of your novel is important. Next to the cover, it may be your most important selling point. So, what makes a good first chapter? What draws a reader in and causes him or her to tuck that book under their arm and head for the check out counter or hit that “Buy” button on Amazon?
    In the genres of thrillers and action adventure there are certain components that are common to all first chapters. This is not to say that they don’t work in any genre. Let’s take a look at them:

• The opening line or opening paragraph has to draw the reader in. Here are some opening lines. Can you name the novel they are from? 
  • Call me Ishmael.
  • Ships at a distance have every man’s wish on board.
  • It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.
  • Someone must have slandered Josef K., for one morning, without having done anything truly wrong, he was arrested.
  • All this happened, more or less.

    Each is intriguing and practically drives you to continue reading. (By the way these are the   
    books: Moby Dick, Their Eyes Were Watching God, Pride and Prejudice, The Trial, and  
    Slaughterhouse-Five. How many did you get right?)

• Introduce your protagonist. The protagonist is usually in their ordinary world. But, in a thriller or action adventure novel it means the ordinary world may be fraught with problems or conflict which must be quickly addressed by the hero. This allows our hero to demonstrate their special ability and foreshadows the coming major conflict of the novel. The extreme example of this is the series of James Bond movies. Just after the opening credits, Bond finds himself in an impossible situation with death on his heels. He escapes with the aid of some space age gadget provided by Q. What we learn from this is that Bond is a man familiar with danger and that we’re in for a heck-of-a thrill ride. By the way, if your first chapter is fairly short, you can introduce your protagonist in the second chapter.
• Introduce your antagonist. They are usually the instigators of the main conflict of your story so get them involved early. Now, you don’t have to physically show your antagonist at the onset. Sometimes opening your novel with a dramatic scene of mayhem entices your reader with the level of malevolence, sophistication, and drive your antagonist possesses and thus the hurdles your protagonist will face.
• Your writing has to be done well in the opening chapter to keep your reader reading. This probably goes without saying.
• Finally, end your opening with a cliffhanger—the first step in a rising staircase of cliffhangers throughout your story.    

That’s my list for opening chapter must haves. I’ve tried to incorporate them in my new novel, LETHAL PARADISE. Check it out. 

It’s finally happened. My book is ready to drop. After years of writing I had to release my baby into the world. Although, you could call the entire project a labor of love, the final part, the editing, was (putting it mildly) excruciating. 
    Before I say more about my editing ordeal, I must admit that I would have preferred to hire a professional editor. Even a cursory check of blogs and articles on the internet will bear me out. A professional editor for you book is the way to go. However, I wanted to get the book out as I have several others coming down the pike. Unfortunately, I also had significant housing expenses. The final results: no money for an editor.
     Editing is difficult. And really no fun. But, it’s a necessary part of writing. This is how I did it:

• After completing the manuscript, I put it away for a while. 
• I then did three read throughs:
  •  The first to correct obvious mistakes and to fill in those blanks writers create when a name or description eludes you at the moment and you don’t want to stop the creative flow to search a thesaurus; 
  • The second was to adjust the timeline. You don’t want to say your character, John, flies to Europe in two days, then later write, “Three weeks later, John boarded the plane for Paris.” 
  • Lastly, I did a read through to evaluate the entire manuscript. Finally finished? Not by a long shot.
• I then obtained a beta reader. Her criticism gave me a sense that I was on the right track with the story. 
• I next obtained proofreading software and ran the manuscript through it multiple times. I looked for not just typos and grammar , but passive sentences, word repetitions, sentence length, and vague words.
• I then put the manuscript away again. This time when I came back to it, the manuscript read like a new story. This allowed me to see errors that I’d missed before.
• Finally, I read the manuscript twice more: once for the flow of the story and the second time aloud, to pick up any further grammar and typo errors, as well as poor sentence structure.

Although, not completely satisfied with the manuscript (I think no author is ever completely happy with their work) I decided to release it. 
    LETHAL PARADISE will be available on Amazon. I hope you take a look at it. 

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​    In a few weeks I will be attending the Florida Writers Conference. This will be the first writers conference I've been to in several years. I’m certainly looking forward to going. If you've never been to a writers conference you may be asking yourself, why attend? After all it's pretty expensive. And it's likely to cut into your vacation time if you have a full time job. But, there are advantages to attending a writes conference. Here are just a few:

• You meet like-minded aspiring and published writers. Writing is a solitary profession. We sit alone in our writer’s loft or home office or corner table in the coffee shop and pound away on our laptops churning out chapter after chapter. Unless you’re collaborating on a project, you work day by day in self-imposed seclusion. By attending a writers conference you meet fellow writers; share mutual concerns; commiserate. In short, you realize you’re not alone in your endeavor. You share the same worries, joys, doubts, and triumphs.  
• The speakers provide useful information on writing and publishing. Most writers conferences feature speakers, experts in their field. You can learn a lot about your craft from them. Everything from the basics of novel writing to how to self publish to how to get an agent.
• There are agents present looking for the next great novel. If you’re interested in finding an agent for your work, a writers conference is no better place to search. Literary agents looking for new writers attend many conferences. But, this means you need to have a polished pitch and several pristine pages of your novel ready. And, who knows, that meeting could be the launch of your writing career.
• You can share your work with your peers. There’s usually a late night session where aspiring writers like you read their work to each other and undergo criticism. You can learn a lot for sessions like this.
• You leave inspired to complete that novel. By the end of the conference you’ll feel renewed, inspired, driven to finish that novel you’ve been struggling to complete.

    A writers conference can be an expense in time and money. But, if you find the right one, it can be a springboard to a long and satisfying writing career.  In the coming weeks I’ll share what I specifically learned from previous writers conferences and from the upcoming Florida Writers Conference. Stay tuned.

​    I’ve been working on a collection of science fiction stories for self publication. Now, I’ve finally come to the part I’ve been dreading--creating a cover. I would be the first to agree that the best option is to find a professional designer, give him or her your thoughts on what you’d like, and pay them a ton of cash. I’m sure the results would be breath taking. And would really drive sales.
    However, for those, like me, who don’t have money to burn, creating your own cover design may be the only  viable option. With this in mind and after doing some research, I’ve come up with seven ideas about book covers:

• Make the cover relevant to your subject. I know, this is obvious. But, how many times have you read a book with a great cover and upon completion of the manuscript realized it had nothing to do with the cover?
• The cover should  evoke a strong emotion. Try to avoid just conveying information. For example, a  thriller’s cover should convey feelings such as  mystery, suspense, intrigue,  and foreboding.
• Avoid crazy fonts. If your potential buyer can’t easily read the cover she’s likely going to pass on purchasing your book.
• Avoid cliched images. The shirtless hunk on he cover of a romance novel. A flying saucer gracing a science fiction tome. You get the idea. Be creative.
• Think long and hard about putting a face on the cover. It’s hard to find a model or stock portrait that looks like the protagonist you’ve described in your novel. But, having said this if you think you have a face that reflects your main character, by all means, use it.
• KISS. You know the old acronym—keep it simple, stupid. It applied to book covers. Cover art that’s too busy could be a turn off for a potential reader. It may say to them, “This book is going to be really complicated.” So, be careful.
• Consider your audience. This is really just a summary of the six previous ideas. You want that potential reader to see your cover and feel a sense of anticipation and excitement over what’s inside to the point that they’re willing to turn over their hard earned cash for you book.

    Well, there you have it. My take on book covers. I’m nearly finished with my design. I like it. Hopefully, potential readers will also. 

​In a short story collection what story goes where? In my last blog I mentioned that I was putting together a science fiction short story collection for publication, and I reviewed some guidelines on placement of stories. There were strategies like: your best story should be first, your worse should be in the middle, and your longest should be last.

I’ve gone over my stories and I have two that I think are my best. One entitled, Before Your Very Eyes, tells a poignant tale of jealousy and revenge while the other, Memory Criterion, is a story that asks the question: how much of who we are is made up of our memories? A third one that I recently wrote and am still editing is a quirky love story set in a sleepy snowed-in New England village. I’ve tentatively titled it, A Curious Entanglement (that may change). I think it’s my third best. 

It may be a coin toss as to which of the three I lead with. If anyone is interested in reading any or all of the aforementioned stories and giving feedback, please contact me.

My weakest story is one I wrote many years ago, entitled Unseen Enemy. It’s about a squad of futuristic soldiers attempting to thwart  the government’s use of a doomsday weapon to stop an alien invasion. It’s not a necessarily badly written story (I still find it entertaining). It’s just that my writing has improved over the years. I could leave it out, but I think it still has something to say.

My longest of the collection is a human-alien love story of the boy-meets-girl type. It’s also in the editing stage. I’ve tentatively titled it, Becoming. At just over 12,000 words, I suppose it could be classified as a novelette. 

Well, that’s it for now. As I delve further into getting the book out, I’ll blog more about the experience. Stay tuned.

I finally decided to do it. I’ve had a few science fiction short stories written over the years sitting on my hard drive. So, I collected them into a file on Scriviner with the plan to  publish them.. I only had eight so I got to work and wrote two more. Now, with ten short stories I was ready. One problem, though. I’ve never published a short story collection before. Which means I went to work researching the ins and outs of short story collections. Here’s what I found so far:

• The title should reflect the overall theme of the collection. But, mine has no overall theme other than each story being a sub-genre of science fiction. A little more checking and I had the solution. The next best idea for a title is the title of one of the stories. Something catchy, something intriging. The one that was always kind of catchy to me was: The Alien Artifact Department. I had my title.

• Length. Was there an acceptable minimum and maximum word count? What if my collection didn’t muster up? You’ve probably seen those paperbacks so thin that there’s no room for the title on the spine. The consensus from my research for a minimal word count was around 40,000. A quick bit of arithmetic told me I was in. I had about 56,000 words. 

• The next problem was arrangement of the stories. Which one went where? This struck me a magazine editor territory. But, a little more searching and I had a few ideas. The best story should be first. The worst can be buried somewherre in the middle. Vary the length of the stories. In other words don’t have a series of 7,000 word stories back to back. And, put the longest one at the end. 

• I was concerned about needing an introduction. I solved that one by going to Amazon and checking out a few short story collections. You know the “Look Inside” feature that allows you to preview the books. May just had the front matter followed by a table of contents followed by the first story. Guess those intros are for the Stephen King’s of the world. 
​
Well, there you have it. This is what I’ve learned thus far. Still have a long way to go. There’s editing, creating a cover, marketing, etc. As I learn more, I’ll pass it along. So, stay tuned.

​    Novel writing is a marathon, not a sprint. Ever start reading a novel finding the opening so intriguing that you anticipate a brilliant read only to find yourself half way through thinking "this is a total waste of time"? A lot of authors slave away at the opening in order to hook the reader only to peter out along the way. It's tough to sustain a wonderful narrative. Novel writing is like running that marathon. The good runners don't dash from the starting line giving it all over the first 100 to 200 yards. Instead, they pace themselves, knowing that there are many miles to go before the finish line. They conserve energy when necessary, coasting down hills when they can  and turning on the afterburners when they need to pass an opponent. They take advantage of hydration stations along the route. Overall, they maintain a steady rhythmic pace and have strategically evaluated the course beforehand. And, more importantly, they have prepared prior to the race by training regularly and maintaining proper nutrition.
     Writing a novel requires similar preparation and execution. You need the long view to complete your great work.  Poems can be tackled in a day to a week. Short stories may take a week to a month to write. But, your novel will usually take six months to two years to complete. Over such a long period of time it’s easy to get bored or exhausted and give up. And, this is precisely why you need to approach your writing like a runner engaged in a marathon. 
     So, what do you need to do to run the course and cross the finish line? Here are a few recommendations:
·      Develop a theme. Having a theme is like having members of your entourage along the marathon route at strategic points to cheer you on just as you begin to feel too exhausted to take another step. When you’re knee deep in manuscript pages and feel lost, your theme serves as your guiding beacon. By reviewing your theme your inspiration returns and, now renewed, you are able to continue writing.
·      Outline. Outlining your novel before writing is like reviewing the route of the race before you run that marathon. You’ll have an idea of when the writing will be easy and you can breeze through several chapters and when you’ll have to slog through the difficult parts. More importantly, you’ll know where you’re going and have an idea of how long it will take.
·      Write regularly. Following a regular writing routine is akin to that steady running pace a marathoner must make to complete the race in a personal best time. Set a goal of x number of pages or words per day. That steady rhythm of daily writing will keep you on pace to complete your work.
·      Craft a great opening. If you’ve ever watched a marathon you’ve noticed that at the start of the race the runners get right into the stride they want to maintain throughout the twenty-six miles. Your opening should do the same. The conventional wisdom is that you start your story in the middle. In other words, don’t begin with a long meandering backstory. This was popular in Victorian novels, but not in today’s works. You want to engage your audience from the first paragraph.
·      Practice, practice, practice. You won’t find any marathoners finishing a race only to turn into a couch potato until the next scheduled race. Not on your life. They’re constantly training. And so should you. Write short stories. Write poems. Write essays. Write blogs. Between novels, write!
·      Read and read some more. Nutrition is important for marathon runners. They watch their weight. They maintain the right balance of carbohydrates and fats. They hydrate. Some even drink beet juice.  As a writer your nutrition is books. Read and read some more. Read novels similar to the ones you write and ones in other genres. If you write romances, then read thrillers and mysteries. If you write thrillers, read literary works. Also, read biographies, history, current events, science. You get the idea.
     There it is. Take the long view and you can’t go wrong. Because writing a novel is like running a marathon. 

​    The other night I was watching a TV drama, Scorpion, a series about a group of geniuses working for the U.S. Government. In this episode, Walter (the lead, based on an actual person) and his team were working with a private space exploration company to repair one of its manned rockets. While Walter worked inside the rocket, the other team members worked in the mission control center. Somehow, the rocket was inadvertently launched with Walter aboard. Over the course of the one-hour drama Walter and the team had to overcome six problems in order to get him back alive. Each one was more complex and dangerous than the last. The final one required Walter to free-fall from the edge of space without a parachute.
    This reminded me of a rule of thriller writing. And that rule is: you must be mean to your hero. I’m not saying you must dislike your main character. But, you must put your hero into multiple perilous situations with escalating danger as your story progresses.
    Here are some reasons you should be mean to your hero:

• Ramps up the suspense. Since a main goal in thriller writing is to put the audience on the edge of their seats, putting your hero in increasingly perilous situations is a must. Just think, your CIA agent meets with a group of international criminals. The meeting goes awry. They pull out their guns, a variety of automatic weapons. But, just before they can fire, she pulls a smoke grenade from her briefcase (which we know she always carries). She pulls the pin and escapes in a swirl of white smoke. Then, just as she bolts through a dark ally on her way to safety, a shadowy figure emerges, tases her, and tosses her into the back seat of a black sedan that speeds off into the inky darkness of night. OK, I admit, it’s kind of cheesy. But, you get the idea.   
• Creates a page-turner. Also, by ramping up the action in each succeeding chapter, and ending each chapter with the hero in a perilous situation, you create a page-turner. If done right, your reader won’t be able to stop until they’ve reach the end.
• Displays the qualities and skills of your main character. Hopefully, you’ve foreshadowed your main character’s qualities in your introduction. Since we know the hero has, shall we say, “a very special set of skills” from the introduction, we are surprised and thrilled when she is able escape by the skin of her teeth. But, we aren’t served a dose of deus ex machina (see my blog post of 7/11/16 entitled: If You See “Deus Ex Machina”, Run!).
• Overcoming that Achilles’ heel. There is another way in which the increasing peril exposes your hero. If you’ve created a well-rounded protagonist, she’ll have an Achilles’ heel, a character trait that make her vulnerable to the bad guys. Maybe it’s a fear of heights, or an aversion to snakes (Remember Indiana Jones?). Whatever it is, it should come into play during the last and most grave peril she faces. The Achilles’ heel basically neutralizes her special skills and the only way she can overcome the situation is by applying personal attributes she’s developed over the course of the novel. Those could be discipline, resilience, bravery, and/or judgment. She uses one or a combination to fight and win out over that special fear and thus triumph in the end.

    So, go ahead and be mean to your protagonist and you’ll have a novel that your readers won’t be able to put down.

​            During this Holiday season I’ve been watching those Christmas movies on the Hallmark Channel. That set me to thinking about my childhood and watching those “Hallmark Hall of Fame” Christmas Specials. The greeting card company has a particularly memorable slogan intoned during the commercials. It went: “When you care enough to send the very best…”.
            I remember thinking that there was something elegant about it. It was a statement of quality rather than a pitch saying, “Buy my product.” It was a set of marching orders proclaiming that creating a Hallmark card was more than just putting words on paper. And, as a result you really wanted to buy a Hallmark card. I recall thinking the slogan was really something I could believe and believe in.
            A good theme could have the same effect for your story. If you believe and believe in your theme you are likely to create your characters, write narrative and dialogue, and craft your plot with greater passion and purpose than if you just wrote an interesting story. Your theme should be your driving force, your marching order, your raison d’etre in writing. 
            A train has two important crew members on board: the engineer and the conductor. The engineer is the driver, monitoring and adjusting the speed by manipulating the throttle and air rake,  and relaying the operational information to the conductor. The conductor is the supervisor. He oversees the entire operation communicating with higher level supervisor.
            Think of your story as a train. The plot is the engineer moving the story along, sometimes slowing to provide some important narrative or dialogue and at other times speeding up to pump up the action. Your theme is the conductor. It is the overall supervisor of your work. Your theme tells you how the entire trip is doing, provides guidance along the way, and keeps your plot and characters linked to your main ideas.  
            What you write, whether it is a fun beach read or a serious literary novel, should be created with passion and your theme helps you fire that passion by reminding you what is most important in your story. When you are tempted to stray, to slack off, or give up, your theme should steer you back on course and inspire you to higher purposes. 
            When creating that new story don’t short shrift the theme. Try and give as much thought to creating your theme as you do the twists and turns of your plot.