If you don’t have anything original to say, leave Lord Lytton alone.

So there I was, seated in the second row, at a daylong writers How-To. The room was filled with published, soon-to-be-published, and if-I-could-only-get-this-down-on-paper writers. On the dais were a collection of published authors assembled to share their experiences, love of craft, and general writing tips and principals. These authors were what I would consider mid-level authors—authors not yet on the NY Times bestsellers list so they also have day jobs. That’s ok. I didn’t expect someone on Dan Brown’s level, so I wasn’t disappointed. Truth be told, I was excited. I had every expectation of it being a full day of tips and insights I could run home with and polish up my latest manuscript.

It started off with a meet-and-greet over Danish and coffee, the obligatory smiles and raised eyebrow interest in our latest projects, and then got down to business. The morning session centered on character development, eased into plotting, and slid right into foreshadowing before the lunch bell signaled the end of the session.  The morning was light, interesting and involved audience participation, and I captured it all within four pages of notes. I was going to be a polishing fool by the time I got back to my manuscript that night.

Lunch was enjoyable. We clustered at tables in groups outside, going over different aspects of the morning session. We hurried through our box lunch, getting ourselves ready for the pearls of wisdom we were sure would be forthcoming in the afternoon session. Personally, my interest for the whole day was focused on an author in the afternoon session whose topic concerned the setting as a character. He was an author who also had an academic background.  

I yawned through the first author, whose name I forget. He spent most of the time convincing us he was well known. I pondered to myself how well known could he possibly be if he had to go through that much of an explanation? At some point he mentioned a few things about dialog, but my interest was forfeited long before he got to his talking points. He finally finished.

It was time. The topic I came to hear was about to begin. I turned to a fresh page in my notebook, neatly wrote the topic on the first line, and sat ready to be mesmerized. Imagine my disappointment when he starts out by reciting a portion of the opening paragraph of Paul Clifford, an 1830 novel by Edward Bulwer-Lytton. He posed it as a question and did so while omitting the opening sentence—a sentence much parodied and one most people would recognize whether you new the origin or not. This was followed by a regurgitation of myopic critiques on Lord Lytton. Needless to say, I put my pen down.

What was that first line, you ask? It read thus: “It was a dark and stormy night . . .” Sound familiar? It should, even Snoopy got in on the act by typing that line for the opening sentence in his attempt at the great American novel. But he wasn’t the only one. Poe penned the same line in one of his short stories, as did Madeleine L'Engle in her Newbery Medal-winning novel A Wrinkle in Time. So why pick on Lytton? I ask myself that every time someone uses it as an example of poor scene setting. It all goes back to Lytton’s contemporaries scoffing at such an opening for a book. Personally I would say it was more sour grapes than editorial critique. Edward Bulwer-Lytton was one of 19^th century England’s most widely read and prolific authors, so it naturally makes him a target to the rest. Every great writer has his critics—before there was a New York Times best seller list it was the only way the public knew they were great writers. Face it, who would quote a nobody?

 Those opening their How-To lectures using this one obscure line from a vast body of work might want to think about basing their direction on something from this century and leave Lytton alone.  Or at least, give the man some credit while you’re at it. Bulwer-Lytton had a varied and prolific literary career, writing historical fiction, romance, mystery, and even science fiction. His plays were produced in London and New York, and his novels were the basis of operas by Richard Wagner and William Henry Fry. Here’s a couple other famous quotes penned by Lytton that should sound familiar: “the pen is mightier than the sword,” and, “pursuit of the almighty dollar.” Even Great Expectations would have had a very different ending if it weren’t for Lytton convincing Dickens to revise the ending to one the reading public would find more acceptable.

So, what does this all have to do with the How-To’s of writing fiction? It basically comes down to this. What someone did or didn’t do a hundred years ago is going to be more confusing than helpful, especially when it’s taken out of context. There are only four basic rules to follow.

1. Write your book. Not one based on how someone else says you should write it. Get it all down on paper. Reread it and refine it until you’re happy with it.

2. Get it copyedited. This is the tough one. When I say get it copyedited I don’t mean give it to your niece because she got straight A’s in English, I mean spend a few dollars and have a professional editor go over the whole book. They’ll look at grammar, pacing, continuity, etc. Working with a professional is an eye opener, and will be the best investment you can make in your writing career. If you have it in you to be a successful writer, a good copyeditor will help you bring those talents to the surface, with the result being a publishable manuscript.

3. Querying agents. This isn’t as bad as everyone makes it out to be if you keep one thing in mind—a rejection is only one person’s opinion. There are also 2 parts to this: 1-Query, 2-Submission.

The Query: Writing a query is to some extent harder than writing the book, but not necessarily undoable. Start with a high level outline and distill it down to 3 things: who your protagonist is, what they need to overcome, and who/what is stopping them from achieving their goal. Open with a tag line (the Hook) and jump right into the 3 Things. Finish off with any writing credits you might have, but don’t worry if you don’t have any.

The Submission: Do your homework. There is a plethora of information at your fingertips about the agents dealing in your genre.  Look over their current deals on their websites, check MS Wishlist for what agents are excited about that week. Purchase the latest copy of Writers Market. Think about attending writing conferences where you can have a scheduled one-on-one pitch with an agent. The list goes on.

This could take some time, so be ready for that. Like anything else in life, you have to put your manuscript in front of the right person at the right time. Getting a rejection doesn’t mean your book stinks; it just means it wasn’t right for that agent at that time. I’ve always looked at a rejection as a badge of honor. It proved to myself I was serious about my writing. I was out there, pitching my book, taking my best shot. So you keep doing it until you hit it right smack in the center. And until that day comes, you continue to query but concentrate on #4.

4. Start the next book. If you followed 1 through 3 think about all you’ve learned. Apply it to your next book and start the process all over. I think you’ll be surprised at the result.

One final thought. Allow me to quote the inspiration for this rambling on a more positive note. There’ll be a lot of dark and stormy nights in your writing process. As long as you remember you have all the tools necessary to weather the storm, you'll be just fine. So, get back to work.


Picture Credit: Edward George Earle Lytton Bulwer Lytton, 1st Baron Lytton by Henry William Pickersgill

Shut-up and write!

With a new year upon us a renewed spirit of accomplishment should take the helm of your writing expedition. You hemmed and hawed through 2013, finding every excuse in the world for why you couldn’t finish writing that first book, and look at the result–a great story that no one will ever read.

So where did you go wrong? I’m sure you started off in the right direction, making notes about the plot, jotting down chapter outlines, etc. I’m just as sure the excitement of starting the book was like the feeling of driving to the airport the morning you are to start your holiday. That’s the way it should feel. So what happened?

There are many answers to that question, but I’m going to focus on one that I’ve encountered many times in conversations with first time writers. I’ll tell you what happened, they were so excited over the prospect of writing a book they told anyone who would listen all about it.  They went into nauseating detail about every aspect of the book, with each encounter unknowingly planting the seeds that would eventually chip away at their very desire to finish said book. As the weeks went by, and they settled into writing, they became distracted by the, “. . . have you finished the book yet?” questions from all those people they mentioned the book to. Each time having to reply, “no, not yet,” a thin shred of self-confidence peeled away in the process. Over time some even started to resent the book. And why not? If it weren’t for that damn book they wouldn’t be subjected to appearing such a failure in public. They saw every understanding smile in response as, “new books are published every day, so why aren't you done yet?” I’m sure nothing could be farther from the truth, but subconsciously it still had an affect.

So, what to do? Keep in mind writing is a solitary function. It’s you, an idea and a keyboard. I would suggest, as I did with those I’ve spoken with afflicted by the above scenario, in order to keep the distractions to a minimum refrain from telling anybody what you’re doing. There will come a time when you need to broadcast your intentions, but save yourself the grief and aggravation and wait until you have something really exciting to say.

With that in mind, you start off alone wading into the murky waters of writing a book. You won’t be alone for long. As the story develops, you are suddenly surrounded with a new group of people. These are the people you’ve created to bring your story to life. Without distraction you start getting to know and understand this new group of friends. Some are thoughtful, some humorous, some evil (I write mysteries so there is always a villain I need to keep a watchful eye on), but none ever judgmental. They appear at your beckon call, ready to take on whatever challenges that days’ writing conjures up. This group, though constantly aware of every sentence you peck away at, have an inexhaustible amount of patience. They are the best motivators you have.

Take your time and write the book. Then, when it’s finished, or at least the first draft, you can shout it from the rafters. It’s no longer just an idea you mention over dinner, or one of many New Year’s resolution that may or may not take hold over the next few months, it is a complete manuscript. It’s something to be proud of.

I’d like to say you’re done here, but in reality that was just the easy part. On the positive side, you have proven you can see something this difficult all the way through, so getting through the next steps–edits and beta readers–may not be so tough after all. While all this is going on you should be working on the marketing end of things. Start with a website promoting the future release of the book. Then onto blog entries about your struggles/accomplishments through the process. Anything to get the buzz going will work. Finally getting to notes and the outline for the second book. Second book? You’re going to need something to keep your mind off all those queries you’re sending out.

The query process is a subject all in itself. There is enough free information out there to help you craft a query letter that will help you fulfill your dream of becoming a published author. The key is to continue to believe in the book you wrote and not give up. First time authors have so many options now that one will certainly be right for you.

Image courtesy of Wiangya/FreeDigitalPhotos.net

Passage Of Crime, book trailer

Heritable traits are passed from one generation to the next and then combine with acquired traits. The wrong combination of those traits can be deadly. PASSAGE OF CRIME, the next generation of murder in the Ernie Bisquets Mystery Series. 

Click here to read more about the new mystery.

Passage Of Crime

Coming soon!

Passage Of Crime






I'm excited because the release is not too far off now.

About the book:

The most unpredictable character trait can be buried deep in the dark soul of the next generation. But be advised—Evil will eventually seek its own level, and then evolve. PASSAGE OF CRIME, a new twist on murder in the Ernie Bisquets Mystery Series.

London’s East End, once known for poor boroughs and a derelict rail yard, is enjoying an optimistic resurgence. It’s becoming an affordable option for middleclass residents looking to have their pounds go further. Despite this sweeping out of old rubbish, a cautious step is still advised when passing by a few remaining dark alleys. If only Mary Walsh had listened.

Prophet Brown, a disfigured, pathetic little man, called Detective Inspector Flannel after stumbling upon the body of a young woman in one such alley. Flannel quickly realizes she is not the random victim she appears.  Add to that, the crime scene is hauntingly reminiscent of an old unsolved case; a case that almost ended an otherwise brilliant career eight years ago.

     For the moment, Prophet Brown is the only solid link between the two cases. He has been in the employ of Lord Alfred Raventhorn, a charismatic and well-connected Member of Parliament for 17 years. Raventhorn is also the very man Flannel unsuccessfully accused of the murders in the previous case. It should be noted here, in the private conversations of those of impeccable character and devoid of a tendency toward exaggeration, remarks have been made regarding the MP's rumored ill treatment of Prophet.

Flannel finds himself navigating a very treacherous course. His superiors have warned him for the last time to tread cautiously around the MP, as the rising tide of the past threatens to pull him under. Reluctantly, Inspector Flannel turns to a most unlikely ally, a reformed pickpocket named Ernie Bisquets. Together they disentangle a mesh of old lies and current clues attempting to bring a ruthless murderer to justice–ignoring the dangerous notion of murder being a carefully disguised trait passed from one generation to the next.

PASSAGE OF CRIME is a traditional English mystery, complete at 75,500 words. Sure to appeal to Nancy Atherton and Bill Crider fans, Passage Of Crime brings together the unlikely combination of a dowdy old Scotland Yard Inspector and a plucky reformed pickpocket in this whodunit set in contemporary London.


Email me if you would like to be contacted when the book is released.

Writer's Block

Writer’s Block

Anytime I get stuck on a plot line or character introduction I like to turn back to my brushes and a blank canvas. There is a great deal to be said about diverting creative energy in order to get the flow going in the right direction again.

Fortunately I started out life as an artist. It’s something I still enjoy, and has afforded me a fine living. Having that to turn to in times of writing stagnation is a comfort. It jumpstarts the creative juices and helps me work through whatever has stymied me.

About a month ago, while writing a short story about a reluctant murderer, I found myself in a quandary about just how to commit the crime. I wanted it to be different, but relatable in about 12,000 words. Getting the story started wasn't a problem. Then, about three chapters in, I found myself pacing the studio without a clue on how to bring about the demise of a very evil antagonist. The deed had to be worthy of the crimes committed, yet done in a manner acceptable to the reluctant protagonist. Hence, my dilemma.

It wasn’t long before I was sketching out a painting. I decided on a copy of a 15^th Century Flemish painting; Portrait Of A Young Woman, by Rogier van der Weyden. It has always been one of my favorites, and I had just acquired a frame worthy of such a work. Normally I would paint something original, but painting a copy of an Old Master allows me to think through the writing issue rather than concentrate on what I’m painting. It sounds odd, but it actually works for me. And if I’m going to paint a copy, it might as well be one I like.

Together, we worked through my issues with the story. I made notes for the next chapters as the Young Woman kept a watchful eye on what I was doing on the canvas. As a result, I can safely say my creative juices are flowing once more over the treacherous rapids of murder. The painting is finished and hanging in my living room—the final result you see pictured above—and I’m back at my keyboard getting ready to deliver evil his just reward.

In another post I’ll let you know how the story turned out.

A Few Words About Flash Fiction

Flash Fiction is more or less a derivative of the short story. Through the years many great authors have said so much with so few words. O. Henry’s Gift of the Magi comes to mind, as does the work of Poe and Maupassant. Aesop’s Fables are another fine example. Flash Fiction takes this one step further.

Consider Flash Fiction is to an author what the 100 Yard Dash is to a Marathoner; or, for the fitness crowd, Pilates for the brain. To sharpen the point even more, it’s the telling of a complete story in the least amount of words–usually 500 or less. The important thing here is you tell the whole story. Taking an excerpt from a longer story does not constitute flash fiction. Despite what others might think, that would still be considered an excerpt.

Hemingway is credited with penning the most celebrated with this 6 word story: “For sale: baby shoes, never worn.” Tucked into those few words are all the elements of a good story. There’s a protagonist, conflict and a resolution. The remarkable thing about this type of fiction is the brevity of the work allows the reader to extract all that is implied, leaving them to interpret and draw their own conclusion of the author’s intent.

So, next time you have the seed of an idea and a little time to kill, put your story down on paper. When finished, start distilling it down to the least amount of words. Remember, implication is your friend, and brevity your motivation.

For example:

Call me Ishmael. I find myself alone, bobbing in the blood-stained waves, hoping the masts in the distance are that of the Rachel and not the delusions of a man half crazy with thirst and the visions of the great white whale that has brought about this end. The once turbulent waves are calm, devoid of any trace of the mysterious captain and his obsession with finding and killing the whale responsible for the loss of his leg. Gone, too, is the Pequod, an ominous looking ship festooned with the bones and teeth of the very devils its captain sought with murderous intent.

If I’m to die, so be it. All that’s left of this nightmarish voyage is the unused coffin I cling to–the coffin of Queequeg, a fellow harpooner. His repulsive appearance hastened my opinion of him as a savage, though our brief time together proved me wrong. Now, even in death, his kind spirit and selflessness will most likely save me from the tragic end I’ve witnessed to this brave crew.

It's a shame Melville didn’t have a blog.