I had the privilege recently of attending a Crime Writers of Canada webinar called Plots, Plants and Poisons led by Elaine Freedman. I enjoyed the webinar so much, I asked Elaine if she would share her resource list on the literary applications of poisons with my readers. She agreed (yea!) and her annotated list of books and websites follows. I’d like to stress that I’m posting this solely as a resource for writers who are or would like to write about poisons. Click the title above to continue reading.
There’s a scene in Gillian Flynn’s Sharp Objects that gave me goosebumps, except the action responsible for said goosebumps had nothing to do with the plot. Click the title above to continue reading.
I write crime fiction, so there are often references to when the crime occurred in relation to when in the story the discussion about the crime is taking place. “The girl with the blue hair, I saw her four days ago in the alley behind the curling club,” for example. Here’s my two-step, no-software-required process for ironing out timeline inconsistencies.
Have you ever noticed, when reading a metaphor, that the idea is solid, but the execution hasn’t quite hit the mark? And when I say metaphor, I’m referring to all subcategories of metaphorical language (simile, metaphor personification, etc.) For this post, I’ve decided to take early drafts of some of my own metaphors from my current novel, describe what wasn’t working, and then you can compare it to the revision. My hope is that this will help other writers identify issues with their own metaphorical language and rework accordingly. Click the title above to continue reading.
A few chapters into my first book, I got fed up with all the scrolling. Many authors use apps such as Scrivener to more easily move between chapters and scenes. Scrivener has many other functions, but I prefer working in Microsoft Word. I decided to take advantage of Word’s table, linking, and formula functions, and the result is a template, that after much tinkering, does everything I need it to do. Click the title above to continue reading and to find the template.
In Jessica Strawser’s debut Almost Missed You, two characters have a life-changing date at Cincinnati’s Lumenocity, an orchestra-curated light-show. Anyone remember the scene when Harrison Ford’s Richard Kimble slips into Chicago’s St. Patrick’s Day Parade to evade pursuers? How much more exciting does Pride and Prejudice become once the Bennett sisters have a ball to look forward to? Some of these events are more integral to plot than others, but all of them make the stories they’re included in more interesting as a result. Click the title above to continue reading.
One of the hardest lessons I had to learn as a new writer was how to be okay with killing my darlings. What I determined was that while some of my darlings warranted murder-by-delete-key, others deserved a less permanent fate. I developed a two-step process to be able to refer back to all the darlings I’ve killed along the way. Click the title above to continue reading.
I was watching Lady Bird recently. It’s summer in the beginning when the protagonist breaks her arm, and then a whole bunch of stuff happens, including Thanksgiving, and then cut to her cast being taken off, and I instantly had a sense of how much time has passed. Click the title above to continue reading.
At the beginning of this year, I was ready to write the last 60,000 words of a novel. Me, my laptop, and my research were tucked away in a tropical paradise, but the words I was writing, they were reading like they’d been spewed out of a meat grinder. I decided to take the day off and finish the book I was reading instead. A few pages in, I realized I had no interest in finishing the book in question. The prose was uninspired, as was I. Click the title above to continue reading.
Test screening is to films what beta reading is to books. In film, studies are being done on technology that can gauge a test screen audience’s neuro and biometric responses. Suffice it to say, when this technology proves viable, I will not be able to afford it. But that doesn’t mean that I don’t want a way to know which parts of my books make people laugh, cry, or want to throw their e-reader against the wall. Click the title above to continue reading.