The Three Rules of Dialogue

I’m one of those writers who fills the page with dialogue rather than narrative because dialogue is my forte. Those of us with an ear for accents and speech patterns are fortunate to be able to transcribe them onto the page. But dialogue that doesn’t further the story or define characters will cause a manuscript to be rejected, no matter how well it’s written.

I remember reading Robyn Carr’s article years ago about the three rules of dialogue, which I copied onto 3 x 5 cards for future reference.

Rule #1: Dialogue should tell the reader something about the character’s personality or emotions, or at least reinforce something already established, like anger, timidity, cruelty, impatience or perfectionism. Instead of having a character greet someone by simply saying “hello,” have him say, “Where've you been?” or “Do you know what time it is?” while tapping his foot impatiently.

Rule #2: Dialogue needs to propel the plot forward while the reader gets to know the characters through the way they react to stimuli that directly affects their lives. Their conversations need to establish or reinforce their emotions, their relationships, and the roles they play in the plot to enhance conflict and tension. Even when writing comedy, the characters' reactions to one another are actually conflict in its truest sense.

Rule #3: Dialogue must individualize each character. No two characters should sound alike just as no two people use the same words or phrases. Each character needs to have his or her own expressions, dialects, euphemisms, speech styles and inflections. But that’s not all. They must also have their own value systems, motivations, personal habits and other traits that are expressed in dialogue.

For example, if you assigned each character a number instead of a name and gender, would they be distinguishable from one another?

Every line of dialogue has a job to do. When you’re editing and polishing a second draft, eliminate every word that doesn’t need to be there. People rarely speak in complete sentences so make sure your characters don’t sound as though they’re reciting an English lesson.

Creating a character sheet is a good way to establish who your characters really are. Describe each one physically and include his or her basic background information. Then consider pertinent information that will determine her dialogue. How well educated is she? Is her voice husky, squeaky, soft or loud? Does she have verbal ticks? Is he shy and does she stutter when she speaks? Does she use slang? Does he speak haltingly? Or is she articulate and chooses her words well?

How motivated is your protagonist? Is he aggressive, single-minded, abrasive, generous or power hungry? Any or all those traits should show up in his dialogue. Geographical differences also affect a character’s dialogue as does his education, or lack of schooling. If a character dropped out of school in the fifth grade, he won’t have an impressive vocabulary, unless he’s very motivated and schooled on his own. If that’s the case, make sure your reader knows it. One way is to have other characters talk about his education, or lack of schooling, when he’s not around, or praise him for it when he is.

According to Robin Carr, "Characters come alive when every bit of dialogue develops their personalities; when the action, tension and drama are heightened because of what they said, how they said it and when they chose to speak and when the characters’ complex individualism sets them apart from each other."

Make Every Word Count

One of my early writing instructors stressed the need to make every word count. He said each word needs to pull its own weight and every unnecessary word should be culled from the plot. Good advice that I've followed over the years, although, coupled with my journalism training, I'm sometimes too brief, leaving out desirable descriptions.

I've found that writers need to engage readers, not simply enlighten and entertain them. Creating strong word images that readers can relate to is preferable to forcing them to fill in the blanks. For example, a military Hummer conveys a much stronger image than having a protagonist ride to the rescue in a Volkswagen bug. Sue Grafton's Kinsey Millhone was a notable exception..

Strong verbs are necessary to give one’s plot a dynamic, energetic tone. Words such as hurried, leaped and flew as opposed to passive words like walked fast, made his way or became airborne. And as we’ve all been told, stay away from the verb to be in all its forms because it’s the weakest of words. But I confess that I still use all forms of to be in dialogue. Some rules are made to be broken, often at your own risk.

Adverbs that end in –ly also weaken a writer's prose. Use them sparingly. On the other hand, strong specific verbs give writing vitality. I’m reminded of my interview with A.B. Guthrie, Jr. who said, “The adjective is the enemy of the noun and the adverb is the enemy of damn near everything else. Writers use too many descriptive words." As for adjectives, author Lois J. Peterson once said, “One well-chosen adjective can be more effective than two or more, which used together might weaken the idea or image.” I agree.

Do we really need adverbs? Not unless it's impossible to come up with strong verbs. Eliminate the adverbs in a second draft and replace them with muscular verbs. As for adjectives, the rundown house can be rewritten as a hovel or shack. A good reason for every writer to have access to a thesaurus, including an electronic one.

Word choices affect the plot’s pace. If every symphony movement maintained the same pace, the audience would fall asleep before the finale. So writers need to think of themselves as conductors, controlling the pace with word choices, syntax and variety. Long sentences and paragraphs slow the pace and seem introspective while short, choppy sentences are much more dramatic and conducive to action scenes. So, in order to keep someone reading, sentences and paragraphs should vary in length.

Sentence rhythm is important, so reading one's work aloud before committing it to a final draft can prevent clumsy sentence structure. Some word choices bring a sentence to an abrupt halt and should be rewritten or replaced, along with all unnecessary words. The musical analogy is a good one (not my own) because sentence flow is so important.

Plotting Your Mystery

A strong opening sentence is obviously the best way to pull your reader into the story:

~Today is the last day of my life.

~The body was hanging at eye level.

~ The snow was so deep that only his cap was visible.

I know that you can write better opening sentences to entice your reader into your fictional world. It’s a writer’s job to seduce and lure, one carefully crafted step at a time into an adventure away from reality.

The reader needs to know where you’re taking her and why. Is your fictional world believable? Fantasy writers can get away with great stretches of the imagination but mystery writers need to stick to the facts. So don’t have a body suspended in mid-air unless you have a logical reason to do so.

Your opening sentence should lead directly into your main theme. Don’t start with a couple kissing on a park bench unless one or both are shot or witness to a nearby killing. And don’t start with boring backstory or you’ll soon lose your reader. Jump immediately into the action. Keep your reader breathless for pages before you let him up for air.

Motivation and goals are essential in developing your plot. Another good way to lose your reader is to have your protagonist risk his life simply because he had his foot stepped on. If the killer murdered the character’s mother, you have a believable reason for him to go after the culprit. Some amateur sleuth stories border on the ridiculous when ordinary people decide to trap a killer simply because they think they can. Give them good reasons to place their own lives in danger.

Don’t people your plots with too many characters. Mark Twain wrote that the best way to get rid of characters when they’re no longer needed is to have them jump down a well. Better yet, make sure characters are only there to further the plot and can be eliminated when you tie up all the story’s loose ends.

Killing off characters can be painful for the writer but extraneous side plots can kill a story. In the old western films cowboys rode off into the sunset with the townspeople staring after them. Not so with mystery novels, no matter what the sub genre. We want to leave the reader wanting more. Readers like to solve the mystery on their own before the conclusion, so don’t make the killer’s identity the most unlikely candidate in your plot. Be fair when you plant red herrings and clues so that the reader will be able say, “Aha, I should have known it was him (or her).”

What’s the best opening sentence you’ve written or read?

Writing for Older Readers

I write senior sleuth novels because there’s a growing market for retirees who enjoy  reading about characters in their own age group. I was intrigued years ago by Miss Marple and Hercule Poirot, who were wise and introspective, but never seemed to have any fun.

That’s not true of today’s seniors who are less inclined to retire to their rocking chairs than previous generations.

The late Pat Browning, who wrote Absinthe of Malice, said: “A St. Martin's editor gave me a piece of advice I have never forgotten: ‘Be careful not to turn your characters into cartoons.’ I try to picture older characters as they are--the same people they always were, only older. This is especially true when it comes to romance and sex. For all the jokes about senior sex, it's a very real part of senior life, and it's no joke to those lucky enough to have a romantic partner late in life.”

I agree. Not unlike Janet Evanovich’s character, Grandma Mazur, who is eccentric enough for a cartoon character, most seniors have the same interests they’ve always had, with the possible exception of roller blading and downhill skiing. On second thought, I once interviewed Buffalo Bill’s grandson Bill Cody, who learned to downhill ski at 65 to keep up with his much younger wife.

Mike Befeler writes what he calls “Geezer-lit.” His novels feature his octogenarian protagonist, “who is short on memory but has a sense of humor and love of life. He accepts his ‘geezerhood,’ solves a mystery and enjoys romance along the way.”

My second senior sleuth mystery, A Village Shattered, takes place in a California retirement village. The plot is generously sprinkled with humor but none of the seniors resemble cartoon characters, although a couple come close with a redneck Casanova and love starved widow. Diary of Murder followed and I portrayed the two 60-year-old protagonist widows as quite capable of traveling the country in their motorhome as well as chasing down killers who happened to be drug dealers. 

Another senior writer, Beth Solheim, spent years working in a nursing home and says she loves the elderly and their “humorous, quirky insight to life, love and longevity.”

Chester Campbell, an octogenarian, writes the Greg McKenzie Mysteries. He said, “My friends in this [age] bracket are out going places and doing things. Some, like me, continue to work at jobs they enjoy. I chose to use a senior couple in my books who are long married, get along fine, and do a competent job as private investigators. Greg, who narrates the books, is aware of his limitations from age and makes up for physical shortcomings by outsmarting his adversaries. My hope is to dispel some of the absurdity of the stereotypes about seniors that are all too familiar. Like the old song says, "Anything you can do I can do better."

Like so many other novelists, I write what I enjoy reading. My readers are mainly retirees and baby boomers who number over 78 million. Some 8,000 boomers are moving into the senior column every day, the fastest growing potential book buying market on record.

We’re experiencing the graying of America. What better subgenre to write about?

Writing a Series

After you write that standalone novel, your publisher may suggest that it become a series. So it’s important that you like your protagonist(s) and want to continue writing about them. Agatha Christie grew tired of writing about Hercule Poirot and wanted to kill him off, just as Conan Doyle attempted to rid himself of Sherlock Holmes.

When I began my Logan & Cafferty mystery/suspense series, I named my two protagonists Shirley Lock and Dora Holmes. They were known as Shirl Lock & Holmes, a corny spin on the detective and his physician narrator. When my publisher closed its doors, I resold the series and changed the names to Dana Logan and Sarah Cafferty. By that time my two women sleuths had become like old friends, whom I enjoy visiting to eavesdrop on their conversations.

Dana is a bit autobiographical while Sarah is similar to my friend Marge, who is outspoken and often so funny that she has me laughing tears. Dana is a mystery novel buff, who, with her friend Sarah, a private investigator’s widow, buy a motorhome to travel the West, as I’ve done. Making the two women mobile provides them new settings in each novel. Although two of their motorhomes have been wrecked in the first three books, Dana’s wealthy sister dies and leaves her a considerable sum of money as well as a Wyoming mansion. The money allows them 

Sixth in my Logan & Cafferty series

additional   mystery solving opportunities as well as extensive travel.

Most protagonists have a job and the author needs to be knowledgeable about the occupation, or at least know the basics. And above all, enjoy writing about the job on a continuing basis, without becoming bored. Another pitfall is to change the tone of the writing. For instance, you shouldn't  begin writing a cozy and decide in the middle of the series to darken it to a noir. Readers will complain. I’ve covered various subjects in my series, including adultery, drug gangs and homegrown terrorists, blackmail and extortion, mental illness, serial killers and wolves, but with humor, so I’ve been able to get away with subjects not usually associated with two 60-year-old feisty amateur sleuths. And readers have fortunately told me that each book has been a fun read.

If your series becomes popular, you may have to continue writing it longer than you had planned. J. K. Rowling was able to discontinue her Harry Potter series after seven books, but Sue Grafton is committed to 26. Her schedule has changed over the years and she now only writes three hours a day with one published novel every two years. Now in her early 70s, she’ll be nearly 80 when Z is for Zero is released, but she plans to continue writing about her private investigator on a standalone basis after the series ends. She admits that Kinsey Millhone is her alter ego and that she enjoys writing about her.

I can't imagine writing 26 novels about someone you don't like and I'm glad that I enjoy my characters, especially my lovesick sheriff.

Why You Should Write Everyday

When I sat down to write, I thought of a long ago interview with bestselling romance novelist Parris Afton Bonds for my book, Maverick Writers. Bonds emphasized the need for writers to write everyday. The mother of five lively sons, she wrote between diaper changes as well as on the job, which cost her several secretarial positions before she decided to write full time.

“I write when I’m sick,” she said, “and even as I shove that turkey into the oven on Thanksgiving and Christmas. There are no legal holidays for professional writers.”

A steady writing schedule is one of the most important aspects of publishing one’s work. Whether you rise two hours early to write before leaving for your day job, or at night before you go to bed, it needs to be done at least five days a week. Women with small children can schedule their writing time when the young ones are down for a nap, if only for an hour, but the same hour each day until it becomes a habit. But if you only have a few minutes now and then, use that time to jot down notes or bits of dialogue as Don Coldsmith did on the backs of prescription pads during his daily medical practice.

Mystery novelist Marlys Millhiser echoed Bond’s work ethic. She began writing at 10:00 a.m. and continued until 4:00 in the afternoons. Both writers stressed the fact that you must stay at the computer (or note pad) no matter how difficult the writing is going that day.

“My first draft is pretty bad,” Millhiser said. “But no matter how difficult it is, I hang in there. Sometimes you have to backtrack and begin again, but don’t stop to polish a chapter until the first draft is finished. When I’m on a run and the plot floats along, the characters take over and it’s wonderful. But most of the time, I’m just sitting there and sweating it out. And I’ve found, I’m sorry to say, that the stuff I sweated out and got three pages by working my pants off, was about the same quality as when the story just flowed along and I’ve gotten ten pages.”

Brian Garfield, author of “Death Wish” and countless other novels and screenplays, said, “I took up writing partly because some of the stuff that was published seemed so awful and so easy to do, and of course it isn’t easy to do, as you find out when you sit down to try to do it. And it took a long time—a lot of apprenticeship practice before I could write anything that was worth publishing. But you don’t know that until you try. At the time of the interview, he wrote five hours a day, from 8:00 a.m. until 1:00 p.m. until back problems caused him to cut his hours.

Set your pace, as steady as walking on a treadmill. Before long you’ll feel that you must write during those hours. It becomes as important to those who want to succeed as breathing. Writing is a way of life and a regular schedule is necessary.

I'm at my computer by eight in the morning, with few exceptions, and write until three or later in the afternoon. A half hour treadmill break gives me a chance to loosen up and recharge my brain cells.

When do you write and how often?

Converting Blog Articles into Books

I never dreamed of converting my interviews at Mysterious Writers into a book when I started the blog site eight years ago. But such good advice and life stories evolved that I couldn’t allow the material go to waste. I recycled a great many interviews and saving them for posterity seemed the right thing to do, especially after Carolyn Hart and Jeffrey Deaver agreed to contribute to the series.

I interviewed more than a hundred mystery writers and submitted  them to Poisoned Pen Press, which turned them into ebooks. I’ve seen Internet ads offering to turn blogs into books for $14.95. A great idea for a blogger’s memoirs but it's not very profitable for resale. I offered my book to three publishers, all of which accepted, so I was faced with a dilemma. Do I go with PPP, which only offered to publish for Kindle, Nook and Sony readers? Two small, well-respected presses also offered a print version but wanted to make changes. I finally decided to accept Poisoned Pen’s contract with the hope they would also publish a print edition or sell the print rights to another publisher.

Interviews with unknown writers usually don't sell books and I found that the best time to approach a bestselling author is just before a new release. My interviews with Elmore Leonard, Lawrence Block, Nancy Pickard, Louise Penny, John Gilstrap and other publishing giants were accepted along with their articles written for my Mysterious Writers blog.

I had also been featuring quotes from interviewees at my Facebook pages. Among my favorites is one from Nancy Means Wright: "Vermont writer Howard Frank Mosher nails up rejection slips and adverse reviews on the side of his barn and shoots holes in them. I just leave mine in a cardboard box and let my Maine Coon cats make a nest or pee on them. So send that manuscript out again!"

And from Louise Penny: "Finish the book. Most people who start books never finish them. Don't be one of those. Do it, for God's sake. You have nothing to fear--it won't kill you. It won't even bite you. This is your dream--this is your chance. You sure don't want to be lying on your death bed regretting you didn't finish the book." Lawrence Block was more succinct with his advice: "Write to please yourself. And don't expect too much."

If starting that first novel has you discouraged or you think you'll never get it finished, read what some of these writers have also gone through. Their stories are not only inspiring, they'll make you laugh and you'll wonder how the publishing business ever survived. (We writers must have inspired the invention of the straight jacket.)

I’ve had so many good interviews since Mysterious Writers was published that I plan to produce additional  collections in more than one genre. I’d really rather be writing mystery or historical novels but I began my writing career a news reporter, so interviewing comes easily. And the rewards are immeasurable.

I hope aspiring writers will discover something in this collection to help them in their struggle to publication, which is the main reason for the blog site as well as the book. Mystery readers will also enjoy reading about their favorite authors.

Pulling Your Readers into the Plot

A strong opening sentence is obviously the best way to pull readers into the story:

~The body was hanging at eye level when Carolyn entered the room.

~ The snow was so deep that only Snerdly’s cap was visible.

~ A foot hung from Fido’s mouth.

~Today is probably the last day of my life.

I’m sure you can think of better opening sentences to entice your reader into your fictional world. It’s a writer’s job to seduce and lure--one carefully crafted step at a time to lead your reader into an adventure away from the real world.

The reader needs to know where you’re taking him and why. Is your fictional world believable? Fantasy writers can get away with great stretches of the imagination but mystery writers need to stick to the facts. So don’t have a body suspended in mid-air unless your protagonist is a magician.

Your opening sentence had better lead into the main theme of the plot. Don’t start with a couple kissing on a park bench unless one or both of them are shot or witness a nearby killing. And don’t start with boring back story or it won’t be long before you lose your reader. Jump immediately into the action. Keep your reader breathless for pages before you let her up for air.

Motivation and goals are essential in developing your plot. Another good way to lose your reader is to have your protagonist risk his life for silly reasons. If the killer murdered the character’s mother, you have a believable reason for him to go after the culprit. Some amateur sleuth stories border on the ridiculous when ordinary people decide to trap a killer simply because they think they can. Give them good reasons to place their own lives in danger.

Don’t people your plots with too many characters. Mark Twain wrote that the best way to get rid of characters when they’re no longer needed is to have them jump down a well. Better yet, make sure characters are only there to further the plot and can be eliminated when you tie up all the story’s loose ends.

Killing off characters can be painful for the writer but extraneous side plots can kill the story. In the old western films cowboys used to ride off into the sunset with the townspeople staring after them. Not so with mystery novels, no matter what the sub genre. We want to leave the reader wanting more. Readers like to solve the mystery on their own before the conclusion, so don’t make the killer’s identity the most unlikely candidate in your plot. Be fair when you plant red herrings and clues so that the reader will be able say, “Aha, I should have known it was him (or her). “

What’s the best opening sentence you’ve written or read?

Breaking Bad Writing Habits

It’s often difficult for novices to break the writing habits they've learned in school. Perfect grammar, especially when writing dialogue, is one of the worst mistakes a writer can make. I was in an online critique group a dozen years ago, comprised mainly of unpublished writers. I’ll never forget a critique that said, “You need to clean up your characters’ grammar.” (The characters were uneducated farmers.)

Author William Noble once said, “The grammar rules we learned in eighth grade should never be followed absolutely. At best they are one choice among several, and at worst, they will dampen our creative instincts.”

The use of clichés is another fledgling blunder. The rule of thumb is: if it sounds familiar, don’t use it. If you can’t come up with something original and your muse is tugging you on, type in a row of Xs and write it later during the second draft. But if you must use a cliché, add the word proverbial as in "as profitable as the proverbial golden goose."

Of course there are rules that must be followed, such as adding commas for clarity and periods at the end of sentences. Some writers have felt that innovative sentence structure signals creativity, but the practice is only acceptable now in poetry. In Ulysses, for example, James Joyce’s last chapter begins with:

Yes, because he never did a thing like that before as ask to get his breakfast in bed with a couple of eggs since the City Arms hotel when he used to be pretending to be laid up with a sick voice doing his highness to make himself interesting to that old faggot Mrs. Riordan that he thought he had a great leg of and she never left us a farthing all for the masses for herself and her soul greatest miser ever. . .

Joyce’s stream of conscience continues for forty pages without a single period. I wonder how many people actually read it to the end. Creative and innovative? In my opinion, anything that slows the reader for even a few words may cause him to abandon the book.

On the opposite end of the sentence spectrum, Hemingway taught novices to write declarative sentences: “The day had been hot.” “The rifle was long and cold and strange. . .She wore black shoes, a red cape and a white tunic. . .” However, short, choppy sentences must be interspersed with longer ones to make them read well. A good practice for beginning writers is to read one’s work aloud to avoid clumsy phrasing. If words don’t flow well together and your reader stumbles over them, you’ve lost her.

Reading the classics doesn't prepare anyone well to write for today’s market. I’ve judged writing contest entries that contain the most formal language I’ve read since War and Peace. Some fledglings avoid contractions entirely, even when writing dialogue. The result is stilted language.

Studying the bestsellers for style, content, description and characterization helps the beginner gain a handhold in the current market. Some writing teachers advise copying your favorite author’s work, as artists have done with the masters—as long as it’s only practice and doesn't result in plagiarism.

I learned to write fiction by studying the work of Dean Koontz, Sue Grafton and others. Whose writing have you studied and did it teach you the language of fiction?

Saving the Wolves

When I began writing my Logan & Cafferty mystery/suspense series, I decided to focus on various social problems, including serial killers in A Village Shattered, drugs in Diary of Murder and homegrown terrorism in Murder on the Interstate.

For my third mystery novel, Gray Wolf Mountain, I researched the unwarranted mass killings of wolves, both in this country and Canada. What I learned was shocking. In the northern Rocky Mountain states, where wolves have been removed from the endangered species list, gray wolf puppies are gassed in their dens and buried alive, while aerial killings of adult wolves are accomplished by shooting them from planes and helicopters.

In both the U.S. and Canada, where government mandated numbers of wolves must not go below one hundred, female wolves are captured and sterilized. Also in Canada, where the Keystone Pipeline is under construction, caribou have been dying off because their natural habitat has been destroyed. But wolves have been blamed for the caribou deaths and nearly a thousand have already been reportedly killed from the air.

In the Yukon Territory where biologists track wolf numbers and their locations with radio collars, the Game and Fish Department is killing great numbers of wolves from the air so that the caribou numbers will increase to 100,000 while wolf numbers dwindle to a hundred in the entire territory. Why? To attract big game hunters.

Why should anyone be concerned about the demise of the wolf as well as the grizzly bear, which is also under consideration here to be delisted. Because they're both keystone predators who influence their habitat’s entire ecosystem and keep the animals that eat plants in check. That in turn increases plant growth and the survival of birds and animals which depend on the plants. It also prevents a build-up of large game animals who will starve to death due to lack of food. In other words, killing off the predators unbalances nature.

To prevent my books from becoming boring nonfiction tomes, I added my two amateur women sleuths, who are always stumbling over bodies and getting themselves caught in the crosshairs of illegal hunters, terrorists, drug gangs and wolf killers, to name just a few. And by adding humor and a little romance in the form of a lovesick sheriff, as well as a few quirky characters, I can inform and hopefully entertain my readers

Gray Wolf Mountain is available in  print and ebook editions.

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My interview with Jeffrey Deaver

International bestselling novelist Jeffrey Deaver has had a varied background as a journalist, folk singer and lawyer. His first novel, Manhattan is My Beat, was published in 1988. More than two dozen of his have appeared on bestseller lists around the world, including The New York Times and The Times of London. His books have sold in 150 countries and translated into 25 languages.

Jeff, have your past careers served you well as a novelist?

My other careers have always been ways to allow me to make a living while I went after my goal of becoming a full-time novelist. I began publishing various stories and poems in my teens and finally published my first novel in my thirties. Journalism taught me to research, and law, curiously, was helpful in organizing my books—I outline fanatically.

When and where did your writing begin and did your early environment influence your work?

I began writing when I was about 11. I wrote my first novel then (really a short story, though I called it a novel). I was a nerd when I was young and thus I was drawn to reading and writing. My parents were both creative and encouraged me. I was reading mainstream novels, thrillers and fantasy mostly, at a very young age.

How did Kathryn Dance come into being and why did you decide to write about a female California Bureau of Investigation agent and body language expert?

I realized that I had many ideas for what I thought would be compelling thrillers, but they weren't appropriate for my evidence-driven forensics novels (my Lincoln Rhyme series). So I decided to create a character who was the opposite of Lincoln: A woman, with children, who lives in California. She would have little interest in the science of crime solving, but rather focus on the human factor—body language, linguistics, interrogation and interviewing. The psychology of crime. I've been very pleased at how popular she's become. Even readers who love Lincoln Rhyme appreciate Kathryn's skills. After all, they are friends.

You’ve won or been nominated in a number of countries for too many writing awards to list here. Which one means the most to you and do awards translate into bigger sales?

I think I'm most pleased that my stand-alone, The Bodies Left Behind, was named the novel of the year by the prestigious International Thriller Writers organization. It was a book that I spent a great amount of time on and was challenging to write—it contains one of the best twists I've been able to work into my fiction. As far as sales go, certainly awards get readers' attention, but in the end it's a book quality that dictates high or low sales.

Which of your mystery thrillers required the most research and do you have CBI agents at the ready to call when you need information?

Garden of Beasts took the most research. It's set in Berlin in 1936, and I wanted the details and atmosphere to be 100% accurate. Apparently it was, since a fan who escaped Germany in the late '30s reported to me that it was the most accurate—and moving--novel about that time that he'd ever read. Regarding research, I tend not to use living, breathing sources much. I prefer book and internet research, since when you talk to practitioners, you tend to skew the story to tell theirs; I want to make sure to tell my story.

Your Roadside Crosses novel, third in your high tech trilogy, features a teenage boy bent on revenge for real or imagined abuse, and is chilling. Did your antagonist evolve from Columbine and the University of Virginia killings? And why the crosses along the highway foretelling his planned murders?

I was actually inspired to write Roadside Crosses by another tragic incident: the teenage girl in St. Louis who was "befriended" by the mother of her former friend, posing as a boyfriend. He then told her that the world would be better off without her—and she killed herself. I wanted to write about the responsibility of bloggers and the social networking phenomenon.

Were you pleased or disappointed in the screen adaptations of HBO’s A Maiden’s Grave starring James Gardner and/or Universal Studios’ adaptation of The Bone Collector starring Denzel Washington and Angelina Jolie? Did you take part in any way in the filming?


My theory about movies is that I respect the process of filmmaking very much, but I don't want to have anything to do with it. My skill—and pleasure—is in writing thrillers, not scripts. I don't have a lot of patience for authors who complain about Hollywood's treatment of their books. How many of them have sent the check's back in protest? None that I know of.

What was it like to play a corrupt lawyer on your favorite soap opera, “As the World Turns?”

Exhausting! I've never worked so hard in my life. I have great respect for actors too, as I do for scriptwriters and directors, as I mentioned above. But, despite the fact I love to experience new things, I'll probably hang up my acting hat for the time being.

What’s your writing environment like and your schedule? Do you outline or wing it?

I work eight to ten hours a day, six days a week. I do at least one book a year, and so I work even when I'm on book tour (which generally amounts to about three months every year). Yes, I outline. I spend eight months outlining each book. And the outlines end up being about 150-200 pages. Thrillers of the sort I write must be structured. It's a waste of time to start writing and hope for inspiration along the way. Pilots and surgeons don't wait for inspiration. Why should authors?

Advice to fledgling mystery/thriller writers?

Write the sort of book you enjoy reading. Outline the books of your favorite authors (the successful ones only!) and study how they create their fiction. Write your own outline. Rewrite, rewrite, rewrite and rewrite. Ignore rejection. Keep writing; never stop!

Jeff's website is www.jefferydeaver.com

(Excertped from my book, Mysterious Writers)

Congratulations to Marilyn Levinson, who won a copy of A Murder in Paradise!

The fifth novel in my Logan and Cafferty mystery/suspense series was released this week on Kindle. The print edition will be available next week. The series features Dana Logan and Sarah Cafferty, two feisty, 60-year-old amateur sleuths who travel in their motorhome, discovering bodies along the way. Not that they want to stumble over victims, but they seem to be murder magents.

During their vacation trip to northern Texas, they discover a woman's body floating in one of the RV resort lakes not long after they arrive. Immediately the sheriff's prime suspects, they attempt to prove their innocence while the killer continues to plant incriminating evidence against them. During their own investigation, they learn that the woman was hated by nearly everyone in the resort and that she was blackmailing wealthy resort residents. So many suspects and so little time to prove their innocence. . .

http://www.amazon.com/dp/B00GMX3MDQ

Leave a comment with your email address to win a print copy of A Murder in Paradise. Or sign on as a blog site follower.

On Writing Dialogue

While cleaning out a closet, I found an old copy of The Writer magazine, which contains an article titled, “Your Ultimate Fiction Workout.” I thought I’d paraphrase the section on writing dialogue and pass along some tips that took me years to learn.

Dialogue is the illusion of real conversations, a distilled yet genuine version of how people actually speak. It’s also what isn’t spoken.  If someone says, “Of course I don’t mind,” and throws something to the floor, you know he’s lying.  The old adage that ‘actions speak louder than words’ is true and combining action with dialogue creates a more vivid image.

Dialogue should be precise and to the point. Skip the pleasantries and any unnecessary chit chat. Unless a tornado’s on its way, don’t have your characters discussing the weather, or ask how someone’s feeling unless she's swaddled in bandages.  Skip the speeches and keep dialogue short. A little goes a long way.

Dialogue tags should be kept to a minimum as well as low key.  “He saids” and “she saids” have a way of disappearing into the text, if not used too often, while “he growled” or “she yelled” seem to stand out like stripes on a Hereford.  Few tags are necessary when two people are talking, but three or more speakers need occasional tags.

As for punctuation, a rare exclamation point doesn’t need he emphasized or she shouted following the statement any more than she asked is necessary following a question mark. But most writers, including myself, write unnecessary tags.

Each speaker deserves his own paragraph, and should have a distinctive voice, which includes word choices, accents, cadences and slang.  A reader should be able to determine the character’s age, education, and background from the way he speaks, without writing his words phonetically.

Reading dialogue aloud or tape recording and listening to how speak patterns sound is a good way to learn how to write believable dialogue.  

Flawed Characters

One of the biggest mistakes novice writers make is to produce flawless characters. Handsome or beautiful, they have perfect marriages, lots of money, fine cars and homes, good educations and the best of everything. The problem is that few readers can identify with them.

Characters, aside from villains, should be lovable, or at least likable. Never perfect. Your characters must have flaws for readers to be able to empathize with them. Remember Emma Bovary in Flaubert's Madame Bovary, Dashiell Hammett's Sam Spade and Helen Fielding's Bridget Jones?

The most important thing to remember is to focus on your character's vulnerabilities, according to writing instructor Bret Anthony Johnston."Your focus can be on physical or emotional vulnerability, but it has to be intimately tied to the character. What makes her sad, embarrasses her? What frightens her, what does she regret? What minor or major trespasses has she committed?"

In the case of Emma Bovary, we can sympathize with her mistakes and how they affect her life.

What does your character need or want? And what does he stand to gain or lose by the conclusion of the plot? Whether or not the character achieves his goal isn't as important as how badly he wants it. Your reader will hang in there with your protagonist once she understands his goals and desires. Make that desire as compelling as possible. A character who wants to achieve world peace is far less desirable, according to Johnston, than someone who craves a gourmet dinner, because the goal is attainable.

Once you decide what it is your protagonist wants, emphasize it throughout the story. From the first paragraph, your reader should understand the character's goal and it should color everything he does. And the more he wants something, the more the reader likes him.

Dialogue is a great way to portray a character's weakness. If he talks about someone else, the reader picks up information about the character himself by his description. The type of food he eats or the genre of music he listens to gives us some insight into his character. Does he stop by a fast food place for a burger instead of a restaurant for a good meal? Does he smoke a pack of cigarettes while on stakeout?

In The Great Gatsby when Nick Caraway tries to describe how Daisy Buchannan speaks, he says, "Her voice is full of money." Fitzgerald's few words tells us a lot about both Caraway and Buchannan.

A writer's job is should be more like a method actor than a news reporter. Striving to see the world through your protagonist's eyes is most important. Focus on the details and events happening in his or her life. But that doesn't mean that your fictional characters should like the same things you do or share the same views. Nor should they become your parrot. Each character should have his own distinct speech pattern and outlook on life.

Keep your protagonist in proverbial hot water as much as possible. Allow the water to cool periodically to avoid melodrama, but keep turning up the heat until events come to a boil. When your character has achieved his goal or solved his dilemma, remove him from the pot and dry him off for a satisfying ending.

Mystery We Write Holiday Virtual Tour

You won't want to miss the holiday "Mystery We Write" Virtual Tour. Visitors to the various blog sites who leave comments will be eligible to win mystery novels on December 11, at the conclusion of the tour. A list of the authors and their sites are listed below:

Collin Kelley
Earl Staggs
Evelyn Cullet
Jean Lauzier
Joyce Lavene  
Larissa Reinhart 
M. M. Gornell 
Madison Johns
Marilyn Meredith
Patricia Gligor
Rionna Morgan
SR Claridge 
Wendy Gager
Anne K Albert
And yours truly.
A list of appearances and the dates are available at: http://jeansblogtour.blogspot.com/

Mysterious Dogs

Cats are usually associated with mystery novels, but dogs find their way into mine: from Bert, a retired police dog in Diary of Murder to Miranda, an Australian Shepherd, who chews furniture in my first children’s novel, Mystery of Spider Mountain.

Mariah

I’ve always had at least one canine in residence since Brenda, a small bulldog I shared with four younger brothers.The list grew to include a large variety of mixed breeds, one of them named Brillo because the lovable terrier resembled a scrubbing pad with legs. He once jumped with muddy feet into a car full of white-habited nuns, but that’s another (embarrassing) story.

Then there was Prince, a small mixed breed, who learned to dig under our backyard wooden fence to roam the neighborhood. In a matter of months there were a number of puppies in our area that closely resembled him. When I had him neutered, Prince literally disowned me for months.

For a while, we raised Shetland Sheep dogs. The Sheltie is a beautiful, hyper breed which resembles miniature collies, which I’ve always longed to own. We then adopted C.J., whose kennel name was Countess Juanita de Sangria because she came from New Mexico’s Sangria Mountain area. A buff-colored cocker spaniel, she contracted cancer at the age of 12, and we drove her to the Colorado State Veterinary Teaching Hospital every five weeks for chemotherapy. She did quite well for 18 months until we lost her. And as all pet owners know, it was heartbreaking.

We then adopted Mariah, an Australian Shepherd, who served as the model for Miranda, the Hamilton Kids’ furniture chewing dog in Spider Mountain, although Mariah only chewed the legs on our dining room furniture. Mariah has an almost human quality about her. She’s the only dog I've ever known who can out-stare me. Most canines will look away after five or six seconds, but Mariah can hold her stare for a full minute without blinking. It makes me wonder whether she’s an incarnated ancestor.

Dogs have distinct personalities and quirks of their own, which can be successfully incorporated into novels. Although Bert, my retired German Shepherd police dog, appears in the second novel of my Logan & Cafferty mystery suspense series, he’s only mentioned in Murder on the Interstate because my two feisty 60-year-old  women sleuths were visiting a friend with six cats. That could have caused considerable conflict but might have detracted from the book's theme of homegrown terrorism.Then again, it may have added to it.

I plan to bail Bert out of the kennel in my fourth (WIP) mystery novel, Murder on Gray Wolf Mountain.

Driving by Braille (My Dangerous On-the-Road Research)

When our business required extensive Southwest travel, I opted to go along because we had recently suffered “empty nest” syndrome and I didn’t relish staying home alone. So we bought a 36 ft. motorhome and 19 ft. trailer to tow my car. Little did I know that I would drive the RV in such dangenrous circumstances as I followed my husband and our employees as they drove the equipment.

Our first trip was over the Guadalupe Mountains in the dead of night—we mystery writers try to avoid clichés, but that’s what it was—darker than the inside of a boot and as winding and narrow as the Great Wall of China. The western slope is also extremely steep.

Was I afraid? You bet I was. I honestly didn’t think I would ever reach the top. I made the Lord a lot of promises that night, some of which I was able to keep. It was after midnight when we reached the summit and the road straightened out into a gentle downward slope. My heart still races when I think about that trip, but it actually did wonders for my self-confidence.

It wasn’t long afterward that I was driving down another mountainside, this one nearly as steep as the Guadalupes, when a deer jumped out in front of me. I almost stood the RV on its front wheels. Fortunately, the deer was faster than the motorhome and we avoided a fatal collision.

During another mountainous trip we were engulfed in a Rocky Mountain blizzard and stopping was out of the question. I followed taillights and prayed like I’ve never done before, or since. But even that was topped by a monsoon in the Phoenix area where large sheets of plywood were flying across the highway from a construction site during a torrential rain. It was also in Arizona where I had a flat tire in heavy traffic on the interstate. Not just a flat but an explosion. Major pieces of the tire exploded upward through the bottom of the coach into my underwear drawer, leaving tread marks on my unmentionables. How I managed to pull out of traffic to safety I’ll never know.

A few days later I fell asleep at the wheel while moving from one jobsite to the next. Fortunately, it was in a rural area with groves along the sides of the road—which truckers call “driving by braille.” The noise woke me just before I drove into a ditch, so I held up the equipment parade by insisting on a nap.

When driving into El Paso, the equipment drivers decided to take an off-ramp before I could change lanes with my 55-foot rig. I yelled into my CB mic that traffic wouldn’t allow me to get over, and was told to engage my blinker and begin pulling into the exit lane. I was tempted to close my eyes as I did, but managed to take the ramp at the last second. I’m sure there was a lot of cursing going on in the vehicles behind me.

Speaking of CB radios, truckers were my main source of entertainment, unless their conversations grew less than gentlemanly, which was often. During the months that I drove Matilda, I learned trucker jargon well enough to write a mystery novel with authentic trucker language. Murder on the Interstate, the third novel in my Logan & Cafferty mystery/suspense series, features not only a woman trucker named “Big Ruby” McCurdy—who provides some humor—but an actual account of driving though heavy road construction that was “necked down” to one  bumper-to-bumper lane in a northern Arizona nocturnal downpour. There my two feisty 60-year old amateur women sleuths discover the body of a young woman in her Mercedes convertible.

In the previous novel, Diary of Murder, Dana Logan and Sarah Cafferty are surprised by a Rocky Mountain blizzard while driving their motorhome from Colorado to Wyoming, which I also experienced..

So my accidental research has been put to good use. Would I do it all again? Not in this lifetime!

The Perfect Villain

While researching the criminal mind, I came across the narcissistic personality disorder, which I thought would conger up a great antagonist for my next novel. I had no idea that the disorder was so complex or that it bordered on psychosis.

A person suffering from the disorder is characterized by an excessive need to be admired as well as feelings of grandiosity—probably what used to be called “The Napoleon complex.” I couldn’t quite picture my villain running around with his hand stuffed in his shirt, so I looked for further symptoms.

This is what I found:

~People with the disorder have achieved great things because they consider themselves so special that they can’t possibly fail.
~They confine their relationships to only those people they feel are worthy of them.
~They have no qualms about taking advantage of others.
~They’re so self absorbed that they have no empathy for anyone.
~They feel that everyone else envies them.
~They’re preoccupied with fantasies of power and success.
~They think they deserve adoration from everyone.
~They have a sense of entitlement to everything they desire.
~They’re arrogant to the extreme.

Know anyone like this? I always thought that narcissistic people spent a lot of time in front of mirrors, totally in love with themselves. I had no idea that they would make the perfect fictinal villains.

Psychologist Phyllis Beren revealed red flags that alert her to someone with the disorder: a desire to control other people, excessive lying, running other people down, an attitude of “my way or the highway,” sadistic behavior and over development of one area of the personality at the expense of others.

So, if someone values himself over others, has little empathy, grandiose ideas and little self-awareness, he wouldn’t hesitate to commit a crime to achieve his goals. He’s like Raskolnikov’s extraordinary man in Dostoevsky’s Crime and Punishment, and above the law.

I think I’ve found the perfect villain.

Suspense Plays an Important Role in Novels

Centuries ago storytelling was a dangerous pastime. Tales were told around a campfire and, if the storyteller droned on and bored his listeners, they either fell asleep or killed him, according to Sol Stein in his book, Stein on Writing. Fortunately for modern writers, the worst thing that can happen is that the reader will put your book aside and never pick it up again. So, in order insure that your work is read, don’t include the boring stuff that readers tend to skip over. That’s usually descriptive passages that should be spooned in with light doses, not all in one large lump. Or it can be tedious dialogue that has nothing to do with the plot’s race to the finish line. Editors call that padding and ask that writers delete it, or even worse, they reject the manuscript and return it.

Suspense is one of the most important elements of plotting. It keeps your reader reading and unable to put the book down. How many times have you read until two or three in the morning because you couldn’t go to sleep without first learning the plot’s resolution? And then couldn’t fall asleep because the book was so good that it continually replayed in your mind?

No matter how unique your style or intriguing your characters, if you don’t pique your reader’s curiosity and keep her hooked until the end of the story, you might as well be the campfire storyteller with a club over your head. Keep your reader in suspense with occasional rest periods so that he can catch his breath with a little description and backstory. Always keep your eye on the finish line and make the race to the book’s conclusion as suspenseful as possible.

The greatest compliment a writer can receive is for someone to say, “I couldn’t put the book down.” How many times have you said that, yourself? And what was it about that book that kept you reading? Nine times out of ten, you’ll say it was suspense and your own curiosity that kept you reading to learn what was going to happen next. Suspense, according to Stein, is the strong glue between reader and writer. And, of course, caring about the characters and wanting them to resolve their problems.

The word suspense comes from the Latin word “to hang.” So consider yourself an executioner who takes your reader to the edge of a cliff. Once there you hang your protagonist by his fingertips. It’s not your job to feel sorry for the cliff hanger or to immediately rescue him. Leave him hanging until his fingers are slipping and he’s about to fall into a deep, dark canyon. Suspense builds as the reader anxiously waits for someone to rescue the hero, but it’s not happening yet; or the villain is stomping on the hero’s fingers and the reader wants him to stop. That’s an exaggerated example of suspense, but one that a writer can use it to his advantage.

There are various forms of suspense: potential or immediate danger to your protagonist, unwanted confrontations, a fear of what’s about to happen, and a crisis that needs to be met head on. A writer's job is to set up a situation or problem that needs a resolution, but without an immediate answer. Your detective is a novel killer if he picks up a clue in chapter two and says, “Ah ha, I know who this button belongs to. I’ll contact the police and have her arrested for the murder.” Unless, of course, you’re writing a short story or very short novella. Stretch out suspense as long as possible like a rubber band on the verge of breaking.

Choosing a Compatible Critique Group

I recently formed a mystery writer's critique group with authors whose work is similar to mine. I hadn’t taken part in one since 1999, when I joined a large online group comprised of novice writers. As a journalist for more than a decade, making the transition to fiction was a real challenge. My years as a police reporter was a plus when I began writing mysteries but my prose was too terse and lacked description. So feedback from the group made the difference. The downside was that there were so many members in the group that my writing time consisted of critiquing their manuscripts. My lesson learned was to find a few like-minded writers whose work I admire.