If you are interested in blogging or want to promote your book, please contact E. B. Davis at writerswhokill@gmail.com.

July Interviews

7/07 Leslie Budewitz, Carried To The Grave, And Other Stories
7/14 Sujata Massey, The Bombay Prince
7/21 Ginger Bolton, Beyond a Reasonable Donut
7/28 Meri Allen/Shari Randall, The Rocky Road to Ruin

Saturday WWK Bloggers

7/10 Jennifer J. Chow

7/17 What We're Reading Now! WWK Bloggers

7/24 Kait Carson

7/31 Write Your Way Out of This! WWK Bloggers

Guest Blogs

7/3 M K Morgan


Warren Bull's short story, "Just Another Day at the Office" appears in the anthology, Red, White, and Blue available this month by Whortleberry Press. Congratulations, Warren!

E. B. Davis's "The Pearl Necklace" will appear in the new SinC Guppy anthology The Fish That Got Away to be released in July by Wildside Press. The anthology was edited by Linda Rodriguez. It will be released on June 21st.

Paula Gail Benson's monologue "Beloved Husband," from the perspective of Norton Baskin the second husband of Marjorie Kinan Rawlings (who wrote The Yearling and Cross Creek), appears in the Red Penguin Collection's An Empty Stage (released March 28, 2021).

Martha Reed's "Death by GPS" will appear in the Spring 2021 issue of Suspense Magazine, which will be released in the second week of April. Congratulations, Martha!

Susan Van Kirk has a new audiobook, A Death at Tippitt Pond, that will be released this month. Marry in Haste will be released in May by Harlequin Worldwide Mystery, as will Death Takes No Bribes in September. Congratulations, Susan.

Congratulations to Martha Reed. Her short story, "The Honor Thief" was chosen for the 2021 Bouchercon Anthology, This Time For Sure. Hank Phillippi Ryan will edit the volume, which will be released in August at the time of the convention.

Margaret S. Hamilton's short story, "Killer Weeds," appears in the January 20 edition of Texas Gardener's Seeds: From Our Garden to Yours. Congratulations, Margaret, who, if you follow Facebook know, is a superb gardener herself!

Congratulations to Paula Gail Benson whose "Reputation or Soul" has been chosen for Malice Domestic 16: Mystery Most Diabolical anthology to be released this spring.

KM Rockwood's "Stay Safe--Very Safe" appears in this year's 2020 BOULD anthology. Congratulations, KM!

Annette Dashofy signed with agent Dawn Dowdle of the Blue Ridge Literary Agency. Congratulations, Annette!


Monday, January 9, 2017

Book Excerpt—Coming Up With a Killer Concept

by Linda Rodriguez

At the end of 2016, my seventh book, Plotting the Character-Driven Novel, was published. I've taken a popular course I've taught for years on using depth of character as a springboard to a strong plot and turned it into a book designed to help the aspiring writer who wants to tell a story made compelling by the truth and complexity of its characters. In it, I provide actual documents I've used to create my own published novels, demonstrating the methods I teach.

I thought I'd give a sample to our Writers Who Kill blog readers, so I'm offering a section of Plotting the Character-Driven Novel below. You can find the complete book in trade paperback and ebook here.

Coming Up With a Killer Concept

Which comes first? Location, situation, or character?
The truth is that your initial seed for your novel can come from any one of these, but you will soon enough have to bring in the other two before you can have a truly exciting concept for the book. We’re going to talk about character-driven plotting in this course, but your character has to be rooted in a place (or be challenged by a new or hostile place), and a situation has to be set up that provides a major challenge to your character. A character floating in empty white space or mythical TV-nowhere land is not going to interest a reader. Neither is a character whose situation offers no problems, challenges, threats, or conflict. Whether you begin with a fascinating character, an interesting location, or a dramatic situation, one piece simply won’t be enough all by itself.
You must have the location and background, the initial situation, and the protagonist solidly in mind before you can really start developing your story. Once you have at least the beginnings of all three of those aspects, then you can use character subjected to the stresses and limitations of the situation and place to plot your novel.
Where do we come up with ideas for any or all of these three aspects of story? The first step is to be open to the ideas all around us. My husband has been going to enough mystery writers conferences and reading so many books that my friends have published that he’s almost as good as I am now about spotting a great location to find a body or have a showdown or set a mystery. (Yes, our conversations don’t bear overhearing—“It’s a perfect spot for an ambush,” “If you dumped a body back in there, it wouldn’t be found until some of those kids over there came nosing around.”) We will witness an awkward conversation or argument between people at a coffee shop or restaurant—be unwilling eavesdroppers to a loud cell phone argument—and speculate about how that state of affairs could provide motive for murder and a volatile situation ready for a precipitating incident.
Pay attention to the people around you, their conversations and their actions. Ask, “What if?” Those two little words are the most valuable tools of the novelist at the beginning of the book. What if a Puritan woman whose husband was gone had an illicit love affair and got pregnant? What if a crazed whaling captain decided to go after the monster whale that took off his leg? What if a poor and plain but intelligent and strong-willed girl in Victorian England refused to be a victim and eventually wound up the governess at a scary mansion for a harsh employer with whom she fell in love? What if scientists could recreate living dinosaurs from the DNA in prehistoric dinosaur bones? What if a giant white shark began to terrorize a beach resort town? All those novels and movies arose from writers asking themselves, “What if?”
You never know when you will encounter that grain of sand around which you can build the pearl of character and/or situation. Henry James once famously said, “Try to be one of the people on whom nothing is lost.” And remember what F. Scott Fitzgerald said, “Character is plot, plot is character.”
Keep notebooks always with you to capture ideas and bits of description of places, characters, or situations you see or overhear. Keep these large and small notebooks by your bed, in your purse or pocket, inside your cell phone or tablet, in your briefcase/bookbag, on your laptop or desktop computer, beside all the chairs in which you regularly sit. Use them also to note down interesting ideas and bits from books that you read.
Create an idea file with newspaper articles, internet items, and stories you hear from others. Some of my friends and family send me interesting items of news or research they come across. Even if it’s not something that necessarily sparks my interest—and it usually doesn’t since what catches my interest seldom catches other people’s and vice versa—I tuck it away. Because I never know when it might give me an idea of something I need for a book I’m writing based on one of the fragments of news or research that did catch my interest.
Combine ideas from your notebooks and idea file. Read over both when you’re plotting a new book and let them soak into your subconscious. You never know what bit of this or piece of that will become a vital part of your storyline in some intriguing way. Let your active plotting, your notes, and your idea file build on one another as you’re creating characters, situations, motivations, and actions for your story. Maybe the combination of two or three of these ideas and notes together will offer the complexity you need.
Start right away with two documents—a list of questions about the characters, locations, situation, and story/plot actions to which you’ll add constantly at the beginning and a first-draft journal or a document of first-draft notes. These can be written by hand in a notebook or in a computer document. The important thing is to have these documents or something very like them and to write in them, thinking on paper about your fictional place, people, and plot. Another useful document I’ve discovered is a list of scenes you want to see or write in the book—at the very beginning of the process before you really know what else will happen. In the sample documents at the end of the book, you will find copies of these three documents that I used in writing one of my own novels, and we will discuss ways in which you can use your own versions of these documents.

Linda Rodriguez Bio

Linda Rodriguez's book, Plotting the Character-Driven Novel is based on her popular workshop. Every Family Doubt, her fourth mystery featuring Cherokee campus police chief, Skeet Bannion, will appear in June, 2017. Her three earlier Skeet novels—Every Hidden Fear, Every Broken Trust, and Every Last Secret—and her books of poetry—Skin Hunger and Heart's Migration—have received critical recognition and awards, such as Malice Domestic Best First Novel, International Latino Book Award, Latina Book Club Best Book of 2014, Midwest Voices & Visions, Elvira Cordero Cisneros Award, Thorpe Menn Award, and Ragdale and Macondo fellowships. Her short story, “The Good Neighbor,” published in the anthology, Kansas City Noir, has been optioned for film.


Jim Jackson said...

For me, the most important piece of advice is to get information and ideas to my subconscious and let it work with the material. The earlier I can tuck ideas, questions, visuals, (everything, really) into that cauldron of underground activity, the more ways it will come up with to use that material.

It's also a reason I let first drafts sit for a good long time before returning to them for the first rewrite. My subconscious continues working and When I go back to the draft with a fresh eye, I "suddenly" have new and deeper material to work in.

I hope this resource sells well for you, Linda.

~ Jim

Tina said...

I got a copy of this book for Christmas, so I'm looking forward to diving in. Thanks for sharing this snippet.

E. B. Davis said...

I'm downloading this book, now!

Kait said...

This sounds way too good to pass up. I get my writing books in print so I'm looking forward to receiving my copy from Amazon. Great post, Linda and it sounds like a great book.

Margaret S. Hamilton said...

So nice to have a small, tidy paperback already bristling with sticky notes, instead of sheaves of class notes.

Grace Topping said...

Thank you, Linda, for these helpful tips. This is definitely a book I want to add to my bookshelf.

Linda Rodriguez said...

Thanks for your good wishes, Jim. Yes, I'm a big believer in accessing and using the writer's unconscious. Most of my teaching uses that as a basis. Most writers know what they need to know to write their books. They simply need to learn how to bring that knowledge up to consciousness so they can work with it and refine it.

Linda Rodriguez said...

Tina, I hope you'll find it really helpful.

Linda Rodriguez said...

Elaine and Kait, I hope you'll find the book useful in writing your novels. Kait, I'm with you on print books for instruction. I used to be that way with all books, but the process of downsizing to a tiny (in comparison) house will leave me turning to ebooks for most of my library now.

Linda Rodriguez said...

Margaret, I'm glad you're finding it useful, but not surprised. You are my star student, after all.

Grace, I'm glad you found this excerpt helpful. Thanks!

Donna Volkenannt said...

Hi Linda,
I had the pleasure of hearing you speak about writing a few years ago at the Columbia Writers Guild conference, and I drop by this blog when I see your name as a featured blogger. You are a wonderful writer and an inspiring teacher. Thanks for sharing your knowledge and wisdom. Hope your new year is filled with many wonderful surprises.

Gloria Alden said...

Linda, interesting. I love your Skeet Bannion series. I pretty much follow those ideas you suggested with character, place, etc. Once when on vacation with my siblings at a museum in the park we were camping in, I was looking at one display with fungi, and said to my sister next to me, "I just figured out how to murder my next victim." Needless to say, she walked away quickly as there were others nearby. Then when I found a dead body hanging in my woods on my morning walk (a suicide) I turned it into a murder in a short story made to look like a suicide. That's a little more graphic than what most people discover. I'm not as heartless as that sounds. I did plant daffodils where he died and often stop to say a little prayer for him.

Linda Rodriguez said...

Donna, it's so lovely to see you here. Writers Who Kill is a great blog where a lot of talented writers share good information and techniques or just funny stories. Thanks for your good wishes. I hope you also have a grand new year.

Linda Rodriguez said...

Gloria, I have to laugh at your sister's reaction. We mystery writers often encounter that. Our brains are just trained to look for good methods of murder or places to hide a body, and that often makes ordinary folks uncomfortable.

Shari Randall said...

going over to Amazon to order my copy....
Your writing on writing always gives me so much good food for thought, Linda. I've heard people talk about plot driven v. character driven novels but that's a false dichotomy. We need all the elements to work together to make a great story.

Linda Rodriguez said...

Shari, you're so right. Character, plot, and background must all come together and shape each other for a good book.

KM Rockwood said...

Linda, you have the experience and the knowledge to teach us all so much about the craft. Thanks for sharing!

Linda Rodriguez said...

You're welcome, KM. Thank you for your kind words.