For those who have followed or joined me along the way of my 257 posts I am moving. I have created a new WordPress website where I will continue blogging about writing including a ‘who I am’ page and links to my e-books with a synopsis of each. I hope you will check it out and continue to follow me. If you have time let me know if you like the new site. The new site is here.
Category Archives: indie writers
In my previous post I wrote how to introduce a minor character into your story. We met Grover in a barbershop. He was 5’8″, bald, wore a green wool shirt, red suspenders and Levi’s with a massive gut sagging down over his pants. He did not say a word in the scene, yet I am confident readers would remember Grover Hargrove. He was introduced in chapter two.
Now I am writing chapter four and it is time to bring forth Grover. Here is what happens when we see Grover a second time.
I looked across the street and my eye caught a man watching us. He wore a green wool shirt, red suspenders over Levi’s and a massive gut drooping over his pants. It was Grover Hargrove, the man hit in the head by a falling tree, that I saw in the barbershop.
Evy noticed me looking at Grover. “Who’s that honey?”
Clancy turned her head at Grover, standing on other side of the street as motionless as a statue. Clancy waved and yelled, “You hoo.” As if poked by a cattle prod, Grover jolted to alertness, the statue come to life, and he quickly waddled away.
Now the reason I wrote the description of Grover when Chet sees him is to identify him in a way that the reader will recall-oh that guy. I did the same thing in the first paragraph in this post for those who read the previous post-oh yeah, that guy.
But Grover walks away. The reason is that now the reader knows he will factor in the story. Why was Grover watching them? Is he a bad guy? What is he up to? Is he mentally impaired because of the head injury? It is a nice plot device to make a mystery of someone, or two, within a mystery. It keeps the reader turning pages, clicking enter for next page, or tapping, clicking, to find out about Grover and what he will do or say next.
My amazon page
Every tale needs a protagonist and antagonist, a hero and villain, a good guy and bad guy. But a tale also needs minor characters, maybe just a character in a barbershop, something to divert or give a change of pace, a set-up for what is to come. Consider this scene for my work-in-progress. My lead character, the good guy, is investigating a murder in a small town in 1927. He goes to a barbershop to get a haircut, one in which he will learn something from the barber that will help him in his search for what happened. But we might want to delay that a bit because you don’t want to cut to the chase, you want to give credence to everyday life. So here is a scene where I introduce a minor character.
When the second man got out of his chair and paid Delfare, the proprietor of the shop, I was told I was next. I looked at the man sitting by the window, about 5’8” with a bald head, maybe about thirty. He was wearing Levi’s, a green wool shirt with red suspenders keeping his Levi’s in place, his large blubbery gut sagging over the top of the Levi’s, covering his crotch like giant padding. He had to sit straight, his feet spread to accommodate what seemed to be emergent fat.
“Oh Hargrove don’t mind, do you Grover?” Grover shrugged his blubber.
“Grover is a fixture here aren’t you? He got in the way of a falling tree, thumped him on the head real good. Grover can’t work anymore. He gets bored, comes in here to partake of town talk. He gets bored every day, don’t you Groves?” Grover sighed.
The scene creates verisimilitude, it delays the heart of the scene, and every tale needs sidebars and small little diversions. And this seemingly innocuous character could play a pivotal scene later. After all, he is hanging around a barbershop, hearing all sorts of gossip and rumors. It could be this innocuous character could play a big part later. And this is one way to set up the reader for what comes later, for they already know about Grover Hargrove.
You won’t find Grover in Silent Murder, but you will find my protagonist and what happened before he got to this small town.
The following is a story that takes place in the 19th century and you are to guess what it has to do with a murder mystery I am writing set in 1927. I was doing some research for my novel and ran across the story in a file cabinet at a museum.
The story goes that an Indian woman and a white man hired a wagon and driver at a livery stable. They had the driver take them to a specific location that is outside of town. The driver noted that they carried two bags of tools. The white man told the driver to return at four in the afternoon to pick them up. This the driver did. He noticed when he returned the two bags of tools were gone, but the Indian girl and white man each had a heavy suitcase with them. It was thought the Indian girl knew about some treasure that was somewhere nearby where they were dropped off and she got the white man to help her. Neither were known in the town and neither were seen again. So what does this have to do with a murder mystery set in 1927?
Nothing. At least on the surface.
But a writer should not dismiss anything, no matter how remote it is to your story. I kept the story in my notes, then in writing a chapter I realized how I could use it. My murder mystery began, interestingly enough, where the Indian girl and white man were dropped off. It was Ford’s Prairie. In my mystery a woman’s head was found on top of a grave leaning on the tombstone at the Ford’s Prairie cemetery.
So I had a local from the community relate this old tale from the 1800’s to my amateur detective. The reason is that it could be a red herring, to make the reader think the two stories might be related. Then again there just might be a connection. Doesn’t matter. The point is never ignore what you find while researching. It may seem unrelated to what you are working on, but you might be able to use it. As a researcher you are mining for nuggets and what you think is fool’s gold could be more useful than you think.
This e-novel has already been researched and is found on that Amazon place, not the jungle; that is another story.
Everyone wants a good deal, especially if something is free and e-Readers may be dictating the future of e-Books. There are many sites devoted to getting cheap if not free books. I will not list them all, they are easy to find with Google magic. I subscribe to Book Bub and I can select what type of books I am interested in and everyday in my inbox are books, some for 99 cents, some for free. Some are $2.99-what to they think I am a millionaire. Being an avid reader and bargain consumer I love it. The cheap ones I mean.
Book Bub is one of the best and I don’t want to know how many sites like them are out there. As an indie e-book author on Amazon I am afraid to find out. But we just might be on the forefront of change, as who will spend $3.99 for an e-Book, especially by an unknown, when they can pick and choose great buys, some from famous authors by signing up for a newsletter, a newsletter that, in essence, does the search for you.
The original prices for my books were $2.99 because that is what everyone said at the time. It became the standard. Of course one must always wonder who THEY are. Are they The Hardly Enlightened Yahoos. It was, however, the prevailing accepted price. Then someone said it should be $3.99 because if you value your work, believe you have written good stories, then you should be paid accordingly to distance yourself from those $2.99 folk.
I thought about it, then changed the price. I did not notice any significant downturn in sales so kept it at the higher price. At some point I thought of reverting to the original price during a sluggish sales period, but I then read a blog that said once you raise the price it is not a good idea to go back as the readers who paid the higher price may feel cheated. It made sense, but I have to come to the opinion it doesn’t matter. In the end you must do what you feel is best, not what others say or think, no matter if you believe they-remember them- make sense.
But will it now make a difference? Is $2.99 now too high a price with so many savvy readers paying 99 cents, at the most $1.99 for quality books. There is a proliferation of sales and cheap e-Books, and the smart reader knows this and loves it. In the future indie authors may be squeezed out of the market just as they are squeezed out from traditional publishing. I have no illusions of being a best selling writer, but a steady income of mad money would be nice.
So what to do? This year I will advertise more, and I may revert to my old price (still percolating in my sub-human brain), but all of us Indie e-Book authors are facing important questions, none of which have to do with plot and structure.
On my Amazon page you will find my books at $3.99. Buy now before the price drops.
We live in an information age, and there is too much information, much of it sounds good, until somebody points out an obvious truth that blows up what you thought was true, but then you wonder if the ‘new’ truth is accurate. For an indie writer writing e-Books I heard over and over you need to have lots of books on Amazon. But someone said, it does not matter how many books, it is a myth, you need to learn to market, that Amazon is a search engine, and you need to increase your ability to get searchers to your books, then somebody tells you, but . . wait a minute. Halt. I am getting confused here.
I have attended three webinars, all were free. I learned many things, but in two of the webinars, the hosts, who were writers themselves, had a lot to say about marketing, and if you are a writer I need not go into all of that, you have heard it before. While their information-what they would share of it-was good; it told you what to do, but not the fine points of how. That would of course cost you money, as much as $500 to $700 for their course module. I have no doubt it can be done if you follow what they say. It is not the work that bothers me, but there are two points to be made.
One is that many people will go all in, but not follow through over time. The exhilaration and excitement wears off. The second is that you have to ask yourself how many books must you sell to offset the cost of what I am buying. If you are sure you can sell a few hundred books, then go for it. It is also true that what works for some people will not work for everybody. It is impossible that everybody will succeed. Some succeed, others will do the same things, but fail.
I made a purchase at the first webinar I attended. It had little to do with marketing and strategy. It only cost about $90 and would position my books on the Internet with very creative web pages. It was something like a website. Unfortunately I don’t think people ever found it. I think the product had an un-search engine. I liked the pages I was able to create, but it was a waste of money in the end.
So yes, I am leery, but I am also leery of professional marketers and pitchmen. They talk a great game. In the end if you attend any webinars, or come across anyone or anything that promises a result you desire, remember to weigh the cost.
This book will cost only $3.99 on Amazon. So save hundreds of dollars today.
Actors and writers are the yin and yang of creativity. Neither are normal, nobody in the creative arts is normal; normal people get normal jobs, have normal families, and do normal things. Creative people are neurotic, they see things normal people see, but don’t think about until writers and actors remind them, then if the norm agree with what the creators see, they applaud, if they don’t agree, the reviews are bad.
Actors, like writers are introverted, but they approach creativity from a different angle. Actors need to be in the limelight, to have that klieg light shine upon them, hiding behind a character (one the writer creates), to escape who they are, be something they would like to be, at least for that play, movie, or TV show. No normal person wants to play dress up with makeup and prance around on a stage or movie set. It is said, even by many actors, that acting is unmanly, embarrassing in a way. Most actors prefer the stage because at the end of the play they hear applause. They get that immediate reaction; they like me-wait, no-they love me, I am accepted. My acting experience is limited. I remember only the panic attack before going on, and the laughter (it was intended). I remember little else. I didn’t like the feeling. It was not my element.
The introverted writer, like the actor, hides his true self, not behind a character, but behind the words themselves. The writer is in the story somewhere, maybe everywhere, maybe here and there, behind or underneath the words; he is there lurking around. But he is far removed from the spotlight; allergic to lime, he is far from the immediacy of the audience, safe at his desk.
Both actors and writers are storytellers. The actor tells the story of his character, how he views things, by word, deed, or action. The writer tells his story using all the characters, seeing the whole, while the actor seeing primarily his role in the story. Both are drawn to ‘the word’ as actors look at the words they will speak and decide how to interpret the words, how the words will be used, revealed, spoken; the writer simply the architect builds layers of action, thought, conflict, and ideas though there is nothing really ‘simple’ about it.
It could be said that actors take a bigger risk by being center stage, baring their soul to the audience, and while there is some truth to that, if the play or film doesn’t work they can blame the writer. Writers have nobody to blame.
Here are some words to examine.