Half-Way Point

Some writers agonize over the beginning of a story. I don't start writing until a good starting line shows up. Until then, the idea will bounce around, maybe get jotted down for later, but it waits until it's ready to begin.

Some writers get in a slump about 20k words into a novel. You know, past the giddy euphoria of starting a new project, introducing the characters, and the point where you have to actually figure out what the hell you're writing about. Maybe it's the type of stories I write-- the Bo Fexler mysteries-- but I tend to push through these parts. I just send Bo talking to people and digging up dirt until something shows up. (Thank you, Brain!)

Some writers get stuck at the halfway point, unsure of how to get to the climax and then resolve all those delightful problems they set up for their characters. Okay, I'm one of those. Since my problems never resolve themselves without me doing something about it, I'll fret and think and muse over the ending until I find a suitable one. And then I keep going. These tend to be some of the hardest words in a story for me. But once over the hump, it's usually pretty easy. The end is in sight, I know how to get there, and it's just a matter of finishing.

Some writers have trouble finishing. They don't know how to let go of their project. They are afraid it won't be good enough. I used to deal with this a bit, once upon a time. Now, having successfully written a slew of stories that were publishable, I feel pretty confident in my ability to judge my work long before I get to the end. I have a little trouble with closing lines-- that last zinger that matches the tone of the story, maybe has a little Bo snark to it, but doesn't read like literary Limburger.

So, going back to my post title. I am at the halfway point of my current novel in progress. I set a target word count of 70k words and have recently passed the 40k mark. I'm in that ever important middle of the story where I need to set everything up for the climax and the climactic show down. Yeah, no pressure...

Some of the set-up scenes come easy, exciting as I get to find out what's happening next in the story. Some of the set-up scenes are tough because no longer can I use vagueries-- I have to KNOW who did what, when, and where. Bleh.

Still, I am enjoying myself with this novel. I'm looking forward to seeing how it turns out. ;-)

What's your least favorite part of a story?

Fave Females

I've never really thought about who my favorite females are. I always just kind of knew, and never really thought about who all meets my definition for the preferred female form.

Until Travis Erwin asked about it in comments on Tuesday.

So, I started thinking. It's not much of a list, because, as I've previously complained, there seems to be a shortage. (Maybe I'm just not finding them-- but I do look into every female character offered my way for potential additions to The List)


So, here's my list.
1. Beatrix Kiddo from the Kill Bill movies. Determined, skilled, and just a bit of femininity. Not overdone, and I can accept her motivating forces, both for revenge and for her kid. She doesn't get too mushy, and still finishes the job even after meeting up with her former lover and her kid.

2. Kristen Van Dijk aka Baby Shark from the Baby Shark books by Robert Fate. Love this woman. She does some fine ass kicking in the books, doesn't let her femaleness (or relationships) get in the way, and the stories focus on the cases, not her love life. You know, like a book with a male protagonist would do.

3. Lara Croft. She can run, jump, climb, and shoot and looks damn good doing it. (Okay, so the boobs in the video game defy gravity, and, I'm sorry, that'd just be uncomfortable!) Didn't care for the former-lover problems in the movies, but I do like seeing a chick in action.

4. Jessica Rabbit from Who Framed Roger Rabbit. "I'm not a bad girl, I'm just drawn that way." Sex appeal and dangerous. She's the femme fatale character, andI gotta admit I like the femme fatale.

5. Mary Embrey-- the woman in the movie Hancock (movie, not so good, but this woman was fun.) She was powerful and didn't take any shit.

6. Jane Rizzoli from Tess Gerritsen's books. (I've only read a few so far, but enjoyed both Jane and Maura Isles.) These are competent, professional women. I wish the books would stay fartehr away from lovers and past lovers, but that's only a personal preference. I know most women prefer to read about love and other mushy stuff. (I try to skim those parts. ;-)

7. Trinity from the Matrix-- another women who looks good kicking ass. I like the added depth in her faith in The One as well as her no bullshit attitude. She's cool under pressure and willing to fight for what she believes.

While these are my favorite characters, I wish more of them combined sex appeal with physical (and mental) ability. I'd especially love to see more sexy, young, successful female characters in the mystery genre.

I want to see the femme fatale play the role of the detective.

Hardboiled and Washed Up?

Maybe it's just been the string of hard-boiled novels I read lately, but I sure read a lot of worn out, washed up folks who seem just about ready to sit down and wait to die.

Is it the underdog thing that appeals to people? The former police/detective who pulls himself out of the bottle, wrings himself out, and goes off to redeem himself for the woman he loved-- perhaps this type of tale appeals because it's that second chance, that redemption, that coming from behind for the win scenario? Does it give people hope?

Me, I have trouble getting past the damned depressing intro with the unhappy protag who doesn't know what to do with himself (him more often than her) after screwing up royally.

Do readers not identify with someone who's successful? Or resilient? Or should I say, do hard-boiled readers just prefer the old, tired out, beaten down guy who just needs one more chance to do right. Maybe that's what being hard-boiled is about-- those mean streets kicking ass too many times?

I don't like happy fluffy books, but I'd at least like to see the characters be successful. No private eye who works all cases for charity and can't pay rent or some such thing. In my world-- the real world-- there's no such thing. If you're gonna stay in a business, you need to make enough to pay the bills. Or before long, you're not in business. (Besides, who would hire the guy who's not good enough to support himself?)

Maybe it's an age thing-- I've got most of my life ahead of me. I intend to be successful at it. And I'd like some characters I can relate to in this regard. Ones who have their focus on a successful future, not a messed up past.

But that doesn't mean I don't like me some good bitter commentary. Even from washed up, worn out former screw ups.

Gimmick or Angle

One detective has books named alphabetically, another has them by numbers. There are detectives with beach themes, with craft themes, with sudoku themes. Name a theme or an angle and there seems to be a set of mysteries to go along with it.


Is this good or bad? While it certainly has that nudge of Gimmick to it, I'd have to argue that it's one way to stand out. The mystery section at even my baby Borders store is massive. Let's not talk about the corner of the library devoted to mysteries. It's actually rather overwhelming at times.


But gimmicks and angles stand out. Many non-mystery people I talk to (okay, most of them are my students, but I have to educate them...) don't know who Sue Grafton is, but they know the alphabet books. Similar deal with Janet Evaonvich.


There are so many aspring writers, and so many people who've already gotten their book onto those bookstore shelves. In order to get more than a small sliver of the market, I think it's important for an author to have or devise some way to stand out from the rest. At least until name alone is strong enough to carry the books.


Obviously, my angle is sex and violence. Along with my sharp tongued and sharp witted female private eye. I've not read anything quite like what I write. Especially nothing set today.


This is how I think I'm going to stand out. My angle. Or gimmick.


Now, I just got to finish that novel and find out if I'm right.

• What I'm Reading: Branded Woman by Wade Miller
• Current Song: Kiss off by the Violent Femmes

Sharp Tongues and Sharp Minds

I've been reading some Sherlock Holmes lately (using DailyLit.com where they send me 5 minutes worth in my email each day.) I'm kind of surprised by Sherlock Holmes' lack of social niceties. He's not as rude or crude as Phillip Marlowe or Bo Fexler, but he's certainly a bit short and impatient with people.

But everyone seems to overlook his demeanor because they are so enraptured by his intellect.

I'm a bit guilty myself of letting a good, crisp joke overshadow what should be otherwise considered rude behavior. I enjoy the wit of Phillip Marlowe. I've been known to make a few off-color jokes myself, both in person and in writing.

Don't pretty boys and girls can get away with things that plainer folk can't? Can't the contrite-seeming can pull things that a belligerent seeming person can't? Do we forgive the intellectual of poor social skills because of their brain power-- or ability to turn a phrase nicely?

Or am I just nuts for thinking that Sherlock Holmes is terse and sometimes condescending?