Saturday, November 23, 2013

Sat 11/23/13

The Little Writer's Group met in the Schaumburg Library Today. As usual it was a surprise, I never know what is going to happen.

Kenn Kirby stopped by and added to the conversation. He said a lot to us little Writer's.
Kenn owns and operate.


One writer wrote...
     Leon, thanks for bringing Kenn to the meeting today. I enjoyed the hell out of meeting and listening to him! He's a very multi-faceted, multi-tasking kind of guy. I can't wait to see what he thinks of my stuff. That publishing venture we talked about is exciting too.


 See ya later. John


John was talking about  Kenn Kirby of...........

Kenn s W.R.I.T.E Services  and writes;  Resumes and business report, etc.

 Click the blue and you will go  Amazon.

W.R.I.T.E. RESUME: BUILD A SUCCESSFUL INTERVIEW by Kenn Kirby, Kenn

 


 


 

Heck: Portrait of a Chicago Serial Killer by Kenn Kirby and Kenn Pappas a.k.a. Kirby (Oct 20, 2011)

Formats Price NewUsed
Kindle Edition Auto-delivered wirelessly $9.99   


3.

 

Murder By Martini With a Twist by Kenn Kirby and Kenn Pappas a.k.a. Kirby (Apr 29, 2011)

(1)

Formats Price NewUsed
Kindle Edition Auto-delivered wirelessly $9.99   

 4.

 

The Red Spot: Sonnets by Kenn Kirby a.k.a. Pappas by Kenn Kirby and Kenn Pappas a.k.a. Kirby (Sep 18, 2012)

(2)

Formats Price NewUsed
Kindle Edition Auto-delivered wirelessly $9.99   

 

 

 

 


 

Monday, November 18, 2013

Channeling Nelson DeMille ....he writes to comunicate...

The first thing we should think about is clear crisp sentences. Why?.. more than that is confusing.

Is there a reason to be technical or  literary, fine, do it?  Yeah, in a scientific article. Are you telling
your story for entertainment? Is it to be a commercial fiction?

Use the simplest, shortest, easiest to understand words. Don't be trite, repetitive, vague.  Notice Nelson's conversational style and the repetitive themes. It's like that for a reason. What is it?

When you learn the reason behind it you can re-invent the wheel, but it still needs to be round. (Reinvent the mouse trap to while you are at it but it still needs to control rats.)

What does it accomplish for Nelson? Makes him money..by being entertaining and by telling a

story in an entertaining and engaging way.

So the opening needs to be clearly written, and the entire piece. Is there any other reason? YES,
if the reader perceives even subconsciously a pleasurable experience  is in store, that leap
of thought can serve to lure them into a dream state. If they perceive something interesting
is in store. Even if it is not. However is must become true ns a fantastic , story entertaining
context.

I once was in a Blues band. We opened at Durty Nellies Irish Tavern with a upbeat bluesy instrumental. We had great Players.The place was packed with college aged kids. It was over
the Christmas break.
We were just a bunch of cracker colored white boys.. but we were pretty good. Our second
tune was so, so ...s l o w ... you could hear the corn squeaking in the field and the heat from a
hot southern sun. (Even though it was January in Illinois.)
The kids just stood and watched with eyes glazed in expectation. No one plays a slow blues on Saturday night.

We broke out a slightly faster song and relief washed the faces of the party-ers most of which
didn't know what they were listening to.

I made  a disclaimer that the blues could be dangerous and they should keep an eye on their
friends.

I then announced the we would be channeling Muddy Waters.

The instrumentation was authentic and we put our hearts and souls into the performance.

The songs we played were arranged from slow to fast.

The crowd grew in size and became more alive and started dancing. We took a short break
and by the end of the evening everyone was dancing, even one guy who used a chair for a
partner.

I try to be clear and entertaining. I try to be simple but engage the readers deep inner thoughts
and desires.

Why discuss Nelson DeMille? The Book Case.

Nelson DeMille is a NY Times Bestseller. If you aspire to write, there are other places you could
look.

The web is full of options. Find and author and study. That's the technique. Write down your
observations. Think them over.

1. Notice Nelson began with short crisp sentences.
Think, why?

New writers ... are inclined to... go the " do it yourself route" . I'll just dream, they think.
... maybe that is a clue...but not the answer.

I applaud the do it yourself-er.  However there are techniques to be learned and it all
requires study. ( sorry 'bout that) The good news is much is free... You tube Dan Wells..There are five free lectures.......Google  ..Larry Brooks incredible web site the storyfix.com

I personally have the pleasure of knowing several writer's who are teachers, newspaper journalist,
PhD's, and successful people. Experience is a good school but not for everything.

Maybe you feel too smart to write in simple sentences with few words that exceed seven letters.
Maybe you think you must slap around curses and violence. This must be decided by you
when you write/edit. 

What is the Great American Writer doing? Maybe you don't care.
 
Maybe you want a course, that's good.

The more you investigate the better you can write. I know
it may take time for the fundamental principles to sink in, especially if you are an accomplished
adult.

We are blessed with the world at our finger tips today. So much is free... if you nose around.

That's what I did and there are websites that can help a lot........they are safe and loaded with free recourses. Just good folks. I'll mention ONE . 1. LARRY BROOKS the storyfix.com  look it up.

 

Sunday, November 17, 2013

NELSON DeMILLE, The Book Case.

 Otis Parker was dead. Killed by a falling bookcase whose shelves
were crammed with very heavy reading. Total weight about a thousand
pounds, which flattened Mr. Parker’s slight, 160-pound body. A tragic
accident. Or so it seemed. To back up a bit, I’m Detective John
Corey, working out of the First Precinct Detective Squad, which is
located— if you ever need me— on Ericsson Place in Lower Manhattan,
New York City. It was a cold, blustery March morning, a Tuesday, and
I was sitting in a coffee shop on Hudson Street, a few blocks from my
precinct, trying to translate ham and eggs over easy into Spanish for
my English-challenged waiter. “Huevos flippo. Hambo and blanco
toasto. Okay?” My cell phone rang at 8: 34, and it was my boss,
Lieutenant Ed Ruiz, who said, “I notice you’re not at your desk.”
“Are you sure?” “Where are you?” I told him and he said, “Good.
You’re up. We have a body at the Dead End Bookstore on North Moore.
Discovered by a clerk reporting for work.” I knew the bookstore,which
specialized in crime and mystery novels, and I’d actually been a
customer a few times. I love murder mysteries. I can always guess the
killer— without peeking at the end. Well… hardly ever. My job should
be so easy. Ruiz continued, “The deceased is the store owner, a Mr.
Otis Parker.” “Oh… hey, I know him. Met him a few times.” “Yeah?
How?” “I bought a book.” “Really? Why?” I ignored that and inquired,
“Robbery?”“No. Who robs a bookstore? You rob places that have money
or goods you can sell.” “Right. So? What?” “Well,” replied Lieutenant
Ruiz, “it looks like a ground ball,” cop talk for something easy. He
explained about the falling bookcase, then added, “Appears to be an
accident, but the responding officer, Rourke, says it might need
another look before they clean up the mess.” “Okay. Hey, how do you
say fried egg on a roll to go in Spanish?” “You say hasta la vista
and get over to the bookstore.” “Right.” I hung up and went out into
the cold March morning. Lower Manhattan at this hour is jammed with
people and vehicles, everyone on their way to work, and all thrilled
to be doing that. Me too. It was quicker to walk than to get my squad
car at the precinct, so I began the four-block trek up Hudson,
bucking into a strong north wind that roared down the avenue. A
flasher on the corner opened his trench coat and got lifted into a
holding pattern over the Western Union building. Just kidding.

  I turned onto North Moore, a quiet cobblestoned street that runs
west toward the river. Up ahead on the right I saw two RMPs and a
bus, which if you read NYPD detective novels you’ll know is two radio
cars and an ambulance. One car would be the sector car that responded
and the other the patrol sergeant’s car. As I approached the Dead End
Bookstore I saw there was no crime scene tape, and the police
activity hadn’t drawn much attention on the street; it hardly ever
does in New York unless it’s something interesting or culturally
significant like a mob hit. Even then, it’s not worth more than a
minute of your time. Also, this was not a lively street— mostly older
apartment and loft buildings with lots of vacancy signs. Mr. Otis
Parker had located his bookstore badly, but named it well. I clipped
my shield on my trench coat and approached a cop whose name tag said
Conner. I asked him, “Is the ME here?” “Yeah. Dr. Hines. I think he’s
waiting for you.” Hines was an okay guy. Looked like an undertaker
and didn’t try to play detective. I glanced at my cell phone clock.
It was now 8:51 a.m. On the off chance that this was something more
than an unfortunate example of Newton’s law of gravity, I’d need to
fill out a DD-5 and begin a homicide file. Otherwise I was just
stopping by. I looked at the front of the bookstore, which took up
the whole ground floor of an old five-story brick building,
sandwiched between two equally old buildings. The glass door had a
CLOSED sign hanging on it, along with a notice of store hours— open
every day except Sundays, nine a.m. to six p.m. Basically banking
hours that ensured the minimum number of customers. There were two
display windows, one on each side of the door, and in the windows
were… well, books. What this street really needed was a bar. Anyway,
in the left window were mostly classic crime novels— Chandler,
Dorothy Sayers, Agatha Christie, Conan Doyle, and so forth. The
window on the right featured contemporary bestselling authors like
Brad Meltzer, James Patterson, David Baldacci, Nelson DeMille, and
others who make more money writing about what I do than I make doing
what I do. I asked Officer Conner, “Who’s the boss?” He replied,
“Sergeant Tripani.” “Sergeant Tripani.” He added, “I’m his driver.”
You want to get the lay of the land before you burst on the scene, so
I also asked, “Who else is in there?” He replied, “The two
paramedics, and the responding officers, Rourke and Simmons, and an
employee named Scott who discovered the body when he came to work.”
“And Otis Parker,” I reminded him. “Yeah. He’s still there.” “Did you
see the body?” “Yeah.” “What do you think?” Officer Conner replied,
“My boss thinks it’s an accident.” “And you think?” “Whatever he
thinks.”

“Right.” I advised him, “If anyone comes by and identifies themselves
as a customer or a friend, show them in.” “Will do.” I entered the
bookstore, which looked like it did the last time I was here— no
customers, no staff, cobwebs on the cash register, and unfortunately
no coffee bar. Lots of books. The store had a two-story-high ceiling,
and there was a wrought-iron spiral staircase toward the rear that
led up to an open loft area where I could see Sergeant Tripani, whom
I knew, standing near the railing. He saw me and said, “Up here.” I
walked to the staircase, which had a sign saying PRIVATE, and began
the corkscrew climb. On the way, I tried to recall the two or three
times I’d interacted with Mr. Otis Parker here in his store. He was a
bearded guy in his early sixties, but could have looked younger if
he’d bought a bottle of Grecian Formula. He dressed well, and I
remember thinking— the way cops do— that he must have had another
source of income. Maybe this store was a front for something. Or
maybe I read too many crime novels. I also recalled that Mr. Parker
was a bit churlish— though I’d heard him once talking
enthusiastically to a customer about collector’s editions, which he
sold in the back of the store. I’d sized him up as a man who liked
his books more than he liked the people who bought them. In short, a
typical bookstore owner. I reached the top of the stairs and stepped
up into the open loft, which was a large, wood-paneled office. In the
office were Officer Rourke, the two paramedics, Dr. Hines— wearing
the same black suit he’d worn for twenty years— and Sergeant Tripani,
who greeted me, “Good morning, Detective.” “Good morning, Sergeant.”
There’s always a pecking order, and Sergeant Tripani, the patrol
supervisor, was the head pecker until Detective Corey from the squad
showed up. Of course Mr. Parker’s death was not a suspected homicide—
at least not by Sergeant Tripani— but here I was to check it out, and
Sergeant Tripani was happy to turn it over to me. In fact, he said,
“It’s all yours, John.” “Ruiz just asked me to stop by.” I pointed
out, “I still have my coat on.”

DeMille, Nelson (2012-05-08). The Book Case (Kindle Single) (Kindle
Locations 73-82). AmazonEncore. Kindle Edition.



Tuesday, October 29, 2013

IT'S YOUR CRAFT

LOSE YOUR POINT OF VIEW?
Writing Notes

CHAPTER 4 Point of View Among novelists there seems to be a continual confusion over point of view. Even veteran writers sometimes get in a fog about it. Writing teachers constantly catch their students in the dreaded “point of view violation”’ or “head hopping” as it is sometimes known. Readers, however, don’t seem to mind. There aren’t a flood of e-mails streaming into publishing houses or author websites asking for money back because of a POV lapse.


Bell, James Scott (2012-12-10). Revision and Self Editing for Publication (p. 63). Writer's Digest Books. Kindle Edition.

OMNISCIENT The omniscient POV is the least intimate because you, the author, take up the burden of telling the story.


Bell, James Scott (2012-12-10). Revision and Self Editing for Publication (p. 64). Writer's Digest Books. Kindle Edition.



Third-person POV is a good choice for most current fiction. The biggest problem writers seem to face with third person is keeping that POV consistent throughout a scene. It’s easy to lapse and suddenly have the POV switch to a different character or to a perspective the character can’t see. In the limited variety of third person, you stay with one character throughout. You never take on another character’s POV. Done well, this can be nearly as intimate as first person. James N. Frey, in How to Write a Damn Good Novel II, has an opinion on this. “Don’t believe the pseudo-rules about what you can do in first vs. third person,” Frey writes. “Virtually anything you can do in first person you can do in third and vice versa.” If you allow other characters to have a third-person POV (unlimited) you obviously spend less time in the head of a single character. You spread the intimacy around.


Bell, James Scott (2012-12-10). Revision and Self Editing for Publication (p. 68). Writer's Digest Books. Kindle Edition.

Wednesday, October 16, 2013

LITTLE WRITER'S GROUP

This group was established to help individuals to improve themselves as writers and critics. We talk about the Modern Edit process as commonly adhered in the game of writing modern commercial fiction.            http://thecomosbewithyou.blogspot.com/