Read my exciting news by heading over to my official website at:
I’m looking to Wednesday and it’s going to be a crazy busy day. Fingers and toes crossed. Prayers welcome. Today only my book The Dementia Chronicles is FREE: https://amzn.to/2VCr3X5 Download NOW and if you enjoyed your FREE Copy please don’t forget to leave your precious review. Thanks so much. But wait! There’s more… Not only…
Sometimes I help edit other writer’s work. Mostly I do but there are times when someone’s story is so great, that I have to agree to help. My sister, Elizabeth Ajamie Boyer has written a historical novel about slavery’s underground railroad. She did a great job and I am champing at the bit to read the completed story. Anyway, enjoy TJ Boyer’s blog post about writing and editing.
Elizabeth’s treatments are complete and she is getting her hair back. Things have settled down considerably except for the writing, editing, writing, editing. TJ is working on four books at the same time and Elizabeth is editing them, as well as editing her own story.
TJ is working on a history of his planet, Rednog, and also how the dragons and Thorns found Rednog. These books will be available by Phoenix Fan Fusion (click here for Fan Fusion website) at the end of May, so stay tuned.
Elizabeth’s book is a historical fiction account of the Underground Railroad. She’s editing it, beefing it up, and re-editing it, again. Her sister and fellow writer, Susan Wingate (click here for Susan’s page) edited it once prior to this phase, also.
We just want you to know there is a lot going on and we have not fallen off…
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In the summer, I entered a contest. A few months past and I was notified that an excerpt of my novel MOON SPYER one a film production spot. It’s a reading of the first few pages of the novel. I hope you enjoy it.
What an honor to be included as a featured writer on Creative Talents Unleashed. I hope you enjoy the poem they chose of mine to feature.
The House Where Cats Go
I visited, last night, the house where cats go.
Its walls are smooth stucco and white and it sits on a hill with a chain-link fence that guards it.
The chain-link fence cuts off entrance from people who want to go inside.
And a flat black road climbs the hill and trims the row of houses and a set of concrete steps trims the road.
Cats there play together in this house.
They get in and out by way of a sprawling oak tree that sits, mashed, in front of the chain-link fence.
And when the cats are outside of the fence, they lead you to other houses with other cats and yards of grass.
Those houses have a few dogs too.
And the house on the hill has cats of all ages and sizes.
The fat black one, as black as Midnight, bumps her…
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This is a re-post from my new blog site. All the same info and books, just a new platform.
Early in my career, I met my own mentor, Michael Collins. He nurtured my writing and was key in the completion of my first novel. We worked together for two years and I feel that if I had not had his help, I would still be struggling through that first novel. Certainly, I would not have the personal, expert advice I received from Michael during that time. Right now, I’m working with one student who is a dream student–considerate, willing to try new things and to take advice.
So, how does the mentor-mentor(ee) relationship work? Well, for those published authors with the heart to help see other writers grow in their careers, all you need to do is mention that you wish to work with a mentor student and you’ll have several knocking at your email within hours.
Conversely, for emerging writers searching for mentors, it’s a little more difficult than just a mention but don’t fear. I’ve included this topic as part of my 7-part discussion on the mentor-mentoree relationship.
- Finding a mentor–It’s not all that difficult, really. If you attend writing workshops and conferences, all you have to do is go up to an author presenter, someone you feel you could learn from (this is key) and ask if they ever accept or are accepting mentor students. If they do not mentor, move on to someone else. Also, ask authors you may know via your social channels (Facebook, Twitter, LinkeIn) but keep asking until you find someone to work with. Finding a mentor sometimes takes perseverance but it will be worth it to your writing career.
- Setting boundaries–Boundary-setting is as simple as stating how many times per month you will meet (or e-meet) with your student. As a published author you are busy not only writing but marketing your published work so the student will need to fit into your schedule and not the other way around. Next, decide how long each meeting will be and where–whether in a cafe, via email, the phone or on Skype. Stick to your scheduling as closely as possible. You do not want to send mixed signals about the meetings or their times. Although sometimes issues come up and you may have to postpone but try to stay on a fixed schedule.
- Goals for you as the mentor–Mentoring emergent writers is one of the greatest and most fulfilling activities I do as a career writer. My time spent with mentorees not only affords them information I have received from my many (many) years writing and working in the publishing industry, but it also tests my knowledge. I learn so much as we discuss writing and the industry as we work through our meetings.
- Goals for the student–The best mentor students come with set questions and goals for their writing. Of course, every writer wants to hurry up their careers and to become published but sometimes the hurry-up part isn’t the most important. Sometimes learning craft is or learning business issues (approaching a publisher or agent, writing the query letter or proposal). However, one thing I wish I had known, before venturing into this whole writing thing, was to be patient. I tripped and made many stupid mistakes along the way and have suffered for those mistakes. This is one lesson I try to instill in my mentor students who seem to suffer from impatience as I did. And then, of course, to answer their set of questions about publishing, marketing and writing.
- Tracking progress as the mentor–The mentor can either track progress on paper or simply by asking from time-to-time if the mentor student is still benefiting from the meetings. But make sure the student doesn’t feel like you’re trying to get out of the relationship unless, of course, it has become onerous or toxic, because every once in a while the mentor will get into a relationship where the student is refusing to apply concepts to their writing or is not doing the work you’re setting out for them. If you (as the mentor) are feeling anxious about each meeting then maybe it’s a tell that you should get out. Maybe you should move on and let the relationship end. If this happens, do it kindly but truthfully.
- Tracking progress as the student–Likewise to tracking progress as the mentor, the student should be the true beneficiary of the mentor’s knowledge. Sometimes, however, the student will be intimidated and not as upfront about how they feel sessions are going, or how much they are benefiting from the relationship. As a mentor student, you must tell the teacher what you need to learn but you must also tell her if she’s not fulfilling what you need from her. This is why goal-setting is such an important part of the mentor-mentoree relationship.
- Mentor relationship success–Progress checks with each other are critical to gauging success between the mentor and student. I find out by asking my students these questions: (1) is there is anything they are not getting from me that they want from me (aside from a publishing contract, that is); (2) if they are still feeling inspired and motivated to write; (3) if they are still happy with the relationship; and (4) if they are feeling stuck on a subject or in their writing. I guess one true way to calculate success comes after the relationship ends. Several of my mentor students have sent me emails letting me know that they have since become published. What great news! And what a wonderful way to gauge the success of our relationship.
Remember, discouraging critique causes confusion and dwindles the spirit. Whereas, motivation and encouragement will create in your mentor student a sense of achievement and the will to win.
Here are some links to help you find a mentor:
American Writing Programs: https://www.awpwriter.org/community_calendar/mentorship_program_mentee
Writer’s Relief: http://writersrelief.com/blog/2014/01/find-writing-mentor/
Goins Writer: http://goinswriter.com/find-mentor/
I write books and some of them are bestsellers. ~Susan.
I’m sure a bunch of you crime and mystery writers know a lot more about this subject than I do. But to help others I’ve listed some of the information below for those writers who may not know the 5 elements to “attack” a crime scene–for real and in your novels. The first step below shows detailed info about the process of the first step when arriving at a crime scene. I’ve only summarized each other activity but, in the coming days, I will further flesh out (ew) the 2nd, 3rd, 4th and 5th activities with actual step-by-step processes for crime scene investigators.
So, here we go. First you must know that there are several levels of Crime Scene Investigators (CSI) and I’m sure that with every city, county, parish, and state they have their own way of setting up these designations differently. I’ve researched most of my information about different employment levels of CSI from the Phoenix Police Department’s Crime Scene Response Site because my next novel is set in Phoenix. For Phoenix, there are 5 levels of CSI and they are designated as “specialist” levels 1, 2, and 3 with an additional two supervisory roles called Shift and Scene Supervisors.
The First Step involves the initial response when CSI arrive at crime scene
Paperwork – There will always be paperwork. When we write about governmental entities such as the police department and crime scene units (CSU) someone will be asked to fill out some paperwork for the receipt of information and for legal entry into the premises.
Safety Protocol – Everyone at the scene will be expected to follow safety procedures set out by their departments.
Emergency Care – Emergency services for living victims will be given.
Secure and Control Persons at the Scene – There should be investigators at the scene who will act to keep the scene as close to as it was when the crime was first committed. These people are responsible for boundary control. They will tape off the areas deemed pertinent areas of the crime scene and will protect the boundaries they’ve set up. Which leads to the fifth protocol.
Identify & Establish Boundaries, Protect and Secure – Need I say more?
Turn Over Control of the Scene and Brief Investigator(s) in Charge – Detectives or other levels of police will arrive at (or enter) the scene after the initial responders “lock down” the crime scene. Once they go through, they will then turn the scene over to the investigators of the scene, such as detectives in charge or other branches of the police department (note: typically murder scenes are given the highest levels of attention where a breaking & entering scene might get less attention and even lower CSU investigators arriving at the scene)
Document Actions and Observations – Someone in the CSU will be charting what is being seen by the knowledgeable CSI. Usually, lower level CSI who are working up to higher grades of pay will take these notes.
Set-up a Command Post and Take Notes Throughout – This step could well be done upon arriving at the scene and is used in circumstances where a major crime has been committed. Think a bomb going off, here or a plane crashing (the National Transportation Safety Board would handle a plane crash). A truck careening into the side of a bank would initiate authorities to set up of a command post.
Manage Any Witnesses at the Scene – Of course, people who actually witness the scene are only required to remain at the scene as their consciences will allow. There are those people who will not become involved. But more often than not, witnesses will step up and help police with their investigation. When they do, they need to be controlled. For one, they should be separated from the scene and other witnesses–in order to avoid homogenizing their statements. Then, they should be questioned and paperwork should be drawn up for each witness statement.
The 2nd, 3rd, 4th and 5th Steps are outlined below and will be covered in the coming days. These 4 additional steps are:
- Preliminary Documentation and Evaluation of the Scene
- Processing the Scene
- Completing and Recording the Crime Scene Investigation, and
- Crime Scene Equipment
As well, I will be listing several equipment items used by the CSU. For now, I’ve listed 10 interesting items that a proper CSU will use on a day-to-day basis. In fact, there are hundreds of items. But, I will list the equipment in shorter, more digestable amounts.
Initial Responding Officer(s) should bring with them items such as:
- Consent/search forms,
- Crime scene barricade tape,
- First-aid kit,
- Flashlight and extra batteries,
- Paper bags,
- Personal protective equipment (these are items are considered items of high importance and should be kept in police vehicles or readily available for the initial responding CSI),
- Audiotape recorder, and
- Camera with flash and extra film, if not digital camera
I love writing procedural mysteries, if not for the research alone.
Other sites with great crime scene and forensic information can be found at the following links:
Fortunately, I watched BIRDMAN this past Saturday. The movie was being aired on one of Dish’s Pay-per-view channels. It was certainly worth the $4.99 to see. I wasn’t sure what the movie was about. I’d not read anything except the blurb on PPV so when it began, I was a baby. New to the story. Expecting nothing.
I’ve listed 9 items below that, in my humble opinion, make the story a successful one.
- Unique story–the idea is new to me for the genre of family drama. I was brought up reading Tennessee Williams and continue to read stories written by authors such as Garth Stein, Karen E. Bender, and Jodi Picoult. But this was a fresh take in a genre that tends to fall back onto realism. Birdman mixes surreal qualities to a very real-life tale. The closest of my reading to this story might be with Maxine Hong King’s “Woman Warrior” where King imagines the protagonist as an ancient Chinese woman warrior on horseback. Birdman tells the tale of a flagging Hollywood super hero movie star who seems to have leached super hero qualities from this past favorite role. I’m not surprised that this movie received the esteemed Best Movie award in the Academy Awards last night.
- Actors reach beyond themselves–In Birdman, Michael Keaton’s acting outdoes any previous role with this single one. And I’m surprised Keaton did not nab the award for best actor. His character felt real. Riggan (Keaton’s character) had been punched down so many times and from every angle–in his personal life, his spiritual life and his professional life. I never once sat back and thought, “this is great acting.” It was only after the movie ended that I got a chance to absorb what the actors succeeded in doing and to compare each actor in their role. Edward Norton put on a great performance as the Broadway star and love of everything New York. Juxtaposed by Keaton’s Hollywood megastar and loathed by New York critiques as adamantly as they loved Norton’s character. Norton plays an opportunistic, self-consumed, method actor who is professional in procedure (knowing his lines; showing up for work on time) while being as unprofessional as they come (breaking character in front of an audience; becoming sexually-aroused while on stage). Keaton’s problems manifest with Riggan (Keaton) potentially at risk of losing his promiscuous daughter to Norton’s character, and losing his family entirely–a far greater stake than loss of a career or fame.
- Super hero theme–Initially, we see his powers exhibited in the very first scene, an odd scene that leaves the viewer wondering how and what and why (an awesome hook scene)–with questions answered soon enough when we realize how greatly influenced Riggan has become by his previous role as The Birdman. The writers of this film have given nuance to the movie by slipping in visions of the character as his former super hero role, in full costume, antagonizing Riggan, and exhibiting the full extent of the role complete with telekinetic power and the ability to fly.
- Underdog struggle–Keaton’s aging character, Riggan, is your archetypal underdog and is a dimming light that previously shone brightly in mega-blockbuster movies. Instantly, the audience sympathizes with him. Nothing has gone right for Riggan in a long time and we end up pulling for him. We long for him. We hope he wins just once before he dies. But the writers continue to drop bombs onto Riggan’s circumstances until we really believe Riggan will end it all.
- Utilizing a Well-known Author’s Previous works–I felt the story device was unique, something used most recently in the movie “Midnight in Paris” which was based lightly on Hemingway’s “A Moveable Feast.” Birdman utilizes this device with Raymond Carver’s novel “What We Talk About When We Talk About Love.” Although in Birdman, the play within the movie which will open in just days, is largely based on Carver’s story. Here’s a side note: I just read in Publisher’s Weekly how Birdman has propelled the sales of Carver’s books across titles but mostly for “What We Talk About.”
- A New York Story–It’s a given in the publishing industry that more stories are sold (as books and viewed as movies) if they are based in New York City. Having visited NYC several times, these stories definitely draw me to either read them or watch them. In fact, the decision to write my latest collaborative boxset, entitled Detective Ink, was based largely on statistical information of New York stories outdoing others simply because they were set in New York City.
- A Hollywood Story–Equally, stories about Los Angeles and Hollywood have always garnered more readers and viewers than, say, a novel set in Ames, Iowa. I’m not to saying that lots doesn’t happen in Ames. Certainly that would be untrue. What I’m saying is that the draw isn’t as widespread as a story set where movies are filmed and starlets are born. Both NYC and LA are centers of the entertainment world. The draw is understandable.
- A Real Villain–We have discussed the protagonist, the setting, technical devices and now we have finally arrived at Birdman’s villain–the antagonist. She appears a bit later in the film but has undertones and foreshadowing as soon as the movie begins. This villain has long been a maker or breaker of Broadway shows. Yes. I’m speaking about the theatre critic. The actor, Lindsay Duncan plays Tabitha as if Hollywood itself were responsible for the genocide of all children. I actually called the character a scathing name when I caught Bob up on the story–he came home three-quarters into the film. I hated Tabitha. Duncan is awesome. You will loathe her, exactly what the director wants from you. They had me hook, line and sinker and I was loving it.
- A Satisfying Ending–So we get to the ending. I will not spoil it for you. I will not say that the ending was open or tightly-wrapped up. I will not say that it was a happy ending or a sad one. I will not say anything much about the ending because so much happens that I would have to write a dissertation to fully examine the intent, the outcome, my perceptions, and my hopes about what might have happened to the characters after the end of the movie in order to give full credit to the ending. I will say that brilliant comes to mind. Because, honestly, how can an ending story of such high caliber not be cheapened by discussing it and this ain’t cheap. What I will say, is that my reaction was, “Oh man! Perfect.”
I write books. To read any of my books, just click on the book image below.
Writing new work for me is a time of creativity and exploration. I certainly have many more starts of stories than I have finished pieces but I never feel as though I have wasted my time writing those unfinished starts. Why? Well, because I tend to view any writing as time at practice of my craft.
So, here’s my promise to you today. The answer to that gnawing question: how do I include Panda bears in my daily writing? I think we might all agree that a certain amount of stick-to-it-iveness will be employed. But, really, the reason for this post is because of the video at the end. I saw it on Facebook and simply had to include it in today’s how-to-write article.
Normally, when I begin writing a story, I think in terms of the beginning, middle and end.
- And, typically, I start writing at the… wait for it… the beginning. Voila! I start by doing some free writing in order to uncoil images planted in my subconscious brain. As I travel through this beginning journey, I usually come to a stopping point and must consider why readers might care about the characters in this beginning. What is the character’s problem and how will she solve that problem. In this beginning time, I write until I stall out on how the story is unfolding. When questions begin to outweigh the story coming forth, I stop and move to the next step…
- I jump to the end and ask myself: is this going to be a happy story or a tragedy? I know. Right? I didn’t go to the middle first. It’s okay. Don’t call the writing police. If this process doesn’t work for you, no worries. Proceed with what works best for you at finishing your novel. During this second step, I ask several more questions. They are: what is the ultimate action outcome (i.e. does someone die, does someone have a child, does someone get married?). Other important questions include: what will the character learn at the end of the story? What will immediate other characters learn? What will the community learn? But most imperatively, I ask: what will the reader learn?
- After considering the end, then I consider the story’s climax action–the big blow-out, the major point at which we see the protagonist pitted against the antagonist. This occurs at the very end of the middle part of the plot–as close to the end of the story as possible. Because to have a bunch of stuff happening after the climax is just… anticlimactic.
- After the first draft is a time when you can weave in elements you deem important to your story such as theme (pandas), metaphor (pandas) and mood (pandas).
- Mood can move throughout the story, for instance, we might first see playful baby pandas. Then, later on, we might see (skip to the 3rd image) a panda thriving in the wild. And by the end of the story we can see redemptive images of humans feeling bad about the blight we have placed on pandas. By the end, you have successfully woven in several elements all pointing to the end. What has the human character learned? What has the panda learned? And, most importantly, what has the reader learned?
So, that’s how you add pandas into your daily writing. Maybe I have fulfilled my promise? And… maybe not. But I had fun!
Now, here’s a little extra panda wonderfulness that you should view. Enjoy!