It's a Con's Life

When digging into any new project, I make a well-intended effort to do some research. I research the general topic of the story. I research things I may want my MC to have -- skills, lifestyle, mannerisms, etc. I research setting info, historical references, plausible murder scenarios, and oh, the list goes on. Yes, I do make a well-intended effort ... at driving myself crazy! It's a writer thing, after all. 

So. Here it is, the kind of weirdness my over-stimulated, over-imaginative brain comes up with late at night when I should be getting sleep. I want to write about cons. Yes. A murder mystery/suspenseful thriller/slightly comedic/insane novel series about con artists. Don't judge me. The idea has merit. AND it just so happens to be very trendy right now. (Insert evidence: Evanovich/Goldberg -- The Heist; Ally Carter -- Heist Society; TV series -- The Catch ... just to name a few). Besides, I enjoy writing such fun stuff. Humor is my thing, which I must indulge on occasion. 

Anyway, back to research. I found lots online about con artists, con jobs, heists, famous cons, names for schemes, tips to run a con, and even how to figure out if your significant other is a con in disguise. Okay, scratch "in disguise". It's redundant because ALL con artists are in disguise. It's what they do. They lie, but they convince you they are telling you nothing but the truth. They always say the right thing, romance you, please you.They are the original Smooth Operators. (Sade song reference fits well here.) So what if they are notorious liars and thieves? They do have a code of con ethics. Yep. You heard me. Cons have ethics. Well, not in the normal sense you and I have ethics, but the rules exist. Like, never con an honest person. Or, never keep secrets from your con family. I find it hard to believe that last one. I mean, they lie. Right?

Oh, and cons have their own how-to book. For instance, when focusing on a mark (that's the victim, in case you don't know con jargon) you should look for his/her weakness. It could be greed, loneliness, insecurity, and other traits easy to manipulate. You need to know everything about your mark. Their habits, likes, dislikes, family, job, even which side of the bed they sleep on, if it helps you pull off the con. Everything. Things as simple as how you should always control the conversation, all while making your mark think HE controls the conversation. Geesh. 

But wait. I'm not finished. I found a long and exhaustive list of the types of cons used. Yes. They have names. Like Badger Game where the mark is put in a compromising position, then the con takes pictures and blackmails the mark. Or Salting the Mine when a con plants valuable gems in the mine to convince the mark it's worth the investment. There is Mellon Drop, and Pigeon Drop, and Three Card Monte. So many to choose from! Does your head hurt yet? Mine does. I'm sure you've all heard of Cat Phishing. It's been in the news a lot. Where someone friends you on the internet, pretending to be someone he/she is not, getting you to fall in love, and probably ready to scam you for money. "Oh yes. I want to come to America and be with you, but I don't have the money. My family is poor. All we have are the chickens and the goats to trade. Please send money so I can come and we can be together, my love." Of course, it's a con and the lonely people (refer to list of weaknesses above) will fall for it. 

This brings me to what I really wanted to write. Hmm. I do take the long way around, don't I? So, with my over-stimulated, over-imaginative brain running full throttle during this research, I began to wonder what if I've been conned? Or how easily I could be, given the right circumstance and a very cagey, shifty, perhaps gorgeously handsome con artist tempting me. It could happen. They say senior citizens are the prey of con schemes like insurance fraud, fake contests, home improvement scams, etc, and all ready to be cheated out of those meager social security and pension checks. Only takes a bit of naivete and a kind-hearted soul to fall for it. 

Well, let me say this lady is a little wiser after gathering all the con-wise info. I'll just give a twist to Tip Number 2 from the how-to-con manual: Do your research and learn everything about your ... con. I may be kind-hearted and older, but I'm not stupid. At least I hope not! Okay, back to learning about a con's life and "scheming" ways to write this story! Should be fun. :-)

Happy reading and writing, all! Enjoy your week. I'm off to Medina Library on Saturday the 30th for a super author expo. If you're a local, come visit with me. We'll talk mystery, murder, and stuff about cons. ;-)

Finding Inspiration and Characters in Odd or Obvious Places

This is Milo, aka Lou. He was a big part of my inspiration for writing Whips, Cuffs, and Little Brown Boxes, and I just had to include him in the story because of it. So, for me, it brings up the topic of where do you find your inspiration and how do you come up with the characters you write about in your stories?

In my experience, it's usually a subconscious process. But sometimes it is very obvious, such as Lilly's aunts -- Millie, Sadie, and Fran. I had exact relatives in mind when I created and developed those characters. All of them were aunts on Mom's side of the family, but of course for obvious reasons, I won't say which ones! Funny, entertaining, all of them with their own quirks, made them perfect candidates to include in Lilly's zany, kooky world. Her life wouldn't be the same without them. They are the ying and yang of her existance, and she wouldn't be the Lilly readers learn to know and love otherwise.

But now back to Lou, aka Milo. Do you ever just sit and watch your pet, if you have one, and think, if only I could put him, or her, on a television show as the star, wouldn't it just be so entertaining? Well, Milo made me think that, and more! Besides, Lilly needed an ally who would be totally supportive, totally loving, who wouldn't give her any of those critical moments she gets from others. And that's Lou. Of course on the other hand, Lou is (and so is Milo) just feisty enough to give Lilly trouble and near-heart attack moments! But enough about Lou.

What about your inspiration and/or characters? Do you find them in those odd moments or weird places? If you're not looking there, you probably should. For instance, stop and take a moment to watch those around you. You might be surprised what you'll find. I know I did :-)

Have a great day, and happy writing!

Whips, Cuffs, and Little Brown Boxes
A Date to Die For

Name That Novel #23

Let's see what you can do with this American author's work.



"Look at the ugliness. Yet one has a feeling within one that blinds a man while he loves you. You, with that feeling, blind him, and blind yourself. Then, one day, for no reason, he sees you as ugly as you really are and he is not blind anymore and then you see yourself as ugly as he sees you and you lose your man and your feeling... After a while, when you are as ugly as I am, as ugly as women can be, then, as I say after a while the feeling, the idiotic feeling that you are beautiful, grows slowly in one again. It grows like a cabbage. And then, when the feeling is grown, another man sees you and thinks you are beautiful and it is all to do over."



Title and author name, please!

Good luck :-) Congrats to Joel with the correct answer: For Whom the Bell Tolls by Hemingway

Believable Characters

Characters -- not just a compilation of physical and personal traits. The difficulty a writer faces when developing the characters for his/her project is complex. I've heard comments from those who say it took pages and pages into writing the story before really feeling like "knowing" the people in it. Can you imagine if the reader felt that way? If I had that much difficulty figuring out what the character in a book is about, why she is doing the things she's doing, I don't think I'd have the patience or the concern to keep on reading. I just wouldn't care.

So, with that said, it should seem to you very important to find out everything you can about your characters before you cut them loose on their journey through the plot of your story. The question is how? What should you do, what steps should you take to get to that point? First of all, you need to remember that story characters are people like you and me. Only they are in your book. To make them human means there are several points to consider. The character's motive, habits, interests, talents, past history, reputation are all important to development. Identifying these will turn your story people into real people who readers can identify with and sympathize with. They will become so invested in the characters that reading on until the very end becomes a must.

The tiny details are important. You can keep molding and adding those aspects to your characters, fleshing them out until the decisions and actions they perform in the story seem logical and believable. For instance, let's consider habits. Perhaps you could give a character the habit of chewing his nails to show a nervous personality, or someone who always doodles on her napkin after a meal, and then later a napkin is found at a crime scene. It has scribbles all over it, thus providing a clue. The character's interest in judo and the fact that the murder victim taught a judo class at a gym your napkin scribbler frequented makes the reader point a finger in her direction. These are just a few examples of how intricate the process of developing believable characters can be.

Where you get your ideas may vary. Strangers you observe, yourself. And sometimes characters are inspired by people you know. This works if you use them only as a starting point. From there, you should develop them according to what you'll need for your story. Flesh them out with those tiny details of habits, talent, motive, interests, etc. Then ask questions based on your story events. For instance, you want to write an opening scene where the character is home alone. There's a pounding on the door, someone shouting, demanding to be let in. Now, start the causal question process: what does the character do? Remember this depends on all those aspects you've created about the character. If it's the nail biter, maybe he'll hide in the closet, pretend he's not home. Next question: The guy breaks down the door and finds the nail biter. What does he do? He has a brave moment and uses the baseball bat stored in the closet and hits the intruder. You could insert a plot twist here: turns out it's nail biter's brother who has come to tell him his wife has been in a serious car accident. And the question process takes a turn and goes on from there. The point is, the better you know your characters, the easier it is to decide what to make them do, how to act. And the more believable they become to the reader.

For more about character development, a great source is Characters and Viewpoint by Orson Card.

I Have an Idea, But ....

An idea pops into my head, maybe a great idea--we all get them, right?--and I think, "what a story that would make!" And then it fizzles, it deflates, it floats away until it's soon forgotten. Why? Probably because I don't think beyond the idea. I don't imagine what would happen, how it would happen, who it would happen to, etc. So, what does a writer do?

Thinking It Through: I was reading the other day about human trafficking in Ohio, how the laws aren't really protecting children and women from it. Again, I thought how this would make a great story. But how? This is the point where you have to begin a journey. Develop a plot where you can imagine all the possible scenarios. What could happen to a young girl who is abducted and placed into sex trade? Would she manage to escape? Is there someone who searches for her? Will the bad guys end up being exposed? Planning it out, all the possible scenarios. You are the creator :-)

Who: At this point, you are thinking about the characters. It's logical to begin with the main character, (but who's to say you can't start with the antagonist?) In any case, you are putting the details into the faceless beings of your plot, filling them in and out until they come alive. You can see them, hear them, watch them acting out your little scenarios. The images are coming to you, right? Perhaps, the young girl is from a mid size town in Ohio, say Zenia. Or maybe she's Amish, from Walnut Creek. Sweet, innocent, trusting, the picture of purity. Can you see her? And then there is the crusader, maybe a detective, maybe a rogue vigilante who will search until he either dies in the process or manages to rescue her. He is strong, opinionated, crudely honest, maybe a father himself. He has a scar across his cheek that he won't talk about. The Amish girl's parents don't trust his demeanor, but he's all they have to help find their daughter. Is he moving and talking in your mind, now? Create your characters in 3D. Get to know them.

Research: Stumped for details? Need to know more, find more to create a believable story? There are experiences in your own life, in others you may know, in those whom you read about. Always keep your eyes open and listen to what's out there. Everyday, something is said, something happens, and you never know when a tiny detail might be a perfect fit in your story. The Amish girl's experiences during her seedy captivity might need some added credibility. Research to find it. Or maybe the "crusader" is a war Vet, and you happen to have a friend or relative who served and has lots of experiences to share. These details are from such great primary sources, how can you ignore them? Believable details entice your readers and generate admiration for your work.

Have a great idea? Before it has a chance to go up in smoke, or become some other writer's great idea and best seller, grab onto it and develop the heck out of it. Thinking it through, creating the characters, and researching--a great way to get started. Good luck!

Name That Poet #5

It's back! Try guessing the poet of this one. I'm giving you the last two stanzas of the five stanza poem.

Thy brother Death came, and cried
Wouldst thou me?
Thy sweet child sleep, the filmy-eyed,
Murmured like a noontide bee,
Shall I nestle by thy side?
Wouldst thou me?--And I replied,
No, not thee!

Death will come when thou art dead,
Soon, too soon--
Sleep will come when thou are fled;
Of neither would I ask the boon
I ask of thee, beloved Night--
Swift be thine approaching flight,
Come soon, soon!

Good luck, all :-)

I guess I will have to give this one up. It is by Shelley and the title is "To Night"
Thank you, ladies for contributing!

Creating Suspense: Keep the Plot Moving

Creating suspense seems like a reasonable task when writing a story. After all, you just keep stuff happening to the characters, right? Well, yes, incidents that put your characters in some sort of challenging predicament is what keeps the story interesting. But is there a certain technique that a writer can consciously focus on to make it all happen in an effective way? Margaret Lucke in her book, Writing Great Short Stories, sums it up into four techniques: 1) raise the stakes; 2)eliminate the options; 3)isolate your characters; and 4)ignite a ticking bomb.

Raise the Stakes: This goes along with the idea that what happens to your main character, all that conflict, should keep the interest of your readers. In order to do this, you must raise the stakes, i.e. keep the challenges and obstacles coming with each one a bit more risky than the one before. It's as if she or he must bring more to the table to overcome the obstacles and has that much more to lose or gain, depending on whether he or she fails or succeeds.

Eliminate the Options: This reminds me of playing chess. The further you are into the game, the more pieces you may lose, leaving you with fewer options to overcome your opponent and win. Keep reducing the options your character has to get out of the fixes you put him/her in. Tease your readers. Let them think a solution is about to work, and then snap! The solution has disappeared and your character must scramble to find another way out of the problem.

Isolate Your Character: Everybody wants friends in a time of need. Like I mentioned in a previous posting, if your character has some allies to help out, that makes the situation workable. But what about at one of those climatic moments? A suspenseful juncture when you want to put your readers on the edge of their seats? In those points of your story when you think it needs a little oomph, why not isolate your character? Cut him/her off from the rest of the world? I mean physically put the character in a place where there is no outside help. The character must figure it out all by him or herself. Or maybe it's a place where the character is emotionally isolated. An abusive home that he or she can't escape, perhaps. There are lots of choices.

Ignite a Ticking Bomb: Several movies pop into my head right now: Speed, Die Hard, Air Force One, John Q just to name a few. You know, those movies where the clock is ticking and each minute that passes raises the stress and tension level. And to add just an extra element of suspense, you might create a situation where the character doesn't know how much time he/she has left. It could be five hours from then or five days. No one knows. How's that for excitement?

Those are just a few ideas on how to create suspense. Hopefully, some of them work for you. If you have techniques of your own, stop and drop a line! Happy Writing, all :-)