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Book Review: ABC’s Castle, Heat Wave

ABC’s hit show Castle, starring Nathan Fillion as Richard Castle and Stana Katic as Kate Beckett, roused my interest from the pilot episode Flowers for Your Grave. Richard Castle is a murder mystery author who, by pulling strings by a poker buddy judge, gets to “ride-along” with Detective Kate Beckett for research for his upcoming novel, HEAT WAVE.

The pilot promised an interesting spin on the average police story drama. On their first day together two murders are committed and are eventually formed back to Castle, as the murderer is playing out one of his books verbatim. As a writer myself, I would be professionally flattered and morally disturbed.

Castle is now readily approaching Season 3 and has long lost the originality of a detective story. Even still, I thoroughly enjoy the series and applaud the show as they take their media to a whole new level.

HEAT WAVE is written by Richard Castle in the show, but also published and “written” by him in the real world. Here is the summary:

Mystery sensation Richard Castle, blockbuster author of the wildly best-selling Derrick Storm novels, introduces his newest character, NYPD Homicide Detective Nikki Heat. Tough, sexy, professional, Nikki Heat carries a passion for justice as she leads one of New York City’s top homicide squads. She’s hit with an unexpected challenge when the commissioner assigns superstar magazine journalist Jameson Rook to ride along with her to research an article on New York’s Finest. Pulitzer Prize-winning Rook is as much a handful as he is handsome. His wise-cracking and meddling aren’t her only problems. As she works to unravel the secrets of the murdered real estate tycoon, she must also confront the spark between them. The one called heat.

If you have seen the show, you know Castle boasts about a juicy sex scene he created due to their spark, which is hilarious on all kinds of levels I didn’t even know existed. Like I said, I applaud their effort and they are denying the real author, still giving credit to the fictional character, Richard Castle.

Overall, the book was good. I’m not a big fan of watching a movie, then reading the book. But, in this case, I knew all the characters, knew all their mannerisms and facial expressions, and actually read it that much faster. Also, if you have seen the show, the book’s outline is identical to an episode.

Here are the first ten chapters of Heat Wave, and yes it is also in bookstores.

During the summer break from the show, Richard Castle is at it again giving one chapter hooks to his next novel, NAKED HEAT.

Bravo, ABC, bravo!

My rating: 3.5 out of 5

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Book Review: The Killer Inside Me

 

                                          The Killer Inside Me

Lou Ford is the deputy sheriff of a small town in Texas.  The worst thing most people can say against him is that he’s a little slow and a little boring.  But, then, most people don’t know about the sickness–the sickness that almost got Lou put away when he was younger.  The sickness that is about to surface again.
An underground classic since its publication in 1952, The Killer Inside Me is the book that made Jim Thompson’s name synonymous with the roman noir

Originally published in 1952; republished 1991.

My Take:

To come up with an original first-person prose is arguably one of the most difficult aspects at writing genre fiction. For my writing, I generally shy away from such a task due to obvious physical and one-character emotional deprivation. The author is attached to the protagonist to his current surroundings and emotional standings.

There is one way to succeed, and that is writing psychological thrillers. The title says it all. A small town deputy sheriff battles himself and his “sickness”, simmering yet not outwardly showing signs of psychosis. Brilliant.

Yet, how far and how many can I read? Not all that many, but this particular gem satisfied that specific genre. Jim Thompson beautifully portrays a believable first-person prose murderer who battles his almost sane imperfections.

When I was in the middle of this man’s warped mind, I slanted on believing him and agreed with his asinine reasoning and arguments. After I put the book down, I half wondered if I had just read something in my own mind but am arguing with myself that that is impossible.

My rating: 4 out of 5

Storyboarding vs. Writing Blind

Storyboarding vs. Writing Blind

There are many ways to write a novel and each novelist has their own way of plotting their story. The secret is testing.

Writing Blind

When I wrote LETTERS TO A DANDELION, I wrote blind. I had nothing but the next two to three future scenes plotted out in my head and my characters took the story there. Many of the greats, Stephen King for one, write in this manner. They allow their characters to pull the story along and give them free-rein.

The issue I encountered with using this method is that I hit quite a few stumbling blocks. I didn’t consider this “writers block”. I considered it as poor planning. I wanted to write the next sentence, paragraph, or chapter but I was lost. I was stuck at 30,000 words for a week, blindly stumbling along. Eventually, events formed themselves and my characters spoke to me once more.

I do not dispute this method. I actually love it. Writing blind kept me interested and intrigued for the next crisis and was anxious to see what my characters would do next. In this sense, I knew my readers would feel the same way.

Storyboarding

For my next novel, tentatively named THE KNIGHT PARADOX, I wanted to test another method; storyboarding. Storyboarding plots out the entire novel, broken up by chapter, before writing the novel itself.

Here is an example (I use Microsoft PowerPoint to storyboard).

THE KNIGHT PARADOX

There are many benefits to this method, namely completing the synopsis before completing the novel. As it stands, my plan is to complete the storyboard, branch a synopsis from there, and then fill out the novel.

Many novelists dispute this method, claiming the characters are “destined” for an end, rather than forming their own. I understand this point, but my counter argument is I’m really not taking anything away from the characters. I still have to creatively plot the novel from the start and my characters are already a part of that. As I write the novel, I put the characters in a tree (crisis), throw stones at them (plot complications), and then bring them down (direction). The plot points are already established, so I’m not taking anything away from the character, they will bring themselves out by emotion and reaction.

Again, there is no right way to write a novel and everyone has their own methods. I cannot argue storyboarding to be better for me yet, because I am far from completion. As it stands, I’m enjoying this method because of its structure.

Related articles:

Traditional Plot Story Layout

Fiction Writing Plot Development Storyboards

Text Message Murder

Writer’s Digest hands out writing prompts to tickle the creativity bone that lives somewhere in the body. Many are silly, but every once and awhile one comes along that I can’t resist.

Text Message Murder (750 wds or less)

You’re sitting at work one day and receive a text message from an unrecognized number. The text says, “I have the money and hid the body.” You think this is a practical joke from a friend, so you play along at first. But the more texts you receive, the more you realize that it isn’t a joke. Write the text conversation you have with this unknown texter.

“AC 371, Tower, runway 27, position and hold.”

“AC 371, position and hold.”

“Messaba 243 contact Departure.”

“Over to Departure, good day.”

“AC 371, Tower, cleared for takeoff 27.”

“Cleared for takeoff, 371.”

The day was overcast, hot, and the bank had started. During this time, I can’t so much as avert my eyes from the fifty story tower I sit, than take a breath. That day, I remember easily, I got a message. My phone vibrated on the table next to me and I glanced down. The outer readout on my phone read, “Unknown”.

“Delta 41, Tower, traffic holding short, cleared for landing, 18 center.”

“Cleared 18 center, 41.”

“Comair 421, Tower, hold in sequence.”

“421, hold in sequence.”

“AC 371 contact Departure.”

“Departure, 371.”

My arm was vibrating again, another unknown. There was a short break; I took the chance and flipped open my phone. Two messages; first, “I have the money”, and second, “The body is taken care of.”

I shot my head up, scanned the crowded tower, everyone deep in weeds, when I caught sight of a man I had only seen once. He was in training, maybe his first or second day, and I hadn’t met him yet. He was eyeballing me, paying no attention to his trainer jabbering away.

“Tower, Comair 421.”

I pounded the keys as fast as possible, “What?”

“Um, say again.”

“Tower, Comair 421, number one, are we clear?”

“Affirm, Comair 421, tower, runway 27, cleared for takeoff.”

My phone buzzed again, “I said, the situation is taken care of.” I glanced back over my shoulder to see the new guy’s head hung, slouched, holding a phone. I texted back, “Sure, bud, whatever you say.”

“Comair 412 contact Departure.”

“To Departure, good day.”

Another message; ground control was sending me another ten, maybe fifteen departures. I held back my rage and read the message. “He wants to see you, now.”

“Tower, Freedom 6124, visual 27.”

The new guy held his phone and looked up. We made eye contact, something clicked, but he looked away just as fast. I sent another text, “Who?” I watched him close, his mannerisms changed, and he opened his phone and started tapping the keys. My eyes grew wide and my face drained all its blood. He looked back at me, my phone vibrated, and it said, “Him”. With sudden confusion, I snapped my head back to the new guy to see him nod his head towards the guy sitting next to me.

“Tower, do you copy, Freedom 6124?”

Frank, a long time friend and colleague, was neck deep in traffic. Sweat beaded his forehead only to be caught by his black-haired comb-over. His thick, out-of-date glasses sat on the tip of his wart-infested nose. I looked back at the new guy only to find him gone.

“Tower, do you copy?”

“Freedom 6124, Tower, repeat.”

“Freedom 6124, visual 27 for landing.”

“Cleared for landing, Freedom 6124, runway 27.”

“Frank,” I said. He most likely couldn’t hear me, seeing as how his radio ear piece was lodged in his left ear. “Frank.”

“What? I’m a little busy here.”

“I know, I got this message saying the body was taken care of and to talk to you. What the hell?”

He continued his commands and pushed his spectacles further up his nose.

“Frank,” I said.

“Damnit, I thought we had an agreement!” He slid his chair closer to me as I held back the urge to jump out the window. He lowered his voice, “Listen, it is taken care of. We agreed to not to discuss it here. Do you know how much shit we can get into? Like the message said, it is taken care of; over, done, forget about it.”

“What? I don’t…”

“Listen to me, goddamit. I brought the new guy in so we can get it done clean, no problems. You said so yourself, you wanted this done. You said she wasn’t changing, you wanted kids and she didn’t. I tried to talk you out of it but you insisted it be done. It’s done, man; time to move on.”

“What? When did I say this?”

“Seriously? We had this discussion last night over drinks. You don’t remember?”

The memory flashed; beer bottles and tequila shots.

I jumped from my chair, threw off my headset, and said, “What the hell did you do to Susie, you prick?” My phone vibrated in my hand as I glared at Frank. I reverted my gaze to the phone.

“Susie was nice. I had some fun with her before it was over. So sad, she would have made one hell of a wife.”

I ran to the stairs on the other side of the tower, pounded the down button to the elevator, and what seemed years later I was outside. I shot my head this way and that; tears welled in my eyes and then caught sight of a car exiting the parking lot. It was the new guy. He raised his arm out of his car window and waved.

The One Line Pitch

Being a new author, or rather completing my first book, I thought the hard work was complete after finishing the writing. I thought, Man, this feels good, now all I have to do is get it published. That is a whole animal in and of itself, but what I didn’t realize is that I needed to condense it, make it marketable.

One night my wife and I had a few friends over for dinner and drinks. She had told all her friends about me completing a novel and everyone was so astounded and excited to hear about it. Then, I got the dreaded question; “What’s it about?” I cringed; I clammed up, and said, “Uh, well, it’s rather difficult to explain.” Dull! Loser! I just failed miserably at selling to people of whom I was certain would buy.

Finishing the novel was not the hardest part. Now, I have to condense my story into one sentence, a paragraph, and a two paragraph paraphrase. Kill me! The actual writing took me about a month and a half to complete. I trudged and wrote until my fingers bled, and now, I have to write a ONE sentence pitch? I’d rather jump from an airplane, thank you.

Then, when I thought all hope was lost in the wind, I came across a very helpful article by a literary agent, Nathan Bransford, who explained how important it is to condense your story to make it interesting and marketable. If only I had read it prior to my get together, I wouldn’t have this nasty scar on my wrist.

Here’s my attempt for LETTERS TO A DANDELION:

One Line Sentence Pitch: Two children witness a murder and stumble upon a box of letters written by the murderer’s wife that alter their future by truth.

One Paragraph Pitch: Marie Eckers, the wife of a murderer, was diagnosed with lung cancer. In her final days, she writes letters to log and memoir her life, when it falls into the hands of two boys after they witnessed her husband’s act. As the truth unfolds, Dax Sheppard takes on a quest to rid himself of the past and create a new by following specific instructions from those letters. His childhood friend, Chris Lonestine, embarks on a fuller future as a US Marshal in hopes to bandage a lifetime of heartache for not stopping one crime as a child when he had the chance.

Two Paragraph Pitch: Struggling from a broken childhood, Dax Sheppard and Chris Lonestine witness an act so terrible, their impending lives can never veer from. To Chris’s most demanding opposition, Dax enters the home of the murderer to confront him to where he finds letters written by a loving hand, while involving Emily Strickland, the two’s school crush.

As the two grow apart, Chris pairs up with US Marshal Melissa Easton and Dax moves about in a psychological delusion, powered by the words from the murderer’s wife. After a bank robbery, the three are forced to confront their past as their normal, present lives come crashing to a halt when they realize they are chasing the one man of who is committing those insane acts, Dax Sheppard.

This took me a week to write, no kidding, and I still don’t like it. But, if there are authors out there now with a new book idea, might I suggest starting this first. Get the idea out in one sentence, then formulate from that into one paragraph, and then two. From there, work the idea into a synopsis, or a short story, and then it will morph into a whole book. Granted, this is only one way of writing a book – everyone has their own way – but this will certainly be a test of mine for my next one.

Again, writing a pitch (for me, anyway) was harder than the actual writing, but it is very important. Good luck and keep writing!

Sword Fight

I have a three year old son who is on the verge of being potty trained.

One night, in our routine, we were brushing teeth, using the potty, and going to bed. I had a sudden urge to relieve myself. I head to our bedrooms bathroom, doing my deed, when my wife walks in holding our son to say our goodnights. My son immediately said, “Daddy using the big-boy potty?” “Of course buddy, you can too! We can have a sword fight!” Fairly harmless comment, right?

That moment was one of those moments that you are so mad at yourself that you don’t have a camera at the ready; the look on my wife’s face, priceless.

“You, you would have a ‘sword fight’ with our son? Have you had one of these with someone before?” I knew I didn’t say something a pedophile would say, so I thought. But I said, “Sure, I’ve never done it with anyone, but he might enjoy it.”

My wife promptly left the room with a disgusted look on her face. I only stood there bemused, until I understood why she had such a look.

“Wait, you do realize when I say ‘sword fight’ that we would not touch them, just the streams?”

She blushed, thought about it, and then said, “Ohhh”.

Facepalm.

The Rule of Three

There are three very important virtues to raising a family; Safety, Happiness, and Structure. I think, to an extent, that all parents have these same virtues in one way or another. How you implement them, use them, abuse them, and stand them is up to you; this makes you parents. One major problem with this though; these three virtues hate each other.

Think about a magnet. Magnets have complete opposite sides; basically a positive and a negative. If I were to have two magnets and attempt to place the positive to the positive, the magnet will forcefully disagree. They hate one side, but love the other. Now, add a third. Each magnet attempting to live peacefully but hating their opposite side. Push them together, attempting to touch their opposite enemy, now you have The Rule of Three.

Physically speaking, there is only one way to keep these magnets together; tape. Place three magnets on a table, place tape across the top, now you have a standing tower that is forced to coincide. The tape, in this metaphor, is dicsipline.

Dicsipline to keep The Rule of Three together is, arguably, the most difficult job there is. There is nothing more than I want than my kids’ happiness. Often times their happiness is dangerous (i.e. jumping on the bed). Often times structure makes them unhappy (i.e. bedtime). These three virtues are going to be the death of me. Welcome to parenting, right?

I think that this is the problem that needs to be solved. The problem, above all, will make me happy. This is not true. This is only the core, the structure of my life that need not crumble. If it were to crumble, well, the rest may as well not matter.

On top of all of this is expectations, however subtle. I do not think that my family, friends, or co-workers actively, or coinsciencly, expect me to do anything for them. This is my job, my responsibility, and my most pleasurable act of my existence.

Expectations can be massive boulders placed atop my shoulders. Most of these are placed there myself, without the help or knowledge of anyone else. This is how I live my life. This is my way of keeping myself honest, keeping myself along the path I laid, and keeping myself there for my family. There are days that these boulders of expectations are too heavy to handle. There are days I just want to drop to the ground and let the boulders pin me, tuck myself under them and hide from the sadness I can inflict on my loved ones if I do not follow through. This is what makes life, life. This is what makes me stronger, the longer I hold these boulders up, the stronger I get.

If there was a book on how to live your life right (I know there are plenty of the like) then everyone would be living happily, eating more healthy, life without war, life without complications, and living life without difficulties. What is the fun in that? I think these difficulties are strategically placed in order for us to learn, live, and survive. What other point would there be to live?

Moral of the story: Don’t Do Drugs!

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