Writer’s Tips – Read First Chapter.com

MYSTERY NOVEL BRAINSTORMING FOR BEGINNERS

THE BEST TIP I CAN PASS ON TO BEGINNER WRITERS:

Writing a novel is a huge undertaking. There are many things that go into the writing of a fiction story. The best tip I can pass on is this: Break everything down into little bite-sized pieces. By doing this, you can reduce a huge project down to do-able portions that can be done whether you have 2 hours a week to write or two full days! It only requires a little planning and organization.

ALL NOVELS REQUIRE SOME SUSPENSE:

Regardless of what type of novel you choose to write, all stories require at least a semblance of suspense. Suspense is what hooks the reader into the story, and it is what pulls the reader along the story and keeps them reading. Suspense creates a question the reader desires an answer to. The greater the suspense, the more hooked the reader will be.

READING OTHER AUTHORS:

It’s important to keep reading as your own journey as a writer continues. Each author has a different style and uses different storytelling techniques. The stories don’t even have to be great. You can learn from the good, the bad and the bland. Just analyzing what made a book bland is a great lesson in itself. Did the story need more action? Did the story get stuck somewhere?

When I read novels now, I can usually tell whether the author is a pantser or a plotter. If the story sags in the third section, I can tell the author got caught in part two of the three-act structure.

The books I read now are twice as enjoyable because I experience them as a reader but as an author too. I get to enjoy the story itself but also watch and learn the author’s storytelling techniques too.

WATCHING MOVIES FOR INSPIRATION:

When I am in the process of writing my own novels, I tend to read less because I’m reading and proofreading my own pages. During these times, I like to vegetate by getting lost in a movie. I watch movies specifically to learn from them. Believe me, you can learn a lot about the actual storytelling craft from watching movies. They can also be a source of inspiration for your own stories.

It took me almost a year to come up with my first story for a novel. One full year. I didn’t know where to start. I had ideas, but didn’t know how to brainstorm them into a potential story.

WHERE CAN DO YOU GET IDEAS FOR A FICTION STORY FROM?

Ideas for stories in the beginning will come from TV movies, Cinema movies or other books you read. Reading other authors is crucial no matter where you are on the writing spectrum. However, when you’re new, you can learn a lot from watching mystery or crime noir movies. I like movies from the 1940s, 1950s, and 1960s. The movies in these decades didn’t have CGI and the directors had to use the stage to tell the story. They used wider shots and props to assist the storytelling. By watching these older movies, you can learn a lot regarding writing.

The movies of today show the location scenes once and then do close up shots of one character talking and then follow it up with another close-up shot of a character talking. There’s not that much to learn about storytelling from these movies. It’s a shame because the sets are absolutely gorgeous, especially in the fantasy movies.

To the left (or above) is a screenshot of the Wikipedia page that comes up when you search “1940 in film”. This will give you all of the films and a tiny synopsis of what the films are about. You can pick whatever decade appeals to you.

READ THE SYNOPSIS FOR THE MOVIE FIRST:

It’s a good idea to read the synopsis before you view the movie. Knowing at least a basic outline of the story will allow you to absorb more as an author. If you go into the movie blindly, you will be “experiencing the movie” as a viewer only. By knowing ahead of time what story will be unfolding, it will allow you to watch specifically for certain scenes to unfold. You can watch what tools are used to move the story along.

For example: Notice in the scenes how much information is passing to the viewer by the setting. Besides the timeline of when the story is taking place, it often will give you shots of recognizable icons from certain cities. There are so many techniques you can learn from watching these older movies about all of the tools used to lay out the facts of the story and how suspense is created. Below is a list of things to watch for in stories:

How does the movie show the location of the story? Do they use icons, or text on the screen? Do they use snippets of dialogue? Each movie you will learn different tricks for showing time and location.
How does the story show either poverty or opulence?
How does the movie present the premise? There will be at least dialogue about what the main character wants or needs. Notice how this is done.
Notice where the suspense of the story starts. Even in non-mystery stories, there will be at least a thread of suspense. It might be suggested by a vision that one character and the viewer see and no one else does. Or it may be a little gossip that passes in a short conversation.
Notice how the passage of time is handled. Is the passage of a few years spoken in dialogue or is it projected in some other way?
Notice how the writers show the character’s weakness or fallen nature.
Notice the change in locations in the story. This is often how the story is kept moving forward.
Notice when the suspense gets stronger.
Watch for how the writers will use lies to create a sense of worry or dread.
For any twists in the story, notice how abrupt it happens. Also take the time to notice if this was foreshadowed in the beginning of the story. Readers love foreshadowing.

MY SUGGESTION FOR A MOVIE:

If you are looking for a suggestion, I would suggest Rebecca for the first movie. This movie was directed by Alfred Hitchcock and it has a lot of gothic atmosphere. There is also a psychological plotline in this story so it is a goldmine for learning storytelling tools.

Most of the synopses on Wikipedia give you an outline of the story but they don’t have spoilers in them. Sometimes I only read about six paragraphs on the really long ones because the purpose is only to know a little bit about what the story will be about so you can watch for how things are handled on film. You can easily translate any of these tools to novel writing.

GOTHIC MOVIES: Gothic movies are great at showing how to introduce fear and suspense into a story. They are also a great place to learn how to use the atmosphere and the location and backdrops to add to the suspense.

FILM NOIR: These movies are great to learn character development. Film Noir is usually about all fallen characters. In other words, they are all sinners, but some characters are bigger sinners than others. This is a great way to learn how to craft a fallen

LONG SERIES: These are great to learn about how the location and things in the room or backdrop help to relay the story. You can learn a lot about the passage of time, how flashbacks are handled, how to introduce new characters in preparation to take the story in a new direction. Miniseries like Downton Abbey and other miniseries are a great place to learn about what is going on.

MELODRAMA: Melodrama has fallen out of favor in recent times, but I personally think it needs a comeback. You can learn about melodrama from old world soap operas. I think the only one I can think of is Dallas. It’s on either Amazon Prime or somewhere else you can watch it. These types of shows are good for showing how to blend romance, cheating, and other emotional scenes into the story.

You don’t have to commit to watching the entire soap opera. You can learn a lot about storytelling tools by watching only a few shows.

Blow is a copy of the entire Brainwashing Sheet I referred to above. You can read the blog post about how to use it here.

And you can sign in to download your copy of the sheets below:

How to Write a Book Series

I ACCIDENTALLY WROTE MY FIRST BOOK SERIES:

AllBookSeries I didn’t set off to write a book series. How did it happen? My first novel turned out to be way too long and there was way too much going on. So I broke it down and wrote two separate stories.

Once I finished the first two novels, I realized that because my main character was a private investigator, it was possible to continue to solve crimes in new books, so that’s what I did. The series is now four books, but I could easily add more in the future.

During the process of writing my first, second and third series, I learned a lot of tips to make it easier. There were so many things I didn’t know I didn’t know in the beginning. My purpose in this blog post is to pass on my best tips in writing a book series.

I found out later that more experienced authors even suggested that newer authors consider writing in series because it’s easier to market the books. But my venture into writing book series was a happy accident.

TIP NUMBER 1: KEEP A LONG RUNNING INFORMATION LIST

Keep a long running names list. I call mine an Information Sheet. I put down every character I ever name. I learned the hard way to only trust my memory. It doesn’t work!

By having a long list of every character, street names, crime locations, neighbor names, job titles, etc., you will have all of this information at your fingertips.

Example Number 1: In my first novel in the Jack Nolan Detective Series, I needed an immediate boss’ name. So I chose Lieutenant Duane White. But then when I needed to refer to him in Book 3 but I forgot what I named him! I had to hunt him down in the manuscript of the first book. This can take hours, especially if you don’t have any clue what you may have called him.

Now I keep the all proper names and other information that I may need again on a long list that travels with me through each book. No matter how insignificant the character seems, I write it down on my information list.

Example Number 2: I referred to Jack Nolan’s wife, one of the characters, as having left him eight month’s previous to the start of the series. By having this information recorded, I was able to track how many months passed and how this time increased over the time of the series.

Example Number 3: Town names, Plaza names, Mall names, etc. All of these seem insignificant when you are pulling the names out of the air during the drafting of the book. But with cops working in the same town, you may need to reference that same mall again.

Special Note to Fantasy Writers: They use what they sometimes call a World Bible, and this is a more extended information list. It’s important to keep track of everything I’ve just mentioned, as well as the world rules and the rules regarding whatever supernatural power you may write about.

TIP NUMBER 2: KEEP A SHARED MARKETING LIST FOR THE ENTIRE SERIES:

Keep all of information about the books on one shared marketing sheet. I keep the names, publication dates, book links, categories, and keywords for the books all on one page.

Once you begin to market the books, you will need to use this information over and over again.

You may also want to keep a few short blurbs because when uploading to advertise on Bookfunnel, Bookbub, FussyLibrarian, or Freebooksy, you will need all of this information handy.

At the time of the writing of this blog post, Amazon only allow an author to put their book in 3 genres. If you have 4 books in a series, you can put the last three books in different genres thereby extending your marketing reach.

It goes without saying that you should have a link in the back of each eBook so the reader can click on the link and go to purchase the next book inthe series.

Amazon only allows seven keywords for each book. Use the best keywords for the first book or two. Then use longer-tail keywords and different keywords to broaden your reach for new readers. By having them handy, especially if you do keyword research, it will make all of this much easier.

Let me give you an example: In my Jack Nolan Detective Series, I put the first book into Police Procedurals, Mystery Romance, and Mystery Suspense. But Books 2 to 5, I can add into general mystery categories and women’s fiction, literature and fiction, etc. You can imagine how much broader your reach for new readers will be.

TIP NUMBER 3: USE A BROAD STROKE CHARACTER ARC OVER THE ENTIRE SERIES:

character arc graphic I use broad-stroke character arc for the main characters that extends over all the books in the series. Each individual book, however, the character grows and changes a little bit. So each book contains its own arc, but there is a longer series arc for the main characters. It helps to know this before you start writing the series.

Each book has a crime or mystery that plays out and is solved. The characters grow during the subplot of each book. Once the mystery is solved, a new normal is shown with the characters embracing their new-found growth. In the next book, the same template will be followed. The mystery or crime will play out or be solved, and characters will grow, and there will be a new normal that reflects that growth.

TIP NUMBER 4: I WRITE THE BOOKS AS STAND-ALONE BOOKS

This tip is about writing the books in the series as ‘stand-alone books’. This allows me to market the books as a series, but also as stand-alone books. As stated above, each book has a full plot that completes but I put in enough background information in order to fill in stand-alone readers on what is going on with the characters in case they haven’t read the initial books.

I write in Scrivener and I set up a meta tag so I can keep track of what background information I need to drop into the story for those stand-alone readers. This makes marketing the books much easier.

MYSTERY NOVEL BRAINSTORMING WORKSHEET

This worksheet is geared for those who want to write a mystery or crime novel. Even those wanting to write literary fiction, you will need some level of mystery or suspense to keep readers hooked into your story. Literary fiction is about character studies and life studies than technical mysteries, but every book needs at least some level of suspense or surprise every so often to keep a reader’s interest. Even in a slice-of-life novel or a family saga, there needs to be something that is mysterious about the plotline.

THE PURPOSE OF THIS WORKSHEET:

When I first decided to write a novel, it took me one full year (I’m not kidding!) to even come up with a crime. Today, using these methods I’m about to reveal, it only takes me two to three days to think up three or four mystery scenarios.

My wish is that this worksheet will help those beginners who don’t know where to start and are still trying to think of a good crime.

THE LISTS | CHOOSE FROM COLUMN A AND COLUMN B:

Below I have lists of crimes and also mystery genres. This list is meant to jog your memory and get your creative juices flowing. All of the crimes can be swapped into any genre. The list at the bottom is of multiple genres, but this is not an exhaustive list by any means. Just look at the categories on Amazon to get a feel for how many book genres there are today.

START THE WORKSHEET BY CHOOSING A CRIME OR MYSTERY:

Let’s talk about how to use this work sheet. Choose a crime or mystery from the list below and make up a potential perpetrator. Don’t waste time on what he or she looks like. Then start asking the following questions:

Why would this person want to commit this crime?
What could be going on in his/her life that would make him/her feel they needed to commit this crime?
How would he want to cover his tracks?
What specific knowledge would a character need to pull off a crime or swindle like this? In other words, is he/she an accountant and that makes it easier to commit a financial crime?
Then ask: Who would need to help him or give him/her cover? Add necessary characters and think about a connection. Is it a family connection? Is it a romantic connection?

THE NEXT SET OF QUESTIONS TO ASK:

Once you have a perpetrator and the cast of necessary characters, then it’s time to answer the following questions:

What could go wrong in the commission of this crime that would create tension or mystery? (He drops a glove or a drop of blood.)
How will these clues ultimately lead to his/her exposure? (How will this clue be found?)
How can this end in a way that would let justice prevail? (How and who will find the clue?)
How will the culprit ultimately be caught? (Is he cornered by an accuser? Is he arrested? Does he confess?)
What is one clue that can be minimized in the beginning of the story but will turn out to be the one who catches the bad guy?

NEXT SET OF QUESTIONS:

List the things that could go right for the perpetrator — like a second, more-likely suspect pops up and suddenly all eyes are not on the real culprit anymore?
Could there be other likely suspects that would also have motivation to commit the crime?
As the story grows, add whatever crucial characters are needed (witnesses, husbands, wives, bosses, helpers, etc.) who you will need to make the crime and solving of the story happen.
If you get this far, it means that you have a viable storyline.

THE SKELETON OF THE CRIME:

Before you exert too much energy fleshing out any character or story details, be sure to check to make sure you can design a three-prong storyline out of this budding storyline. One prong will be a red herring storyline, someone who may look guilty, but is exonerated in the middle or end of the story. The second prong is a second suspect or a wrong suspect who will look guilty for a large segment of the storyline. And the final prong will be for the real culprit. In order to have a story that works, you will need a believable crime that can meld these three prongs into one suspenseful story.

As you use this worksheet and these techniques, a crime skeleton will emerge. Some attempts at this will go flat in the early stages for any number of reasons. But some storylines will begin to almost shape themselves.

I always make four believable storylines and then choose the best one. Then I know I have the best of my ability at that time in my life. Once you know you have a storyline and a lineup of stick figures and character roles that can technically pull off the mystery, so to speak, then you can begin to build real characters and an actual story.

THE CHARACTERS BUILD THEMSELVES:

Once you know what will be needed for the three-pronged storyline and what traits the lead characters will need to play out their parts, the characters will start building themselves into two-dimensional characters. You can take the characters up to deeper, three-dimensional characters as you flesh out your main story and subplots.

LIST OF MYSTERIES, CRIMES & GENRES

I hope this is helpful. Once you know you have a workable storyline, then it’s time to take a look at my Ultimate Character Development Worksheet. This will help you bring the stick figures to three-dimensional with a full character arc.

Character Development Worksheet

THE ULTIMATE CHARACTER DEVELOPMENT WORKSHEET

MAIN CHARACTER WORKSHEET:

When I started writing several years ago, I came across the standard character worksheet and it focused mostly on physical attributes, occupation but there was a disconnect regarding their role in the storyline, which is the most important part.

My purpose in this blog post is share a more in depth character development worksheet. I’ll go over the different parts of the worksheet with a brief explanation of the parts that need a little explanation. Most of the worksheet is self-explanatory.

The first question is: Is this a Main Character you are developing? Or Minor Character? There is a separate Minor Character Development List on the third page of the checklist. We’ll begin with the Main Character development.

The following aspects of the worksheet are self-explanatory. The only prompt I will give to beginning writers is that you want to keep your writing lean. So think in terms of what background, educational and job information is crucial for the plotline of the story? That’s the most important part.

THE BASICS:

Name of Main Character
Job/Position
Educational Background
Physical description – (age, body type, build)
Relevant Background:
- What background information is needed for the story setup?
- What background information is crucial to the story itself?

THE INCITING INCIDENT:

Most plotlines need an inciting incident. This is the occurrence that happens to take the main character out of his/her normal life and into the storyline. What will this be?

Sometimes it is an incident that happens but sometimes, like in a police procedural, it’s as simple as being assigned to a case. Either way, the inciting incident is what begins the actual story arc and the character arc.

TWO MAIN QUESTIONS:

Will the character try to avoid entering the storyline? If so, how will this play out?
What will happen in the story that will convince or make the Character agree to move forward into the storyline? What will be the inciting incident?

CHARACTER MOTIVATIONS:

As a newbie, it took me awhile to remember that a character needs to have an arc over the storyline. So it’s important — and time saving — to know what that arc will be before you even begin the draft. This character sheet can help you find this so you know where you are starting from and where you want to end up. The following questions should help you focus on what this character arc will be:

What does the character want?
Who and/or What is standing in his/her way?
What fear is in the way to conquering this obstacle?
How will the character conquer him/herself
How will this play out over the four parts of the story?

CHARACTER ARC IN FOUR PARTS:

I write in a four-part story line as opposed to the 3 part storyline. So I break the character arc into these specific parts:

Part 1: Where does the Character Arc start out?

Part 2: How will the Character change in part 2, if at all? How will this play out in the second part of the plot?

Part 3: How will the Character change in part 3, if at all? How will this play out in the second part of the plot?

Part 4: How will the Character change in part 4? How will this play out in the last part of the story?

MINOR CHARACTER:

For minor characters, you only need to answer a few questions. It helps to know what role these minor characters will play and what, if any, background information is needed to support them in the storyline:

Name
Role in Story
Any background that is needed to move the story forward?
How will you add background or character traits of this minor character?
Will there be any character arc?
If so, what is it in one sentence?

Click below

Mystery Suspense Writing Template – Birds Eye View

🕊️ BIRDS EYE STRUCTURE CHECKLIST FOR A MYSTERY NOVEL 🕊️

FOUR ACT NOVEL STRUCTURE - PART 1

THE HOOK

How can you immediately hook the reader’s interest?

INTRODUCTION

Introduction of the Main Character (MC)

INCITING INCIDENT

What happens to draw a reluctant MC into the story or plot?

FOUR ACT NOVEL STRUCTURE - PART 2

THE PLOT THICKENS

What happens early in part two that deepens the plot?

HOW DOES THE MC CHANGE?

What happens in the story that begins to change the MC?

MIDPOINT OF STORY

What Twist or Surprise will take place by the middle of the story?

FOUR ACT NOVEL STRUCTURE - PART 3

SURPRISES REVEALED Surprising Clues or Revelations of hidden truths or lies. This reveals ¾ of the truth of the plot.

FULL TRUTH REVEAL

What is the final clue that reveals the entire truth? How does this new info change the plotline or turn it in another direction?

POSITIONING FOR THE CLIMAX

What is the final setup needed for the climax or big reveal to occur?

FOUR ACT NOVEL STRUCTURE - PART 4

CLIMAX SCENE

Full Truth or Revelation made. What emotions need to be displayed?

QUICK REVIEW

Review of the plot quickly and indicate how the MC solved the mystery

THE NEW NORMAL

How is the MC different going forward? What does the new normal look like?

THE HOOK: What can happen on the first page or two that will draw the reader immediately into the story? What questions will arise to make the reader want to keep reading to find out?

MAIN CHARACTER: The readers want to know who the story is about as well as who is telling the story. What will make the MC compelling enough that the readers will want to know more about them and keep reading?

INCITING INCIDENT: How or Why does the reluctant MC get involved in the story/journey? What clues can you introduce early on regarding why the MC chooses to get involved? (The clues in the beginning are aiming at a red herring or a first dead-end. Remember, early on, you are holding back a lot of truth about where you and the reader are actually going. 😜

THE PLOT THICKENS: How does the plot deepen in part two? What background information, clues, facts or lies are dropped to relay the story and add to the suspense or mystery of the story pathway going forward?

MAIN CHARACTER ARC: Think ahead of time where the MC will begin in his/her character arc. Then think of ways to show the full arc and how you will add these changes into the plot. How will this play out in action? How does he or she change as the result of what is going on in the plot? How will lies or surprises or shocks affect your MC?

FIRST TWIST OR SURPRISE: What surprise, turn or twist can take place at the end of part 2? This is where your story will proceed to the second arm of the cactus. How will this surprise change the pathway of the novel’s journey? What shifts with this turn?

SURPRISES REVEALED: What surprise will be revealed in this section? How will this change the direction of the plotline? What change or changes can happen in this section to set up the ultimate revelation of the plotline? In mystery suspense novels, only ¾ of the truth of the plot is revealed in the beginning of Part 3. You’re still in the second arm of the cactus.

FINAL TRUTH REVEALED: In mystery suspense, it’s good to have a final revelation or clue drop to give a final twist to the plotline. This will bring you and the reader onto the main plotline that will lead to the climax and the truth. What can this be?

POSITIONING FOR THE CLIMAX: Position the characters and make all revelations by the end of Part 3. The Climax should be set up by this time.

CLIMAX SCENE: How will the climax play out? What action will there be? What emotions will take place? How will the location of the scene help this?

QUICK REVIEW: Some readers are busy and may miss a clue or two. Other readers will be on your every word. How can you review the facts in a way that will fill in the gaps for the busy readers and not bore the seasoned mystery readers? You need a way to go over the plotline quickly without insulting the avid readers.

THE NEW NORMAL: This is the scene that allows the reader to breathe, lets them know all is well and life will go on. You want to give the reader a view of how the new normal will be, how the MC will be different going forward. How has the past drama or story changed the MC and how will he or she be different?

This can also be a scene where you are setting up the next book in a series. If you do, be aware, many readers don’t like cliffhangers, so be careful.

Click below to download the template:

Peek Behind the Novel – Layer 7

WHERE WE LEFT OFF IN LAYER 6:

We compiled the novel into a Word document and named it “Manuscript from Scrivener”. That’s where we now pick up with Layer 7.

This layer is another proofreading layer, but there is a little formatting we will do in this layer that I will go over below. There is also a video at the end if you want to see me talk about it in a little more detail.

LAYER 7 – STEP ONE

Copy and paste the chapters into my eBook template. The purpose of this is so that I don’t have to redo all of my styles. It’s easier to just do a copy and paste.

LAYER 7 – STEP TWO:

Using the find feature, I go over all of the troublesome words in my list. I do this before I begin to proofread the story.
I read only the sentence with each of the words and change them if needed.

LAYER 7 – STEP THREE:

Change the Heading 1 formatting, if needed
I fix the normal and no-indent normal formatting throughout the entire book.
I add in simple page breaks between chapters

LAYER 7 – STEP FOUR:

I stylize any chapter headings or chapter timings.
Using the find and replace feature (Control H), I replace *** with ❖❖❖❖.

LAYER 7 – STEP SIX (OPTIONAL)

Filled in my Main Character and Minor Character Lists

LAYER 7 – STEP SEVEN:

Proofread the novel fully. This time I focus on style and prose. I do polishing in this layer of proofreading.

LAYER 7 – A QUICK VIDEO:

DO YOU NEED AN EBOOK WORD TEMPLATE? Click below to download the template I use. I stripped out all of my own information and you can fill in your own information. It has all the extra pages.

Peek Behind the Novel – Layer 6

WHAT HAPPENS IN LAYER 6?

Layer 6 is the first true proofreading. In Layer 5, I proofread to make sure the story flowed without interruption from scene to scene. My focus was on making sure the story flowed from scene to scene, without any big unexplained time gaps, or location mistakes, etc.

So in Layer 6, I am now reading the story for context and checking sentence structure. I’m looking for repeated words, verb tenses, anything that pops up when I read through it.

As you will see as we go through the next two layers, I like to break up the proofreading into sections, with a focus on something else each time. Otherwise, looking for sentence structure, verb tense, misspellings, prose style, and punctuation is too much to cover in one read through. So I have a different focus each time I go through it.

TIP ON PROOFREADING TRICKY WORDS:

All authors have a list of tricky words or troublesome words. I have a long list of troublesome words and other foibles. There are words I use too much. I have other ones I spell incorrectly — no matter how many times I find them misspelled!

When writing in Layer 4, my head is in “presently happening mode”. Technically, I write in third person, so the story will need to be written mainly in past tense. This often brings up the issue of needing to use past perfect tense on occasion. Because of this, I find myself using words like began to . . ., started to . . ., etc. These sound right when I’m writing in the moment, but are technically wrong in third person. So in the next layer, I will focus on them and make sure I have all the verb tenses correct.

I’m posting my own list below for beginners. You can start with this and then alter it for your own list.

COMMON WORDS THAT NEW WRITERS USE TOO MUCH:

troublesome-words

Be aware that many of these words I check in Layer 7 when I’m in Word. I don’t check all of these words in Scrivener. But there is a tip I give in the video below about how to use the Find & Replace feature to capitalize some of these words so you can get a few of them out of the way before you start proofreading in the next layer.

ADD CHAPTERS AND SCENE ENDINGS:

In Layer 6, I also add Chapters and scene endings. As I demonstrate in the video below, I make sure that all of my chapters are in Heading 1s. This way, Word will recognize that setting and they will use a different style for them. This makes them easier to find. When the novel is compiled into Word format, it will put the Chapters in Heading 1. They are much more easily recognizable.

In the video, I also demonstrate how to add scene endings so that you won’t lose them when you compile the novel into Word.

HOW TO COMPILE THE NOVEL FROM SCRIVENER TO WORD:

Once you are finished with Layer 6, Click on File => Compile

I use the settings for default and to compile into a Microsoft docx file. I leave all the other default settings alone.

Check to make sure all chapters you want to compile are checked in the box on the right hand side and all documents you don’t want to compile — like research, etc. — are unchecked.

Then click on compile. It takes only a minute or so to finish.

Word will pop up and want you to name it and choose a folder. I always name mine BOOKNAME-ManuscriptFromScrivener so that I know this is the first word document that came directly from Scrivener.

GOING INTO LEVEL 7:

Next I’ll be moving into Word and doing another layer of proofreading. I’ll report back when I’m done and explain all that goes on in Layer 7. I’ll post the video below.

Writers Research – Tax Liens

ARE TAX LIENS PUBLIC INFORMATION?

tax lien information Yes, a tax lien on a company is a public record. This means that anyone can search for and view the lien, including potential creditors, investors, and the general public. The lien will typically be filed with the county recorder’s office in the county where the company is located.

WHAT IS THE PURPOSE OF A TAX LIEN?

purpose of tax lien The purpose of a tax lien is to give the government a legal claim on the company’s assets if the company fails to pay its taxes. The lien will remain in effect until the taxes are paid in full.

There are a few exceptions to the rule that tax liens are public records. For example, if the lien is filed against a company that is in bankruptcy, the lien may be sealed. This means that the lien will not be available to the public.
Cops & Detectives can use this readily-available information to find out if a suspect is having money problems, or if he has suspicious business practices.

HOW TO FIND TAX LIEN INFORMATION:

how to find tax lien info If you are interested in finding out if a company has a tax lien, you can search the public records for the county where the company is located. You can also contact the Internal Revenue Service (IRS) to see if they have a lien on the company.

Since this is writer’s information, you can see what information a detective can get and where he can get it.

WHY WOULD THE POLICE WANT TO KNOW ABOUT TAX LIENS?

cops-lien-info Here are some of the reasons why someone (or a detective) might want to know if a company has a tax lien:

To determine if the company is financially stable.
To assess the company’s risk as a potential creditor or investor.
To protect their own assets from being seized to satisfy the tax lien.When writing a plot line, you may also want to know:
What is the suspect’s or his/her company’s financial situation? Is this part of the motive?
What are the company’s assets? Is a suspect’s money all tied up in business assets?
Who are the company’s creditors and investors? Could one of them be a suspect?

HERE IS A LIST OF SOME OTHER TERMINOLOGY SURROUNDING A TAX LIEN:

tax lien terminology for writers Sometimes just having an overview of how things work can help you thicken the plot or add some details that will enrich the story. Below are some words and definitions that surround the subject of Tax Liens:

Tax lien: A legal claim against a taxpayer’s property for unpaid taxes. A tax lien gives the government the right to seize and sell the property to satisfy the debt.
Levy: The act of seizing property to satisfy a debt. In the case of a tax lien, the government can levy on any property owned by the taxpayer, including real estate, personal property, and bank accounts.
Notice of lien: A document that is filed with the public records to notify creditors and other interested parties that a tax lien has been filed against a taxpayer’s property.
Lienholder: The person or entity that holds a lien on property. In the case of a tax lien, the lienholder is the government.
Redemption: The right of a taxpayer to pay off a tax lien and regain ownership of the property that was seized.
Statutory redemption: A type of redemption that is available to taxpayers under state law. Statutory redemption typically allows taxpayers to redeem property within a certain period of time after the lien was filed.
Judgment lien: A lien that is placed on property to satisfy a court judgment. Judgment liens can be filed by creditors who have won a lawsuit against a debtor.
Encumbrance: A legal claim against property that affects its ownership or use. Encumbrances can include tax liens, mortgages, and easements.
Lien priority: The order in which liens are satisfied when property is sold. Tax liens typically have the highest lien priority, meaning that they are paid off first.

Writers Research – Bullets Shot Through a Silencer

SHARING WRITERS RESEARCH FROM MY LAST POLICE PROCEDURAL – GUN SILENCER

WHAT IS A GUN SILENCER?

gun-silencer A gun silencer, also known as a suppressor, is a muzzle device that reduces the sound of a gunshot. It does this by slowing down and cooling the expanding gases that are released from the barrel when the gun is fired. Silencers do not completely silence a gunshot, but they can reduce the sound level by 20 to 30 decibels. This can make a significant difference in the loudness of the gunshot, making it much less noticeable to people nearby.

Silencers are legal to own and use in most countries, but there are some restrictions. In the United States, for example, silencers are regulated by the National Firearms Act (NFA). This means that you need to obtain a special permit to own a silencer.

COPS AND DETECTIVES USE BALLISTIC REPORTS

cop examining ballistic report A ballistic report is a record of the characteristics of a bullet, such as its caliber, weight, and velocity. Ballistic reports are used by law enforcement to identify the type of gun that was used in a crime. They can also be used to determine the range from which a shot was fired.

Ballistic reports are created by firing a bullet into a calibrated target. The target is then measured to determine the bullet’s caliber, weight, and velocity. The results of these measurements are then recorded in a ballistic report.

TERMINOLOGY USED BY POLICE OFFICERS AND DETECTIVES:

cop examining ballistic report Here are some of the terms that are commonly used in the field of gun silencers and ballistics:

Muzzle blast: The sound and flash that is created when a gun is fired.
Muzzle velocity: The speed of the bullet as it leaves the barrel of the gun.
Suppressor efficiency: The percentage of sound that is reduced by a silencer.
Ballistic coefficient: A measure of the ability of a bullet to resist wind resistance.
Trajectory: The path that a bullet takes through the air.
Effective range: The maximum distance at which a bullet can still be effective.

HOW DOES A SILENCER WORK?

how a silencer works A silencer can leave markings on a bullet. These markings are called “tool marks” and they are caused by the rough interior surface of the silencer rubbing against the bullet as it passes through. The tool marks can be microscopic or macroscopic, depending on the type of silencer and the type of bullet.

The markings left by a silencer can vary depending on the type of silencer and the type of bullet.

The markings can be faint or difficult to see, so it is important for ballistics experts to have experience in examining silencer-fired bullets.

The markings left by a silencer are not always unique, so it is possible for two different silencers to leave the same markings.

Overall, the markings left by a silencer can be a valuable tool for ballistics experts. However, it is important to remember that these markings are not always conclusive and that other factors, such as the condition of the gun and the bullet, can also affect the markings.

HOW DO BALLISTICS EXPERTS AND REPORTS WORK?

Detective through a magnifying glass looking at a evidence Ballistics experts can use these tool marks to identify the silencer that was used in a shooting. They can also use the tool marks to determine the distance from which the shot was fired.

In addition to tool marks, silencers can also leave other markings on bullets. These markings can include:

Rifling marks: If the bullet was fired from a rifled gun, the silencer can leave rifling marks on the bullet. These marks are caused by the grooves in the barrel of the gun.
Gas pitting: The gas that escapes from the silencer can pit the surface of the bullet. This pitting can be seen under a microscope.
Lead fouling: The lead from the bullet can foul the interior of the silencer. This fouling can also be seen under a microscope.
Ballistics experts can use all of this information to determine if a bullet was fired through a silencer and, if so, what type of silencer was used. This information can be very helpful in solving crimes.
Here are some additional things to keep in mind:

The Top 10 Obstacles to Finishing a Novel

PEEK BEHIND THE NOVEL

I’m in the weeds!

scrivener-peek-behind-the-novel I am knee-deep in Level 4 of writing the next book in the Jack Nolan Detective Series. I thought this would be a good time for me to take a break and reflect on what happens when I’m ‘in the weeds’ writing a novel.

Even though all writers have a different writing routine, I would venture a guess that most of us feel some of the same fears and face some of the same obstacles.

STARTING A NOVEL IS EASY:

DP-drawing-woman-and-computer When you first sit down to write a novel, everyone is filled with enthusiasm and creative energy. It’s exciting. It’s new. But as the manuscript begins to grow, before it feels finished — or even ready to be polished, it feels cumbersome, heavy, and overwhelming. At least for me it does.

FEAR OF FAILURE:

Even though the story and plotline felt great at the beginning, there comes a point where a fear of failure sets in. Am I going to be able to finish this? Does this plotline even make sense? What happens if this storyline is not that great? Maybe this mystery isn’t enough. Maybe the dots are not going to all connect.

It’s possible to get paralyzed by a fear of failure at any point during the writing of a novel. It’s not a one-and-done operation. No one sits down, starts writing, finishes writing and ta-da, there’s a book. Writing a novel doesn’t work that way. It’s a long process. It’s a multi-layer process.

When these fears pop up, and they will, it’s important to remember that many writers feel these doubts and fears. It’s important to remember that everyone of us fails at something at some point in our lives. The good news is any novel can be redone, re-written, revamped, added to, or massaged in any number to go from mediocre to great. It’s a work of art in progress until it’s handed over to the publisher. Knowing this is empowering.

WRITERS BLOCK:

DP-writers-block-woman Writers block is another common problem among authors. This often sets in after that initial period of excitement about the novel wears off. At some point the writing of the novel shifts into a project requiring some heavy lifting. There’s always a phase or two where the author has to tough it out. We have to keep at it.

It’s important to know ahead of time that writer’s block may set in at any time while you’re writing. I find that deciding to just sit down and go over what I’ve written ‘to get my place’ or to ‘get into the flow of it’ is enough to get over any writer’s block. Just by sitting down and starting to read through it, the project recaptures me. Even on days I feel I have nothing in me, I can suddenly be pulled into writing before I even know it’s happening. If you can commit to look at your project for fifteen minutes, this can be enough to recapture your enthusiasm.

LACK OF TIME:

Many wannabe authors have busy lives and don’t have a lot of time to devote to writing. There are certain years — especially in a parents’ lives –where raising kids is more than a full-time job. But where there is a will, there is a way.

There are ways to steal away an hour or two in any given day. It does, however, always require some level of planning. Don’t be afraid to plan writing time into your day and give it a higher priority than ‘the back burner’. Even if you are a parent or a caretaker, pursuing your own dreams is important. It keeps you engaged in life. It makes you a better parent. It can even make you a better day worker. Think of your writing as your own personal mission in life.

PERFECTIONISM:

Perfectionism can be another stumbling block for authors. Everyone wants to write a masterpiece. But at some point, you need to also know that nothing in life is perfect. Don’t let your ideas of perfect get all wired into your ideas of excellence. They are two different things.. If you looked close enough, you could find a few imperfect brush strokes in the Mona Lisa. If you read Harry Potter enough times, you may catch a plot hole or two. It’s important to know the difference between excellence and perfection. One is doable and one is not doable by human beings.

FEAR OF REJECTION:

Will my readers like the book? Will the book be good enough to get a literary agent? What happens if my book gets bad reviews? There are any number of fears of rejection that can cause us to stop writing. Decide ahead of time you won’t allow these fears to stop you. Like I said earlier, think of your writing as a mission God has given you. This is your life’s work, along with your other worldly responsibilities. Your writing could be an opportunity to pass on things you have come to learn in your life. That’s a purpose. Or maybe writing is a way for you to share the gift of storytelling that you know you were born with. That’s a God-given purpose. Whatever the reason, it’s important to not allow fear of rejection to get in the way.

SELF-DOUBT:

Self-doubt is a tool of the devil. It’s easy for any human to start thinking they aren’t perfect, so maybe they aren’t good enough to pull off writing a novel. And the reason I call it a tool of the devil is because it can start with just a tiny little insignificant thought of self-doubt. But it can snowball and get bigger and bigger and bigger.

During these times when I feel self-doubt, I think of my writing as therapeutic for myself. It’s something I’m doing for me, not for anyone else. Any fear of rejection that occurs, thinking I’m doing it for myself, it takes away any sting self-doubt may have. It removes any power it has over me. It turns the tables on this.

DISTRACTIONS:

woman-multitasking-distractions Distractions are one of the biggest obstacles to completing a novel. One reason is because life does serve up constant small and big emergencies that have to take first priorities in our lives. So an emergency distraction can throw a whole well-planned writing schedule up into the air in a heartbeat.

One of the weapons against distractions is get clear on what a real emergency is verses a situation that can take its place in your daily routine. You don’t always have to sacrifice your writing time just because someone else doesn’t have to wait or suffer a small inconvenience. Always ask yourself whether you have the right to protect your free time or whether you are dealing with a true emergency, a situation that requires you to replan in that moment.

Parents with kids can fall into a trap of giving up all their free time based on a constant stream of kid demands. Giving in to every child whim is not the definition of a good parent. Protecting your free time and expecting your child to work within your schedule is not bad parenting. It’s the sign of someone who is good at balancing their lives.

I learned a long time ago that I have to protect my free time as there are armies of people in the world who would harness me as a free resource in their lives. They would demand and expect that I do all the things they don’t want to do if I allowed it. We’re responsible to set our own boundaries with people, and that includes kids.

RESEARCH:

too-much-research Most novels require at least some research. The internet can be a blessing with research but it can also be a curse. It’s a blessing because the days of having to travel to a public library are over. It can be a curse because the research can suck you in and you can use up all your valuable writing time doing too much research.

The tip I would pass on to any new writer would be to not do the research until you have already laid down your plotline. This will avoid research for things that wind up on the editing floor, so to speak. Subjects or issues you you think may come up in the story may get cut as you firm up a plotline to fit within the space of a novel. There’s nothing more frustrating than looking back and seeing hours and hours of wasted research time.

Too much research can also lead to another problem and that is ‘information dumping’. That means that many authors can’t resist the opportunity to write into the story things they learned from their research that are not really relevant to the plotline. This may be fascinating to us as authors but it’s boring to readers if it doesn’t move the story line along.

EDITING THE BOOK TO DEATH:

Another trap to finishing a novel is to get caught up in a never-ending edit of the book. This usually hooks in with perfectionism problem in some way.

I break up my editing into stages so that each time I go through the book, I focus on only one thing. For example: The first edit is to check to make sure I have put my descriptions of locations and people in. The second time I go through it, I look at sentence structure and make sure the chapters flow without any time gaps. The third time I pass through, I look for verb tenses. The next level is looking for the words I like to use too much like okay and just.

By having a solo focus, it prevents you as the author from getting caught in changing everything all at once. This prevents you from being able to focus on anything.

THE PSYCHOLOGICAL TRAP OF FINISHING THE NOVEL:

finishing-a-novel Once you complete a novel, there is a little sadness that sets in. This book is no longer your baby. It’s no longer your little pet project. Once you hand it off to an editor, it becomes a shared work, so to speak.

Very often, authors who have abandonment issues or fears of depression, they don’t like to end anything and that includes writing a book. When I hear people saying they took seven or ten years to finish a book, I’m astounded at what could have taken them so long. They kept the book as their little baby for an entire childhood.

My Peek Behind the Novel series is about writing in layers. I feel that writing in layers is a way filled with techniques that keep me writing, keep me on track, keep me on schedule, and allow me to complete the novel, no matter how much research it requires.

These are just a few of the obstacles that we, as writers, face when undertaking the writing and completion of a novel. If your goal is to write a novel, don’t give up on your dream. Keep writing, keep pushing yourself, and eventually you will complete your novel.