Case of the Missing Flight

10. The necessity for eliminating the little overlooked clues and loose threads
9.   The false suspect
8.   The cover up
7.  
6.   The actual killing
5.   The first irretrievable step
4.   The opportunity
3.   The plan
2.   Temptation
1.   Motive

What kind of murderer does not resort to flight?  This doesn’t include the subterfuge of going to jail on a lesser crime.  No, this has remoteness built in so that flying away is unnecessary.  Does that mean the murderer sticks with the corpse?

No, this could fit the role of the master criminal murderer accomplishing murder to their plan through others.

Removing the element of remoteness, necessarily brings the murderer back into the same room with the corpse, but with the murderer now straightening up—scene building—and roping in the False Suspect (now very necessary).

The Course of Europe Since Waterloo, by Walter Phelps Hall, PhD, and William Stearns Davis, PhD.

Opening Paragraph:

On August 7, 1815, a stately British ship of the line glided out of the harbor of Torbay, and turned her prow southwestward, seeking the broad Atlantic. Upon her quarterdeck paced a little man, stout and heavy-shouldered, with a thick neck and head set low. He was clad in a much-worn green uniform of a French army officer, and the young naval lieutenants watched him curiously, yet with awe, as he walked the deck hour after hour, or stood at the porthole of his cabin, his face pale and set, his deep bloodshot eyes looking across the sea—“eyes that seemed to look at everything, and yet at something beyond.” The ship of the line was the Northumberland. Her passenger was Napoleon Bonaparte. He was bound for St. Helena, there to die a most unresigned prisoner on May 5, 1821.

(My mentor Howard Pease continues) Here is proof, I think you’ll agree, that a textbook need not be dull and need not be poorly written. The late William Stearns Davis, one of the authors, was a novelist as well as a historian, and he used fiction techniques when collaborating upon this textbook. Notice that he starts on a definite day and gives a picture of a ship in motion. Next he focuses upon the ship’s deck and shows us a little man in action. Suspense, beginning with the reaction of other officers to this man, mounts steadily until the hook is finally tossed out—the man’s name.

Take away the last part of the final sentence, which jumps ahead in time, and you have a professional first paragraph for a novel. Thus, were it fiction instead of a history text, your paragraph might end with the sentence: Her passenger was Napoleon Bonaparte, bound for St. Helena.

“The Labors of Hercules” by Agatha Christie

Dialog:

(My mentor Howard Pease introduces an exercise) For Example No. 1 we’ll examine dialogue paragraphs that do not contain any hurdles, yet show no consistency in method.  Here are ten consecutive paragraphs from Agatha Christie’s The Labors of Hercules:

Hercule’s voice interrupted him.

“Why will they be all right I when you are gone?”

Hugh Chandler smiled.  It was a gentle, lovable smile.

He said, “There’s my mother’s money.  She was an heiress, you know.  It came to me.  I’ve left it all to Diana.”

Hercule Poirot sat back in his chair.  He said, “Ah!”

Then he said, “But you may live to be quite an old man, Mr. Chandler.”

Hugh Chandler shook his head.

He said sharply, “No, M.  Poirot.  I am not going to live to be an old man.”

Then he drew back with a shudder.

“My God! Look!”  He stared over Poirot’s shoulder.  “There—standing by you. … ”

(Howard Pease continues) This paragraphing wastes space—and paper—by giving a separate paragraph to the speech of a character and a separate paragraph to the action of that same character.  I’ve often wondered if Agatha Christie wants to make her stories appear longer than they really are.  Let’s use the Henry James technique.

Hercule’s voice interrupted him.  “Why will they be ‘all right’ when you are gone?”

Hugh Chandler smiled.  It was a gentle, lovable smile.  He said, “There’s my mother’s money.  She was an heiress, you know.  It came to me.  I’ve left it all to Diana.”

Hercule Poirot sat back in his chair.  He said, “Ah!”  Then he said, “But you may live to be quite an old man, Mr. Chandler.”

Hugh Chandler shook his head.  He said sharply, “No, M. Poirot.  I am not going to live to be an old man.”  Then he drew back with a shudder.  “My God!  Look!”  He stared over Poirot’s shoulder.  “There—standing by you. …”

By using this method, what have we gained?  We’ve gained several lines of print.  We could revise, also, and delete he said several times and the prose would still be clear as well as less wordy.

Prose, like everything else, changes through the years.  Until the middle of the nineteen-twenties, writers used synonyms galore in an effort to get away from the monotony of using said too frequently.  The protagonists declared, asserted, offered, observed, responded, rejoined—the list is almost endless.  Then a rebellion set in.  Dashiell Hammett and Ernest Hemingway dropped all these synonyms.  Their characters simply said something, usually in short declarative sentences.

(from a collection of opening paragraphs at www.secondroot.com)

“Monastery Road,” by Eric Mitchell

Descriptive Paragraph:

Anthony was too excited to sleep.  At midnight he heard the cook’s drunken voice raised in song behind the inn and later a rooster crowing; he saw the first grey light of dawn streak bits of sky through the narrow window.  He sprang up from his mattress before anyone else was awake and hurried, shivering in the early chill, to the wash basin outside the back door … He put on his clothes in the dark.  His loose surcoat had blue and tawny stripes.

(My mentor Howard Pease continues with an exercise) Now underline with your two colored pencils: blue for any of the senses used, red for the color words.

Next, let me say that here is an author who makes use of color words as well as the five senses, and usually he uses both with exactness.  This paragraph, however, happens to contain a flaw, a statement about color, that mars the flow of the narrative.  Can you spot it?  Pause for a moment until you find it.

Here’s the flaw: If our protagonist is putting on his surcoat in the dark, he cannot see its colors, and neither can we.  A small inaccuracy, yes.  Still, it is a tiny hurdle which an alert reader might stumble over.  Therefore, when you present any of the five senses in your writing, take care that your statement is physiologically possible.

Case of the Missing Plan

10. The necessity for eliminating the little overlooked clues and loose threads
9.   The false suspect
8.   The cover up
7.   The flight
6.   The actual killing
5.   The first irretrievable step
4.   The opportunity
3.  
2.   Temptation
1.   Motive

What is the murderer’s ladder without a plan?

The opportunity is merely a second temptation, and thus falling to temptation, this must be the amateur murderer.

 

The Machine In Ward Eleven

The Machine in Ward ElevenThe Machine in Ward Eleven by Charles Willeford
My rating: 4 of 5 stars

Pulp madness

I hesitate to call this a "redux" of another Pulp category, but it does continue Willeford's excellent work in "Pick Up."

I say this in the sense that in that earlier novel, the hero is also (self)committed to a (nearly)psycho ward. The difference here is a stylistic (and internal logical) consistency where the patient isn't entirely aware of all the details. He says as much, and yet as the teller of the tale, where does that put us to judge the facts on the face of the telling?

Droll.

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“The Chase and Capture of Adolf Eichmann,” by Bela von Block

Opening Paragraph:

The tall, gaunt man with protruding ears and a receding hairline got off the bus and started to walk along the murky Buenos Aires street.  Outwardly he was relaxed, just another working man after a hard day.  Inwardly he was tense, watchful—as he had been, day and night, for 15 years.

(My Mentor Howard Pease continues) With the use of the three fundamentals the author catches our attention by beginning this article at a moment in time just before the climax.  First, a character is presented in action in a definite setting; then comes the hook.  Though this reads like fiction, it is fact.

Notice that the protagonist’s name is not given.  There are two reasons for this.  His name is given in the title.  He is also now living under an assumed name, perhaps one of many that he has used since Hitler’s Germany crashed under the onslaught of the Allied Forces.  He is a man hiding from retribution.

The Fifth Rung of the Character’s Growth Ladder

10. Reconciliation
9.   Separation
8.   Denial
7.   Disruption
6.   The reversible step into the Danger zone
5.   The first irreversible step into the Risk zone
4.   The opportunity
3.   The plan
2.   Temptation
1.   Motivation

What does first irretrievable step mean for other characters—if they were to have their own ladders?

In terms of the protagonist, there are several interpretations.  Here is one.

In the standard mystery, where the protagonist is a detective, then this rung of the ladder would represent that action taken that exposes the protagonist’s examination of the events to the antagonist.  Here, the canon of mystery writing presents a very schematic approach to the application of the fifth rung to this other character, but this application hardly fits all writing genres.  For them, I consider:

In terms of minor characters (being neither the protagonist nor the antagonist), I will generalize how this rung is employed.

The fifth rung is about the possibility of others discovering the intentions of the character.  Abstractly, it could mean an action taken by the character that has a strong connection that can be traced back to the character.  In a family-drama, it could be the filing of divorce papers by a spouse.  This presumes that the motivation for divorce was hidden (and it may well remain that way).  It follows that having done this, the next rung is divorce.

“Red Sky at Morning,” by Richard Bradford

Descriptive Paragraph:

It snowed for three days in early November, and the people of Sagrado put their cars in garages and walked everywhere.  Amadeo, who came in from Rio Conejo every morning in the pickup, put snow chains on the rear tires and loaded the truck with three hundred pounds of concrete blocks to get traction.  An entire family of Navajo Indians froze to death in a drafty hogan near Beclabito, where the temperature went to 46 below one night.  Forest rangers on snowshoes hiked up to Bernal Peak and announced that the 117 inches of snowpack promised a good spring runoff ….

(My mentor Howard Pease continues) This opening of a chapter in a novel is presented here for a purpose.  Instead of a static passage describing the New Mexican town of Sagrado under snow (Santa Fe?), the author shows action, what the local people did as a result of a sudden change of weather.

The Necessity for Eliminating the Little Overlooked Clues and Loose Threads, the tenth rung on The Murderer’s Ladder

10. The necessity for eliminating the little overlooked clues and loose threads
9.   The false suspect
8.   The cover up
7.   The flight
6.   The actual killing
5.   The first irretrievable step
4.   The opportunity
3.   The plan
2.   Temptation
1.   Motivation

What is the necessity about?

Loose threads have tripped up the antagonist into creating or explaining a rat’s nest of  counter-theories that fail to match up with the known facts.

This is the denouement between antagonist and protagonist.  The antagonist manipulates situations, people, and facts to try to piece together a rationale that removes the antagonist from suspicion or pursuit.

The protagonist has a complete view of the crime, and command of all the facts in a complete time-line that refuses forced insertions or deletions by the antagonist, or the antagonist’s agents.

The necessity contains the basic elements of who, what, where, when, and why.

The who: The antagonist and characters in conclusion.

The what: Examining the antagonist.

The where: Here.

The when: During the investigation.

The why: The antagonist’s need for personal distancing.

There is no more that can be done by the antagonist.

The antagonist is under absolute stress of imminent failure.  Thus, at the elemental level it engages either anger or fear.

Authors Marketing 2021

Advertising

Well, that seems to get the cart before the horse, but I have arrived at this point with momentum already going, tests performed, lessons learned.  In fact, you can see the ad already posted on this Facebook page.  Its creation process makes a story of its own, but later.

The ad’s purpose is to drive audience to my Meetup group for “Action Writer’s Block.”  Further, it is part of my Marketing campaign for branding by identifying a very specific segment of writers.  The lesson here is to declare that community, and aim for them.

From all of the Business Plan headings I offer to cover, Marketing and who do I serve can be best seen in this Facebook ad’s (Boosted Post) audience profile:

Audience Details
Location – Living In United States
Age 45 – 65+
People Who Match Interests: Entrepreneurship or Writing, Education Level: College grad or Some college, Relationship Status: Married, Domestic Partnership or Widowed, Income: Household income: top 10% of ZIP codes (US), Life Event: Anniversary within 30 days, Upcoming birthday or Friends of Women with a Birthday in 7-30 days

Two day campaign:
Estimated Daily Results
People Reached
1.2K – 3.4K
Link Clicks
34 – 97

This is a short run that I have tested to the same purpose two weeks ago.  Net result of that campaign was no conversions.  This time I use new graphics oriented towards writers of action genre using the action term of siege as a metaphor for writer’s block.  There are other considerations of course, and even as I pressed the Publish button for the ad, I saw an improvement I can make next time.

My mistake in the text introducing the graphic was to repeat the button’s label which is an action “Lift Your Action Writer’s Block Siege.”  Next time, I will post an inciting phrase, “Are your action scenes bottled up?” that is solved through this action phrase as the button label.

San Francisco Writers Conference

Another story worthy of mention is when I was briskly walking down Sutter Street to the conference at 7:45am Sunday morning. I was able to walk at my usual boyish pace where I could arrive at each corner as the light was about to change in my favor. I had done this hundreds of times while on TI, and the knack was with me.

When I stepped across Powell street, the sound of the ringing cable line beneath the street brought back memories of weekend Liberty getting underway.

I slowed to “smell the roses” so to speak. My pace altered. Soon, I stood at a corner next to a pan-handler.
“Cold day to start your job,” I said.
“I gotta do it so’s I can go to McDonald’s for breakfast.”

My partner had stuffed my pockets with bite-sized portions of some energy bar and a length of jerky. I pulled them all out and gave them to him. He thanked me. Then, as I turned to catch the changing light, he added:

“My doctor wants me to get rid of my accordion.”

I was hooked (as only an author can be). I turned away from the corner to re-join him. We were the only people on those cold streets’ intersection.

“How’s that?” I asked.
“I had hip surgery, and he doesn’t want me hauling a 50 pound accordion around. I busk on this corner. That accordion is Italian made with silver and precious woods.” He then did an impression of lugging it along the sidewalk with a distinct strain on his hip.

I took every bill out of my pocket ($20-$50) and placed it in his hand.

We were both struggling artists, even if our situations were different.

“Youth,” by Joseph Conrad

Descriptive Paragraph:

And this is how I see the East.  I have seen its secret places and have looked into its very soul; but now I see it always from a small boat, a high outline of mountains, blue and afar in the morning; like faint mist at noon; a jagged wall of purple at sunset.  I have the feel of the oar in my hand, the vision of a scorching blue sea in my eyes.  And I see a bay, a wide bay, smooth as glass and polished like ice, shimmering in the dark.  A red light burns far off upon the gloom of the land, and the night is soft and warm.  We drag at the oars with aching arms, and suddenly a puff of wind, a puff faint and tepid and laden with strange odors of blossoms, of aromatic wood, comes out of the still night—the first sigh of the East on my face.…

(My mentor Howard Pease continues) Pay attention to the fact that the author places the protagonist in a certain place—in a small boat offshore—and through that young man’s consciousness we get an impressionistic picture of the landfall, in the morning, at noon, at sunset, at night.  It is a picture in words that appeals to three of our senses, sight, smell, touch.

H. L. Mencken said of Conrad: “There have been, perhaps, greater novelists, but I believe that he was incomparably the greatest artist who ever wrote a novel.”

“The Chase and Capture of Adolf Eichmann,” by Bela von Block.

Opening Paragraph:

The tall, gaunt man with protruding ears and a receding hairline got off the bus and started to walk along the murky Buenos Aires street. Outwardly he was relaxed, just another working man after a hard day. Inwardly he was tense, watchful—as he had been, day and night, for 15 years.

(My Mentor Howard Pease continues) With the use of the three fundamentals the author catches our attention by beginning this article at a moment in time just before the climax. First, a character is presented in action in a definite setting; then comes the hook. Though this reads like fiction, it is fact.

Notice that the protagonist’s name is not given. There are two reasons for this. His name is given in the title. He is also now living under an assumed name, perhaps one of many that he has used since Hitler’s Germany crashed under the onslaught of the Allied Forces. He is a man hiding from retribution.

Windows 10 Update Failure and its Recovery

You have arrived at this post because you searched for one of the following problems:

 Microsoft.Windows.ShellExperienceHost … needs to be installed correctly

or

Error Code 0xC1900200 – 0x20008 (Code 0xC1900202 – 0x20008)

or

Windows 10 upgrade couldn’t update the system reserved partition

or

Your computer is not compatible with Windows10 (the supremely bitter irony when you are updating it)

or ….

If you share the same problem I struggled with for a week, then the resolution could be quite simple.  It requires a tool downloaded from the net, some adjustments of your disk’s partition table, and (yet one more attempt to) update/upgrade.

What follows is not for the faint of heart, but it is within the skill set of any tinkerer.  By that, I mean you know the risks; but if you don’t perform backups of your data–you don’t qualify, and I suggest you back away from this page right now.

Through considerable Googling of the terms above, I found a tool called MiniTool Partition Wizard Free reviewed on PCMag.  There’s your resource for fixing (knock wood) the problem that brought you here.

The necessary operation is to take the OS partition (typically called C:) resize it a bit smaller (be generous, reduce it by at least double the size of the current system reserve partition) and then extend the system reserved partition to make it bigger.  The MiniTool (free version) will let you change the edges of a partition.  Do this at the point where they both neighbor each other.  My situation had the system reserve lined up ahead of C: in the partition table.  If your situation varies from my description, re-read everything for my intention.

FIRST: take memory off from the beginning of C: (this is what I did), and

SECOND: add the same amount of memory to the system reserve’s end.

THIRD: press the button on MiniTool to commit the change.

This rescued me from the useless, repetitive, unproductive efforts of Windows to self diagnose (it never had a clue), and correct the problem (that never was going to happen, this had been going on for every update for a year).

The Opportunity, the fourth rung of The Murderer’s Ladder

10. The necessity for eliminating the little overlooked clues and loose threads
9.   The false suspect
8.   The cover up
7.   The flight
6.   The actual killing
5.   The first irretrievable step
4.   The opportunity
3.   The plan
2.   Temptation
1.   Motivation

What is opportunity?

It is a new or repeated temptation that fits into the plan, but is yet to be completely acted upon.

Given a good plan, when opportunity arises, the antagonist can be assured that the wheels of the plan will turn smoothly and lead to the fulfillment of motivation’s needs.

Opportunity contains the basic elements of who, what, where, when, and why.

The who: All the characters are in their societal roles.

The what: All have convergent motivations.

The where: Here.  The stage is set.

The when: Now.  The curtain is about to rise.

The why: Pain is still near and relief is achievable.

All that is needed is for the antagonist to enact the plan.

The antagonist is under the subdued stress of anticipation of success or failure.  Thus, at the elemental emotional level it engages joy (because the motivation pay-off is possible).

The Burnt Orange Heresy

The Burnt Orange HeresyThe Burnt Orange Heresy by Charles Willeford
My rating: 3 of 5 stars

Pulp Art redux

As in again?

Yes, this picks up on a theme developed by Willeford in "Pick Up." This isn't accidental because it is underlined (maybe highlighted would be preferable) by both artists' choice of...wait for it...Orange. Especially dark orange.

"Pick Up" is the better novel. This one moves us across the country from Frisco to Florida with the migration of the author. This one moves upscale, but doesn't make the fall anymore deeper (and possibly shallower) than that in "Pick Up."

In a nutshell: derivative.

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“My Family and Other Animals,” by Gerald Durrell

Descriptive Paragraph:

July had been blown out like a candle by a biting wind that ushered in a leaden August sky.  A sharp, stinging drizzle fell, billowing into opaque grey sheets when the wind caught it.  Along the Bournemouth sea-front the beach huts turned blank wooden faces towards a greeny-grey, froth-chained sea that leaped eagerly at the cement bulwark of the shore.  The gulls had been tumbled inland over the town, and they now drifted above house-tops on taut wings, whining peevishly.  It was the sort of weather calculated to try anyone’s endurance.

(My mentor Howard Pease continues) Thus begins one of my favorite nonfiction books.  It is a first-person story of several years in the life of the Durrell family, a widowed mother and her four children.  Caught in a Channel town in weather continually bad, they voted in desperation to escape for one year to the inexpensive Greek island of Corfu.  Mrs. Durrell, slightly vague in her suggestions, always charming and never shocked, allowed that year to stretch by vote to five years.

“The Past,” by Ellen Glasgow

Opening Hook Paragraph:

I had no sooner entered the house than I knew something was wrong. Though I had never been in so splendid a place before—it was one of those big houses just off Fifth Avenue—I had a suspicion from the first that the magnificence covered a secret disturbance. I was always quick to receive impressions, and when the black iron doors swung together behind me, I felt as if I were shut inside a prison.

(My Mentor Howard Pease continues) This story is not to be an intellectual puzzle but a more emotional story, no doubt with chills and thrills. Though this paragraph gives other information, the emphasis from the first to the last sentence is on a hook opening.

Mystery At Thunderbolt House

Mystery at Thunderbolt HouseMystery at Thunderbolt House by Howard Pease
My rating: 5 of 5 stars

This historical story, set in San Francisco the year going up to the great earthquake, is a broadly disguised fantasy of Pease's own experience of the shake.

Some elements are based upon his recollection of his aunt, who he recalls being pictured high atop a loaded waggon that is transporting her household items away from the destruction.

The story of rags-to-riches, a common Horatio Alger era theme, also mirror's Pease's family suddenly acquiring a windfall inheritance. However, his own family experience is considerably more subdued to the immense wealth his protagonist finds.

Pease said this book was his personal favorite.

Pease's full stories were printed in American Boy Magazine and illustrated by the renowned artist Anton Otto Fischer whose graphic work was found on many covers such as The Saturday Evening Post.

The Black Tanker

If you are interested in the artwork that illustrated Pease's stories, go to:
Pease Images

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Action Writer’s Block

THE LIONHEARTED AUTHOR

THE WORLD AS WE KNOW IT
Writer’s Block is a metaphor for the underlying problem we will be working on together.
The Block is what impedes you; or surprisingly, what has you over-activated.
Impedance is found expressed in avoidance.
Activation is found expressed in deflection.
Both are emotionally tied into fear, shame, or disgust.
Culturally, they are tied into rejection or guilt.

INCITING INCIDENT
Intellectual puzzles and writing exercises are unsustainable and uninspired.

CRISIS
Life demands the Lionhearted Author: “Put your foot to the path!”
I am your guide through the six realms of rebirth and existence.
We will test your passion within the Chakra centers of your Kundalini spirit.

CLIMAX
You reclaim your strength from former obstructions.
I am here to exercise the tone of your psychological wholeness.
We will examine the challenge won in the archetypal Champion’s fulfillment.

RESOLUTION
Bring joy to our writing experience and fulfilling acceptance for our work.

Matt Helm – Death of a Citizen by Donald Hamilton

Matt Helm - Death of a CitizenMatt Helm - Death of a Citizen by Donald Hamilton
My rating: 4 of 5 stars

In a class of fiction that barely rises above comic strip in character development, Death of a Citizen manages to stay the course, but does it well. Despite the glowing accolades from Tom Clancy on the (re-issue) cover as being real, it is not. It is not literature (the English combine this genre with literature better), but it is good pulp.

Comparisons to Hammett or Chandler are lazy claims. Matt Helm is what could be called a dry drunk, addicted to violence without any redemption (killing Commies won't get you past Saint Peter in this day and age), but he is a good pulp hero.

At the end of the day, Donald Hamilton is a good pulp writer.


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Authors Marketing 2021

Meetup.com As Targeted Services Advertising Channel

No doubt eyebrows went up at the phrase targeted services.  Services?  Isn’t this about selling books?  Things?  Yes, but….

You will observe familiar problems that transcend services vs. things model of marketing.  I am pitching my services because authors need other revenue streams, and as we generally become subject matter experts in our researches, you can cash in on that too.  However, for those who are strictly concerned with selling books, I promise you valuable insights.

As I am the host to three Meetups, I bring you the experience of having hosted Meetups for 17 years.

My peak enrollment for any single Meetup was for a tech community focused on Artificial Intelligence.  There I had 165 members.  However, I never saw more than 12 at any one Meetup.  Of those, half were steady visitors.  I used all the methods at my disposal as advised by Meetup (they should know), and it never budged even with the most attractive of inducements: the $1,000,000 Netflix Challenge to design an algorithm to boost their film prediction accuracy (“Here’s another title you might enjoy”).

For that period of several months of Meetups (weekly), the number who participated varied little from that max of 12, more often 8 or 9.  Let’s call that a committed 5%, the rest were not even tourists who might wander in to see if we were within grasp of all that cash.

This is typical.  I have observed much the same spread of percentage numbers for all sizes of Meetups.  The lesson to observe by this simple observation is that you need 20+ members to see one face other than yours at a Meetup; and that is pushing the boundaries of chance.  I would say 50 members is roughly the ignition point of steady participation.  Again, this conservative upper limit comes with experience.

Just two months ago, I had 200 members in three groups, but with the pandemic, I had let them idle too long, and they obviously appeared mordant to the few that had visited within the last 6 months (about 60 of that 200).  I tried to revive those groups by funneling them into one Zoom session, but even the 60 were unmoved to respond.

I cast them all off and started over.  Three new slates—and your entry point into the process of starting your own author-branded Meetup.

Next: the story of those blank slates filled in.

Temptation, the second rung of The Murderer’s Ladder

10. The necessity for eliminating the little overlooked clues and loose threads
9.   The false suspect
8.   The cover up
7.   The flight
6.   The actual killing
5.   The first irretrievable step
4.   The opportunity
3.   The plan
2.   Temptation
1.   Motivation

What is temptation?

It is the imagining of motivation’s needs being fulfilled.

Temptation, as a social interaction observed by the antagonist, contains the necessary elements to lead to the antagonist’s preferred outcome.  Those elements are the who, what, where, why, and when.

The who: characters that can act on the antagonist’s needs.

The what: needs of the characters that mirror those of the antagonist.

The where: the setting of the characters’ social interaction is suited to the antagonist’s preferred setting.

The why: the characters display flaws (their own motivations) that can be manipulated.

The when: the characters’ social interaction exhibits a problem that is not isolated in time, it remains unsolved, and it can resurface later to the antagonist’s advantage.

The antagonist’s observed social interaction’s outcome may not be the preferred one, but the antagonist appreciates the temptation of being able to prompt the characters, stage the setting, and direct the action.  This only requires planning.

The antagonist is under a modest positive stress (eustress) of release.  Thus, at the elemental level it engages joy.

Whip Hand

Whip HandWhip Hand by Charles Willeford
My rating: 4 of 5 stars

This is pulp, it reads like pulp, the story is pulp, and the considerably difference here is that the characters are dirt-farm poor pulp.

Distinctions abound as each of these characters has their own point-of-view chapter (or several). Further, their dialect is utterly dirt farmer.

What makes pulp? The scope of their aspirations. Scope is not the same as scale. In terms of scale, pulp characters are going to go for the whole enchilada. Scope reveals that the enchilada is all they plan for. If they are looking for a $1000 bank-roll, in very little time it lands in their lap.

Then what? Scale of aspiration is met, and a world of hurt follows because there isn't enough zeros in $1000 to pay for the mistakes they made getting it.

"Whip Hand" accomplishes the display of this tragic fault across every character.

Charles Willeford has written an existential pulp comedy.

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Authors Marketing 2021

Facebook Ad Center

While running two ads, I discovered a remarkable reaction: Post Shares

Suddenly it all became clear.  A shared Advertisement is a Gold Vein that runs well beyond the advertisement’s time-slot.

Into the future, that one reaction is the sole purpose of my ad’s life.

My topics need to be Evergreen engaging—still snappy, and always current.

“The Snake,” by John Steinbeck

Descriptive Paragraph:

It was almost dark when young Dr. Phillips swung his sack to his shoulder and left the tide pool.  He climbed over the rocks and squashed along the street in his rubber boots.  The street lights were on by the time he arrived at his little commercial laboratory on the cannery street of Monterey.  It was a tight little building, standing partly on piers over the bay water and partly on land.  On both sides the big corrugated-iron sardine canneries crowded in on it.

(My mentor Howard Pease continues) Here the setting shows the protagonist as part of his environment.  A further step gives us his name, and we learn that he is young.  By implication we gather that Dr.  Phillips is not a medical man but a scientist who runs a commercial laboratory on cannery row; therefore, he is no doubt a marine biologist.

Notice that he is in action.  We glimpse the tide pool and the rocks on the beach.  We do not see the town itself until the protagonist arrives at his laboratory.  The time element is mentioned twice, but not by clock.  This gives the impression that Dr. Phillips is a man who works until it is too dark to see.  Notice, too, the active verbs climb and squash, both used without adverbs.

Case of the Missing Temptation

10. The necessity for eliminating the little overlooked clues and loose threads
9.   The false suspect
8.   The cover up
7.   The flight
6.   The actual killing
5.   The first irretrievable step
4.   The opportunity
3.   The plan
2.  
1.   Motive

What is the murderer’s ladder without temptation?  Every detective moves forward on the motive of the criminal, just as they count off their suspicions in that the suspect had the motive, means, and opportunity (fled the scene, resisted arrest, etc.).

This a professional murderer.  The temptation is anticipated by the motive (the need for money), and the remaining ladder steps (at least to actual murder) are expected to be performed professionally (and even the problems that may crop up during and after).

How is the professional murderer distinct from the psychotic murderer?  The professional may be psychotic; but the psychotic is not professional.

If the absence of temptation so closely hews to psychology, it could also be the hallmark of the romantic murderer.  However, this would an obsessive, romantic murderer.

Sideswipe

Sideswipe: A Hoke Moseley NovelSideswipe: A Hoke Moseley Novel by Charles Willeford
My rating: 4 of 5 stars

Pulp Burn-out

Willeford has always written from many points of view, and this is a superb example where the separate story lines entwine and intersect naturally. The plot is complex when viewed from a distance, but quite simple when seen from within the eyes of each character.

Willeford also reprises past motifs. One such example is with art. Willeford studied art in France and in Peru. This interests inhabits much of his early writing through his protagonist's own expressed interest in art (often idiosyncratic). This artistic pursuit is fully engaged in "Pick-up," brought to center stage in "The Burnt Orange Heresy," and then here in a surprising and satisfying lesson given by an automobile painter.

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“Girl in White” by Adela Rogers St. Johns

Opening Paragraph:

Heading down the corridor to the elevator, Scotty Dakers kept her thoughts away from what the doctor had said, what Ingles, the head nurse, had said. She forced herself to concentrate on the numbers on the doors she had to pass. Number 517 had been little Mrs. Halles, who had actually walked the sixth day after a fusion operation; 509 was old Robertson with all his money, whom Doctor Luke had dragged miraculously back to life; 501 was where they’d finally told Mitch Delberg the truth.

(My Mentor Howard Pease continues) This first paragraph warrants examination. The protagonist’s name, Scotty Dakers, might be either masculine or feminine; but the author does not keep us guessing. “Scotty Dakers kept her thoughts … She forced herself … “ We are with our heroine walking down a corridor. The mention of a doctor and a head nurse and numbered rooms all indicate a hospital. Scotty’s knowledge of the patients behind each door further indicates that Scotty must be a nurse. What was said to Mitch Delberg, the patient in Room 501, is the hook. Notice that there is a minimum of what we call author’s statement, direct statement. Mrs. St. Johns does not tell us that Scotty is a nurse on Ward C of St. Luke’s Hospital in San Francisco. Instead, she enters the mind of her protagonist, and does so at a definite moment in time. Scotty’s thoughts ring true. Reader identification is immediate. If Scotty already knows something of importance to the story, the reader is told what it is. If Scotty learns something, the reader learns it at the same time. Not once is the reader jerked out of the consciousness of Scotty. Identification is complete, and satisfying.

San Francisco Writers Conference

While attending the San Francisco Writers Conference last week, I went out to Treasure Island with my partner to show her the view of The City. Unfortunately, the entire length of the Avenue of the Palms was closed, and a high fence put up along the shore to obscure the view. It looks like the tear-down to create plush condos is proceeding with the vengeance of a Real Estate Mogul.

The story of the ride to this shot is worth sharing.

While in conversation with my cabbie, he said he was Filipino, and had arrived in The City in 1972 (the same time I left to join the USS Holland). He mentioned his rent for an apartment at the time was $400/month. I can attest to having to move to Hayward to afford the same sized apartment for $180.
Given the cost, and his challenging situation (looking for work to pay that cost), I asked why he moved here?
“It’s my home.”
“I thought you said you were born in the PI?”
“I was, and so was my father, but grandfather was an Army Cavalry man who fought in the insurrection (still going on, by the way). “Grandfather was a Buffalo Soldier.”

This brought me deep satisfaction to have heard his personal story of connection.

“The Summer of the Beautiful White Horse,” by William Saroyan

Opening paragraph:

One day back there in the good old days when I was nine and the world was full of every imaginable kind of magnificence, and life was still a delightful and mysterious dream, my cousin Mourad, who was considered crazy by everybody who knew him except me, came to my house at four in the morning and woke me up by tapping on the window of my room.

(My Mentor Howard Pease continues) Notice that this paragraph presents the three fundamentals in one long sentence. It also tells us that this story will be like the simple tale told aloud in the first person. Simple only on the surface, however, this viewpoint in reality is difficult to carry through with complete success. The limitations and weaknesses inherent in all first-person narratives may be why so many readers dislike this viewpoint, and why some editors greet its use with dismay. (See chapter on Point of View.) If you have the deftness and charm of a William Saroyan, or the sophistication and ironic wit of a Somerset Maugham, go ahead and try your hand at a first-person story. Otherwise wait until you become a craftsman.

Action Writer’s Block Contains a Treasure

The Action Writer has a choice…

Continue the quest and capture your reward, or starve?

Why “Action” Writer’s Block?

This is to narrow my audience to those who share the same genre I write in.  In my case it is even more succinct as the espionage genre.  Does your mystery feel like a game of hop-scotch?  Are your dynamic battle scenes outclassed by the Texas Hold-em match back in the barracks?  Does your detective keep banging his nose on the same door?

For other genres, I will guide you through your troubling blocks with scenes containing confrontation, a crisis, or the climax.

“So, What’s In It For Me?”

You deserve a personal approach, and I will guide you through obstructions that have challenged your writing.  I am a genuine warrior.  I can train you in the art of conflict.

“What Qualifications Do I Have As An Action Author?”

By claim and challenge.

My claim is as third generation veteran: Born to the culture.
As an “Army Brat,” I have lived all over the world.  Two years in Asia, and three years in Europe before I was thirteen years old.

At age fourteen, I set my foot on a four year long path toward West Point.  A memento of that commitment is a small book called “Bugle Notes.” It has always been within reach.  Next to it on the shelf is “Infantry Attacks,” Field Marshal Erwin Rommel.  While in Germany, I lived within a mile of his home and grave.  I wandered across, around, and through a lot of bunkers in my youth, one located within several hundred yards of a Nike nuclear missile site.

At age sixteen, I had read the guerrilla campaign journals of:
General Võ Nguyên Giáp
Ernesto “Che” Guevara
T. E. Lawrence
George Washington
Francis Marion
Felix Graf von Luckner
Simón Bolívar

At age eighteen, I was reading Army Field Manuals for survival, hand-to-hand combat, and guerrilla warfare.  And by that age, I had been practicing some of these lessons in my back yard in Fort Carson: maneuvering grounds, some vast valleys filled with tanks that were napalmed on practice runs by the air force.  I’ve found many grenades in my youth.  And I rigged a smoke grenade in a roadside trap.

At age nineteen, after having been passed over for West Point, I planned my enlistment in the Navy with its six year obligation for advanced training.  Before I pledged my oath of service, I had built out a time line of those six years, and when I would make my promotions, six of them, in four years.  Four years and three months later, I had achieved every mark.  This was rarely achieved in less than twelve years for the average sailor.  I had a nineteen year head start.

My claim as Action Author is as a multi-generational artist:  Born to art.

Even though I was born to the Warrior class, my parents were art experts and designers of jewelry.  Even though my Great Uncle had been a simple cowboy, stage coach driver for Wells Fargo, and a Texas Ranger, he was proclaimed “The Cowboy Artist of Texas.”

My claim as Action Author by challenge is through effort:

At age thirty, having capped a successful career in high technology, I finished work on two BA degrees, English with an emphasis in writing, and Cinema with an emphasis in analysis.  I then took my thesis script to Hollywood to pitch it—door-to-door.  100 doors (I had a list).  100 rejections.

“How Do I Recognize Writer’s Block?”

Your writing is undoubtedly at the top of its form, but you never seem to get around to plunging into it with the same gusto that inspired you in the beginning.  The source of this energy drain is unique to you, and only solutions that are genuine to you will work.

As a leader of men, I can spot troops out of formation, falling behind,
…and I tighten their discipline.

I can see over-written stratagems
… and I expose their weak rigidity.

As a warrior, I recognize the roots of cowerdice
… and I inspire confidence.

 

The Third Rung of the Character’s Growth Ladder

10. Reconciliation
9.   Separation
8.   Denial
7.   Disruption
6.   The reversible step into the Danger zone
5.   The first irreversible step into the Risk zone
4.   The opportunity
3.   The plan
2.   Temptation
1.   Motivation

What does first irretrievable step mean for other characters—if they were to have their own ladders?

In terms of the protagonist, there are several interpretations.  Here is one.

In the standard mystery, where the protagonist is a detective, then this rung of the ladder would represent that action taken that exposes the protagonist’s examination of the events to the antagonist.  Here, the canon of mystery writing presents a very schematic approach to the application of the fifth rung to this other character, but this application hardly fits all writing genres.  For them, I consider:

In terms of minor characters (being neither the protagonist nor the antagonist), I will generalize how this rung is employed.

The fifth rung is about the possibility of others discovering the intentions of the character.  Abstractly, it could mean an action taken by the character that has a strong connection that can be traced back to the character.  In a family-drama, it could be the filing of divorce papers by a spouse.  This presumes that the motivation for divorce was hidden (and it may well remain that way).  It follows that having done this, the next rung is divorce.

The Sixth Rung of the Character’s Growth Ladder

10. Reconciliation
9.   Separation
8.   Denial
7.   Disruption
6.   The reversible step into the Danger zone
5.   The first irreversible step into the Risk zone
4.   The opportunity
3.   The plan
2.   Temptation
1.   Motivation

What does first irretrievable step mean for other characters—if they were to have their own ladders?

In terms of the protagonist, there are several interpretations.  Here is one.

In the standard mystery, where the protagonist is a detective, then this rung of the ladder would represent that action taken that exposes the protagonist’s examination of the events to the antagonist.  Here, the canon of mystery writing presents a very schematic approach to the application of the fifth rung to this other character, but this application hardly fits all writing genres.  For them, I consider:

In terms of minor characters (being neither the protagonist nor the antagonist), I will generalize how this rung is employed.

The fifth rung is about the possibility of others discovering the intentions of the character.  Abstractly, it could mean an action taken by the character that has a strong connection that can be traced back to the character.  In a family-drama, it could be the filing of divorce papers by a spouse.  This presumes that the motivation for divorce was hidden (and it may well remain that way).  It follows that having done this, the next rung is divorce.

Our Lady of Darkness

Our Lady of DarknessOur Lady of Darkness by Fritz Leiber
My rating: 4 of 5 stars

Pulp Fantasy
(only because calling it Horror in place of Fantasy would be a doubling of Pulp which is its own interpretation of middle-class Horror)

I chose to read this out of my stream of Charles Willeford (actually, I was reading "Pick-Up" at the same time) because of another book (how could it be otherwise?) by Don Herron, "The Dashiell Hammett Tour." Within those pages Don Herron offered a writer he and his group ran into on the streets of The City, Charles Willeford. The purchase of Don's book has lead me to wonders of writers who inhabited San Francisco. Don also introduced me to Fritz Leiber, who added many references of Hammett to his novel, "Our Lady...."

Already knowing how Leiber lived in a rent controlled ("Rhodes" historically Rhodema now Union) hotel in the Tenderloin (and which was merely several blocks from my girlfriend's apartment up Nob Hill), it gave me immediate identification.

However, to return to "Our Lady...."

This story is atmospheric and full of the lore of Megapolisomancy. The hero owns an original journal of a man who studied paramental life-forces that defied time and space; and destructive-forces of the city's megalithic monuments. This book, familiar to an expert who wouldn't touch it for his life, contains both the question and the answer to the journal writer's death.

"Our Lady" is invested with the (author's autobiographical) hero's mood of recovering from the alcoholism following the death of his wife years before. Even then, it is neither morose, nor depressive. Instead, the hero is surrounded with comforting and supportive friends who rescue him from the paramental's highly disturbing embrace.

Of interest, and possibly fascination, is the hero's rumination on the many authors and their titles in the field of fantasy and horror genres that were current in the early 1970s.:
Nostig’s "The Subliminal Occult,"
“The Haunter of the Dark,”
"The Outsider,"
Collected Ghost Stories of Montague Rhodes,
“The City of the Singing Flame,”
"Ames et Fantômes de Douleur,"
"Knochenmädchen in Pelze (mit Peitsche),"
"Suspiria de Profundis,"
"The Spider Glyph in Time,"
"Sex, Death and Supernatural Dread,"
“The Thing on the Doorstep,"
“The Disinterment of Venus,”
...and many others.

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The Eighth Rung of the Character’s Growth Ladder

10. Reconciliation
9.   Separation
8.   Denial
7.   Disruption
6.   The reversible step into the Danger zone
5.   The first irreversible step into the Risk zone
4.   The opportunity
3.   The plan
2.   Temptation
1.   Motivation

What does first irretrievable step mean for other characters—if they were to have their own ladders?

In terms of the protagonist, there are several interpretations.  Here is one.

In the standard mystery, where the protagonist is a detective, then this rung of the ladder would represent that action taken that exposes the protagonist’s examination of the events to the antagonist.  Here, the canon of mystery writing presents a very schematic approach to the application of the fifth rung to this other character, but this application hardly fits all writing genres.  For them, I consider:

In terms of minor characters (being neither the protagonist nor the antagonist), I will generalize how this rung is employed.

The fifth rung is about the possibility of others discovering the intentions of the character.  Abstractly, it could mean an action taken by the character that has a strong connection that can be traced back to the character.  In a family-drama, it could be the filing of divorce papers by a spouse.  This presumes that the motivation for divorce was hidden (and it may well remain that way).  It follows that having done this, the next rung is divorce.

Thoughts on the Use of An Author’s Inspiration

As I may have stated elsewhere, I proceed along one track alone even when I have several projects open.

This is a rare exception where I am progressing through the first of my X-Division Assignments series and I have shifted my antagonist role into a character I had originally thought of as being tertiary (not even secondary, and far from primary).  However, that shift needed to be supported by a robustness not originally built into this character.  What to do?

This is where I changed hats and approached the “what to do” problem through my seeing how The Murderer’s Ladder could fit into the scope of An Author’s Inspiration.  In that regard, I have introduced a new data file.  My current design for this character (called Smith) is found in Smith.ladder, as follows:

Smith’s motivation is due to loss in security through Soviet’s torture of brother in North Korean captivity.

Smith’s temptation to pursue revenge arrives in the form of the Soviets adding a mission in SF.

Smith establishes plan to poison Russian consul.

 

Smith is presented with an opportunity to proceed with plan through discovery of cache of lost radioactive isotopes from the early 50s.

Smith’s first irretrievable step is taken by bringing pressure upon the discoverer Hickey to conspire and keep secrets.

Smith uses a new confederate Sanderson to engage in poisoning Hickey, then an attaché for rehearsal.

Smith does not fly from the scene of conflict but instead shelters Sanderson and manipulates the crime scene.

Smith being unobstructed tries to complete the assault on the Russian consul.

Protagonist tests Smith’s false suspects for the validity of their being suspected.

Protagonist traps Smith in false, confused, or overlooked clues.

Some of this may appear cryptic (e.g. SF means San Francisco and is easily substituted in my mind), or in a contorted sentence construction (loss in security–the family was attacked through one member’s torture).  Such are the benefits and down-sides of keeping things short, but accessible.

“Passengers for Panama,” by Paul Stockton

Opening Paragraph:

The third mate of the Araby was puzzled. From the foredeck of his old tramp steamer he looked uneasily across a deserted wharf at the little Caribbean port of La Guaira, lying quiet and undisturbed at the foot of the Andes. Too quiet, thought Tod Moran as his gaze swept the empty street. At ten in the morning, with a ship just arrived in port, a whole town does not take a siesta, even in Venezuela.

(My Mentor Howard Pease continues) The protagonist is named, the setting is given, and the hook is the silence and emptiness of the dockside street at ten in the morning. Note that the reason for the siesta-like atmosphere is not disclosed, but the reason is just as much a mystery to the protagonist, Tod Moran, as it is to the reader.

“The Man who Shot Snapping Turtles,” by Edmund Wilson

Opening Paragraph:

In the days when I lived in Hecate County, I had an uncomfortable neighbor, a man named Asa M.  Stryker.  He had at one time, he told me, taught chemistry in some sorry-sounding college in Pennsylvania, but he now lived on a little money which he had been “lucky enough to inherit.”  I had the feeling about him that somewhere in his background was defeat or frustration or disgrace.  He was a bachelor and kept two servants—a cook and a man around the place.  I never knew anyone to visit him, though he would occasionally go away for short periods—when, he would tell me, he was visiting relatives.

(My mentor Howard Pease continues) The point of view in this story is the one so often used by Somerset Maugham.  It is the viewpoint of an observer, the “I” person, who tells us about the protagonist, an interesting friend or acquaintance.  We never enter the mind of the main character.  We merely see him in action and hear him talk, all of this interpreted for us by the observer, who is not even named.

“Cyclists’ Raid,” by Frank Rooney.

Opening Paragraph:

Joel Bleeker, owner and operator of the Pendleton Hotel, was adjusting the old redwood clock in the lobby when he heard the sound of the motors. At first he thought it might be one of those four-engine planes on the flights from Los Angeles to San Francisco which occasionally got far enough off course to be heard in the valley. And for a moment, braced against the steadily approaching vibrations of the sound, he had the fantastic notion that the plane was going to strike the hotel. He even glanced at his daughter, Cathy, standing a few feet to his right and staring curiously down the street.

(My Mentor Howard Pease continues) In this opening paragraph, there are two points to notice. First, the time element is not given, and this means that the reader may have to adjust his picture when the time is finally mentioned as night or day. Second, something is added at the end of the paragraph: Bleeker looks at his daughter, Cathy. By adding this statement, the author promises that Cathy will play a prominent part in the story. And indeed she does—a tragic part.

(My comment) This story was used for Marlon Brando’s hit “The Wild One.” Again, note that this opening paragraph contains the hallmarks of naming the protagonist, setting a scene, and offering a hook. It is not a false hook, because from the POV of Joel Bleeker, he cannot see what Cathy sees.

The Way We Die Now

The Way We Die NowThe Way We Die Now by Charles Willeford
My rating: 4 of 5 stars

Pulp Upward Mobility

Of the Hoke Moseley series, this is the most determinedly Pulp of them all and returns to the roots of the genre.

The sense of research, investigation, criminal pursuit have been sidelined to serve Hoke's fall from grace and his middle class redemption (which is the ultimate condemnation, a very personal and punishing hell within the gritty realm of Pulp).

An example of this arises out of his daughter's own emergence into bitter adulthood:
"Suddenly Aileen began to cry. Tears, unchecked, streamed down her cheeks.
"'What's the matter? Why are you crying?
"'Be-because," she said finally, still sobbing, 'because you can't!'"

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“The Garden Party,” by Katherine Mansfield

Descriptive Paragraph:

They could not have had a more perfect day for a garden-party if they had ordered it.  Windless, warm, the sky without a cloud.  Only the blue was veiled with a haze of light gold, as it is sometimes in early summer.  The gardener had been up since dawn, mowing the lawns and sweeping them, until the grass and the dark flat rosettes where the daisy plants had been seemed to shine.  As for the roses, you could not help feeling they understood that roses are the only flowers that impress people at garden-parties; the only flowers that everybody is certain of knowing.  Hundreds, yes, literally hundreds, had come out in a single night; the green bushes bowed down as though they had been visited by archangels.

(from a collection of opening paragraphs at www.secondroot.com)

The Second Rung of the Character’s Growth Ladder

10. Reconciliation
9.   Separation
8.   Denial
7.   Disruption
6.   The reversible step into the Danger zone
5.   The first irreversible step into the Risk zone
4.   The opportunity
3.   The plan
2.   Temptation
1.   Motivation

What does first irretrievable step mean for other characters—if they were to have their own ladders?

In terms of the protagonist, there are several interpretations.  Here is one.

In the standard mystery, where the protagonist is a detective, then this rung of the ladder would represent that action taken that exposes the protagonist’s examination of the events to the antagonist.  Here, the canon of mystery writing presents a very schematic approach to the application of the fifth rung to this other character, but this application hardly fits all writing genres.  For them, I consider:

In terms of minor characters (being neither the protagonist nor the antagonist), I will generalize how this rung is employed.

The fifth rung is about the possibility of others discovering the intentions of the character.  Abstractly, it could mean an action taken by the character that has a strong connection that can be traced back to the character.  In a family-drama, it could be the filing of divorce papers by a spouse.  This presumes that the motivation for divorce was hidden (and it may well remain that way).  It follows that having done this, the next rung is divorce.

“A Rose for Emily,” by William Faulkner

Opening Hook Paragraph:

When Miss Emily Grierson died, our whole town went to her funeral: the men through a sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house, which no one save an old man-servant—a combined gardener and cook—had seen in at least ten years.

(My mentor Howard Pease continues) Here the author names his protagonist, or main character, who has just died.  Then he throws out a hook to arouse our curiosity about her.  We, too, now want a glimpse inside Miss Emily’s house.  And we get that glimpse—and never forget what we see.

“Anna Teller,” by Jo Sinclair

Opening Paragraph:

Anna Teller was the only refugee on the plane from Munich to New York.

(My Mentor Howard Pease continues) This first paragraph is one sentence only, and a short sentence at that. The protagonist is named, the setting is given, and the small hook is a statement that contrasts Anna with all the other passengers.

The second paragraph describes the passengers who keep glancing at Anna because she is so obviously different. The third paragraph presents an objective description of Anna as seen by these passengers. Next, the action begins, with dialogue. This is a craftsmanlike way of starting a novel.

Glance back at this short first paragraph and notice how uncluttered it is. Only a few selected facts are given.

The Woman Chaser

The Woman ChaserThe Woman Chaser by Charles Willeford
My rating: 4 of 5 stars

Pulp cinema?

The modern audience may think Tarantino got there first (at least on film, 1994), but Willeford bookended "Pulp Fiction" with his script, 1960, that made it to the silver screen, 1999, with few, if any, changes.

Pulp cinematic hero? Consider this description:

"Two hundred pounds, the beginnings of a paunch, big size-eleven feet, more enormous yet in red-yellow-and-blue cashmere argyles, thick, hairy arms and basket-ball-player hands, a mat of blue-black chest hair; a sunburned grinning face, and a headful of dark unruly hair, badly in need of cutting. Some dancer! I laughed wildly. In the face of all maternal arguments I had quit taking ballet lessons when I turned fourteen and fell in love with baseball. The hell with it! I assumed an attitude and met Mother’s charming pas de Bourree with outstretched arms and fingers."

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The Actual Killing, the sixth rung of The Murderer’s Ladder

10. The necessity for eliminating the little overlooked clues and loose threads
9.   The false suspect
8.   The cover up
7.   The flight
6.   The actual killing
5.   The first irretrievable step
4.   The opportunity
3.   The plan
2.   Temptation
1.   Motivation

What is the actual killing?

The antagonist is fully acting on the plan to completion.

This may be one of the entry points for the protagonist as witness, secondary victim, or investigator.

Here, the antagonist either moves on in obscurity through successful planning, or meets with unforeseen obstacles through which they must play it by ear, or become ensnared in their obvious fulfillment of their motivation.

If the protagonist is involved, then the antagonist may be forced to improvise.  The antagonist’s improvisations to ill-adjust the plan will undoubtedly include obscured, but personal characteristics that conflict with the details revealed in the crime’s commission.

The actual killing contains the basic elements of who, what, where, when, and why.

The who: The antagonist and the victim.

The what: Murder.

The where: Here.

The when: Now.

The why: The plan’s promise of relief.

All that is needed is for the antagonist to move away from the scene (fly, escape).

The antagonist is under the greatest stress of anticipation of discovery or capture.  Thus, at the elemental emotional level it engages either anger or fear.

The Cover Up, the eighth rung on The Murderer’s Ladder

10. The necessity for eliminating the little overlooked clues and loose threads
9. The false suspect
8. The cover up
7. The flight
6. The actual killing
5. The first irretrievable step
4. The opportunity
3. The plan
2. Temptation
1. Motivation

What is the cover up?

This is work on diminishing all connections of the antagonist to the crime.

If the protagonist is involved, then the antagonist may be forced to improvise.  The antagonist’s improvisations to cover up the crime and its association to them will undoubtedly include personal characteristics that conflict with the details offered in the cover up.

The cover up contains the basic elements of who, what, where, when, and why.

The who: The antagonist and characters in pursuit.

The what: Examining the evidence.

The where: Here.

The when: During the investigation.

The why: The antagonist’s need for evidential distancing.

More that may be needed is for the antagonist to frame a character as suspect.

The antagonist is under a high stress of anticipation of success or failure.  Thus, at the elemental level it engages fear.

“Boy Crazy,” by John De Meyer

False Hooks in opening paragraphs:

Walter Fenton squinted sleepily as the morning sun flooded through his bedroom window. He stretched up to pull the shade down. Then his mouth fell open in astonishment, What he saw out on the lake he could hardly believe. He shook his wife Emily.

My Mentor, Howard Pease goes on to explain what he means by False Hook:

Our protagonist is Walter Fenton. The setting is a house near a lake, and the time is an early morning of bright sunlight. Next comes the hook, questionable on two counts. First, the statement His mouth fell open is so trite, so old-hat, that it should never be used today. Second, the sentence “What he saw out on the lake he could hardly believe” shows the author hiding information in a desperate effort to rouse interest. Instead, it is likely to rouse irritation. Such a hook is like a child’s excited announcement, “I’ve got a secret!” after which he teases you until you beg him to tell. The revelation is always a disappointment, because by then your expectations are too high.