Tag Archive for: writing

“Just One More Thing”

When you hear the phrase “just one more thing,” what comes to mind? If you were around in the 1970s, you probably remember Columbo, starring Peter Falk as Lieutenant Columbo of the Los Angeles Police Department. The series won 22 awards and received 68 nominations, with Falk earning four Primetime Emmy Awards. It aired on NBC from 1971 to 1978 and has since been rebroadcast on numerous networks.

What I liked most about the show was its structure: viewers knew the killer from the start and then watched Columbo patiently unravel the crime. Each episode featured a guest star as the murderer—Martin Landau, Janet Leigh, Ruth Gordon, Vincent Price, Roddy McDowall, Leonard Nimoy, even Johnny Cash, to name a few.

I recently rediscovered the series after making a practical—if slightly risky—decision: changing hairdressers after fifteen years. When I learned my husband’s barber had begun cutting women’s hair for less than half what I’d been paying, I decided to give her a try. I only needed a trim—no shampoo, no styling. The first visit took less than ten minutes, and I was pleased with the result.

On my most recent visit, I didn’t have an appointment. Four people were ahead of me, and I thought about leaving—until I noticed the television was tuned to Columbo. I stayed. The episode featured Ricardo Montalban as a matador in “A Matter of Honor.”

When Columbo arrives on a scene—hair rumpled, trench coat wrinkled, cigar in hand—he’s easy to underestimate. His suspects dismiss him as absentminded, even inept. But his polite, seemingly scattered questions are deliberate. Columbo is a meticulous strategist, noting every clue and quietly assembling the truth. He wears his suspects down with persistence, circling back again and again until—almost as an afterthought—he says, “Just one more thing.”

Alfred Hitchcock also used this technique in his movies Rope, Dial M for Murder, A Shadow of a Doubt, and Frenzy. His forte was suspense rather than surprise. The audience knows what happened as they watch the story unfold. Suspense builds tension, keeping the audience on the edge of their seats as they participate in solving the crime.

Back to my barber. I waited nearly an hour that day and didn’t mind at all. I was hooked as soon as Columbo began his investigation. I knew he’d solve the mystery, and I couldn’t wait to find out how he did it. Next time I need a trim, I may skip the appointment altogether. I’ll take a seat, request Columbo on TV, and bring my writing journal. I’ll study the master detective at work and take notes for the next mystery.

Have you ever written a reverse whodunnit?

Authors Helping Authors: A Full Circle Moment

AUTHORS HELPING AUTHORS

I’d been published a little over a year, maybe two, when I first met Emily Wood. I’d been approached by a regional library to talk about writing and getting published. As I recall, it was loosely related to the now defunct National Novel Writing Month (NaNoWriMo) held each November. Anyway, Emily was there, and at the time she was the Editor of the Base Borden newspaper, and worked part-time at the library.

I remember her sitting there, earnest, notebook in hand, dreams in her eyes. She asked a lot of questions. Good questions. Relevant questions. I answered them honestly, but I hoped, with cautious optimism. Yes, getting published was tough, but it could be done. And the one thing I believed in was authors helping authors. Emily might not have been a published author — yet — but in my mind, she was still an author.  I seem to recall she was writing something dystopian. The Handmaid’s Tale was big at the time, which may or may not have had something to do with it.

I went on to do a few other library events and presentations, mostly at my then-local library. Emily attended each and every one of them. I think, the first time, she was surprised that I remembered her, but I had been really impressed by her enthusiasm and ambition. I’d been her, once. Part of me still was, even if I’d become just a little more jaded. By 2018, after being “orphaned” twice, I gave up on traditional publishers (except for the odd short story) and had started my own imprint.

STEP-BY-STEP PUBLISHING GUIDES

Fast forward to late 2022. After 14 years in remission, I was diagnosed with the unwelcome return of breast cancer. Surgery followed shortly thereafter and suddenly the idea of trying to come up with a complicated mystery plot seemed impossible. Not writing also seemed impossible. But I was a former journalist. And I knew about traditional and self-publishing. What if I wrote about that, a sort of easy-to-read step-by-step guide? I liked the idea, but I knew I would need someone to work with me, an editor that was willing to review a chapter (or part of a chapter) every week. But who?

Then I remembered editor and aspiring author Emily Wood. I contacted her, and we came to an agreement whereby I’d pay her a fair hourly wage, and she’d return edited chapters to me on a weekly basis. It was a partnership made in heaven. Emily’s much more youthful perspective, and her recent efforts to find an agent, added meat to FINDING YOUR PATH TO PUBLICATION: A STEP-BY-STEP GUIDE, that otherwise would not have been included. That book went on to win the 2024 Killer Nashville Silver Falchion Award for Best Nonfiction AND the 2024 Writer’s Digest Award for Best Prescriptive Nonfiction (that one was nice because it came with a $1,000 prize). I followed up PATH with SELF-PUBLISHING: THE INS & OUTS OF GOING INDIE. Here, Emily’s lack of knowledge was instrumental in how I would explain the process that virtually anyone could follow.

A FULL CIRCLE MOMENT

Another fast forward, this time in 2024, when Emily was hired fulltime at the library AND informed me she’d landed an agent and they were shopping her book (a romance, which is what she loves to read). She signed a contract soon after and the book JUST MY LUCK, released in February 2026. You can find it on Amazon and other retailers.  And then, one day in March, a parcel arrived from Emily. Her debut novel, signed and personalized. A matching bookmark. A lovely thank you card.

And that’s what you call “a full circle moment.”

ABOUT JUST MY LUCK (by Emily Wood)

Sloan Sanders’ perfectly curated online life is in shambles. Dumped the same day her dream business collapses and rocked by a shocking DNA test, she escapes to her aunt’s farm to regroup.
Instead of peace, Sloan finds herself knee-deep in manure and butting heads with Parker, the annoyingly hot stable hand who seems determined to make her life difficult. She thinks he’s shady. He thinks she’s an entitled princess. But as sparks fly and secrets come out, Sloan realizes the line between enemies and something more is getting blurry.
When a chance comes to prove herself and reinvent her future, Sloan needs Parker’s help. Transforming a dusty hayloft into an Instagram-worthy event space might just change everything—if she’s willing to show the world her unfiltered self.
Perfect for fans of Jen DeLuca’s Well Met and K.A. Tucker’s The Simple Wild, JUST MY LUCK is a heartwarming rom-com about identity, family secrets, and finding love where you least expect it.

YOU CAN FIND EMILY WOOD ON INSTAGRAM @emilywoodwrites

The Past Chair of Crime Writers of Canada and a former journalist and magazine editor, Judy Penz Sheluk is the multiple award-winning author of seven bestselling mystery novels, two books on publishing, and several short stories. She is also the editor/publisher of five Superior Shores Anthologies, including the 2025  Derringer- and Silver Falchion- nominated Larceny & Last Chances and the 2026 Derringer-nominated Midnight Schemers & Daydream Believers. Find her at www.judypenzsheluk.com

 

How I Was Almost a Prophet — by T.K. Thorne

It was a dark and stormy night. Really.

SEE MORE

Polishing prose so it sparkles

by donalee Moulton
 

We’ve been talking about the editing process. We started at 30,000 feet looking at the big picture. Now we’re on terra firma.

In my book The Thong Principle: Saying What You Mean and Meaning What You Say, I discuss the various types of editing – and why they are all essential. For many of us, editing is synonymous with copyediting.

Copyediting is like minor surgery. The impact can be significant, but structural changes and in-depth revisions are not necessary (or have already been done).  This type of editing, the most common for most of what we write, involves editing a document for style, flow, and clarity. It also requires ensuring a consistent tone and pacing. Publishers often call it line editing.

Editors Canada offers the following overview for stylistic editing, or line editing. For many writers, this is what they’re doing when they are copyediting. Ultimately, it doesn’t matter what we call it as long as we do it.

Stylistic Editing

Editing to clarify meaning, ensure coherence and flow, and refine the language.

It includes:

– eliminating jargon, clichés, and euphemisms
– establishing or maintaining the language level appropriate for the intended audience, medium, and purpose
– adjusting the length and structure of sentences and paragraphs
– establishing or maintaining tone, mood, style, and authorial voice or level of formality

What’s A Copyeditor To Do

Here are six areas of focus to help ensure your writing resonates with your audience and achieves your purpose.  When you look closely at these elements, you sharpen the writing and the plot. Readers are more likely to be carried along by your words. There will be no head scratching and no rereading to make the meaning is clear.

Check for:

1. CLARITY
Look to see if you are using:
– Long sentences that could confuse readers
– Big words readers could stumble over
– Uncommon words that will furrow their brows
– A tone that distracts or conflicts with the content

Bottom line: Make sure the meaning of what you write can’t be misinterpreted.

2. TRANSITIONS
– Between sentences
– Between paragraphs
– Movement in time, place, subject

Transitions aren’t usually complex. They flow naturally moving readers through prose with short, everyday words like “however,” “so,” and “then.”

3. CONCRETENESS
– Facts and figures
– Specific language
– Action verbs
– Active voice

Readers want us to paint a picture for them – one they can see and one they can believe in.

4. REPETITIVENESS
– Are specific ideas repeated unnecessarily?
– Are words used more than once in sentences? In paragraphs?

Tip: Avoid summarizing. Readers don’t require it, and it slows them down.

5. COMPLETENESS
– Are the 5Ws and how answered?
– Are there any unanswered questions when there shouldn’t be?

Have you emphasized the most important question: Why?

6. FLOW
– Does the content make sense
– Do the words move smoothly

Find out for yourself.  Read your writing out loud.

Would love to hear about your editing challenges — and successes.

IYKYK (If You Know You Know)

As authors, the written word is our trade. We strive for authenticity in the way characters talk, the language they use, and the methods used to communicate. Dialog differentiates the speakers, but how to make a teenager sound like, well, a teenager rather than their grandparents? A judicious use of slang can establish a character’s identity, often revealing their social status and education.

What is slang anyway and why does it work? The dictionary defines slang as: “a language peculiar to a particular group, an informal nonstandard vocabulary composed typically of coinages, arbitrarily changed words, and extravagant, forced, or facetious figures of speech.”

Consider these two dialog snippets from Ready Player One, a 2011 science fiction novel by Ernest Cline:

Example 1:

“Great outfit, slick,” he said. “Where did you snag the sweet threads?”

Example 2:

“…what do you have to do to get your hands on all this moolah? Well, hold your horses, kids.”

Without much thought, you can tell the first is from a young person (actually an avatar) by the idioms and slang used. Likewise, you know right away the speaker in Example 2 is a much older person by the use of ‘moolah’ and ‘hold your horses’ — expressions common in past decades.

Historically, spoken language evolves faster than its formal written counterpart. The rise of the internet, social media, and texting has birthed a new language that is written, full of a multitude of unpronounceable expressions.

Which brings me to my conundrum. My characters are often on cellphones, texting each other. How should I use slang to individualize their texts? I’m not even clear on how to represent this dialog. In different fonts? Bolded? Indented? And how do you tag the different speakers in a back-and-forth conversation? My go-to edition of the Chicago Manual of Style has deserted me on this topic, making no formal recommendation. And, shudder, what slang do my characters use when texting?

Internet slang is a non-standard language used to communicate using symbols (emojis) and shorthand acronyms on gaming platforms, phones, chat groups, and social media. Examples most of us know are IYKYK (if you know you know), LOL (laughing out loud), and LMK (let me know). Others are more specialized to particular groups. Try GG (good game) for gamers, API (application programming interface) for software developers, or DOMS (delayed onset muscle soreness) for fitness groups.

Others are more arcane. How about the sarcastic GPOY (gratuitous pictures of yourself) or 403 (deny access to). My favorite example is PWNED (owned). This linguistic abomination apocryphally arose from a game developer’s misspelling of ‘owned’. I leave the pronunciation to your imagination.

Faster than the spoken language, internet slang is evolving and changing almost daily. Herein lies one of the dangers. The shorthand slang idioms used on one social media platform, say Reddit, differ from those in common usage on X or BlueSky.

That’s not to say that some of these acronyms haven’t wormed their way into everyday English, such as FOMO (fear of missing out). English, the opportunistic and omnivorous language it is, has adopted SNAFU, AWOL, and MIA among others. However, there is no predicting which acronyms will appear in the next edition of the Oxford Dictionary of the English Language or be relegated to the dustbin of archaic cliches. Using what is in favor today may, at best, only sound dated or most likely be cringe-worthy tomorrow.

You might ask why have my characters text at all. A phone call or F2F (face to face) would avoid these problems. First, today everyone is glued to their phones, even conversing over texts while at the same dinner table. Second, I use texting as a technique to create anticipation or suspense. Unlike a phone call or a conversation, a response to a text can be delayed, maybe not even seen for a conveniently inconvenient period of time. Finally, a character can carry on a text conversation while witnessing or participating in exciting action.

So, where does that leave my characters? For now, their texts will be pronounceable. They will contain punctuation. I will treat internet slang as a foreign language, using an expression only if the meaning is clear from the context. What do you think?

IIGHT (alright, okay?)

Writers Without Borders

Of the many reasons I love living in Colorado, the Jaipur Literature Festival is one of them. Wait a minute. Jaipur? Isn’t that in India? And they have a literature festival? Yes, they do. Known simply as JLF, it’s the world’s largest, un-ticketed event free to all, no matter how rich or poor.

 

The motto of the festival is “Stories Unite Us.” Geographically, Boulder, Colorado is 7,825 miles from Jaipur, but each year JLF brings the city a wealth of international writers, humanitarians, business people, artists, and philosophers. Boulder is one of five locations in the U.S. to host the event, much more convenient for me to participate in this feast of ideas.

This year, JLF Colorado in Boulder was awash in brightly colored banners and saris. Vibrant music and tantalizing smells of Indian food filled the air along with animated discourse. Among the speakers were local authors David Heska Wanbli Weiden and Margaret Coel discussing the crossroads of crime—a topic near and dear to my writing.

 

 

I was fortunate to attend a talk by the famed writer and JLF founder Namita Gokhale. A journalist and award-winning author, she recalled growing up in the mountains in India with her grandmother, who believed a tablespoon of brandy was the cure to all illness. Many of her works dealt with how a culture’s mythology defines behavior. When asked what was a writer’s responsibility, she replied, “A writer’s responsibility is to be irresponsible.”

A simple statement, which at first, struck me as an oxymoron. However, the more I consider her viewpoint, the more I agree. As writers, we need to challenge our strongly held cultural myths, to take risks, to shake our own convictions. That is the true power that all art wields.

For more information on JLF, please see https://jlflitfest.org.

What Kind of Writer Am I?

by Paula Gail Benson

I’ve heard about plotters and pantsers. In Bird by Bird, Anne Lamott commends E.L. Doctorow’s advice that writing is like driving a car and only being able to see as far as your headlights, yet having the ability to complete the trip with that view.

Plotters create a road map. Pantsers have an idea of where they are going and find the path as they take it.

I’m trying to figure out what to call my writing style.

For my latest short story, I started with an idea: what if (I’m a big advocate of “what if” questions—I heard Mary Higgins Clark liked to start that way)—so, what if a former step-father gets a visit from his adult former step-daughter on Father’s Day? She’s terrified because she thinks she might have killed her husband. She goes to her former step-father because he’s the only man she truly trusts.

To help her, the former step-father goes to see if the husband needs medical help. He finds the husband bruised, but alert and with the step-daughter’s biological father. The husband and biological father are concerned the step-daughter has resumed company with those who supported her addiction. Previously, while the step-daughter received treatment for addiction, her mother served as conservator for the step-daughter’s funds. The biological father suggests he’s ready to establish a new conservatorship, with him in charge of the money.

Who should the step-father believe—his step-daughter or her husband and biological father? What should he do?

At this point, I’m not sure where the story is going, only that the step-daughter has confessed to hitting her husband with a candlestick her mother gave her as a wedding gift and that the husband and biological father are determined to control the step-daughter.

The step-father takes a long route home, figuring the biological father might have him tailed. He sees evidence of someone following him. The step-daughter doesn’t answer the phone and when he gets home, he finds she’s gone. With reluctance, he calls his ex-wife and learns she did not support her daughter’s marriage. He goes to visit the ex-wife, who gives him some potential leads for locating the daughter. Notice, the ex-wife is depending upon him to do the legwork, just as she did during the marriage.

As I’ve followed this meandering trail, I’ve figured out more about the characters I’ve met and made myself hone-in on why the husband and biological father are intent on finding the step-daughter. I’ve made myself focus on the premise of the story and the theme it will convey.

Each day, I’ve written my way forward in a notebook, setting out the steps and leaving room to fill in the details as I type up my notes. I see places to make connections and endeavor to add seamlessly to the story.

When I started, I wasn’t sure about the end. Now I have an inkling of what that might be, but it’s still subject to change.

Am I a combination, plotter and pantser—plantser? The hand-written notes seem like a form of plotting, but in fact, I’m just following where the characters lead me. What happens next? Set up the scene and I’ll sketch it out as you (the characters) live it.

Recently, listening to a talk by best-selling romantic comedy author Katherine Center (her latest novel is The Rom-Commers), a member of the audience asked if the characters spoke to her. Center replied no, but the characters let her watch as they took their journey.

I think I may resemble that remark. What do you think? Am I depending upon the headlights in a vehicle driven by my characters?

Figures of Speech

Figures of Speech

by Saralyn Richard

An English major in college, I was required to take courses in Chaucer/medieval lit, Shakespeare, Milton, 18th and 19th century literature, and American literature, among others. Of these, the dreaded subject was Milton, mainly because the brilliant poet and author of Paradise Lost took full advantage of the vast body of history, philosophy, religion, politics, and literary criticism of the day, and analyzing and interpreting even a few lines of his work could send a person down a rabbit hole for eons.

I had read excerpts from Milton’s works in high school, and I’d found them dry and uninteresting, but when I arrived in my Milton class junior year in college, I had a whole different experience. Call it an awakening, a challenge, a puzzle—whatever—I delighted in the intrigue and purpose of Milton’s language, and I couldn’t get enough.

After the semester, I decided to continue studying Milton by undertaking two semesters of work, researching and writing an honor’s thesis. My focus of study was figures of speech.

Most people understand the function of figurative language and can identify and explain similes, metaphors, personifications, and analogies. Few, however, realize that these represented only a miniscule number of the figures of speech available for Milton and other writers of the Elizabethan and Puritan eras.

I could write treatises—or an honors thesis—about what I learned from books, such as George Puttenham’s The Arte of English Poesie, or Henry Peacham’s The Compleat Gentleman, but for this blogpost, I’ll say that I was astounded by the more than 456 figures of speech used by Renaissance writers of poetry and prose.

The literary devices included repetitions, inversions, comparisons, and rhetorical devices to tickle the ear and tempt the mind. Some of the more obscure, but popular, figures of speech were anastrophe, litotes, and anadiplosis.

Once I learned about them, I had fun hunting for them in Milton’s verse. Each find unlocked a bit of the magic that made Milton’s writing so memorable.

Fast forward to the 21st century, and I was teaching creative writing to students aged 55 and older at the Osher Lifelong Learning Institute. I introduced a unit in figures of speech, and we dug into definitions and examples of a variety of the lesser-used devices. I challenged learners to use some, like synecdoche and metonymy in their writing, and the results were amazing.

Also, when I read a work of fiction by an author like Poe, Tartt, Kingsolver, or Irving, and I find a turn of phrase that is particularly appealing, I love to deconstruct the language. Do you do the same? What is your favorite figure of speech, and which author do you think is especially adept at using figurative language?

Saralyn Richard writes award-winning humor- and romance-tinged mysteries that pull back the curtain on people in settings as diverse as elite country manor houses and disadvantaged urban high schools. Her works include the Detective Parrott mystery series, two standalone mysteries, a children’s book, and various short stories published in anthologies. She also edited the nonfiction book, Burn Survivors. An active member of International Thriller Writers and Mystery Writers of America, Saralyn teaches creative writing and literature. Her favorite thing about being an author is interacting with readers like you. If you would like to subscribe to Saralyn’s monthly newsletter and receive information, giveaways, opportunities, surveys, freebies, and more, sign up at https://saralynrichard.com.

 

NEVER GET DISCOURAGED

Great to be a new member of the Stiletto Gang, the most talented writers I’ve come across in a group, probably ever. As an introduction, I’ll lay out the highlights of my literary journey below.

 

In 1962, my mother registered me for a writing class that was offered in summer school after the eighth grade. Only one other girl signed up, so the class was cancelled.

 

Once in high school, we were assigned a short story. I wasn’t present the day the teacher handed them back—I’d gone to the orthodontist—but when I returned to school, kids congratulated me on my story, saying the teacher read it to the class. The next day when she returned my story, I found she’d give it a B-.

 

My parents told me I couldn’t be a writer because I wouldn’t be able to make a living. I don’t know whether that is what would have happened. You never know what the future holds. But, I was an obedient child, at least for a while, so I said ok.

 

I didn’t know what else I might want to do. Dad wanted my sister and me to be teachers, so if our husbands died or abandoned us, we’d be able to support ourselves. My sister did and ended up as an administrator in a small public school district. Me? I dropped in and out of five colleges/universities until I was finally awarded a B.S. degree in Criminal Justice.

 

I once signed up, as an adult, for a writing class at the community college in our town, excited to finally get something going. When I received my first story back, the instructor had written that I had no talent—give it up.

 

After I began practicing law, I was lying around my living room once night and told my husband that if a writer could make $5,000 a pop for genre romance novels as it stated in the TV Guide article I read, I should try that. I read everything, including romances. I didn’t think it looked that hard. So, I bought some books on writing romances and sent for tip sheets and finally wrote one. I sent it off and waited for a response. The editor said no, she wouldn’t publish my novel, her rejection including some choice insults, and never to send her anything again.

 

I began writing suspense/mysteries in the 80s. My father was a criminal defense lawyer, (and later a judge), so I’d been around the law since I was little. I had been a probation officer and was at that time a criminal and family lawyer. Crime, I knew about. By the way, I heard that not long after the aforementioned editor rejected my novel, she died. Just so you know, I didn’t kill her.

 

When my editor at St. Martin’s Press, Inc. called me about MY FIRST MURDER, (my first published novel) he excitedly asked where I learned to write like that. He loved the book and said my manuscript was one of the best submissions he’d ever seen in terms of preparation, punctuation, etc. He loved it so much, a year later he rejected the sequel.

 

Enough of that. My point is, never give up. I had that first novel sale in 1988. I used the book as a political tool when I was running for office, donating copies across the county. What a great gimmick! I received free publicity and extra attention at every event, in addition to speaking engagements.

 

I was elected to the bench and took office on 1/1/91. My focus turned to being a sitting judge, modernizing practices and procedures in that court, including starting programs to help families and children. I continued to write whenever I could, though I didn’t have any other books published until after I left the bench at the end of 2002. In 2004, Eakin Press (a Texas publisher) released my nonfiction books: Heart of Divorce (which I wrote to help pro se litigants who couldn’t afford lawyers to prosecute their own divorces) and Murdered Judges of the 20th Century, which I researched and wrote over the previous six years, (and which began as evidence for the county commissioners that we needed courthouse security).

 

After that, I started submitting works I’d written while on the bench. I wanted to change my focus from the law to liberal arts. In 2015, I made the decision to self-publish. Though by then I had several mystery/suspense novels under my belt, I had grown tired of the traditional publishing process. I was aging out. The last straw was when an agent told me to cut my manuscript 20,000 words and submit it to her. I did, and never heard from her. That was it.

 

At sixty-five years of age, I was sick of the abuse most authors suffer at the hands of agents and editors. I was writing because I have to, not because I needed to. Or, as I often phrase it, I can’t not write. There was no joy, no pleasure in experiencing what they were dishing out. Where I had hoped for years to have the guidance and support of an agent and/or editor, I realized that would never happen. I have stories to tell. I’m constantly learning craft. I don’t care if I ever have huge sales. I’m having fun doing what I’ve wanted to do since I was a little girl with no pressure, no insults, no rejection. I love it.

 

Now, at 74, I spend a lot of my days writing or reading. I’m having fun living life my way. I never gave up. I suggest if you love to write, don’t let anyone discourage you either.

Susan has published 14 books in the last 30 or so years. Not all of them are mystery/suspense, but all of them have something to do with the law.