Tag: $amwriting

Motive, means, and opportunity – Means

I’m working on a novella which may boringly be called “Motive, Means and Opportunity” where I will present a chunk of information from which you if you want to, can become the armchair detective.

Here’s the second part, the so-called Means

 

Everyone knew I had a gun.  It was locked away in a safe that was not in an obvious position in the dressing room at home.

Several years ago our neighbourhood had been subjected to several breaking and several people had been injured, prompting the rest of us to seriously consider getting protection.

I got a Glock 19, 9 mm along with several of my neighbours and then both Wendy and I got lessons so we knew how to use it properly, and avoid shooting either each other or in our feet.

The thing is, there had only been that one round of breaking, and since the gun was put away on the safe about eighteen months ago, it had not seen the light of day since.

Or so I thought.

When asked to check if it was still there, it wasn’t, much to my surprise.

Equally, to my surprise, the bullet that killed James Burgman was a nine millimetre.  Was that a coincidence, I didn’t think so.

 

© Charles Heath 2019

Motive, means, and opportunity – Motive

I’m working on a novella which may boringly be called “Motive, Means and Opportunity” where I will present a chunk of information from which you if you want to, can become the armchair detective.

Here’s the first part, the so-called Motive

So, here’s the thing…

I said it.  Not once, in the heat of the moment, but more than once, to several different people.  I wanted James Burgman dead.

Why?

Because I knew he was the man sleeping with my wife, Wendy.

I’d long suspected she was having an affair, you know the signs, not where you expect her to be, making excuses where none were necessary if she was doing what she said she was, and disappearing for hours without an explanation.

And I knew James Burgman was an old boyfriend, a discovery that was made quite by accident.  In fact, I followed her one night, not because I was suspicious, but worried for her safety.

That was where I saw her meet him with more than just a friendly handshake.

I had to say it made me feel gutted.

But would I kill him?

It was not worth the problems it would cause me to do so, and, when push came to shove, neither of them were worth it.  I knew, even if he was out of the way, she would not stay with me. 

That train had left the station about a year ago when our only son had been killed in a senseless road accident.

© Charles Heath 2019-2023

A score to settle – The Second Editor’s draft – Day 26

The time has come to work on the second draft for the editor, taking into account all of the suggested changes, and there are quite a few. So much for thinking I could put in an almost flawless manuscript.

…

There is a history of strong female characters. They don’t have to be the lead character in order to become a focal point in the story.

I’m reminded of the CIA agent in Cuba in the latest James Bond Film, No Time To Die, where she literally kicks ass. To my mind, that is a girl to be reckoned with, and no, I would not want to meet her in a dark alley or be her enemy.

I wanted one, and put her in the Zoe series, an assassin without a conscience, but has one of those life-defining moments that doesn’t take away anything from her character, just adds another dimension.

This story is going to have one too, Teresa, only she is a different kettle of fish, to quote an analogy.

She is just the sort of person our main character’s handler recruits in a heartbeat. The fact she is in jail when we first meet her just adds to the mystique.

And when the main character and her meet, it’s like water and oil. She had a role to play, even if it’s not the one our main character is led to believe is.

The trouble is, I’m having too much fun playing to the two off against each other, so much so, I’m beginning to like her, as much as I would, in real life (if such a person existed) fear her.

Interesting question: how would I react if my imaginary world suddenly became all too real?

I guess that’s another story.

A score to settle – The Second Editor’s draft – Day 26

The time has come to work on the second draft for the editor, taking into account all of the suggested changes, and there are quite a few. So much for thinking I could put in an almost flawless manuscript.

…

There is a history of strong female characters. They don’t have to be the lead character in order to become a focal point in the story.

I’m reminded of the CIA agent in Cuba in the latest James Bond Film, No Time To Die, where she literally kicks ass. To my mind, that is a girl to be reckoned with, and no, I would not want to meet her in a dark alley or be her enemy.

I wanted one, and put her in the Zoe series, an assassin without a conscience, but has one of those life-defining moments that doesn’t take away anything from her character, just adds another dimension.

This story is going to have one too, Teresa, only she is a different kettle of fish, to quote an analogy.

She is just the sort of person our main character’s handler recruits in a heartbeat. The fact she is in jail when we first meet her just adds to the mystique.

And when the main character and her meet, it’s like water and oil. She had a role to play, even if it’s not the one our main character is led to believe is.

The trouble is, I’m having too much fun playing to the two off against each other, so much so, I’m beginning to like her, as much as I would, in real life (if such a person existed) fear her.

Interesting question: how would I react if my imaginary world suddenly became all too real?

I guess that’s another story.

A score to settle – The Second Editor’s draft – Day 24

The time has come to work on the second draft for the editor, taking into account all of the suggested changes, and there are quite a few. So much for thinking I could put in an almost flawless manuscript.

…

I’ve come to the realization that I’m not going to get this story finished in the allotted time.

In fact, there are aspects of the story that have been bugging me, and it’s been the devil’s own job not to go back and fix some of it up. It’s probably why today’s output is terrible compared to previous days.

What I have done, as elements of the previous part of the story have had to be changed so that what happens later makes sense, I have a copious quantity of post-it notes on the desktop to remind me.

And that tells me that the whole project is getting out of hand.

As it stands, at a guestimate, this story is going to finish up over 100,000 words. If I meet the targets I’ve set myself for the rest of the month, that 30th November total should be around 85,000 words.

It’s an achievement in itself, but I’m not happy with the product as it stands. There’s going to be a huge editing blitz next month if I can face it.

As for now, it’s about 2 am and I’m very tired, I’ve just thought of another change that needs to be made, so I’m going to scribble it down and get to bed.

Thank goodness I don’t try to write all my books in a month!

A score to settle – The Second Editor’s draft – Day 24

The time has come to work on the second draft for the editor, taking into account all of the suggested changes, and there are quite a few. So much for thinking I could put in an almost flawless manuscript.

…

I’ve come to the realization that I’m not going to get this story finished in the allotted time.

In fact, there are aspects of the story that have been bugging me, and it’s been the devil’s own job not to go back and fix some of it up. It’s probably why today’s output is terrible compared to previous days.

What I have done, as elements of the previous part of the story have had to be changed so that what happens later makes sense, I have a copious quantity of post-it notes on the desktop to remind me.

And that tells me that the whole project is getting out of hand.

As it stands, at a guestimate, this story is going to finish up over 100,000 words. If I meet the targets I’ve set myself for the rest of the month, that 30th November total should be around 85,000 words.

It’s an achievement in itself, but I’m not happy with the product as it stands. There’s going to be a huge editing blitz next month if I can face it.

As for now, it’s about 2 am and I’m very tired, I’ve just thought of another change that needs to be made, so I’m going to scribble it down and get to bed.

Thank goodness I don’t try to write all my books in a month!

Short story writing: Don’t try this at home – Part 5

This is not meant to be a treatise on short story writing.  Far be it for me to advise anyone on the subject.  I prefer to say how it is that I do it so you can learn all of the pitfalls in one go.

Now, there’s this thing called continuity, but it covers a whole range of writing sins, most of which I eventually get caught out.  Films sometimes miss a few items, like back in the roman days, there are plane trails in the sky, in a 1920’s period piece, there’s a mobile phone sitting on a desk.

Like one minute the hero has a gun, and the next he’s fighting for his life with a knife, and, hey presto, there’s that gun again.  The error might not be that big but you can’t pull out a weapon you don’t have or wasn’t there in the first place.

Similarly, the hero pulls out a mobile phone, but there’s only one problem, it’s 1980, and there are no mobile phones.  Our problem might be that we are so used to doing and using certain things that we might forget, for a minute or two, that were not available in the past.

The same goes for the fashion of the day.

And my all-time favourite, getting the right make and model of car.

Oh, and just for good measure, back in the old days they used acoustic couplers to attach to phones via a serial port to dial-up not a server, but a BBS, Bulletin Board Service, at a rate of 300 baud, or a little while later, 1,200 baud.

There was no internet in general use.  If you wanted to call the office when out, use a telephone box.  Or carrier pigeon.

And the use of language, there’s a lot of stuff relevant today that was not used back then, and there was a lot of stuff back then that isn’t tolerated now.  Some of it might be hard to get your head around.  It isn’t for me, because I can remember the 1970s and 1980s, but I’m not too sure about allowing some of what happened then to creep into my work.

So, you get the picture.  Try to use the past as the past, or leave it in the past.

Unless it’s a book about time travel, then all bets are off.

A score to settle – The Second Editor’s draft – Day 22

The time has come to work on the second draft for the editor, taking into account all of the suggested changes, and there are quite a few. So much for thinking I could put in an almost flawless manuscript.

…

It’s hard to know just how someone would react in real life to a situation that is not normally expected to happen.

Like, for instance, a gunman walks into a supermarket and suddenly starts shooting randomly.

But, in the USA, that seems to be a situation that could happen anywhere, anytime and with tragic results.

What would I do in such a situation?

It’s probably impossible to tell unless it really happened.

Why do I ask this question?

There’s a lot of effort required to plan out what each character is going to do in any given situation. What he or she might do has a lot to do with how they have been previously portrayed.

If they were nervous or frightened at the little things, it’s hardly likely that they would run into a hail of bullets unless there was a very good reason like saving a child, and even then it might be a stretch to believe they would.

So, I’m writing about a dangerous situation, and it’s taking a lot longer than I expected because my characters have to fit their previous profiles, and I have to remember them, or, what I should have done in the first place, create profiles from which to draw on when necessary.

Another lesson learned the hard way, is that planning is necessary, even if it appears tedious.

A score to settle – The Second Editor’s draft – Day 22

The time has come to work on the second draft for the editor, taking into account all of the suggested changes, and there are quite a few. So much for thinking I could put in an almost flawless manuscript.

…

It’s hard to know just how someone would react in real life to a situation that is not normally expected to happen.

Like, for instance, a gunman walks into a supermarket and suddenly starts shooting randomly.

But, in the USA, that seems to be a situation that could happen anywhere, anytime and with tragic results.

What would I do in such a situation?

It’s probably impossible to tell unless it really happened.

Why do I ask this question?

There’s a lot of effort required to plan out what each character is going to do in any given situation. What he or she might do has a lot to do with how they have been previously portrayed.

If they were nervous or frightened at the little things, it’s hardly likely that they would run into a hail of bullets unless there was a very good reason like saving a child, and even then it might be a stretch to believe they would.

So, I’m writing about a dangerous situation, and it’s taking a lot longer than I expected because my characters have to fit their previous profiles, and I have to remember them, or, what I should have done in the first place, create profiles from which to draw on when necessary.

Another lesson learned the hard way, is that planning is necessary, even if it appears tedious.

Short Story Writing: Don’t try this at home – Part 4

This is not meant to be a treatise on short story writing.  Far be it for me to advise anyone on the subject.  I prefer to say how it is that I do it so you can learn all of the pitfalls in one go.

I find inspiration in the most unlikely places.

Shopping malls are great, there is so many things going on, so many different types of people, there’s often enough to fill a journal.

Driving on the roads, you get to see some of the most amazing stunt driving, and it’s not even being filmed, it’s just playing out before your very eyes.

Waiting in hospitals, waiting for doctors, accountants, dentists, friends, hanging around coffee shops, cafes, bistros, restaurants, the list is endless.

But the best source, newspapers, and the more obscure the headline the better, and then just let your imagination run free, like:

Four deaths, four mysteries, all homeless.

This poses a few interesting scenarios, such as, were they homeless or were they made to look like they’re homeless.  Are they connected in any way?

The point is, far from the original story that simply covers four seemingly random murders, a writer can turn this into a thriller very easily.

It could follow a similar headline in another country where three headlines could be found, say, in London, where a man is found dead in an abandoned building, a week after he died, with no obvious signs of how he died.

A woman is killed in what seems from the outset an accident involving two cars, where, after three days, the driver of the second vehicle just simply disappears.

A man is reported missing after not reporting for work when he was supposed to return from a vacation in Germany.

Where an obscure piece says that a man was found at the bottom of a mountain, presumed to have fallen in a climbing accident.

It’s all in the joining of the dots.