
My
e-novel, The Undertaker,
began with, “A guy opens the newspaper one morning and sees his own
obituary.” How did that happen? Was it a mistake? All the
details are spot on. It is him! Worse, there is a companion
obituary for his wife. The writing process starts when I ask, who
would do that, and why? What’s at stake? Next, who is our guy?
Who are his friends and enemies? What is going on in his life that
this situation will make even worse? I keep expanding those threads
until they form a plot, and simultaneously keep growing those stick
figures into unique, well-rounded characters. In the end, they are
what drives the story and make it logical and inevitable.
Thursday at Noon,
coming out next month in e-book format, began with, “A burned out
CIA agent in Cairo stumbles home one night and finds a severed head
sitting on his door step.” In screenplays, they call these
one-liners ‘log lines.’ As with the others, the log line needs
to be something incongruous, immediate, and jarring, like, “Snakes
on a plane.” That’s one of the very best. Screenwriters and
producers use them to sell a story, but it is equally useful to help
a writer to keep his story focused. Call it a concept, premise, or
log line, but all successful novels are based on a strong one; and no
amount of writing or re-writing can make up for a weak one.
The
novel I am currently working on, Through
the Glass Darkly,
began with, “A guy is sitting in the window seat of an air liner
coming in to land at O’Hare. He looks down, and sees a man
strangling a woman on a roof top as it flashes by below.” Who are
they? Is this a crime of passion, or money? And who is our guy in
the plane? What’s going on in his life that this will only
complicate further?
As
they say, stir vigorously and put in a 450-degree oven for 12-24
months and hopefully you have a fully baked novel. To see more about
my books, see my web site,
http://billbrownwritesnovels.wordpress.com/
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