
The Writer’s Guide
Resources and links
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Before you get to writing one of the books in Doom Hunter, take the time to absorb the information on writing style here.
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Learn the process for submitting your story.
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Doom Hunter Overview Page Link
All writers, please go here to familiarize yourselves with the main storyline and feel for the series.
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All writers, please use this resource to familiarize yourselves with the main characters throughout the series. Your individual book description has its own set of characters included within your book’s outline.
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This area is a useful resource for Templar and doomsday/apocalyptic history. Feel free to copy and paste any of this information for use within your book.
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Doom Hunter Book Outline Page Link
Go here to find your book’s outline and characters. Happy writing!
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If you have any questions or need help, please email me directly with your questions, suggestions, comments, etc. My email address is paul@psaudio.com
A note to our writers
As my dear friend and fellow author Seth Godin is fond of pointing out, we’re all imposters trying our best to navigate the world around us. At least that’s what it often feels like. Right? Truth is, you’re out there making it happen. Bravo! Each of you wonderful creatives is brave enough to put forward your best. Thank you for stepping out into the great unknown with me. To write. To create. To take a chance at making something great.
While I am by no means a Dan Brown or Michael Crichton (by any stretch of the imagination), as one who has successfully managed to hit Amazon’s top ten books in my genre twice now, I can share a few of the techniques I have developed over the years to keep readers coming back for more.
Please study these pointers until you’re comfortable with them. These are the precepts I would ask you to use when crafting our book together. At the end of your writing project, please review them and compare your work to these notes.
The story and the reader come first
I want to take a moment to emphasize a core principle of our work at Viceroy:
The story and the reader always come first.
Our unique approach in the publishing world hinges on this fundamental belief. While we value the originality our authors bring and the vision I provide as the story creator, it is your job, first and foremost, to honor the story that's being told.
What does that mean?
When I write, the story comes first; I want to be clear. I am not talking about the backstory, the character profiles, or the color of someone's clothing. The story itself: the opening tension scene followed immediately by the high-stakes threat, the avalanche of insurmountable problems, and the tension we generate. Every single page in every chapter must be 90% story and 10% story/character support. Don’t fall into the trap of leaving the reader yawning at endless threads of conversation, humor, and character interplay. There’s little value in spending time describing a flight or car trip and the conversations that occur during travel. That’s not the story I am interested in. There’s always a place for that sprinkled throughout the book.
Perhaps it’s helpful to think of it in terms of you describing to a friend a terrifying or exciting experience you had or witnessed. You would grab their attention by a short intro and then immediately jump into the action of what you saw or felt. A chapter that opens with a character in motion or a sense of urgency is far more interesting to a reader than one that opens with a character musing quietly to themselves.
Remember, in our world, nothing is more important than the story and the reader's engagement with it. Nothing: not me, not you, not the editor.
The hardest chapter to write and the most important to read
The opening chapter of my books serves as a critical gateway, setting the tone and paving the way for an electrifying journey that readers are about to embark upon.
There is nothing more important in the story than its opening chapter. Its sole purpose is to pull the reader into the story and make them want to read more. First impressions are everything, and the opening chapter is the key to making them count.
In my stories, we often begin with the antagonist setting up the scene. However, that’s not always the case. In the Aurora Project, readers were first thrust into the scene, then immediately into the crisis. The antagonist came very quickly afterward.
Kangerlussuaq Glacier, Greenland, October 28
High above them, a descending helicopter blocked the morning sun.
“Wave him off!” Kreisman cried over the deafening roar of its rotors.
“It’s not one of ours!” yelled Grant, his post-doc, eyes wide beneath his goggles.
Kreisman gestured with his thumb toward their equipment. “Get base camp on the radio. See if they can stop it from landing.”
In this pencil-thin valley of Greenland’s Kangerlussuaq Glacier, boxed in by towering cliffs of ice and mottled gray magma, the five scientists had nowhere to hide. They huddled together, gloved hands covering their ears and backs turned to the hurricane of blowing snow, praying the thunder of the landing helicopter would not collapse the mountain of ice perched high above them. The chopper crunched onto the valley floor.
Hands raised in front of his goggles to block the snow, Kreisman pivoted to face the intruders. This helicopter wasn’t the university’s blue and white six-seater—not that anyone on their team would be foolish enough to attempt a landing in an avalanche zone. The sleek, jet-black craft was bigger than anything Kreisman had ever seen. Painted on its door was the white silhouette of a statuesque man with angel-like wings.
“What kind of idiot would land in such a tight space?” Kreisman yelled to his team over the whine of the slowing rotor blades.
The chopper’s door slowly opened, but Kreisman was at a bad angle and couldn’t see who or what was on the other side. Then, below the door, ice crunched beneath two huge, white boots that emerged.
Kreisman sucked in a startled breath. Grant, still trying to work the radio, swore. The others drew even closer together, as if seeking protection in numbers.
Kreisman didn’t think numbers were going to help them against this.
A giant of a man stepped through the opening. His bent form kept unfolding until he towered above the helicopter’s door.
“Jesus,” mumbled Kreisman.
The opening chapter in a thriller novel is all about setting the stage and tone and, most importantly, pulling the reader in. It's a clever dance of revelation and concealment, expertly executed to keep readers on the edge of their seats.
The opening chapter is critical. Spend the time to get it right.
Examples
Below are some examples of full chapters I have written. Please take the time to study not only them but also how they make you feel.
The first story is a good example of the opening scary chapter, which is an essential element in this series. The first paragraph brings you into the scene; the second draws you into the action and danger. Then, you’re hooked.
In the second story, the goal was to write a chapter that draws the reader into a scene and character situation such that by the end of the chapter, maybe a reader will shed a tear—emotional engagement by bringing you deep enough into the scene so you feel what the characters are feeling.
Lastly, one of the biggest challenges in storytelling is moving our characters from one emotional place to another without being obvious. This third story is a disturbing piece of writing—disturbing enough that my wife, Terri, immediately skips this chapter when it is narrated. Do take notice of how you get sucked into the story and emotionally bond to our protagonist’s horrified feelings.
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North of Athens, Greece, Twenty Years Ago
Midnight rain lashed the town with an unrelenting fury, the cobblestone streets swiftly becoming rivers under the weight of the torrential downpour. The droplets pounded so violently against the psistaria’s windows and rooftops, that neither Hector nor Nikolaos heard the door open that night.
The dark form rounded the corner and Hector reached for his weapon, but he wasn’t quick enough. The intruder set one massive hand upon Hector’s shoulder and the other on his head. With a twist and a snap, Hector crumpled to the floor.
“Who are—”
“I am Symmachus, and you will kneel before me,” said the voice, and Nikolaos’s knees hit the wooden floor, unbidden. “Do you tremble at the feet of God? Do you know who you are?”
Nikolaos dared to look up at the man towering over him. Though he could make out no details, the light from the table’s flickering candles illuminated blue eyes that seemed to pierce through his soul. He lowered his eyes.
“Long ago, Fallen Angels took for themselves the daughters of Men, who bore them children, giants all—mighty men of old, men of renown. I have been watching you. You are one of us. You are one of the forgotten sons of God. The Sons of Nephilim.”
“I-I-I—” stuttered Nikolaos. “This is blasphemy. You cannot believe—”
“Silence! Though you are yet weak, the Holy Spirit will descend upon you, and you will be made powerful. I will be your guide. You will take your place by my side; you shall act as my right hand. For there is much to do. We must prepare for the day the Lord Himself will come down from Heaven, crying out with the voices of the archangels and the trumpet of God, and the multitudes who sleep in the dust of the Earth will awake. Some to everlasting life, others to shame and eternal contempt.
We who have prepared the way will be caught up with those in the clouds to meet the Lord in the air. And so, we few Chosen will be with the Lord forever.”
Nikolaos spread his palms flat on the floor. He dared not turn his head, though he was aware of Hector’s lifeless body in a heap beside him. He did not want to see whatever horror remained in his dead friend’s eyes.
Because something within him stirred at Symmachus’s words. Something almost like longing.
As if reading these thoughts, Symmachus uttered a single mirthless ha. “Have you never wondered about your power? Have you never wondered why weak men turn to you for guidance? Why, when you speak, others listen?”
Symmachus lashed out with one foot, landing a forceful kick to the side of dead Hector’s head. “Men such as these? Too pathetic to grasp and take what they truly want? Too willing to follow the will of others?”
Nikolaos stared at Symmachus’s feet, unable to speak.
“Our ancient race will inherit the Earth and ensure our God’s work is done. For it is we who must stop Man’s unholy quest to build a paradise on Earth—there is but one Paradise—the paradise of Heaven. God wills us to do His bidding and answer the call to fight the ultimate battle.”
Symmachus reached out a hand. “If you will take up your birthright, rise. You will be reborn as Uzziel, the strength of God, and you will sit at my table as a brother.”
The longing within Nikolaos grew, expanding until it muffled any concerns he might have felt. He reached for Symmachus’s hand. The man’s skin was unnaturally cold, his grip unnaturally firm, and he pulled Nikolaos to his feet without effort.
“I will take up my birthright,” said Uzziel, and when he followed Symmachus through the old psistaria, past the bodies of the men who’d been Nikolaos’s friends, he did not look back.
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Kjerkfjorden Caves, Norway, January 22
The space above them, once a solid dome of oppressive black, began a metamorphosis. Soft points of blue light, imperceptible at first, dotted the ceiling above. As Julia’s eyes adjusted to the subtlety of the glow, she lost her breath at its beauty: a subterranean night sky. The organisms didn’t merely shine; they pulsed, they moved, like stars shifting and realigning.
Like droplets of liquid starlight, the bioluminescent beings moved in harmony. The group below stood transfixed, their faces bathed in the gentle glow.
“It’s amazing,” Dai-Lu breathed. “Positively amazing.”
The tall, intricately carved doors slowly opened. The blue glow faded back to darkness.
One by one, lanterns snapped back on. Beyond the doors was a vast chamber, the walls of which were decorated with more images of Frigg and her devotees—children playing happily in a new world, fresh, young, and green. Ragnarök had passed, and this was the era of rebirth.
At the end of that cavern was another set of doors, at least twelve feet high and ten feet wide. Its surface was a shade of deep black. Graphene, cold to the touch.
Taking off her gloves, Julia approached the door cautiously, her hand outstretched. She brushed her fingertips over the door and shivered—it was smooth but painfully cold to the touch. Hastily she pulled her gloves back on before touching the embedded characters.
Julia wondered if this was what Sam had seen in Antarctica. The characters were as precise as if they had been crafted by skilled hands or perhaps, as she had once theorized, by ancient machines. The door’s surface felt like silk, impossibly smooth given its age and location.
“Do you think you can translate, Betty?” Julia asked, her voice steadier than she expected it to be.
Betty came forward and held up her light.
“It’s the same character as before. The one that means either gift, sacrifice, or offering. But there’s more here, too.” She studied the door, hand covering her mouth. “I think it’s actually meant to mean all three, simultaneously. The context here is so odd.”
“Children,” Julia said suddenly. “Children.”
Betty stepped back suddenly. “You might be right. Holy shit.” She scanned the rest of the door. “Yes. That tracks. A child is a gift. But also—also parents sacrifice for their children. And here, if those murals are a hint, here children are offered to Frigg, so she can repopulate the world after Ragnarök.”
“Are you trying to tell me that people sacrificed their children to Frigg?” James asked, skepticism heavy in his voice.
“No,” Julia said, looking at Gale. “I don’t think anyone sacrificed anything knowingly.”
Even in that dim light, Julia was sure the color had drained from Gale’s face.
“Are you saying you think Nora was taken by Frigg?”
“I don’t know what happened yet, but we’re going to find out,” said Julia. “Reg, help us out here.”
Reg joined Julia and Betty at the door. It had two recessed horizontal levers, both designed for a two-handed grip. Their positioning and design hinted at some mechanism that, when activated, would allow passage. Reg grabbed one handle, while Betty and Julia grabbed the other. They pulled as hard as they could, to no avail.
Julia scanned the door’s surface, searching for any sign of the unique patterns Sam had mentioned. Those conversations were so long ago now, she barely remembered the details. All she knew was that she didn’t have that damned amulet.
He gave me his dog, he gave me the key to his apartment, but did he give me the thing I actually need to get this door open? Signs point to no.
Lars and Gale’s torches cast long, quivering shadows that flickered upon the door’s surface, making their task even more challenging, as every symbol twisted and moved in the torchlight. The door’s entire surface was an intricate tapestry of symbols, each deeply and perfectly etched into the cold, dark graphene. Some, she remembered, mirrored those on the amulet. Others were completely foreign to them. Sweat dripped from Lu’s brow as she traced a series of symbols that seemed promising. But every lead turned cold. Every pattern they thought they recognized from the amulet seemed to distort upon closer inspection.
Running a hand through her hair, Julia sat on the ground. She had to think. There had to be a way to open this door. Brute force was out as an option, but something had to be available. She just had to think.
Sky padded over and sniffed at the top of her head.
“Thanks, buddy,” she said, her head still buried in her hands. She looked up in time for Sky to lick her cheek. Julia smiled and reached up and patted the side of Sky’s neck. The tags upon his collar jingled softly.
Wait. Tags?
There hadn’t been time to do laundry, much less bring Sky to a vet for a city license and rabies tag. Julia peered closer at Sky’s collar and gasped.
There, dangling from the thick leather, was Sam’s Eemian amulet.
Sam Sawyer, she thought, you and I are going to have a conversation when I get out of this.
She unbuckled Sky’s collar and pulled the amulet free. She pressed it hard into matching depression. Suddenly, the chamber reverberated with the sound of two heavy, metallic thunks originating from the door.
One more time, Julia and Reg grabbed the levers and pulled. The lever started to budge. James reached over and lent a third set of hands, and the lever clicked open. They looked at each other for the briefest of moments, then wrestled open the second, lower lever.
The ground trembled beneath them, and a gust of ancient, stale air rushed out as the door slowly slid open.
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Vail, Colorado, January 16
Magnus arose at dawn, rubbed his swollen blue eyes, drank a glass of water, and headed to the hotel bathroom for Tylenol. A few minutes later, he lurched downstairs to meet Tommy and their hunting guide. His head was still reeling from the lunch-turned-dinner the day before. The last thing he wanted to do was spend the day swaying on the back of a horse, but maybe time alone with Tommy would give him the chance to set the record straight, remind Tommy that once those bills were paid, Magnus would be back on top.
And Tommy? Well. Tommy’s services would no longer be required. Not that Magnus planned to spend much time on that topic. Hell, sometimes Tommy talked like he owned Empire, when all he’d done was provide a seed loan at an astronomical interest rate.
They drove to a trailhead in Minturn that Magnus wasn’t familiar with. Saddled horses already waited for them. Magnus mounted a chestnut mare, Tommy an appaloosa. The group plodded up a narrow snow crusted gully alongside a frozen stream that meandered through an aspen grove. Magnus buttoned the top latch on his jacket and pulled his knit cap over his ears. After an hour, they stopped and dismounted for lunch in a quiet snowfield. Two of the guide’s men, following with the pack horse, rushed over to help Tommy and Magnus off their mounts.
The packers set out portable propane heaters and pointed them at a lunch spread on a folding table. They opened cans of beer, and motioned for everyone to sit next to one of the heaters. As they ate, one of the packers spotted something in the brush and motioned for quiet. He crept past the table, pulled his rifle from its scabbard, and checked to make sure it was loaded. Tommy gulped the last of his beer and dropped his sandwich. He nudged Magnus to follow. The packer put his finger to his lips. They peered through thick frozen brush at a large cow elk who had broken through the ice of a small pond and was drinking from the cold water.
Excited, Tommy tapped the young packer’s shoulder. “Give me the gun,” he whispered, his voice muffled by the sound of the creek. “I can get a clean shot.” The man looked at him for several seconds.
Magnus understood the hesitation; taking an animal down while it was drinking, oblivious to danger, wasn’t sporting. A real hunter, a good hunter, didn’t need to resort to that kind of cowardice.
Reluctantly, the packer handed over the rifle. Tommy disengaged the safety without a sound, raised the stock to his shoulder and pulled the trigger. Missed. The animal bolted at the crack of the shot. Tommy fired in rapid succession, and one round struck the fleeing cow’s back. She fell a hundred yards away, struggling to rise onto her front legs.
Magnus’s ears rang with the reverberation of the shots. He lingered a little behind as Tommy and the packer rushed to where the cow was floundering on the snowy ground. Tommy, still grasping the rifle, walked across the frozen stream and stood looking at the wounded cow. She was bleeding badly but still struggling to escape, bellowing with pain.
Looking away from the cow, Magnus happened to glimpse Tommy’s face. It was shining with perspiration and a certain gleefulness that made goosepimples rise on Magnus’s arms. It’s almost like he’s enjoying watching her suffer.
The packer reached out a hand to Tommy. “Sir, give me the rifle. I’m going to put her down.”
Tommy pull the rifle close and glared at the young man. “The hell you will. This is my kill. If there’s any more shooting to be done, I’ll be the one pulling the trigger.”
The guide backed away. “Okay, okay. But . . . sir, she’s suffering. You gotta put her down. Now.” The elk stopped struggling and lay panting in the snow, her deep brown eyes wide.
“No one’s going to shoot her. She’s mine, and I intend to enjoy her till it’s finished.” Tommy turned and gazed down at the animal, a feral smile on his face.
Magnus, swallowing hard, moved next to him. “Tommy, this ain’t right. Put the thing out of its misery and let’s finish lunch. This ain’t the way we Texans handle things.”
Tommy directed his smile at Magnus. “No, Magnus, it’s not.” He leaned in close and whispered, “I just want to make sure we both understand who’s runnin’ the show here. ’Cause I think maybe you forgot. I think all that attention you get at them rallies is getting to your head. I think you might have forgotten just who they are really cheering for. Tell me, Magnus. Who is it they are really cheering for?”
Magnus cleared his throat. The dying gasps of the elk rang in his ears. “You are.”
“There’s a time to be born, a time to die . . . and a time to kill. I get to decide who does what. No one’s gettin’ in my way, Magnus. Not you. Not Jack Henley. Not a bunch of pussy protesters. You’re with me or against me. There’s no in between, Magnus.”
Tommy stared at Magnus for another endless moment before turning toward the cow elk, his face still shone with an eerie pleasure. The elk’s thrashing increased the closer Tommy got. Tommy stooped to look right into the cow’s eyes. The cow gave a series of short, gasping grunts. Magnus closed his eyes as a shot shattered the silence of the aspen grove and echoed off the valley walls.
The sound had only just disappeared when Tommy’s was at Magnus’s side once again. He looped his arm through Magnus’s and said cheerfully, “Now wasn’t that exciting? Worked up quite an appetite. Come on, Magnus. We’ve got a party to plan, don’t we?” Tommy grinned. “Let’s blow this one out of the water.”
The voice
In this series, we’re going for dark, foreboding, urgent. Please do not inject humor or lightness. Sully’s mission is to save the planet. Serious stuff. Ticking clocks. Bad guys threatening to get her at every turn.
Think of how Dan Brown handles his works. Suspenseful, never playful.
Dark, foreboding, urgent
Chapter structure
In every exceptional novel, the story takes precedence. However, a well-structured chapter framework is equally crucial. The chapter structure significantly influences the pacing, engagement, and overall impact of your thriller. To ensure your chapters are effective and engaging, follow these guidelines.
Chapter Essentials
Each chapter in your thriller novel should encompass the following essential elements, strategically placed to keep your readers on the edge of their seats:
Inciting Incident: This is the initial spark, the event that sets the plot in motion, grabbing the reader's attention and propelling them into the story.
First Plot Point: The point where the stakes are raised, and the protagonist's journey takes a decisive turn, often facing a critical choice or challenge.
Pinch Point: A "pinch point" serves to apply pressure or "pinch" the protagonist, intensifying the conflict and raising the stakes, creating tension that keeps the reader engaged.
Midpoint of overwhelming problems: This marks the story's halfway point, where new revelations or developments lead to a shift in direction or understanding in order to overcome the avalanche of problems.
Crisis or All Is Lost Moment: A moment of utmost despair or peril for the protagonist, leaving readers wondering how they will overcome it.
Climax Resolution or Increased Trouble: The climax offers a resolution to a significant conflict, but it may also introduce new troubles or challenges, ensuring the story's continued momentum.
Cliffhanger Ending: Leave your readers hanging at the end of each chapter, eager to turn the page and uncover what happens next.
Chapter Openings
How you choose to open each chapter is equally important.
Please note at the beginning of each chapter which of these three types it is.
Scene Setting:
Use this opening style when the narrative shifts to a new location or time.
Begin with a time, location, and date subhead, providing essential context for the reader.
Ideal for introducing fresh settings or significant changes in the story's environment, allowing readers to immerse themselves before diving into the action.
Action:
Thrust your readers directly into the heart of the story's action and events.
There's no preamble or introductory information; instead, immediately immerse readers in a dynamic situation.
Perfect for creating instant excitement, tension, or urgency, making it a popular choice in action-packed genres or chapters with high-energy impacts.
Story:
Pick up the narrative from where the previous chapter left off, creating a seamless transition for dedicated readers.
Maintain continuity and keep the reader engaged with the central narrative thread.
These openings allow for the immediate progression of existing plotlines and character developments without the need for additional setup.
Chapter Requisites
To craft chapters that grip your readers' attention and keep them turning the pages, consider these indispensable elements:
Purposeful Progression: Ensure that every chapter deliberately advances the narrative, leaving characters or the story itself in a different place, either literally or metaphorically, compared to the beginning.
Character Growth: Characters should experience growth or change as they confront conflicts and obstacles. This evolution can manifest as changes in their understanding, beliefs, skills, or relationships, providing depth and relatability.
Keep Stakes High: Maintain a sense of urgency and tension in every chapter. Protagonists must face significant problems, with dire consequences if they fail to solve them, driving the narrative forward.
Avoid Excessive Setup: Beware of the trap of lengthy setups or conversations that detract from pacing and tension. Focus on maintaining high stakes throughout, keeping readers engrossed in the story.
Write with Urgency: Thrillers are life-and-death affairs. Infuse your writing with a constant sense of urgency, ensuring that tension permeates every page and chapter.
Chapter Length and Structure
Consider these structural aspects to optimize the readability and impact of your thriller chapters:
Ideal Chapter Length: Aim for concise, impactful chapters spanning 1,000 to 2,000 words. Breaking a 50,000-word book into approximately 30 to 40 chapters can enhance readability and pacing.
Chapter Structure: Each chapter should propel the story or characters forward, avoiding chapters consisting solely of descriptions or conversations without meaningful progression. Keep the narrative energy alive throughout.
Chapter Success Checklist for Authors
Go back through every chapter in your story and mark each chapter with the type of chapter you are writing.
Then, make sure it adheres to this checklist.
Chapter opening: Did you list at the beginning of each chapter which of the three types of chapter-opening it is?
Inciting Incident: Have you included an event or development that grabs the reader's attention and sets the plot in motion?
First Plot Point: Does the chapter include a point where the stakes are raised, and the protagonist faces a decisive turn or challenge?
Pinch Point: Have you applied pressure or "pinched" the protagonist, intensifying the conflict and creating tension?
Midpoint of overwhelming problems: Is there a moment marking the story's halfway point, with new revelations, developments, or increased problems leading to a shift in direction or understanding?
Crisis or All Is Lost Moment: Does the chapter contain a moment of utmost despair or peril for the protagonist?
Climax Resolution or Increased Trouble: Have you resolved a significant conflict in the climax while potentially introducing new troubles or challenges?
Progression: Does the chapter deliberately advance the narrative, leaving characters or the story in a different place compared to the beginning?
Urgency? Is there a constant sense of urgency and tension in the chapter?
Propulsion: Does each chapter propel the story or characters forward?
Clutter: Have you avoided chapters consisting solely of descriptions or conversations without meaningful progression?
Cliffhanger Ending: Does the chapter end with a compelling cliffhanger, leaving readers eager to continue?
The tools available to you
In my “real” life as CEO of a high-end audio manufacturing company and as an engineer, I am always in favor of utilizing all the tools and processes available to me. But it wasn’t always that way.
When I first started out as an aspiring writer nearly 20 years ago, I felt a built guilty using the thesaurus and spell checker. Why? Hell, I haven’t any idea now. Seems silly. And Word? Track Changes? Control F for finding this or that and replacing them? Sure. It helped me be a better writer focusing more on the story and less on the little details. Then came the web service Grammarly, changing my words on the fly.
All in service of helping me be a better writer.
All manuscripts should be submitted to me in Microsoft Word. Double spacing is fine; I can handle the formatting.
And what about AI?
Artificial Intelligence (AI), like ChatGPT, has become a significant and evolving aspect of writing in the world of storytelling. It's not just a modern innovation but part of a historical continuum where humans have consistently adopted new tools and technologies to enhance their creative processes.
Throughout history, we've seen this adaptation, from Johannes Gutenberg's invention of the printing press in the 15th century to the development of word processors in the 20th century. These innovations have consistently improved how we produce and share stories.
However, it's essential to remember that embracing innovation has not always been universal. Some individuals and industries have resisted change, attempting to build defensive walls around existing practices. For example, in the early 20th century, as the automobile industry grew, the demand for horse-drawn carriages and their accessories, including buggy whips, declined significantly. Those who clung to the old ways instead of adapting to the new technology found themselves struggling to stay relevant.
Better to keep up with technology and learn how to leverage it to our advantage than to run from it in fear.
Quality of Prompts: The effectiveness of AI largely depends on the quality of the prompts given. Clear, detailed, and well-thought-out prompts yield more useful outputs. Authors should treat AI as they would a skilled assistant, providing precise instructions and specific goals.
Quality of writing: as of today, AI isn’t very good at generating good prose. It’s a great way to move off the blank page and get started, but honestly, it often takes more editing and rearranging than it is to simply generate the words yourself.
AI for Editing and Organizing: AI, including tools like ChatGPT, has shown considerable efficiency in editing and organizing content. It can assist in identifying grammatical errors, suggesting alternative wordings, and even helping structure the narrative more coherently.
Starting Point for Creativity: AI can be an excellent tool for overcoming writer's block or generating initial ideas. While it currently cannot replace the nuanced creativity of a human writer, it can provide a foundation or a different perspective from which authors can craft their masterpieces.
Research Assistance: AI can quickly gather information and provide summaries on various topics, which can be invaluable during the research phase of writing. Do be careful, though. ChatGPT can make stuff up, so do have a look to verify if the information is historical. I’d give it a solid 80% accuracy. For descriptions of places, it is a Godsend.
Dialogue and Character Development: While AI cannot capture the full depth of human emotion, it can suggest dialogue options or character reactions, providing a base that you can then expand and deepen.
Experimentation: AI allows writers to experiment with different styles, tones, or narrative paths quickly. This can lead to creative discoveries that might not have been explored otherwise.
Ethical Considerations and Originality: AI should be a tool for enhancement, not replacement, of the writer's unique voice and creativity. But, at the end of the proverbial day, I really don’t care how you got the work finished. If AI works for you, go for it. The main thing is crafting a great, original story. How you managed to do that (obviously without plagiarism) is really up to you. Use any and every tool at your disposal. Really.
Final Checklist
Please review your edited work to make sure the main points included in this checklist have all been accounted for. If not, let’s fix it.
Opening chapter. This is by far the most critical of all chapters. If the reader isn’t engaged with the story in the first few paragraphs, chances are good they will try another book. Short, clear, concise, and immediately into the story. The first two paragraphs have to be brilliantly written and immediately engaging. I have often spent an entire day writing and rewriting the book's opening. It’s worth it. If you get stuck, let me know and I’ll write it.
Did your bring new readers into the story? From Book One to Book Ten, within the second or third chapter, did your author add some backstory about Sully and her story? What does Sully want? Why does Sully want it? What is Sully willing to give up to get it? This doesn’t need to be more than a sentence or two, perhaps a quick incident that gets us oriented. Assume every book is a standalone, and a reader happened to start in the middle of the series. What is this mysterious secret of the Templars? Why is Sully risking her life to find out? Every book must contain the answers.
Grab-em-right away. The 2nd chapter should set up the story, the conflict, the stakes, and the problems and get the reader dug in for an exciting journey. I often notice writers spend time introducing the characters, the story, some background, etc. This is not the place to do that! This second chapter should shove us directly into the story. Over time, we can ease in character descriptions, foreshadowing elements, and necessary narrative to move the story along. We are telling an urgent story. Did this happen? If not, fix it.
Is every single new fact, event, or character entrance properly foreshadowed? Readers don’t want to be surprised/confused. “Huh? Where’d this come from?” Add foreshadowing wherever it is missing.
“Strunk” it! In his seminal book "The Elements of Style," published in 1918 and later revised by E.B. White, William Strunk Jr. strongly advocated for conciseness in writing by emphasizing the removal of unnecessary words, promoting clarity and effective communication. I am a big devotee and constantly am editing out words we don’t need. Hired writers are paid by the word, so it’s a constant battle. Clean, clear, simple, and concise.
Chapter etiquette. Every chapter must move the character and/or the story from one place to another (see the prior section on chapter structure). Progress. Does it? If not, feel free to combine, separate, etc. The only rule is to wind up with story movement/progress. I have seen everything from too many things moving to none at all. Keep it simple, clear, and easy for your readers.
The 90% rule. 80% to 90% of each chapter should move the story forward with action, tension, and story. Too often, I see writers going on about this or that in the character’s head, spending paragraphs describing a journey, a lunch conversation, or a mood swing. Cut it. Fast-paced story action is what we want. There’s an urgency to this narrative. Remember, the stakes are high for Sully—usually life or death—she doesn’t have time to lollygag. Keep it on track.
Cliffhangers. We hope each chapter ends in a bit of a cliffhanger. We want page-turners. If it ends with a yawn, fix it.
Twists and turns. Every book should surprise and shock the reader at least once and hopefully more. Like a good Agatha Christie mystery, we need the reader to gasp, “OMG, I never saw that coming!”. Here’s a great place to repeat the foreshadowing checkbox. It's not obvious, but there nonetheless.
Scene setting. It’s important to me the reader “sees” the character or story’s location and “feels” like they are in the story. The style of scene setting I prefer is one of story integration (unlike, say, The New Yorker’s “He wore brown pants, a leather jacket, and wire-rim glasses). Here’s an example of how I scene set:
The Colorado mountain air was crisp and cool, scented by spruce and pine. The horses trudged up the mountain trail, their riders rocking comfortably in their saddles.
Magnus patted Chico’s dark mane as they followed Atlas, his father’s tall, coal-black steed, up the path. Chico wasn’t fast and he wasn’t pretty, but he was steady as a stone and near as reliable. Around them, Indian paintbrush and bitterroot peeked through the patchy green of the forest floor. Aggie ran ahead and then dashed back, her tail wagging like it was on fire.
Clear story goals. Does your author make it clear and easy to follow what the characters are after? Why are they doing what they are doing? What’s the end goal? The prize?
Loose ends and timelines. Check to see if all the loose ends in the story have been tidied up and resolved. Do the timelines make sense?
Final output and delivery to me. Please use Microsoft Word. No need to Track Changes to be included, as I really don’t care. I want to dive right into your finished work.
Questions? Easiest is to reach out to me directly. paul@psaudio.com