writing tips

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What Sells—and Why?

 First, let’s take a realistic look at books, genres, and reader habits, shall we.

Every January, I and fellow writers ask a familiar question, sometimes out loud, sometimes quietly: What kind of writing actually sells? Is it Poetry? Short stories? Novels? Series fiction?

The honest answer is:  it depends, but not in the way we might expect.

Rather than chasing trends or mythical bestsellers, it’s far more useful to understand how readers actually behave, and how different genres tend to perform over time. This is especially useful for independent authors. This isn’t about promises. It’s about patterns.

The Big Myth: One Genre Will Save You

I think there’s a common belief among writers that choosing the right genre guarantees success. In reality, genres don’t succeed in isolation. They succeed based on reader commitment, time investment, emotional connection, and how books relate to one another. Let’s face it, different genres serve different purposes. This applies to both readers and writers.

Novels and Series: Or, what I call The Long Game

Full-length novels—particularly series fiction—tend to generate the strongest long-term sales. Why? Because readers don’t just buy one book. They buy into a world. This is where series fiction benefits with ongoing characters, narrative momentum, and reader loyalty. A single novel may sell modestly. A second or third often lifts the first. Sales accumulate over time rather than arriving all at once.

Short Stories: The Gateway Books

Short story collections are often underestimated but here’s something to consider: They are less intimidating to new readers, easier to sample, and ideal for readers drawn to voice and atmosphere. Short stories may not outsell novels, but they frequently introduce readers who later commit to longer works. They are often the entry point rather than the destination.

Poetry: The Smallest Market—and the Deepest One

I think it may be fair to say poetry is honest about its place in publishing. I mean it rarely dominates sales charts, but it builds something else: connection. Poetry readers tend to buy intentionally, revisit books, and follow writers across genres. Poetry sells slowly, but it sells faithfully.

What Readers Actually Do

I believe readers don’t actually think in genres as much as we writers do. Instead, they seem to think in terms of mood, trust, voice, and time available. Many readers discover a writer through one form and explore others later. Sales often follow relationships, not categories.

A Better Question to Ask

Instead of asking which genre sells the most, a better question is: which genre leads readers to the others? For many independent authors, the strongest strategy isn’t choosing one genre—but allowing each genre to support the rest.

Author’s Note

As a writer who works across novels, short stories, and poetry, I’ve seen firsthand how these forms interact rather than compete. Some readers arrive through a poem, others through a short story, and many eventually settle into longer fiction. Over time, I’ve learned that building a body of work, not chasing a single category, creates the most durable connection with readers.

 

 

 

Thank you for spending some time here. If you feel inclined to support my writing:

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Writing an Old-Fashioned Murder Mystery for a Modern Generation

Scroll through any streaming service, and you’ll see it: mystery is trending again.
Dark thrillers, cold-case podcasts, “whodunit” reboots — they all prove one thing: people never stop loving a good puzzle.
For young adults today, that fascination runs even deeper. We live in an age of instant answers, yet we crave mystery. We want stories that make us slow down and wonder. I know I do!

So how do you write an old-fashioned murder mystery that still feels alive in a world of texts, TikToks, television who-done-its, and true-crime podcasts?

Let’s break it down.

  1. Start with Motive, Not Murder

Believe it or not, the most powerful mysteries aren’t built on blood and gore — they’re built on why.
What makes someone cross that moral line? Love? Envy? Fear? Greed?
It seems readers in their twenties and thirties want layered characters whose motives reflect real-world emotion.
If your victim was the golden child, what happens when the truth shows cracks?
If your detective isn’t a cop but a freelance journalist, what’s driving them — justice or clicks?
I think modern readers don’t just want to know who did it; they want to understand them.

  1. Characters Who Feel Real

Classic mysteries gave us perfect geniuses in tweed coats. Modern ones need flawed, breathing humans.
Let your lead be messy. Let them miss a clue because they’re hungover or distracted by love.
Authenticity beats perfection every time.
Maybe your detective lives in a cramped apartment and does their best thinking while waiting for laundry to dry. Or, as is often for me, waiting for the internet to come back online.
Maybe your suspect has a Spotify playlist full of heartbreak songs.
These details pull readers in — they see themselves in the story. That’s important. As the crafty real estate salesperson knows get your customers to visualize themselves in the home. Works with your written story, too.

  1. Set the Scene Like a Movie

Most readers today are, I believe, visual thinkers. They see stories as streaming episodes in their heads.
Describe your world with cinematic focus: lighting, movement, color.
An abandoned theater isn’t just dusty — it smells like wet velvet and stale perfume.
A crime scene isn’t just bloody — it’s silent except for the buzz of a faulty streetlight outside.

When you paint with sensory detail, readers don’t just read your mystery — they walk into it.

  1. Old Tools, New Tech

Mix classic intrigue with modern reality.
Typewriters and telegrams might be gone, but secrets spread faster than ever.
Maybe your killer hides behind encrypted messages.
Maybe an influencer’s photo reveals more than they meant to show.
The goal isn’t to drown the story in technology — it’s to use it as a mirror for human weakness.

  1. Respect the Puzzle

Even modern audiences want to play detective.
That means your clues must be fair, your red herrings clever, and your twist earned.
Hide evidence in plain sight — a line of dialogue that sounds casual until it isn’t, a symbol that reappears in different forms.
Don’t underestimate your readers; invite them into the game.
When they figure it out a page before your detective does, they’ll feel brilliant — and loyal to your writing.

  1. Voice Matters

Tone is everything.
If your readers grew up on true-crime podcasts and Netflix thrillers, they appreciate dry wit and emotional honesty.
You can nod to classic noir (“The rain hadn’t stopped all week…”) but twist it with self-awareness.
Try dialogue that sounds real — not polished, not staged.
Think conversation at 2 a.m. — honest, tired, and human.

This is how old-school style becomes new again.

  1. End with Impact

A great mystery doesn’t end when the killer is caught.
It ends when the truth lands.
Maybe the real story isn’t about death — it’s about guilt, redemption, or loss.
In the best mysteries, the final page changes something inside the reader.

  1. Why This Genre Matters

Writing an old-fashioned murder mystery in today’s world reminds us that truth still matters.
It challenges us to look beyond the headline, the algorithm, the easy answer.
It says: someone cared enough to find the truth, even when it hurt.
And that’s a story every generation needs — especially this one.

 

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Mastering Misdirection: Tips For Crafting Convincing Red Herrings

What is a red herring? Simply put, a red herring is a piece of information in a story that distracts readers from an important truth or leads them to mistakenly expect a particular outcome in any genre. And not just information but characters make excellent red herrings.

Why are red herrings important to the murder mystery, especially red herring characters? Because they build suspense and help writers construct dramatic plot twists. Let’s face it, they are the staple of mystery novels as they often provide surprise endings and serve to distract the reader from what is actually taking place.

Of the many considerations facing writers concerning red herring characters, I believe there are three that stand out as necessary for the successful murder mystery plot to ensure the effectiveness of these characters in keeping readers engaged and guessing. Here are what I believe are the top three considerations of murder mystery writers when placing characters who are red herrings into the plot, and I offer three classic murder mystery works that illustrate these principles.

1. Character Motivation: Red herring characters should have plausible motives for the crime. Their reasons for wanting to harm the victim or being involved in suspicious activities should be convincing. If their motives are weak or unclear, readers may become frustrated or disinterested.

In Agatha Christie’s “Murder on the Orient Express,” multiple passengers on the train have potential motives for the murder, making it challenging for readers to identify the true culprit. For me, this is one of the very best examples of the classic use of red herrings.

2. Character Development: Red herring characters should be well-developed and multidimensional. They shouldn’t simply exist as one-dimensional stereotypes or caricatures solely meant to mislead. Giving them depth, backstory, and believable personalities makes them more compelling.

In Tana French’s “In the Woods,” there are several characters with complex histories and personalities, all of whom could potentially be involved in the central mystery.

3. Plot Integration: Red herring characters should be seamlessly woven into the narrative. Their presence and actions should be integrated into the story’s overall plot and themes. If they feel forced or tacked on, readers may see through the deception too easily.

In Arthur Conan Doyle’s “The Hound of the Baskervilles,” Dr. John Stapleton is introduced as a possible suspect with a connection to the legend of the supernatural hound, effectively adding layers of mystery to the plot.

Keeping these three considerations in mind when writing your mystery should ensure your red herring characters contribute to the intrigue and suspense of the story while maintaining the integrity of the narrative. Successful implementation of these elements can make the eventual revelation of the true culprit more satisfying for readers.

Happy writing!

 

 

 

Don’t forget to shop my online store for Halloween gifts such as mugs and Halloween Trick-or-Treat Bags to store all your Halloween goodies.

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Writing A Successful Classic Mystery

Attribution: J. R. Cotner

I recently spent time browsing through my rather dusty bookshelves, taking stock of the great reads I’ve collected over the years. Many are intricate, classic mysteries written by some of the most successful and admired authors of that genre and era. Why were they so popular? What made them such a success?

Writing a classic mystery novel is a complex process that requires careful thought and planning. Here are three of the most important considerations for authors in this genre:

Plot Structure and Clue Placement:

The classic mystery is intricately designed with a sequence of events occurring within a believable timeline. Clues—neither too obvious nor too obscure—and red herrings are essential plot elements planted at key points of the story to build tension and suspense. That structure allows a gradual revelation of details to guide the discerning reader through the story toward an eventual resolution that ties up all loose ends and leads to a logical and satisfying conclusion.

Character Development and Motivation:

Characters, especially the detective and the perpetrator, must be well-rounded and have clear motivations that drive their actions. This can add depth and make the story more engaging. Secondary characters also play a critical role, as they often contribute to the plot through their relationships with the main characters, their secrets, and their alibis.

Setting and Atmosphere:

The setting of a classic mystery often plays a critical role in the mood and the unfolding of the plot. It must be described in a way that adds to the tension and supports the story. Whether it’s a gloomy mansion, a small village, or a bustling city, the setting must be depicted in a way that complements the tone of the mystery and aids in the unfolding of clues.

Writing a mystery requires a delicate balance between these elements, and a failure in any of these areas can lead to a less-than-satisfying reading experience. Many successful mystery writers spend significant time planning and outlining their novels to ensure that these aspects are all carefully considered and integrated into the story.

Here are examples of classic mystery novels that particularly exemplify each of the three considerations I’ve listed. First up is Plot Structure and Clue Placement and I’ve listed a work by Agatha Christie.

“The Murder of Roger Ackroyd” by Christie (published in 1926) is, I believe, an excellent example of a meticulously crafted plot structure and clue placement in a classic work. Christie employs a series of twists and turns, carefully planting clues that lead to a shocking and unexpected conclusion. The use of an unreliable narrator and the placement of red herrings are particularly masterful.

As an excellent example of Character Development and Motivation in a classic mystery, I think “The Maltese Falcon” by Dashiell Hammett (published in 1930) fits the bill as it showcases character development and motivation as key elements. Sam Spade, the protagonist, is a fully realized character with complex motives, and the villains have clear motivations that drive the plot forward. Relationships between characters are intricate, and the interactions are essential in unraveling the mystery.

As for Setting and Atmosphere, I will recommend “Rebecca” by Daphne du Maurier (published in 1938). The classic setting of the Manderley estate as a critical component of the story is very effective. The eerie and atmospheric mansion almost becomes its own character, and the descriptive language paints a vivid picture that adds to the mystery and suspense. The setting creates a gothic tone that deeply impacts the unfolding of the plot. The opening line of the story is unforgettable: “Last night I dreamed I went to Manderley again.” Classic.

I held these three rules close and emulated them when writing my own work, “Mystery Of The Death Hearth”. For anyone wishing to write an effective, compelling, and engaging mystery in the classic style, I suggest dusting off a copy of each of those works to read again. Their influence can still be seen in contemporary mystery writing.

 

 

 

 

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Surviving The Writing Experience

I have encountered many aspiring writers who face challenges while working on their manuscripts and I am one of them. Writing a book is a significant undertaking that requires discipline, patience, and perseverance. However, many writers struggle with various pitfalls that hinder their progress.

One of the most common challenges writers face is writer’s block. This occurs when the writer cannot think of new ideas or struggles to put their thoughts into words. Writer’s block can be frustrating and demotivating, leading to procrastination and loss of momentum.

I’m looking in the mirror here, so to speak, but some writers are their own worst enemy. I’m talking about that annoying condition called self-doubt. Doubting yourself and your writing abilities is, unfortunately, a hurdle writers face. It can lead to anxiety, a lack of confidence, and even writer’s block. As writers, we can struggle to believe in ourselves and our work. This can cause us to second-guess our ideas or even abandon of our projects altogether.

Making time to write can be a perpetual problem. Let’s face it, balancing writing with other responsibilities such as work, family, and social life can also be a challenge. It can be hard to find time to write consistently, and the pressure to manage multiple responsibilities can affect the quality of writing.

Looking for a solution? Fortunately, there are a few solutions to these writer’s struggles. One of the most effective ways to combat writer’s block is to take a break from writing and engage in other creative activities. This can stimulate new ideas and provide fresh perspectives. Time management is helpful–in fact, crucial. Set realistic deadlines, prioritize writing time, learn to say no to distractions. Make writing a priority. Setting a routine and writing every day can help build discipline and improve your writing skills.

Overcoming self-doubt can be tricky but victory can be achieved by focusing on your writing strengths. Don’t be so hard on yourself, we all go through it; give yourself the right to stray from the writer’s path so practice self-compassion. Try setting achievable goals and allow yourself to celebrate small victories along the way. Joining a writing group or seeking feedback from other writers can help boost confidence and provide constructive criticism.

I think with these solutions in mind, we writers and aspiring writers can overcome these hurdles and complete our manuscripts and other writing projects with confidence.

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Elmore Had It Right.

Slogging along on a manuscript or other piece of writing? Taking longer to finish than you expected? Exhausted trying to complete that description, paragraph, sentence, scene, dialogue, or other story element? Mr. Leonard just might have been on to something when it comes to writing.

Elmore And Writing

Elmore Leonard (October 11th, 1925 – August 20th, 2013)  was a novelist, short-story writer, and screenwriter. His earliest novels were westerns but he didn’t limit his work to that genre. Among his best-known works are “Get Shorty,” “Out of Sight,” “Hombre,” “Mr. Majestyk,” “Rum Punch” (adapted as the film “Jackie Brown”), and short stories that became the films “3:10 to Yuma” and “The Tall T,” as well as the FX television series, “Justified.” 

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Publishing And Marketing Scams

For authors seeking publishers and marketing help you should know it’s a dangerous world out there full of pitfalls, and offers of help aren’t all they are cracked up to be. In fact, those offers may be scams.

Source: Shutterstock

Here is excellent information posted by Victoria Strauss for Writer Beware®:

I’ve been expending a lot of words and time lately warning about the latest scam phenomenon to hit the writing world: fake publishing and marketing companies that, through outrageous prices and worthless services, extract enormous amounts of money from unwary writers.

Based in the Philippines (despite their apparent US addresses, phone numbers, and telemarketer names) and focusing primarily on small press and self-published authors (particularly authors who’ve published with one of the Author Solutions imprints), these companies recruit writers with relentless–and highly deceptive–phone and email solicitations. Some do provide the services authors pay for, albeit at seriously inflated prices and often of poor quality. Others just take the money and run. I’m hearing from a growing number of writers who’ve paid five figures in fees to one–or, in some cases, more than one–of these scams, with next to nothing to show for it.

Given how fast the scams are proliferating (I learn about a new one every few weeks), I thought it would be helpful to gather all the information I’ve put together about them in one place.

To read Victoria’s entire list and the rest of her informative post at Writer Beware click https://accrispin.blogspot.com/2019/08/from-philippines-not-with-love-plague.htm

If you haven’t visited the Writer Beware blog, I would encourage you to take a look.

“Writer Beware: Shining a bright light into the dark corners of the shadow-world of literary scams, schemes, and pitfalls. Also providing advice for writers, industry news, and commentary. Writer Beware is sponsored by the Science Fiction and Fantasy Writers of America, Inc.”