Category: writing

Navigating the Challenges of Writing in the AI Era

I had lunch with a dear friend recently—a lovely person who discovered that writing is, in fact, a business. Yes, a business. Like selling hot dogs or running a laundromat, except with more existential dread and fewer health inspections. Over sandwiches, we discussed the latest in literary absurdity: AI-driven software that can crank out an entire book faster than you can say, “What the actual fuck?” Apparently (and I can’t confirm this, but it sounds stupid enough to be true), Kindle Direct Publishing (KDP) now limits authors to uploading no more than three books a day. Three. A. Day. Because, you know, that’s a totally normal output for a human being and not at all a sign that Skynet is moonlighting as a romance novelist.

Let’s talk about writing a book the way most authors do—or at least the way we used to before AI started pooping out novels like a malfunctioning vending machine. Writing a book used to be a deeply personal, soul-crushing process that required creativity, discipline, and the kind of stubbornness usually reserved for toddlers refusing to eat broccoli. Here’s how it went down in the pre-AI era:

1. Generating Ideas

Back in the day, authors had to rely on their own brains to come up with ideas. No ChatGPT, no Bard, no “AI Muse 3000.” Just raw, unfiltered human creativity. Inspiration came from life experiences, dreams, or that one weird conversation you overheard at Starbucks where someone said, “I don’t care if it’s illegal, I’m marrying the ferret.” Writers carried notebooks everywhere, jotting down ideas like lunatics scribbling manifestos.

For example, when I wrote a book about sailing, I didn’t just Google “how to sail” and call it a day. No, I lived it. I chartered a sailboat, had the crew walk me through the process, and spent the day pretending I was Captain Jack Sparrow (minus the eyeliner and rum). That night, when I lay down in my hotel bed, the room was still swaying. That’s the kind of detail you can’t fake. That’s world-building, baby.

2. Outlining the Story

Once you had an idea, you had to outline it. This was where the real masochism began. You’d map out the plot, develop characters with backstories more complicated than your family drama, and, if you were writing sci-fi or fantasy, create entire worlds with their own rules, languages, and economies. It was like playing God, except no one worshipped you, and you didn’t get a day off.

Some writers “pantsed” their way through the story (a.k.a. winging it like a drunk pilot), while others meticulously planned every chapter. I personally use a beat sheet from Save the Cat, because apparently, I enjoy turning my creative process into a spreadsheet. Nothing says “art” like Excel.

3. Writing the First Draft

Ah, the first draft. The part where you sit down, stare at a blank page, and think, “Why the hell did I decide to do this?” Writing was slow, painful, and required the kind of discipline usually associated with monks or Navy SEALs. You’d aim for a specific word count each day, and if you hit it, you’d reward yourself with chocolate or alcohol—or both.

Writer’s block was a constant companion. Without AI to suggest ideas, you had to push through it on your own. Some people went for walks. Others screamed into the void. I personally found inspiration in coffee, wine, and the occasional existential crisis.

4. Revising and Editing

Once the first draft was done, the real torture began: revising. You’d read your manuscript over and over, catching typos, fixing plot holes, and wondering why your protagonist sounded like a cardboard cutout. Beta readers would give you feedback like, “I didn’t connect with the characters,” or “This part was boring,” and you’d resist the urge to reply, “Well, Karen, maybe you’re boring.”

If you could afford it, you’d hire a professional editor. If not, you’d edit it yourself, which was like performing surgery on your own child. Painful, messy, and guaranteed to leave scars.

5. Research

Research is the necessary evil of writing, especially for non-fiction or historically accurate fiction. It’s the part of the process where you willingly dive headfirst into a rabbit hole of facts, only to emerge hours later wondering why you now know the mating habits of 18th-century pigeons but still haven’t figured out what your protagonist’s name is. Research is both a blessing and a curse—it gives your work depth and believability, but it also makes you question your life choices when you’re Googling things like, “How long does it take for a body to decompose in a swamp?” and praying your internet provider isn’t judging you.

For example, if you’re writing sci-fi, you might find yourself studying quantum physics or emerging technologies, which sounds impressive until you realize you’re just trying to figure out how to explain time travel without sounding like a lunatic. Or, if you’re me, you might Google “how to sabotage an airplane” and then spend the next week convinced that the FBI is about to kick down your door. I mean, imagine it: covert agents taping over your outdoor cameras, RF jamming your phone so you can’t call for help, cutting the power to your house, shooting your dogs (RIP, Fido), and snipers perched in trees a mile away, just waiting for you to answer the door in your pajamas—or, let’s be honest, nude—so they can interrogate you about your questionable search history.

Wait. I never Googled that. Nope. Never happened. But damn, wouldn’t that make a killer chapter in a thriller? Picture it: the protagonist is a writer who accidentally stumbles onto some classified government conspiracy while researching their next book. Suddenly, their innocent Google searches turn into a one-way ticket to paranoia-ville, complete with black SUVs tailing them and mysterious men in suits showing up at their local coffee shop. Someone call Netflix—I think I just wrote their next hit series.

But seriously, research is the backbone of good writing. Whether you’re crafting a historical epic or a sci-fi adventure, you need to know your shit. As Patricia Leslie points out, research is essential for both fiction and non-fiction writers. It helps develop characters, make settings believable, and weave fact and fiction together so seamlessly that readers can’t tell where one ends and the other begins

For non-fiction, accuracy is king. For fiction, it’s more like a benevolent dictator—you can bend the rules a little, but you still need to know what you’re doing.

The trick is to use research as a tool, not a crutch. Sure, you could spend weeks poring over vintage newspapers or interviewing experts, but at some point, you have to stop researching and start writing. Otherwise, you’ll end up with a head full of useless trivia and no book to show for it. And let’s be honest, no one’s going to be impressed that you know the exact dimensions of a 16th-century guillotine unless you actually use that knowledge in your story.

So, to all the writers out there: research responsibly. And maybe clear your browser history every now and then, just in case. You never know when the FBI might decide to pay you a visit.

6. Finding a Publisher

Before self-publishing, authors had to grovel at the feet of literary agents and publishers. You’d write query letters, pitch your book, and wait months for a response, only to get a rejection that said, “Not for us, but good luck!” It was like online dating, except instead of ghosting you, they sent a polite “no.”

7. Marketing and Promotion

Even after all that, the work wasn’t done. Authors had to promote their books like used car salesmen. Book tours, media appearances, social media campaigns—you name it. You’d beg people to buy your book, and they’d say, “I’ll wait for the movie.” Thanks, Aunt Linda.

The AI Problem

Now, thanks to AI, anyone can “write” a book in minutes. But let’s be honest: these programs aren’t writing books; they’re shitting them out. And the result? A flood of mediocre, soulless content clogging up the literary world like a fatberg in a sewer.

I’m all for technology as a tool. Word, Grammarly, ProWritingAid—these are great. But AI-generated books? That’s where I draw the line. I’m pushing for legislation that requires AI-generated books to wear a big, ugly label that says, “This was written by a robot.” Readers deserve to know if the “author” of their favorite romance novel is a human or a glorified toaster.

Final Thoughts

Writing is a job. A hard, thankless, occasionally soul-sucking job. There are days when I stare at my manuscript and think, “Why am I doing this?” But then I remember: because I love it. Because it’s who I am. And because the world needs more books written by real people with real stories to tell.

My book, Stupid Shit, is coming soon. Subscribe today so you can grab a copy when it drops. Trust me, it’ll be worth it. Or don’t. I’m not your mom.

-Best

Dissecting 2012: The Hero’s Journey Explained

I don’t always watch movies on TV, but when I do, it’s usually because I’ve run out of excuses to avoid them. Truth be told, the last time I sat down for a cinematic experience, Twisters was still blowing cows across the screen. Why the long hiatus? Well, when you’ve written over 90 million words (yes, I counted), your brain tends to treat “relaxation” like a mythical creature—something you’ve heard about but never actually seen. But hey, even the most overworked wordsmith deserves a mental vacation every now and then, right?

So, I decided to dust off my popcorn bowl and dive into 2012, Roland Emmerich’s epic disaster flick. But because I’m a writer (and therefore incapable of turning off my analytical brain), I thought it’d be fun to dissect the movie through the lens of the Hero’s Journey. If you’re not a writer, you might be thinking, “Why should I care?” And honestly, fair point. But stick around—there’s a good chance you’ll leave this with a newfound appreciation for both storytelling and John Cusack’s ability to outrun the apocalypse in a limo.

The Hero’s Journey: A Quick Crash Course

Before we dive into the fiery pits of 2012, let’s talk about the Hero’s Journey—a storytelling framework so universal it’s basically the avocado toast of narrative structures. Coined by Joseph Campbell, it’s the blueprint for every epic tale, from The Odyssey to Star Wars to, yes, 2012. Here’s the gist:

Ordinary World: The hero starts in their boring, everyday life. Think “before Frodo left the Shire” or “before Harry got his Hogwarts letter.”

Call to Adventure: Something shakes up the status quo. Usually, it’s a big ol’ problem that can’t be ignored.

Refusal of the Call: The hero hesitates because, let’s face it, saving the world sounds exhausting.

Meeting the Mentor: Enter the wise guide who says, “You’ve got this!” (or, in some cases, “You’re doomed, but good luck!”).

Crossing the Threshold: The hero leaves their comfort zone and steps into the unknown. Cue dramatic music.

Tests, Allies, and Enemies: The hero faces challenges, makes friends, and punches bad guys (or, in this case, dodges tsunamis).

The Ordeal: The big, climactic moment where everything’s on the line.

The Reward: The hero achieves their goal—or at least survives long enough to celebrate.

The Road Back: Time to head home, but not without a few more hurdles.

The Resurrection: The hero emerges transformed, wiser, and probably in need of a nap.

Return with the Elixir: The hero brings back something valuable to share with the world. (Spoiler: It’s usually not an actual elixir. Sorry.)

How 2012 Fits the Hero’s Journey (With a Dash of Chaos)

1. The Ordinary World

Meet Jackson Curtis (John Cusack), a struggling writer and part-time limo driver. His life is as ordinary as it gets—divorced, juggling kids, and probably wondering why his book sales are flatter than a pancake. If this were a sitcom, his biggest problem would be forgetting his ex-wife’s birthday. But alas, this is a disaster movie, so things are about to get way worse.

2. The Call to Adventure

Jackson stumbles upon a conspiracy theorist (Woody Harrelson, in peak “crazy guy with a radio” mode) who warns him that the world is about to end. Naturally, Jackson’s first reaction is, “Yeah, okay, buddy.” But then the ground starts cracking open like a dropped egg, and suddenly, Charlie’s ramblings don’t seem so far-fetched.

3. Refusal of the Call

At first, Jackson doesn’t take the whole “apocalypse” thing seriously. I mean, who would? But when Los Angeles starts collapsing faster than my New Year’s resolutions, he realizes it’s time to grab the kids and hit the road. Or, in this case, the sky—because nothing says “family bonding” like escaping in a private plane.

4. Meeting the Mentor

Charlie Frost, our lovable doomsday prophet, serves as Jackson’s mentor. Sure, he’s a little unhinged, but he’s got the inside scoop on the government’s secret arks (because of course there are secret arks). His advice? “Head to the Himalayas.” His delivery? Equal parts helpful and unhinged.

5. Crossing the Threshold

This is where things go from “bad” to “holy crap.” Jackson and his family narrowly escape a crumbling Los Angeles in a limo—a scene so over-the-top it makes Fast & Furious look like a documentary. They’re officially in the unknown now, where survival is the name of the game.

6. Tests, Allies, and Enemies

The Curtis clan faces obstacle after obstacle: collapsing cities, selfish billionaires, and the occasional volcanic eruption. Allies include a Russian billionaire’s kids (because nothing says “teamwork” like rich kids in peril) and a geologist who’s trying to save humanity. Enemies? Pretty much everything else, including gravity.

7. Approach to the Inmost Cave

The gang finally reaches the Himalayas, where the arks are being prepped. But there’s a catch: they don’t have tickets. (Pro tip: Always RSVP to the apocalypse.) Sneaking aboard becomes their next big challenge.

8. The Ordeal

This is the big one. A massive tsunami threatens to destroy the ark, and Jackson has to risk his life to save everyone onboard. It’s tense, it’s dramatic, and it’s exactly what you’d expect from a movie where the stakes are literally “the end of the world.”

9. The Reward

Jackson and his family make it onto the ark, securing their survival. Humanity gets a second chance, and Jackson gets to be the hero his kids always wanted him to be. Win-win.

10. The Road Back

As the waters recede, the survivors aboard the ark prepare to face a drastically altered Earth. It’s a bittersweet moment—kind of like realizing you’ve survived a marathon, only to remember you still have to walk home.

11. The Resurrection

Jackson’s journey transforms him into a braver, more selfless version of himself. He reconciles with his family, proving that even in the face of global annihilation, there’s always time for personal growth.

12. Return with the Elixir

The survivors represent humanity’s chance to rebuild. Jackson’s “elixir” isn’t a magical potion—it’s hope, resilience, and the knowledge that even in the darkest times, we can find a way forward. (Cue inspirational music.)

Why the Hero’s Journey Matters

The Hero’s Journey isn’t just a storytelling formula—it’s a mirror for our own lives. We all face challenges, doubts, and moments of transformation. Sure, most of us aren’t dodging tsunamis or sneaking onto arks, but the core themes—struggle, growth, redemption—are universal. And that’s why it works, whether you’re writing a novel, watching 2012, or just trying to survive Monday morning.

So, the next time you watch a movie, ask yourself: Where’s the hero? What’s their journey? And most importantly, could you outrun an earthquake in a limo? (Spoiler: Unless you’re John Cusack or have a death wish, the answer is a resounding “hell no.”) But hey, if you’re feeling confident, go ahead and try. Just make sure someone’s filming it so the rest of us can enjoy your inevitable failure on YouTube.

Speaking of disasters, have you signed up for my emails yet? No? Why the hell not? What are you waiting for—a personal invitation? Fine. Here it is:

Dear Reader, please sign up for my emails so I can spam you with my questionable wisdom and occasional nuggets of brilliance. Love, Me.

There. Now you have no excuse. Unless, of course, you’re one of those people who still uses AOL and thinks email is for “serious business only.” In which case, I can’t help you.

Now, let me tell you about my current juggling act. I’m working on not one, but two books at the same time. That’s right—two. Because apparently, I enjoy torturing myself. One of them is called Stupid Shit, which, let’s be honest, is probably why you’re here. The other one? 1300 Feet Per Second, which is a psychological thriller.

And because I’m such a generous soul, I even find time to share blog posts about stupid shit. Or, occasionally, not-so-stupid shit. You know, for balance. It’s like a treasure chest of wisdom, except instead of gold coins, you’re getting sarcastic commentary and unsolicited advice. But hey, treasure is treasure, right? So go ahead—take something from my trove of brilliance. Or at least pretend you already knew all this stuff so I can feel like I’m making a difference.

Have a nice Day!

More Stupid Shit

and media manipulation

Vance Boelter, a man clearly not invited to the “Let’s Make Good Life Choices” seminar, decided one day to spice things up by dressing as a cop, strolling up to a Minnesota lawmaker’s house, and committing straight-up cold-blooded murder. Bold move, Vance. Bold, stupid-as-hell move.

Now, as gruesome and shocking as that is, what really takes the cake here is the way Alexa—yes, Amazon’s Alexa—decided to break the news. Imagine walking into your kitchen, coffee in hand, ready to fight the soul-sucking Monday ahead, when your helpful little robot assistant pops up with:

“A murder occurred at the home of a Democratic Lawmaker. The perpetrator shot the husband and wife in cold blood.”

To be honest, the newsflash should have left out the word Democrat… Whoever writes this shit knows what they are doing and trust me, its deliberate.

Well, damn, Alexa. Way to brighten my day. That’s one hell of a headline to pair with my toast and jam. But you know what they didn’t mention? What they just conveniently left out? That Vance was… wait for it… a Democrat appointee, courtesy of Governor Tim Walz himself. Yeah, let that marinate. Tens of thousands of people see that vague little nugget of information and immediately start imagining some MAGA-hat-wearing lunatic foaming at the mouth. Because that’s what we do now: jump to conclusions faster than a squirrel on espresso.

Public Opinion: A Circus of Stupidity

This, ladies and gentlemen, is how public opinion is formed. Not with facts or nuance or even a shred of common sense. Nope. Just a headline and a whole lot of assumptions. And let’s be real here—critical thinking is about as popular these days as a Nickelback reunion tour. Nobody questions anything, nobody digs deeper. The media throws you a bone, and we all run with it like we’re championship greyhounds.

But wait! There’s more! Because, of course, there’s always more stupid shit to pile on top of the already steaming heap. Enter Alex Padilla, the guy who apparently thought it was a good idea to crash Kristi Noem’s press conference (because why not, right?). This same dude is now trying to tie these murders to Trump’s campaign. Yes, you read that right. The murders. Trump. Connected. Somehow. It’s like a bad game of Mad Libs where every blank gets filled with “Trump” because nobody knows what else to say anymore.

Why Are We Like This?

And here’s the million-dollar question: Why are tensions rising? Why is everybody so angry all the damn time? Well, buckle up, because here’s the answer—it’s stupid shit like this. The media stirs the pot with half-truths, people gobble it up without question, and before you know it, everyone’s picking sides and throwing punches. It’s human nature, sure, but it’s also human stupidity in its purest form.

So, there you have it. Murder, media, and a masterclass in how to divide a population. If this isn’t the poster child for my upcoming book, Stupid Shit, I don’t know what is. Oh, and if you’re still here, sign up for emails so you can snag the book on KDP when it drops because nothing cures the existential dread of living in a divided society like laughing at the sheer absurdity of it all.

Learn to ask questions and stop assuming shit.

-Scott

The Return of Firing Squad Executions in the U.S.

I have been on the fence regarding the Death Penalty since I was a child.
For those of you old enough to remember grade school, when we got back from lunch and there was a projector in the room it was a great day!

Well, that was not the case one day in the third grade—yes, third grade. Most of us were 9 years old, and we didn’t know too much about war. For me, Vietnam was fresh on our minds even though we couldn’t find it on a map; we all knew someone who was involved.

The film that day was The Execution of Private Slovik. In case you never saw the film, the story revolves around a soldier named Private Slovak, who is executed for the crime of cowardice.

The events unfold in a manner that highlights the absurdity and tragedy of war. Vonnegut uses dark humor and irony to convey the senselessness of the military’s decision, questioning the values and morals of those in power.

“The Execution of Private Slovak” serves as a powerful commentary on the nature of war and the moral dilemmas faced by individuals in extreme circumstances. Vonnegut’s unique style and perspective prompt readers to reflect on the consequences of conflict and the human capacity for both cruelty and compassion.

The film adaptation of “The Execution of Private Slovak” is likely aimed at a mature audience, primarily due to its themes of war, morality, and the psychological impact of conflict.
The film’s production was so compelling that I still suffer from PTSD after seeing it in 1974 as a child.
I don’t have to tell you that the ‘teacher’ who sucked at teaching BTW had no business showing that film to nine-year-olds.

That brings me to my reason for this blog post…

Recent Execution by Firing Squad
Today, March 8, 2025, marks a significant event in the realm of capital punishment in the United States, as Brad Sigmon, a 67-year-old inmate, was executed by firing squad in South Carolina. This execution is notable as it is the first firing squad execution in the U.S. in 15 years, with the last one occurring in Utah in 2010.

Brad Sigmon was convicted of a double murder in 2002, where he killed his ex-girlfriend’s parents. He opted for the firing squad as his method of execution, rejecting other options such as electrocution or lethal injection. This choice has sparked discussions about the ethics and humanity of various execution methods, especially given the controversies surrounding lethal injections and their potential for botched procedures.

The execution has drawn significant attention and criticism, with many labeling the firing squad as a “barbaric” method of execution. There have been calls for clemency and debates about the appropriateness of using such methods in modern society. The return of firing squads as a method of execution raises questions about the evolving landscape of capital punishment in the U.S. and the moral implications involved.

Well, I don’t have to tell you that his death has resonated with me.

Unlike many, I feel as if we gain something when a mass murderer doesn’t commit suicide by cop or just plain old taking the coward’s way out and offing themselves.

Learning from the experiences of convicted murderers can help identify patterns that lead to violent behavior. This knowledge can inform community preventive strategies, such as mental health support, conflict resolution programs, and educational initiatives to reduce violence.

I maintain that we have a mental health crisis in this country and most probably around the globe.
As the Trump administration focuses on improving America’s health, mental health should be a key component.

This person chose this method to die as a statement. Why? What was his reasoning to die in such a horrific manner? Will his death dissuade others from committing acts of violence?

What are your thoughts?
Should we have the death penalty?
If we have it how should it be carried out?

As you can see, I enjoy sharing my views on current events. Feel free to share your thoughts in the comments section below.

I am thrilled to share an exciting update with you—my latest book, 1300 Feet per Second, will be released soon! This novel delves into the intricacies of human resilience and the relentless pursuit of one’s dreams, all set against the backdrop of gripping adventure and unforeseen challenges.
Your support has always been invaluable to me, and I am incredibly eager for you to dive into the pages of 1300 Feet per Second. This story will captivate your imagination and resonate with your spirit, much like it did with mine during the writing process.

In addition to this new release, I invite you to explore my current collection of books available on Amazon. Each title carries a piece of my heart and endless hours of dedication, crafted to offer you memorable and enriching literary experiences.

Thank you for being such a passionate and supportive community. I look forward to hearing your thoughts on 1300 Feet per Second and hope you find joy and inspiration in all my works.
Happy reading!

Warm regards,
Scott
Discover more of my books:

If your in to reading short stories for free…Follow the link and read my contest entries on the Reedsy web site in the UK.

Should I accept feedback from everyone?

Advice from another writer…

Writing Wednesday: How To Avoid Contaminated Feedback

Mastering Story Pacing: Engage Readers Effectively

There are so many aspects to writing that I think we can get lost in the weeds.

Today I want to focus on pacing. What is it?

Pacing refers to the rate at which a story unfolds, influencing how quickly or slowly the narrative progresses. It is a crucial element of storytelling that affects reader engagement, emotional impact, and the overall mood of the piece.

The length of scenes can significantly affect the pacing. Short, punchy scenes can create a fast-paced narrative, while longer, more descriptive scenes tend to slow the pace down.

The intensity and frequency of action sequences versus descriptive passages also play a vital role. A story filled with rapid action will generally feel faster-paced, while a narrative that delves deeply into character emotions and settings may feel slower.

Different genres often dictate pacing styles. For example, thrillers typically have a brisk pace to maintain tension and excitement, whereas character-driven novels may adopt a slower pace to allow for deeper emotional connections.

Effective pacing often involves varying the speed throughout the story. This technique can help maintain reader interest and build tension, creating a dynamic reading experience.

The primary purpose of pacing is to control the speed at which the story is told, which is not always the same as the speed of the events occurring within the narrative. By manipulating pacing, writers can enhance tension, develop characters, and evoke specific emotional responses from readers.

A thriller might exemplify effective pacing through a combination of short, action-packed scenes and longer, descriptive passages. The rapid shifts between intense action and slower moments allow readers to catch their breath while still maintaining a sense of urgency throughout the story.

Tension through pacing is all about rhythm and balance. By using techniques like short sentences, fast dialogue, controlled information release, and alternating speeds, writers can craft a narrative that keeps readers on the edge of their seats. Whether it’s a high-stakes chase or a quiet moment of dread, pacing allows authors to manipulate the reader’s emotional experience and maintain suspense throughout the story.

Many can write a good story, but can they captivate their readers? Pacing is a key element in maintaining reader engagement.

Common Pacing Mistakes to Avoid

Pacing is a delicate balance in storytelling, and mistakes in this area can disrupt the flow of a narrative, disengage readers, or confuse them. Here are some common pacing mistakes and how to avoid them:

1. Rushing Through Key Moments

The Problem: Important scenes, such as climactic moments or emotional turning points, are glossed over too quickly. This can leave readers feeling unsatisfied or disconnected from the story.
How to Avoid: Slow down during pivotal moments. Use detailed descriptions, internal monologue, and sensory details to fully immerse readers in the scene. For example, explore their thoughts and feelings in depth instead of rushing through a character’s emotional reaction.

2. Dragging the Narrative with Too Much Description

The Problem: Overloading the story with excessive description or unnecessary details can bog down the pace, making the narrative feel slow and tedious.
How to Avoid: Be selective with descriptions. Focus on details that are relevant to the plot or character development. If a scene feels slow, consider cutting unnecessary exposition or dialogue.

3. Uneven Pacing

The Problem: The story alternates between being too fast in some parts and too slow in others, creating a jarring experience for readers.
How to Avoid: Plan your pacing intentionally. Use faster pacing for action scenes and slower pacing for introspection or world-building. Balance is key—vary the tempo to keep readers engaged without overwhelming or boring them.

4. Too Many Filler Scenes

The Problem: Including scenes that don’t advance the plot or develop characters can make the story feel stagnant and cause readers to lose interest.
How to Avoid: Every scene should serve a purpose. Ask yourself: Does this scene move the plot forward, reveal something about the characters, or build tension? If not, consider cutting or reworking it.

5. Overloading the Reader with Action

The Problem: Constant action without breaks can exhaust readers and make the story feel monotonous, even in genres like thrillers or action-adventure.
How to Avoid: Alternate between high-intensity action and slower, reflective moments. This gives readers time to process events and connect with the characters.

6. Skipping Over Transitions

The Problem: Jumping too quickly between scenes or events without proper transitions can confuse readers and disrupt the flow of the story.
How to Avoid: Use transitions to guide readers smoothly from one scene to the next. Even a brief sentence or two to establish time, place, or mood can help maintain clarity.

7. Ignoring Genre Expectations

The Problem: Pacing that doesn’t align with the genre can alienate readers. For example, a slow-paced thriller or a fast-paced literary drama may feel out of place.
How to Avoid: Understand the pacing norms of your genre. Thrillers and action stories typically require faster pacing, while literary fiction or romance may benefit from slower, more introspective pacing.

8. Failing to Build Tension Gradually

The Problem: Jumping straight into high-stakes moments without proper buildup can make the story feel rushed and reduce the emotional impact.
How to Avoid: Gradually increase tension by layering conflicts, foreshadowing events, and raising the stakes over time. This creates a more satisfying payoff when the climax arrives.

9. Repetition of Similar Scenes

The Problem: Repeating scenes that cover the same ground (e.g., similar conversations or conflicts) can make the story feel redundant and slow.
How to Avoid: Ensure each scene adds something new to the story. If two scenes feel repetitive, combine them or cut one entirely.

10. Overcomplicating the Plot

The Problem: Introducing too many subplots or unnecessary twists can overwhelm readers and make the pacing feel erratic.
How to Avoid: Streamline your plot. Focus on the main storyline and ensure subplots are relevant and resolved in a timely manner.

Hope this helps!

Why I Value Critiques Over Prizes in Writing Contests

This week’s entry…

Many of you know I frequently submit contest entries to Reedsy, aiming for several submissions each month.

While the tease, the carrot, if you will, of $250 is nice, the reality is that I don’t even consider that part of the prize that I am seeking.

People around the world read my stories. While a simple “like” is an affirmation in that they took the time to click like, it is for the critiques of other writers I seek.

Since they don’t know me, they can tell me what they honestly think or feel. I also reciprocate for the stories that I read. I do that with the good, the bad, and the ugly.

This week’s entry was posted, and I received the following review.

Scott, your story masterfully blends humor, serendipity, and heartfelt moments into a captivating narrative that made me feel like I was right there in the snowed-in airport. The line, “No, I’m not tired,” he whispered sadly, “but I’m also sad to see the blizzard ending,” encapsulates the bittersweet feeling of fleeting connections and new possibilities. Your depiction of Victor and Emma’s banter and chemistry, especially their shared frustrations and quick wit, is utterly delightful. The humor throughout the story—like Emma’s hilarious commentary on airport bars—kept the mood lively while the underlying emotions added depth. Your vivid descriptions, especially of the bustling airport bar and Victor’s nostalgia for Toad Suck, created a rich, immersive backdrop. This is a wonderfully crafted piece with humor, heart, and charm. Thank you for sharing such a delightful read!

I am not sharing this as a brag but as an example.

Countless similar contests, with their own unique rules and prizes, undoubtedly exist across various platforms and communities. For me, these contests are much like a recess from grade school—a welcome break from the pressures of work, a chance to let loose and have some fun, just like those carefree days of childhood. The prompt transports me from my project – be it the chilling winds and barren rocks of an alien planet or the plush carpets and rich scents of a movie star’s boudoir. The challenge is to meticulously plan my writing, unlike my spontaneous, free-flowing pantster style. With a maximum of 3000 words, creating the arc, the storyline, and so on is excellent practice for that New York Times bestseller that is looming in the near distance of my imagination.

Follow the link to my entry and see what you think. Was she right?

Recently, I published a book of these entries called Ephemera, Tales of the Fleeting and Profound. Another book with the same name, Vol II, is in the making as I take these stories, edit them, add to them as I see fit, and re-publish them as a book of short stories. You can find my work here.

Welcome to 2025 and your personal connection to someone passionate about the craft of writing. Cheers!

“Trim the Tree”

How to Edit Your Stories and ‘Kill Your Darlings’ This Holiday Season.

Critiquing is one of the most important things we do in a writers’ group.

With Christmas almost here in December, I felt inspired to offer a posthumous critique of Irving Berlin’s work.

In case you don’t know, Irving Berlin wrote the movie “White Christmas,” released in 1954. He not only composed the music for the film but also contributed to its screenplay. The film features several of Berlin’s classic songs, including the iconic title track, originally debuting in his earlier work, the 1942 film “Holiday Inn.”

Truth be told, nobody wants to watch a movie with me. Why?

As a storyteller, I dissect movies. Since I penned my first novel, I can’t help myself. I am told by those who know that I should smoke pot before watching a movie so I can sit back and enjoy it.

Since I don’t smoke or do drugs, I guess I will have to be me and watch movies or read books as a solo act.

Like any artist or tradesperson, we learn from watching others and doing.

I went to see a theatrical production of White Christmas last weekend. The film’s soundtrack and other elements were all very memorable. I vividly remember every dance’s choreography and performance. The problem is that I also dissected the play and the film throughout the performance.

If we examine the plot points of the movie, they are:

War Flashback: The film opens with a flashback to Christmas Eve in 1944, where Bob and Phil perform for their fellow soldiers during the war. This sets the stage for their strong friendship and shared experiences.

Post-War Success: After the war, Bob and Phil establish themselves as a popular entertainment duo. They enjoy fame and success in the show business world.

Meeting the Sisters: While in New York, they meet a sister act, Betty (Rosemary Clooney) and Judy (Vera-Ellen), and become romantically involved with them. The sisters are also aspiring performers, which adds to the story’s dynamic.

The Vermont Inn: Bob and Phil learn that their former commanding general, General Waverly, is struggling to keep his Vermont inn afloat during the winter season. They decide to help him by organizing a Christmas show at the inn.

Planning the Show: The duo travels to Vermont with the sisters to put on a spectacular Christmas performance to attract guests and save the inn. They face various challenges, including weather issues and the general’s pride.

Romantic Developments: Throughout the film, romantic tensions build between Bob and Betty, as well as between Phil and Judy. Their relationships evolve as they work together to save the inn.

The Big Show: The climax of the film features a grand Christmas show, where all the characters come together to celebrate the holiday spirit. The performance is filled with music, dance, and heartfelt moments.

Resolution: The film concludes with a heartwarming finale, where the inn is saved, and the characters find love and happiness, embodying the spirit of Christmas.

If you or I wrote a novel with that much Serendipity, no agent would touch it.

If I’d written it, I would have done a better job describing the Haynes sisters and their cousin. Several times, the’ dog-faced boy’ is the comic relief or the glue that binds the sisters’ connection to their army buddies.

What are the odds they all end up at an inn in Vermont that just happens to be owned by General Waverly, whom the guys respect and love?

By the way, army folks help me out. Would you love a commanding officer who puts you in harm’s way?

Why not connect the dots?

How about making the dog-faced boy related to the general, which is how the Haynes sisters got the gig in the first place?

Why am I picking on a show I have loved my whole life?

Within our field, the regrettable necessity of forgoing cherished elements is unavoidable. As a result, all editing options continue to be available. We refer to this as killing our darlings.

Dissecting the movies or books you loved as a child or even today will make you a better writer.

Read, Dissect, Reflect…

As we gather around our loved ones this holiday season, let’s take a moment to reflect on our creative journeys. Just as we carefully select ornaments to adorn our trees, may we also embrace the art of editing, trimming our narratives to shine even brighter.

Remember, every cut you make is a step toward clarity and impact in your writing. So, as you cozy up with your stories this Christmas, don’t be afraid to ‘kill your darlings’ and make room for the magic that truly resonates.

Wishing you a Merry Christmas filled with joy, warmth, and inspiration. Happy editing, and may your words flow as freely as the holiday spirit! 🎄✨

Currently, there are numerous works in progress featuring magic, one of which is a pulse-pounding thriller where a forensic assassin, acting as a hired gun, tracks down villains through dimly lit alleyways and shadowy corners, the city’s heartbeat a constant hum in the background. Make sure to stay tuned for additional details.

Here are the recently penned novels, their covers promising untold stories.

Ephemera Tales of the Fleeting & Profound was just released. This is a book of short stories inspired by prompts from Reedsy.

Nudist Haven

Dear Readers,

Are you ready to embark on a journey filled with nostalgia, nature, and hidden secrets? Dive into “Nudist’s Haven,” where the past and present collide in a rustic cabin surrounded by enchanting woods and mysterious footprints.

Join Sarah as she revisits her grandmother’s secluded sanctuary, only to discover that solitude might not be as lonely as it seems. Between the whispers of the lake and the secrets of the forest, there’s a tale waiting to unfold—a tale of unexpected friendships, daring encounters, and the simple yet profound beauty of life stripped to its essence.

Will Sarah find the courage to face the shadows of the past and embrace the unexpected twists of her present? Who is the enigmatic Nathan, and what role does he play in this wilderness narrative?✨ We invite you to explore this captivating story and share your thoughts!✨Your comments and insights are the heartbeat of our storytelling community. We can’t wait to hear your reactions and discuss the surprising turns and heartfelt moments that make “Nudist’s Haven” an unforgettable read.

Click here to read this for free!

Happy Reading and Warm Regards,

Author Scott📖💬

Show Don’t Tell

‘Show don’t tell’ is one of the foundational principles of writing, emphasizing the importance of vividly illustrating instead of simply stating.

The principle of “show, don’t tell” is a fundamental technique in writing that enhances storytelling by allowing readers to experience emotions and events more vividly. Here are several reasons this approach is effective:
Engages the Reader’s Imagination
When writers show rather than tell, they invite readers to interpret the emotions and actions of characters through descriptive language and sensory details. This engagement encourages readers to visualize scenes and feel emotions alongside the characters, creating a more immersive experience.
Creates Emotional Depth
Showing emotions through actions, dialogue, and body language adds layers to character development. For instance, instead of stating that a character is angry, a writer might describe clenched fists, a flushed face, and a sharp tone of voice. This method allows readers to understand the character’s emotional state more deeply and personally.
Enhances Character Development
Characters become more relatable and realistic when their emotions are demonstrated through their behavior. Readers can infer motivations and personality traits based on how characters react to situations, making them feel more authentic and complex.
Builds Tension and Conflict
By showing rather than telling, writers can create suspense and tension in a narrative. For example, a character’s internal struggle can be illustrated through their actions and decisions, allowing readers to sense the stakes without explicitly stating them. This technique keeps readers engaged and invested in the outcome.
Encourages Reader Interpretation
When writers show emotions and events, they allow readers to draw their own conclusions and interpretations. This active participation can lead to a more rewarding reading experience, as readers connect with the story on a personal level and reflect on its themes and messages.

Here are some basic emotions

Joy – A feeling of great pleasure and happiness.
Trust – A positive emotion characterized by reliance on someone or something.
Fear – An emotional response to perceived threats or danger.
Surprise – A reaction to unexpected events.
Sadness – A feeling of sorrow or unhappiness.
Disgust – A strong feeling of aversion or repulsion.
Anger – A strong feeling of annoyance, displeasure, or hostility.
Anticipation – A feeling of excitement about something that is going to happen.

Detailed or nuanced emotions.

Affection
Amusement
Anxiety
Apathy
Compassion
Confusion
Contentment
Curiosity
Despair
Disappointment
Empathy
Envy
Excitement
Fearfulness
Frustration
Guilt
Hope
Horror
Hostility
Interest
Jealousy
Loneliness
Nostalgia
Pride
Relief
Remorse
Satisfaction
Shame
Surprise
Tenderness
Worry

Examples:
Opening his birthday present, Tim was joyful when he saw the latest video game.

Opening his birthday present, Tim’s face lit up with joy as he saw the latest video game. He eagerly imagined the hours of fun ahead.

Tim was disappointed to learn he would have to wait to play the game until the weekend, as tomorrow was a school day.

The following example may be a bit excessive, but it effectively conveys his disappointment.

As Tim’s face fell, a deep furrow etched itself across his brow. His eyes, which had sparkled with anticipation just moments before, now held a hint of sadness. The corners of his mouth, which had been curved up in a hopeful grin, now turned downward, reflecting the weight of his disappointment. He sighed, a long, slow exhalation that seemed to carry the burden of his unmet expectations.
He stared at the game console, its vibrant colors and intricate graphics now a stark reminder of the fun he would have to postpone. His fingers, which had been itching to wrap around the controller, now drummed a slow, disheartened rhythm against the table.
The room, once filled with the excited chatter of friends eagerly discussing strategies and predicting outcomes, now fell silent, save for the soft ticking of the clock on the wall. The hands moved inexorably forward, marking the passage of time that Tim could not reclaim.
As the reality of his situation sunk in, Tim’s shoulders slumped, and his body language indicated his despondency. He glanced at his friends, their faces a mirror of his own emotions, and then back at the game console. The screen, with its glowing promise of adventure and excitement, now seemed cold and distant, a cruel reminder of the joy that was now out of reach.
With a final, resigned sigh, Tim turned away from the game, his eyes downcast, his heart heavy with disappointment. He knew he would have to wait until the weekend to play, but for now, he could only endure the long, slow hours until then.

Try your hand at it. Pick a couple of the basic emotions, tell the story, and then show the story.

If you want more of these types of interactions, share your thoughts or stories in the comments.

-Best