Too Many Twists

By Jenny Hilborne
Author of mysteries and thrillers

Some authors make it hard on themselves...and it shows.

I recently finished reading a book, which I won't name, written by a well-known and highly praised author who, in my opinion, did this very thing. The writing was good and the main plot compelling (for which I awarded 4 stars); however, there were three separate plot lines which were each so convoluted I struggled to focus on any one of them. Apparently, I wasn't alone - I checked out the reviews and saw this complaint noted a number of times.

The book was a complex read and over 500 pages long. The main plot by itself - an insurance scam -  would have been enough, and the book would have been a good mystery, a lot shorter, and a far easier read. The main plot, as it happens, turned out to be the least interesting of the three mysteries the author combined into this one book. The second plot line was more interesting and I found myself slightly irritated when the story dropped that thread for a while and dragged my attention back to the first plot, which continued to rack up the twists and turns, giving the reader perhaps too much to digest.

Interspersed between the first and second plots were the private interjections from one of the main characters. These were the most moving portions of the book...and the most jarring. The author jumped about so much, I felt lost half the time...and anyone who knows me knows I have a horrible sense of direction. Many times during this book, I struggled to find my way back. The author used the term "pinball" for one of her characters and I felt like that while I was reading.

After I finished the book, I checked out more of this author's work to see if I wanted to try another. Based on the reviews of the other books, the general consensus was no. The "pinball" theme seems to run through the reviews.

To me as a reader, this is an example of a talented writer and a great storyteller trying too hard. All three mysteries were complex (another reason I gave the book 4 stars). Three separate books could have been made out of this and each one would have been great on its own. All three together, not so great an experience for the reader. The overall rating for this book is 3.2 stars with almost an equal amount of 1* and 5* reviews.

I'm all for the complexity and I like to be challenged, but too many twists or too many complex plot lines can spoil the enjoyment.

Thoughts?

Readers: what books have you read with too many plot lines? Would they have been better if they'd been written as separate books?

An Interview with Author Lala Corriere

Lala Corriere’s writing consumes her. Her suspense includes subplots with socially redeeming revelations. Both good and bad. This is her moniker.

CFC: You find some unique elements for your novels. In Widow's Row, you introduced readers to the idea of transgenders and in CoverBoy you explore the sexual sadism of cults. Where do you come up with these unusual twists?

LALA: Crazy, huh? Let’s say I’ve always had an active imagination. And I have an inquiring mind. I think people need to know their world, their country, and their own backyard. I’ve always believed prejudice is born of ignorance. In my first novel, Widow’s Row, I explore our transgender community. With luck, awareness brings understanding, and just maybe—acceptance. On the other end of the spectrum, there is real crap going on in our world. Believe me, when I wrote CoverBoy I had never heard of revirgination, and in my non-scientific poll most persons are shocked. And the cutting off of toes to fit into designer shoes. It’s a crazy world out there!

CFC: You have elected to publish independently. Would you ever consider a traditional publisher? Why or why not?

LALA: Widow’s Row was tied up on exclusive submissions, to two separate big publishers in a row, for over 2 ½ years!  This is what I’ve learned. I don’t believe anyone will treat my career with as much care as ME.  I don’t think traditional publishers are able to provide the marketing and white glove treatment that I can. Will that change? The market is in turmoil. Who knows? I never say never.

CFC: If you weren't a writer, what?

LALA: I always thought I wanted to be a princess until I saw the pressures on Duchess of Cambridge, Kate Middleton. I don’t have the voice to be a singer. I don’t have the patience to be a teacher. And I pass out at the sight of blood. What does that leave me because I can forget science and math! I love art. I dabble in it. I love interior design and at one time I made a decent living at it. When my children all left for university I realized I needed a passion. I’m married to an Italian who is passionate about his work. I found my ardor in writing. Let’s face it. You have to be passionate if you’re going to be disciplined enough to sit at a computer monitor for hours, days, and years.

CFC: What are you working on now?

LALA: I wish you could hear me squeal with excitement. I was gifted a story from a retired big-city detective. It’s one of those stories where truth is truly stranger than fiction and no one will believe it! My biggest challenge will be massaging the story so that this TRUTH will be credible. And writing blurbs that don’t give the ending away!


CFC: What question haven't I asked that I should have?

LALA: I was recently asked this one: What was one of the first challenges you incurred in your career?

I’m going to answer with two. First of all, I hope most of you know that less than one percent of the population that says they are going to write a book actually finish it. Less than one percent! Big challenge number one.

Once that baby is done we authors need to procure blurbs from other published authors. It’s intimidating. Necessary. I get that. I sent an email to Paris Afton Bonds. She’s a prolific romance novelist with a huge readership. Guess what? She read for me and she gave me a blurb! How easy was that? I aimed higher. I emailed Danielle Steele. I received back what I assumed was a form letter explaining that she was unable to read unpublished works due to contractual obligations. I understood. But I kept aiming. Maybe higher. I emailed Sidney Sheldon. Not only did he read for me and offer me three blurbs, but he was my mentor until he passed away about five years ago.

Years ago my father befriended the great Ashley Montagu, who readily expressed that sometimes being at the top is a lonely thing when one needs real people around them.

Aim high. Why not? Someone is waiting to hear from you!

******

Lala Corriere's newest release, CoverBoy (in addition to Widow's Row) can be sampled and purchased  here.

He prays for prey. His prayers have just been answered.

Lauren Visconti loses everyone she loves. They don’t walk out the door. They die. The Lauren Visconti Curse.

Her in-your-face magazine, CoverBoy, might have crossed a few lines. Now it appeared the curse had morphed. Now anyone Lauren had any emotion toward, good or bad, was doomed to be slaughtered.
Success came with the magazine’s dichotomy—photos of almost naked men juxtaposed between serious investigative reporting. Her articles ran true stories. Most readers had heard of sex-slave trafficking. Most didn’t know it occurred in their own backyards. Some readers knew about podiatry mutilations—the hacking off of elongated second toes and even the total amputation of little toes, all in order to fit into the expensive designer shoes. Very few had heard about revirgination.
CoverBoy’s articles named names.

The Obeah Voodoo scared Lauren. But could it help save her? More likely any help would come from the handsome psychologist.

This is what Lauren had to believe.

A Long and Winding Road . . . Gets Me Lost

By Peg Brantley, Writer at Work, Stumbling Toward Publication


Technical difficulties.
Brain farts.
Frequent stops.
Blurred vision.

I need help.

There must be some fabulous, fool-proof (and I mean that literally) method to keep details straight. Something even those of us who are technically challenged can use.

My main characters are fine. We've been living together for so long I know their idiosyncrasies and habits well. But minor characters? Even in real life, I have trouble remembering people's names. Let alone some walk-on who insists on being referenced again ninety-seven pages later.

What about those loose threads? Those little bits of information I introduced to later feed into something bigger and um . . . where are they? what were they?

I have folders. They're pretty (I buy the printed ones at the office supply store—a different design for each manuscript). They're also closed unless it's a research item, or a character study.

I have a spiral notebook. Somewhere. And while it might have some information in it, I can't count on it to be thorough. Because I'm not even quite sure where it is. And whether or not I actually took the time to write down what I'm looking for at this moment.

Stickies? Where would I stick them? Eventually my computer screen would be covered, and then it really would be a hit and miss proposition.

And unless someone wants to come and sit down with me to teach me Excel, I'm not inclined to spend much time inside the big green "X" icon. I have enough trouble with the address list I keep in it somewhere. It frustrates me beyond belief.

There's probably something cool in Scrivener for this. If so, please tell me where it is and how to use it.

Is that what edits are for?

It could also be that I'm at that place with this manuscript where it's all suddenly become a muddle and I'm convinced it's a mess and hopeless and what in the world have I barfed up?

Seriously, smart and organized writers . . . how do you keep things straight?