Podcast appearances and mentions of Jeffery Deaver

V nejnovějším díle podcastu Audinovinky vás tentokrát čeká mix novinek, které vás vezmou od temných thrillerů přes silné životní příběhy až k psychologické první pomoci. V přípravě jsme si trochu nechali pomoct, poznáte rozdíl? Napište nám a vyhrajte audioknihu zdarma. Audioknižní novinky posledních týdnů audiokniha Námořník - Lars Kepler e-kniha Námořník - Lars Kepler audiokniha Ještě nejsem pod zemí - Holly Jackson e-kniha Ještě nejsem pod zemí - Holly Jackson audiokniha Řetěz - Adrian McKinty audiokniha Písečníci a jiné povídky - George R. R. Martin audiokniha Neviditelný - Herbert George Wells audiokniha Stín temné královny – Vrazi - Raymond E. Feist audiokniha Týden v Nejistotě - Iva Sušická e-kniha Týden v Nejistotě - Iva Sušická audiokniha Poslední úkol Mabel Beaumontové - Laura Pearson e-kniha Poslední úkol Mabel Beaumontové - Laura Pearson audiokniha Amerikáni - Tomáš Hudák e-kniha Amerikáni - Tomáš Hudák audiokniha Dům mé matky - Shari Franke audiokniha Óda na život - Gisèle Pelicot audiokniha Lék proti vyhoření - Emily Ballesteros e-kniha Lék proti vyhoření - Emily Ballesteros audiokniha Stručne a jasne - Jim VandeHei, Roy Schwartz, Mike Allen audiokniha Kontraktor 2 - Peter Kijaba e-kniha Kontraktor 2 - Peter Kijaba audiokniha Smrt programátora - Hana Prošková audiokniha Odpočet smrti - Sam Holland e-kniha Odpočet smrti - Sam Holland audiokniha Hořící drát - Jeffery Deaver e-kniha Hořící drát - Jeffery Deaver audiokniha Umělec - Jeffery Deaver, Isabella Maldonado e-kniha Umělec - Jeffery Deaver, Isabella Maldonado audiokniha Z deníků Robokata 5 – Střet myslí - Martha Wells audiokniha Encantra - Kaylie Smith e-kniha Encantra - Kaylie Smith audiokniha Hněv - John Gwynne e-kniha Hněv - John Gwynne Další důležité linky Kalkulačka času na poslech audioknih Audiolibrix - nejlepší obchod s audioknihami Publixing - nejlepší vydavatelství pod sluncem Nakladatelství Audiolibrix - nejlepší nakladatelství na širém světě Reading.fm - nejlepší obchod s e-knihami pod sluncem

Nghe trọn nội dung sách nói Búp Bê Đang Ngủ trên ứng dụng Voiz FM: https://voiz.vn/play/152/Là chuyên gia về ý nghĩa cử chỉ của Cục điều tra bang California, Kathryn Dance được mệnh danh là máy phát hiện nói dối. Nhưng khi phải đối diện với Daniel Pell, kẻ được nhắc đến với cái tên Đứa con của Manson, trong phòng thẩm vấn, cô thấy mình chưa bao giờ gặp một tên giết người kỳ lạ như hắn.Vào năm 1999, Daniel Pell đã giết hại gia đình của nhà sáng chế máy tính giàu có, Wiliam Croyton, tại Carmen, California. Theresa, cô con gái nhỏ của họ là người duy nhất may mắn sống sót. Trong lúc Pell sát hại cha mẹ và hai anh chị của Theresa, cô bé đã ngủ quên trên giường và được đám đồ chơi che khuất.Khi Kathryn Dance thẩm vấn Pell, hắn ta chỉ trả lời những câu hỏi một cách đơn giản và cố tình tránh né. Tuy nhiên, chỉ một khoảnh khắc sau khi quay về nhà giam, tên sát nhân đã giết chết ba nhân viên cảnh sát và đào tẩu. Chuyến tàu chết chóc và trả thù của hắn bắt đầu khởi hành.Để bắt được Pell, Dance đã phải lần theo từng manh mối nhỏ trong cuộc thẩm vấn giữa họ ngày hôm đó. Dance dần khám phá những bí mật sâu kín nhất của tên giết người và Búp bê đang ngủ chính là mắt xích quan trọng nhất dẫn cô tới sự thật đằng sau vụ án mạng nhiều năm trước.Tại ứng dụng sách nói Voiz FM, sách nói Búp Bê Đang Ngủ được đầu tư chất lượng âm thanh và thu âm chuyên nghiệp, tốt nhất để mang lại trải nghiệm nghe tuyệt vời cho bạn.---Về Voiz FM:Voiz FM là ứng dụng sách nói podcast ra mắt thị trường công nghệ từ năm 2019. Với gần 2000 tựa sách độc quyền, Voiz FM hiện đang là nền tảng sách nói podcast bản quyền hàng đầu Việt Nam. Bạn có thể trải nghiệm miễn phí đa dạng nội dung tại Voiz FM từ sách nói, podcast đến truyện nói, sách tóm tắt và nội dung dành cho thiếu nhi.---Voiz FM website: https://voiz.vn/Theo dõi Facebook Voiz FM: https://www.facebook.com/VoizFMTham khảo thêm các bài viết review, tổng hợp, gợi ý sách để lựa chọn sách nói dễ dàng hơn tại trang Blog Voiz FM: http://blog.voiz.vn/---Cảm ơn bạn đã ủng hộ Voiz FM. Nếu bạn yêu thích sách nói Búp Bê Đang Ngủ và các nội dung sách nói podcast khác, hãy đăng ký kênh để nhận thông báo về những nội dung mới nhất của Voiz FM channel nhé. Ngoài ra, bạn có thể nghe BẢN FULL ĐỘC QUYỀN hàng chục ngàn nội dung Chất lượng cao khác tại ứng dụng Voiz FM.Tải ứng dụng Voiz FM: voiz.vn/download#voizfm #podcast #bupbedangngu #jefferydeaver

Nghe trọn nội dung sách nói Vũ Điệu Của Thần Chết trên ứng dụng Voiz FM: https://voiz.vn/play/158/Vũ điệu của Thần Chết là sự trở lại đầy ấn tượng của nhà hình sự học lừng danh Lincoln Rhyme cùng nữ cảnh sát xinh đẹp Amelia Sachs và đồng nghiệp. Lần này họ phải lần theo dấu vết của tên giết người chuyên nghiệp mà Rhyme đã hiểu quá rõ, kẻ mang hình xăm kỳ quái trên bắp tay: hình Thần Chết đang nhảy múa với một phụ nữ ngay phía trước chiếc quan tài, vũ khí đáng sợ nhất của hắn không phải là dao hoặc súng mà là sự hiểu biết đến kỳ lạ về bản chất con người…Đọc “Vũ điệu của Thần Chết” một lần nữa bạn đọc sẽ được hòa mình vào những cuộc đấu trí nảy lửa, những cuộc rượt đuổi ngoạn mục trong suốt hành trình tìm kiếm Vũ công Quan tài, kẻ nắm giữ sức mạnh ghê gớm của Tử Thần.“Đừng nghĩ đến chuyện có thể nuôi chim ưng làm cảnh. Ở đây không có chỗ cho sự ủy mị. Xét ở góc độ nhất định, đó là nghệ thuật của một bác sĩ tâm thần. Là một cuộc đấu trí giữa hai bên với động cơ và lợi ích chết người! (Chim ưng, T.H.White)Tại ứng dụng sách nói Voiz FM, sách nói Vũ Điệu Của Thần Chết được đầu tư chất lượng âm thanh và thu âm chuyên nghiệp, tốt nhất để mang lại trải nghiệm nghe tuyệt vời cho bạn.---Về Voiz FM:Voiz FM là ứng dụng sách nói podcast ra mắt thị trường công nghệ từ năm 2019. Với gần 2000 tựa sách độc quyền, Voiz FM hiện đang là nền tảng sách nói podcast bản quyền hàng đầu Việt Nam. Bạn có thể trải nghiệm miễn phí đa dạng nội dung tại Voiz FM từ sách nói, podcast đến truyện nói, sách tóm tắt và nội dung dành cho thiếu nhi.---Voiz FM website: https://voiz.vn/Theo dõi Facebook Voiz FM: https://www.facebook.com/VoizFMTham khảo thêm các bài viết review, tổng hợp, gợi ý sách để lựa chọn sách nói dễ dàng hơn tại trang Blog Voiz FM: http://blog.voiz.vn/---Cảm ơn bạn đã ủng hộ Voiz FM. Nếu bạn yêu thích sách nói Vũ Điệu Của Thần Chết và các nội dung sách nói podcast khác, hãy đăng ký kênh để nhận thông báo về những nội dung mới nhất của Voiz FM channel nhé. Ngoài ra, bạn có thể nghe BẢN FULL ĐỘC QUYỀN hàng chục ngàn nội dung Chất lượng cao khác tại ứng dụng Voiz FM.Tải ứng dụng Voiz FM: voiz.vn/download#voizfm #podcast #vudieucuathanchet #jefferydeaver

How can you improve your self-editing process? How can you find and work with professional editors and beta readers? How do you know when editing is done and the book is finished? With Joanna Penn In the intro, Poetry craft and business [The Indy Author Podcast]; A Mouthful of Air; How to get your book featured in local media without a publicist [Written Word Media]; thoughts on faith and code; Wild Dark Shore – Charlotte McConaghy; Bones of the Deep – J.F. Penn. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Joanna Penn is an award-winning New York Times and USA Today bestselling author of thrillers, dark fantasy, short stories and travel memoir under J.F.Penn and also writes non-fiction for authors. Overview of the editing process Self-editing How to find and work with a professional editor. My list is at www.TheCreativePenn.com/editors Beta readers, specialist readers, and sensitivity readers When is the book finished? These chapters are excerpted from How to Write a Novel: From Idea to Book by Joanna Penn, available direct or on all the usual stores. Overview of the editing process “Books aren't written. They're rewritten.” —Michael Crichton Thomas Hardy's Tess of the d'Urbervilles is a classic of English literature. I studied it at school and the scene at Stonehenge still haunts me. Hardy's Jude the Obscure influenced my decision to go to university in Oxford, a city Hardy called Christminster. His novels are still held in great esteem, which is why it's so wonderful to see his hand-edited pages in the British Library in London, displayed in the Treasures collection. You can visit them in person or view them online. Thomas Hardy's edited manuscript of ‘Tess of the D'Urbevilles, one of England's greatest writers While his handwriting is a scrawl, it's evident from the pages just how much editing Hardy did on this version of the manuscript. There are lines struck through, whole paragraphs crossed out, arrows moving sections around, words and sentences rewritten, and comments in the margins. Even the title is changed from A Daughter of the D'Urbervilles to Tess of the D'Urbervilles as we know it today. Those edited pages gave me hope when I saw them for the first time as a new fiction author. Not that I thought I could write a classic of English literature, but that I could learn to edit my way to a better story. There are several stages in the editing process, which I'll outline here and then expand on in subsequent chapters. As you progress in your craft, you won't need every stage every time, so assess with each book what kind of editing you need along the way. Self-editing The self-editing stage is your chance to improve your manuscript before anyone else sees it. For some authors, this stage might mean rewriting the entire draft. For others, it involves restructuring, adding or deleting scenes, doing line edits, and more. Developmental or structural edit An editor reads your manuscript and gives feedback on specific aspects, character, plot, story structure, and anything else pertinent to improving the novel. It is sometimes described as a manuscript critique. You will receive a report, usually ten to fifteen pages, with notes on your novel, which you can then use in another round of self-editing. While this is not always necessary, it can be a valuable step and something I appreciated particularly for my first novel when I had so much to learn. Copyediting and line editing This is the classic ‘red pen' edit where you can expect comments and changes all over your manuscript. This edit focuses on anything that enhances the writing quality, including word choice and phrasing issues, as well as grammar, and more. Some editors split this edit into two, and there are differences between what this edit is called between countries. For some editors, a copyedit includes only attention to grammar and correctness, while a line edit focuses on improving and elevating sentences. Be clear about your expectations and that of your editor upfront. You will usually receive an MS Word document with Track Changes on as well as a style guide or style sheet and other notes, which you can then use to make revisions during another self-edit. This is the most expensive part of the process, as editors usually charge per 1,000 words based on the type of edit you want. If you need to cut your story down by 20K, then do it before you send your manuscript for a line edit! Beta readers, specialist readers, and/or sensitivity readers Some authors use different types of readers as part of their editing process. Beta readers are often part of the author's community and are certainly fans of the genre. They read to help the author pick up any issues pre-publication. Specialist readers are those with knowledge about a topic included in the story. For example, a vulcanologist read specific chapters of Risen Gods to check that the details about volcanic eruptions were correct. Sensitivity readers check for stereotypes, biases, problematic language, and other diversity issues. You will usually receive comments or an email with page numbers or chapter numbers, or sometimes an MS Word document with Track Changes, which you then use to make revisions. Many readers provide services for the love of helping their favorite author with a novel and a mention in the acknowledgments, but there are some paid services for specialist and sensitivity readers. Proofreading Proofreading is the final check of the manuscript pre-publication for any typos or issues that might have been introduced in the editorial process. For print books, this can include a review of the print proof with formatting. You should only fix the last tiny changes at this point. Don't make any major changes this close to publication or you may introduce entirely new errors. Do you need an editor if you intend to get an agent and a traditional publisher? You will go through an editorial process with your agent and publisher. But if you want the best chance of getting to that stage in the first place, it might also be worth working with an editor before you submit your manuscript to an agent. Look for an editor who will help you with your query letter and synopsis as part of their edit. Self-editing I love this part of the process! My self-edit is where I wrangle the chaos of the first draft into something worth reading. I have my block of marble and now I can shape it into my sculpture. The mindset shift from writer to editor, from author to reader In the idea, planning, discovery, and first-draft writing phase, it's all about you, the writer. You turn the ideas in your head into words that you understand, characters that come alive for you, and a plot that you're engaged with. In that first rush of creativity, you can banish critical voice and ignore any nagging doubts. But now you need to switch heads. That's how I prefer to think about it, but you might consider it as changing hats or changing jobs. Anything to help you move from the creative, anything goes, first-draft writer to the more critical editor. There is one overriding consideration in this shift. As Jeffery Deaver says, “The reader is god.” With the editing process, you need to turn your story from something you understand into something a reader will enjoy. Writing is telepathy. It connects minds across time and space. You are reading these words and the meaning flows from my brain into your brain — but only if I craft the book well enough. The same is true of your novel. Yes, of course, you want to double down on your creative choices and make sure you achieve everything you want to with your story. But you also need to keep the reader in mind as you edit because the book is ultimately for them. Will your story have the desired effect on the reader? What might help improve their experience? How can you make sure that they are not bored or confused or jolted out of the story? What will make them read on and, at the end, close the novel with a sigh of satisfaction? My self-editing process At the end of the first draft, I print out my manuscript with two pages to each A4 page, so it looks more like a book. I put it in a folder and leave it to rest. You need fresh eyes for your edit and this ‘resting' gives you some emotional distance. In On Writing, Stephen King suggests leaving a manuscript to rest for at least six weeks. While that is a great idea if you have the time, most authors work to deadline, whether externally set or their own timetable. Many authors — including me — are also impatient! I love this first self-edit, and as I'm still crafting the story as a discovery writer, I usually rest the manuscript for a week or two. I schedule blocks of time for editing in my Google calendar and (when not in pandemic times) I go to a café when it opens first thing in the morning. I put on my BOSE noise-cancelling headphones and edit by hand with a black ballpoint pen from page one to the end. I usually manage ten to twenty pages per editing session of a couple of hours each, but it will depend on the amount of restructuring I need to do. I scribble notes in the margins, draw arrows to move paragraphs around, write extra material on the back of pages, or add where I need to write more later. I change words, rewrite and delete lines, and pick up any issues around lack of sensory detail, character problems, and more. You can see an example of a page below: Some pages end up a mass of black; others are relatively clean. But in this first hand edit, no page goes untouched as I hone my manuscript into something closer to my creative goal. You can edit on a computer or a tablet, or whatever else works for you, but at least change the font or the spacing, or something to make it a different experience to reading the first draft. Most writers have a tendency to either overwrite or underwrite, and so will either need to cut words or add words at this stage. I'm in the latter camp so I usually have to add scenes or deepen characters or theme at this point. Once I have hand-edited the whole manuscript end-to-end, I make the changes in my Scrivener project. I change the color of the flags along the way and, as ever, I back up the session. I also use ProWritingAid at the sentence level to fix up things I missed, because we all miss things! When all the changes have been made, I print the complete manuscript again, and read end-to-end and edit as before. This time, it's usually a lot cleaner and there may only be a few things to fix in each chapter. Once I'm finished, I'll update the Scrivener project once more and then decide whether it needs a third pass. Mostly, two full end-to-end hand edits are enough for me these days, but sometimes I'll do a third or go through specific chapters one more time. This messy editing process is fun for me and it's hugely satisfying to see my story come to life. What to focus on in the self-edit Some authors will go through the manuscript multiple times, focusing on different elements with each pass using the aspects covered in Part 3 and Part 4. For example, they'll do an edit based on character and dialogue, followed by another pass for plot, then theme, and so on. Personally, I try to keep the reader in mind and focus on the story as a coherent whole. That's just how my mind works. I jump from fixing a plot issue to deepening a character to adding foreshadowing and so on as I read and edit. I'm confident that my editor will find a lot of the smaller things that I might miss, so I concentrate on trying to achieve my creative vision with the story. You will find your own way of figuring out your process. It's much better to jump in and have a go at editing rather than trying to work out the best way before you have something to work through. Lost the plot? Try reverse outlining If you're a discovery writer like me and you're struggling with the edit and you feel you have lost the plot (which definitely happens sometimes!) then consider a reverse outline as part of your editorial process. Go through the manuscript and write a few lines per scene. Include character, plot points, conflict, setting, open questions and hooks, and any other notes. This will help you step back and hopefully see the entire story from a high level. Then you can dive back into rewriting each chapter. Read the book out loud or use a text-to-speech reader to do it for you Many authors read their book aloud end-to-end, which is a helpful step once you've been through any major rewrites. There are also plenty of text-to-speech tools that can help, for example, Natural Reader or Speechify, and some are built into devices or applications. MS Word includes a Read Aloud tool in the Review tab. This will also help you edit for audio as you'll hear issues you can't see on the page. Editing for audio Audiobooks are a huge growth market and many readers will listen to your book rather than read it, so it's a good idea to consider editing with audio in mind at this stage. Here are some tips. Watch out for repeated sounds. The editorial process will usually catch repeated written words, but similar sounding words can hit the same audio note in narration. You might not notice them in the text, as they are spelled differently. The words ‘you,' ‘blue,' ‘tattoo,' and ‘interview' all start and end with different letters. They look different on the page, but they strike the same audio note when read aloud. In the same way, repetition can work if you have a point to make, but sometimes it jars the listener if it is overused. A classic recommendation for writing dialogue is to use ‘said' with a character name rather than other words like ‘uttered' or ‘pronounced.' This is because ‘said' disappears for the reader on the written page. But with audio, the repetition of a word is highly noticeable, and repeated sounds can dominate a passage. Rewrite with synonyms for ‘said,' or use action to make it clear who the speaker is without resorting to dialogue tags, as described in chapter 3.5. Contractions — or the lack of them — can also become more obvious in audio. “I am not going to the park,” might be spoken as “I'm not going to the park.” When we type dialogue, it is often more formal than the way someone speaks, so check if you can contract it in your edit. Accents can be an issue with fiction narration. There are plenty of narrators who do a ‘straight read,' but if there are accents within dialogue, make it clear where the character comes from. Make sure the narrator knows about the accent choice upfront, otherwise you might not like it in the finished audio. Remember my friend whose novel had an Irish character narrated like a comedy leprechaun instead of the soft lilt she had in mind? Don't confuse the reader. If you have a lot of characters appearing in a chapter and no clear character tags, you might lose the listener in the detail. When reading on paper or a screen, your reader can quickly flick back and see that George was the butler and Angus was the dog, but that's harder to do when listening to an audiobook. Make sure it's clear who is who. You may have to remind listeners occasionally by adding character tags. For example, ‘Angus ran alongside the canal' could become ‘Angus, the golden cocker spaniel, ran alongside the canal.' For more on audiobooks, check out my book, Audio for Authors: Audiobooks, Podcasting and Voice Technologies. How many drafts do you need? The word ‘draft' means different things to different authors. Some only apply this term to a complete rewrite end-to-end, while others will shift paragraphs around, change some lines, add a new scene, and call that a new draft. Nora Roberts said in a blog post on her writing craft, I work on a three-draft method. This works for me. It's not the right way/wrong way. There is no right or wrong for a process that works for any individual writer. Anyone who claims there is only one way, or that's the wrong way, is a stupid, arrogant bullshitter. That's my considered opinion. I love Nora's no-nonsense approach and she is right that there is no single correct process. You have to find your own. But beware of comparing what you call a draft to what another writer calls a draft. It may be something completely different. Use editing software Once I've finished my hand edits and updated the Scrivener project, I use ProWritingAid on the manuscript. It integrates with Scrivener, so I open my project and go through each chapter. ProWritingAid picks up passive voice, repetitive words, commas and typos, suggests rephrasing, and even picks up culturally problematic language. Yes, these are the type of things that an editor will pick up, but I want to hand over a manuscript that is as clean as possible so my editor can focus on other issues. I don't make all the suggested changes, but it certainly helps improve my writing, and I learn as I go through. You can even create your own style guide so you spell things the same way throughout. This is also a good chance to check typos according to the version of English you want to use (or any other language). I'm English and based in the UK, but when I published my first novel, I received complaints about typos from my readers, who were mainly in the USA. These were not typos, they were just British spelling! I decided to use US English in my books because US readers complain about UK spelling, but non-US readers will rarely complain about US spelling because they are used to it. You can set ProWritingAid to the type of English you want to use, and if you specify this later, your editor can pick up on word usage rather than typos, for example, using the term ‘flashlight' instead of ‘torch.' You can find ProWritingAid at: www.TheCreativePenn.com/prowritingaid You can find my tutorial on how to use ProWritingAid at: www.TheCreativePenn.com/prowritingaidtutorial When is your self-edit finished? You will be utterly sick of your manuscript by the end of the self-editing process. You have read your words so many times you can't see them clearly anymore. You are so over the whole thing that you want to forget the book altogether. If you don't feel this way, you probably haven't self-edited enough! When you really feel you can't do any more, it's time to work with a professional editor. If you are putting off the end of self-editing, then remember that nothing is ever perfect. You can edit forever if you keep obsessing over changes and going over and over the same material. If your self-edit goes on too long, consider whether perfectionism is holding you back. Set a completion date and hold yourself to it. How to find and work with a professional editor If you want your book to be the best it can be, then working with a professional editor is the next step. An editor's job is to take your manuscript and help you improve it through structural changes and story development, line edits, suggestions for new material or sentence refinement, and so much more. Different kinds of editors can help you in different ways from constructing the overarching story to eliminating the final typo. In my experience, good professional editors are well worth the investment as they help improve your book and your craft, especially in the initial stages of your writing journey. They have read so many early-stage manuscripts that they understand the most common problems and know how to help you fix them. Some experienced authors only use proofreaders for their novels, but personally, I still work with a professional editor on every book and I learn something every time. I am a super-fan of editors! How to find a professional editor Consolidation in the traditional publishing industry over the last decade has resulted in many more editors working as freelancers, so authors have a wealth of professionals available for hire in every genre. You can find lists of approved editors through author organizations. The Alliance of Independent Authors has a list of Partner Members, many of whom are editors. You can also use author marketplace Reedsy. Many editors use content marketing to find clients — for example, blogging about editing tips, writing books on editing, or appearing on podcasts. I have had lots of editors on The Creative Penn Podcast over the years, so you can listen and see if they resonate with you. Most authors credit their editors and proofreaders in the acknowledgments of their books, and many authors happily share recommendations on social media in various author communities. If you enjoy a certain novel, it might be worth reaching out to that editor, as you know they are a specialist in the genre. Check out my list of editors at: www.TheCreativePenn.com/editors How to assess whether an editor is right for you I frequently get emails from writers asking me to recommend an editor for their book. But finding an editor is like dating. You have to do it for yourself, and it's likely that you will try a few before you find your perfect match. You may also change editors over your writing life as your craft develops and your needs shift, and that's completely normal too. Make sure the editor has experience in and enjoys your genre. You don't want a literary historical fiction editor working on your YA paranormal romance or your hard sci-fi adventure. Ensure that the editor has testimonials from happy clients, and check directly with a named author if you have doubts. Some editors will offer a sample edit for one chapter. This helps both parties decide whether working together is appropriate. The editor can assess what level your manuscript is at, and you can decide whether their editorial style is right for you. How to work with an editor When you engage an editor, you will receive a contract with a timeline and a price for the work. You agree to deliver the manuscript on a particular date and will usually pay a deposit, especially if this is the first time you're working together. The editor agrees to deliver the edits back on a certain date and also to keep your manuscript in confidence. You can avoid issues later by communicating expectations up front, so if you have questions about the editing process, ask before you sign a contract. Many editors are booked months in advance, so once you know your schedule, contact them early and book a slot. Update them if your timings change. Most allow minor slippage, but since editors plan their work around contractual dates, it's important to be timely with delivery. As a discovery writer, I only book my editor when I am sure of my dates. Submit your manuscript and, once the edit is complete, you will receive whatever has been agreed. That might be a structural report, line edit, or proofread manuscript, along with a style sheet. It's usually in the form of an MS Word document by email. Some editors may offer a call to discuss, but I have never spoken to an editor as part of my process. It has never been necessary. It's all about the words on the page. If you want a call and it is not specified, then include it in the contract up front along with anything else you're concerned about. I consider my editors to be an important part of my team. They help me turn my manuscripts into books that readers love, and I rely on them as part of my business. This is a two-way relationship, and you need to behave as professionally as the editor should. If you find an editor you love working with, pay them quickly and respect their time, and you will hopefully have a long-term business relationship that benefits you both. How does it feel to go through an edit? It's probably going to hurt, especially in the beginning, when your craft is in its early stages. You need fresh eyes on your work, especially at the beginning of your author career. You need feedback to improve. When I received notes back on my structural edit for my first novel, I didn't open the email for ten days. I was so scared of what it would say because my novel meant so much to me, and yet I knew it had problems. Of course it did, it was my first novel! So I let the email sit in my inbox until I was ready to face it, and like many things, the fear was worse than the actual event. Even many years and many books later, I still don't open emails from my editor until I am mentally ready to face criticism. Because that's what it feels like. It is not the editor's job to pat you on the back and say, ‘Well done, this is perfect.' Their job is to help you make it the best book it can be. They are experts and have honed their advice over many manuscripts, so they can spot an issue a mile off. When you receive that email from your editor, particularly if it's your first book, make sure you are well rested and in a positive frame of mind. Set aside a good amount of time and read through the comments and the manuscript as a whole. If you have an emotional reaction, do not email back immediately! Let the feedback sit with you for a few days, and you will find it easier to see what might need to change. Once you're ready, go through the manuscript and work through each change. Don't just click Accept All on the Track Changes version for a line edit. This takes time, but it's well worth it because you will learn with every step and you'll be able to spot your common issues in the future, and hopefully fix them next time. You also need to examine every suggestion to see if you want to make the change. Do you need to make every change that an editor suggests? No, you don't. You are the author, so your creative vision is the most important thing. But try to get some distance and assess whether the change truly serves the book, or if you're just having an emotional response. Remember what Jeffery Deaver said: “The reader is god.” Consider each editorial suggestion on its own merit. Does it help take the story in the direction you want it to? Will it improve the reader's experience? What if my editor wants me to change everything? Perhaps they are not the right editor for you. The editor should not fundamentally change your story or alter your creative vision. Their job is to help you shape your manuscript into a better version of itself, and retain your voice and ideas while at the same time improving it for the reader. This is a skillful balancing act, which is why experienced editors are so highly sought after. How long will the editing process take? This will depend on the type of writer you are in terms of the first draft. If you outline in great detail and spend time up front making the first draft the best it can be, then editing might take less time than for a discovery writer who only figures out the book after the first draft. The more books you've written, the more you understand how to shape a novel, the more you can write a clean draft, so editing speeds up. That doesn't mean it gets easier to write a book, but it does mean you know how to find and fix issues. It will also depend on the length of the book. A 50,000-word romance with one protagonist will be a faster edit than a 150,000-word sprawling fantasy with multiple point-of-view characters. It will also depend on your experience, so don't compare your editing time to someone who has written a lot of books. Give editing the time it needs. You want your book to be the best it can be. But also remember Parkinson's Law, which I discussed in chapter 4.7 on writing the first draft: “Work expands so as to fill the time available for its completion.” This law also applies to editing. Set your deadline and schedule your editing time accordingly. Don't book a professional editor until you've been through at least your self-editing process, as it may take longer than you think. How much does an editor cost? This will depend on the type of edit, your genre and word count, how experienced you are as a writer, and how much experience the editor has. Editors usually quote a range on their website and you can also email and ask for a more detailed quote based on your manuscript length and sample. Every dollar I have spent on editing has been worth it as an investment in my writing craft and the quality of my finished novels. Although my requirements are different now, I continue to use editors and proofreaders for all my books. The more eyes on your novel before publication, the better it will be on launch. What if you have a tight budget? When I started out as a writer, I had a day job and I saved up for the editorial process. It was an investment in my craft and a possible future creative career. If you already have or intend to set up a business as a writer, then you can offset the cost of editors against any profits. But when you're starting out, you can't necessarily see that far ahead. If you're on a tight budget, then find or set up a writer's group with others in your genre and work through one another's manuscripts. You might also have other skills you can barter for editing services, but remember that bartering is subject to tax in many jurisdictions, so don't assume that it is ‘free.' What if my editor steals my ideas or my manuscript? This is a common concern of new writers who think that editors might run away with their book and make millions with their idea. But don't worry, editors are professionals. They work within a contractual framework that protects both parties. So make sure you are happy with the contract before you sign it. If you are really worried, you can register your copyright before you send the manuscript to anyone else. While it is not legally necessary to register copyright — it exists the moment the work is created — there are registration companies in every country that can provide peace of mind. Just search for ‘copyright registration' within your territory. Will I need different editors when I'm further along in my writing journey? Yes, as your craft and experience improves, you will likely work with different editors. You might also choose to use a new editor for a different genre, or work with recommended professionals to take your craft to the next level. Resources: • My list of recommended editors: www.TheCreativePenn.com/editors • Alliance of Independent Authors — www.TheCreativePenn.com/alliance • The following editing associations offer directories and job posting services: The Editorial Freelancers Association (US), the Chartered Institute for Editing and Proofreading (UK), the Institute for Professional Editors (Australia and New Zealand), and Editors Canada. Beta readers, specialist readers, and sensitivity readers Professional editors approach your manuscript with a critical eye based on their knowledge of language, story structure, and genre. But sometimes, it's a good idea to gain perspective from readers who are not experts on sentence structure or grammar, but comment on the story itself, and their experience of reading it as a whole. Beta readers Beta readers are a trusted group of people who evaluate your book from a reader's perspective before publication. The term comes from the software industry, where early versions are tested in beta before being released to the public. While there are some paid beta reader services, many authors find people from their existing readership, or from among genre fans in the writing community. Authors usually thank their beta readers in their acknowledgments. Specialist readers Specialist readers are experts on a particular topic who read with their expertise in mind. This might be a police officer who checks a crime novel, or a physicist who reads for a science-fiction author. Sensitivity readers Sensitivity readers check for cultural and diversity issues, lack of or clichéd representation, and insensitive, inauthentic, or uninformed language, characters, or situations. This type of feedback can help an author before publication, and can be particularly useful if you are tackling more controversial topics. It can also be valuable when reviewing older manuscripts if you want to republish a new edition, as gendered language has changed, as well as the need for representation, diversity, and inclusivity. While some criticize sensitivity reading as a step toward censorship, most authors want to make their books the best they can be, and ensure the reader experience is excellent, whatever the genre. Being a fiction writer is also about empathy — with our characters and with our readers — so improving our ability to write about diverse characters is important. However, authors cannot be experts on what it's like to experience every race or religion, every body type or disability or mental health issue, or understand every country or culture. Feedback from different kinds of readers can help us write better stories, and it is the author's choice whether to implement suggestions in the final manuscript. Do you need all of these types of readers? No. You don't need any of them, or you can choose to use some of them for different books, depending on the need. It's up to you (and your agent or publisher if you choose to go that route). At what stage in the editorial process should you use these types of readers? The book should be as close to the final version as possible. These people are reading with fresh eyes; if they read again later, they can never approach the story with such an open mind. Most authors will send the manuscript to a select group of readers after the main editorial revisions, but before the proofread. Some authors with more developed careers even use their team of beta readers instead of editors at different stages of the process. What should you provide to readers? Provide the manuscript in the format the reader prefers. This could be an MS Word document or PDF. Many established authors use Bookfunnel, which allows you to create a version that can be read on any reading device or phone. Specialist readers and sensitivity readers have their specific expertise, but for more general beta readers, you need to provide some direction as to what you expect. For example: Did you skip over anything? Did anything bore you? Was anything confusing? Did you have to reread any parts? What did you like? Was there anything you hated or objected to or had a problem with? How long should you give them to read? Allow at least two weeks for readers to assess and provide feedback. Be clear on the timeline when you send them the book.. Do you need to make all the changes they suggest? No, and if you try to, you will end up straying from your creative goal, messing up your author voice, and likely pleasing no one! Keep your number of early readers small and specific to what you want to achieve. Assess each comment and suggestion on its own merit and decide whether or not to make the change. Be confident in your creative vision and beware writing by committee, which becomes a problem if you ask too many people for feedback. Only you can decide what you want for your novel. Resources: • The Reedsy marketplace includes different kinds of editors, beta readers, and sensitivity readers — www.TheCreativePenn.com/reedsy • Directory of sensitivity readers — www.writingdiversely.com/directory • Editors of Color — editorsofcolor.com When is the book finished? “I have not yet found words to truly convey the intensity of this remembered rapture—that moment of exquisite joy when necessary words come together and the work is complete, finished, ready to be read.” —bell hooks,Remembered Rapture You can edit a book forever if you want to. Every time you read it, you will find things to change. Every time you hire another editor, they will find more. If you work with beta readers, they will also offer opinions. Your novel will never be finished — until you decide it is. Nothing is ever perfect. Even if you hire three separate editors and use multiple proofreaders, you will still find a typo or an error in the published novel. Pick up any bestselling book from a traditional publisher, and you will still find an issue somewhere. It happens to everyone. Look at any prize-winning or bestselling book on Amazon and check the reviews. The more popular the book, the more issues people will find with it. There will never be a novel that satisfies everyone, and that's fine. Of course, you must make sure your book is the best it can be, but set boundaries for yourself so you do eventually finish. Have you self-edited your manuscript? Have you worked with a professional editor, or at least worked through the manuscript with other writers to improve it? Have you used editing tools and/or a proofreader? Have you set a deadline to move into the publishing process so you are not editing forever? If you have been through this rigorous editorial process and you still feel the itch to edit again, be honest with yourself. Is another round of changes really going to make a substantial difference to this book? Would it be better to work on the next novel instead of constantly reworking this one? Are you struggling with fear of judgment, fear of failure, procrastination, or other mindset issues that you need to work on instead of editing? Check out my book The Successful Author Mindset if you think this might be the case. Strive for excellence, do your best, and then release your book out into the world. “Set a limit on revisions, set a limit on drafts, set a time limit… The book will never be perfect.” —Kristine Kathryn Rusch, The Pursuit of Perfection and How it Harms Writers These chapters are excerpted from How to Write a Novel: From Idea to Book by Joanna Penn, available direct or on all the usual stores. The post Editing a Novel: Self-Editing, And How To Work With A Professional Editor With Joanna Penn first appeared on The Creative Penn.

Il sodalizio letterario che unisce l'abilita' di Jeffery Deaver e la conoscenza acquisita sul campo da Isabella Maldonado, ex FBI

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

Nghe trọn nội dung sách nói Cây Thập Tự Ven Đường trên ứng dụng Voiz FM: https://voiz.vn/play/178/ Những Cây Thập Tự Ven Đường xuất hiện dọc theo các xa lộ ở Bán đảo Monterey không phải để tưởng niệm những nạn nhân tai nạn giao thông, mà là dấu hiệu báo trước thời điểm các vụ ám sát sắp diễn ra. Nạn nhân chính là những người đã đăng tải thông tin thiếu cẩn trọng hoặc để lộ quá nhiều dữ liệu cá nhân trên mạng xã hội.Đặc vụ Kathryn Dance cùng các đồng sự tại CBI được giao phụ trách vụ án. Với chuyên môn về ngôn ngữ cơ thể, cô nhanh chóng lần ra những manh mối quan trọng và phát hiện trung tâm của mọi nghi vấn dường như hướng về Travis Brigham – một thiếu niên mang nhiều tổn thương tâm lý. Động cơ ban đầu được cho là sự trả thù những kẻ từng nhục mạ cậu trên mạng. Nhưng càng điều tra sâu, sự thật càng trở nên phức tạp, khi Travis cũng chỉ là một mắt xích, một nạn nhân trong kế hoạch tinh vi của hung thủ thực sự.Tác phẩm đặt ra câu hỏi nhức nhối về an toàn cá nhân trong thời đại số, nơi một cú nhấp chuột có thể dẫn đến hậu quả chết người. Tại ứng dụng sách nói Voiz FM, sách nói Cây Thập Tự Ven Đường được đầu tư chất lượng âm thanh và thu âm chuyên nghiệp, tốt nhất để mang lại trải nghiệm nghe căng thẳng, kịch tính và cuốn hút cho bạn.--- Về Voiz FM: Voiz FM là ứng dụng sách nói podcast ra mắt thị trường công nghệ từ năm 2019. Với gần 2000 tựa sách độc quyền, Voiz FM hiện đang là nền tảng sách nói podcast bản quyền hàng đầu Việt Nam. Bạn có thể trải nghiệm miễn phí đa dạng nội dung tại Voiz FM từ sách nói, podcast đến truyện nói, sách tóm tắt và nội dung dành cho thiếu nhi. ---Voiz FM website: https://voiz.vn/ Theo dõi Facebook Voiz FM: https://www.facebook.com/VoizFM Tham khảo thêm các bài viết review, tổng hợp, gợi ý sách để lựa chọn sách nói dễ dàng hơn tại trang Blog Voiz FM: http://blog.voiz.vn/ ---Cảm ơn bạn đã ủng hộ Voiz FM. Nếu bạn yêu thích sách nói Cây Thập Tự Ven Đường và các nội dung sách nói podcast khác, hãy đăng ký kênh để nhận thông báo về những nội dung mới nhất của Voiz FM channel nhé. Ngoài ra, bạn có thể nghe BẢN FULL ĐỘC QUYỀN hàng chục ngàn nội dung Chất lượng cao khác tại ứng dụng Voiz FM.Tải ứng dụng Voiz FM: voiz.vn/download#voizfm #podcast #caythaptuven duong #jefferydeaver

Nghe trọn nội dung sách nói Giọt Lệ Quỷ trên ứng dụng Voiz FM: https://voiz.vn/play/203/ Đôi khi, kẻ ra tay giết người lại không phải là hung thủ thật sự. Giọt Lệ Quỷ sở hữu rất nhiều nút thắt bất ngờ – đúng với phong cách quen thuộc của Jeffery Deaver. Nhưng điểm hấp dẫn bậc nhất của cuốn sách nằm ở cách tác giả trao cho mỗi nhân vật một giọng nói riêng biệt, không ai giống ai. Đặc biệt nhất là giọng kể ngô nghê, đơn giản của hung thủ Digger – một sự đối lập đầy ám ảnh. Ở từng thời điểm, người đọc có thể chuyển từ kinh ngạc, giận dữ sang cảm giác thương cảm bất ngờ dành cho một “cỗ máy giết người” không tự nguyện, khi tác giả dần hé lộ toàn bộ hoàn cảnh đã đẩy hắn vào con đường tội lỗi. Giọt Lệ Quỷ vì thế không chỉ là một tiểu thuyết trinh thám gay cấn, mà còn là câu chuyện sâu sắc về thao túng, số phận và nhân tính. Tại ứng dụng sách nói Voiz FM, sách nói Giọt Lệ Quỷ được đầu tư chất lượng âm thanh và thu âm chuyên nghiệp, tốt nhất để mang lại trải nghiệm nghe hồi hộp và cuốn hút cho bạn.--- Về Voiz FM: Voiz FM là ứng dụng sách nói podcast ra mắt thị trường công nghệ từ năm 2019. Với gần 2000 tựa sách độc quyền, Voiz FM hiện đang là nền tảng sách nói podcast bản quyền hàng đầu Việt Nam. Bạn có thể trải nghiệm miễn phí đa dạng nội dung tại Voiz FM từ sách nói, podcast đến truyện nói, sách tóm tắt và nội dung dành cho thiếu nhi. ---Voiz FM website: https://voiz.vn/ Theo dõi Facebook Voiz FM: https://www.facebook.com/VoizFM Tham khảo thêm các bài viết review, tổng hợp, gợi ý sách để lựa chọn sách nói dễ dàng hơn tại trang Blog Voiz FM: http://blog.voiz.vn/ ---Cảm ơn bạn đã ủng hộ Voiz FM. Nếu bạn yêu thích sách nói Giọt Lệ Quỷ và các nội dung sách nói podcast khác, hãy đăng ký kênh để nhận thông báo về những nội dung mới nhất của Voiz FM channel nhé. Ngoài ra, bạn có thể nghe BẢN FULL ĐỘC QUYỀN hàng chục ngàn nội dung Chất lượng cao khác tại ứng dụng Voiz FM.Tải ứng dụng Voiz FM: voiz.vn/download#voizfm #podcast #giotlequy #jefferydeaver

Narrator Mia Hutchinson-Shaw joins AudioFile's Michele Cobb to discuss narrating Annie Mare and Ruthie Knox's cozy mystery HOMEMAKER. We follow along with protagonist Prairie Hawk Nightingale, a homemaker extraordinaire, on her quest to solve the disappearance of her former friend. Hutchinson-Shaw shares what it's like to narrate this delightful cast of characters, why she likes cozy mysteries, and how she got into acting and narration. Read AudioFile's review of the audiobook: Published by Brilliance Audio AudioFile's 2025 Best Mystery & Suspense Audiobooks are: THE BUSINESS TRIP by Jessie Garcia, read by Andrew Eiden, Dylan Reilly Fitzpatrick, Fred Berman, Gail Shalan, Hillary Huber, Jennifer Pickens, John Pirhalla, Kimberly M. Wetherell, Kirby Heyborne, Tim Campbell HOMEMAKER by Annie Mare, Ruthie Knox, read by Mia Hutchinson-Shaw NEVER FLINCH by Stephen King, read by Jessie Mueller, Stephen King  SOUTH OF NOWHERE by Jeffery Deaver, read by Kaleo Griffith THE SUMMER GUESTS by Tess Gerritsen, read by Hillary Huber A TRUE VERDICT by Robert Rotstein, read by Sean Pratt, Phil Thron, Kelli Tager, Sophie Amoss, Natalie Naudus, Fajer Al-Kaisi, Hillary Huber, Mark Bramhall, Robin Miles, Alex Boyles, Roxanne Hernandez, Eunice Wong, Deanna Anthony, Graham Halstead Explore the full list of 2025 Best Audiobooks on our website. Support for our podcast comes from Dreamscape, an award-winning audiobook publisher with a catalog that includes authors L.J. Shen, Freida McFadden, and Katee Robert. Discover your next great listen at dreamscapepublishing.com.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Join hosts J.D. Barker, Christine Daigle, Jena Brown, JP Rindfleisch, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about Smashwords, Edelweiss, and the word of the year. Then, stick around for a chat with Mark Tavani!Mark Tavani started his publishing career in 2000 with Ballantine Books and spent over 23 years with Penguin Random House, Bantam, Del Rey, and G.P. Putnam's Sons. He edited bestsellers and award-winners across numerous categories of fiction and nonfiction, including books by Jim Abbott, Steve Berry, C.J. Box, Robert Crais, Justin Cronin, Clive and Dirk Cussler, Jeffery Deaver, George Dohrmann, Lisa Gardner, Jack McCallum, Lisa Scottoline, Bill Simmons, and R.L. Stine. He represents both fiction and nonfiction.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Barbara Peters in conversation with Jeffery Deaver and Isabella Maldonado

Strand editor Andrew Gulli discusses the new anthology celebrating 25 years of The Strand Magazine. Joining him are contributors Jeffery Deaver and Walter Mosley.

In THE GRAVE ARTIST, a wedding reception is coming to a close in the Hollywood Hills when the blissful day is shattered by the death of the groom. Though the incident appears to be an accident, Carmen Sanchez and Jake Heron discover that the tragedy is the third in a series of similar deaths and conclude something far more sinister is at play. The two uncover chilling evidence pointing to a serial killer who has taken evil to the next level. Dubbed the Honeymoon Killer, he isn't interested solely in his victims but in creating a macabre masterpiece focused on the survivors and reveling in their grief. And now his dark obsession has turned to Carmen and Jake themselves. The Honeymoon Killer has decided they are the perfect next target. Time is running out as a deadly game between predator and prey begins.ABOUT THE AUTHORSJeffery Deaver is the award-winning #1 international and New York Times bestselling author of the Lincoln Rhyme, Colter Shaw and Kathryn Dance series, among many others. Deaver's work includes fifty novels, more than one hundred short stories, and a nonfiction law book. His books are sold in 150 countries and translated into twenty-five languages. A former journalist, folk singer, and attorney, he was born outside Chicago and has a Bachelor of Journalism degree from the University of Missouri and a law degree from Fordham University. He was recently named a Grand Master of Mystery Writers of America, whose ranks include Agatha Christie, Elmore Leonard and Mickey Spillane. Jeffery Deaver lives in North Carolina and the D.C. area.www.jefferydeaver.comIsabella Maldonado is the award-winning international and Wall Street Journal bestselling author of the Nina Guerrera, Daniela Vega and Veranda Cruz series. She was recently nominated for an Edgar Award and an International Thriller Award. Her books are published in twenty-four languages. Maldonado wore a gun and badge in real life before turning to crime writing. A graduate of the FBI National Academy in Quantico and the first Latina to attain the rank of captain in her police department, she retired as the Commander of Special Investigations and Forensics. During more than two decades on the force, her assignments included hostage negotiator, department spokesperson, and precinct commander. She uses her law enforcement background to bring a realistic edge to her writing. Isabella Maldonado lives in Phoenix and Lakeside, both in Arizona. www.isabellamaldonado.com#jeffreydeaver #isabellamaldonando Instagram: @officialjefferydeaver & @authorisabellaFacebook: @jefferydeaver & @authorisabellaThreads: @officialjefferydeaver & @authorisabellaX: @JefferyDeaver & @isabellambooksTikTok: @authorisabellamaldonado

We're joined by Jeffery Deaver and Isabella Maldonado for a fun chat all about their new book The Grave Artist, their prodigious output, and upping the serial killer game. We also recommend: The Lottery Ticket by CJ Williams, How Bad Things Can Get by Darcy Coates, and The King of Video Poker by Paolo Iacovelli.  … Continue reading Ep. 304 Jeffery Deaver & Isabella Maldonado Can’t Stop Writing

This week, I got to talk with Jeffery Deaver and Isabella Maldonado about their second in their Sanchez & Heron series The Grave Artists. We dive into how they create a Serial Killer 2.0, the positive and negative uses of technology, and how they write together.The Grave Artist SynopsisA wedding reception is coming to a close in the Hollywood Hills when the blissful day is shattered by the death of one of the newlyweds. Though the incident appears to be an accident, Homeland Security Investigations agent Carmen Sanchez and her partner, security expert Jake Heron, discover that the tragedy is the third in a series of similar deaths and conclude something far more sinister is at play.The two uncover chilling evidence pointing to a serial killer who has taken evil to the next level. Dubbed the Honeymoon Killer, this man isn't interested in his victims but in creating his own macabre masterpiece from their graves--focused on the survivors and reveling in their grief. And now his dark obsession has turned to Carmen and Jake...The Honeymoon Killer has decided they are the perfect next target. Take one out and delight as the other crumbles. Time is running out as a deadly game between predator and prey begins. Get Bookwild MerchCheck Out My Stories Are My Religion SubstackCheck Out Author Social Media PackagesCheck out the Bookwild Community on PatreonCheck out the Imposter Hour Podcast with Liz and GregFollow @imbookwild on InstagramOther Co-hosts On Instagram:Gare Billings @gareindeedreadsSteph Lauer @books.in.badgerlandHalley Sutton @halleysutton25Brian Watson @readingwithbrian

Barbara Peters in conversation with Jeffery Deaver and Isabella Maldonado

No. 1 Internationally and New York Times bestselling author Jeffery Deaver AND Wall Street Journal bestselling author Isabella Maldonado join BOOKSTORM Podcast to discuss The Grave Artist! We follow Sanchez & Heron in this popular series - and what a ride! This is not your typical serial killer. The Honeymoon Killer is trying to express himself in a unique way. We talk all about nature versus nurture and whether people are born bad ... are we all a blank slate when we're born or do traumatic experiences change everything? We discuss fraught sibling relationships, especially when one sibling is also a parent. And wait until you hear what these two writers are up to next! Shows! Justin Hartley! Multiple books & installments! So much to discuss - join us!You can find more of your favorite bestselling authors at BOOKSTORM Podcast! We're also on Instagram, TikTok, Facebook, and YouTube!

Today in the interrogation chair, it's debut author Gene Koon with his book, ANOTHER TRY. Find out why Jeffery Deaver said, "I love this novel!" and why Michael Connelly called it, "Wonderful." Hear about Gene's work in The Hague working on the Slobodan Milošević trial and how he grew up with an airplane wing in his bedroom. Welcome, to The Dossier Podcast! genekoon.com | thewritersdossier.com | Voice credit: Hillary Huber

Today in the interrogation chair, it's debut author Gene Koon with his book, ANOTHER TRY. Find out why Jeffery Deaver said, "I love this novel!" and why Michael Connelly called it, "Wonderful." Hear about Gene's work in The Hague working on the Slobodan Milošević trial and how he grew up with an airplane wing in his bedroom. Welcome, to The Dossier Podcast! genekoon.com | thewritersdossier.com | Voice credit: Hillary Huber

The New York Times bestselling master of suspense, Jeffery Deaver, returns to his beloved series, adapted for TV in CBS's Tracker, starring Justin Hartley. Reward seeker Colter Shaw races against the clock in SOUTH OF NOWHERE (G.P. Putnam's Son's; On-Sale: May 6, 2025), to save a flooding town from a full-fledged disaster, where the culprit lurks in the plain sight.When a levee collapses in Hinowah, a small town in Northern California, Colter Shaw is brought on by his sister, Dorion, a disaster response specialist, to help locate a family swept away by the raging water, with mere hours to survive. But after a surprise attack along the river obstructs Colter's urgent search, the siblings are forced to consider a new reality: Is the levee at risk of failing from natural causes, or is someone sabotaging it?Colter and Dorion must race against a ticking clock to uncover the truth and save the citizens before the village washes out completely, destroying everything and everyone in its path.Fans of the hit CBS show Tracker and Deaver fans alike will thrill to a fifth Shaw adventure and SOUTH OF NOWHERE will not disappoint.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

AudioFile's Robin Whitten and host Jo Reed discuss this gripping audiobook. Colter Shaw—tracker and survivalist—is hired to locate a missing family trapped after a levee collapses during a catastrophic storm. As he searches, Shaw uncovers a sinister plot that suggests the disaster may not have been entirely natural. Narrator Kaleo Griffith delivers a masterful performance, giving each character a distinct and memorable voice. With layered characters brought to life with escalating tension and outstanding narration, this latest installment in the series is a taut thriller that showcases Jeffery Deaver's storytelling and Griffith's exceptional vocal range.  Read our review of the audiobook at our website Published by Harper Audio Discover thousands of audiobook reviews and more at AudioFile's website   Support for Behind the Mic comes from Hachette Audio and NIGHT WATCHER, by Daphne Woolsoncroft (of the Going West podcast), who read an audio-exclusive author's note before the stunning dual-narration by Will Collyer and Helen Laser. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join hosts J.D. Barker, Christine Daigle, JP Rindfleisch, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about influencers, AI, and BookBub. Then, stick around for a chat with Andrew Gulli!Andrew Gulli's The Strand Magazine: The Strand Mystery Magazine is a quarterly which offers the best of both worlds—publishing previously unpublished works by literary masters such as John Steinbeck, Ernest Hemingway,  Rod Serling,  Louisa May Alcott, Shirley Jackson, Agatha Christie, Dashiell Hammett, Raymond Chandler , Tennessee Williams, and H.G.Wells . The Strand Magazine also features new works by today's bestselling authors including Alexander McCall Smith, R.L. Stine, Michael Connelly, Faye Kellerman, Craig Johnson, Ruth Ware, Joseph Finder, and Jeffery Deaver, as well as engaging interviews. Our reviews section looks at the latest mystery/thriller offerings, Sherlock Holmes pastiches, and anthologies, in addition to audiobooks and DVDs. The Strand Mystery Magazine has been featured several times in The New York Times, NPR, PBS, USA Today, and the Associated Press.Our current issue features Ian Fleming, Graham Greene, C.J. Box, Denise Mina and John Floyd. We also have an interview with Amor Towles.

The New York Times bestselling master of suspense, Jeffery Deaver, returns to his beloved series, adapted for TV in CBS's Tracker, starring Justin Hartley. Reward seeker Colter Shaw races against the clock in SOUTH OF NOWHERE (G.P. Putnam's Son's; On-Sale: May 6, 2025), to save a flooding town from a full-fledged disaster, where the culprit lurks in the plain sight.When a levee collapses in Hinowah, a small town in Northern California, Colter Shaw is brought on by his sister, Dorion, a disaster response specialist, to help locate a family swept away by the raging water, with mere hours to survive. But after a surprise attack along the river obstructs Colter's urgent search, the siblings are forced to consider a new reality: Is the levee at risk of failing from natural causes, or is someone sabotaging it?Colter and Dorion must race against a ticking clock to uncover the truth and save the citizens before the village washes out completely, destroying everything and everyone in its path.Fans of the hit CBS show Tracker and Deaver fans alike will thrill to a fifth Shaw adventure and SOUTH OF NOWHERE will not disappoint.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Frankie is weathering the storm with the legendary Jeffery Deaver, author of South of Nowhere, to learn about creating iconic characters, his writing formula, the value of his "give me a break" standard, his connection to the UK and prospective punning over a pint!South of Nowhere is out NOW. Order your copy here.Follow Jeffery at @officialjefferydeaver or visit his website at www.jefferydeaver.com. Want to talk books? Email us at readandburiedpodcast@gmail.comFollow us on Instagram and Threads: @readandburiedpodcastFollow us on Twitter: @readburiedpodFollow us on Bluesky: @readandburiedpod Hosted on Acast. See acast.com/privacy for more information.

In this episode we chat to thriller writing legend Jeffery Deaver about his new book, SOUTH OF NOWHERE, featuring Colter Shaw, a 'rewardist'.

Patrick Millikin in conversation with Jeffery Deaver and Alex Finlay

Edgar Award nominee and Wall Street Journal bestselling author Isabella Maldonado wore a gun and badge in real life before turning to crime writing. A graduate of the FBI National Academy in Quantico and the first Latina to attain the rank of captain in her police department, she retired as the Commander of Special Investigations and Forensics. During more than two decades on the force, her assignments included hostage negotiator, department spokesperson, and precinct commander. She uses her law enforcement background to bring a realistic edge to her writing, which includes the Agent Nina Guerrera series, Agent Daniela Vega series, Detective Veranda Cruz series, and Sanchez & Heron series (co-authored with Jeffery Deaver). Her books are published in 24 languages and sold in 52 countries.Facebook Page: https://www.facebook.com/authorisabella Instagram: https://www.instagram.com/authorisabella/ Threads Handle: https://www.threads.net/@authorisabella Other Social Media: https://www.tiktok.com/@authorisabellamaldonado Website: www.isabellamaldonado.com*****************About SinCSisters in Crime (SinC) was founded in 1986 to promote the ongoing advancement, recognition and professional development of women crime writers. Through advocacy, programming and leadership, SinC empowers and supports all crime writers regardless of genre or place on their career trajectory.www.SistersinCrime.orgInstagram: https://www.instagram.com/sincnational/Bluesky: https://bsky.app/profile/sincnational.bsky.socialThreads: https://www.threads.net/@sincnationalFacebook: https://www.facebook.com/sistersincrimeTikTok:: https://www.tiktok.com/@sincnationalThe SinC Writers' Podcast is produced by Julian Crocamo https://www.juliancrocamo.com/

This action-packed thriller from Jeffery Deaver and Isabella Maldonado is performed with skill by André Santana and Aida Reluzco. Host Jo Reed and AudioFile's Robin Whitten discuss this fast-paced, nonstop audiobook filled with twists, turns, and well-developed characters, good and evil. The seamless narration enhances the suspense, making this an engaging listen. Fans will eagerly await the next installment in this new series. Read our review of the audiobook at our website. Published by Brilliance Audio.  Discover thousands of audiobook reviews and more at AudioFile's website.      Support for AudioFile's Behind the Mic comes from HarperCollins Focus, and HarperCollins Christian Publishing, publishers of some of your favorite audiobooks and authors, including Reba McEntire, Max Lucado, Kathie Lee Gifford, Bob Goff, Lysa TerKeurst, and many more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Just in time for Halloween, we're diving into a new thriller called "Fatal Intrusion." It's the first book in a new series by authors Jeffery Deaver and Isabella Maldonado. After a series of murders in Southern California, a Homeland Security agent needs the help of professor in catching a serial killer. Deaver is an international bestselling author who has written more than 40 books, including  "The Bone Collector." Maldonado is also a Wall Street Journal bestselling author. She graduated from the FBI National Academy and was the first Latina to become a captain within the Fairfax County Police Department near Washington, D.C. Deaver and Maldonado talk about what it's like to co-write a book, how they worked together, and much more. 

Host Cyrus Webb welcomes authors Jeffery Deaver and Isabella Maldonado to Conversations LIVE to discuss their new book FATAL INTRUSION. 

Barbara Peters in conversation with Jeffery Deaver and Isabella Maldonado

This week, I got to talk with Jeffery Deaver and Isabella Maldonado about their new action thriller Fatal Intrusion.  We dive into their joint writing process, the inception of the story, and creating a killer obsessed with spiders.Fatal Intrusion SynopsisCarmen Sanchez is a tough Homeland Security agent who plays by the rules. But when her sister is attacked, revealing a connection to a series of murders across Southern California, she realizes a conventional investigation will not be enough to stop the ruthless perpetrator.With nowhere else to turn, Sanchez enlists the aid of Professor Jake Heron, a brilliant and quirky private security expert who, unlike Sanchez, believes rules are merely suggestions. The two have a troubled past, but he owes her a favor and she's cashing in. They team up to catch the assailant, who, mystifyingly, has no discernable motive and fits no classic criminal profile. All they have to go on is a distinctive tattoo and a singular obsession that gives this chillingly efficient tactician his nickname: Spider.Over the next seventy-two hours, Sanchez and Heron find themselves in the midst of a lethal chess match with the killer as they race to stop the carnage. As the victims mount, so do the risks. Because this spider's web of intrigue is more sinister—and goes far deeper—than anyone could possibly anticipate.

Books by Jeffery Deaver Books by Isabella Maldonado Show Notes & Transcript Jeffery Deaver and Isabella Maldonado Interview (Episode 205) In the world of thriller novels, few names command as much respect as Jeffrey Deaver and Isabella Maldonado. Recently, these two powerhouse authors joined forces to create “Fatal Intrusion,” a gripping new novel set to... The post MTTA 205: Jeffery Deaver and Isabella Maldonado appeared first on Meet the Thriller Author.

Jeffery Deaver is the award-winning #1 international and New York Times bestselling author of the Lincoln Rhyme, Colter Shaw and Kathryn Dance series, among many others. Deaver's work includes forty-seven novels, one hundred short stories, and a nonfiction law book. His books are sold in 150 countries and translated into twenty-five languages.  Isabella Maldonado is the award-winning and Wall Street Journal bestselling author of the Nina Guerrera, Daniela Vega and Veranda Cruz series. Her books are published in twenty-four languages.  Their co-authored book, FATAL INTRUSION, is the launch of a new series featuring Homeland Security agent Carmen Sanchez and Professor Jake Heron. 

When an army-vet-turned-safecracker is forcibly recruited to be part of a dangerous heist, she'll need all her skills to get out alive in this fast-paced thriller perfect for fans of Jeffery Deaver and P. J. Tracy.Nearly a decade after getting chased out of the Army for fighting back against abuse, Monna Locke's skill and discretion have made her the go-to safecracker for Los Angeles clients who need vaults opened and no questions asked. When a lawyer hires her to retrieve a box from his client's mansion, it seems like an easy payday—until she opens the safe and is immediately attacked by heavily-armed men.Locke barely escapes and returns to her isolated cabin only to find the client waiting in her home, threatening what she holds most dear: her son, Evan. After being knocked unconscious, she wakes up across the country, trapped in her own personal nightmare: she and Evan will be held captive until she helps a seedy crew pull off a seemingly impossible heist.Forced to practice breaking into the most impenetrable safe ever designed, Locke bides her time and eyes her escape routes. She knows there's no way to finish the job she's been forced into, but it's either crack the lock, or lose everything.Support this show http://supporter.acast.com/houseofmysteryradio. Become a member at https://plus.acast.com/s/houseofmysteryradio. Hosted on Acast. See acast.com/privacy for more information.

"El coleccionista de huesos" es una novela de suspenso escrita por Jeffery Deaver. La historia gira en torno a un asesino en serie conocido como "El coleccionista de huesos", quien comete crímenes horribles y deja pistas en forma de huesos humanos. El protagonista, Lincoln Rhyme, es un ex criminólogo forense de la policía de Nueva York que quedó paralizado del cuello para abajo tras un accidente.A pesar de su discapacidad, Rhyme es llamado a investigar el caso debido a su notable capacidad para analizar pruebas y su experiencia en criminología. Trabaja en equipo con la oficial de policía Amelia Sachs, quien actúa como sus "ojos y oídos" en la escena del crimen. Juntos, deben descifrar las pistas dejadas por el asesino para detenerlo antes de que vuelva a matar.La novela explora temas de suspense, crimen y la lucha personal de Rhyme con su discapacidad y su deseo de atrapar al asesino. Es conocida por su detallada descripción de procedimientos forenses y su intrincada trama llena de giros y sorpresas.Sería de mucha ayuda si compartes este episodio y te suscribes a nuestro canal de pódcast.Adquiere el libro: En AmazonRecuerda que si gustas apoyarnos en nuestras lecturas y reseñas, lo puedes realizar mediante ☕️ Paypal o a través de nuestras redes sociales o correo electrónico.También te agradeceríamos

Buy the audiobook: bookpass.com | Listen in your podcast app—in just two clicks. No new app to install.Following Jurassic Park, Michael Crichton Started Another Masterpiece—James Patterson Just Finished ItThe biggest thriller of the year: A history-making eruption is about to destroy the Big Island of Hawaii. But a secret held for decades by the US military is far more terrifying than any volcano.“Eruption is an epic thriller…fast-paced and deeply considered…a cinematic story rooted in science and infused with plenty of heart, tackling big themes like love and loss.”–Time“Breathtaking and brilliant! Eruption gives us everything we want in a thriller: huge scale, huge stakes, fascinating details and characters so real we feel we've known them all our lives. Bravo!”—Jeffery Deaver, author of The Bone Collector and creator of the Colter Shaw character on CBS's Tracker"The first summer blockbuster masterpiece… as thrilling and jaw-dropping as Jurassic Park."—Don Winslow, #1 internationally bestselling author of The Cartel and City on FireThe master of the techno-blockbuster joins forces with the master of the modern thriller to create the most anticipated mega bestseller in years. Michael Crichton, creator of Jurassic Park, ER, Twister, and Westworld, had a passion project he'd been pursuing for years, ahead of his untimely passing in 2008. Knowing how special it was, his wife, Sherri Crichton, held back his notes and the partial manuscript until she found the right author to complete it: James Patterson, the world's most popular storyteller.***Learn more: bookpass.com DISCLAIMER: Please note, this is an independent podcast episode not affiliated with, endorsed by, or produced in conjunction with the host podcast feed or any of its media entities. The views and opinions expressed in this episode are solely those of the creators and guests. For any concerns, please reach out to team@podroll.fm.

Week of 2/4/24 at the Library - Scott Brunka | Hosts Dylan Posa and Barb Leitschuh go over upcoming events, talk to City Manager Scott Brunka, and for "Barb The Bookie" recommend 'The Never Game' by Jeffery Deaver.

Barbara Peters in conversation with Jeffery Deaver and Isabella Maldonado

Mark Tavani started his publishing career in 2000 with Ballantine Books and spent more than 23 years with Penguin Random House, Bantam, Del Rey, and G.P. Putnam's Sons. He edited bestsellers and award-winners across numerous categories of fiction and nonfiction, including books by Jim Abbott, Steve Berry, C.J. Box, Justin Cronin, Clive and Dirk Cussler, Jeffery Deaver, Lisa Gardner, Jack McCallum, Lisa Scottoline, Bill Simmons, and R.L. Stine. He recently joined the David Black Literary Agency, where he represents both fiction and nonfiction. Mark has a degree in Creative Writing from the University of Pittsburgh. He is an adjunct professor with NYU's School of Professional Studies and lives with his wife, his daughters, and a headstrong dog in Rutherford, New Jersey.  Mark Tavani joined Barbara DeMarco-Barrett to talk about what he's looking for, the dreaded comps, the category of bookclub fiction, submitting memoir, ageism in publishing (or not), why MFAs and the literary community involvement are important, how to know if an agent is the right fit for you, and so much more. For more information on Writers on Writing and additional writing tips, visit our Patreon page. To listen to past interviews, visit our website. We're also excited to announce the opening of our new bookstore on bookshop.org. We've stocked it with titles from our guests, as well as some of our own personal favorites. By purchasing through the store, you'll support both independent bookstores and our show. New titles will be added all the time (it's a work in progress). Finally, on Spotify you can listen to an album's worth of typewriter music like what you hear on the show. Look for the artist, Just My Type. Email the show at writersonwritingpodcast@gmail.com. We love to hear from our listeners. (Recorded on November 17, 2023)  Host: Barbara DeMarco-BarrettHost: Marrie StoneMusic and sound editing: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

Acclaimed online personality and author Sara Divello shares her insights into writing “true crime fiction,” what it means, the challenges of capturing the essence of a story and being faithful to it while also telling it in an engaging way. Sara DiVello is a true crime novelist and the creator/host of Mystery and Thriller Mavens, a popular interactive Facebook group. For her weekly Mystery and Thriller Mavens live events, she has interviewed more than 300 authors, ranging from the bestselling and world-renowned (Dean Koontz, Patricia Cornwell, Lee Child, Jeffery Deaver, Tamron Hall, Karin Slaughter, Ruth Ware, Lisa Unger, and many more) to the buzziest debuts.  While creative and active on her own social media platforms, DiVello also serves as the director of social media strategy for the International Thriller Writers association. Sara has appeared on CBS, ABC, and CNBC, as well as in the New York Times, Forbes, the San Francisco Chronicle, and more. Her articles have been published in Marie Claire, Elle, Redbook, Cosmopolitan, and Woman's Day, among others. 

Today on Killer Women Podcast, our guest is Sara DiVello. Sara is a true crime writer and the author of Broadway Butterfly: A Thriller, named an Entertainment Weekly Best Book of Summer and an AARP Hot Summer Read. She is also the creator/host of Mystery and Thriller Mavens, a popular author series and interactive Facebook group. For her weekly Mystery and Thriller Mavens live events, she has interviewed more than 300 authors, ranging from the bestselling and world-renowned (Dean Koontz, Patricia Cornwell, Lee Child, Jeffery Deaver, Tamron Hall, Karin Slaughter, Ruth Ware, Lisa Unger, and many more) to the buzziest debuts. While creative and active on her own social media platforms, DiVello also serves as the director of social media strategy for the International Thriller Writers association. Her articles have been published in Marie Claire, Elle, Redbook, Cosmopolitan, and Woman's Day, among others. In her spare time, she loves to teach yoga, cook (and eat!), garden, and go for leisurely walks with her husband and their beloved rescue mutt, Peluda. Killer Women is copyrighted by Authors on the Air Global Radio Network #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #saradivello

Today on Killer Women Podcast, our guest is Sara DiVello. Sara is a true crime writer and the author of Broadway Butterfly: A Thriller, named an Entertainment Weekly Best Book of Summer and an AARP Hot Summer Read. She is also the creator/host of Mystery and Thriller Mavens, a popular author series and interactive Facebook group. For her weekly Mystery and Thriller Mavens live events, she has interviewed more than 300 authors, ranging from the bestselling and world-renowned (Dean Koontz, Patricia Cornwell, Lee Child, Jeffery Deaver, Tamron Hall, Karin Slaughter, Ruth Ware, Lisa Unger, and many more) to the buzziest debuts. While creative and active on her own social media platforms, DiVello also serves as the director of social media strategy for the International Thriller Writers association. Her articles have been published in Marie Claire, Elle, Redbook, Cosmopolitan, and Woman's Day, among others. In her spare time, she loves to teach yoga, cook (and eat!), garden, and go for leisurely walks with her husband and their beloved rescue mutt, Peluda. Killer Women is copyrighted by Authors on the Air Global Radio Network #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #saradivello

What can one say about John David Mann? He has mastered, well he wouldn't say that, but I would, writing non-fiction, parable and fiction writing. He has also shown us how a marriage can be lived fully and be written about, how to start your own school, and how to run a business with over 100,000 people. And those are just a few of his achievements to date. My favorite is that he has launched almost every book he has written or co-authored on my show since 2015. Yup, that one is special to me because his words lift my spirits, awaken my brain and bring me joy. Well not just to me but to over 3 million people in 38 languages. Blind Fear is John's latest novel with Brandon Webb and it does not disappoint. Today we talked about what his latest novel means, how he manages to take a more 'Hitchcockian" approach to writing than many others (my choice of words as you will hear), and how crime writing taught him to fall in love with the world.  These aren't the usual questions John gets asked, and his answers may surprise you.  Take a listen as we dive deep with John David Mann on life, fiction, writing mastery mentoring and a few other things. John David Mann has been creating careers since he was a teenager. Before turning to business and journalism, he forged a successful career as a concert cellist and prize-winning composer. At fifteen he won the prestigious BMI Awards to Student Composers and received the award at the Waldorf Astoria in New York City, where he met such twentieth-century-music luminaries as William Schumann and Leopold Stokowski. He apprenticed as a choral conductor under his father, Dr. Alfred Mann, which gave him the chance to meet more legendary figures of classical music, including Randall Thompson, Leonard Bernstein, Boris Goldovsky, Robert Shaw, and George Crumb. His musical compositions were performed throughout the U.S. and his musical score for Aeschylus' Prometheus Bound (written at age thirteen) was performed as part of a theatrical production of the play at the stone amphitheater in Epidaurus, Greece—the very one, in fact, where the play was originally premiered a few thousand years earlier. At age seventeen, he and a few friends started their own high school in New Jersey (called Changes, Inc.). “Alternative” though they were, his school successfully placed its students in such universities as Harvard and Yale. After graduating, he joined the school's faculty. In the years since he has taught children in affluent Boston suburbs, Indiana farms, and the poorest neighborhoods on the outskirts of Philadelphia. John never planned to go into business; it just seemed to keep working out that way. He has founded one school, one food distribution business, one graphic design business, and two publishing companies. John's diverse career has made him a thought leader in several different industries. In 1986 he founded and wrote for Solstice, a journal on health, nutrition, and environmental issues. His series on the climate crisis, “Whither the Trees?” (yes, he was writing about this back in the eighties), was selected for national reprint in 1989 in Utne Reader for a readership of over one hundred thousand. In 1992 John helped write and produce the underground bestseller The Greatest Networker in the World, by John Milton Fogg, which became the defining book in its industry. During the 1990s, John built a multimillion-dollar sales/distribution organization of over a hundred thousand people. He was cofounder and senior editor of the legendary Upline journal and editor in chief of Networking Times. As a public speaker he has addressed audiences of thousands. John is an award-winning author whose writings have earned the Axiom Business Book Award (Gold Medal, for The Go-Giver), the Nautilus Award (for A Deadly Misunderstanding), and Taiwan's Golden Book Award for Innovation (for You Call the Shots). The Go-Giver was also honored with the Living Now Book Awards “Evergreen Medal” in 2017 for its “contributions to positive global change,” and cited on Inc.'s “Most Motivational Books Ever Written” and HubSpot's “20 Most Highly Rated Sales Books of All Time”; The Go-Giver Leader was listed on Entrepreneur magazine's “10 Books Every Leader Should Read” and Forbes magazine's “8 Books Every Young Leaders Should Read.” His 2012 Take the Lead (with Betsy Myers) was named Best Leadership Book of 2011 by Tom Peters and the Washington Post. His first novel, Steel Fear (2021, with former Navy SEAL Brandon Webb), was hailed by Lee Child as “an instant classic, maybe an instant legend” and nominated for a Barry Award. Jeffery Deaver called the sequel, Cold Fear (2022), “one of the best crime novels of the year.” You can read his thoughts on entering the world of crime fiction at JohnDavidMann.com His books are published in 38 languages and have sold more than 3 million copies. John coauthored the international bestselling classic The Go-Giver (with Bob Burg), the New York Times bestsellers The Latte Factor (with David Bach), The Red Circle (with Brandon Webb), and Flash Foresight (with Daniel Burrus), and The Answer (ghost-written for John Assaraf and Murray Smith) and the national bestsellers The Slight Edge (with Jeff Olson), Among Heroes (with Brandon Webb), Out of the Maze (with Spencer Johnson) and Real Leadership (with John Addison). He has written for American Executive, CNBC, CrimeReads, Financial Times, Forbes.com, Huffington Post, Ivey Business Journal, Leader to Leader, Leadership Excellence, Master Salesmanship, Strategy & Leadership, and Wired. You can find his writings on Huffington Post here. He is married to Ana Gabriel Mann (check out their wedding photos and vows), his coauthor on The Go-Giver Marriage, and considers himself the luckiest mann in the world.

The real life prosecutor who inspired a hit TV series. Linda Fairstein helped establish the first sex crimes unit in the Manhattan district attorney's office in the 1980s. Her work inspired "Llaw & Order SVU.". I in this 1996 interview, we talk about Linda Fairsein's first crime novel, a mystery introducing the character of Manhattan sex crimes prosecutor Alexandra Cooper. Get Final Jeopardy by Lindqa Fairstein You may also enjoy my interviews with Jeffery Deaver and Patricia Cornwell For more vintage interviews with celebrities, leaders, and influencers, subscribe to Now I've Heard Everything on Spotify, Apple Podcasts. or wherever you listen to podcasts.

Today we are traveling to Boston to chat with best-selling author and Yogi, Sara DiVello! Sara DiVello is a true crime novelist and the creator/host of Mystery and Thriller Mavens, a popular author series and interactive Facebook group. For her weekly Mystery and Thriller Mavens live events, she has interviewed more than 300 authors, ranging from the bestselling and world-renowned (Dean Koontz, Patricia Cornwell, Lee Child, Jeffery Deaver, Tamron Hall, Karin Slaughter, Ruth Ware, Lisa Unger, and many more) to the buzziest debuts. While creative and active on her own social media platforms, DiVello also serves as the director of social media strategy for the International Thriller Writers Association. Sara has appeared on CBS, ABC, and CNBC, as well as in the New York Times, Forbes, the San Francisco Chronicle, and more.Her articles have been published in Marie Claire, Elle, Redbook, Cosmopolitan, and Woman's Day, among others. Her highly anticipated novel, Broadway Butterfly is launching on August 1st. Sara is passionate about all things books (especially mysteries and thrillers), the craft of writing, and connecting readers to their favorite authors, as well as introducing them to their new discoveries.                 In today's episode we discuss:·      Best practices for authors using social media to boost their author brand and why they need to be active on the platforms.·      What fifteen years as a PR director in a large corporation taught her about marketing and how this knowledge has transferred to book marketing. ·      The benefits of promoting other author's work.·      Common mistakes authors make with social media and marketing.·      Mystery Thriller Mavens. ·      What inspired Sara to write Broadway Butterfly.·      Her love of Yoga and the benefits of exercise for writers!·      Her new podcast that is coming soon. Yes Sara, you need to create a podcast!All of this and more on today's episode of the Cops and Writers podcast.You can find out more about Sara and her books on her website!Check out Field Training (Brew City Blues Book 1)!!Enjoy the Cops and Writer's book series.Please visit the Cops and Writers website.If you have a question for the sarge, hit him up at his email.Join the fun at the Cops and Writers Facebook groupDo you want to write crime stories that are accurate and believable, but lack first-hand experience in law enforcement? Join Cop Camp, the Cops and Writers Interactive Conference, and experience what real police officers and detectives do through hands-on activities this June 1st – the 4th at the Fox Valley police academy in Appleton, Wisconsin. Register now at premeditatedfiction.com/copcamp2023 and take your crime writing to the next level. Do you enjoy gritty, action-packed real-life police dramas to get your fill of blood, heartache, and cop humor, and maybe even a little romance?I have partnered up with Michael Anderle and we have released a new crime fiction series called “Brew City Blues.” If you're a fan of Hill Street Blues, Southland, or Bosch you're going to love Brew City Blues! Brew City Blues is now live! https://www.amazon.com/gp/product/B0BLR7FX27Support the show

Wait, what? Rambo was named for a...? Today is author David Morrell's 80th birthday. He is best known for creating the Rambo character with his 1972 book First Blood. In this 1990 interview we talk about Rambo -- his origins, his psyche -- and the latest David Morrell book. Get The Fifth Profession Get First Blood You may also enjoy my interviews with Jeffery Deaver and Tom Clancy For more vintage interviews with celebrities, leaders, and influencers, subscribe to Now I've Heard Everything on Spotify, Apple Podcasts. or wherever you listen to podcasts.

0:00 SEG 1 Number 1 international best-selling author, Jeffrey Deaver, talks about his book ‘Hunting Time', Deaver-verse, his writing process, how he dicides which character to write a new book for, and teaching writing courses. https://www.jefferydeaver.com/ 16:10 SEG 2 Jeffery Deaver talks about whether he is allowed to cast his books when they are adapted to film and tv, turning down a dinner with Angelina Jolie, and what it was like writing a James Bond novel. 28:55 SEG 3 Jeffery Deaver (https://twitter.com/JefferyDeaver) talks about what he would do with the James Bond movies now that Daniel Craig is done, owning his own characters, if there is a character he would like to write for, and how he deals with writer's block. Thanks to our sponsors Marcus Theatres (https://www.marcustheatres.com/), Historic St. Charles, Missouri (https://www.discoverstcharles.com/), and Bug's Comics and Games (https://bugscomicsandgames.com/) Amazon Affiliate Link - http://bit.ly/geektome Buy Me a Coffee - https://www.buymeacoffee.com/3Y0D2iaZl Patreon - https://www.patreon.com/GeekToMeRadio Website - http://geektomeradio.com/ Podcast - https://anchor.fm/jamesenstall Facebook - https://www.facebook.com/GeekToMeRadio/ Twitter - https://twitter.com/geektomeradio Instagram - https://www.instagram.com/geektomeradio/ Producer - Joseph Vosevich https://twitter.com/Joey_Vee --- Support this podcast: https://anchor.fm/jamesenstall/support

#PodcastersForJustice #1 international bestselling author of over 40 novels, Jeffery Deaver, returns to rap about his prolific output, an award-winning handbook for mystery writers, and the latest Colter Shaw novel, "Hunting Time." Jeffery Deaver is a former journalist, musician, and attorney best known for his Lincoln Rhyme series – now a hit NBC TV show – and the novel, The Bone Collector, adapted for the big screen starring Denzel Washington and Angelina Jolie. The "master of suspense" has been nominated for eight Edgar Awards and served two terms as president of Mystery Writers of America, and was recently named a Grand Master of MWA, whose ranks include Agatha Christie, Mary Higgins Clark, and Walter Mosely. His latest is Hunting Time (A Colter Shaw Novel), described as "... a riveting thriller, as reward seeker Colter Shaw plunges into the woods and races the clock in a case where nothing is quite what it seems." Kirkus Reviews described the book as "A fleet, irresistible tale." Jeffery has sold over 50 million books worldwide in 150 countries, and been translated into 35 languages. He has also published three collections of short stories. Stay calm and write on ... Get 'The Writer Files' Podcast Delivered Straight to Your Inbox If you're a fan of The Writer Files, please "Follow" us to automatically see new interviews. In this file Jeffery Deaver and I discussed: Pandemic survival How he finds the solitude of the writing life What it's like to be mentioned in the same breath as Agatha Christie How he keeps his Edgar Award nomination streak alive Why books are better than Netflix How the author structures his novels with questions and conflicts  And a lot more! Show Notes: JefferyDeaver.com How to Write Commercial Fiction with NY Times Bestselling Author Jeffery Deaver Hunting Time (A Colter Shaw Novel) By Jeffery Deaver (Amazon) How to Write a Mystery: A Handbook from Mystery Writers of America (Amazon) Jeffery Deaver Amazon author page NaturalReader app Jeffery Deaver on Instagram  Jeffery Deaver on Facebook Jeffery Deaver on Twitter Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

A quick note that this week we're resurfacing Part One of an enlightening chat I had with #1 internationally bestselling author Jeffery Deaver about his process for writing “ticking-time bomb suspense,” near the start of the Pandemic. Next week we are going to catch up with the author for the second part of that interview series with Jeff to talk about his latest novel and a lot more about the writing life. Until then … The #1 internationally bestselling author of over 40 novels, Jeffery Deaver, took a few minutes to discuss his advice on how to write emotionally engaging fiction, the merits of plotters vs. pantsers, and a 5-step process for writing your novel. "Rejection is just a speed bump ... it's not a brick wall. Keep at it." – Jeffery Deaver Jeffery is a former journalist, musician, and attorney best known for his Lincoln Rhyme series – now a hit NBC TV show – and the novel, The Bone Collector, adapted for the big screen starring Denzel Washington and Angelina Jolie. The "master of suspense" has been nominated for seven Edgar Awards and has gone on to sell 50 million books worldwide, translated into 35 languages. His thriller featured here is a sequel to The Never Game – The Goodbye Man (A Colter Shaw Novel Book 2) – and once again features Colter Shaw, a rugged survivalist and "reward-seeker." One of Bookpage's "Most Anticipated Mysteries and Thrillers" of 2020, Publishers Weekly said of the book, “Deaver balances suspense and plausibility perfectly ... This is a perfect jumping-on point for readers new to one of today's top contemporary thriller writers.” Stay calm and write on ... Get 'The Writer Files' Podcast Delivered Straight to Your Inbox If you're a fan of The Writer Files, please "Follow" us to automatically see new interviews. In this file Jeffery Deaver and I discussed: Why suspense writers are like airline pilots Wisdom from Joyce Carol Oates and the importance of outlining How having your novel read aloud to you can improve your prose A simple formula for writing "roller-coaster" fiction And much more! Show Notes: JefferyDeaver.com The Goodbye Man (A Colter Shaw Novel) by Jeffery Deaver [Amazon] Jeffery Deaver Amazon author page NaturalReader app Jeffery Deaver on Instagram  Jeffery Deaver on Facebook Jeffery Deaver on Twitter Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices