Why it's important for art to hold a mirror up to society 🎭(Updated)

As long as there's been art, there's been artists who hold a mirror up to society. It shows us who we are, who we potentially could be, and gives us ideas about things we perhaps never considered.

This is important because there's a lot of people who won't turn on the news, won't pick up a newspaper, or read about current events online, but they will watch a movie, read a book or listen to music. When artists point out certain aspects of society in their work, it allows the reader or viewer a first-hand perspective into their world. It's perhaps the closest they will ever come to 'walking in their shoes' and seeing what it's like to have these experiences. 

In many of my books, I have situations, points of view, and even passing comments that bring up what I'm seeing in the world around me. I leave it open for the reader to consider. I'm not attempting to convince or change anyone's mind. My books are very much about counterculture and often take things to extremes, but I think that in today's world, this is sometimes what you have to do to stand out and make a point. 

In the end, I believe that it's the art that shakes things up that has a lasting effect. It's the movies, books, and music that captured a segment of our society that will always stand out in my mind because they made points that mattered.

Writing about characters that are vastly different from you 🤫(Updated)

Different ethnicities, the opposite sex, and even vampires; is it difficult to write about characters when they are nothing like you?

The truth is that we're usually writing about characters that aren't necessarily like ourselves. Even if you write about characters of the same sex, age, or even from the same part of the world as you, they still are not you. If the character is the same as you in every way, then your book is autobiographical, not fiction. 

In my first book, Fire, I wrote about a young, blonde, white woman named Tarah. Many people seemed to draw a parallel between her and me because we had a similar physical description. However, that's where the similarities ended. Her story was vastly different from mine, meaning I had to dive deep into my imagination to connect with this protagonist. She was a musician turned rock star and had experiences I knew nothing about. Her life was vastly different from my own at that age. 

I then wrote A Spark before the Fire, which followed a teenage male character.  I feared that this was way out of my comfort zone. After all, how could I write from the voice of a male teenager? Where would I even start? When I began to write, I was surprised when the inner dialogue of a young male flowed naturally. It was very instinctual, and that's been my process as I continue to write about characters vastly different from me. 

I've since written about vampires, narcos, assassins, children, and people of various ethnicities, ages, and sexual preferences. The key is to listen for the character's voice, and it will tell you everything you have to know. 

I'd recommend anyone struggling with this to find a quiet place and time to do their writing and focus on their inner voice. Stay calm, stay centered, and start writing. If your instinct is to write about a specific character, chances are they're ready to come out and play.

Dialogue that pops! 😉 (Updated)

The sure sign of great dialogue is when readers recite lines from your books! It's the ultimate compliment. 

We've all had friends quoting characters from their favorite television shows and movies. Some lines are almost as legendary as the programs themselves, and yet, some people aren't aware of what's involved in writing great dialogue. There are a few things to be considered.

1. Keep it fresh. We don't need to hear the same lines already overused in television, books, and movies. The only exception is when it's being used on purpose to be ironic. For example, in The Devil May Lie, there's a point when Jorge Hernandez, a bloodthirsty criminal, quotes a line from I Love Lucy that greatly contradicts the lighthearted comedy from the '50s. I think he might even have a gun to someone's head when he uses the line, "Lucy, you got some splainin' to do."

2. Keep it interesting. Let's bypass the same boring conversations you'd have with your great aunt at a wedding. Avoid talking about the weather (unless it's relevant) and the "hi, how are you?" dialogue, if at all possible. I only use something like this if purposely trying to show awkwardness in a conversation. People are bored enough in real-life conversations, so keep your character's dialogue engaging. 

3. Don't ramble. I'm the queen on rambling (which you'll know if you ever watched my YouTube channel 😝) but when it comes to characters, make them get right to the point. Don't beat around the bush. Storylines are limited to a certain amount of many pages. Your job is to get everything packed in tight like a suitcase about to be weighed at the airport. Don't bring boring shoes you don't need.

4. Remember each character has a dialogue pattern. Your best friend or crazy aunt uses specific words, speaks distinctively, and responds predictably. For example, I once worked with a girl who never went to the bathroom, but the facilities' Some people mispronounce words while others use slang terms or swear when they speak. Depending on where they live, their status, and their first language, you might expect vastly different dialogue patterns. Someone who grew up in the UK, for example, may use a word that has a vastly different meaning in North America. A middle-aged woman who works in an office setting may speak differently than a 20-year-old man who works in a garage. Many of my characters are from Latino countries, so it's not uncommon for a little Spanish to get mixed into their conversations.

5. Don't overthink conversations. In real life, if you overthink a conversation, it tends to sound too stiff. The same goes for characters. Stay balanced and go with the flow when writing dialogue. See where it takes you. Sometimes, it might move the story in an unexpected direction, and as I always say, if you don't expect things to go a certain way, neither does the reader!
In the end, you want sharp dialogue that's dramatic and honest. Make the conversation pop!

The super crazy last chapter 😜(Updated)

Don't let the last chapter fall flat; make it a wild ride till the end.

The problem that I noticed (while reading fiction) is that it often has a predictable pattern. The story usually builds to a climax, eventually resolving, only to fade away in the final chapter. I find the last chapter in a lot of books is simply tying up loose ends, and for that reason, I often skim through then read the final paragraph. It would be the same as watching a season of your favorite television show and having no drama or action in the last episode but just the characters sitting around having a chat and hugging a lot.

Something that I've learned along the way is that you need action, suspense, and surprises even as the book winds down. And yes, that includes the last chapter. Contrary to whatever your high school creative writing teacher taught you, finishing a book shouldn't simply be about tying a pretty bow on it.

In my Hernandez series, my goal is to keep things crazy till the end. I've finished books with shootouts and suspense, but probably most importantly, I've left a lot of questions hanging in the wind. There's always an implication that something more is around the corner. I want readers to finish my books and wonder about the characters. I want to set their imaginations on fire. And to me, that's important of all.

Choosing the right words 🤓(Updated)

Words create an impression with the reader, whether it is the narrative or the specific wording that a character uses. It's always important to consider your characters, environment, and mood involved when choosing your words.

I'm very aware of the words I choose when setting a scene, especially with dialogue in my Hernandez series. Since the books are about bloodthirsty criminals, it only makes sense that the words surrounding them represent that mood. Powerful words are essential, right from the first paragraph, and the protagonist must set the tone for the reader. We need to get a feel for the personality we're about to take a journey with, preparing us for the adventure we're about to embark on.

It's not uncommon for me to go back and change the wording simply because I feel there's a better way to communicate to the reader. Having said that, I don't think writers need to overthink words and become too analytical. Perfection isn't a requirement.

It's also important to consider what is appropriate for your reader. Who's your audience? How old are they? What feelings do you hope to instill in readers? A suspense book would read differently than a romance novel., for example. 

Also, what is the character's background? Educational level? Where do they live? A young Mexican cartel member with a 10th-grade education speaks differently than a middle-aged lawyer living in Toronto. Their experiences, lifestyle, associates, vocabulary are vastly different. 

If you're new to writing, don't let this intimidate you. You can always go back and change the words later. Regarding characters, the more you get to know them, the easier it is to automatically know how they talk and what they will say (think of people you know well and how you come to be familiar with their dialogue patterns)

Remember, when writing a book, essay, or article, words are all you have to work with, so make them count.

Writing a pilot episode based on my book series 🤩📺👍(Updated)

Why does your favorite book seem jumbled when it's turned into a movie or television show? Now that I'm writing a pilot episode, I'm starting to understand why things play differently on screen than on pages.

When I first started to write the pilot episode for my book series about Jorge Hernandez and his foot soldiers, I was a tad overwhelmed. I had no idea where to start. I briefly considered taking a screenwriting course, but the cost to learn this skill seemed a bit insane, so I decided instead to look online to see what was available for free or, at the very least, a more reasonable price. The first person I found was a lovely channel called Word Dancer (who I highly recommend to all writers regardless of their goals) who answered anything I could ask regarding writing a script and getting into the film business. I watched every one of her videos and soaked it all in.

The best suggestion from Word Dancer was if you want to write scripts start reading scripts. I followed this advice and quickly found the pilot episode for some of my favorite shows including, Ray Donovan, The Sopranos, Six Feet Under,  The Ozarks, Narcos, Dexter, and Sons of Anarchy. I studied them carefully, noting the formats while considering the advice in Word Dancer's videos. I made a lot of notes and then jumped in to start my script!

The first thing I noticed what that the pilot episodes require a lot of from the writer. You should immediately captivate viewers. You need to introduce your protagonist and give a strong sense of who they are, showing all dimensions. You should have a lot going on so the viewer doesn't get bored. You need to have a unique voice, so you aren't simply copying everything else out there (this includes dialogue). You have to demonstrate what kind of show it is, so the audience knows what to expect. In essence, you need to grab the viewer by the throat and make them want more.

Since the pilot would start with my book, The Devil is Smooth Like Honey, the first scene takes place in a hotel. However, this concerned me because I thought this would stick the characters in the same place too long, and I felt they needed to be in motion to keep things more lively and build up anticipation. In the book, Jorge provocatively meets Paige Noël, and the chemistry builds between them through the pages. However, I felt they needed to move around in the pilot, so I had Jorge's attempt to seduce Paige when she suddenly had to leave to carry out an assassination. In the book, I kind of feel this would've been too much too soon, considering Paige was a new character in the series, and it wouldn't give readers a proper introduction. In a television show, you would learn about her through her actions in each scene. This enabled me to demonstrate her strong, powerful side whereas, in the book, I would use Jorge's observations and conversation to do the same.

It's almost like in a television show or movie, you have to go to greater lengths to drive the point home. You can't be subtle but more like a bull in a china shop. You have to be a little louder, a little more forceful, a little more dramatic and a little more exaggerated. Why? Because it's captivating. It creates anticipation and excitement.

Of course, film and TV often cut out a lot from books they're based on, which I can already see I will be doing too. Now that I'm learning about the process, I think it's mainly because of time and budget restraints and also because certain scenes may fall flat on the screen. 

I do believe that a movie or television show based on a book should stick very closely to the novel, or it simply pisses people off. I can think of one particular movie I watched (after reading the book) that infuriated me. A major scene in the book was completely changed in the movie, causing me to throw my hands up in the air with a major 'What the fuck!' moment. I know that a lot of factors play into movies, (including who funds them) so I can imagine the script went through a lot of hands before coming to fruition.

I still have a lot to learn in this process, so this is to be continued.....

Why do you always write about criminals? 🔪(updated)

One of my most asked questions is why I write about criminals. For those not familiar with my books, this inquiry springs from the fact that most of my books are based on the criminal POV rather than the more socially acceptable, commonly used perspective of the detective, lawyer, or, in other words, the 'good guy'. Essentially, what I'm saying is that I prefer to write about the 'bad guy' or more the anti-hero type characters.

It started innocently enough. This was the series that was never meant to be a series, starting with a book called We're All Animals. In it, I explored a character named Chase Jacobs and his coming of age problems that led him down a dark path that linked up with the people he now refers to as his associates. Of course, it had to be introduced slowly, carefully, and in such a way that showed how people could find themselves in this world even if it was never their intention.

I love writing from an alternate POV rather than the more common ones used in books. It's interesting to explore a character that is normally viewed from a third-person perspective, instead, showing all the dimensions and unravel their many layers. It's very easy to just throw everybody into a simplified category but it takes a little more effort to consider where that person came from, what their experiences have been, and what drives them. People are vastly more complicated than some writers would have you believe.

There's also something invigorating about sinister characters. It can be quite addictive and fascinating to write about them. It allows my imagination to go to all kinds of dark places that you simply can't explore with primarily law-abiding and 'good' characters. And if you do, it becomes the central theme of the book rather than a component. For example, if a 'good' character does something terrible, it becomes the plot, with the protagonist attempting to understand and justify their behavior. If a 'bad' guy does the same thing, it's not such a shock and just becomes another event in the book.

When you're a writer, shouldn't you be searching for different scenarios, alternate voices, and most importantly, intriguing storylines that aren't following the same, tired format?