Book Lover, Reviewer, Proofreader

PIXABAY 

Lloyd Russel has been a book lover since early childhood, but he didn't start his literary career until 2011 when he first posted on his blog--BOOKSAGE. Later, he started a book club at a local bookstore called  Recycle Bookstore, where authors were invited to meet readers and share their books. That membership is now at 181 avid readers and authors who--thanks to Covid and Zoom--are from around the U.S. and other countries.

 I asked Lloyd some specific questions about his approach to reviewing books:

Me: What is the best way to ask you for a review? Email, Instagram, FB etc.

Lloyd: Email is the best way to ask for a review.

Me: What criteria do you use to choose a book for review?

Lloyd: My biggest criterion for choosing a book to review is time! Between my professional reviewing and my proofreading, time can be tight.

Me: Do you give feedback to writers as a reviewer? e.g. helpful criticism or suggestions?

Lloyd: I tend not to give writing feedback to authors. I prefer to write my review and emphasize the positive aspects of the book. Since editing is not my strength, I want my review to reflect how it comes across to the readers.

Me: Do you ever choose to not review a book after reading it? If so, why?

Lloyd: The only time I won't write a review is if it's a book that I am not able to finish. If it's good enough to finish, I will definitely write a review, again emphasizing the positive aspects of the book.

Bad Movies Can Teach You a Lot About Good Writing

We want to learn from the best. But sometimes, we can learn from really bad writing. In particular, badly written movies!

RiffTrax and Mystery Science Theater 3000 have been riffing and making fun of bad movies for over thirty-five years now. As a big fan of both, I have watched almost four hundred episodes and soaked up the horrible writing. (And horrible acting, special effects, etc.)

So, here is a list of things I have learned, along with examples from the RiffTrax/MST3K collection.

Every scene should have purpose

Random scenes that don’t further the story or add to character development have no place in a story. We can’t throw in an event or character that serves no purpose or slows down the flow.

Examples:
Hellcats has a dancing scene that is not only bad, it adds nothing to story. (Except for the guys singing along with their own lyrics – “I am losing my dignity!”)
Lost Continent has a rock climbing scene that goes on and on and on.
Both scenes needed to go!

Plot needs to stay on track

Subplots can be woven into the main story but be sure they doesn’t stray so far from primary plot that readers forget or get confused. Keep focused on the path leading to the ending.

Example:
Birdemic has so many plots and things going on – driving scenes after driving scenes, stock options, dating this girl, the birdemic – which doesn’t even happen until halfway into the movie. This film is all over the map.
Make sure the main plot is the focus!

Edit for inconsistencies

Do characters change names or appearances? Do people appear when they should be somewhere else? Keep a detailed list of all characters and events to keep them straight.

Example:
In Space Mutiny, a woman dies and later appears in another scene.
Again, watch for those inconsistencies.

Eliminate factual errors

Details matter. Readers are savvy and will know when you haven’t done your research. Make sure to know the history, how things work, etc.

Examples:
In Bloodwaters of Dr. Z, the scientist develops a formula that can turn a person into a catfish-like creature. Yes, a catfish. Not possible! Even stretching the imagination.
In Werewolf, all it takes is a scratch to turn one into a werewolf. Granted, werewolves are made up, but pretty sure it takes a bite.

All actions need to make sense

Make sure when a character does something, he would really do that. Would a person in that position do that? And action scenes sometimes push reality, but it still has to come together and make sense logistically.

Example:
In Plan 9 From Outer Space, one of the deputies scratches his head with the barrel of his gun.
No law enforcement is that dumb!

Characters need to grow and change

Readers are invested in the main characters and they need to evolve over the course of the story. If they don’t change, if things just happen to them, it won’t matter how good the plot.

Example:
For this one, I going outside of my two sources. World War Z – Brad Pitt’s character is exactly the same from beginning to end. The zombies don’t change him one bit.
Characters must change, for better or worse!

Dialogue needs to be good and flow well

Reading dialogue out loud is a great way to catch clunky phrases or unnecessary repetition. Would a person really say that? If it sounds odd when you say it, chances are it is awkward.

Example:
In Cave Dwellers, most of the dialogue is awkward. From every character. The lines were obviously the first thing someone spouted off.
Polish that dialogue!

Understand your reader’s expectations

Every genre comes with standards. Elements readers expect. A story also has to unfold as it was initially described, not stray off into another area or genre altogether.

Example:
Gumby the Movie – the title alone should pull up visions of what to expect. Wrong! There is a really dark element to the film. Plus Gumby and Pokey were created by an alien. From there, it only gets weirder.
Cater to your audience – don’t alienate them.

Write what we love

Are you writing what you love or in a genre that you just know will make money? When the passion isn’t there, it will show on the pages.

Example:
Atlantic Rim was a blatant ripoff of Pacific Rim. And it shows – the movie is just awful. The writers just went for a cash grab.
Write for love not money!



There you have it! And if you don’t believe me, go ahead and watch those riffed movies. I dare you.

What have you learned from watching bad movies?

Plot Devices: When, How, and Whether to Use Them

by Elizabeth S. Craig

Robin Higgins from Pixabay

Most readers can spot a plot device from a mile away. You know the kind of stuff I mean—those narrative techniques that move the story forward but sometimes feel a little too convenient. The overheard conversation, the suddenly discovered letter, or the long-lost relative who appears just in the nick of time to solve a problem. I read a book in June where the whole book hinged on two characters not telling each other one important fact from the beginning of the story to the end. It was a sort of miscommunication trope. A frustrating one.

Plot devices aren’t always a bad thing, though. They’ve been used in stories for centuries. But how they’re implemented can make the difference between a reader rolling their eyes or quickly turning pages.

Common Plot Devices and Reader Reactions

These plot devices appear frequently in fiction, with varying reader responses:
• The coincidental meeting - Characters “happen” to cross paths at just the right moment
• The eavesdropped conversation - A character overhears exactly the information they need
• The hidden document - A letter, will, or diary conveniently reveals crucial information
• The sudden skill - A character possesses exactly the ability needed in a crisis
• The timely arrival - Help arrives precisely when all seems lost

Readers tend to accept these devices more readily in certain genres. It might be a harder sell in literary fiction than commercial fiction.

Making Plot Devices Work

The key to using plot devices effectively is making them feel organic instead of contrived. Here are some ideas:

Set them up beforehand: If a character needs lockpicking skills in chapter ten, mention their misspent youth in chapter two.
• Create logical circumstances: If characters need to meet, put them in situations where such meetings make sense—community events, shared connections, or common interests.
• Add complications: Instead of having the hidden letter solve everything, let it create new problems or only provide partial answers.
• Acknowledge the convenience: Sometimes a character saying, “I can’t believe our luck” acknowledges what readers are thinking and defuses potential eye-rolling.
• Focus on character reactions: How someone responds to convenient information might matter more than how they obtained it.

When to Avoid Plot Devices

Some situations call for steering clear of obvious devices:
• When they solve problems too easily without any emotional cost
• If you’ve already used other devices in the same story
• When they undermine the established rules of your story world
• If they make your protagonist passive rather than active

Finding the Balance

Moderation and careful implementation is important.
Does this device move the story forward?
Is there a more organic alternative that would work?
Have I prepared readers so this doesn’t feel like it came out of nowhere?
Does this preserve the challenges my character needs to face?
Readers will forgive plot devices that lead to satisfying emotional payoffs. If the overheard conversation leads to a character confronting their deepest fears, readers are more likely to accept the convenience.
What are your thoughts on plot devices? Do you have favorites you enjoy as a reader, or ones that always make you groan?

Bestselling author Elizabeth Spann Craig weaves Southern charm into her cozy mystery series, featuring everything from quilting guilds to library cats. A lifelong mystery lover who grew up on Nancy Drew and Agatha Christie, Elizabeth has published over sixty books across five series. She shares writing tips on her blog and lives in Western North Carolina with her family and their corgi. Follow Elizabeth at elizabethspanncraig.com