
This is Jim Rockford. At the tone, leave your name and message. I'll get back to you.
I was raised on the fast-paced television drama, where crimes were committed and solved — with justice swiftly dispatched — in under an hour.
So, when I sit down to write, the words that spring forward from my fingertips do not mimic the long, languid prose of Dickens, Poe or Twain. Rather, they take the shape of an episode of The Rockford Files.
In my youth, detective shows like The Rockford Files whet my appetite for fast-paced storytelling. They moved quickly and didn’t bog down the hour with fleshing out characters in prolonged story arcs that took years to resolve. Instead, they gave viewers the essentials and assumed we were smart enough to follow along.
I take a similar approach to writing. In a first draft, I’m mostly interested in the action. Characterization comes when I am inspired to add something (maybe a bit of backstory or a mannerism my main character has). Description is minmal. I don’t have time for description, beyond what is necessary to pull the reader into my scene.
In that initial stab at the story, I’m interested in blocking out the elements of the story. What happens? When? Can the illusion of the story be performed without the reader seeing the wires? To this, I think back to my favorite crime dramas on TV and break down my story into five easy parts.
Just a quick reminder that this is Tuesday (okay, you probably knew that). Remember to pop on over to the Confabulator Cafe today and give a read to my latest missive. Today, I rant a bit about the importance of knowing when to say “no” to your own writing. As writers, we must admit that everything we write is not gold.









