Linda Parkinson-Hardman

D.J. Williams was born and raised in Hong Kong, has ventured into the jungles of the Amazon, the bush of Africa, and the slums of the Far East. His global travels have engrossed him in a myriad of cultures, and provided him with a unique perspective that has fueled his creativity over the course of a twenty year career in both the entertainment industry and nonprofit sector. In his latest novel, Waking Lazarus he has written an epic global adventure filled with riveting characters and page turning twists and turns. Think Jason Bourne meets Homeland.

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I stood on the shores of the Zambezi River as a spark for a story pierced my soul. After three weeks of traveling across the country, witnessing the reality of those forgotten by the world, and facing a major change in my career, I knew that one day I’d write about this place. Little did I know that it would be years before I found the courage to write my first novel, The Disillusioned. I was so afraid of failing to capture the story that I wrote the novel without telling anyone. When it was finished I reached out to a friend in the TV industry and her response encouraged me to step out in faith and publish. I share this with you because those days on the Zambezi defined my passion as a storyteller.

What I discovered throughout the writing process was that using my experiences traveling to the poorest places in the world fueled my drive to create the Guardian Novels, a series filled with mystery, suspense, and adventure. All of those were aspects of the story, but from the first novel the reality of the fight against human trafficking was an underlying thread throughout. It’s one reason why I’ve defined this series as cause-driven novels. My hope is that readers will be entertained, but will also be inspired to make a difference in the world when they flip that last page.

Writing the second novel, Waking Lazarus, was challenging to continue in the cause-driven storytelling style. To capture this story in a unique way, the novel spans nearly a century as readers are taken back to the 1920’s and then return to present day on a global adventure. It also pushes readers further into the worlds of child slavery, poverty, and the darkness of secrets. I’m humbled that the Guardian Novels, and the cause-driven storytelling style, have garnered the attention of Hollywood’s elite.

“The Disillusioned is a fast-paced mystery…you won’t put it down until you’ve unlocked the secrets and lies to find the truth.” Judith McCreary, Co-Executive Producer, Law & Order: SVU, Criminal Minds, & CSI

“Waking Lazarus is a captivating visual story with a colorful narrative. Once I started reading, it was hard to put down.” Peter Anderson, Oscar Winner, Cinematographer

I’m writing my third novel, The Auctioneer, and experimenting with ways to continue in telling stories that raise awareness for causes and issues around the world. It’s like writing layers, where the story that draws readers in leads to a deeper place that travels a road between fiction and reality. My hope is that others who are passionate about storytelling will embrace this same approach and will write books that not only entertain, but also challenge readers beyond the last page.

As an Executive Producer and Director in the TV industry, I understand the difficulty and challenge of transforming a novel into a visual experience on film. As a novelist, I’ve enjoyed the freedom of writing and storytelling without worrying about the limitations of turning those novels into a screenplay. Many of my readers have said, “Your books would make great movies.” I’m humbled each time I hear those words, but I’m also realistic about surviving in an ocean with sharks. Writing a novel and writing a screenplay are two different animals that don’t always play well together in the same body of water. So, if your dream is to write a novel in hopes you’ll get it optioned for film so a studio can spend millions of dollars producing your story, you might find yourself throwing a penny in a pond hoping to retrieve a pot of gold. Let’s just say, the odds are not in your favor. But there are techniques we can use as novelists to transform our stories that share common ground with screenwriters.

In my novels, The Disillusioned and Waking Lazarus, the chapters are written as scenes in a film as a way to keep readers engaged. Since my writing tends to be more visual, much like a screenwriter, I use this technique to keep the story moving forward at a quicker pace. I don’t want to bog readers down with pages of backstory, inner thoughts, or showcasing my writing prowess that leaves them trudging through a swamp. I’m not a literary genius like Tolstoy. I write commercial fiction, and what that means is I must use some of the same techniques as a screenwriter because we live in a visual age. Isn’t that how we want readers to respond? We want them to envision the world we’ve created, to connect with the characters, and to imagine where the story will lead. Our words on a page create a visual experience for our readers.

One huge advantages for novelists is we can take our time delving deeper into our characters’ thoughts and emotions. We can leave breadcrumbs of hidden clues, backstory, and reveal aspects of our characters’ storylines that maybe only the reader will know, most of which would never be played out on screen. And, you do this within a 380+ page book instead of a 120 page screenplay. But there is a downside, one we can avoid when using other screenwriting techniques.

Have you ever noticed how at around the thirty minute mark in a film there is a twist to the story? It’s that moment that leads us into the second act. A character makes a choice, faces a tragedy, or loses what they value most. In that scene the story goes deeper and keeps viewers on the edge of their seat. If we were to call this the thirty-minute rule for screenwriters, then we could define that technique as the crossroads chapter for novelists. While I won’t give away which chapter that might be in my novels, I will say that this chapter marker is a roadmap that leads me to the second act of my story. Why do this? For my writing style, it helps me know that the story is moving forward. I’m not simply writing chapters that bring nothing more to the story. The chapters leading up to the chapter that will remain unnamed, are centered on introducing readers into this world, revealing unique characters, and setting readers up for the plot twist.

In this scenario, the big difference between novels and screenplays is that in a screenplay you should only write what you see or hear on screen. Internal thoughts won’t work. Narration is tricky because it can slow the story down. Novelists can dive deeper into inner thoughts, longer dialogue, and more descriptive settings, but in either scenario, character and setting are still king. By the time you reach the thirty minutes, or the crossroads chapter, your characters and story should be in full affect. If the characters are flat, or the story isn’t progressing quick enough, then you know it’s time to go back and rework your first act.

One note to remember: as novelists we aren’t restricted by production budgets, so if we need to enhance our characters’ setting, or build a bigger more interesting world, then we can simply write that on the page rather than begging a studio to give us a bigger budget. That’s one of the challenges screenwriters have that novelists don’t. Screenwriters have to create a world and characters that fit within the overall production budget of a studio.

In this day and age another technique novelists can learn from screenwriters is to keep our stories concise. Reminders to move the story forward should be planted on our walls, computer screens, notebooks, and tattooed on our arms if necessary. If the story isn’t progressing then we’ll lose our readers. Too much backstory and we’ve lost them. Give too much information away in the beginning and our characters become less interesting. Writing chapters filled with inner thoughts, dream sequences, flashbacks, or sharing pieces of the story that won’t matter in the end forces readers to close the book, unless they are written in a concise way that adds momentum to our story. It’s why screenwriters are constantly cutting, scrutinizing every word of a script, because they only have so many pages to fit the story. Every scene. Every piece of dialogue. Ever word is weighed to make the screenplay as tight as possible. In the end, cutting in a screenplay makes for a better story. For novelists, we can learn a great deal from this technique. While some view editing as the process that is done to finalize the last draft of a novel so we can publish, the truth is that editing is an exercise where we’re constantly fine-tuning each chapter. Much like a screenplay, ruthless cutting/editing makes the novel shine.

While this is by no means all of the screenwriting techniques we can apply as novelists, they are common ground exercises that can enable us to transform our writing to become more effective storytellers.

The Disillusioned was the genesis of my cause-driven series, The Guardian Novels, and remains the catalyst that has fueled my passion as a storyteller through the release of the second book, Waking Lazarus. Mystery. Suspense. Adventure. In the series, all are aspects of the story, but with a greater message, whether that be fighting against modern day slavery, helping the forgotten lost in poverty, or shining a light on the realities so many face in worlds far more dangerous than our own. My hope is to blur the lines between fiction and reality, and inspire others to make a difference in the world.

You can join me in the cause!

Since January is Human Trafficking Awareness Month, proceeds from each book sold will be donated to the International Justice Mission. Give the gift of the series to someone you love, and in return you’ll be helping to rescue those in need.

Thank you for your continued support!

What inspired you to write? And what was the inspiration for this book?

From an early age, I’ve been captured by stories that left me turning the page. The first book I remember reading cover to cover was Treasure Island. At eight years old, those few days I spent in my room lost in a world of adventure, suspense, and mystery left me with the dream of one day becoming a storyteller. At the time I wasn’t sure how that would become a reality.

After a decade in the music business, and the rise of iTunes, I found myself transitioning in a new career as I stood on the set of a new TV series as an Executive Producer and Director. Another decade passed as I produced hundreds of TV episodes, still searching and dreaming of the perfect story to write.

After a year of writing late at night I sent a draft of my first novel to a friend in the TV industry with the disclaimer, “If it’s not any good, the only two people who’ll know about it is you and me.” Within a few days she called with a thumbs up and that began the search for an agent and a publisher. When The Disillusioned was released it captured what I’ve defined as a “cause-driven” novel. Throughout the pages of the story the adventure takes the main characters into the heart of Africa and the trafficking trade. I was fortunate enough to do a 15-city book tour with Barnes and Noble, and realized I was hooked. I needed to write the next story.

In my second novel, Waking Lazarus, I raised the stakes. I couldn’t simply follow the template I’d created in The Disillusioned. So, I returned to my roots, to a story I heard from an early age about a controversial evangelist from the 1920’s. I was fortunate to spend an afternoon with a family friend who was in his nineties as he shared with me how her life shaped the history of Los Angeles. I didn’t want to write a biography, so I created a character based off of this real life celebrity figure.

As the story unfolds, readers will find themselves following two mysteries, one from the 1920’s and one present day that are on a collision course. What was exciting about the writing process was that I could live in two worlds, and create a storyline that spanned nearly a century. And, for those who read The Disillusioned, they’ll find themselves in a parallel timeline between both books but with all different characters and a standalone storyline. My plan in the third book of the Guardian Novels is for those characters and storylines from the first to books to crossover. I guess you could stay it’s part of my master plan!

What is your work schedule like when you’re writing?

Due to my TV production schedule, my writing schedule is a bit more fluid than regimented. I find that my most productive time is writing late at night, or on the weekends. If I find myself on a roll I might carve out a few more hours during the day. Sometimes the writing goes smoothly, and other times I end up rewriting what I’d done the night before. It’s all part of the chase, the adventure of discovering the world for yourself.

I know that many authors outline each chapter, and spend weeks or months on character development and storylines. For me, what has worked is to know where my story begins and where it ends. What happens in between is part of the discovery. So, I don’t outline. Honestly, I found that when I tried this for myself I spent more time working on my outline than I did writing. It took the excitement and fun out of the writing process.

I want to be on the edge of my seat, wondering how I’m going to squeeze out of an impossible situation, so that it translates to readers. I think the most important point is that you find the right routine that enables you to maximize your writing. It might be a few hours a night, or spending a few days away. I’ve done both and have found that depending on where I am in the story it looks different.

How long does it take to write a book?

I’d say anywhere from 8-12 months. I’m not a fast writer, mainly because I spend a lot of time envisioning the scene in a chapter before I sit down to write. I guess some might say that’s daydreaming not writing, but I’ve found that if I can picture the scene in a chapter playing itself out then I’m able to capture it more powerfully in words.

My plan going into a novel is to get a first draft writing within 4-6 months. Then I take a month off from reading, writing, or even thinking about the book. You need that perspective before you dive back in for a second draft. Typically, the second draft will take another 1-2 months. I follow the same routine and take a break for another month. Then I do my final revisions before sending it out to my editor. That process takes about a month or so. When I get the edits back from my editor, I take a deep breathe from all the red marks, and dive back into the final draft.

One note on my writing schedule: When a book is sitting for a month or is with my editor, I’m already working on the idea for the next book. I think it’s important to have a stable of ideas brewing so that you’re constantly growing as a storyteller.

What do you like to do when you are not writing?

When I’m not in production on a TV series, or if I’m taking a break from writing, I enjoy binge watching movies, catching the next NBA game, and driving along the coast in Malibu to unwind. One of my favorite things to do is hike Point Dume with my wife and watch the whales and dolphins as they swim near the beach.

Do you have any advice for aspiring writers?

Writing is a journey that leads us into the valleys as we strive to climb the mountain. I would say for any writer the challenge is to live out the 3 P’s: Passion. Purpose. Productivity. Passion is what gives you the endurance to keep going. If you love to write, then you write whether you become a bestselling author or not. It’s part of your DNA. It’s something you’ll do no matter who might end up reading your creation. But passion without purpose leaves you without clear goals or direction. Know where you want to end up in six months, a year, or five years from now. Know what drives your passion for writing. Know the genre where you want to build an audience. Passion and defining your purpose allows your writing to become more productive. Set a writing schedule to start and finish your novel, and then do it! Finishing a novel is the hardest part of the journey. But with each story you finish, you’ll discover what makes your writing and storytelling unique.

Do you have an interesting writing quirk? If so what is it?

With each novel, I create a music playlist that consists of soundtracks from various movies that I feel capture the tone of the story. Depending on what chapter I’m writing, I’ll put certain tracks on repeat so that the mood of the music helps me translate the scene I’m putting on paper.

With my latest novel, Waking Lazarus, I went a step further by bringing in a composer friend who composed a full soundtrack to go along with the book. I’d never seen this done before with a novel, other than those books that were made into feature films. So, with Waking Lazarus you can listen to the soundtrack that fits each of the chapters you’re reading. And we did it in such a way that it doesn’t matter if your a fast reader or a slow reader. You simply put the tracks on repeat depending on which chapter your reading and it fits the scenes in those chapters.

What is the last book you read?

The Whistler by John Grisham.

Who is/are your favorite author(s)?

Michael Connelly. John Grisham. James Patterson. David Baldacci. Brad Meltzer. Daniel Silva. J.K. Rowling. And the list goes on!

What is/are your favorite book(s)?

Harry Potter Series by J.K. Rowling. Lincoln Lawyer by Michael Connelly. The Testament by John Grisham.

After all of your hard work, what does it feel like to be a published author?

For me, it’s more about the chase than being a published author. I feel that if you have a strong enough story there are avenues for you to get that story out. Traditional publishers are no longer the gatekeepers. The Martian is one example. So, I keep my focus on chasing characters, twists and turns, mystery, suspense, and an adventure that unleashes an unexpected plot.

The big unknown is always whether readers will go on the chase with you. That’s the challenge when you’re writing by yourself for months at a time not knowing if the story is going to jump off the page for readers. But I think with each novel that sense of fear fuels an excitement to chase the next story. And I would add, that publishing is constantly changing. If you’re a writer who has written a story you want the world to read, but you haven’t been able to crack the code with a traditional publisher, then I’d say look at ways to indie publish. As we’ve seen in recent years, indie publishing is a valid alternative to traditional publishing and can be the first step toward building an audience who will follow you for years to come.