Power Surge by Lizzie Qnert
TPP EP 06

TPP Episode 6 with Lizzie Qnert

Mark: [00:00:00] Hello and welcome to the Thriller Pitch Podcast, where you come for the pitch and stay for the story behind the story. I’m your host, Mark P.J. Nadon, and you’re listening to episode number six. Today’s episode is brought to you by my Novella Monsoon Rendezvous, where Clara must survive a deadly monsoon in Bangladesh and deliver medical supplies to remote villages before the worst of the storm hits.

But as micro bursts strike, she’s caught in the middle. And the man with the only vehicle to get her there has plans of his own. If you’re an author and wanna sponsor a future episode, just head to markpjnadon.ca/thrillerpitchpodcast. Today’s guest is the Lizzie Q nerd, author of Power Surge, a psychological vigilante thriller that dives into [00:01:00] justice, vengeance, and the weight of moral choices.

Lizzie’s writing comes from a lifetime of lived experiences, years filled with loss, love, successes, failures, and the raw lessons of human nature. Those experiences give her stories a depth and authenticity. You can’t fake.

Lizzie, welcome to the show. Thank you so much for taking the time outta your schedule to be here today.

Lizzie: Thanks for having me, mark. I’m really glad to be here.

Mark: So we are here today to talk about Power Surge. Yes. One of your thriller novels. Let’s start with, we’re just gonna jump right into the pitch.

Lizzie: All right, sounds good.

So, um, Power Surge is a fast-paced here. It is fast-paced, character driven, thriller, written from four distinct points of view. CC Crane, her two daughters, Megan and Scottie, and Luke, a member of a male supremacist hate group called Men [00:02:00] Roar. And ROAR is an acronym for a Reclaim our Authority and Rights.

So after decades of working in advertising, CC Crane is no stranger to sexual harassment, but she refuses to stand by while more women are traumatized. So offenders are given warnings, but if their bad behavior continues, they will be punished. Mild harassers will feel the sting of public ation, humiliation, and professional ruin, but hardcore serial offenders will be stopped permanently.

Her daughters, Megan and Scottie deal with the effects of living in a patriarchal society in quite different ways. As a stay-at-home mom, Megan struggles to find her own identity separate from her roles as mother and a wife. Her frustration leads her to bad choices that CCS activities inadvertently expose.

Scottie combats the unfairness of working by working [00:03:00] in a sexual violence prevention center. And when Scottie becomes the target of men Roar, because of her work, CC’s mama bear ferocity kicks in and she creates a hit list of the local members. One of CC’s victims is Jim Baxter, a brazen, unrepentant, groper.

When Luke looks into his father’s death, his father is Jim Baxter. He discovers CC’s murderous activities, and the tables turn. CC becomes the hunted. So despite her best efforts, nothing happens as planned. And her vigilantism exacts a devastating price.

Mark: That’s great. Thank you. That’s a wonderful pitch.

Lizzie: Yeah, you bet.

Mark: So there’s a lot of layers here. Let’s, uh, let’s start with where did the idea come from for the book?

Lizzie: Interestingly, my daughter did work in a sexual assault prevention center and a male supremacist hate group targeted them. And [00:04:00] started calling the hotline and giving very disturbing accounts of trauma in, in their efforts to traumatize some of the counselors.

The other thing they were trying to do was to jam the phone lines for real callers, and I was so enraged. You know, it took them, literally weeks to get everything resolved and be able to help the population that they were really trying to help. So I was. You know, furious about that. And then I had spent years working in the advertising field back in the nineties when sexual harassment was almost a daily thing, truly, almost a daily thing.

I even had female bosses tell me, you know, when I reported it, female bosses tell me, Hey, suck it up buttercup. This is, this is what life is. so you know, that frustration, oh, you know, I guess you’d call my daughter’s experience the inciting incident, but that frustration also played into, getting this [00:05:00] story out there.

Mark: And was it, was it plot that came first? Where did.

Lizzie: Yeah, well, the, the char, I would say CC Crane came first. That character came first. Just knowing, you know, the, the frustration and the rage that she was feeling that she, her daughters were still going through these kinds of things and that her employees, her female employees were still going through these kinds of things.

 So that kind of came into my head first. I would say the plot point of the male supremacist hate group, you know, came kind of, that was what incited the whole thought process.

Mark: And is this, this is not your first book, right? This is, is this idea number, which one? It

Lizzie: was actually the first published book, but I have four thrillers published so far.

Two more, very soon to be released, hopefully. Fingers crossed.

Mark: Oh, congratulations.

Lizzie: So yeah, it wasn’t the, [00:06:00] actually the first book I wrote, but it was the first book I published.

Mark: Okay. And why, why so many different characters in so many different points of view? Because you could have, I mean, I guess I could jump to conclusions based on what you’ve said already, but why, why Luke as a point of view and why the daughters?

Lizzie: Yeah. Well first off, I love writing in first person. I feel like it grabs your emotions more strongly when you’re writing from first person and, but when you’re writing from first person, of course you can only present what that person is seeing, feeling, experiencing. Mm-hmm. So to get a well-rounded story from such, with such a complex issue, I did feel like I needed more points of view.

You know, Megan has a very distinct point of view, uh, being a stay at home mom. And, you know, Scottie is more the activist point of view, but Luke’s important too because, you know, nobody’s all bad. And even though he’s [00:07:00] the villain the complexities of how did he get to this point? How did he, why does he think these things about women?

You know, I think those are important issues to explore. So, you know, I felt like to get a well-rounded story, we needed all those characters.

Mark: Okay. What was the writing process like?

Lizzie: That book was super easy for me. It actually, I started it during COVID, so my day job, which a lot of us authors have, my day job was put on hold because of COVID, so I was able to devote, you know, eight hours a day, five days a week to writing Power Surge.

And I was able to come through, finish it in three months. Of course the revisions, yeah, revisions took longer. But that first draft was out in three months and it was I also think it was, you know, because of my anger at the situation with my daughter, it was a burning story. It was burning to get out.

So, you know, com, those two things [00:08:00] combined made this the easiest book that I’ve ever written.

Mark: And what kind of research did you have to do for this book?

Lizzie: Yeah, I had to do a lot. So I’m a little bit technologically challenged and there’s a lot in this book about the dark web and, and how to find assassins.

So, you know, I, I had to do a lot of research on that. And it was disturbing. The other thing I had to, to research were male supremacist hate groups. You know, and I was stunned at how many are out there and stunned at the, just the rhetoric, you know, the things that they actually say believe and the propaganda that they’re putting out there.

It just, it was, you know, a lot of days I was really disturbed by what I was finding. But that made it even more important I felt to, to tell the story. So the research was a little tough. You know, those [00:09:00] were the kinds of things that I had to dive into. And at the end of the day I kind of like, I need a shower.

This is, this is dark stuff.

Mark: Yeah.

Lizzie: But again, you know, I think it’s an important message to get out while providing entertainment.

Mark: Yeah. Yeah. And did the research impact the story as you were. I’m assuming you didn’t like do all the research up front and then write the book. There was probably some like middle ground where you’re, you know, writing the book and then going back to research.

Did anything in your research change how the story was told?

Lizzie: Yes, definitely. Because of the mechanisms of finding things on the dark web, which I didn’t know prior to writing the story. Then I realized, you know, some of the things that I was saying weren’t really accurate, so I had to go back in and show how you actually, you know, how these groups were functioning.

On the dark web and how CC would’ve been able to find some of the [00:10:00] things. Now there’s fiction element. Can you really find assassins on the dark web? I, I don’t know. You know, probably not. But, I wanted it at least to, be accurate as far as how you access that. You know, it’s in the dark web

you can’t just type in search for assassins. You know, there’s a whole different way and websites are actually, you know, the links to the websites are changing all the time. So yeah, that kind of stuff did play into, the story itself, how I had to make things happen. And also even with the structure of some of the, the male supremacist hate groups, you know, how they structured themselves, those kinds of things, impacted how the story was told.

Mark: And when you were putting the characters together, that, do you have like a sort of like a recipe list, I guess you could say, of, of the personality? Or did you just kind of see those characters come to life and then you put that life on the page?

Lizzie: So when I develop characters, I always try, [00:11:00] I kind of do it like I make friends.

The first a hundred pages is me kind of meeting them. What do they look like, what do they wear, uh, what is, what are the tone of their voice? Do they have quirks in their speech pattern, things like that. I kind of start to just meet them as you would a, a person on the street. And then as the pages, you know, as I’m continuing to write some of their backstory, I’ll think like, well, how, how did they get along with their siblings?

Do they have siblings? Are they married? Do they have kids? So I create a whole file for every character. Including what do they like to drink in the morning, what car do they drive, are they messy? All those little details. I don’t use them all, of course, but I feel like in order to present their side of things, I need to really know them intimately.

And I would say I don’t really know my characters until I’m about a hundred pages in. So I often see myself going back to the beginning and rewriting some of those [00:12:00] early chapters to actually follow what the character has become. And then once I am about a hundred characters in, I mean a hundred pages in the characters do kind of lead me as far as, you know, well, how would CC react to this?

And then that gets me to the next chapter. Well, how would Luke react? You know, what’s his motivation? What are his fears behind, behind his behavior? Those kinds of things. So yeah, for me, character development, that’s kind of my thing. I’m, I’m known for strong character development and, I take a lot of time in creating those files with all the little details.

Mark: So that’s, is that your form of outlining is, is creating the character details before you start the book and then.

Lizzie: I don’t do

Mark: pants after a hundred or do pants up to a hundred pages and then you get to know the characters. How does that work?

Lizzie: Yeah, I, I would say a little bit, you know, I’ll have a general idea of what the [00:13:00] story’s gonna be and where it’s gonna end, and I’ll have a general idea of the characters that I think are gonna be included.

But yeah, I pants it a little bit till for the beginning, as I’m developing those character files. Once I have them established, then I actually do create an outline, not a, you know, a plot outline once I’m about a hundred words in. ’cause then I can see me more where it’s going. But, you know, I’ve even gotten to 500 pages and I’ll write a line for a character

and I, when I go and read it back, I’m, I’m like, oh my gosh she would never say that. Like, that is so out of her voice and I have to cut the line. I really do try to let them speak to me. But yes, you know, at the first, at the first start, it’s kind of, more of a pantser, and then I go into the outline.

Mark: And how do you balance so many characters in your mind? I know I wrote one, I have a trilogy with a lot of characters, the same idea. And, it’s very challenging. I almost [00:14:00] have to, I use Scrivener and I almost have to open up Scrivener, go through the character, look at all the things I said, and then go back at the start

just that writing session because I’m, I have a hard time holding onto. You know, who is this person that I’m writing now? Because they have to be so distinct in their voices. How do you balance all that?

Lizzie: Yeah, you’re absolutely right. They do have to be distinct in their voices. You know, I like, even though I have a headline on the chapter that says who is who, which voice it is.

 I want the reader to be able to tell who it is just by reading, you know, I don’t want them to have to rely on it. And for me, well, the file is one thing. You know, each little detail that I add, you know, like if I say she’s, allergic to lactose, I do add that into the file so that I have that to refer back to if I, if I forget anything.

But as far as tone of voice and, and what they would say and their, their emotions and how they express them I honestly, before I sit down to write a chapter, I kind of just sit [00:15:00] there for a minute and I, I’m like, okay, you’re CC. Now let’s, let’s go back into CC’s world. Let’s go back into CC’s body.

And I take a minute to kind of center myself in their voice. Before I start writing, and then when I go to the next chapter, same, you know, same thing. When I go to the next voice, I take a minute to kind of just reflect on where they’re coming from, you know, what their, what, what’s their driving motivation and just really center myself in their world before I try to even start writing their chapter.

Mark: And did you write this book in a linear fashion like chapter one and then change voice chapter two instead of writing all of CC’s story and then writing all of another character?

Lizzie: Yep. I’ve tried it a couple of, ’cause most of my books. Most of my books have at least two point of view, two points of view.

Most of my books are, are first person and I have tried to, write [00:16:00] just one characters through the whole story, and it just doesn’t work for me. I get too confused and plotting like, well, wait a minute. What’s happening next? So, yes, I definitely write it in a linear fashion, but just taking the time to center myself.

Now, occasionally I have to add in, I might have to add in some chapters in a point of view, so then it’ll be out of order, but generally linear.

Mark: Was there a time where you almost gave up on the book? I know you mentioned you wrote it very quickly, so probably not.

Lizzie: Yeah. This one. No, no. It, it, it was there, you know, that story

it was just there. And once I started, like I couldn’t wait to get up in the morning and get back at the computer. So this one was super, super easy. Some of my books Sure. I think, ugh. Boy, you know, it’s seventh re-write? And I’m like, wow, is this ever gonna be done? But this one, no.

Mark: And in your process, how do you create characters that, that you [00:17:00] want to readers to stick with readers? Like what’s the thought process on how do I make this person relatable? Or how do I capture readers through this personality?

Lizzie: I think first I try to think of somebody that I know, like a real person that I know.

Because, you know, then I’m able to dive a little, you know, to, to have some a point of reference, I guess is what I’m trying to say. A point of reference from a person that I know. But I will tell you I couldn’t, I I have always wanted to write, but until I had experienced a lot of life and met a lot of people and had some tragedies, had some successes, but also some failures and tragedies, I needed to have gone through a whole host of emotions before I was able to put those emotions on a page.

So, I feel like most of us, [00:18:00] you know, a trauma is gonna be whatever causes the trauma, the trauma response is still still similar in humans. So I try to put myself in that place and remember something from my experience that was traumatizing or frightening or whatever. I try to put myself in that position as I’m writing because real emotions then will come out on the page.

That’s also why, for me, writing is exhausting. When I am writing something difficult, like I am feeling those emotion emotions, sometimes I, I’m making the faces, if, if I’m sad, I’m making, or my character is sad, I’m making that face first of all ’cause so I can describe it, but also so I’m feeling it, you know, so I really try to embody those characters and I think that that does, those emotions do come out on the page when I’m able to do that.

Mark: Do you ever use music [00:19:00] or theme music? One thing I’ve done during, during some of my, my writing sessions is use, you know, if there’s a, if their character is supposed to be in a storm, I’ll have like a lightning storm in the background so I don’t forget, yes, I need to move the plot and I can’t keep pointing at the storm, but there is very much a storm happening here, or there’s this, this is an action or fight scene

so I want, you know, I put on a music that’s like very exciting so that as I’m writing I’m like, you know, I get that, that energy. And then the same thing with, with being like down, or, or a, a sad moment, I’ll put on music that, you know, might be a violin or some calm music that will like, make me almost feel sad to write that tragic scene.

Lizzie: I haven’t tried that, but I, I like the idea. So I think I might, typically for me, I kind of write in silence, but I, I really like that idea, like you said, that atmospheric, because I often, like I said, uh, um, you know, if I’m trying to describe facial features or gestures, I make them, I make the facial feature and look in the mirror and I’m like, okay, what’s happening to my mouth?

What’s happening to my eyes? So, [00:20:00] I mean, that would just add to it. So, nice tip. I’m gonna give that a try.

Mark: I will. I have to try the face one too. I haven’t tried mimicking that. All right. Was there a character you liked writing the most?

Lizzie: I’d have to say CC, of course. CC has a lot, you know, every, everything, every character I write has a little bit of me in them, but, CC has a lot of me in her.

Just, you know, her experiences in the advertising field were very similar to mine. I, you know, i’m not going to hire assassins, but I’m not gonna say that the thought hasn’t crossed my mind, you know, in certain situations. But yeah, I think she was my favorite character in this book to write.

Mark: So I got a couple more questions for you as we’re kind of wrapping up a little bit. And the first one is for authors who are listening to the podcast and what would be your advice to someone who has published like book one or two and is trying to go build from [00:21:00] there.

Lizzie: You mean like from a marketing standpoint or

Mark: Either.

Lizzie: Okay. Yeah.

Mark: Yeah. They’re trying to get their book out there. I mean, yeah, you could obviously write the next book. This would be one, one piece of advice, but whatever, whatever you want to go with.

Lizzie: Yeah. Well, I think for writers in general, the biggest thing that I learned is write what I wanna read. I, instead of me worrying about like, oh, I’m trying to write the next bestseller, or what’s trendy or hot right now, or, what, you know, what are readers gonna like?

In fact, I was just at a critique group recently. And I’m, I’m working on my next book and the gentleman there suggested maybe I pull back a little bit on some of these hot button issues that I’m putting in this book. And, you know, my thought was, Nope, I’m gonna lean totally into it. You know, that’s, mm-hmm.

That’s what I write. I write from my heart, I write, I lean into difficult issues. My books are probably gonna piss people off, [00:22:00] but at some, in some way. But, I’m not trying to appeal to everybody I’m writing what I, in, what I have a passion for and the things that I wanna, you know, read.

And I think that the, if you write from your heart, if you’re writing with passion, all of that’s gonna be on the page. So that, that would be my number one thing is write for you, write from, from your heart, write with passion. Whatever happens after that will happen. Because marketing is tough. You know, getting, getting the word out there is tough.

And if you don’t 100% believe in, in what you’re offering, it’s even harder. So I think that’s, you know, that’s the key is just writing what you love and where your passion is coming from.

Mark: Thank you. I love that advice. You don’t have to write to market. It may be the quickest way to sell a book, but it’s not the quickest way to fill that passion and feel good about what you’re doing.

And a long sustainable career.

Lizzie: Exactly.

Mark: Often not done with just something you don’t really care to write, but [00:23:00] you’re trying to sell. Yeah. Thank you. That’s great.

Lizzie: Yeah.

Mark: Last question. Where can people find you, find your books and hear more about them.

Lizzie: Well, Amazon, of course, everybody can order on Amazon.

Lots of books, places, books A million, Barnes and Noble, that kind of thing. But also on my website, lizzieqnert.com. So I can do signed autograph copies from there. And there’s, you know, my, all my books are on there and you’ll find out more, more about each one and a little bio about me. So, yep.

Mark: Oh, that’s great.

Thank you so much for taking the time outta your schedule. Absolutely. If you don’t mind sticking around for a couple of minutes after the show, we have a couple of bonus questions for our newsletter subscribers that they get when they sign up for the newsletter.

Lizzie: Awesome. Of course.

Mark: Thank you.

Lizzie: Thank you.

Mark: Thank you for listening to the show and thank you to the new Patreon members who joined to support the podcast and me as an author. If you enjoyed this episode, you can also support the podcast and get my novella cognitive [00:24:00] breach, along with short stories, novellas, and more from podcast guests. The link is in the show notes.

And if you’re into heart stopping action, a tropical storm with a stranger, check out Monsoon Rendezvous. If you like the show, please follow, write and share it with another Thriller fan. It really helps, and I’ll see you in the next episode when I sit down with Ox Dever, author of what I’m calling an adventure thriller, the Devil’s Eye.

​