Write First, Clean Later

Criminals Have to Eat Too!

2011-09-25T15:39:00.000-07:00

On one of my mystery listservs, participants shared their local "stupid-criminal" stories, which I love! These made me laugh out loud, so I thought I would share.

“A man was arrested this past week in U. City (a St.Louis suburb) during a burglary. While stealing the home's stuff, the guy found a pound of bacon, which apparently he just could not resist. When the homeowner came home, she found the robber standing in the kitchen frying her bacon. She and a friend restrained the guy until the police came. Several pieces of jewelry and other valuables from the home were found in his possession.”

I know how much people love their bacon, but seriously, couldn’t he wait until he got home? Or perhaps he was homeless and needed to use her stove.

This next one is an actual police report:
"The victim says following the robbery Wednesday afternoon, the gunman sat down next to him, and they had a meal together at the Taco Bell, 1920 S. Park St. The robber was possibly dining on the victim's dime. That's because minutes earlier the 18-year old Beaver Dam man had given up his money after having a handgun pointed at him outside of the restaurant. He says it all started while he was eating a 5-layer burrito inside the Taco Bell. There was a rap on the window, and the soon-to-be robber was motioning the victim to come outside. When he went out to see what was going on, the other man asked for gas money. When the victim declined to give him cash, he says the robber pulled out a handgun.

At that point, the Beaver Dam man obliged. He then went back into the restaurant to finish his food. The robber also came in, ordered a meal, and sat down next to the victim. The victim said they sat together for about 10 minutes, with the man who robbed him talking about going to Chicago to visit his grandmother. Eventually both left the restaurant. The victim called his mother, and she told him to call the MPD. He got in a squad car and drove around several neighborhoods with an officer, but the robber could not be found."

I guess in some neighborhoods they just don't take being robbed at gunpoint too seriously. Of course, as a writer of "realistic" crime fiction, I could never use anything like this because readers would find it too ridiculous.

Do you have a stupid-criminal story to share? If so, please do!

I've Moved

2009-05-20T21:57:00.001-07:00

Thanks everyone for reading and commenting here on Blogger with me. I appreciate your support and participation! After a long (and somewhat painful process), I've finally created a new site that combines my blog and my website. (I've coined the word blogsite, but it doesn't seem to be gaining any common usage :)

So click over to my new space and bookmark it. I hope to add more RSS features in the future and make dozens of other changes, but be patient. Wordpress is challenging, and the site is a work in progress. I intend for it to be reader friendly and interactive. For example, I have a book discussion page where you can post questions about my novels and I'll attempt to answer them.

I also hope to post photos and links and events. But for now, I'm blogging, and I hope you'll join me. My first blog is about what constitutes good writing. Stop in and tell me what you think.

Write First, Clean Later

Scene of a Homicide

2009-05-11T21:51:00.000-07:00

I was on my way to an interview yesterday with a homicide detective, and she called to cancel because she was at a homicide scene. Of course I responded, “Can I come down there? Please!”

So I ended up at a riverside park with the whole homicide team, asking questions and feeling giddy with excitement. I know, I know. A person was dead, and that's a tragedy. But I couldn’t help it. It made me think about the show and character Castle, and how excited he gets when he’s called out to a homicide. How silly it seemed for him. Hah! I felt like a teenager at a party with the cool kids.

Of course, they didn’t let me anywhere near the body (dang!), but still, the afternoon was very educational. I learned about a cool gadget called “total station” that’s used to create computerized maps of the area. And I learned that a big guy in a black undertaker-like suit driving a mini van comes to pick up the body. I’m still checking it out, but I think he’s a contractor for the county who simply picks up dead bodies when called out and takes them to the autopsy room at the hospital. A mini van! It’s not how I visualized it.

Mostly what I realized is that you can strive for realism when you write these scenes, but you can’t replicate reality or you’ll bore your readers to death. Everything happens very slowly—unless the killer is still on the scene. Otherwise, there’s lots of standing around. When I showed up, the detectives were all eating pizza out of box flopped open on the hood of a cruiser. It seemed so odd, I almost laughed out loud. Nobody eats pizza at the homicide scenes I write, and no one ever will.

Other things I learned about the sergeant who invited me to the scene:

She supervises a team of eight male detectives and gets no flack about her gender.
She remembers the name of every homicide victim she and her team have investigated.
She’s still going to sit down with me for a formal interview next week, so I can ask about her career and write a profile about her for the paper.

Is Your Day Job Good for Your Writing?

2009-05-10T07:48:00.000-07:00

I read a blog post recently that claimed having a day job is good for your writing career and it made me wonder. She supported the claim with several points, the first being that having a steady income is a good thing. No argument there. If your novels are not paying the mortgage, something has to. But putting aside the money/necessity issue, I’m not sure most day jobs are good for a fiction writing career. In fact, I'd bet most novelists would give up their day jobs in a heartbeat if they didn’t need the money. (The exception being doctors and lawyers.)

The blogger’s second point—that it “gives you the urgency to write when you do have time”— may be true if you’re a receptionist in a chiropractor’s office who spends most of the day reading magazines. But if your day job is, say, editorial project coordinator for an educational publisher, and you spend your day writing copy, editing galleys, generating ideas, tracking documents, planning and attending meetings, etc., then it’s very likely your brain power will be spent by the end of the day and no matter how much you want to work on your novel after dinner, it probably won’t happen. Or you’ll try and get very little done. On the other hand, a job that leaves you physically exhausted but requires no real brain energy (pulling green chain) might allow you to be more creatively productive in your free time. Having done both jobs, I speak from experience. (The chiropractor receptionist job I just made up. )

Another supporting point was that it “provides material for your writing.” Again, it depends on the job. The green chain job offers little in the way of stimulus for characters or scenarios, but it will give you that “urgency” to write. That sense of “I must finish this novel and get it published so I can quit this hellish job before I go insane.” Then of course, some writers get whole novels out of their day jobs (The Devil Wears Prada). Most jobs fall some where in the middle of the continuum as far being a source.

My own situation is that I work three days a week for a newspaper, which provides a steady paycheck. But on those days, after writing copy all day, I don’t write novels when I get home. I also do freelance editing and manuscript evaluations. But I do those projects on nights and weekends after I work on my novel. So most days, my personal writing gets the biggest surge of my creative juices. And this is why I’ve been able to write two novels in the last fourteen months. Not because I have more free time, but because I have more focus.

What do you think? Is your day job good for your writing career? Would you give it up if money wasn’t an issue?

Hope for All Writers

2009-05-03T18:59:00.000-07:00

Screenwriter William Goldman is famous for saying “nobody knows anything” about the people running Hollywood and the entertainment industry. Recent book discussion chatter about one of the Edgar winners leads me to think this is true of the publishing industry as well. (I’ve had my suspicions for a while.)

China Lake by Meg Gardiner won the Edgar for best paperback original. I have not read this book and, considering what my listmates at 4 Mystery Addicts and Dorothy L have to say about it, I probably never will. But based on dozens of comments, I have to wonder how it beat out every other paperback published that year.
Here’s just a sampling:

“I felt the protagonist, who had the maturity level of a 10-year-old, spent most of her time being too stupid to live, the police were portrayed as complete idiots—from the very beginning. From the structure of the chapters, to some of the worst metaphors I've ever read, to terrible dialogue, there were times I felt as though English were the author's second language.”
“The only thing that kept me from throwing China Lake against the wall was I was reading it in e-book form and couldn't throw the computer that far.”
“Our mystery readers' group read China Lake and the highest rating it received was ‘okay,’ otherwise it was rated ‘not recommended’ or ‘did not finish.’”
Hated the Gardiner and DNF'd it. (meaning Did Not Finish)

If you’ve read the book, please share what you think.

The point here is not to criticize this author. We’ve all had negative reactions to our work. What I mean to say is that the publishing industry (and the awards process) isn’t logical. There is no scientific way to measure the quality of a story. Strangely enough, the contradiction inherent in this novel winning an award gives me hope for every talented writer who has yet to be widely recognized. If a book this criticized can win an Edgar, then your book can win over an agent, find a publisher, and be loved by readers and reviewers.

Do not ever give up because one agent said you couldn’t write or five publishers said no thanks. I’ve had publishers tell me they loved my novel, then say no thanks anyway. The lesson here is to try not to make too much sense of it. It will drive you crazy. Just keep writing and improving. There’s hope for everyone.

How Many POVs Do You Need?

2009-04-29T16:49:00.000-07:00

As a fiction editor and evaluator, the most common problem I encounter is with point of view. The advice I constantly give writers is: Stick with one POV for chunks of text, then signal the change if you need to tell part of the story from another character's point of view.

Chester Campbell—career journalist and author of two mystery series featuring private investigators—takes the subject further and discusses the pros and cons of different POV approaches.

In my Greg McKenzie mystery series, the stories are all written first person from Greg’s point of view. This has become sort of standard for private investigators. I did vary it in the first two books with third person prologues. That gave me the ability to provide the reader with background information on the books that Greg was not aware of until later in his investigation.

The first person viewpoint gives a feeling of immediacy, allowing the reader to follow along with the detective, picking up the clues as he does. But it also means neither he nor the reader gets to see what else is going on nearby, out of sight or earshot, as they say. Greg’s wife, Jill, who becomes a partner in McKenzie Investigations, appears only as Greg sees her, or as she reveals herself through her dialogue.

When I decided to write a new series with a different protagonist, I switched to third person so I could use multiple points of view. That permitted the reader to learn what was going on in different areas than just where the main protagonist was involved. I was aware, however, that switching too often and involving too many different viewpoint characters could become confusing to the reader.

I gave my main character, Sid Chance, an unusual sidekick to share the viewpoint, sometimes with separate scenes in the same chapter, occasionally through separate chapters. She’s a successful businesswoman, board chair of a chain of truck stops founded by her father. But she comes with an intriguing past. Early in life she was kicked out of the family by her aristocratic mother for wandering into such unsophisticated circles as Air Force Security Police and championship professional boxing. She was a Metro Nashville policewoman before returning to her father’s good graces after her mother died.

Jaz LeMieux gets her first shot at the viewpoint in Chapter 5, after learning that her housekeeper’s grandson has disappeared. What has happened to the grandson becomes a crucial subplot and provides most of Jaz’s opportunity to take the spotlight. This subplot is woven in throughout the book, right up to the end.

Using the old technique of the thriller, I also tossed in a few brief POV shifts to update things from the bad guys’ viewpoint. It was designed to ramp up the tension. One thing I’ve avoided is shifting viewpoints within a scene. Most critics highly recommend against that technique, although I have seen it done effectively.

From my observation, it seems that the objections to changes in points of view are becoming more moderate. I’ve read several comments lately from authors who feel it isn’t as troublesome as previously thought. I suspect most readers, outside the sophisticated folks found in places like the DorothyL listserv, have little familiarity with the technicalities of point of view. Their only concern is that the story reads smoothly and they don’t have to re-read parts to find out who is talking or whose thoughts they are listening to.

If we achieve that goal, our multiple POV manuscripts should be successful. With readers, that is. With editors, that’s another matter.

Readers: How do you feel about multiple points of views?
Writers: Have you struggled with this issue or had editors request POV changes?

This is next to the last stop on Chester’s blog book tour for The Surest Poison. Leave a comment and you will be eligible to win some of his books. The final drawing tomorrow night will be for an autographed copy of The Surest Poison and the grand prize, a copy of all five of his books, including four in the Greg McKenzie series.

Chester Campbell has written four Greg McKenzie novels featuring a retired Air Force investigator and his wife. The Surest Poison is the first book in the Sid Chance series. Campbell worked as a newspaper reporter, freelance writer, magazine editor, political speechwriter, advertising copywriter, public relations professional and association executive. He's also the secretary of the Southeast Chapter of Mystery Writers of America and president of the Middle Tennessee Chapter of Sisters in Crime.

Kindle Readers Aren't Snobs

2009-04-26T18:49:00.000-07:00

“It's really expensive,” she [Sara Nelson, ex-editor of Publishers Weekly] said of the Kindle 2, which Amazon sells for $359. “If you're going to pay that, you're giving a statement to the world that you like to read - and you're probably not using it to read a mass market paperback.”

What? Kindle readers are too high-minded for mass market paperbacks? Hah! Do Kindle readers have a type? If I had to guess, I'd say they have two shared characteristics: they love to read and they're not afraid of new technology.

What is Nelson saying anyway? Because the Kindle is expensive, you shouldn't read genre fiction on it? You mean like drinking Budweiser out of a champaign flute? As though there's something low-class about mass market paperbacks!

The article went to say when people read on Kindles, you can't see their book titles, so you can't make judgments about what they're reading. It's about time. That's why I sell more copies of The Sex Club on Kindle than anywhere else. People don't have to ask out loud for it or let anyone see their purchase, which readers have admitted was embarrassing for them.

Meanwhile, here's the top 10 selling books on Kindle last week. If they're not mass market paperbacks now, most of them will be in a few months.

Long Lost by Harlan Coben
New Moon by Stephenie Meyer
Twilight by Stephenie Meyer
Eclipse by Stephenie Meyer
Breaking Dawn by Stephenie Meyer
The Help by Kathryn Stockett
Liberty and Tyranny: A Conservative Manifesto by Mark R. Levin
The Shack by William P. Young
Just Take My Heart: A Novel by Mary Higgins Clark
Handle with Care: A Novel by Jodi Picoult

Do you own a Kindle? Do you download books for the masses every once in a while?

A Publisher, an Agent, and a New Novel

2009-04-22T21:20:00.000-07:00

I recently completed my third Jackson story—working title, Thrilled to Death. Most of my early readers think it’s the best Jackson story yet. We’ll see. The first person I sent it to was an editor at Berkley who asked to see in January while I was still writing it. She read the first two stories, The Sex Club and Secrets to Die For, and loved both. But she didn’t think she could sell the edgy, controversial themes to her sales reps. So she reluctantly passed, but said, “Please send me the next Jackson story and anything else you write.”

It feels pretty amazing and exciting to have this direct connection to a publisher. But I keep hearing that I still need an agent. The more I think about it, the more sense it makes. I need someone to read, understand, and represent my entire body of work, including my standalone thriller, The Baby Thief, which features Jackson as a minor character. I also would love to sell my work in other countries. (Wouldn’t we all?)

So I wrote a query and e-mailed it to an agent in the Trident Media Group. She responded the next day, asking to see all three Jackson manuscripts. I like her already, because she’s interested in the series from the beginning and wants to see the body of work. She also has extensive foreign rights experience. This could be great.

But I’m not holding my breath. I’ve signed with great agents and had one call me and say, “I’ll have an offer for you next week,” then have it fall though. I’m not counting on Berkley either. She’s turned me down twice. So the queries will keep going out.

I feel like I have a new momentum though that’s different this time. Once the next book comes out in September, I’ll feel like I actually have a little street cred too. I can’t wait for that. Come on Echelon Press!

So now I’m working on a fourth Jackson story, Passions of the Dead: The outline is complete, and I have a thousand words on the page. I’m trying a slightly new structure, and I’m excited to write this story.

Here’s the first paragraph:
Jolie's first hint that today would be worse than most was missing the homeless vet on the corner of 7th and Washington. She always handed a dollar out the window to the old guy with no teeth as she approached the intersection on her way to work. Sometimes when the light was green, it was tricky, because the person behind her got impatient and honked. But Jolie didn’t care. Giving away the dollar had become a talisman that she hoped would keep more shitty things from happening to her.

Does it make you want to keep reading?

Your First Draft Doesn't Have to Suck

2009-04-17T06:33:00.000-07:00

I guest blogged today about how to write a great first draft. There's lots of helpful information. Stop in.
Working Stiffs

Feeling Powerless

2009-04-14T19:35:00.000-07:00

As the publishing industry evolves and new models are tested, it will be interesting to see if the role of the author changes. Specifically, I wonder if authors will gain more control over the product they create.

Currently, in the traditional publishing world, authors often feel powerless. They have little or no control over what the book is named, when it’s released, or how many copies are printed. They also have no guarantee that their publisher will pick up their next book. For non-bestselling authors, every novel feels like starting from scratch in the process.

This is the reason some authors self-publish. They want control over their product and how it’s presented to readers. They like to know their work will reach the market, regardless. They choose not to feel powerless. Who can blame them?

This subject is on my mind today because I evaluate manuscripts for a large self-publishing company. A few of the stories are good, many are unreadable, and many are written by doctors. Why are doctors writing and self-publishing novels?

My theory is they sometimes feel powerless too. Doctors’ novels are always about an individual MD making a dramatic improvement in the healthcare industry. I can only assume some physicians must also feel powerless to change a system they’re entrenched in and dependent on. So they write out their fantasies and pay to get their stories to the public.

This is the only power writers have: to create a story that entertainers, enlightens, or simply shares their way of looking at the world. For everything else, we must cross our fingers and hope for the best.

Staying True

2009-04-06T09:37:00.000-07:00

Sometimes “no” is the right answer.

In early February I started a job at the Register-Guard, our local newspaper. I work 19 hours a week with no benefits, and I have one responsibility: write copy. It’s perfect (except for no health insurance). I work three days a week and write chunks of my novel every morning before going in. I supplement this income with freelance editing and manuscript evaluations.

Three weeks after I started, a full-time job opened in my department (special publications). Of course, I applied for it. In this economy, it makes sense to seize an opportunity for a nice steady paycheck, plus health insurance. Part of me really wanted the job too. I thought it would be a nice change of pace to concentrate my money-making energy into one place. As a freelancer, I’m scattered in many directions at once, and it gets a little crazy. I also wanted the health insurance and the security. Not that anyone working at a newspaper has job security.

But I didn’t get it. And when my boss told me I had not been chosen, I have to be honest and admit that my first physical and emotional reaction was relief. It would have meant a major lifestyle change. It would have meant that writing novels was no longer my primary focus. The job would have come with a lot of responsibility. It’s not the kind of position you can walk away from at the end of the day and forget about. My husband thinks it would have made me unhappy.

I see this as a sign from the universe that I need to keep novel writing as the focus of my life. It’s scary and exciting and insecure. But I’m wrapping up edits on the third Detective Jackson story this week. Early readers love it. By Friday the manuscript will be in the mail to an editor at a major publishing house, who is waiting to read it.

Everyone comes to these forks in the road. I’m glad I got pushed in the right direction. Have you an experience like this? What helped you decide which path to take?

What’s Wrong with Good Guys?

2009-03-30T06:50:00.000-07:00

A post on on Salon about detectives said most characters “…fail to capture our imaginations the way a gritty detective with a bad attitude and a drinking problem does.”

It went on to say: “But even cops get boring after several decades of prime real estate on the small screen. That's why we need shows about time-traveling cops (Life on Mars), clairvoyant cops (The Mentalist, Medium), teenage detectives (Veronica Mars), obsessive-compulsive detectives (Monk), evil cops (The Shield), cops who work the system (The Wire) and many, many more.”

Does this premise apply to TV watchers only or has the need for quirky/morally-challenged/addicted cops taken over detective novels as well? Do cops have to have a “bad attitude and a drinking problem” or some other major character flaw to be interesting? What’s wrong with regular a good guy/gal who has a clear understanding of what’s right and wrong? A detective/FBI agent who is sober, thoughtful, and doing his/her best to balance work and family?

I say nothing is! In fact, my recurring Detective Jackson is such a character. He’s not perfect, but his flaws are minor. If I had a daughter, I wouldn’t mind if she got involved with him. That’s not a bad test for whether your cop character is a good person: Would you want your daughter to date him? Would you be upset if your son married her?

Of course, there are the much-loved, loner-type Jack characters (Jack Reacher, Jack Taylor, etc.) who are fun to read, but in reality would cause sane women to run in the other direction.

Most of us read a mix of crime stories, from cozies to slasher/serial killers. But who are your favorite cop characters? Are they datable? Or are you attracted to those with “a drinking problem and a bad attitude”?

Blogathon! Be AFRAID!

2009-03-26T20:33:00.000-07:00

Mystery/suspense/horror novelist Jack Kilborn (aka J.A. Konrath) stops in today to evaluate his experience with a blog tour promoting his latest release, AFRAID. I’ve seen reviews on the mystery list servs and they’re all great. Several people have said, “I don’t usually read horror, but I couldn’t put this book down.” I started it yesterday and am having the same experience. Very compelling!

Meanwhile, Joe has been on a nonstop blog book tour for 27 days, hitting multiple blogs each day. Few authors could keep up that kind of pace, but Joe is not your average guy. Now we find out if it’s been worth the effort.

You said earlier that you won’t know how successful the blog tour has been until you see your Amazon sales on April 1st. Did you set goals before you started? What kind of numbers will make you happy?
All authors have a love/hate relationship with Amazon, because it is the only way we can immediately view the results of our self-promotional efforts. If you do something on the Internet, and your Amazon ranking goes up, obviously some people just bought some books.
But Amazon ranks are confusing, and are far from hard science. The only way you truly know how you’re doing is when you get a royalty statement. If, in April, AFRAID is ranked higher than 20,000 on Amazon, I’ll be happy. It’s already spiked past there a few times this month. For a first book by an unknown author without a big marketing campaign, that ain’t bad.

Did anything about the tour surprise you?
It’s been a bit challenging to not repeat myself. By the end of the month, I’ll have been on close to a hundred blogs. That’s a lot of blogging. I’m pleasantly surprised that people are still tuning in, still following the tour. Personally, I’d be really sick of me by now.

Did it improve your promotional skills and repertoire?
It allowed me the opportunity to try different styles. My blog, A Newbie’s Guide to Publishing, is basically me lecturing about the biz. I don’t get very personal, and don’t do much self-promotion.
With this tour, I had the chance to blog about many topics I’d never do on Newbie’s Guide. I got to answer a lot of great questions, talk about my new book, AFRAID, goof around, and try to match my writing style to be simpatico with the blog hosting me. It was a terrific learning experience.

Can any author pull this off or do you think the blog tour is suited to certain genres and certain author personality types?
The best way to answer that for yourself is to go back to Day #1 of my tour, follow it up until now, and ponder if it’s something you think you could do. I can’t really speak for anyone else. I don’t think it has to do with genre. It’s more about networking, time constraints, and a willingness to adapt.

You’ve created a lot of momentum by doing 73 blogs in last 27 days. How important is it to have that kind of schedule? And is it worthwhile for authors to do a blog tour even if they can’t maintain your frenetic pace? And, BTW, how much coffee does it take to keep you going?
I have sort of a “go all in” personality. But I think there can be benefits from doing this no matter the scale. Obviously the more places you appear, the better off you are, but I’ve said before that you can’t every compare yourself to any other authors. Your race is with yourself, not with me. And my coffee machine is hooked up to me intravenously.

Why should an author follow another author’s blog tour?
We can all learn from each other.

Why should a reader/fan follow a blog tour? What do they get out of it?
Information and entertainment. But if you’ve been following this tour, you probably knew I was going to say that. ☺

Would you do it again? And if so, what would you do differently next time?
I would do this again, that’s for sure. But I’d plan it next time. I announced this blog tour on Feb 28, on a whim. In the future, I’d try to set things up in advance, and not be so rushed and disorganized.

If someone has never read any of your work, should they start with AFRAID? Or do you recommend they read your Jack Daniels' series first and ease into this scarier stuff?
People who like horror, will like Afraid. People who like thrillers, will like my Jack Daniels series. People who like both will like both.

Was it liberating to break away from your recurring characters and write a standalone? Was it harder?
It was fun. Writing is always liberating, no matter the genre. I’m the luckiest guy in the world, being able to do what I love for a living. The worst day I ever had writing is still a wonderful day.

Any negative feedback from fans (or publishers) who often just want more of the same?
Some people think AFRAID is too extreme. They’re probably right. It’s a pretty intense book. But I’m all over the place when it comes to genre. I’ve published mystery, thriller, horror, sci-fi, paranormal romance, humor, and a few genres I’m probably forgetting. If someone likes one type of my work, but not another, I’m fine with that. Everyone has a valid opinion.

Cop Characters Credibility

2009-03-23T07:29:00.000-07:00

Neil Placky’s excellent guest blog on The Kill Zone recently got me thinking about the nature of mystery series, police procedurals in particular. The series seem to fall into three camps: protagonists who are always linked to the criminal case being solved, cops who are sometimes linked to the case at hand, and detectives who rarely have an emotional connection to the case they’re working on. I’m not as widely read as I’d like to be, so my examples here are broad.

In the first category, the TV show Murder She Wrote comes to mind (as well as most cozies). In the third category, there’s John Sanford’s long-running series about Detective Lucas Davenport and Ridley Pearson’s series about Detective Lou Boldt. Neither detective hardly ever has a personal stake in their cases’ outcomes, yet they are favorites of mine—and millions of other readers.

My own series (and many others) falls into the middle. But even when Detective Jackson has a link to the case he’s solving, it’s not an intimate first-person connection.

I know many readers like emotional connections, but the question this raises for me is credibility. If your protagonist (whether a cop, an FBI agent, reporter, or private detective) is surrounded by people who can’t stay out of trouble, does he or she start to seem suspect? If every crime he/she solves is somehow personal, does your series start to lose credibility?

I’m thinking about this now because I’m plotting my fourth Jackson story and wondering how important the personal connection is to readers.

Writers: Do you connect your protagonist personally to his/her cases? Is it working for you?

Readers: How important is the personal connection? Can a series lose your respect if the protagonist has too many personal connections to criminal cases?

Junk Mail That Makes Me Crazy

2009-03-20T06:47:00.000-07:00

Has anyone noticed how hard it is to cancel a magazine subscription these days? They simply won’t let you go. They may stop sending you copies, but the invoices just keep coming. Usually with some pitch like: “If you pay this low, low amount, we’ll keep you on our list.” I canceled my subscription to Entertainment Weekly at least three years ago and have moved twice since, but still I get “invoices.” How do they know where I live?

And what about those mailings with the block printing that says: “Warning: $2,000 fine, 5 years imprisonment, or both for any person interfering or obstructing with the delivery of the letter. “ As if it’s REALLY important mail from the CIA or something. And then it’s some mortgage company offering to refinance your house. They need to get over themselves, stamp “Junk” on the envelope, and recycle it themselves.

Get this one. I recently started work for our local paper. So my paid subscription (which I’ve had for 20 years) got transferred to a free subscription (woohoo, my one benefit). So now the newspaper I work for is sending me surveys asking me how I like my new subscription. Save your money!

And then there are the free AAPR issues I’ve been getting recently. No thanks. Back off. I’m not there yet. (But how do you cancel a subscription you didn’t order?)

It’s one thing to kill trees for no good reason, but to annoy me at the same time? I always think about watching Andy Rooney one night on 60 Minutes talking about stuffing junk mail from one company into a return envelope from another company and mailing it back just for spite. That was a good laugh!

It can’t just be me. What kind of crap mail do you still get? And how can I stop mine?

Writing Action Is Like Writing Sex—Advice from Novelist Mark Phillips

2009-03-16T17:02:00.000-07:00

Today’s guest blogger is Mark Phillips, author of The Resqueth Revolution, a gripping, highly recommended sci-fi story with thought-provoking social commentary. But forget the social commentary for now. Mark’s here to talk about writing action scenes. As the editor of this new release, I can attest to his skill. I kept getting so caught up in the action, I’d have to go back and read again to do my job. As a novelist, I learned a lot about writing action from his story. In this blog, Mark describes how writing action scenes is a lot like writing sex scenes. So sit up and take note.

How to Write Exciting Action Scenes – Part 1 of 2
Action scenes most often involve physical violent confrontation between characters in your story. They can also involve characters trying desperately to avoid a direct confrontation, as in a chase scene or even characters fighting to stay alive in a natural disaster—trying to ski out of the path of an avalanche say.

Action is often violent, but not all violence is action. A slasher film can be all about violence and suspense and yet have little or no action.

Good action scenes ought to be exciting. They should vicariously provoke within you the fight or flight response, raise your heart rate, make you breathe faster, get your adrenalin pumping, make you feel focused in the present moment and vibrantly alive, ready for anything.

Suspense is similar to action except the option of physical release is withheld. As our characters labor to defuse the bomb and agonize over cutting the red versus the blue wire, the suspense may have many of the same effects on us, but what makes it all the worse is that we are forced to just sit there with our character’s face inches from the bomb. We can’t save ourselves by violent physical exertion. Indeed, in novels or movies with both suspense and action, action is the release for suspense, much as major chords provide relief after prolonged stretches of minor chords and dissonance in music. It works the same in sexually explicit material: prolonged episodes of teasing find their release in raw sex.

I suspect that a great many writers who have trouble writing exciting action scenes also have trouble writing exciting sex scenes or avoid writing sex scenes altogether. On the other hand, if you already know how to write exciting sex scenes, the transition to action scenes will be all the easier.

The first rule of action writing is counterintuitive: slow everything down. In real life, action happens so damn fast that many of us have no time to react effectively. In movies action mostly happens in real time, coming at us in an overwhelming rush. But in writing, your job is to slow everything down.

Real life and movies are overabundant in details. All the most relevant details need to be in the written version, which means hundreds or even thousands of words for all those images and sounds. Your reader has to understand the setting and the relative positions of opponents. You must describe anything that may contribute to the outcome of the action before it comes into play—you can’t have your heroine slip on wet pavement without having previously told us about the rain. Tactical decisions that in real time are often nearly instantaneous and subconscious need an explicit examination; options need a thorough analysis. Then consider all the necessary expressions of thoughts and emotional details.

Martial artists and combat veterans often describe a subjective time dilation, where everything plays out as if in slow motion. Often, action scenes in movies use slow-motion literally to slow down the action. Viewers need time to notice and absorb all the details. Stephen Hunter and John Bainbridge in American Gunfight, a nonfiction account of the assassination attempt on President Truman, take nearly 350 pages to describe fully a gunfight that lasted 38 seconds in real time. The reader wants to know what everyone is doing, their positions, what they are thinking, what they are feeling at every moment. If your character uses a weapon, the reader will want to know how it feels in the hand, its heft and the sound it makes in use, exactly how it operates, and the exact devastating effects it has on the character’s opponent. That all takes time and your audience will give you their attention as long as you are making it possible for them to experience vicariously the exciting action.

Action scenes are really writing in microcosm. The reader wants to know how the story ends, but will delay that gratification so long as the journey to that resolution is enjoyable in itself. We must exploit the interplay between suspense and release, between arousal and orgasm, dissonance and harmonic resolution. The audience naturally wants us to resolve the conflict. They are desperate to know how it turns out, but at the same time they are reveling in the action itself and want it to go on forever. Like a pornographer, your job is to keep them desperately craving orgasm, but so thoroughly enjoying the details of the preorgasmic procedures that they simultaneously enjoy and regret the moment of release.

But, all that said, the final product cannot dawdle. You are not describing lilacs in bloom. Your prose must sweep the reader along as if caught in mad, crashing, unstoppable rapids. Use action words, the smaller the better, and short declarative sentences with only the most crucial adjectives. (The purple prose school of action writing revels in the adjective-laden poetry of it all—if the muse moves you toward this, don’t necessarily shut her up. I personally enjoy purple prose of the old pulp variety.) If grammar gets in the way of the natural flow, you may occasionally opt for sentence fragments. Without sacrificing essential detail, condense descriptions into the quickest, leanest prose possible. Think of a fast movement in music—more notes per bar and smaller notes than before. Think bodybuilding—you pack on the muscle mass but also lean out that muscle until definition is everything, until your prose is “ripped.”

What do you think about the sex/action scene analogy? What is your favorite action scene in a novel? Favorite action scene in a movie? (Commentors have a chance to win a copy.)
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For the second half of this great article, stop in Thursday at The Dark Phantom. Tomorrow Mark will do an author interview at Katie Hines’ site.

Followers of the 2009 Resqueth Revolution blog tour will have two opportunities to win a copy.

Everyone who leaves a comment on the tour will receive one drawing entry per comment per blog site. Two entries will be drawn at random, and the winners will receive a signed copy of The Resqueth Revolution.
Everyone who answers all quiz questions correctly will be entered into a drawing for the grand prize — a signed copy of The Resqueth Revolution, a Resqueth pen, magnet and calendar, and a signed copy of Hacksaw, the first in the Eva Baum Detective series. Quizzes will post on March 21 and 27.

Defining the Blog Tour

2009-03-14T10:56:00.000-07:00

This month I’m hosting two authors who are on blog book tours to promote their new releases. Mark Phillips, author of THE RESQUETH REVOLUTION (a book I’m proud to have edited) will be here on Tuesday the 17th to talk about writing action scenes. And JA Konrath, aka Jack Kilborn, will be here on the 27th to discuss his new release, AFRAID. JA also wrote an interesting post on blogging in general.

So blog touring has been on my mind, and I’m starting to plan my tour for this September when SECRETS TO DIE FOR is released.

The strategy for most tours seems to be: find blogs that relate to your novel and line up guest appearances every day for a month. (See the guru for more on this.) It seems straight forward, but hugely overwhelming to write all those Q&As and/or guest blogs in such a short timeframe and interact with guests every single day. Especially for authors who have day jobs. What I’m wondering is: How important is it to guest blog every day during a single month? Wouldn’t it be just as effective to guest blog every other day for two months? Or be on tour three times a week for three months?

I’m also wondering how many people actually follow an author on his or her tour, reading each blog stop on the way. And if you do follow tours, at what point do you buy the novel? Or do you already have the novel and are following just for fun? The real point of a tour is to reach new readers at every stop. In a traditional book tour, the author is on the road stopping at different bookstores every day because of the nature and convenience of travel. But from the comfort of your own home, couldn’t a book tour be more leisurely? Or does the everyday blogging in new locations actually build more momentum?

Tell me what you think. Are there other strategies I’ve missed?

Beta Readers—Are They Useful?

2009-03-07T09:07:00.000-08:00

I have a rough draft of new novel completed (yea!), and people are offering (wanting!) to read it. One offer is from a somewhat well-know writer who will give me a good blurb if he likes it. And the other offer is from a fan/editor who will give me good feedback if it needs work. Great news for me on both.

The novel is completed, a fully developed story, and I'm a little nervous about sending it out. What I didn’t do this time was have beta readers review the story as I was writing, offering their input on the story development. When I was writing The Sex Club, I sent the first 100 pages to a story consultant and got great feedback from her. When I was writing Secrets to Die For, I sent the first hundred pages to several beta readers—because a lot of people seemed to think it was necessary to getting published—and the comments from them were so contradictory, they were useless to me.

One reader said, “I love the date/time references at the beginning of every chapter because it adds to the sense of urgency.” Another said, “I found the date/time references annoying.” One reader loved the cliffhangers at the end of chapters. Another hated them. One reader didn’t like that the mother was a drug addict, which was the underlying premise for the opening of the story.

When you have beta readers offering completely different ideas about what they like and don’t like, ultimately, you have decide how you want your story to go. In another blog discussion, several writers said they often ignore what their writing group suggests because it’s not how they see the story.

I write rather unusual crime stories, so maybe that’s a factor. Maybe beta readers are more useful in some genres than others. I'm thinking about this now because I'm outlining my next novel and wondering if I should get some feedback.

What do you think? Are beta readers useful? Has a beta reader ever improved or saved your story?

Authors Shoot Themselves in Both Feet

2009-03-01T21:13:00.000-08:00

Two reader-forum discussions highlight how author protectionism can go too far.

The first being the Kindle 2 and its text-to-speech feature that allows users to have the book read to them in that robotic way only a machine can do. The Writers Guild and other author groups complained loudly about this feature, claiming Amazon was essentially producing audio books, which it had no right to do. So Amazon has backed down and only those books with publishers’ permission will be available in this format.

Writers gain nothing from this. The idea that they’re losing a royalty from a hypothetical audio book sale is ludicrous. No one in his/her right mind would buy and listen to a text-to-speech version of a book if a professionally read audio book was available for purchase. Calling these things equal products is like saying a hard-boiled egg is the same as a slice of quiche.

Who loses are the blind people, and perhaps other handicapped individuals, who might have listened to a book on Kindle because an audio version was not available. And if they enjoyed that author’s work, they might have purchased one of his/her audio books in the future when they became available. Or bought another of the author's Kindle books. Or recommended the author to their book club or their large book-loving family. Limiting access to a novel from a paying customer makes no sense. As I said, a shot to one’s own foot.

The second writer-protectionism discussion is equally short-sighted. Some authors complain about readers purchasing used books and thus not supporting authors with royalties. How can you hope to stop this? By producing books that self-destruct when the final page is read? And why make readers feel guilty about buying your book?

Having a book in circulation, moving from reader to reader, is better than not having a book in circulation. Every time someone reads an author’s work and likes it, they become future buyers and great word-of-mouth marketers for the author. Many readers try out new authors by getting their books from the library or buying an inexpensive used version. Once they become a fan, they often support the author by purchasing his/her new books.

I know many authors will disagree with this position, but my feeling is that a little flexibility and generosity can go a long way.

Blog Versus Website (or Blogsite?)

2009-02-22T21:22:00.000-08:00

The more I learn the less I know. Especially regarding technology. But I keep trying.

My new plan is to combine my website and blog into a single online presence. It makes sense to me to send readers to one place instead of two. Yet I realize not many authors do this. Is it because website design software typically doesn’t include blogging capabilities? And/or because the free blogging sites (Blogger, Typepad) don’t accommodate web pages?

Wordpress.com says you can do it all. Add web pages to your blog or make your blog a sub-page of your website. This is exactly what I want to do—create a blogsite. But so far, I find the setup on Wordpress to be less than user friendly. At least in comparison to Blogger. So this could be a long and painful process. Especially the transferring of posted blogs from here to there.

So I’m conducting a survey. Authors: Do you maintain a separate blog and website? If so, why? Do you have more than one blog? And if you combine the two, what software or blogging platform do you use?

Readers: Do you like it when an author’s blog is part of his/her website? Or do you visit author websites looking mostly for book information?

Simplify Your Life

2009-02-16T19:55:00.000-08:00

I started a part-time job recently (in addition to my freelance business) and am feeling a little scattered as I try to keep up with everything I have going on. And financially, we’re still struggling. So I’m on a crusade to simply everything—our finances, my promotion efforts, my online presence, my reading materials, even the amount of mail that pours into my house everyday. Most of these efforts are still in progress, but I feel relieved and less stressed already, so I decided to share what I’m doing in hopes that it helps someone else.

Online Presence: My plan is to combine my blog and website. It makes no sense to send readers in two directions. Once I get this done, every time I post a new blog, I’ll also be adding new content to my website. And I’ll only have to update/freshen in one file. Most likely it will all end up on WordPress. I’d love to have someone design this for me, but no one wants to work that cheap and who can blame them. I also transferred all my domain names to GoDaddy from Yahoo. I’ll save about $130 a year and not have to think twice about spending $7 to register my new book title.

And I signed up for Ping.fm, which posts updates to all my social networking sites at once (Twitter, Facebook, MySpace, LinkedIn, and more). This saves time and keeps my MySpace and LinkedIn pages updated now; before I was mostly ignoring them. And I've vowed not to join any new networks despite the zillions of invitations I get everyday. I don't have time to do them right, and I don't need the guilt for letting them languish.

Personal: I’ve eliminated half of my magazine subscriptions—because I only have time to half read half of them anyway. Down the road (when I’ve paid off the website redesign), I’ll cut the rest, buy a Kindle, and download what I want to read, when I have time. The people who lived in the house before us received every catalog you can imagine, and they didn’t forward any of them to their new residence. So now every time I get an unwanted mailing, I contact the company and make them take our house off their list. It takes time to do that, but it’s less crap on my kitchen table and less paper wasted. Long run, it will save time recycling all of it.

I also unsubscribed to many e-newsletters and am resisting the urge to sign up for any more. No matter how great the content, if I don’t have time to read it or follow up, then it’s just another e-mail to process. I also don’t look at e-mail until I’ve hit my word count for the day and/or finished work, so by the time I do, I’m tired and need it to be easy.

I do massive food prep on Sunday and/or Monday, so my lunches are ready to go for each work day and dinners for the next few nights are easy. It helps me hit my word count before work and keeps me from feeling exhausted after dinner.

Finances: We’re refinancing our house and getting enough cash back to pay off our credit card debt. At the same time, we’ll change our payment schedule to every two weeks—and shave seven years off the mortgage. Interest rates are so low now (4.7%) that we’ll end up spending less money on a yearly basis, even taking into account the refi charges and accelerated payments. Long-term, we’ll save a fortune on interest, all our debt will be in one place, and our single payment will be automatic.

In fact, we’re switching every payment that we can to autopay. Which means less mail coming into the house and fewer checks to write. And we’re making many of those payments with the credit card, which builds up flier miles, in case we ever get to go on vacation again. In April, when the option is available, we’ll switch our utility payment to a year-round standard and put it on autopay as well. I’m tired of seeing the winter bills for how much it costs to stay warm. This new way, we’ll pay the same amount every month, and I don’t have to think about it.

I’m still brainstorming ways to simplify (and save money) and if you have great ideas, please share them.

Writing Software

2009-02-13T06:51:00.000-08:00

There was long and passionate discussion on a list serv recently (Murder Must Advertise) about writing software. Many people posted about how much they hate Word, especially the 2008 version, and others talked about the alternatives they use. But of course, they all have to copy/paste into Word to send manuscripts to agents and editors—because that’s the industry standard. I’ve always used Word but in a limited way. (I use Quark or InDesign if I have desktop publishing needs.)

But I recently discovered the Notebook Layout View in Word, and I love it! It’s such a convenient way to keep several small idea files in one document without having to scroll. It’s part of how I keep organized while I’m writing.

Which is the subject of my guest blog today at a new site called Better Software to Write. Theresa de Valence is not a only a mystery reviewer, she’s a retired software programmer who’s developing new writing software. So if you have software needs that aren’t being met by your current program, this is your chance to tell somebody who actually plans to do something about it. Stop by and share your piece.

Better Software to Write/How I Write (and Stay Organized)

PS: This is my 100th blog post! Help me celebrate by following.

E-Book Buzz

2009-02-09T21:07:00.000-08:00

As the Kindle 2 is unveiled, the buzzword in publishing is e-book, e-book, e-book.

It’s the only segment of the industry in which sales are growing, and this phenomenon has some readers worried (“I’ll miss the feel and smell of a new book”) while others are delighted (“The environmental benefits are worth the sacrifice”).

But what does it mean to authors? Speculation on that front is rampant as well.

“More new authors will be published because the production costs are so minimal.”
“Author advances will disappear, and it will be more difficult to earn a living as a novelist.”
“If you don’t have an e-book, you’re missing a whole section of the market.”

All three scenarios could come true.

Another interesting question: Will e-books fall into the same categories—traditionally published versus self-published—that print books do? Will novels from well established e-publishers automatically carry more prestige than an e-book from Author Unknown? I read a post today that stated unequivocally that one of the benefits of publishing an e-book is: “You don’t have to go through the obstacles and headaches involved in finding an agent and a publisher.”

What about distribution? If you don’t go though the headache of finding an e-book publisher, how will anyone find and buy your book? Just because your book is downloadable from your website or for sale on Amazon doesn’t guarantee that you’ll have buyers. The production quality and file choice matter too. You want your e-book to be downloadable to, and nicely displayed on, the major e-readers: Kindle, Sony Reader Digital, and Mobipocket Reader.

I’ve thought about all of this because I’ve considered self-publishing some of my early novels as e-books. Then I decided against it because the benefit would be minimal, and who needs the stigma of being a self-published e-book author? I know that statement will rile some people, but the attitude exists, whether valid or not. Well known authors, on the other hand, could probably do quite well selling e-books from their own websites.

Ultimately, as an author, I want to have all my books available both in print and e-files from traditional publishers with established distribution (and web traffic). But the publishing industry is changing and becoming much less clearly defined. As e-book sales grow and become a sizable chunk of the market, some of the old distinctions may disappear.

What do you think? Are e-books the future? And does it matter who produces them?

Status Update

2009-02-09T06:52:00.000-08:00

I started a job last week at the Register Guard, our local paper. I’m writing features for the special sections (supplements to the paper with titles like Home & Garden and Tastings). It’s 19 hours a week with no benefits, but I am truly grateful to have a steady source of income. And so far, I like it a lot.

I hit 52,000 words on my third Detective Jackson story today and am on track to finish the first draft by mid-March as planned. I’m excited about how this story is turning out; it’s richer and more complex than I first imagined it to be.

The Sex Club will soon be available as an e-book from Echelon Press. I’m excited to make this story available to a much broader range of readers.

I entered one of my novels, The Baby Thief, into the Amazon Breakthrough Novel contest. I rarely enter contests, but decided there wasn’t any reason not to. There's no fee, and it’s an upload submission so there’s no mailing costs either. What the heck?

What's your status? Share your news!

What Makes a Great Author Website

2009-02-05T21:40:00.000-08:00

I’ve been thinking about redesigning my website. When I first put it up I was in a hurry, needing a web presence ASAP to support various promotional activities I had going. A graphic artist/friend designed the pages—and I liked the look—but I didn’t know what I really needed or wanted at that point. So for the last few weeks I’ve been asking about people’s favorite author sites and looking at dozens of websites to see what design elements they have in common (and what they have that I don’t). Here’s my findings.

For crime authors, most sites have a black or dark grey background with white text and red accents. So in that regard, my designer knew exactly what she was doing. Good examples:
Michelle Gagnon
Alafair Burke

Most of the popular sites also have very little text on the opening page (or top half of the opening page). Instead they have vivid pictures (often changing) and book covers. About half of favorite author pages have their photo on the opening and half don’t. Examples:
Alexandra Sokoloff
John Sandford
Nora Roberts

Many of the informal-survey favorites have a blog built into their site and others have page that is distinctive to their site—Sticky Notes, photographs, Fan of the Day, character bios. Examples:
Thomas Holland
JA Konrath
Chris Grabenstein
JC Hutchins

Almost every popular site I looked at had a row of clickable navigational links across the top of the design and often down the side as well. Many also had pull down menus from those tabs.

What they don’t have:
I was surprised to see that many author websites don’t have obvious BUY buttons. They may be buried somewhere but you have to search for them. And many do not have links to the home page on every other page. On some of the sites, I found it impossible to get back to the home page at all.

Overall, my favorite for design is Karen Olson’s. She hit all the right elements—clean gorgeous opening page, easy clickable navigation, black/white/red color scheme, access to the home page on every page, and big buy buttons. The only element she lacked that some others had was the unique page.
Karen Olson

And J.A. Konrath gets honorable mention for having the most usable content and an easy to navigate structure.
JA Konrath

What Makes Me Keep Reading

2009-02-01T22:15:00.000-08:00

I recently blogged about what makes me put down a novel, so to be fair, I thought I’d post about what makes me keep reading.

A great opening in which something unusual, unexpected, contradictory, or violent happens. For example, in Secret Dead Men by Duane Swierczynski, the third sentence caught my attention. “..but a couple of kids organized and impromptu club with a mandate to experiment on her corpse.”
Intriguing characters who are unusual, unexpected, contradictory, complex, or compelling. From the first page of the same story: “Then again, what do I know? I was a dead man impersonating an FBI agent.”
Characters who don’t fit the current clichés. I like cops who aren’t cynical, FBI agents who aren’t workaholics that can’t handle relationships, private investigators who aren’t alcoholic loners, and women who are soft on the outside and tough on the inside.
Complexity! I like parallel plots and interwoven stories and multiple points of view. And if it all comes together in a way that surprises me and makes perfect sense, I pick up the next book by that author.
Passion about a subject. I like politics, religion, and social issues in novels as long as it works for the story and doesn’t overwhelm it
Multiple plot points and plots twists that leave me thinking: Wow! Stunning but believable
Moderate levels of crime and violence written with sensitivity to the subject, the victim, and the reader
Just enough detail (setting and character) to make the story real. I like Elmore Leonard’s approach: Only write the parts that people will read.
Believable relationships of any and all kinds
Crisp, fast-paced, realistic dialogue
Fast-paced narrative with a great balance of dialogue and action in which the surprises just keep coming

What did I forget? What makes you keep reading?

Reposting Blog Etiquette

2009-01-25T20:28:00.000-08:00

A popular guy on Twitter recently asked: “Doesn't it seem like poor etiquette to post a copy of a guest post you wrote on your own blog? You guest wrote it for someone else, right?”

Good question! I have done that, reposting here modified versions of guest blogs I wrote for other sites. But in all cases, it was at least six months after the blog had been originally posted somewhere else. And I noted at the top of the blog that it was a reposting, so if a reader had, by some chance, seen it they could skip it.

Do others bloggers repost material?

My thinking is that the traffic on the other blog site is likely to be different from the traffic I now have on my site. So if it’s fresh content to most of my readers, why not use it? Sometimes, it’s challenging to come up with new material twice a week! Reposting parallels like the practice of repurposing information gathered for an article your wrote for publication. As long as you modify the focus and/or arrangement, it’s acceptable (and common practice ) to pitch similar stories to other magazines with different audiences—using the same material.

What’s your take? Is it okay to repost guest blogs you’ve written?

More Odd Facts About Me

2009-01-22T10:00:00.000-08:00

I'm behind today, so I'm reposting a slightly modified list I put together for a Facebook tag. Here's 12 random facts about me:

I spent my early childhood in Las Vegas, then the rest in Cave Junction, Oregon. Had my family not moved to Podunk, I would probably be a stripper instead of a writer.
I once rode my bicycle from Eugene to the Grand Canyon, crossing Donner Pass, an elevation of about 10,000 feet. Three straight days of uphill, heart pumping fun.
Every birthday, I ride up a long steep hill just to prove to myself that I still can.
I am addict . . . who no longer indulges in much of anything. I quit drinking December 17, 1989, and I quit smoking cigarettes January 1, 1991. New Year’s resolutions can work.
My favorites foods are grilled ribeye steak and cold watermelon. If had to choose two things to live on forever, they would make the cut.
I go bowling with my three brothers once a week. I never seem to get any better, but I don’t care. It’s fun and I love my brothers.
I worked on a pharmaceutical magazine for almost a decade, so I know a lot about drugs.
I was born in July and love summer! The only time the world seems right to me is when the sky is blue and the air is warm.
It’s hard to chose, but I think my life-long favorite author is Lawrence Sanders. He’s so versatile—police procedurals, futuristic thrillers, and the lovable Archie McNally.
I took a vow at the beginning of 2008 to not buy any clothes, shoes, or purses for the entire year. I broke it only once in October to buy a business/casual jacket for Bouchercon, then didn’t even wear it because the weather was so warm.
I’m always swearing off of something. (See #4) This year it’s diet Dr. Pepper (love it!) I never had a problem with drinking too much of it until they made caffeine-free diet Dr. Pepper, which you drink right up until bedtime.
My goal for the end of 2010 is to have four books on the market (and two more in production): The Sex Club, Secrets to Die For, Thrilled to Death, and The Baby Thief.

Things I Don’t Miss

2009-01-18T20:51:00.000-08:00

Today, I’m simply grateful for how much easier the little things in life are now because of technology. So here a few things I don’t miss:

Writing out a check for every purchase and household bill and keeping up with the damn little check register, subtracting as I went along. Love online banking and bill paying. They do the math!
Running to check the answering machine the minute I got home to see what calls I missed (and often swearing as a result). Love cell phones!
Muting commercials and waiting endlessly for them to be over. Love digital recorders! (TiVo especially.) Recording programs and skipping through the crap is the only way I can watch TV.
Walking around Blockbuster reading the back of DVD cases, trying to find a decent movie. (And don't get me started on the damn late fees!) Love Netflix! And its new “Watch Instantly” feature.
Sending every single agent/editor query by mail and waiting months for responses. Love e-mail queries! Rejection is easier when it’s faster—like ripping off a band-aid.
Sending files to Adobe’s free converter program and waiting days to get the PDF back. Love making my own PDFs from Word and InDesign.

What have I forgotten? What don’t you miss?

Meet Karen Olson, Mystery Novelist

2009-01-14T20:33:00.000-08:00

If you like mysteries with original flair, great dialogue, and sassy humor, let me introduce novelist Karen Olson. I recently read Shot Girl, featuring newspaper reporter Annie Seymour, and thoroughly enjoyed it. (And as I may have mentioned recently, I don’t finish many of the novels I start.) Shot Girl opens with Annie musing over the dead body of her ex-husband. Who can resist that? Then it gets rolling when the police, while fetching flip-flops from her car for her, find a gun that matches the shell casings by the body. This fast-paced delightful tale is the last installment in the series, but Karen is busy writing another set of mysteries starring a tattoo artist. Sounds like more good fun. Karen was also sporting enough to answer a few questions.

What is the elevator speech for the novel you’re writing now?
The book I'm working on right now is Pretty In Ink, the sequel to The Missing Ink, which will be out in July. Since I'm still not sure just what Pretty in Ink is about (I don't outline and work by the seat of my pants), here's my elevator speech for The Missing Ink.

Las Vegas tattooist Brett Kavanaugh gets mixed up in the disappearance of a woman who was last seen in Brett's shop making an appointment for devotion ink to surprise her fiancé, whose name is not the name she wanted on the tattoo.

What is your best moment as a novelist?
While I'm writing and the story begins to build momentum and it takes on a life of its own.

What is your worst moment as a novelist?
Worrying about whether I'll get another contract.

If you could get one do-over in your career, what would it be?
I might not have given Annie as much of a potty mouth. I had no idea how people would react to that, and while it's not gratuitous at all, I do know I've alienated some readers because of it. I do feel like I've got a second chance with The Missing Ink, though, and there is no cursing in that book at all. We'll see if it makes a difference as far as readers are concerned.

What was the last book you read that made you think “I wish I’d written that”?
Stewart O'Nan's Songs for the Missing.

Where can we find you on the web?
kareneolson.com and Wednesdays at First Offenders

Readers: Don't you think Karen should let her tattoo artist swear just a little? Do you have a tattoo? Would you read a mystery about a tatooist?

Love It/Hate It

2009-01-11T20:02:00.000-08:00

If I have learned one thing in these past few years of writing/reviewing, it is this: The reading experience is completely subjective. Of course, we’ve always known that some people like romance novels, while others read sci-fi. But even within a genre such as mysteries, the opinions about a single novel vary greatly. As proof, year after year, the 4 Mystery Addicts listserv asks everyone to send in their top 10 reads of the year and their bottom 10 reads. Inevitably, several books repeatedly make both lists.

This year, 17 books made a least one top and bottom list. Here’s the five most loved/hated mystery books (according to 4MA), with the first number in parenthesis representing how many top 10 lists it made, and the second number representing the bottom 10 lists:

The Girl With the Dragon Tattoo, Stieg Larsson (20, 3)
Blue Heaven, C.J. Box (7, 2)
Diamond Dove, Adrian Hyland (5, 1)
Child 44, Tom Rob Smith, Tom (5, 1)
The Various Haunts of Men, Susan Hill (4, 2)

Another mystery listserv, Dorothy L, also asks for best reads of the year, and oddly enough there’s very little overlap in the two groups’ favorite books (with the exception of Blue Heaven and The Brass Verdict by Michael Connelly).

It’s also been interesting to observe reader discussion about Oprah’s recent pick, The Story of Edgar Sawtelle by David Wroblewski. Some readers rave about it; others find it completely unreadable. Stephen King’s Duma Key has generated even more conflicting reaction.

Why do some books make the lists for both best and worst of the year? You tell me.

What were your favorite books of last year? Your least favorite? Have you ever read a book and loved it, then read it later and hated it?

How to Create a Character Database

2009-01-07T20:56:00.000-08:00

I recently set up a character database in Excel, and when I posted about it on Twitter/Facebook several people contacted me and asked “What’s a character database?” Sensing that this subject might be interesting to others, I decided to share the details. First, let me say that I’m not an Excel whiz kid, so trust me when I say that this file set up is really straightforward.

This type of database is especially useful if you write a series, and I finally set it up because I got tired of having to look back to see how I had described a character in a previous novel or to search endlessly for the name of a street. I started the file in a Word document, but that was too messy and didn’t allow nifty sorting features.

First, I established the column headers across the top. I’m still tweaking as I go, but for now I have:

First name
Last name
Category
Role/Function
Description
Car, address, phone
Other details
Book title 1 (The Sex Club)
Book title 2 (Secrets to Die For)
Book title 3 (Thrilled to Death)
Book title 4 (The Baby Thief)

Most of these headers are self-explanatory, but the Category column is where I assign the character’s level: 1=main character/recurring, 2=main character/specific to novel, 3=villain, 4=secondary character/recurring, 5=throwaway characters.

Next I listed the characters by row and inserted relevant information. I still have to go back into The Sex Club and find/input all the secondary characters, but with my new novel, I’m adding to the database every time I add important details to the manuscript. (For example, if my character dyes her hair, buys a speed boat, or adopts a pet monkey.)

What’s great about this file is that each column can be sorted individually. I separated out the first and last names so I could alphabetize/sort each list individually. So if I come up with the name Kirstin, I can quickly sort first names and check the middle of that column and see how many characters have first names that start with K. Yikes! Better come up with a different name.

The purpose of the book title columns is to be able to sort by title. I simply put an X in each column title that the character is present in. Then if I’m working in book 3, I can sort by that column and have all the book 3 characters come to the top of the spreadsheet, allowing me easy access to their information. And if I have one of those moments when I’m wondering, Was Officer Chang in my first story or just my second?— it’s easy to find out.

Important reminder: Even if you’re sorting by a single column, be sure to highlight all your data so the information for each row/character stays together. I hope you find this idea useful (and comprehensible). Feel free to ask questions and make suggestions. It’s not perfect by any means.

If you read my blog regularly, thank you. And, it would be great if signed on as a follower and/or linked to my blog from yours.

Why I Put Down a Novel

2009-01-04T20:20:00.000-08:00

I start many novels; I finish few. After years of writing, editing, and evaluating works of fiction, I have reader ADD. I read mostly crime/mystery/suspense and some sci-fi, but here’s what makes me put down a book:

Slow start with too much day-in-the-life detail or too much backstory (I like it when a novel makes me think Oh shit in the first few pages)
Protagonists who do stupid things (especially before I start to like them)
Stories that jump back and forth in time for no good reason
Characters who have cutsie names or are obsessed with their pets (Sorry!)
Detailed gratuitous graphic violence
Detailed graphic sex scenes (They’re all gratuitous unless you write erotica)
Characters who bicker with their siblings or spouses (I’ve seen a lot of this lately!)
Too many characters introduced in the first few pages with no real explanation of who they are
Pages and pages with no dialogue
Protagonists who engage in immoral acts, like harming an innocent person (I need at least one person to root for)
Long, meandering side stories that take me out of the main plot
Serial killers (No offense if you write them, I’m just burnt out)

What makes you put down a book?

Goals for 2009—What's Really Important?

2009-01-01T20:31:00.000-08:00

I must start by saying 2008 was the best year I’ve ever had! I wrote and sold a novel in the space of ten months. I garnered great reviews for my published novel. I established a significant online presence and attended a major mystery convention where I met and networked with others in the industry. Just to name some highlights. Some people would look back and say it was also the worst year we’ve ever had, with both of us unexpectedly laid off in March and our 401Ks devastated.

So at the beginning of 2009, I’m struggling with a weighty decision. I just found out that the health insurance I was counting on through my husband’s new job will cost $575 a month—and who the hell can afford that? So I have to rethink my strategy going forward. Is having health insurance important enough to make me change directions and get an outside job?

The thought breaks my heart. The best thing about 2008 was that I was able to focus on my novels—to put writing at the top of my to-do list for the first time in my life. Even the freelance work I did moved me closer to my goal of working exclusively in the fiction writing/editing industry. I believe a job, even a part-time one, will move me away from that goal. And looking for a job will be a major time suck.

So I’m vacillating. My mother wants me to get a job with insurance and security. My sons say to follow my dream—that I’m healthy and I’ll be fine. My husband is smart enough to stay out of it, accept as a good sounding board.

My thinking (at this moment) is to give myself more time and keep the momentum going. To finish the novel I’m writing (March is my goal), put it on the market, then reassess the situation at that point. I also plan to look into joining writers’ associations that offer insurance. (Does anyone have any experience with these policies and their cost?)

Meanwhile, here are my writing goals for 2009:

Write 1500 words a day, 5 days a week until my new novel is completed.
Outline the next (fourth!) Jackson novel between now and March.
Sign a publishing contract for this novel (the third in the Jackson series).
Sign a contract for my standalone thriller, The Baby Thief.
Write the fourth Jackson story before the end of the year.
Attend Bouchercon and possibly ThrillerFest (if my credit card mileage points allow).
Blog twice a week, write/develop a speaker’s presentation, and write three magazine articles (among other things).

Now that I’ve put that all down in writing, I realize that achieving those goals depends on having the freedom to write first, edit/clean later.

What are your goals? Any opinions on my dilemma?

One Crazy Day in the Life of a Novelist

2008-12-30T21:25:00.000-08:00

As I looked back on this year, I found this guest blog, which sums up the highs, lows, and strange encounters a novelist can experience in one day.

9:42 am: As I write page 162, I realize that an entire investigative thread in my new novel is not quite logical. And there’s no way to massage it or spin it. So I go back to the beginning and try to pick out and rewrite every reference to this line of inquiry. Did I get them all? Or did I leave a little silver of foreign material that will pop up and irritate readers? Now I have doubts about other plot threads. So I decide to print out all 162 pages and read through them before continuing to write the story. How many trees have I killed in my career as a writer and editor?

12:29 am: Another writer posts on my Facebook page, “Congrats on the review in Mystery Scene. ‘A thrilling, eye-opening read.’” I am excited. I haven’t seen this review, and it will make a great blurb. I search Mystery Scene’s webpage, but I can’t find the review and I don’t have a copy of the magazine. So everyone in mystery world knows what this review says, except me. I worry that the one line I know about may be the only positive thing the reviewer said.

3:10 pm: After months of waiting, my beta reader sends an e-mail with her feedback on the first 50 pages of my new story, Secrets to Die For. After commenting, “This is a very worthy story, a page-turner with great potential,” she says, “Try to SHOW rather than TELL.” Aaaghhhhh! I like to think that I live by this ubiquitous writing rule. But now I wonder: Do I even know what I’m doing?

6:17 pm: After months of waiting, the book trailer for my recently published novel, The Sex Club, arrives via e-mail. I excitedly click open the file, ready to be thrilled and amazed. But no, the trailer is weird and confusing. The girl in the last scene is at least 20, dark-haired, and kind of heavy. She doesn’t even look dead. The victim in my novel is 14 and blond and thin and very dead. I show the trailer to my husband. He hates almost everything about it and cannot stop talking about how much he dislikes it. I am crushed. I spent the last of my promotional money on the trailer, and I counted on it selling a few books. Now I have to compose an e-mail that diplomatically says, “Start over.” It takes an hour that I don’t have. (New and improved trailer is viewable at the bottom of this page.)

9:05 pm: I receive an e-mail from a mystery book club leader named Ruth Greiner, who apparently does have a copy of the Mystery Scene review and says she’ll never read The Sex Club no matter how great all the reviews are. She does not say why, and she does not have to. Just seeing her name horrified me. The antagonist in The Sex Club is a very nasty woman and her name is Ruth Greiner. How was I to know? Now I have to write an e-mail that explains how I chose the name—Ruth is Biblical and strong, Greiner is the name of a street in my old neighborhood. I also try to carefully express my concern for her feelings, without admitting any liability. I offer to send her a free copy of my next novel, then feel lame about it.

10:16 pm: Yet another fun-filled e-mail arrives. This one is from a local author whom I met at a book fair and exchanged novels with. He says he’s quite sure he’ll find a publisher for his new novel and wants to know if I’ll read his book and write a blurb for the front cover. This is the first time anyone has asked me for a blurb, and I’d like to be excited. I’m flattered that he thinks I have any clout. But I didn’t get past the first page of his first novel (which started with a rectal search by a large German woman), and this one, he says, is much more sexually explicit. How do I get so lucky? Oh yeah, I wrote a novel called The Sex Club, so he must think I’m a sex fiend. (It’s a mystery/thriller, really!) I spend 20 minutes composing an e-mail, then delete it, thinking I'll deal with it tomorrow.

Sex Sells—Or Does It?

2008-12-28T18:47:00.000-08:00

Sex sells. That’s what marketers always say. And it seems to be true for tight-fitting jeans and toothpaste. But it is true in crime fiction? In my experience—not necessarily.

Some of the best reviews I received for my novel, The Sex Club, started out with a disclaimer like this: “I didn’t think I would like this book, but . . .” The readers/reviewers went on to say that the title (and sometimes the cover) had originally turned them away, but that they’d read it because another reader raved about it. They ended up loving the story, but still, their initial aversion concerned me. So I asked members of Dorothly L (a mystery discussion forum) what they thought about the title. Many said they would never pick up the novel in a bookstore or library because of the title.

So then I wondered: How many bookstores and libraries had decided not to stock my novel because of the title? From the comments of a few, I believe there might be many. After realizing this painful reality, I started adding this footnote to all my communications about the novel: “Despite the title, the story isn’t X-rated.”

It is not a good sign when you have to explain or make excuses for your title.

On the other hand, many writers on the CrimeSpace and Facebook networking sites have posted great comments about The Sex Club’s cover and title. One writer posted, “Judging by the title, that’s a book I HAVE to read RIGHT NOW.” Many others have simply said, “Love the cover!”

During a discussion with writers about the word sex in a crime fiction title, the reaction was also mixed. One writer said, “If sex is in the title, isn’t that a lot of emphasis, leading the buyer to think the book might be in the wrong section of the bookstore?” A quick search of Amazon brought up only one other mystery title with the word sex —Sex and Murder (A Paul Turner Mystery). But at least that author was smart enough to get the word murder in the title too.

My conclusions: 1) If I had it to do all over again, I’d change the name, 2) Bookstores and libraries are critical to sales, and authors can’t afford to alienate them or their patrons, 3) Mystery readers prefer dead bodies to warm ones.

What's your reaction? Do you shy away from books with sex in the title? Do you mind a little sex in your mysteries or do prefer that the characters stay on task?

The Power of K

2008-12-25T20:53:00.000-08:00

I originally posted this blog on BookBitch about eight months ago, but yesterday I read a manuscript that had eight or more characters whose names started with K. So I realized it was worth posting again.

Marketers and comedians have long taken advantage of the powerful K sound. The K sound is especially emphatic at the end of word, which is why Jack and f**k are both so fun to say. Can you think of a comedian who can get through his/her material with saying f**k or jerk or some variation of jack (jackoff, jackass, jackshit)?

Crime writers (maybe all writers) love the K sound too, they just may not realize it. Think about the name Jack for protagonists. Jack Ryan, Jack Reacher, Jack Keller, Jack Taylor, Jack Davis, Jack Carpenter, Jack Irish, and Jack Palms to name just a few. Then there’s Taylor Jackson and my own Detective Wade Jackson. Not to mention the Jakes (Jake Riley, Jake Riordan, Jake McRoyan, and more).

The X sound is really K with a little S on the end, so Alex is almost as popular with crime writers: Alex Cooper, Alex Cross, Alex Archer, Alex Delaware, Alex Duarte, Alex Bernier. And Cooper and Cross are both pronounced with the K sound. Then there’s Kinsey Milhone and Greg McKenzie, which has a trifecta of winning sounds: the double K sound and the popular Z. Marketers like Z almost as well as K.

There’s plenty of K sounds in other protags too: Lincoln Perry, Lucas Davenport, Elvis Cole, Kelly Jones, Joe Pike, John Cardinal, Michael Kowlaski, Vicky Bliss, and Jacqueline Kirby. Apologies to the hundreds that I’ve likely missed.

In my recent novel, THE SEX CLUB, which has both K and X sounds in the title, the main characters are Detective Jackson and Kera Kollmorgan. Jackson’s daughter’s name is Katie. In women’s fiction, Kate is the female equivalent of Jack—a short, powerful K name (Kate London, plus many others).

It’s not just me. Author Jack Getze has a protag named Austin Carr who encounters a bad guy named Max, whom he calls Creeper. In as single scene, he writes about Carr and Creeper as well as an AK-47, Alka-Seltzer, a stockbroker, an Escalade, a Caddy, and a Lincoln.

Another writer told me, “I had so many K names in my first book I had to change all but one.”

What is it about the K sound that we like so much? One amateur theory is that as babies, we all heard a lot of K words and noises: cootchie-coo, cutie-pie, cuddles, etc. But it could be that this is simply one of those things that is hard-wired into our brains from human experiences long ago. Whatever the reason, readers and writers like the sound K, so keep it coming ... just not all in the same book. And give Jack a rest.

When to Ignore Good Advice

2008-12-21T22:43:00.000-08:00

Advice for writers is everywhere. Rules for writing. Rules for querying. Rules for submitting. Like most writers, I also actively solicit advice from beta readers, successful novelists, and others in the publishing business. There have been times when I followed what seemed like good advice and ended up regretting it. Other times, I ignored perfectly good advice and was glad I did. How do you know up front when to ignore sound advice? Listen to your own instincts.

Long ago, an agent advised me to write a YA novel because she knew an editor who was looking for YA manuscripts that dealt with troubled teen scenarios and she thought I would be perfect for the series. My instinct said it wasn’t right for me, but I thought this agent had a solid connection that would get me published. Total waste of time! I am not a YA writer. (I’m not sure I was every really young. My mother swears I was born 40.)

One very successful agent who I was once signed with kept advising me to write a cozy mystery series because that’s what all the publishers wanted. I don’t read cozy mysteries, and I didn’t think I could pull it off. So I never tried. That was smart. See above. So my rule for myself is: Never write a novel I wouldn’t read. (Unless someone gives me a boatload of money upfront and and all the time in world to complete it.)

A beta reader once advised me to not make the murder victim’s mother a drug addict who had died of drug-related complications. She thought it was distracting and unnecessary. But it was the basis for the character’s personality! It was why she ended up in the situation she was in at the time of the murder. Wrong advice! Easy to ignore.

Everyone in the business says to never query an agent before you finish writing the story. I have routinely ignored this advice (when sending snail mail) and have never had an agent respond to a query before the manuscript was ready. Agents are notoriously slow (I once got a response three years and three months later), so why not eliminate that waiting gap with productive writing time? Sending queries early also motivates me to get it done.

A successful mystery writer and dear friend once advised me not approach an editor at a major publishing house directly. She felt strongly that I should get an agent—that the editor would never consider a manuscript submitted without one and that it might seem unprofessional. But this editor had read The Sex Club as a manuscript and loved it. She knew my name and my writing. I felt there was no harm in asking if she’d like to see the next installment in the Jackson series. So I queried her directly anyway (via e-mail). Then a few weeks later, I ran into her at Bouchercon and pitched the novel again. A month later, she e-mailed me and asked to see the manuscript. I’m still waiting to see how this turns out. But even if she passes on the series, I’m still glad I ignored that well-intended advice and made that direct connection.

I've learned to write only the stories I feel passionate about, regardless of what’s currently trendy; to trust my own instincts about what works best for those stories; and to never let fear get in the way of making connections.

Do you ignore standard industry advice? Does it usually work out for you?

And the Winners Are . . .

2008-12-18T09:07:00.000-08:00

Thank you everyone for participating. I received so many good names, I may eventually use them all. But after conferring with my story consultant (aka “husband Steve”), we realized that three of our favorite names came from the same person! So, the big winner is Cigdem Aksoy, a Facebook friend, who currently lives in Turkey. (The postage will cost more than the book, but well worth it.) She submitted:

Seth Valder, who is now a sleazy strip club owner in Thrilled to Death
Eddy Lucas, who runs a “Dirty Jobs” business. I had already chosen “Eddie” for this character (who is really a bad guy-lite), and “Lucas” is the perfect last name for him.

She also submitted the winning name for the con man/misogynist, but I realize now that I can’t reveal it without ruining the mystery for those of you who plan to buy this story in 2010 when it comes out. (You are planning to buy this book, right? )

And in the spirit of giving, I’ll send books to these honorable mentions:
Zoran Mircovich (submitted by Scott Roche aka Spiritual Tramp) Liked this name so much, I’m going to create a part for him.
Stig Bloodcutter (submitted by Anthony Taylor) Made me laugh out loud!
Randy Cockrane (submitted by Gayle Carline for the strip club owner) Very clever!
(Winners, please e-mail me with your mailing adddress.)

Cigdem also provided links to places to find names, so I'll share them here.

Seventh Sanctum
Villain Names
Mactyre
Stone Dragon Press

Thanks again for playing!

Name That Character

2008-12-16T19:30:00.000-08:00

I’m at that point in my new story where I need to settle on some character names. I’m writing a series, so the recurring character names are decided (like them or not). For others, I often grab a moniker for the moment and keep going if the writing is flowing, then go back and search/replace when the perfect name comes to me. Sometimes, the first name that comes to me is the right name. I love it when that happens.

I have also changed the name of main characters after writing the entire novel. I hate when I have to do that. After thinking about a character as “Sierra” for six months, it’s hard to let go of that identity. And now it’s hard to remember her new name when I’m discussing the novel, which is embarrassing. But I changed it because I had too many female characters whose names ended with “a” (the schwa sound).

What I need now are bad guy names, and I feel stumped. So I’m having a contest.(My brother asked me to name one of the antagonists after him, so one down, two to go.) One of the bad guys runs a strip club and various other sleazy deals, and the other is the ultimate con man/misogynist, who puts on one face for the public while engaging in the worst sort of behavior behind the scenes. That's all I can say without giving away the mystery.

I’ll give away two copies of THE SEX CLUB — one to each of the top two submissions. You can post your submissions in the comments section, which could be fun for others and/or e-mail them to me, using the link on the right.

True character-naming story: When I was writing THE SEX CLUB and needed a name for the psycho bomber lady, I picked Ruth because it’s short, strong, and Biblical. I picked Greiner because it’s the name of a street near my house. Three years later, I was horrified to learn there was a woman named Ruth Greiner who is an avid mystery reader, leads a mystery book club, and is on the same popular mystery list serv that I am. She got wind of the name through a review of THE SEX CLUB in Mystery Scene magazine and e-mailed me to express her displeasure. (So don’t submit one of your relative’s names, unless he/she never reads anything but Mad magazine.)

Even if you don’t enter the contest, share your “I wish I could take it back” character-naming story!

What Is Your Price?

2008-12-14T20:05:00.000-08:00

In the New York Times Sunday book review, Paul Greenburg wrote (humorously) about bailing out writers. His introduction refers to writers as losers, who, instead of selling books, are selling their home furnishings to stay afloat.

What is interesting is that the concept he proposed is not a bailout at all. Greenburg believes that the problem with the writing industry is that there are too many writers now and not enough money to support them all. He mentions the 185,000 listed by the National Endowment for the Arts who support themselves through artistic endeavors. This, of course, does not include the thousands and thousands who write in their spare time and support themselves by some other endeavor.

His hypothetical proposal: “About 275,000 new titles and editions are published in the United States each year. Let’s say we want to eliminate half of them. Assuming it takes about two years to write your average book, we would offer book writers two years of salary at the writers’ average annual income of $38,000 a year.”

The catch? Those who take the money would have to stop writing. This is a buyout, not a bailout. When companies have more workers than they need, they offer cash incentives to employees leave their job voluntarily… forever.

It’s an interesting premise. If someone offered you $76,000 to never write again, would you take the money? If not, what is your price? What if you only had to stop writing for two years, would you do it for that price?

This question is like the “Would you sleep with an ugly stranger for a million dollars?” scenario—only with a lot less money and a much harder decision. If nothing else, it will make you think about how important writing is to you and what you would sacrifice for it.

All I Want for Christmas… is Nothing!

2008-12-11T11:27:00.000-08:00

It’s two weeks before Christmas and, as usual, I’m on my way to the Goodwill. Not to shop, but to make room in my storage space. My donation box contains an assortment of last year’s Yuletide gifts from my family—lawn lights, ski gloves, a music box, and a Twister game, to name a few. What does a middle-aged woman with bad knees and a fat husband want with a Twister game? Really. I’m trying to keep the emergency room visits to a minimum, especially now that I no longer have health insurance.

Guilt sets in as the small man in a blue smock sorts through my stuff. Some of these items were chosen with care. Such as the wok (from my brother who knows I love stir-fry) that almost set fire to my kitchen. But the basket of scented soap was a last-minute panic grab by someone who either forgot or didn’t care that perfume gives me a headache.

My niece calls while I’m collecting my receipt, and the seasonal madness starts all over.
“What do you want for Christmas this year?” she demands, high on the adrenaline of power shopping her way through a Fred Meyer half-off white sale.
“Nothing,” I say, as I do every year.
“I’m going to buy you something anyway, so you might as well give me a clue.”
“Please don’t. I would rather you gave the money to charity.”
“You’re no fun.” She hangs up and goes back to shopping; there are 20 people on her list.

Why does my family continue to buy me presents when I have asked them year after year not to? I am middle-aged, I (used to) earn a good living, and I acquired everything I need long ago. I am also making good progress in accumulating everything I want. The only things that I want—that I don’t already have—are too expensive for me. Which means they are also too expensive for my family and friends.

I do not need another crock-pot, fry-baby, or nut-cracker. (I am far too lazy to ever purchase nuts in the shell.) I do not wear fuzzy sweaters because they make my skin itch, and if a sweatshirt is red or green with any sort of reindeer or snowflakes, I’d could walk around naked with less embarrassment. And as long as I’m being a snob, I don’t eat the plastic cheese or greasy processed-meat sticks from Hickory Farms either. On the other hand, I do love chocolate—but it makes me look fat. So anyone who wraps it in irresistible pink and silver and puts my name on it doesn’t really love me.

Having run out of other options, some family members have started giving gift certificates. But seriously, what is the point of two 40-something siblings simultaneously exchanging cash at the end of December? In what way is this meaningful or logical?

At the bottom of my donation box are two ceramic Santas, three assorted-sized silver bells, and a collection of green and red candles that could torch the neighborhood if they were all lit at once. As I part with the decorations, I think: I haven’t put up a tree since my kids moved out. Does my family really think the sight of a three-inch Saint Nick in red suspenders and shorts is going to turn this Scrooge around? Hah!

On the way home, I call my niece back. “I changed my mind,” I say. “I know what I want for Christmas.”
“Cool. What?”
“An indoor swimming pool. With a hot tub.”
“You’re so funny. Will you settle for a bag of York Peppermint Patties? They’re low fat.”
“Sure.” I hang up the phone. One down. Sixteen to go.

PS: If you have to/like to buy Christmas gifts—buy books!

How to Fix the Publishing Industry

2008-12-08T06:40:00.001-08:00

What if major publishers. . .

abandoned the hardback fiction book altogether and let libraries and collectors simply laminate their own copies of trade paperbacks? Then the first printing of each book could be bigger and priced to reach the whole market. Publishers win by reducing their print costs and minimizing the number of returns. Readers win by getting a book they can afford when it first comes out, and writers win by reaching as wide a market as they can on the first publication. Novelists would also never be stuck in hardback form only—as many are—a spendy version that’s hard to sell at book fairs and special events and never reaches its full audience.
changed distribution to a nonreturnable basis? Bookstores would have to be conservative in how many books they ordered at one time, and publishers could simplify their bookkeeping for everyone involved.
printed only as many copies as were necessary to fill orders? Money (and trees) would be saved from not printing, shipping, processing, and shredding books that never sale.

If all that happened, bookstores would have fewer returns to process and they could make money by remaindering books on their own premises. They could offer discounts and buy one/get one free deals to keep product moving. Promotional bargains pull in customers who spend money. It’s how retailers make money at Christmas.

I am not the first to suggest these changes. So why doesn’t the industry do it? No one wants to go first. Every major publisher is afraid to lose business to the other company who isn’t doing it. Meanwhile, the big houses aren’t making real profits. Only the small publishers who have adopted some of all of these ideas are in the black year after year. What will it take for the industry to recreate itself?

As an novelist, would you care if your book never came out in hard back? As a reader, do you buy hard backs? Would you miss them?

Back Up Your Backup

2008-12-05T06:40:00.000-08:00

Watching the fires in California recently made me think about how it would feel to come home and find my house in ashes. All I could think about was how devastating it would be to lose my electronic files. Not the computer itself, the lifetime of creative work. All the other things—clothes, books, appliances—are replaceable. The insurance check would buy more stuff. But if my files are ever lost, I’ll be lost too.

This is not the first time I’ve had this thought. In fact, I once had a hard drive (in a PC) catch fire, and I lost the e-file of a great novel that I spent years on. I had made a backup disk, but it mysteriously disappeared. (Teenage computer geek son grabbing floppy disks without thinking!) That was a devastating moment, saved only by the reassurance that I had a printed version. Eventually, I paid a transcriptionist to retype the paper copy into a Word file.

So I developed a healthy sense of paranoia and thorough backup system. And as anal as it makes me sound, I’m sharing it so other writers will remember to back up their files and store them in several safe places.

I have an external hard drive and software (LaCie) that I back up the whole drive with—files, e-mails, bookmarks—once or twice a week. But it’s sitting right next to my computer, so if my house burns, it’s toast too.
I also carry a flash drive in my purse that contains all my creative files—novels, scripts, promotional material, etc. I carry this with me mostly for convenience and peace of mind.
Once every couple of months, I burn a CD or two of all files (Word, Excel, InDesign, PDFs, etc.) and take it to my car. (Flash drives are unreliable, and if you tell a techie that’s what you’re using, he will roll his eyes.)
Every time I complete a new novel, I burn it to a CD and take it to my mother’s. The car could go up in a fire too. Or get stolen. Or wrecked.

I started all this before there were online backup services available, so I’ve never used one. Maybe it’s time. Are you backed up?

Fast, Fun Mystery!

2008-12-02T20:07:00.000-08:00

In case you’re tired of my ramblings, today I’m interviewing fellow mystery writer, Jean Henry Mead. Jean is on a two-week blog tour to promote her new mystery, A Village Shattered. This cozy whodunit is a fast, fun read, featuring senior sleuths, Dana Logan and Sarah Cafferty. The story is Jean’s third work of fiction, but the author has a long career of writing, interviewing, and taking photographs. But I’ll let her tell you in her own words.

What’s your elevator speech for your new novel, A Shattered Village?
Two 60-year-old widows living in a retirement village are suddenly confronted with the deaths of their friends and club members, who are dropping dead alphabetically. A serial killer has stolen their membership roster and their own names are on the list. Dana Logan, a mystery novel buff, and Sarah Cafferty, a private investigator’s widow, decide to solve the murders themselves when the newly elected sheriff bungles the investigation, but not before Dana’s beautiful daughter Kerrie is in danger of being killed in the process. San Joaquin Valley fog hides the killer and helps him commit the murders.

Who are your characters, Dana Logan and Sarah Cafferty, modeled after? Which one is more like you?
I didn’t realize until Dana and Sarah are discussing the first murder of their friend Alice Zimmer that Dana resembles actress Gina Davis, and Sarah looks like Shelley Winters. Dana is tall like me as well as stubborn and a little eccentric. There the resemblance ends.

You were a journalist and nonfiction writer long before you wrote novels. When did you make the switch and why?
I actually wrote my first novel in fourth grade, a chapter a day to entertain classmates, and have always wanted to be a novelist. But I worked for my high school newspaper and graduated to editing my college paper while working as a cub reporter for the local daily newspaper. After I had written my third nonfiction book, Casper Country, a centennial history, I had stacks of research notes left over, because I had read 97-years’ worth of microfilmed newspaper. So I decided to write a novel, utilizing all that research. The result was a recent publication, Escape, a Wyoming Historical Novel, featuring Butch Cassidy’s Wild Bunch and a kidnapped young heiress disguised as a 12-year-old boy.

Is there other overlap between your nonfiction books and
your novels?
Yes, Escape is about 50% actual history and 50% dramatization. Most of the real characters are true to life, and I added a few fictional characters to move the story along. With my latest senior sleuth novel, my police reporting came in handy. And my husband is a former highway patrolman, so his advice helped as well. A Village Shattered is the first of my Logan & Cafferty senior sleuth series, which will be followed next spring by Diary of Murder and later, Died Laughing, both of which take place in Wyoming.

You’ve done a lot of work and organization on behalf of western writers, founding the Western Writers Hall of Fame and working for the Western Writers of America? What motivated you?
I was serving as president of Wyoming Writers when Western Writers of America held their annual convention in Casper. A local writer, Bill Bragg was hosting the convention and asked me to do advanced publicity. I joined in 1979 and became national publicity director for WWA. Two years later I established the Western Writers Hall of Fame and wrote Maverick Writers, a collection of interviews with some of WWA’s most prominent members.

You’ve interviewed some very famous people. Who was you favorite person to interview and why?
I enjoyed all of them, but Louis L’Amour, A. B. Guthrie, Jr., and Wyoming governor Ed Herschler top the list. I also enjoyed interviewing Gerry Spence, although it was in a crowded Ramada Inn lobby while he was holding court. Louis L’Amour was downright shy about being interviewed, which surprised me. He submitted to very few interviews and invited me to his home in Bel Air for an hour, which stretched into several hours of talking about his past. He showed me his office, which contained some 10,000 books with hinged floor-to-ceiling book cases that revealed identical ones behind. I expected him to be arrogant, but he was just the opposite and made me feel at home. A. B. Guthrie was full of himself but was hospitable at his modest A-frame home at the foot of Montana’s Sawtooth Mountain range. I felt privileged to have interviewed them both. Governor Herschler was in his golf duds when I interviewed him at the state capitol building in Cheyenne. He was very candid about his life and court battles against his friend Gerry Spence.

What is the one thing in your life or list of accomplishments that you are most proud of?
Having my books published, which will soon number over a dozen, and hearing from my readers, who have said they enjoy my books. What more could a writer ask?

Who are your favorite authors?
I learned to write fiction by reading Dean Koontz’s novels and he remains a favorite. I also read James Patterson (without his co-authors), Ernest Hemingway, Agatha Christie, and the classics at the moment. I read Janet Evanovich when I feel in the mood to laugh. I like a lot of writers, who are too numerous to name.

What's next for you?
I’m working on my first children’s book, The Mystery of Spider Mountain, which is a takeoff on my childhood home in the Hollywood Hills. I’m also working on another western historical about the unwarranted hanging of Ella Watson-Averell, who was nicknamed Cattle Kate by her cattlemen executioners. Reading about the hanging made me angry, which is a good reason to write a book. And, of course, I’ll continue to write Logan & Caffery senior sleuth novels.

Where can we find you on the web?
My webpage is located at: JeanHenryMead.com. I have two blog sites. One is a writer’s advice site, Write On! at: http://advicefromeditors.blogspot.com/ and my Western Historical Happenings site: http://awhh.blogspot.com/. I’m also a member of two mystery blogs: Murderous Musings and Make Mine Mystery.

The rest of my blog book tour is listed at: http://myblogtour.blogspot.com/. I hope everyone will stop by to leave a comment to be eligible for the drawing for three of my signed copies of A Village Shattered.

If you have more questions for Jean, feel to to ask!

Back on Track: aka New Rules

2008-12-01T06:40:00.000-08:00

In November, while everyone else was cranking out a 50,000 word novel, I had a pathetically low word count. Why? Shit happens. More specifically, I spent a lot of time trying to drum up freelance work, I spent a lot of time babysitting, and I let myself get into the “I’ll make up the time tomorrow" mode. Wrong! It’s always today, and there’s never enough time to do anything extra.

So here’s my plan to get back on track:

First, I unsubscribed to half the e-mails I was receiving. Who has time to read all those newsletters? Sorry to those of you who put them out, but I just don’t have time.

I stopped opening e-mails first thing in the morning. In fact, it’s now a rule. No e-mail until I’ve worked on the novel for a few hours. (Unless the e-mail is from an editor/publisher!)

Another rule: No Twitter or FaceBook or reading blogs during writing time. They all have to wait until I move on to freelance work. (This will be the hardest rule to keep!)

I’m going to give longer deadlines for the freelance work I take on, then stick to working in the afternoons and evenings (if needed). Mornings are for writing!

And my husband is going to take our niece to school on one of the mornings she’s here, so I’ll only have one morning each week interrupted by that adventure.

And for balance, I’m adopting a new motto: Experience joy every day. Get up and dance! I do not have to be productive every second of every day… As long as I get my three or four hours of writing done, first thing every day.

Podcasting with NetDrag

2008-11-29T07:20:00.000-08:00

My podcasting venture has begun. I had a conversation last weekend with Ken Lewis, who is the police chief of Rogue River, Oregon; the author of the mystery/suspense novel, Little Blue Whales; and the host of NetDrag, a podcast featuring crime writers. It was a great conversation (although I sound like I have a little marble under my tongue) and those who have listened said they loved it.

We talked about mystery conferences, Oregon writers, THE SEX CLUB, and the difficulties of finding a publisher if your story has young victims or deals with controversial issues. Ken gave my detective an 8 (out of 10) for believability, and that’s high praise coming from a police officer. He also said my story/mystery stumped him and that he felt Detective Jackson’s bafflement and anguish every step of the way.

Check it out here: NetDrag

I was a little nervous about being recorded, but the conversation was so relaxed and enjoyable, I soon forgot about that. For the mechanics of it, we both called in to a service that he's subscribed to that records the conversations and allows him to make minor edits.

My next step is to do my own podcasting by recording the first chapter of THE SEX CLUB and making it available. I have everything in place but the time.

When Is an Old Story a New Story?

2008-11-24T07:01:00.000-08:00

Most novelists who have been writing for a while have an unpublished story or two that they haven’t given up on. You keep thinking that if you could just find the right twist or revise a character you can make it marketable. But how much do you have to change the manuscript to consider it a new story? Can you send a revised novel with a new name to the same editors and agents as though it were something fresh for them to read?

Or what about his scenario? You write a great sci-fi story called Death March into Armageddon. Publishers seem to like it, but no one offers you a contract. A few years later, you publish the story with a small press that goes out of business shortly after. Your novel only sells a few dozen copies. Five years later, you get a great idea for how to make the story better. You make those changes, spruce it up with a new name like Heavenly Invasion and submit it to a different publisher.

Can you consider this work to be “previously unpublished”? Is there a legal definition for how much a story has to change to be considered a new work? Do you have a moral or legal obligation to tell the new publisher about the manuscript’s history and the two dozen copies of the previous version that are still out there somewhere?

Has anyone been in this situation? How did you handle it?

A Break From Reality

2008-11-20T08:23:00.000-08:00

So Sarah Palin and Joe the Plumber both have book deals, with Sarah’s rumored to be worth $7 million. These kinds of book contracts are what make hard working, talented, undiscovered, underpaid writers (like me) CRAZY! That’s all I have to say. Except, maybe, WTF!

If you’d like to hear more from me today, check Pop Syndicate where I have a fascinating author Q/A with Angela Wilson.

http://www.popsyndicate.com/books

The Problem with Unions

2008-11-18T07:44:00.000-08:00

I had been thinking about unions lately and wondering if they have become counterproductive. Then yesterday I heard that autoworkers at General Motors make around $71 an hour when you include benefits. Holy shit! No wonder the company is going broke. This is clearly not a sustainable business model.

And then there are the teachers’ unions, which many people believe keep bad teachers in their jobs and contribute to the decline in education. Before you get all riled up, I support teachers and think they should be better paid. (I wouldn’t teach middle school for any amount of money.) But I also think teachers should be held accountable for the job they do, and those that don’t cut it should be fired—like anyone else.

So what does this have to do with writers or books? Not much. But independent writers have no market protections and no real benefits (which is the case with most low-wage workers). Of course, there is a Writers’ Guild, but it’s mostly for scriptwriters who are already making good money and can afford the $2500 joining fee. Some writers are represented by agents, but an agent can’t guarantee anything. Health benefits? Hah! Paid holidays? Dream on. Livable hourly wage? If I ever did the math on my novels, it would make me cry.

I don’t begrudge anyone else these benefits just because I currently don’t have them. But as a taxpayer (who pays teachers’ and government workers’ salaries), I expect my money to be invested wisely. So if we the people bail out GM, its employees should have to live in the real world with the rest of us where there are no unions, no guarantees, and no one is fighting for you—but you. That’s life.

Will Big-Name Authors Go Rogue?

2008-11-12T07:58:00.000-08:00

I read an article about a speech Simon & Schuster president and CEO Carolyn Reidy gave at a publishers’ convention. She mostly talked about the state of the industry and how publishers have to find ways to cut costs. Then she said a couple of interesting things. First she mentioned “powerful retailers who have ambitions to be publishers.” Does she mean Walmart and Costco? How would they make the transition? They would need big-name authors to sign directly with them, and they would have to allow distribution in bookstores as well. But this could happen, especially with nonfiction authors.

Then Reidy talked about self-publishing and wondered, “is it only a matter of time before one of the major authors actually strikes out on his or her own?”

That would be an interesting development. What would motivate a best-selling fiction author to step away from his/her publisher and self-publish? An opportunity to make more money? Probably not. If this ever happens, the dispute will likely be about content. Maybe the issue will be an entire story that the writer wants to bring to market, but the publisher won’t because it’s controversial or outside the writer’s genre. Or maybe it will be an environmental issue. An author who refuses to have his book published in hardback form because so many are returned and shredded. And his publisher won’t concede, so he self-publishes in trade paperback with smaller print runs that sell out each time.

What if such a venture proved successful, and the author was able to reach a wide audience and make money? Would more authors follow? What would it mean to the industry? Would publishers change their business model to keep authors onboard? Would it finally blur the distinction between traditionally published and self-published authors? And who will be first? Stephen King has already stepped out on his own with serial e-content (and made money), and I believe in time more authors will do the same.

It’s fun to speculate. What do think?

Giving It Away (aka Free Books!)

2008-11-10T13:03:00.000-08:00

Every week I give away a free copy of The Sex Club on my website. I gave away 75 copies of The Sex Club at Bouchercon, and I’ve sent hundreds of copies to bookstores, book clubs, and readers who asked for it.

Meanwhile, I have a collection of new/nearly new paperbacks that have nowhere to go. Our local Book Exchange went out of business, so I’ve decided to give them away. To win one of these titles, simply e-mail me and ask for it. (Click the contact link on the right of this page.) I’ll randomly pick winners at the end of the week. Don’t forget to enter The Sex Club giveaway. (And you might consider ordering a few copies as the perfect stocking stuffer for your siblings and co-workers.)

Fault Line (by Barry Eisler)
The Guards (by Ken Bruen)
A Nail Through the Heart (by Timothy Hallinan)
What the Dead Know (by Laura Lippman)
The Woods (by Harlan Coben)
The Innocent Man (by John Grisham)
The Blade Itself (by Marcus Sakey)
Bad Luck and Trouble (by Lee Child)
Deadly Errors (by Allen Wyler)
Kidnapped (by Jan Burke)
Safe & Sound (by J.D. Rhoades)
Money Shot (by Christa Faust)
Go Go Girls of the Apocalypse (by Victor Gischler)
The Black Path (by Asa Larsson)
The Secret History (by Donna Tartt)

My next step is to podcast The Sex Club and give it away in audio form. If I only had the time! I’m also thinking of offering a free download of one of my unpublished stories. My only hesitation is that I’m a better writer now than I was then. So does it make sense to offer an earlier story as a first exposure to my writing? Has anyone tried this strategy? I want to know what you think.

Early Thanksgiving

2008-11-05T06:46:00.000-08:00

I’m celebrating Thanksgiving today (sans turkey) because I have so much to be grateful for that it can’t wait.

We have a new president! A thoughtful Democrat who will value the things I value and raise our standing in the world.
I have a new book contract! My recently finished story, Secrets to Die For, will be published for people to buy and read. Oh happy day!
I have three great sons, who all contacted me yesterday (calling, texting, visiting) to let me know they had voted (and for Barack Obama).
My husband has a job, and I have some freelance work coming. We will stay solvent!
My wonderful husband has worked hard to resolve my exercise issues, and, as a result, my chronic knee pain is diminished!

So today (and going forward), I am grateful for these things and more. I posted this list next to my computer where I’ll see it first—and last—thing every day.

New Day, New Goals

2008-11-01T08:19:00.000-07:00

Last January, I set two main goals for the year: 1) establish a freelance fiction editing business and 2) write and sell a second Detective Jackson novel. With the help of a layoff from my job, I sort of accomplished the first. And yesterday, I signed with Echelon Press to publish Secrets to Die For next September, so I can happily check off the second goal.

And I did it with two months to spare, so now I can write like crazy on the third Jackson story during November, also known as National Novel Writing Month. I don’t expect to finish the novel in 30 days, but if I have 30,000 words down by December, I’ll be very happy. (And yes, technically it’s a new goal.)

I’ve also come to accept the idea that the publishing industry is moving—slowly—away from paper products. In fact, I bought a Kindle the other day (I still have a credit card!), something I never thought I would do. (It hasn’t arrived, so I can’t report on it yet, but I will eventually.) So now I’m thinking seriously about nonpaper media, with ideas such as 1) creating an audio version (podiobook) of The Sex Club, 2) creating a downloadable e-book of a story I wrote years ago and never tried to sell, and 3) podcasting the first chapter of several of my stories. All viable projects—all time consuming. But I have two months to spare this year, so why not branch out?

Do You Podcast?

2008-10-30T20:51:00.000-07:00

The first time I was asked to do an interview on BlogTalkRadio, I turned it down because I was leery about the host and not impressed with the quality of the production. Then I felt guilty and wondered if I’d missed a great opportunity.

Recently, I was invited do an audio podcast with another host, so of course I said yes. Why not? It’s more exposure—another opportunity to get my name and book titles out there to the public. Every time a reader hears your name, you’re one step closer to a sale. But then I started to wonder: How much time would it take? How much exposure would I get? Podcasters likely keep stats, but what do those numbers really mean?

I’ve been invited through various venues to listen to other author’s audio podcasts, and the sad truth is that I rarely participate. I try to be as give and take as I can. I want people to buy and read my book, so I buy and read theirs. I want people to read and comment on my blog, so I read and comment on other blogs. So I have tuned in to a few podcasts, but they usually don’t hold my interest for more than a few minutes. I think it’s partly because I’m not someone who normally listens to the radio. People talking without having a face or expressions to focus on don’t seem to grab my interest. Watching a video podcast is a different—and better— experience, but few podcasters who are interviewing authors are doing those.

What I want to know is: How many readers/internet users regularly listen to audio podcasts? What do you like to hear about from an author? Personal stories or information about his/her books? Has a podcast ever motivated you to buy an author’s book? Have you done a podcast and what did you get out of it?

Living with Uncertainty

2008-10-29T06:19:00.000-07:00

If I were a widget maker who went to work in a factory at the same time every day, I would leave work at the same time and the collect the same paycheck. There would be no uncertainty.

Instead I’m a novelist and freelance editor. No two days are alike, and uncertainty is a way of life. Will this novel I’m writing sell to a publisher? After spending 25 hours on this manuscript, will the writer actually send me a check? Will I have enough freelance work this month to pay my mortgage?

A little background: I’m a Type A personality and a bit of a control freak. I never leave on a road trip without a map and a hotel reservation. I am not cut out for uncertainty.

And yet, the life of a widget maker would drive me insane. Conversely, I love this life as a novelist and freelancer. So I must learn to live with uncertainty. Some days are easier than others. Yesterday got the best of me. Financially, this is the worst year my husband and I have ever had, and things will get worse before they get better. But in some ways, we are happier than ever.

Financial insecurity is not the worst of it though. The question of whether my recently completed novel will sell sometimes hinders my ability to move forward as a novelist. I have a new story outlined and two chapters written, yet a little part of my brain says, “Why bother?”

I always manage to push past this point. (Although, it once took a few years.) And I will again. I write because I am a storyteller. And the life of a storyteller is always filled with uncertainty.

Elaine Said It Best: Writers Are Whores

2008-10-27T20:35:00.000-07:00

The last time I had lunch with Elaine Flinn, the funny, vivacious author of the Molly Doyle mysteries, she summed up this business of being a writer rather graphically and succinctly. Leading up to that moment, I was talking about Lynne Cheney (wife of the vice president) who had gone on Jon Stewart’s show to sell her memoir. My husband thought her guest appearance was shocking, considering that Jon had called Dick Cheney the Prince of Darkness, among other horribly unflattering things. I was less surprised by Lynne Cheney’s appearance, after all, she was a writer with a book to sell. But Elaine summed it up best, “We’re all whores.”

We burst into laughter and drew stares from the diners around us. Neither of us cared much.

Of course what Elaine meant was that we want so desperately for people to read our work—and love us in return—that we will go just about anywhere, say just about anything, participate in just about any gimmick (contests, human auctions, dressing in character, standing outside a bookstore with a three-foot poster), and put up with all manner of inconvenience and insult. Writers often sell their books one at time in a very personal exchange. Seldom does anyone actually get naked during the transaction, but it does feel a little whorish at times.

I’m not complaining or disparaging anyone. We do it for the love of the craft and the love of the readers. Few of us are in it for the money. Which is a good thing, because street walkers never get rich. But to take this analogy one step further, Elaine Flinn was a high-class call girl. And I will miss whoring around with her.

Things I Want to Know

2008-10-26T09:31:00.000-07:00

It's time for another non-writing/reading rave. These have been simmering for a while.

Why are automated voice mail greetings so long?
How many options do we need and does anyone ever use them? Wouldn’t voice mail be much friendlier if it simply said, “No one is answering, so leave a message”? Furthermore, it seems that few people actually listen to their voice messages. Time and again, people who call me back say, “So what’s up?” or “I saw that you called.” I politely ask, “Did you listen to my message?” Because I don’t want to bore them with a repeat of what they’ve already heard. They invariably say, “No. I just saw that I’d missed your call and called you back.” My feeling is that if I suffer through five minutes of voice mail options, waiting patiently for the tone that says I can finally talk, I expect you to listen to the thoughtful message that I’ve left. Because if I’m on my way to the emergency room, I may not be able to answer when you call back.

Why is all packaging so hard to get into?
This would be the reason that I’m on my way to the hospital—because I just sliced open my hand with a utility blade trying to open a package a batteries. Don’t manufacturers know that people who need batteries need them right f**king now because the damn smoke alarm won’t shut the hell up?

Sleep-aid packaging is the worst. Each pill is set in a little plastic cup with a paper covering glued down over the whole thing. It’s after midnight and I’m exhausted yet can’t sleep, so I’m in the kitchen trying to access a single little sleeping pill. I do not have sharp fingernails, and like everyone else my age I can’t focus well on things that are 18 inches from my face. After five minutes of clawing and tearing, I realize the task is beyond my skills. I reach for the utility knife, then remember the incident with the batteries. So I think "to hell with it" and grab the Nyquil. (Fortunately, I have mastered childproof caps.)

Who Is an Author?

2008-10-19T09:44:00.000-07:00

The big discussion at Dorothly L this week is about the author rule for conventions, particularly Bouchercon, which had lax rules. Left Coast Crime in Denver this year apparently had a stricter rule, and as a result, some authors were offended and did not attend.

Boiled down, The Rule (as it is known) is that if an author participates financially in the production or editing of his/her own work, then that person is excluded as an author. It seems that the purpose of the rule is to keep self-published authors from wearing a badge that says “author” and from participating on panels. Exceptions are made for authors who have been short-listed for awards or won awards.

Which brings up the first interesting point. If self-published authors are sometimes nominated for (and occasionally win) awards, then clearly there are great books that are sometimes rejected by major publishers. Because most self-published books aren’t even allowed to compete for awards, we don’t really know how many great self-published books are out there. Supporters of the rule would say, “But we’re trying to keep the crap out.” And everyone knows there is a LOT of self-published crap. But what about traditionally published substandard novels? How do you keep them out? Shouldn’t novels be judged by their content, instead of their publisher?

One idea is to have two or three participants read each author’s latest work and decide if it is worthy, regardless of publication method. I started to write “but that’s not realistic” then thought “why not?” You could require every author who wants to attend the conference to read one or two selections from other authors and to provide an anonymous evaluation (or a simple yes/no)—and also to submit their own work to the process. What could be fairer? (This was the basis for Project Greenlight in the film industry.)

The second gray area is the concept of “financially participating in the production and editing” of the novel. Don’t most authors pay to have their work evaluated and/or edited before they even send it to an agent or publisher? (I certainly do!) And what about marketing? I think it’s safe to say that all publishers want their authors to participate financially in the marketing of their novels. Why is it okay for authors to spend thousands of dollars on travel, bookmarks, and mailing free copies to book clubs, but if they spend their own money to hire a graphic designer to produce a better cover than what their publisher has in mind, then suddenly they are not a real author?

I commend Bouchercon for keeping participation open, and I understand the concerns of those who think the rule is necessary. I also think there is room for a better way to determine who is labeled an author at conventions and who is not. What you do think?

Submitting Directly to Small Publishers

2008-10-17T08:18:00.000-07:00

I gather publisher names the way some people collect author names, and my list now totals nearly 100. Many of the companies are imprints owned by big houses, and many are niche publishers aimed at a specific market (Christian, gay/lesbian). I culled out a few small publishers that accept a variety of submissions directly from authors. They share a few basic guidelines:

They want manuscripts that are 65,000–95,000 words.
They print in paperback form only.
They do NOT want paper submissions.
They can take six months or more to respond to submissions.

Here’s a little more information about each:

Echelon Press
Publishes a variety of novels, romantic suspense to mystery to self-help. It also has an erotic and young adult imprint. Echelon is currently NOT accepting any submissions for print books, but it is taking submissions for e-books. The company also publishes novellas and short stories. Query by e-mail and follow directions.

Five Star Publishing
Publishes a wide variety as well, but is currently looking for romance, women’s fiction, and mystery (which includes suspense/thrillers). It publishes almost 150 books a year but sells mostly to libraries. So as an author, you’ll have to do the work to get your novel into bookstores. Query by e-mail.

Medallion Press
Also publishes a wide variety of genres, including nonfiction. Accepts both paper and e-queries and says it can take up to 12 months to respond to submissions. Follow directions!

Hilliard & Harris
Publishes primarily mystery series, but also accepts thrillers, sci-fi, horror, historical fiction and some young adult within those categories. The rumor mill says this company is hard on authors.

The following publishes are more narrowly focused on some time of crime story:

Poisoned Pen Press
This is the largest in this group, but you do not need an agent to submit. PPP publishes mystery/crime, but no incest, torture, drugs, terrorists, or spy stories. Start with an e-mail query and proceed from there.

Capital Crime Press
As implied, it publishes crime stories and seems to be looking for edgier submissions—the stories Poisoned Pen doesn’t want. Start with e-mail query. Its website is outdated, so I can’t tell if it’s taking submissions or not.

Midnight Ink
Publishes mystery fiction and suspenseful tales of all types: hard-boiled thrillers, cozies, historical mysteries, amateur sleuth novels, and more. Accepts e-mail submissions only. Currently closed to submissions except through referrals from its published authors.

Hard Case Crime
Publishes hard-boiled crime stories and picks up out-of-print crime classics from the past. Accepts e-mail queries, but no guidelines are given.

More Bouchercon Notes

2008-10-16T06:39:00.000-07:00

In this photo are two of the sweetest people I met at B-con. On the left, Kaye Barley, voted Most Popular at the conference this year. And in the middle is B.G. Ritts, who generously gave me a neck rub and vanquished my blinding headache. Love her!

I also attended a panel that discussed the role of alcohol in fiction and in the lives of novelists. Liz Zevlin, a voice of reason and sobriety, held her own in the midst of Ken Bruen, Jason Starr (below), and others. I chatted with Liz later and discovered that she swims regularly in the ocean.
Brave woman!

Bouchcon: Live in the Moment

2008-10-13T08:04:00.000-07:00

Kudos to everyone who was able to blog about Bouchercon while they were there. I had good intentions, but I was just too tired at the end of each day to feel coherent. I also failed to take very many pictures. But I decided early in the conference that it was more important to experience every moment and to meet every person that I could rather than to record the event in detail. I decided to live in the moment. For example, it made more sense to me on my last night there to go out to a late dinner with other writers (including Simon Wood) than to sit in my hotel room, blogging about the day. It was the right choice. (Above picture is me with Shane Gericke and Robin Burcell.)

My objectives for the conference were to meet as many people as I could and to give away as many books and promotional materials as I could. I also hoped to get know Karen Syed of Echelon Press. I accomplished all those things. And more. Here are some memorable moments.

I met Troy Cook, author of 47 Rules of Highly Effective Bank Robbers. He is a sweet, modest man who is rapidly on his way to the top. Hearing his story—having several agents fail to sell his book, then getting picked up by a small press on his own, followed by great reviews, awards, great sales, and a movie deal—was very inspiring.

I also shared a long shuttle ride to the airport with Julia Spenser-Fleming, (an award-winning mystery author) and we talked seamlessly for more than an hour. She’s bright and friendly, and I enjoyed her company. She probably won’t remember my name, but you never know. I feel like I made a connection with her.

The panel I was on Saturday morning with Bob Morris, Jack Getze, Rebecca Drake, and Marion Moore was a blast. Bob and Jack told wild stories about their days in the newspaper business (including large amounts of alcohol and occasional gunshots), and I got in some good jokes about working for a pharmaceutical magazine. Being anal, I also prepared a handout for the attendees, listing about 20 authors who write about reporter characters. So that roomful of people will remember me. It’s important to promote other authors when you can and to resist the urge to talk incessantly about your own book. In fact, when I met an online friend and mystery lover, he commented that was what he really liked about me—that I’m everywhere online, making friends and being nice, but never going for the hard sell.

Another observation: People who are friendly online are friendly in person! And mystery fans are great—warm, friendly, and happy to meet anyone who writes the stories they like to read. In fact, Kaye Barley may be the sweetest person I've ever met. (Picture below: Michelle Gagnon and Ken Bruen)

I may keep adding to this blog as I sort through my notes and business cards, so check back.

Bouchercon Day 1

2008-10-09T19:42:00.000-07:00

Up early after a late night to start the day with a panel called We Didn’t Start the Fire. They discussed the balance of writing about social issues in fiction without being preachy. It made me want to take another look at my novel. I met Karen Olson and Neil Plakcy, and Karen may guest blog here soon.

Second panel of the day was Does Sex Sell? The discussion was more about whether sex scenes were necessary in mystery/crime fiction. No consensus was reached, except that romance outsells mystery 10 to 1.

I introduced myself to dozens of writers, gave away about 25 copies of The Sex Club, and handed out bags of books as a volunteer. No one is going home empty handed from this conference. I also had dinner with Karen Syed of Echelon Press, a funny high-energy dynamo. I think we could be an ass-kicking combo.

Took exactly one bad picture today. I'll do better tomorrow with visuals.

Getting to Bouchercon

2008-10-08T23:29:00.000-07:00

I almost didn’t make it here today. I blame bad information and J.D. Rhoades. I was sitting at gate 23B, where I had been told to go, and reading Safe and Sound, by the aforementioned J.D. Caught up in the story, I forgot where I was for quite some time. Suddenly, I looked up and thought Oh shit. Where is everybody? What time is it? I am in the wrong place!

So I ran to the nearest staff person, looking at my phone as I ran. (I am not supposed to run. Very bad right knee.) It was 6:55. My flight was scheduled to leave at 7:10. The woman at gate 24 informed me that my flight had been changed to gate 21. So I ran again, pulling 40 or so pounds of luggage (books!). As I reached the terminal, I realized no one was there. The flight had boarded. The ticket taker was still there, microphone in hand, saying, “Sellers, your flight is leaving. Last call for passenger Sellers."

Heart pounding, I ran down the tube and boarded the plane with 100 people looking on. I sat down and began to shake. Did I still have everything with me? My kind seat neighbor buckled me in, and moments later, the plane started moving. I thought about myself an hour earlier, drying my soaking wet boarding pass under the hand dryer in the bathroom. Another stupid story involving icing my bad leg! I began to laugh and thought, I made it, and that’s all that maters.

What Is a Stereotype Character?

2008-10-05T08:01:00.000-07:00

Recently someone posted on a list serv that he “wouldn't support an author who characterized all Irish people as ignorant and lazy or one who characterized all Jewish people as devious, greedy manipulators or one who painted all Sicilians as Mafiosi.” That sounds reasonable on the surface, but it leaves me wondering: How does an author characterize ALL Irish people as ignorant and lazy? The presence of a single Irish character who happens to be lazy wouldn’t give readers the idea that you were prejudiced against the Irish, would it? How many lazy Irish characters would you have to include in your novel for readers to come away with the idea that you had characterized ALL Irish people that way?

Or, for example, if you wrote a novel in which most of the characters were Sicilian and Mafioso (The Godfather), would readers assume that the author thought ALL Sicilians were mob-connected? Does anyone think Mario Puzo is a racist?

Clearly, as novelists, we have to be careful about not playing into stereotypes. But stereotypes exist for a reason and are based on widely held perceptions. If you avoid every character detail that could be considered a stereotype, you’ll end up with rather dull characters who don’t resemble real people. To avoid offense, you could simply not label characters with any ethnic background. Still, you have to give everyone a name. Not having any ethnically associated names (O’Callahan, Schakowski, Botticelli) in your novel may go too far in the other direction and make you look like a bigoted WASP.

Then there’s the popular TV show Rescue Me. The main character, Tommy Gavin, is Irish, alcoholic, and often out of control—and so is his whole family! The show plays directly into a stereotype. Are people offended by that? I’m certainly not. And I’m part Irish and come from a family of alcoholics.

Then there's the issue of the antagonist. If the serial killer in your story has a German-sounding name, will Germans be offended because you've characterized them as serial killers? I would hope not. Yet a few people have reacted that way to the killer in my story (who happens to be religious), calling her a stereotype and offensive to religious people. (For the record, she represents no one but herself.)

As readers, what sort of character stereotypes offend you? As writers, how do you portray real people with real ethnic backgrounds and flaws without offending readers or being labeled a bigot?

L.J.'s Footnotes

2008-09-30T08:10:00.000-07:00

I’ve been tagged twice now, so I’ll play. Here are six things you probably didn’t know about me.

I once rode my bike from Oregon to the Grand Canyon, crossing Donner Pass on the way. It took us three days to ride uphill to Truckee and only 45 minutes to descend into Reno. There was 12 feet of snow along the sides of the road at the top and six inches of slush and sand on the road coming down. Crazy! (I was 23 at the time.)

I have jumped out of a perfectly good airplane (loved it!), gone up in a hot-air balloon, and often zoom downhill on my bike at speeds of 40 mph.

I was the third of six children in a fairly poor working class home. But in many ways, I was the oldest—the first to get a job and a car and the first to leave home. My siblings all live here in Eugene, they are my best friends, and we bowl together every week.

I tried to have my tubes tied when I was 20 years old, but no one would do it because I was too young. I ended up with one biological son and two stepsons and also took care of my sister’s twin girls. For a long period, my husband and I had six children in our home every night. Life often turns out differently than you expect.

In addition to writing a bunch of novels you’ve never heard of, I've also written five screenplays. Two thrillers: Beyond Conception and Breaking Point. And three comedies: Addictions, Shoes, and Lost in Hollywood.

Writing those comedy scripts led me to a comedy writing class. At the end of the class, we had to perform our material in a nightclub. It was terrifying and exhilarating. The audience loved my routine and they invited me back to perform again and again. Writing new material and performing again is on my list of things to do.

Fiction Editing Proposal

2008-09-26T07:59:00.000-07:00

I just sent this proposal to a prospective client, and I thought I'd post it here as well—in case anyone is considering my services and would like more detail.

I’m willing to undercut the industry-standard rate and edit for $2.25 a page. By page, I mean industry submission standard: double space, 12-point Times font, with approximately 1.5 inches of white space (including footers) on all sides.

An 80,000-word novel should print out somewhere around 325 pages, depending on how much back-and-forth dialogue you have. $2.25 a page at 325 pages is $731.25. Which sounds like a lot of money! If it makes you feel any better, I’m paying someone to edit my current 347-page novel right now. She’s charging me $28. per hour, with no cap and no estimate of cost.

Another option is to pay by the hour at $25 an hour. This will work out to less money if your novel is pretty clean to start with and has a lot of back-and-forth dialogue. (Expository pages are denser and slower.) Also, if you only want proofreading and syntax suggestions (no plot/structure feedback), then the per-hour rate will save you money. Even when I work per hour, I put a cap on the project. In this case (325 pages), regardless of which pricing structure you chose, the cap would be $731.25.

I’m also willing to peruse the first 20 pages and see how it goes. If it’s moving quickly, I’ll recommend a per-hour structure. The last novel I edited was 110,000 words and took about 32 hours. A 75,000-word mystery would likely take around 20 hours and cost $500 or less.

Other details: If you send me the Word document, I’ll print it here and mail the hard copy edits back to you at my expense.

I would love to edit your novel, and I hope I can work something out with you. I have references! Please contact me if you have any questions.

PS I posted a blog about commas on the Blood-Red Pencil, if you want a peek at my editing style.

Do I Like This Character?

2008-09-23T07:49:00.000-07:00

I’m reading a crime story with a fast-moving plot and terrific writing, but I may not finish it. What’s the problem? (Besides the fact that I’ve developed reading ADD.) The character, although well developed, is not someone I relate to, and the world she lives in is sleazy. I want to see how this story turns out, but every time I put the book down I feel like I need a shower.

I had this same problem with another book I read recently. In the middle of the story, the protagonist, supposedly a reformed criminal living a good life, participates in heinous crime. As a reader, I wanted him to get caught and go to jail. So I lost interest in the story. This happens for me with movies too. If there is not a single character who I find decent enough to root for, then I shut it off. I’m typically not someone who sees the world in black and white, but with crime stories, I want good guys and bad guys who are clearly discernable. (Elmore Leonard is the exception! And everyone can cheer for a likable jewel thief.)

Other readers in the book discussion said they didn’t have to like (or relate to) the protagonist to find a story compelling. I guess for me, good characterization means developing characters that readers care about, relate to, like, or respect in some way. But that definition may be narrower than the rest of the reading/writing world sees it. How do you define good characterization? Can it include protagonists who are unlikable or deeply flawed? Have you written a story with an unlikable protag, and what motivated you to do so?

Character Description

2008-09-20T08:38:00.000-07:00

How do you feel about writers who don't describe their protagonists? How much description do you want to see?

I saw this question on a list serv today, and it hit home because I asked myself this same question yesterday. It occurred to me that there is almost no discussion of my protagonist’s physical appearance in my new novel. In the first Detective Wade Jackson mystery, readers get a brief description of Jackson from another main character early in the story. But in this installment, there is no opportunity for that. So anyone reading Secrets to Die For who did not read The Sex Club has no idea what Jackson looks like— except that he’s taller and heavier than a suspect who is coming at him.

I feel compelled to fix this. But there are limited options. He’s not a man who will look in a mirror and assess his appearance. I may be able to sneak in little bits of physical information here and there, but it will not amount to a full description early in the story.

As readers, how do you feel about this? Are you okay with coming up with your own visualization? What happens when you picture a character as blond, blue-eyed, and stocky, only to learn 100 pages into the story that he’s tall and dark? Is it disturbing, or do you just roll with the image?

As writers, how do you handle describing your protagonist if you don’t have another character who can do it for you?

Networking: Quality Versus Quantity

2008-09-18T07:43:00.000-07:00

A year and half ago when I first developed a marketing plan for my novel, I made a list of websites to check out. In time, the sites ended up in categories: places to send my novel for review, places to list my novel in their database, places with general information, and social networking sites.

The social networking sites I put off until last because they take time. I started with MySpace but never got into it. Eventually I created a Facebook page, then let it sit for months until I called in my niece to help me get going on it. Now I have 1200 friends and enjoy the time I spend there. In between those events, I created a CrimeSpace page and spent enough time there to develop a presence and to introduce myself to hundreds of authors. I’ve also been active on Twitter, which doesn’t require a lot of time.

But the networking opportunities keep coming. I’ve since joined LinkedIn, BookPlace, and recently Multiply. And I notice other Twitterers talking about Squidoo and other sites. But my memberships in the last three are just sitting there un-nurtured, and Squidoo is not even on my list. I also belong to six list servs, so the e-mails keep coming too.

I’ve decided that I’m maxed out and will not develop my new memberships. I only have so much time each day to spend on promotion/networking. For me, fewer venues with quality time spent on each one is more productive than a minimum amount of time spent on a multitude of sites. But I may be wrong about this. What do you think is more effective marketing? Quality time in fewer networking sites or a minimal presence in as many sites as possible?

Exposure! Grab What You Can

2008-09-16T07:38:00.000-07:00

I’m headed for Portland today for the Pacific Northwest Booksellers Association tradeshow. I’m still surprised they chose me for an author signing (50 authors were turned away). I almost passed on this event because the fee is $125, I have to give away 50 fifty books, and drive two hours in each direction for a 30-minute signing session.

Why am I going? Because it’s an opportunity to meet bookstore owners/managers from all over the Pacific Northwest. It’s an opportunity to hand them my novel and my promotional flyer with all the rave reviews. Even if they don’t order my book, they will hear my name, see my story and series character, and file it away somewhere in their brain. And someday soon, they will order and stock my books.

In real estate, it’s location, location, location. In book marketing, it’s exposure, exposure, exposure. You can't buy better (or cheaper) advertising than this event.

The End of Publishing (as we know it)

2008-09-15T07:28:00.000-07:00

According to an article in the New York magazine, publishing in its current form is coming to an end. The article opens with a description of watching books being shredded, a fate that awaits 25% of the product produced by major publishers. This in itself is reason for change.

Then the article describes HarperStudio, an offshoot of HarperCollins, and how it will revolutionize the industry with its new model. In this new world, authors forgo large advances (or in some cases, any advance) in exchange for half of their books eventual profit. The idea is that by not over-investing in certain projects, there is more money to promote an entire line of books. Essentially, HarperStudio is forgoing the blockbuster model, in which most of a company’s profits are generated by one brand (J.K. Rowling, Stephanie Meyer, Dan Brown). I also believe I read earlier that HarperStudio plans to NOT take any returns from bookstores, which would eliminate the massive book shredding.

The article discusses many other industry problems: consolidation, declining book sales, imprints from the same company bidding against each other and driving up prices (advances), the growth and influence of Amazon, the low moral of editorial staff, editors constantly changing houses leaving authors to fend for themselves, and more.

For those in the business, this article is worth reading or at least skimming through. As for HarperStudio’s new model, I think it’s a step in the right direction, as long as profit is clearly defined so that authors aren’t cheated. Moving away from the blockbuster model to a more vertical platform will benefit writers by:

spreading the promotional dollars more evenly
taking the pressure off each novel to perform to a certain standard
allow smaller print runs and more novels to become available in paperback
allow more novels to come to the market through traditional publishers
inspire all authors to market their own work as much as possible

What do you think? Will publishing really change that much? As an author, are you willing to take a no-advance contract with long-term gain as the goal?

The Power of Jack

2008-09-14T08:52:00.000-07:00

Warning: This is a repost of a guest blog, but still a good read the second time.

Marketers and comedians have long taken advantage of the powerful K sound. Crime writers have too, they just may not realize it. Think about the name Jack for protagonists. Jack Ryan, Jack Reacher, Jack Keller, Jack Taylor, Jack Davis, Jack Irish, and Jack Palms to name just a few. Then there’s Taylor Jackson and my own Detective Wade Jackson. Not to mention the Jakes (Jake Riley, Jake Riordan, Jake McRoyan).

The K sound is especially powerful at the end of word, which is why Jack and f**k are both so fun to say. Can you think of a comedian who can get through his/her material with saying f**k or jerk or some variation of jack (jackoff, jackass, jackshit)?

The X sound is really K with a little S on the end, so Alex is almost as popular with crime writers: Alex Cooper, Alex Cross, Alex Archer, Alex Delaware, Alex Duarte, Alex Bernier. And Cooper and Cross are both pronounced with the K sound. Then there’s Kinsey Milhone and Greg McKenzie, which has a trifecta of winning sounds: the double K sound and the popular Z. Marketers like Z almost as well as K.

There’s plenty of K sounds in other protags too: Lincoln Perry, Lucas Davenport, Elvis Cole, Joe Pike, John Cardinal, Michael Kowlaski, Vicky Bliss, and Jacqueline Kirby. Apologies to hundreds that I’ve likely missed.

In my recent novel, The Sex Club, which has both K and X sounds in the title, the main characters are Detective Jackson and Kera Kollmorgan. Jackson’s daughter’s name is Katie. In women’s fiction, Kate is the female equivalent of Jack—a short, powerful K name (Kate London, plus many others).

It’s not just me. Author Jack Getze has a protag named Austin Carr who encounters a bad guy named Max, whom he calls Creeper. In as single scene, he writes about Carr and Creeper as well as an AK-47, Alka-Seltzer, a stockbroker, an Escalade, a Caddy, and a Lincoln.

And another writer told me, “I had so many K names in my first book I had to change all but one.”

What is it about the K sound that we like so much? One amateur theory is that as babies, we all heard a lot of K words and noises: cootchie-coo, cutie-pie, cuddles, etc. But it could be that this is simply one of those things that is hard-wired into our brains from human experiences long ago. Whatever the reason, readers and writers like the sound K, so keep it coming.

What Makes a Character Great?

2008-09-12T06:48:00.000-07:00

I’ve been thinking about characters lately, mostly about how to make them more compelling. So I asked: Who are my favorite fictional police detectives? I came up with Lucas Davenport (John Sanford’s Prey series) and April Woo (Leslie Glass). I thought I might find commonalities that attract me as a reader. Instead, I discovered that they are very different.

Davenport seems to have no family, no parents or siblings that he is connected to in any way. April Woo has parents who are very present in her life. Davenport has a lot of money and doesn’t need to work. Woo has money problems (mostly because of her parents). Davenport knows how to play the political game to get what he wants out of the department. Woo is incapable of playing politics and lacks social skills in general.

So why do I like both these characters? Perhaps because they are both independent and unconcerned with what others think of them. They are also very good at their jobs. But I’m not satisfied yet, and I’m still thinking about this. So who are your favorite characters and why do you like them so much?

Find a Better Day Job

2008-09-09T07:27:00.000-07:00

About halfway into my fiction writing adventure, I read an interview that changed my life. The featured scriptwriter had recently sold his first screenplay, which was made into a blockbuster movie. When the interviewer asked him if he would do anything differently (given the chance), he said, “If I had known it would take ten years to sell a script, I would have found a better day job.”

That hit home with me. At the time I was waiting tables and doing a little freelance writing. I had recently failed to sell a novel even though my agent had told me we had an offer. So I came to the immediate conclusion that I needed a better day job. I needed a job that put my journalism degree and inquisitive mind to work every day in some productive and satisfying capacity. I realized that I how spend every day is important. All we have is the here and now. The future (as glamorous as I envision it) doesn’t exist . . .yet.

So I stopped living for the future—that day when my novel would sell and my life would change. I found a job as a magazine editor, and I accepted, on some level, that magazine writing and editing would be my career and that it would be enough.

But I continued writing novels, and ten years later I have my first book out there getting great reviews. I am so glad I spent the last ten years editing and developing a successful career instead of waiting tables. So for all you aspiring writers (actors, artists, musicians) who are working at jobs you loathe or that don’t mean anything to you while you wait for your big break—find a better day job!

Life is short. Enjoy every day.

10 Writing Resolutions

2008-09-08T08:01:00.000-07:00

I’m in an unusual space at the moment—waiting for feedback on my latest novel and trying to leave the manuscript alone in the mean time. But this phase is also an opportunity to write other things, form new habits, and expand my knowledge base. With those goals in mind, I developed 10 writing resolutions, some of which I’m already working toward and others that are new and exciting.

1. Write every day. That means during the week, spend a minimum of three hours on my current big project and on weekends, write blogs, articles, short stories, comedy material, letters to the editor—almost anything to keep the juices flowing.

2. Write bold. Do not be afraid to offend an occasional reader. I can’t make everyone happy. If I did, my stories/blogs/comedy would be boring.

3. Dig deeper into characters’ motivations. Who are these people and why do they act the way they do?

4. Make more trips to the library. I only finish about one in three books I start, so I have to buy books regularly. I’ve been ordering from Powells and buying a mix of new and used. It’s expensive, but I’m supporting other writers, so I don’t feel bad about the money. Yet I need to supplement my purchases with more library books (titles that I’m uncertain about and new books that I can’t afford).

5. Read more literary fiction. Maybe read an occasional poem for inspiration. My writing is straightforward and lean and could benefit from an occasional poetic flair.

6. Conduct research interviews. Meet with law enforcement personnel and others in the community to develop background knowledge for future stories.

7. Listen carefully to first readers. Be open to criticism and willing to fix problems. This is the point of having first readers and why it’s called a first draft.

8. Do not be in a hurry to submit. Let the manuscript sit untouched for a few weeks. Then revise the story with early readers comments in mind. Then send it out to other readers.

9. Start outlining my next novel. So I’m already writing it when the rejections start coming in. It’s easier to think “This next story will be the one,” if I’m in the process and feeling good about the new story.

10. Write new comedy material. It’s hard work, but great fun at the same time. It’s an important creative change of pace to get away from the serious crime stuff. Then go perform that material.

10 Things to Know About L.J. Sellers

2008-09-04T06:09:00.000-07:00

And you thought you knew everything about me by now ....
For 10 more facts, click right over to my guest blog at Lisa's Book Critique.

Quit the D**n Cursing

2008-09-03T07:16:00.000-07:00

It has come to my attention lately that I curse too much. First my husband said to me, “Why do you curse so much?” Then a reader mentioned that my series character had become more foul mouthed in the second book. So I had to think about it. And I don’t have a good answer. Like almost everything in life, cursing is a habit. And so, like all the other bad habits in my life, I’m trying do without. Fortunately, it’s not an all or nothing proposition like smoking. I like to think that I can cut back on the cursing—reserve it for special occasions and not slip all the way into my current pattern. I’m not giving it up entirely, and I’m not looking for sainthood.

But what about my characters? Do they curse too much because I do? How much should characters curse? Of course that depends on the character. But now I’m reading back through the story and looking at every curse word and asking, “Is that necessary? Will another word choice be as effective?” I’m not the pandering type, but I also don’t want to alienate readers with unnecessary offensive language.

Of course, if my character discovers a bomb in his briefcase set to go off in 30 seconds, he’s still likely to say “Holy shit,” but maybe not “Oh f**k.” We’ll see. The road to hell is paved with good intentions.

Do your characters curse? Do you ever tone it down with sensitive readers in mind? Should we?

Less TV, More Reading

2008-09-02T07:26:00.001-07:00

My husband and I have decided to give up cable TV. This is a small deal for me, because I watch very little—daily pre-recorded Jon Stewart shows and Bill Maher on Fridays. It’s a bigger deal for Steve, but he found an article online about how to get a bunch of TV shows through his computer and we're expanding our Netflix subscription. He seems excited to make the change. The motivation? I got tired of writing that $162 check every month for 20 minutes of daily entertainment. I told him we could spend the savings anyway he wanted. (I suspect we'll end up with motorcycle accessories.)

The bigger benefit though is that we both plan to do more reading. I was so excited by this possibility that I ordered a stack of books from Powels. Here’s what’s in my to be read pile:

A Nail Through the Heart, by Timothy Halinan
Kidnapped, by Jan Burke
Money Shot, by Christa Faust
Invisible Prey, by John Sanford
Safe and Sound, by J.D. Rhoades
The Black Path, by Asa Larsson
Lost Dog, by Bill Cameron
Go Go Girls of the Apocalypse, by Victor Gischler (Steve plans to start with this one)

Any bets on how long Steve lasts without cable?

Let It Chill

2008-09-01T08:24:00.000-07:00

Yesterday I finished the edit/second draft of my WIP (meeting my Sept. 1 deadline!) and today I feel a little lost. Writing that story has been my main focus for the last six months. It was the activity around which I structured my life. It’s not that I lack things to do; my list is longer than ever. In simple terms . . . I miss the creative process. I miss looking forward to where the story was going each day. I miss my characters.

I’m already thinking of things I need to add or fix. But I’m only making notes. I’m resisting the urge to go into the file. I have learned over the years that it’s important to let a novel sit and jell for a couple of weeks after the first major draft is completed. This is very difficult for me. I like to keep moving forward, and I’m anxious to find a publisher. But it’s critical to take a break and get some perspective on the story. When I come back to it, I'll see flaws and gaps that I can't see now. So for now, the manuscript is chillin’.

So today, I’m working through my list of things to do, brainstorming for my next novel, and cleaning. This is the “later” as referred to in my blog title.

Writers: Do you let your story chill? And for how long?

Staying Sane While Working at Home

2008-08-31T07:54:00.000-07:00

My commute was up the stairs. My workday was self-directed, flexible, and light on responsibility. Most people would call it the ideal job. For me, working at home for a magazine was a long slow descent into depression, anxiety, and claustrophobia. The rest of the magazine staff was in New York, and a week at a time would pass without a call from my co-workers. E-mails simply served to exchange files. I was alone for eight or nine hours a day for more than a year and it drove me insane. I am a social creature. I generate energy from being around people. But that period in my life was years ago, before CrimeSpace, Facebook, Twitter, and list servs.

Now I’m working at home again as a novelist and freelance editor. So far, I’m loving it. But it is different this time. I’m connected to people through the Internet, and I’m able to set my own hours and take breaks when I want. But I worry about what it will be like for me six months or a year from now. I want this career phase to work out long term. So here’s my strategy for staying sane while working at home:

Make time to reach out to people on the Internet periodically throughout the day.
Have lunch with real-live person once a week.
Conduct interviews in person even if they can be done by phone.
Schedule regular social activities (such as weekly bowling with my brothers).
Join a writers group and meet periodically (I haven’t done this yet, but it’s on my list).
Open Pandora, click my funk station and dance for five minutes at least twice a day. Dancing is so joyful, it wards off depression.

I assume that most of the people I interact with throughout the day also work at home. So tell me, how do you keep from getting cabin fever?

Blogs: Opinion Versus Promotional

2008-08-30T07:19:00.000-07:00

I started to blog this morning about McCain's VP pick, then realized it was not a good idea. This is not that kind of blog. If you had to break down blogs into only two categories, they would fall into either opinion blogs or promotional blogs. As opinionated as I am, this blog falls in the promotional category—it's about reaching out to readers and writers and letting them get to know me (with the idea that eventually they'll buy my products).

And so, there are many subjects that are off limits to my blog, and many things about me that I can never share. There are many books that I will never review on this site. It is too easy to alienate people (readers) just by mentioning, hypothetically for example, that I don't read books that have cats on the cover or in title. I would never say that here. There are too many cat-loving readers and writers out there who would be offended. (As info: PS Your Cat Is Dead by James Kirkwood is one of my favorite books.) So my goal is to be a gracious host and blogger and keep politics (and many personal opinions) out of the conversation.

Other bloggers blur this line, vacillating between opinion and promotion with occasional side trips into the too-personal. For them, anything is fair game and every opinion is worth stating. Some, I believe, would call me a hypocrite or a chicken for limiting my subjects. What do you think? Do blog categories exist? Do you have expectations that some blogs should stay nonpolitical?

Easy Effective Edits

2008-08-29T06:02:00.000-07:00

I’ve been editing the first draft of my new novel, and I became aware of some changes I consistently make—for the better. I’ll share them here, in case you find them useful.

1. I get rid of the word “it” and replace it with the specific thing that I’m referring to, even if I just named that thing in the previous sentence. “Jackson reached for his Glock. The weapon felt heavy in his hand” is better than “Jackson reached for his Glock. It felt heavy in his hand.” In verbal communication, repetitive use of “it” may be acceptable, but in narrative writing such lack of clarity is ineffective and often confusing.

2. The same is true of overuse of pronouns. So I’ve also consistently replaced “she,” “he,” and “they” with the specific name of the character(s). Sometimes it feels too formal to use the character’s name three times in a paragraph, but if the character, say, a guy named Jack, is talking about the suspect, a guy named Vinnie, then referring to either of these guys as “he” can be confusing to the reader. This is a point that Stephen King makes in his great book On Writing.

3. The third most consistent edit I make is to tweak individual scenes so that they read like mini-stories, with mounting tension, a climax, and a conclusion. The exception to that structure are scenes at the end of chapters, which I often leave with a revelation, a hint of a revelation, or a great deal of uncertainty (aka, cliffhangers).

My Greatest Fan

2008-08-28T06:32:00.000-07:00

I’d like to introduce you to Sergeant Isaac Hutchison, my greatest fan. He’s a military police officer stationed in El Paso, Texas. He just found out he’s going back to Iraq in January. He already spent a year and half of his young life there, but he serves his country willingly and proudly. And I am proud—beyond words—of him.

My proudest moment as an author came many years ago after a midnight phone call. I stumbled to the phone, half asleep and half panicked, thinking, “What’s wrong?” Isaac’s voice came on the phone and said, “Oh my God. You blew me away.” I didn’t know what he was talking about. “I just finished your novel, and I had to call you and tell you how much I loved it. I loved your characters. I want to be Eric.” He recently told me he read that particular novel four times. And it’s possible my story character shaped who he turned out to be—a thoughtful, passionate man who cares about so much of the world beyond himself.

Isaac was also my first fan. He started reading my novels almost 20 years ago when they were still in manuscript form. Anytime I printed a copy of a novel or first three chapters that wasn’t good enough to send out, the stack of paper would go into a recycling box for the kids to use as math scratch paper or for drawings. Isaac would grab a stack of paper from the box, take it to his room, and read chunks of my stories. They were often just bits and pieces, 10 pages of this section and 40 pages of something else. He would often ask me to tell him how it all turned out.

Years later, he was as excited as I was to finally see my novels in print. Today, he brags about me and my writing to anyone who will listen. Now he’s waiting anxiously for the next installment. Whenever I’m having anxiety about not being good enough, I can count on him for moral support. I’m lucky to have such a fan. And such a fine son.

2 Hours/12 Minutes Without a Computer

2008-08-27T06:52:00.000-07:00

When my miniMac produced the message "Restart Your Computer" in about five languages, I called Rent a Nerd. Doug said the problem was serious and that he needed to take my computer to his house for a few hours to reinstall my operating system using his computer.

7:07 p.m.: He unplugged my lifeline and walked out the door.

My heart pounded as I watched him drive away. For five minutes, I couldn't focus. I paced the house, trying to reassure myself that it would all turn okay. I had used my flash drive earlier to back up everything I ever wrote—seven novels, five scripts, hundreds of magazine articles, hundreds of query letters, dozens of essays, a handful of blogs, and a zillion other little things. It took 23 minutes to preserve a lifetime of work.

I couldn't stay still. So I started to clean. I swept and mopped the floors, then looked at the clock: 7:36: What now? It was way too early to sit down and relax with a book. That doesn't happen until 10 p.m. and not always then.

I started writing this blog in my head as I dusted the living room. My fingers itched to get the words down as they came to me. But I had no computer. I went back to my husband's office to see if he wanted to take a walk. He wasn't around. But there sat his computer, monitor on and keyboard still warm. It's a PC! I thought. But I needed to write. I needed to be productive. I can do this, I thought. I wrote my first novel on a Commodore 64, my second novel on a Brother word processor, and my third novel on a primitive PC. I looked around his menu for some kind of Word software and couldn’t find any! His Gmail was open, so I clicked "Compose" and started to write. It was awkward using a standard keyboard and Big Bear chair, but I had a story to tell. So I wrote most of this blog in an e-mail and sent it to myself.

8:15 and no call. I found my husband and we went for a walk, cell phone clutched tightly in hand.

9:02 and the phone finally rings. Doug did not have good news. I needed a new machine. But he brought my wounded Mac back to me and fired it up.

9:19 and I’m back in Word, online, and in my familiar world.

Yes, I am addict. And there is no cure.

Trikes, Tattoos, and Turning 40

2008-08-26T06:16:00.000-07:00

This morning I'm posting an essay I wrote a few years ago. It's an opportunity to get to know me (and my writing). If I were to write a similar essay today, it would be called "Pain, Pools, and Turing 50." (Sounds like a another blog.)

Last Friday my husband turned 40. This weekend he’s putting the finishing touches on a three-wheeled motorcycle he built from scratch during the last few months. Are these things related? I think so.

First, the man is no mechanic. A fine cabinetmaker and all-around handyman, yes. But typically, I can’t even get him to change the oil in my car without nagging. So last fall when he announced he was going to build a vehicle, I was stunned. And skeptical. I kept it to myself of course, after gently asking, “Are you sure that’s what you want to do, honey? You know how much you hate to work on cars.”

But the “trike” was different—a funky blend of Volkswagen bug and Goldwing motorcycle that resembles a mutant dune buggy with fat tires and cool handle bars. The trike became an obsession. First he brought home the decrepit orange “bug” that would become a fixture in our yard for months. Then he spent hours searching the Internet for information, downloading hundreds of trike pictures in the process. Entire weekends were consumed with trips to Harrisburg and Springfield, tracking down obscure parts and make-shift pieces. Then the long haul began, night after night spent in the garage, step by painful step, putting the thing together.

My husband is not an electrician either, but he mastered the wiring system of a VW and recreated it to make the trike street legal. He also taught himself to weld steel, do extensive bodywork, apply fiberglass, and paint metal. It’s been a tremendous amount of work. I’ve never seen him so happy. Or so obsessed.

Turning 40 isn’t easy. You hear about men buying spendy red sports cars or running off with their secretaries. I’m proud of him for turning his mid-life anxiety into a creative endeavor that the whole family can enjoy. But I’m glad it’s over. The weekly trips to Furrow’s and Knecht’s began to drain our checking account. And I started to think he’d conceived the project just as an excuse to accumulate every tool he ever wanted. (Who really needs a compression gage?)

But I’m mostly anxious to get out on the road. I grew up with motorcycles and have missed the rush of adrenaline that kicks in as you swing your leg over the seat and fire up the motor. I’ll be forty soon enough myself, so I know what he’s been feeling. In fact, I found myself in a tattoo parlor yesterday afternoon having a blue butterfly etched into my calf. How did this happen? my mother and husband both wanted to know.

It was easier than you might think.

The night before, a youngster where I work announced her intention of getting a tattoo, and I was hit with a pang of jealously. I’d wanted one since I was a teenager. But I’d always worried that someday I’d be 40 and cringe at the sight, hearing that nag in my head say, “What in the hell were you thinking?”

But that day was almost here, and so still was the desire. Even the design and color I wanted remained unchanged after 20 some years. When another co-worker, also approaching the big 4-0 said, “Let’s do it,” I thought, why not?

It was a great adventure, a day filled with the same nervous excitement I experience before boarding an airplane—that tumultuous feeling of knowing that when I walked out of there, I would never be exactly the same again. And liking the thought.

Yes, I know, someday I’ll be 60, and possibly I’ll look at my tattoo and shake my head. But I’ll know what I was thinking when I got it. I was thinking that life is short and the thrills are few and far between once mid-life (parentally inspired) maturity sets in. So to hell with convention. Next weekend I’ll throw my tattooed leg over the seat of a trike and ride with the wind.

10 Ways to Keep Your Writing Organized

2008-08-25T06:28:00.000-07:00

I’m currently working through the second draft of Secrets to Die For, and I’m continuously reminded of, and grateful for, all the things I do during the first draft that help me create a story without any major glitches: In case it might help you, here’s my process:

1. Once I have a basic story idea, I create an outline. Some people (Stephen King) will tell you not to. (But he’s Stephen King). I fill in as much detail as I can, especially for the first ten chapters and/or plot developments (As info: I use Word, that’s it. No fancy creative writing software.)

2. Next I create a list of POV characters and generate a brief personality sketch and physical description for all. (My rule is never more than 5 or 6 POV characters telling the story, and some of those only have small speaking roles.) Eventually, for POV characters that reoccur in other stories, I add all this information to my long-term character database.

3. Begin writing. I don’t worry about perfect opening lines at this point. It’s important to get the story moving.

4. Fill in the rest of outline as I write first 50 pages or so. Once I’m writing, ideas for the second half keep coming to me, so I add to the outline.

5. Keep an idea journal. As I write, I constantly get ideas (Ryan needs to see Lexa earlier in the story, where?), so I enter them immediately into a Word file. Some of these never get used, but some prove to be crucial.

6. Create a timeline. A lot happens in my stories, which usually take place in about a week or 10 days, and some events happen around the same. I keep the timeline filled in as I write each scene. This way I can always look at my timeline and know exactly when the interrogation took place (Monday, 8 a.m: Jackson interrogates Gorman in the jail). It’s much faster and easier than scrolling through a 350-page word document. And the timeline keeps one POV character from referring to events that haven’t happened yet to another character.

7. Create comprehensive name/detail list. As I write, I keep a list for every named person in the story and include any details they have (physical description, phone number, address, etc.) That way, if I’m trying to remember what I named the morgue assistant, it’s right there in my Word file (morgue assistant: Zeke Plamers).

8. Stop after 50 pages. Then I go back and polish the first chunk of the story in case anyone wants to see the first 50 pages or 3 chapters.

9. Use the highlight feature to tag things I want to come back to, such as a street names for a scene in a particular neighborhood. I don’t let these details interfere with the flow of writing.

10. Keep a list of things to fix. As problems or questions come up (How does Jackson know about Conner’s vehicle?), I enter them into my Fix file, which I keep open at all times when writing. I also glance through it before I begin writing each day.

My first draft is usually lean, mostly dialog and action, but of course it includes some character development and all physical descriptions. In the second draft I fill details for scenery, add some scenes, and slow the story down in places. Never too much description, of course. I’m a big fan of Elmore Leonard, who says he leaves out all the stuff that people skip over and don’t read.

My process is in no way perfect, so feel free to share your writing process tips.

Packing for Bouchercon

2008-08-24T07:07:00.000-07:00

I’m getting excited about Bouchercon, coming up in October—my first mystery reader/writer conference. I’m waiting to hear if I’ll be picked for a panel. It’s not likely, but I’m always optimistic. When I booked my flight, I had planned on traveling to Bouchercon with my good friend and fellow mystery novelist, Elaine Flinn. But her back condition will keep her home (boo!), so now I’m on my own. But I want to get this right so I’ve already made a list of promotional things to bring and giveaway:

50 books (The Sex Club, paperback, easy to travel with)
250 business cards
250 bookmarks
100 promotional flyers for my novel
50 promotional flyers for my editing services

I’m also considering making up bookmarks and flyers for my next novel, but is this appropriate? Especially since I don’t have a publisher or date yet? In promotion, repetition is key so the more times people see the name of this novel, the more likely they are to buy it once it comes out. What do you think?

And what am I forgetting? Those of you who have been to this conference, I am open to any advice you’d like to give: what to bring, what to expect, how to best spend my time, etc.

New Promotional Goals (daily, weekly, monthly)

2008-08-23T07:32:00.000-07:00

I made a list of promotional efforts that I want to be more consistent about and decided to share my new goals.

Give out more bookmarks! I read about people who say they do this everywhere and with everyone, and I must get into the habit. Goal: Give out 3 bookmarks a day. And I intend to start ordering them in large quantities from online printers. (Nothing like having 2000 bookmarks sitting around to motivate you to give them away.)

Send out one e-mail a day to writer/mystery/review blogs offering to guest blog or participate in a Q&A.

Send out two e-mails a week to writers I know online offering a free copy of my novel. If they like it, they’ll probably say so. Free promotion from other writers is as good as it gets.

Spend 10 minutes a day on Goodreads in discussion forums and adding books to my list. This is a direct connection to readers.

Spend 10 minutes a day on CrimeSpace. I used to do this everyday, then got out of the habit when I started spending more time on Facebook and Twitter (and blogging everyday). As a result, I’ve noticed a drop off in the number of books I sell on Amazon.

Comment on two other blogs everyday. This one is easy, and I'd like to do more of it, but I have to leave some time for writing novels.

Write one article a month and offer it online magazines—even for no pay—just for exposure. (This will be the hardest one to keep up. I hate writing for free...except for blogging!)

Get all of this into an Excel spreadsheet so I can track it and not get sloppy.

Get up earlier to get it all done!

The Pros and Cons of Finding an Agent

2008-08-22T06:24:00.000-07:00

Agents are still on my mind, and the world of publishing is changing fast. There are new questions and new answers every day. The question of whether to get an agent used to be a no brainer. Everyone agreed that having an agent was essential to publishing success. That may no longer be true. There are dozens of approachable small publishers. And my own personal experience with agents has not led to success. So now I’m faced with that decision again, and I’m getting conflicting advice. Here’s the pros and cons as I see them:

PROS
• An agent has access to editors at major publishing houses and can get your work read and accepted by people with the power to print a large quantity of your novel.
• A good agent can help you develop your story into a marketable manuscript.
• An agent can negotiate a better contract and maybe a better advance.

CONS
• Finding an agent can take months or years. (See Wednesday’s post.) And there's no guarantee you ever will.
• An agent will take 15% of any earnings she or he contracts for you (and mystery writers are notoriously underpaid). Some agents steal from their clients. See Tess Gerritsen’s post on Murderati.
• Most agents will want to help shape your story. This can be good or bad. It’s all subjective. An editor may like your story better the way it is. You never know. Either way, it takes time.
• An agent may only submit your novel to five or six major publishing houses, then give up (leaving you to submit to small publishers anyway).
• An agent may quit or move to another another agency after you’ve signed a contract. (Yes, this happened to me too.)

The disadvantages seem to outnumber the advantages. But the first benefit is so huge, that if it happens, its tips the scale. But that’s still a big IF. And I keep reading stories about people who say they didn’t get published until they gave up on finding an agent.

Tell me what you think. Do you really need an agent?

The Sex Club Meets Straight From Hel

2008-08-21T06:37:00.001-07:00

You heard right! The infamous Helen of Straight From Hel chats with L.J. Sellers, the infamous author of The Sex Club.

This is a Q&A you don't want to miss! So click straight over:

Straight From Hel

Outrageous Agent Contest

2008-08-20T06:33:00.000-07:00

In honor of all the hardworking agents in this business, I’m holding a contest today for the most outrageous story about a writer’s experience with an agent. The winner gets a copy of my novel (or if you already have my novel, I’ll host you on my blog—whoopee!) Being a good host, I’ll go first.

In August 2003, I attended a writers’ conference and pitched two novels to an agent I’ll call “Susie Strange." (You can name your agent, if you’d like. I have good reason not to.) She loved both pitches and asked to see full manuscripts for both novels, which I happened to have with me. So off she went to New York with about 170,000 words of mine. I waited the customary two months, then sent an e-mail. No response. I eventually sent another e-mail and made a phone call with absolutely no acknowledgment that I even existed. But this is not the bizarre part.

I went on with my life and wrote yet another novel called The Sex Club. As I neared the end of process, I started sending out query letters (with 3 chapters) to agents—knowing how long it takes them to respond. I sent one (on a whim) to Susie Strange. You know the opening: “We met once at a conference …” The date on that Word document is October 21, 2004.

A year later, I signed with a different agent, spent another year working with her on the story, then she failed to sell it. Then I spent another year or so bringing it to print through a niche publisher, followed by months of promoting it.

Then on February 7, 2008, I received a call from someone in Susie Strange’s agency. I didn’t recognize the caller’s name, but I knew the agency. The caller said she had read the first three chapters of The Sex Club and wanted to see the entire manuscript. I was confused at first. “What do you mean you want to see the manuscript? It’s a published book.” Then it hit me. She was responding to the query I had sent THREE YEARS AND THREE MONTHS ago!

The poor woman was new to the agency and had inherited an old slush pile, but she handled the situation gracefully. She asked if I was working on anything else and agreed to read the first 50 pages of Secrets to Die For. She got back to me within three weeks and said she loved it. Now she’s waiting for me to send the entire manuscript. As much as I want to be represented (as all writers do!), the idea of working with her makes a little nervous. After all, she is a protégée of Susie Strange.

First, I mean no disrespect to other agents. In fact, I have a very positive agent story to tell someday.
Second, the poll: Should I send her the manuscript? Should I send it to other agents as well?
Third, the contest: Can you top that outrageous agent story?

Mystery/Suspense Review Sites

2008-08-19T06:39:00.000-07:00

Another very busy day ahead (editing corporate profiles), so today I offer another version of the “lazy woman’s blog.” (Actually, it took a while, but I didn't have to think much!) Crime writers might find it useful. Following is a list of places to send your mystery and/or suspense novel for review:

Ellery Queen
Crime Spree
Mystery News (Black Raven Press)
Mystery Scene
Deadly Pleasures
The Strand
Crime Time
Spinetingler
Mystery Readers Journal (if it fits a theme)
Crime and Suspense Ezine
Over My Dead Body
January Magazine
The Mystery Reader
Reviewing the Evidence
Gumshoe
Tangled Web
January Magazine
Dead End Books
Mysterious Reviews
Bloodstained Book Reviews

If you know other good mystery review sites, please share.

New Book Cover (or Lazy Woman's Blog)

2008-08-18T06:39:00.000-07:00

After 17 straight days of blogging, I'm giving my readers a rest. (I never actually run out of things to say.) I'm in the middle of revamping my website, with the main purpose of putting up a mock book cover for Secrets to Die For. . . so readers don't think I'm a one-book wonder. This is what my good friend and talented graphic artist Gwen Rhoads came up with on short notice.

The blurb (which will eventually go on the back cover) reads:
A brutal murder, conflicting evidence, and a target victim with a secret to hide—can Detective Jackson uncover the truth in time to save her?

Slowing Down for Feedback

2008-08-17T06:50:00.000-07:00

I am one of the most impatient people I know. I want everything to happen now! And this is most true when it comes to sending out my work: articles to magazines, letters to potential clients, fiction manuscript to agents and publishers. I am always excited about my project and want to send it off as soon as I’ve finished it. And in the past, I have—only to discover later a typo or inconsistency. Or to come up with a better idea that it’s too late to include.

I am learning—the hard way—to slow down. Let the piece chill for a day, or a week, or a month. Look at it again. Show it others first. Rethink the whole thing. This is not easy for me.

Recently, Helen posted a question about the reader hook. Does the book have to grab you in the first line, the first paragraph, the first page, or the first chapter? I responded: First line is best, but by the end of the first page is essential. So now I need to know if I can pass my own litmus test. This is the first paragraph of my new novel, Secrets to Die For. Is it good enough to make you keep reading?

Sierra shut off the motor and glanced up at the puke-green doublewide with a chunk of plywood over the front window. The near dusk couldn’t hide the broken dreams of the trailer’s occupants, Bruce and Cindy Gorman. But Sierra wasn’t here to see them. She was here for Josh, their eight-year-old son.

To Blurb or Not to Blurb

2008-08-16T06:52:00.000-07:00

I’ve been sending my novel (with permission) to other writers I’ve gotten to know online. I haven’t directly asked them for a blurb, but that is my hope, that they’ll saying something nice that I can use for promotion. I’m also lining up writers to read and blurb (yes, it can be used as a verb) my new Detective Jackson manuscript with the idea that it will help sell it. This is common practice in the industry. I haven’t asked, nor do I want, anyone to lie or fudge or say something they don’t mean. But apparently, this is common practice in the industry too.

J.A. Konrath has written extensively about the dishonesty in the blurbing business (authors who give rave blurbs without ever reading the book), but now the NY Times reports that a company has taken it to a new level: Blurbs for Sale.

Now I wonder if there’s any point in what I’d doing. Does the blurb still have value or has it become meaningless? Have you ever bought a book because a writer you like said good things about it? Will you do it again in the future?

Online Promotional Etiquette

2008-08-15T06:11:00.000-07:00

This seems to be a hot topic, and so it's worth revisiting.

Even though I’ve been participating in the online community (in a significant way) for six months, I still feel like I don’t know all the rules about promotion. Yesterday, for example, a woman on a mystery list serv said she was in a funk and couldn’t get into any of the books she had at the house. So I sent her an e-mail and offered to mail her a copy of The Sex Club. Then instantly wondered: Was that improper? Will that be considered blatant self-promotion and therefore, unwelcome? So I sent another e-mail immediately afterwards and apologized. She was not offended and sent back her mailing address. But it’s so easy to cross this line. I know. I’ve done it. Because I’m never sure where it is. Especially after reading the following post from another blog about online promotional etiquette:

“You can’t just barrel in and announce you’re everyone’s friend and aren’t they lucky you have a book out now for everyone to buy. Well, you could. But I’m trying to be effective, not stupid. I get those emails a lot from people. I routinely delete them without reply. Every other blogger I talk to does the same thing. I see those kinds of posts on listservs I belong to, and I skim right over it as the ineffective mention that it is. The books I do mention on my blog, are by people I know, and like, and want to promote. The books I do notice on listservs are those talked about by actual readers as books they liked . . .”

I’m the kind of person who usually doesn’t hesitate to introduce myself or ask a question. I figure there’s no harm in doing so. But now I wonder if I can do actual harm to my writing career if I cross the line too many times or offend the wrong person by sending an unwanted e-mail. So what are the rules? Tell me what you think.

Master of Interruptions

2008-08-14T06:10:00.001-07:00

One of my corporate freelance clients sends me work in waves, and right now I’m riding a tsunami of company profiles that just keep coming. So my nearly completed second Detective Jackson manuscript (Secrets to Die For) is languishing, with only an hour dedicated to it each morning—and half of that spent trying to wake up.

The bigger problem is my family members (for whom I am the go-to guy) don’t really get it when I say, “I can’t talk right now, I’m working” or “I can’t give you a ride, I’m on the clock.” They assume that if I’m home—and setting my own hours—I should be flexible enough to accommodate just about anything.

I’m sure thousands of writers have learned to deal with this, and I will too. I’ve only been a full-time freelance for five months. (I did work at home for a magazine for a year, but that’s another blog.) Yesterday, I started screening calls and simply let the phone ring. Then felt so guilty. What if my brother needed me to drive him to the hospital? What if my mother fell down and couldn’t get up? (I checked in late last night and they’re both okay.)

But still, I have another profile to crank out today… and I have to decide how to handle all the interruptions (mine included). I’d love to hear from freelancers who have mastered this situation.

Things I Want to Know

2008-08-13T06:33:00.000-07:00

I’m veering off the subject of writing again for a moment to do a little more raving. Here are some hump-day humdinger questions:

Why do bills (i.e., monthly invoices from the electric and cable company) say “amount enclosed”? Is the payable amount optional? Can I send $49 instead of the $178 that’s listed in the amount due box? Or do they think this little phrase might encourage some people to pay extra?

Why is the checker at Albertsons wearing a wrinkled white t-shirt and plaid pajama bottoms? Is it “come as you are day” or has our culture gone that casual? (I work at home, and I still get dressed every day.) But does it matter? Is he any less efficient? Why does it bug me?

Why do men reorganize everything in the dishwasher before starting it? What difference does it make if the plates are lined up straight or not? Did men all attend the same disherwasher-loading class? And if they have five minutes to donate to housework—why don’t they do something useful instead and scrub a toilet?

Speaking of toilets, why is it so hard to start a roll of toilet paper? It’s as if the first six layers are melded together with Super Glue. Why is that necessary? Why can’t it be more like peeling up a little yellow sticky note?

If you know the answers, please share.

L.J.'s Many Names

2008-08-12T06:30:00.000-07:00

It’s serendipitous that Dani tagged me in this meme. I was just thinking about why I have always used my initials as a writer, as opposed to my given name: Linda. When I was young, I heard my father say that men were better writers than women. So from day one as a journalist, I submitted my work under the name L.J. Sellers, so readers could not prejudge my writing based on gender. And as an employee in the work place, there were usually too many other Lindas, so I always said, “Call me L.J.” But if I were to write under pseudonyms, here’s some possibilities.

1. Real name plus my husband’s last name: Linda Hutchison

2. Gangsta name: (first 3 letters of real name plus izzle) Linizzle

3. Detective name: (favorite color/favorite animal) Blue Lemur

4. Soap Opera name: (middle name and street) Jean Lorrane

5. Star Wars name: (first 3 letters last name, first 2 letters first name) Selli

6. Superhero name: (2nd favorite color/favorite drink) Fuchsia D. Pepper

7. Witness Protection name: (parents’ middle names) Patricia Clark

8. Goth name: (black plus the name of one of your pets) Black Magoo

If I were ever to write a romance, Jean Lorrane would be the byline. And someday, when I write the futuristic thriller I have in mind, I think I'll go with Fuchsia Pepper. She's somebody I'd like to be some days. What's your favorite pseudonym?