I taught my first workshop on Sunday at the Willamette Writers Conference in Portland. And actually got paid. My first paid gig as a speaker! It’s a small thing, yet I feel like I’ve hit a new level as a writer. How it will translate into future success remains to be seen. I got terrific feedback on the workshop, titled Your First Draft Doesn’t Have to Suck and based on blogs I’ve posted
Have you set aside a novel in progress because it was just too hard to write at that point in time? I just did. The futuristic thriller is on hold and I’m back to working on the fifth book in my Detective Jackson series. I feel so relieved. I still plan to write THE ARRANGER (set in 2023), but I’m not in the right space to do it now.
It’s hard for me to admit something is too challenging, but that’s the truth of this situation. Because I’m still a full-time freelance editor,
Tip of the Week: Be ready for an encounter with the media. I read this tip recently and decided to act on it. So I made up some disks that include:
I’m a free agent again. In other words, I’ve been laid off my part-time newspaper job. The weirdest thing? I received an unemployment debit card from the state last week. I laughed and twittered: “Do they know something I don’t?” I guess they did. The hardest thing? Walking away from a terrific group of people I’ve come to really enjoy and count on for emotional and intellectual interaction.
I’ve had so much great feedback on SECRETS TO DIE FOR I’ve decided to give away a few more copies. This time you have to earn it by coming up with a great name for one of the characters in my next novel, which I’ve just started outlining. Here’s what I know about the characters so far:
No matter how efficient I work, I still have this growing list of things I want to read/learn/get better at that I never seem find time for. Maybe in 2010…
A few things I have not yet learned to do:
I try to practice being grateful every day, but it’s important to put it into words sometimes. Today, these are some of the things I’m grateful for.
I’m participating in National Novel Writing Month for the first time. To hit the goal, I need 1667 words a day for 30 days. Right! But I’m in it for the motivation to write as much as I can every day for a month and finish the draft of my novel in progress. Today I rewrote a scene because it was wrong, losing some words in the process. Tomorrow I’ll interview a SWAT leader, then rewrite the scene again. Both rewrites will be a setback to my NaNo word count, but they’ll bring me closer to my goal of a finished
This morning I wrote a scene in which my character thinks about his dead parents, and I had to stop and figure out whether I had mentioned in previous books what happened to them. It was real “duh” moment. My solution—to prevent readers from e-mailing me about “character mistakes”—is to go back and write a character development history. Then keep it updated as I go along.
Is there finite number of words that each writer can produce—within each week or month or lifetime? Some writers seem prolific no matter what, but for myself, I think I have periodic limits. Last year, I worked about the same number of non-novel (meaning, paid) hours as I have this year, and yet I still managed to write a novel and a half. This year, my novel word count has tapered off drastically, and I’m even blogging less too. Why?
Today’s guest blog about work/life balance is from Pam Ripling—lighthouse aficionado and cross-genre author.
When I first saw the title of L.J.’s wonderful blog, “Write First, Clean Later,” I had to laugh. It’s a laudable mantra, not only for authors but for anyone who works out of their home. I’ve had a home business for 18 years, and I had to learn that work—be it writing a novel or balancing a
On my to-do list for about a year now is this entry: Join Mystery Writers of America. Part of the delay has been my reluctance to write a $95 check for the yearly dues—without knowing there is a definitive benefit (other than the fact that I really like the women who run the organization). The other issue is whether I qualify to be an active member.
I did some research yesterday into the top five providers of email newsletter/contact services. They all offer design and list management tools, a sign-up function for your website, and usually a free trial. The pricing doesn’t vary much, but there are important differences in services. Three offer a pay-as-you-go option for people like me with small lists who plan to use the service infrequently, and only two offer RSS services. Here’s a brief guide:
A friend recently asked for advice in developing a marketing plan—to submit to a major retailer. Some smaller presses now also expect authors to submit a marketing plan. I’m no expert, but I have developed several marketing plans, and I’m creating a new one for the September release of Secrets to Die For. So I decided to share what I know.
Actually, I have two type of promotional plans: one to send to publishers
The buzzword in promotion is platform. Agents and editors want their authors to have a brand, a tagline, an expertise that sets them apart from everybody else. For nonfiction writers, this concept is fairly straightforward. If I’m writing a book about training cats to line dance, then I must establish myself as an expert cat trainer—by blogging, giving talks to cat therapy groups, and writing articles for publications focused on all things feline. But how does a fiction author establish a platform/brand?
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:
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?
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:
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.
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.
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?
I guest blogged today about how to write a great first draft. There’s lots of helpful information. Stop in.
Working Stiffs
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.
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?
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?
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?
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.
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.
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?
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?
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:
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.
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:
What makes you put down a book?
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:
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?
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. 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?
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?
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!
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.
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?
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.
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.
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.
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?
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.
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?
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.
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.
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.
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.
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?
