Monthly Archives: June 2009

My Crazies Are Better Than Your Crazies

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By John Gilstrap
http://www.johngilstrap.com

My home city, Washington, DC, is blessed with a vast community of writers. Every three or four months, my dear friend Dan Moldea pulls a bunch of us together for an Authors’ Dinner at the Old Europe Restaurant in Georgetown. The one requirement to be a “member” of the otherwise non-exclusive group is to be a published author.

As you might expect for Washington, non-fiction outnumbers fiction ten-to-one, and the politics of the room lean decidedly to the left. My own lean a bit to the right, as do those of a few other members, and this is a group that loves to talk politics. And you know what? It remains civil throughout.

Most writers I know are intellectually honest; they understand that two people can easily view a set of facts and draw entirely different conclusions. It’s refreshing. People accept that a well-reasoned position is at least, well, reasonable. Discussions get heated from time to time, but the heat is 99% passion, not anger. I’m certain that few minds are changed, but at least people listen. How rare is that in this day and age?

I’ve been an avid debater of issues for as long as I can remember, and here’s what a lifetime of political discussions has taught me: Most “liberals” and “conservatives” are actually “moderates” whose political outlooks hover somewhere between 47 and 53 on my imagined 100-point political spectrum. Why, then, are the airwaves filled with take-no-prisoners extremists on every significant issue?

Come to think of it, when did it become so offensive to discuss politics among friends? Why is it so offensive? Could it be that too many of our fellow citizens don’t truly understand what they think or why they think it; that they are merely parroting what they hear from Keith Olbermann or Rush Limbaugh or Oprah Winfrey and know that they can’t possibly defend their positions? I know a lady who routinely asks people at nearby restaurant tables to stop talking politics among themselves because the discussions make her feel “uncomfortable.” In her mind, it’s rude to discuss issues within earshot, but it’s not rude to inject herself into an eavesdropped conversation. How’s that for an interesting social compass?

Hey, look, I’m not suggesting that anyone be rude to guests at a dinner party by putting them in an uncomfortable position, but it seems to me that silence on issues comes with a heavy price. When reasonable people don’t afford themselves the opportunity to vet their thoughts, the issues themselves get hijacked by extremists, and the debate becomes polarized by gas bags who make their living by filtering and shaping the “truth” into something that in fact bears little likeness to it. Comity and compromise become the first casualties.

For the sake of votes or ratings (the common denominator in either case being money), the gas bags assign labels wholesale to people on the “other side” of issues. People stop listening to ideas yet start parsing phrases to perpetuate presumptions. In legislatures throughout the country, I worry that what used to be the loyal opposition has simply become the enemy. Majority control is becoming a license to bully.

It’s scary, it’s bipartisan, and we’re allowing it to happen in part, I believe, because we’re afraid of speaking our minds.

A friend of mine, whose politics rest around 48 on my imagined political spectrum while mine hover around 52, put it best when he told me, “John, we vote for different candidates because the crazies in your party scare me more than my crazies in mine. But only by a little.”

What do you think? How do we bring civil discourse back into fashion? Is it even a good idea? Can a democracy (or even a representative republic) continue to exist without it?

Why I Love My Television

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by Michelle Gagnonedie falco

So I became engaged in a heated debate the other day with a group of friends over the relative merits of television. One friend was a holdout who was caught by surprise with the recent switch to digital- she’d never owned a cable box, and didn’t care to start now. I thought that was a shame, and said so. And here’s why: Hands down, I think some of the most interesting stories are being told on television. A series opens up the possibilities of a much broader story and character arc than any film, in my opinion. Which isn’t to say that there aren’t some great movies out there, but I think some of the current TV programming beats the majority of films hands down.

Here are my favorites:

  • Nurse Jackie: Granted, there have only been two episodes thus far, but wow. I have a hard time imagining a movie studio greenlighting a project like this. Edie Falco proves there’s life after Carmela Soprano, the supporting cast is great, and I can’t wait to see what happens. It’s the most caustically funny comedy out there right now.

  • the wire The Wire: Season after season this series paved new ground. I think it was the best police procedural ever made, and that includes Homicide, in which to be honest my interest waned halfway through.

  • Deadwood: Shakespeare in the Wild West. Swearengen was one of the best villains ever written, complex, smart, funny- he stole the show season after season. It’s a shame this ended so soon.

  • Mad Men: It makes one yearn for the days of three martini lunches. A brilliant portrait of life in America at a time when everything was about to change.

  • United States of Tara: An Emmy is almost a given for Toni Collete in this role that allows her to chew the scenery. Roles like this for women of a ceUS Tarartain age just don’t exist in film anymore. And Diablo Cody proves that Juno wasn’t a fluke, she’s a major talent.

  • The Tudors: The trashiness is leavened by the period costumes and fine acting of Jonathan Rhys-Meyers.

  • The Shield: Dark, gritty, and one of the best and most realistic endings to a drama ever televised.

  • It’s Always Sunny in Philadelphia: This show is so weird and out there I can’t get enough of it. You so rarely see cannibalism explored in two dimensions, alongside race relations, white guilt, and character so completely devoid of any sense of humanity.

Note that all of these air on cable networks- my argument for investing in a box over an antenna. Granted, there’s a lot of trash out there, but there are some true gems as well.

So I’m curious to hear what everyone’s current favorites are- there are many I haven’t listed here that are mainstays on my TIVO, but these are the ones I rush to see when they’re on.

What’s in a number?

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By Joe Moore

The authors here at TKZ blog write in the mystery/thriller genre. We cover the gamut of action and suspense themes. All our books contain totally different stories and different styles from different perspectives and voices. We are individual writing original fiction.

But there’s one thing we all have in common with each other and every other published writer. Somewhere on the cover of our books is a number (usually displayed with a bar code) called the International Standard Book Number (ISBN). Recently, someone asked me what the number meant, besides just identifying the specific book. I had no idea, so I went searching for a answers.

Here’s what I found.

isbn An ISBN is assigned to each edition and variation (except reprints) of a book.

The ISBN system is universal. So anyone with knowledge of the numbering system can decipher what it means including where it was published.

Up until January 1, 2007, ISBN’s contained 10 digits. Now they have 13.

An ISBN-13 is made up of five parts usually separated by hyphens. The first part is 978 to comply with something called the GS1 global standard.

The second part is a group or country identifier. English speaking countries start with 0 or 1. French with 2. German with 3. Japan with 4. Here’s a list of all the group/country identifiers.

The next part is the publisher’s number. Publishers usually purchase blocks of ISBN’s.

The publisher’s numeric title of the book is the next number.

The final number is called a “check digit” used for error detection and to validate the ISBN. It is always a single digit, so if the formula used to determine the check digit produces a 10, it is designated by the Roman numeral X.

Here’s some additional info on ISBNs.

A new ISBN number is required if you change the title on a reprint, make a substantial revision (approximately 15-20% of the text), and change the format or binding such as going to audio or hard cover to paperback.

There’s no need to use a new ISBN on additional printings or if the price changes.

You can never reuse an ISBN on another book if the first goes out of print. Plus, even if a book is declared out of print, many booksellers such as Amazon are involved in the selling of used books. So the title and ISBN can remain active long after the publisher has stopped printing.

Although it’s a dry topic, the ISBN is a common thread that binds all published authors together. And like so many other elements in the publishing world, we should all be aware of what that little number means on the back of our books.

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Coming Sunday, June 21, Paul Kemprecos tells us what it’s like to collaborate with Clive Cussler. And future Sunday guest bloggers include Robert Liparulo, Linda Fairstein, Julie Kramer, Grant Blackwood, and more.

Getting unstuck: Dealing with writer’s block

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I thought about titling this post Coming unstuck, which lets you know how I feel about today’s topic: Writer’s block.

I never used to understand what people meant by “writer’s block.” I ‘d always felt immune to that scribe’s disease. When I wrote the first two books in my current series, I had a machine-like discipline. I’d get up at four a.m. every morning and write for at least two hours. No. Matter. What. My progress was always slow but steady. I wrote almost the same number of pages every day. My writing group members were in awe of me.

But then along came Book Three, and I went into a bit of a slump. Actually it felt more like an avalanche. Even though I loved the story I was working on, sometimes I’d find that days would pass without any progress at all. I eventually had to ask for–gasp!–an extension from my editor, who graciously granted it to me. But even then I kept running behind. Ultimately I made the new deadline, but barely. Now I have a recurring nightmare about missing the deadline, which has replaced my old nightmare about discovering that I’ve missed an entire semester of a class, just before the final exam.

So what exactly is writer’s block? I think the term is a bit misleading. It implies that the writer doesn’t know what to write about — such as a lack of inspiration, perhaps. In my case I knew the story I wanted to write, but I seemed to have lost the daily writing rhythm along the way. Maybe what I had was actually energy block. Or focus block.

So here were a few of my cures for The Block. All of them proved to be helpful at times:

  • Write 15 minutes a day
    You can write for at least 15 minutes today, even if you’re the busiest person on the planet. Doing that small amount per day helps you get the habit and rhythm back. Over time, your progress will add up.
  • Write at the same time each day.
    I think this is the single most helpful habit that will enable you to break through writer’s block. If you sit your butt down in a chair at the same time every day, your body starts to learn that this is the time for writing. Your writing flow will start to kick in at that time.
  • Free writing
    This technique is where you grab a couple of random words and “free write” them into your WIP for a set amount of time. Actually, this one has never worked that well for me. Whenever I try free writing, I get stuck at the same damned spot that I’m stuck in my regular writing. And then I get even more depressed about my writer’s block. But I know that free writing works wonders for some people. For great tips about free writing and other ways to break through The Block, I recommend Barbara DeMarco-Barrett’s book, Pen On Fire: A Busy Woman’s Guide To Igniting The Writer Within. (Guys can pick up a few tips too!)
  • Put your writing first
    I have many acquaintances who have endless reasons for not writing. Anniversaries, birthdays, conflicting deadlines, vacations, relatives visiting…you get the idea. Unsurprisingly, these people are frequently blocked writers. Your writing needs to be a first priority in your life, or you’ll be doin’ time inside The Block.

What about you? Have you ever wrangled with writer’s block, or energy block? Any solutions you can share?
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Coming Sunday, June 21, Paul Kemprecos tells us what it’s like to collaborate with Clive Cussler. And future Sunday guest bloggers include Robert Liparulo, Linda Fairstein, Julie Kramer, Grant Blackwood, and more.

We’re not in Kansas Anymore

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by Clare Langley-Hawthorne

I’m in the Hilton at Chicago O’Hare airport typing this post so apologies if I don’t get to comments until late Monday as I’ll be flying home from the Historical Novel Society conference. I had a lovely time because for once I didn’t feel like the nerd in the room full of cool thriller writers:)…okay so I still felt like a nerd, it just wasn’t quite as obvious…

On Sunday I moderated a panel on writing about non-Western cultures with a terrific line-up of panelists: Michelle Moran, Jade Lee, Kamran Pasha and Eileen Charbonneau. Of all the (fabulous, of course!) questions I asked, the one that struck me the most related to resistance within publishing houses to publishing books about non-Western cultures. Not surprising but saddening none the less. For most of the panelists, publication sprung from the faith of the one cool editor out there who fell in love with the project and was determined to see it succeed. That’s true for most writers but still the need to justify and convince the marketing and sales force of the commercial viability of such a project remains a unique challenge for the writer of a ‘non-Western’ book.

What I think depressed me the most (though I have to confess much of what the agents, editors and fellow published writers were saying at the conference about the state of the publishing industry was depressing) was the sad truth that in bad economic times most readers want to escape to something they are comfortable with – which usually means something they can easily relate to culturally. I guess readers want the comfy old sweatshirt rather than the exotic shirt they can’t seem to button up. For me, when I start worrying about the economy, I re-read English favorites like the Brontes or Jane Austen with a nice hot cup of tea in my hand – so I readily admit I’m just as bad (though I hope I’m forgiven because I usually have wider, culturally diverse tastes!)

As was evident from our discussion, one of the driving forces behind most of the writers on the panel was a desire to overcome stereotypes (and in Kamran’s case overwhelmingly negative ones regarding Muslims) and to help inform readers about the true nature of a culture which remains to many readers both foreign and inaccessible.

Which brings me to some questions for you all: In a sales driven market, how can writers help broaden the publishing industry’s cultural horizons? What makes a so-called alien culture (and I don’t mean sci-fi or fantasy) accessible for you as a reader?

Despite the economic times, I think we need tolerance and cultural understanding now more than ever. Before I embrace the blogosphere with a group hug (okay, I’m sleep deprived, so cut me some slack here…) I also want to know how do you think readers, writers and the publishing industry can help bridge the cultural divide?

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Coming Sunday, June 21, Paul Kemprecos tells us what it’s like to collaborate with Clive Cussler. And future Sunday guest bloggers include Robert Liparulo, Linda Fairstein, Julie Kramer, Grant Blackwood, and more.

The King Is Back

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Our guest today is New York Times bestselling author, Steve Berry. Steve’s books have been sold in 49 countries and 39 languages with over 8 million copies in print. His novels include The Amber Room, The Romanov Prophecy, The Third Secret, The Templar Legacy, The Alexandria Link, The Venetian Betrayal, and his latest, The Charlemagne Pursuit. His next thriller, The Paris Vendetta, will be available December 2009. In addition to writing novels, Steve serves on the International Thriller Writers board of directors as co-president.

By Steve Berry

berry-steve2Over the past six years I’ve been asked countless times by the press, fans, and friends about The Da Vinci Code.  It’s a natural question since my stories are constantly compared to it.  Dan Brown even provided a wonderful blurb for my first novel, The Amber Room, (calling it “sexy, illuminating, and confident . . . my kind of thriller”).  I still like reading that comment from time to time.

Dan achieved what every writer dreams about.  He wrote a story that utterly captured the imagination.  One of those tales that rang with a sense of originality.  Remember all the press.  The hype.  The talk.  The buzz.  It was amazing.  People flocked into stores and bought The Da Vinci Code by the millions.  The result?  A guy who barely existed after his first three novels, was catapulted into a worldwide household name.  Eventually, non-fiction books, more fiction, television shows, games, memorabilia, a movie, you name it, and that book spawned it.

dan-brownBut that will not be Dan’s legacy.

Nope.

What he did is bigger than all that. 

Dan will be remembered for bringing a genre back to life. 

Here’s reality:  When the Cold War ended in 1990, the traditional, tried-and-true-good-old-fashioned-spy-thriller died.  By 1995 the genre was virtually gone.  By 2002 editors simply weren’t buying, and people weren’t reading, spy thrillers.  Sure, if you were Cussler, Follett, Ludlum, and Forsyth you were okay.  Those long standing audiences were fully developed and totally assured.  But if you were anyone else, especially a rookie trying to break in, times were tough.  During the 1990s my agent submitted 5 separate thrillers to New York houses.  They were rejected a total of 85 times.

Then, in March 2003, the world changed. 

That was when The Da Vinci Code was released. 

tdcFor the next 36 months The Da Vinci Code was either #1, 2, or 3 on The New York Times  bestseller list, mostly in the #1 slot.   On every other American bestseller list the story was the same, as was the case from around the world.  Few books can claim such a feat.  A genre that what was once called ‘spy thriller,’ re-emerged as the international suspense thriller, a blend of history, secrets, conspiracy, action, and adventure. 

Just exactly what I, and many others, happen to be writing.

Many of us received our chance to find an audience thanks to what Dan Brown and Doubleday did in releasing The Da Vinci Code.  Thrillers were hot once again.  Hundreds of new books appeared.  The resurrection led, in no small measure, in 2004, to the creation of International Thriller Writers, an organization now of over 1000 working thriller writers. 
Happy days were here again.

Every few years a book comes along that literally changes things.  Stephen King’s Carrie.  David Morrell’s First Blood.  Scott Turow’s Presumed Innocent.  John Grisham’s The Firm.  Those books fundamentally altered their genres.  They also opened up opportunities that, before them, did not exist for others.

The Da Vinci Code is such a book too.

I tell the story that every time I pass a copy I stop and bow.  Perhaps that’s an over-dramatization but, in my mind, I always utter a silent thanks.  Maybe I would have made it to print one day.  Maybe not.  All I know is that I did make it in 2003 thanks to Dan Brown, Doubleday, and The DaVinci Code.

In September, The Lost Symbol will be released.  This time Dan and Doubleday will not just resurrect a genre, they could well revive an industry.  Book sales have been decreasing over the past two years.  Print runs are down.  Re-orders are slow.  Backstock is disappearing.  Already, bookstores and booksellers are salivating at the prospects this fall offers.  People will, without question, return to the stores.  Books will be sold, and not just Dan’s.  The ripple affect will be huge.  Everyone’s bottom line will be positively affected.  This is precisely what the publishing industry needs.  The Lost Symbol will certainly debut at #1 and remain there for many months, if not years.  Already it is the single largest first printing in Random House history (5,000,000), but my guess is that number will increase before the fall. 

Welcome back, Dan.

For the past six years, many a prince has fought over your throne.  Several have laid claim, but none emerged to take your place.

Now they all must move aside.

The king is back.

May his reign be long and prosperous.

So what do you think? What effect will Dan Brown’s new thriller have on the publishing industry? Will it surpass The Da Vinci Code?

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Coming Sunday, June 21, Paul Kemprecos tells us what it’s like to collaborate with Clive Cussler. And future Sunday guest bloggers include Robert Liparulo, Linda Fairstein, Julie Kramer, Grant Blackwood, and more.

My Wife Went to Prison Last Week

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John Ramsey Miller

My wife’s bank was purchased by this other huge bank with offices in San Francisco and she was in that fine city all week, while I was at home with the chickens and dogs. Monday she went to Alcatraz Island and took the tour. She called me to say that she couldn’t believe how bleak the place was and how small the cells were. I knew that already since I’ve been in prisons before. And I reminded her that she had been there too, albeit only in the visitors area.

When I was photographing country music artists for album covers and magazine features I went to “The Walls” in Nashville with Tammy Wynette and Mel Tillis to photograph their concert for CBS Records. I got pictures of Tammy walking around in a huge room filled with a few hundred inmates armed only with a microphone, and she was a safe as she would have been sitting at home, where she actually died some years later. One of the inmates was also taking pictures and I talked with him about photography. The walls was a gothic prison where Burt Reynolds filmed the Longest Yard. Tony M., the inmate with a camera, was there doing 54 years for armed robbery.

A week later, I was approached by the warden at the prison (who later lost his job and, if memory serves, went to prison himself for borrowing money from inmates) who said Tony had asked him if I could help him set up a photographic darkroom for use by the inmates who put out the prison newspaper and I agreed. I looked at the space, which was across the main yard where the inmates spent their days. I designed a well-equipped darkroom, which Tony was to run. Tony was a very nice guy for an armed robber. In fact he was a nice guy period. The inmates liked him because he furnished them with pictures for their loved ones. In exchange they traded him things for the pictures, which is how prisons work.

For a period of a few weeks I would present myself at the gate and the guards would open the gates and let me in and I would wander to the designated darkroom space. I had nothing to fear because the inmates knew I was helping Tony, and I walked around unaccompanied by guards as safe as a newborn puppy. I went everywhere with Tony and being under his protection and I spent a lot of time talking with inmates. I taught Tony how to use the equipment I selected, and he was a natural. After Tony was moved to a newly built facility two years later I would take my wife and two-year-old son to visit him on Sundays and my son would sit in his lap.

Later I went to Leavenworth, Kansas to photograph Johnny Paycheck in concert in that federal facility, and it turned out that the warden was a nephew of Bill Monroe, the Bluegrass Icon. Bill Monroe was a casual friend of mine, and I had done a couple of his album covers. I was invited to go coon hunting with him. The warden gave me the celebrity tour, and I visited the rooms where the Birdman of Alcatraz had done his bird thing. The bird man was a cold-blooded sexual predator and murderer who had a soft spot for birds. The warden told me that the birdman killed several inmates after he’d raped them and that was the reason he was never released on parole. Hard to imagine Burt Lancaster filming a scene like that for the movie. I met well-known mobsters, a Brinks truck robber, killers of people with Federal implications, and other famous criminals. It was the kind of tour normal people didn’t get. That day I was with the warden, who walked around without an escort. I was amazed.

In 1981 I was living in New Orleans, and one night at a dinner for a mutual friend (Tony Dunbar, a lawyer who worked for Amnesty International). I was seated beside Sister Helen Prejean who lived in the projects and ran a ministry from her apartment. She worked with death row inmates. This was before she wrote DEAD MAN WALKING and I found her brilliant and totally delightful. She asked me how I felt about the death penalty and I said I was all for it. Long story short she said if I knew the inmates she worked with I couldn’t hold that belief. Two years later I found myself on Death Row setting up a formal portrait studio in the main hallway and loaded film in a cell on death row at Angola. During those two years I had spent untold hours negotiating with attorneys, inmates, and prison officials in order to do portraits of the men under sentence of death. In 1981 executions had been halted for a few years, and the big burn was in the works as cases wound through the courts. I met and photographed Elmo Sonier (Son-yay) one of the two men turned into one for the movie. The other was Robert Lee Willie, I didn’t photograph him. Elmo was one of an impromptu two-man team who raped a teen-age girl and murdered her and her boyfriend. The pictures ended up running in John Grisham’s The Oxford American in the largest selling issue in its history. The pictures, formal large-format portraits of smiling men dressed in street clothes ran years after the men in the pictures were executed. The handcuffs and leg shackles didn’t show in the portraits. If you saw MONSTER BALL, you saw Death Row and depictions of the guards. None of the guards were pro death penalty (at least they told me they were against executions) because they spend their days with the men they would have to help kill.

I have never written about prisons in my books, even though I am familiar with them and got to know more than a few inmates. After that series, I lost interest in photography, and began writing. When those men were executed it depressed me. I was depressed because I felt deep compassion and empathy for the victims, and I felt a sense of wasted lives of the inmates. I look at the pictures of smiling death row inmates and I try to imagine how their victims saw them in their last moments alive. It was impossible to imagine these men as cold-blooded murderers, but they were, and had done horrific things I won’t go into here. They did the crime and they each paid the price society exacted. As long as people harm others, prisons will be necessary. A lot of prisoners shouldn’t be there, but a lot should and have to be. The death penalty has the purpose of making certain that people who are executed never kill again. But the truth is that killers don’t think they’ll ever be caught, much less convicted and executed. It isn’t a deterrent. And it is certainly barbaric. Not much I can do about the people in there, but I can live my life hoping I can help someone make better choices, and know they are valuable.

Here I go wandering again and not blogging about writing, but talking about my life. (It’s all about me). Everything is about writing because our sum totals go into everything we write. The fact is that people flat amaze and astound me. That’s a huge part of why I write, and the people I’ve been fortunate enough to know furnish parts of the characters I put on paper. It seems to me that we all have an amazing capacity for doing good things and being positive influences on people in our lives. At the same time we all have the capacity (hopefully unrealized) for channeling evil and destroying lives. Although most of write about evil, it rarely if ever wins in the end, and good triumphs in the end. I like to think life is like that and good will always shine through and prevail.

Dare To Dream

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By John Gilstrap
http://www.johngilstrap.com

It’s June, so another graduation season is drawing to a close. In high schools and colleges all over the United States, proud students are donning caps and gowns, and posing for pictures with even prouder parents and grandparents. Late spring is the time of unbridled opportunity. Those young men and women literally own the future—their own, to be sure, but also mine, by extension. Given the inherent joy of the season, I wonder why so many adults seem to take pleasure in screwing it all up.

When the announcement is made at the family dinner that young William or Wilhelmina has a computer science degree or a business degree, or that they’ve been accepted to the law school of their choice, the sense of approval is palpable. Everybody knows that those kids are set for life. Their future will be filled with money and material gain.

Have you noticed that music majors or creative writing majors or acting majors don’t receive the same universal acceptance? Is it because the presumed path to wealth isn’t quite so linear? Is it because liberal arts and social sciences aren’t as important to society as harvesting a new crop of lawyers? This bothers me.

I find it difficult to believe that at the doddering age of 21, every law school inductee is truly pursuing his or her passion. I could be wrong—I’ve spent a lifetime being wrong many, many times—but whenever I see a newly minted lawyer or accountant, I get the sense that in more than a few cases, their beaming smiles are reflections of just their own ambitions, but those of Mom and Dad as well.

Maybe I don’t want to see so young a person with so pedestrian a dream as being a lawyer or accountant. Age forty-one is the time for 12-hour work days and heavy responsibility, not twenty-one. Is this really their dream? For some, yes. For many, I suspect no.

You want to see lofty dreams? You want to be inspired by a youthful spirit? Sit down and talk to those creative writing students and the musicians. They know that the odds of success are stacked against them, but they don’t care. They’ve got a passion, and they’re going to pursue it to the end, until they either succeed or are forced by finances or a broken spirit to declare defeat.

If they beat the odds—and let’s face it, they are long odds—naysayers will pronounce them to be “lucky.” But that’s only if the success is huge. Like George Clooney or John Grisham huge.

Otherwise, in my experience, people will find a way to diminish true success and turn it into something less than it is. It’s only a TV movie, not a real movie. It’s only being published by a small press, not a major house. It’s only the Washington Opera company, not the Met. It’s only the touring company, not Broadway. Sure, he made it to the Chicago Bears, but he never made it above second string.

It’s a shame about William. He never really made it. Never mind that William is doing what he loves.

I feel sorry for the kids who have been career tracked by their parents. It’s foolish to think about becoming an artist, they are told, because it’s impossible to make any money at it. They’ll prove their point by reciting a litany of one hit wonders and abject failures from among their own childhoods. Give up now, son; you’ll never make it. This from the same mother or father who said never give up on the soccer field or in Math class. Those are important. Without the connections and the A-plus report card, Harvard is off the table, don’t you know.

I know that I am painting with a very broad brush here, but I’ve known these parents. I’ve had to justify why I was ruining my own son’s chances at success by not shipping him off to boarding school where he could start networking at age fourteen. (I’m not making that up. I turned the debate around, though, when I asked the overachievers why they were willing to surrender custody of their adolescent children at the moment in their lives when they most needed the steady hand and constant love of their parents.)

So listen up, graduates: It’s your life now. You have the God-given right to live it as you please. If acting like you’re forty when you’re 20 years younger is your thing, then go for it. But if you want to start a rock band or become a poet or set a new standard for sculpture, this is the time. If it doesn’t work, how much harm can you do to an accounting career that hasn’t started yet?

How do you even know that you want to be an accountant if you haven’t tried a dozen other things? I’ve got nothing against accountants, don’t get me wrong, but this is an important life choice. Suppose you hate being an accountant? Changing your mind becomes a lot harder after you’ve got kids and a mortgage, and I think that the seeds of doubt over what might have been if only you’d tried could be crippling.

I say if you’ve got talent and a dream, pursue the hell out of it. This is the time. Success only comes to those to endeavor to achieve it. Failure only comes to those who surrender.

And to surrender without trying, well, that’s just cowardice.

Why Bother with Bookscan?

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by Michelle Gagnonbook

So here’s something I didn’t find out about until after my first book was published: Nielsen, the same company that ranks TV shows, is responsible for maintaining records of book sales. And, as with the TV ratings, there’s a vast disparity between what those numbers say and what the reality might be (does anyone honestly believe that many people are watching the “Ghost Whisperer?”) Among all the industry people I’ve spoken with, it’s generally acknowledged that Bookscan tends to be wildly inaccurate.

Case in point: I know for a fact that, when compared with my royalty statements, Bookscan only counts about a third of my sales (and that’s a year after the fact). Despite their claim to “provide weekly point-of-sales data with the highest possible degree of accuracy,” there are a number of sales venues they simply don’t factor in. Amazon, for example. Or Walmart. Or airports, drugstores, supermarkets; in other words, pretty much anywhere paperbacks are sold. I’ve heard that the numbers come closer with hardcovers, but with mass market paperbacks they’re way off the mark.

So why, then, do these numbers matter? For the sad truth is that they do. During my agent search, one agent looked up my Bookscan numbers right in front of me. And few people seem to know exactly how far off they are. From various editors I’ve heard that they double, triple, or even quadruple the Bookscan numbers to approximate actual sales.

In this day and age, why isn’t a better system in place? My publisher produces “velocity reports” the first six weeks of a book’s release–they know by the end of each week exactly how many copies have sold. So where do those numbers come from, and why aren’t those reported to Bookscan?

Big box stores like Barnes and Noble and Borders also know exactly how many books they’ve sold, almost on a minute to minute basis. If they stock eight copies of a book and sell five, they’ll only buy five copies of that author’s next release (or even fewer; sad but true. Which is why, as Joe noted yesterday, so many authors adopt pseudonyms these days in an effort to beat the system). So now that all of this information is computerized, why is the one “central clearinghouse” so wrong? A friend who works as an editor in Germany claims that they can get an accurate tally at the end of each and every day. Granted, Germany is a much smaller market than the U.S., but still. There has to be a better way.

Mind you, most authors don’t have access to their Bookscan numbers- publishers and distributors pay a fee for that information. I’m a big believer in transparency, and one of the most maddening aspects of being a writer is that getting a sense of where you stand is a constant uphill battle. This is why some authors become compulsive about checking their Amazon ranking, or trying to get feedback from their publisher regarding how sales are progressing. I’m not sure why that information is in short supply, but the Bookscan monopoly can’t be helping.

Coming up on Sunday, June 14, our guest blogger will be New York Times bestselling author and ITW co-president Steve Berry discussing the impact of Dan Brown’s new thriller THE LOST SYMBOL on the publishing industry.

And watch for future Sunday guest blogs from Robert Liparulo, Paul Kemprecos, Linda Fairstein, Julie Kramer, Grant Blackwood, and more.

Just say no to dialect, y’all

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I’m visiting my family in North Carolina this week, and was pleased to run across an article in a local paper that described the enduring value of regional dialects.

However, I don’t love it when authors use too much dialect in fiction. I think the over-use of dialect in dialogue is a huge story drag.

I once belonged to a writing group where a writer insisted on loading down his eighteenth-century naval adventure story each week with enough historically “accurate” dialect to sink a clipper ship. And what’s worse, he’d write phonetically accented dialect, so that it became taxing simply to wade through a few paragraphs. By the time his characters had been at sea for five minutes, I felt like I’d been reading for five hours.

But every time I suggested to him that there was too much dialect, he’d come back with, “But that’s the way people really spoke.“

And my thought-response to that was, so what? Reading it was hell.

With all due respect to Mark Twain, I think writers today need to convey dialect through techniques that don’t involve making the reader slog through irritating, hard-to-decipher dialect. We must try to give the rhythm of natural and regional speech without making readers suffer through a surfeit of “sanging,” “you’uns,” and “Oh, Law’s.”

These tools include:

  • Local phrases – The article I linked to earlier mentioned that mountain folk might refer to a child born out of wedlock as a “woods colt.” When you sprinkle local phrases such as that into your dialogue, your readers will know exactly the type of speech your character is using.
  • Slang – You can use slang to clarify a character’s speech, but I’d use this tool sparingly. Slang can make your writing seem dated. For example, how many eras could utilize the slang phrase “booty call”?
  • Grammar – a character’s use of grammar communicates a wealth of information about his or her education, socioeconomic status, and other personal traits. But again, use that tool lightly so that ungrammatical speech doesn’t become annoying.

But maybe it’s just me. In my writing group, I seemed to be the only reader who was highly allergic to dialect. What about you? Do you mind reading dialect in books? As a writer, what are some of the do’s and don’ts that you employ to portray a sense of dialect without turning off a reader?

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Coming up Sunday, June 14, our guest blogger will be New York Times bestselling author Steve Berry. And watch for future Sunday guest blogs from Robert Liparulo, Paul Kemprecos, Linda Fairstein, Julie Kramer, Grant Blackwood, and more.