Monthly Archives: August 2013

Two More Ways for Writers to Milk the Cash Cow

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So you want to make money as a writer. I feel a Seinfeld coming on: Not that there’s anything wrong with that! Because there absolutely isn’t. In fact, it’s a good thing to write for money.
Writers write. And these days, writers increasingly publish. But digital and print are not the only games in town. To invigorate the flow of your income stream, think diversification.As in, trying new things, putting out your content in all possible forms. Here are two to consider: Audio and Serialization.
Audio
According to the Wall Street Journal (link may expire),there is an “explosion” in the production and consumption of audio books:
“We’re moving toward a media-agnostic consumer who doesn’t think of the difference between textual and visual and auditory experience,” says Don Katz, Audible’s founder and CEO. “It’s the story, and it is there for you in the way you want it.”
Audio books have ballooned into a $1.2 billion industry, up from $480 million in retail sales in 1997. Unit sales of downloaded audio books grew by nearly 30% in 2011 compared with 2010, according to the Audio Publishers Association. Now they can be downloaded onto smartphones with the tap of a finger, often for the price of an e-book.
This development is not without its critics and concerns:
The rapid rise of audio books has prompted some hand-wringing about how we consume literature. Print purists doubt that listening to a book while multitasking delivers the same experience as sitting down and silently reading. Scientific studies have repeatedly shown that for competent readers, there is virtually no difference between listening to a story and reading it. The format has little bearing on a reader’s ability to understand and remember a text. Some scholars argue that listening to a text might even improve understanding, especially for difficult works like Shakespeare, where a narrator’s interpretation of the text can help convey the meaning.
Despite the doubts, it’s clear that audio is not only here to stay, it’s going to keep on growing. Which means another income stream for authors.
If you are going it alone, writer, the path to a recorded version of your work couldn’t be simpler. The ACX program at Amazon has one of the most user-friendly sites in publishing. Go cruise around it and see for yourself. Start hereto get an overview of the program.
You have two basic choices. You can pay for equipment (or rent a studio) and figure out how to produce your own work. Or you can partner up with a narrator/producer and split the proceeds. That’s what I chose to do with a guy named Sands from Alaska. Together we have two audiobooks available:
I’m currently auditioning female narrators for the audio version Pay Me in Flesh (Note: I retained those rights during contract negotiations. If you go traditional, discuss this with your agent). I’ll do the same with the other 8 books I have available with women as protagonists. For some of my other work, I’m planning to try it myself. I like listening to Stephen King narrate his own books, and I figure what’s good enough for him…
Serialization
Now we come to the serials idea, which is gaining momentum via Amazon. I recently interviewed thriller author Reece Hirsch, author of The Adversary (serialized via Amazon’s Thomas & Mercer imprint) about his new venture:
“I’m writing a series of thrillers for Thomas & Mercer, featuring Chris Bruen, a former Department of Justice cybercrimes prosecutor who is now in private practice helping clients combat hackers and cybercriminals. Each of the three books in the series will be published initially as Kindle Serials, which means that for a one-time price of $1.99, an episode will be automatically delivered to your Kindle each week for eight weeks. After the serialization is complete, the book will be available for order as a paperback and as a regular ebook. The book’s pricing is typically higher after the serialization period.”
In addition to the serialization, Amazon sets up a discussion board for each Serial so that readers can comment on the episodes as they’re released. “I intend to mix it up with

readers on the discussion board as much as possible,” Reece says.

Reece also notes an additional marketing aspect of serialization:
“The Serials program offers a two-month initial rollout as the episodes are released at a relatively low price, and then the opportunity for a renewed marketing push when the complete ebook and paperback become available. Thrillers, which tend to feature plenty of cliffhanger chapter endings, are uniquely well suited to serialization.”
There was another writer who did okay with serials. Hmm, what was his name again? Oh yeah, a fellow named Dickens. Will the same dynamic that worked in 1875 work in 2013? “I’m looking forward to finding out,” Reece told me. “I measure the ROI in terms of the massive amounts of time I devote to writing a novel for readers. If being part of the Kindle Serials program helps me connect with a larger readership, then I trust that will translate into a decent financial return.”
What about you, TKZ readers? Do you listen to audio books? What about the serials idea? Maybe you should use Reece Hirsch and The Adversary as a try out. 

Vacation!

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By Mark Alpert I’m on vacation in northern Michigan and using my father-in-law’s computer to write this post (so please excuse any weird formatting problems). Needless to say, it’s great up here. So great that I haven’t thought about writing for two weeks. I did a couple of book signings for my latest novel, Extinction, at my two favorite bookstores in the area, McLean & Eakin in Petoskey and Between the Covers in Harbor Springs. But I haven’t written a word. I’ve been very bad. But I’ve been reading a great new science-fiction book, Wool, by Hugh Howey. My son recommended it to me. It’s fantastic. And I did something heroic: I saved the life of an American icon. I was with my wife and kids at the trout pond at the Oden fish hatchery when I heard a loud thrashing in the trees nearby. Much too loud to be a squirrel. I walked closer and saw huge brown wings flapping ineffectually among the branches. Then the large bird fell to the ground and I saw it was a bald eagle in distress. Maybe it had broken a wing, I couldn’t tell. Anyway, my wife called the rangers at the fish hatchery’s visitor center and within a few minutes they drove up with a couple of nets. By this point the eagle had tumbled into the pond and I was worried it would drown. But the bird had amazing stamina and it managed to keep its head above the water until the rangers fished it out with a net. We checked on the eagle’s status the next day: it was doing well at a local bird sanctuary. So now I’m expecting a congratulatory call from the White House. Mr. Alpert, the President is on the line. Unfortunately, we head back to New York City tomorrow. Dirty, crowded New York City, which always seems twice as unlivable in the days after we return from Michigan. On the plus side, though, I’ll probably get more writing done there.

Reader Friday: Learning from Mistakes

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We all prefer to highlight the successful moments in our writing careers, but let’s visit the flip side for a moment. What mistakes or goof-ups have you made in your writing life? Did you learn any useful lessons from from the experience?

Keys Ways to Add Layers to Your Writer’s Voice

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Jordan Dane
@JordanDane
 



Joe Moore’s guest blogger yesterday, editor and author Jodie Renner, had a great post on Developing a Strong Third Person Voice that stirred other ideas for me to dove tail off. I thought of experiencing a scene through the senses of my POV narrator and giving that character an opinion of his surroundings to add setting description color as well as insight into the narrator to reflect on him or her. By making each word choice serve more than one purpose (to add color as well as insight into the character) an keep the pace moving without bogging down the narrative.

James Patterson talked about this at a Romance Writers of America conference in Reno in 2004 to a packed house of writers that filled two ballrooms. He said on his computer, he has words that inspire him to remember the basics. BE THERE were the words he posted to remind him to put the reader into the scene by using their senses to trigger images from the words on the page.

When writing any scene, get the words down, but then go back and layer in other elements to enhance the voice of your narrator and make the reading experience more vivid for the reader. Ask yourself what your character would be seeing, hearing, tasting, smelling, and how something would feel when they touch it. Adding these elements can bring depth to the scene and draw the reader into the world you are creating, by triggering the “familiar” with them.

Below is an excerpt from Robert Crais’s The Sentry, one of my favorite authors. This comes from the very start of the book.

The Sentry – by Robert Crais
Monday, 4:28 AM, the narrow French Quarter room was smoky with cheap candles that smelled of honey. Daniel stared through broken shutters and shivering glass up the length of the alley, catching a thin slice of Jackson Square through curtains of gale-force rain that swirled through New Orleans like mad bats riding the storm. Daniel had never seen rain fall up before.
     Daniel loved these damned hurricanes. He folded back the shutters, then opened the window. Rain hit him good. It tasted of salt and smelled of dead fish and weeds. The cat-five wind clawed through New Orleans at better than a hundred miles an hour, but back here in the alley—in a cheap one-room apartment over a po’boy shop—the wind was no stronger than an arrogant breeze.
     The power in this part of the Quarter had gone out almost an hour ago; hence, the candles Daniel found in the manager’s office. Emergency lighting fed by battery packs lit a few nearby buildings, giving a creepy blue glow to the shimmering walls. Most everyone in the surrounding buildings had gone. Not everyone, but most. The stubborn, the helpless, and the stupid had stayed.
     Like Daniel’s friend, Tolley.
     Tolley had stayed.
     Stupid.

This very visual and sensory description from Crais’s excerpt incorporates elements of the senses, as well as metaphors and analogies to describe an opening scene. Using adjectives like “arrogant” to describe a breeze is unexpected yet effective to say that the hurricane winds had been tamed. You can taste and smell the rain. It “tastes of salt and smells of dead fish and weeds” which adds to the raw feeling near the gulf. The narrow French Quarter room was “smoky with cheap candles that smelled of honey.” “Broken shutters” give you more than a visual when you can feel the chill of the hurricane through the “shivering glass.” The notion of “mad bats riding the storm” give the bluster a sinister feel too.

Having given these examples, it’s important not to overwrite the setting/scene. In this excerpt, there is a laser focus on setting the mood and the word descriptors are deliberate choices, like using dead fish and weeds to describe the rain in the French Quarter. It adds to the ambience without being overdone or by being unrelated to the location or mood. Recently I read a book where the metaphors and similes stood out because they were not only unrelated to the other examples on the first few pages, but these comparisons did nothing to enhance the mood or give insight into the character or setting. It made the author appear like a student trying to impress the teacher, with not much thought going into the word choices and how they pertained to the story.

We are Visual Learners
Many people are visual learners, so using the senses (and/or metaphors and analogies) can bring in the visual using something familiar. These ideas can quickly suggest a setting without slowing the pace with too much word description. They give a quick snapshot of the scene in a way to trigger the reader’s mind and delve into their own experiences to make things more vivid. These images can also trigger emotions, such as comfort or fear, at the same time. Adding these elements can not only bring color and distinction to the voice, but they can also layer in elements of emotion and visual triggers to enhance the voice. So let’s talk about metaphors and analogies.


Metaphors
A metaphor is an implied comparison that brings two dissimilar things together and implies that the two things are alike or comparable. Metaphors can be used to describe a complicated concept or setting, to make it more easily understood or relatable. They can enhance the imagery by adding a familiar feeling, such as the lightness of taking flight when you describe being in love, or describing death as a candle that is snuffed out.

Examples:

  • Ideas can mushroom
  • Love has wings
  • A brave man has the heart of a lion

Analogies
Just like a metaphor, an analogy makes a link between two dissimilar things, but implies there is a difference between the two things, while a metaphor treats them as the same.

Examples:

  • A fish is to water, what a bird is to air
  • A CEO is to a company, what a General is to an Army
  • A mother giving birth to a child, is what an author would be to the creation of a novel


I wanted to include other excerpts that use a visual imagery well in terms of metaphors and similes. One of my favorite books is The Book Thief. If you’re a regular at TKZ, you’ve heard me talk about this book before. I hope you enjoy these:

The Book Thief by Marcus Zusak
“She was the book thief without the words. Trust me, though, the words were on their way, and when they arrived, Liesel would hold them in her hands like the clouds, and she would wring them out like rain.” The Book Thief by Markus Zusak 
 
“Upon her arrival, you could still see the bite marks of snow on her hands and the frosty blood on her fingers. Everything about her was undernourished. Wire-like shins. Coat hanger arms. She did not produce it easily, but when it came, she had a starving smile.” The Book Thief by Markus Zusak 

Anne Bronte – The Tenant of Wildfell Hall
“His heart was like a sensitive plant, that opens for a moment in the sunshine, but curls up and shrinks into itself at the slightest touch of the finger, or the lightest breath of wind.” The Tenant of Wildfell Hall by Anne Bronte

If you are a reader – what are some of your favorite and memorable lines from books you’ve read that enhanced the mood, setting, or characters? If you are a writer – do you have any tricks to share on adding layers of a unique voice to your work?

Developing a Strong Third-Person Voice

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Today I welcome back to TKZ my friend and editor, Jodie Renner, to share her tips on strengthening your main character’s voice, especially when writing in third person POV. Enjoy!
———————–
Jodie_June 26, '14_7371_low res_centredby Jodie Renner, editor & author

Thanks, Joe. There’ve been some great articles here on The Kill Zone and elsewhere about “voice” in fiction and how to develop an authentic, compelling voice that readers will love. To me, the key is in recognizing that voice in fiction is – or should be – inseparable from the words, thoughts, attitudes, and reactions of your main character.

For example, some strong, unique voices that sweep us immediately into the character’s world and the fictive dream, are Huck’s in Huckleberry Finn, Holden Caulfield’s in Catcher in the Rye, Stephanie Plum’s in Janet Evanovich’s series, Scout’s in To Kill a Mockingbird, and Katniss’s in The Hunger Games.

These novels are all written in the first person, so of course it’s a lot easier for the author to immerse us in the character’s attitudes and world-view – especially with such great characters! But I think we can create and maintain an equally strong, appealing voice in third-person, too, if we take a tip from first-person POV and keep all of the narration for each scene firmly in the viewpoint of the main character for that scene – and have at least 70% of the novel in the protagonist’s point of view.

To begin with, of course, your main character needs to be charismatic enough to carry the whole novel, so it’s critical to take the time to first create a protagonist who’s engaging and multi-dimensional, with lots of personality and openness, fairly strong views, and some baggage and inner conflict. Then show his world through his eyes and ears, not the author’s.

Stay in character for the narration of each scene too, not just the dialogue and any inner thoughts and reactions. It’s your character who’s moving through that world, reacting to what’s around him. Don’t describe the surroundings and what’s going on from a distant, authorial point of view – show the character’s world directly through her observations, colored by her personality and mood.

Look through your WIP novel. Does the narration (description and exposition) read like the main character for that scene could be thinking or saying it, or is it someone else’s (the author’s) words and phrasing? Are the descriptions of the surroundings neutral? Or are they colored and enriched by the character’s feelings, goal, mood, and attitude at that moment?

Beware of stepping in as the author to blandly and dispassionately explain things to the readers, as if it’s nonfiction. Besides being a less engaging read, that approach yanks us out of the character’s mindset and world – and out of the fictive dream.

Read through your fiction manuscript. Are there places where you can bring the scene to life more by writing the narration in the language of the POV character?

Here’s one of many examples I could give from my editing of fiction, with details, setting, and circumstances altered for anonymity:

Setup: This is a flashback, a ten-year-old’s frightened observations as, hidden behind a tree, she watches some bad guys in the woods.

Before:

The heavyset man pulled out a knife and strode toward the older, slimmer one. The thin guy looked stunned, like he didn’t expect that. In one swift movement, the big guy plunged the dagger into the older man’s carotid artery. Bright red blood gushed out like a river.

Jodie’s comments: We’re in the point of view of a ten-year-old who is observing this and telling us what she sees. I doubt she’d know the term “carotid artery,” much less exactly where it is. Also, she probably wouldn’t say “heavyset man,” “dagger,” or “in one swift movement.” And probably not “strode,” either.

After:

The big man pulled out a knife and charged toward the older, slimmer one. The thin guy looked at him, his eyes wide. Before he could do anything, the big guy raised the knife and plunged it into his neck. Bright red blood gushed out like a river.

To me, this sounds more like a ten-year-old telling us this now.

Tips for keeping narration and description in the POV character’s voice:

Here are a few little techniques for livening up information-sharing and imparting it with attitude, from the viewpoint of the POV character involved.

~ Use stream-of-consciousness journaling.

To bring out the character’s personality in the parts where he’s thinking or planning or worrying or ruminating, not just when he/she is interacting with others, do some stream-of-consciousness journaling by him/her. Have him ranting in a personal diary about the people around him, what’s going on, etc. Also show his deepest fears here. Then use this stuff to show his personality more in the scenes.

~ Write the scene in first-person first, then switch it back.

Write a whole scene, or even a chapter or two in first-person narration/POV to get the rhythm and flow of that person’s language patterns and attitudes, then switch it to third-person.

~ Stay in character.

Stay in the POV of your character throughout the whole scene. How is he/she feeling at that moment? Let the narration reflect their present mood, level of tension, and sensory feelings.

So to bring the scene and characters to life, deliver those details through the POV of the main character for that scene, in their voice, with lots of attitude!

Fiction writers and readers – what are your thoughts on this?

Copyright © Jodie Renner, July 2013

Related articles by Jodie Renner:

Show Your Setting through Your POV Character: http://www.crimefictioncollective.blogspot.ca/2013/03/show-your-setting-through-your-pov.html

Info with Attitude – Strategies for Turning Impersonal Info Dumps into Compelling Copy – https://killzoneblog.com/writing-techniques/info-with-attitude/

Voice – That Elusive but Critical Ingredient of Compelling Fiction: http://www.writers-village.org/writing-award-blog/voice-that-elusive-but-critical-ingredient-of-compelling-fiction

Jodie Renner is a freelance fiction editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling Fiction: Captivate Your Readers, Fire up Your Fiction, and Writing a Killer Thriller. She has also published two clickable time-saving e-resources to date: Quick Clicks: Spelling List and Quick Clicks: Word Usage. You can find Jodie at www.JodieRenner.com, www.JodieRennerEditing.com, at her blog, http://jodierennerediting.blogspot.com/ and on Facebook, Twitter, and Google+.

 

Dazzle and dead bodies:What goes into a great opening?

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I am about to give you the single best piece of writing advice I’ve ever heard:
Begin at the beginning, and go on till you come to the end, then stop.
It comes from the King of Hearts in “Alice in Wonderland.” But it is one of my favorite writing mantras. And I really believe that within the quote’s Zen simplicity are three huge lessons about how to write a good book:
  1. Pick the exact right moment in time to start telling your story. Too soon and you end up with pages of throat-clearing. Too late and you might miss the story’s moment of catalytic power. You have to time your entry into your story just right or, like those astronauts in Apollo 13, you’ll skip off the atmosphere and bounce into nothingness.
  2.  Persevere through the second act. Making it through what I call “the muddy middle” is the hardest part of writing a solid book. You have to use all the tricks of the trade to keep the story moving forward and maintain suspense. 
  3. Earn your climax (ahem) and know when it’s time to leave. Deliver a resolution that is logical, fair and emotionally satisfying. But resist the temptation to tie everything up too neatly.  

But let’s go back to beginnings. What makes a great opening for a book?
It’s pretty subjective, and there’s lots of good advice out there. Click here to go to our archives and read Elaine Viet’s take on it. We writers all have our favorite opening lines, which all seem to circle back to “Call me Ishmael.” (Click here to read famous authors talking about their favorite opening lines.)
I especially like Stephen King’s favorite: 
“This is what happened.”
It is from Douglas Fairbairn’s out of print novel, Shoot. King likes it because, “It is as flat and clean as an affidavit. It establishes just what kind of speaker we’re dealing with: someone willing to say, I will tell you the truth. I’ll tell you the facts. I’ll cut through the bullshit and show you exactly what happened. It suggests that there’s an important story here, too, in a way that says to the reader: and you want to know.”
King says he struggles with all his opening lines, sometimes for years. I guess that should make us mere mortals feel better as we stare at that blank screen and sweat blood trying to get the right mix of words to snag the reader’s attention. Back to Stephen King:

“[A good opening] is not just the reader’s way in, it’s the writer’s way in also, and you’ve got to find a doorway that fits us both. I think that’s why my books tend to begin as first sentences — I’ll write that opening sentence first, and when I get it right I’ll start to think I really have something.”

King is talking about opening lines in context of his new book, Doctor Sleep. (Click here for the whole article). Doctor Sleep is the sequel to The Shining, picking up with now adult Danny. Here is the opening King came up with:

“On the second day of December, in a year when a Georgia peanut farmer was doing business in the White House, one of Colorado’s great resort hotels burned to the ground.”


As King himself says, it’s pretty workmanlike, neither grand nor elegant. But look what it does: It immediately sets the reader in time and place and creates a bridge between the past book and the new one. I think this is a great lesson for all us writers — you don’t always need dazzling wordplay or a dead body in your opening. Sometimes you just need a solidly build doorway the reader can step through.
I mean, don’t you get a little tired sometimes reading the tortured openings some writers give us? Crime novelists might be the worst offenders because we are led to believe that we have to shock and awe in the opening graph or the story is DOA. As a reader, I hunger for books lately that open in a lower gear. As a writer, I am trying hard to follow the lead of King (and the King of Hearts) and just begin at the beginning.
I am not happy with the opening chapter of my WIP. I think I am trying too hard. So recently, I went to my bookshelf and pulled out few of my favorite books to see how others handled things. Here are four opening lines that I found:
“Where’s Papa going with that axe?” said Fern to her mother as they were setting the table for breakfast.”

“Who’s there?” 
“I was born twice: first, as a baby girl, on a remarkably smogless Detroit day in January of 1960; and then again, as a teenage boy, in an emergency room near Petoskey, Michigan, in August of 1974.” 

“It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn’t know what I was doing in New York.”
The four books? Charlotte’s Web by E.B. White; Hamlet by Shakespeare; Middlesex by Jeffrey Eugenides; and The Bell Jar by Sylvia Plath.  
Great openings, all for different reasons. White gives us suspense worthy of Dean Kootz in a children’s book! Shakespeare gives us foreboding and the existential call to self identify. Eugenides sums up his gender theme but makes us wonder: Haven’t we all been born twice? And Plath leads us right to her heroine’s “electric nerves” and lost soul.
Can I offer one last favorite of mine? It’s on almost everyone’s list of great openings but so what?
“Lolita, light of my life, fire of my loins.”
But I love the next few lines even more:
“My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta.”

Yes, it is about Humbert’s obsession with his nymphet . But it is also about Nabokov’s obsession with words. Lo. Lee. Ta…a narcotic chant and a prose poem. I’ll never forget the first moment I read that paragraph. I was sixteen, standing in the public library during a sweltering Detroit summer. I’m sure I didn’t really understand the story. What I understood was the magic of those words. True confessions: A couple years ago, I actually tried to riff on Nabokov’s Lo-Lee-Ta in a mystery I was writing. The character was describing Florida (Flor-ee-dah!) and well…you can imagine how bad it was. Thank God my editor told me to rewrite it.
Okay, one last Nabokov sample and then I’ll shut up. It is the SECOND paragraph in Lolita:

“She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita.” 

The first paragraph of Lolita made me want to be a writer. That second paragraph, when I read it today, makes me want to be a better writer. 
(((INTERMISSION!)))
We’re back. I can’t resist this coda. Because as I was getting ready to hit the button to post this, I found out that the 2013 winners of the Bulwer-Lytton Fiction Contest have been announced. This contest, begun in 1982 by the English Department at San Jose State University, honors opening sentences in novels. It is named for Edward George Bulwer-Lytton, who in 1830, wrote these now famous lines:

“It was a dark and stormy night; the rain fell in torrents — except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness.” 

Yes, the Bulwer-Lytton Fiction Contest recognizes the worst possible opening lines for novels in all genres. (Here’s the link if you want to read them all, God help you.). For all us crime dogs out there, I’ll give you the winner in crime fiction:

“It was such a beautiful night; the bright moonlight illuminated the sky, the thick clouds floated leisurely by just above the silhouette of tall, majestic trees, and I was viewing it all from the front row seat of the bullet hole in my car trunk.”

Here’s the winner in my favorite category, Vile Puns:

“What the Highway Department’s chief IT guy for the new computerized roadway hated most was listening to the ‘smart’ components complain about being mixed with asphalt instead of silicon and made into speed bumps instead of graceful vases, like the one today from chip J176: “I coulda had glass; I coulda been a container; I coulda been some bottle, instead of a bump, which is what I am.” 

And here is this year’s grand prize winner:

She strutted into my office wearing a dress that clung to her like Saran Wrap to a sloppily butchered pork knuckle, bone and sinew jutting and lurching asymmetrically beneath its folds, the tightness exaggerating the granularity of the suet and causing what little palatable meat there was to sweat, its transparency the thief of imagination.

I think I actually saw that last one on Amazon the other day. If you hurry, you can get it for 99 cents.

The Puppy World View

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By Boyd Morrison

For the past week I’ve been on full-time puppy duty (and dooty). She’s an eight-week-old golden doodle we just got named Casey. Prepare to activate your “awwww” buttons.

Yes, we now have a living teddy bear in our house. She’s adorable, whiny, playful, clumsy, meek, and friendly. But she also looks at the world in a way that reinvigorates my approach to writing.

She’s curious, to the same degree that the Milky Way is roomy.

Everything is new to her. Every sight, sound, taste, smell, and feel is a wondrous, vibrant, scary, exhilarating experience for Casey. Sometimes she’s tentative in partaking of a new situation and sometimes she dives right in without thinking about it. A fire hose of sensory information is pointed right at her and she’s absorbing it all like a desiccated sponge. It really is a joy to watch.

I think that’s why I enjoy movies like Elf and Twins so much. Through the main characters’ eyes, it’s fun experiencing everything to which we’ve become jaded with a whole new appreciation and sense of wonder.

It’s hard for me to remember a time like that from my childhood with any fidelity. The closest recent experience I can recall was when I went to ThrillerFest for the first time. I didn’t know anyone. I didn’t know how a conference worked. I was new to the writing craft and business. I hadn’t even been to the conference location of Phoenix before then. The fire hose was turned on me and I could barely keep from drowning in the information bombarding me.

Now when I go to ThrillerFest, I know many of the attendees, I’ve been on numerous panels myself, and I’m a New York aficionado since the conference has been held there seven years in a row. Information new to me dribbles in.

The key is capturing that sense of newness and wonder in my storytelling. When I’m reading I want that fresh experience I’ve never before encountered, yet I’ve read so many stories it’s hard not to feel that I’ve seen it all before. If you’re well-read in a genre, you likely have had the same experience.

So my goal is to mirror Casey’s approach to the world when I’m staring at the blank screen. If what I’m conjuring doesn’t provoke in me that delight of discovery, then it’s probably crap that doesn’t belong on the page. And nobody wants to look at a pile of dooty.

Analyzing Book Description Copy

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by James Scott Bell
@jamesscottbell

One of the key elements of selling online these days is the ability to write book descriptions (also called “cover copy”) that sizzle and do the job in three paragraphs or so. In this age of short attention spans, you can’t afford to waste any space. You can read about one method of generating good cover copy here(h/t Jodie Renner).

For amusement recently, I randomly looked at some descriptions from bestselling authors. You ought to do the same. Go through Amazon and study the best books in your genre. See what professional marketing people have come up with. Figure out what works and doesn’t work for you. Then write your own copy accordingly.
Below are links to Amazon for three book descriptions (I didn’t want to overstep copyright concerns by producing them in full). Give each a quick read and then come back for my analysis.
Innocence by Dean Koontz

The first line is pretty good. Captures me and makes me want to read the next line (which is the whole secret of copywriting).
But that second line is a bit soft. I would change “do her harm” to “kill her.”
I would like to see more specificity in the third paragraph. What is it that creates the “bond”? What sort of “reckoning” are we talking about here? Why are these two people involved?
The last line, of course, is purely for the author. If you’re Dean Koontz, you deserve such praise. But my advice for us mere mortals: do not use over-the-top fluff. You can mention kudos, but only if you back it up with something like a nice blurb from a well-known writer, or a review from a trusted source. I don’t care how good your self-published thriller is, it is not going to “leave readers transformed forever and change the course of history for all mankind.”  
***
NYPD RED 2 by James Patterson & Marshall Karp

This copy starts with a “headline” style, which is often a good idea. But only if the headline is short and to the point. Here, I would take out the whole parenthetical statement and leave this: NYPD Red hunts a killer who is on an impossible mission.
The next two paragraphs are excellent. They are specific and to the point and tell me exactly what type of story this is. It has both outer plot (serial killer) and inner journey (Kylie has been acting strange recently). It’s all there.
The puffery about Patterson is, of course, also well-deserved. But notice that it is backed up with a clip from a trusted source.
***
Stand Up Guy by Stuart Woods
The headline focuses on the series character, which is fine. Readers of the series will want to know about it. “Edge-of-your-seat adventure” is a cliché, of course. I wonder if readers have a slightly negative reaction to such things, even subconsciously. Maybe it doesn’t matter. I’m not sure. What are your thoughts on it?
The first paragraph has some issues. What is a “well-deported” gentleman? I had to look up deported, and found out it’s an archaic word for “conduct.” Key copyrighting tip: Don’t make readers work hard! Write in such a way that a middle school student could read the copy and not get tripped up by any of it. 

Also, is there enough at stake? Does “keenly interested” indicate enough trouble? 
The second paragraph gets us a little closer to specifics and how they involve the lead character. I’m okay with that.
***
Now here’s one for a short story:
Sometimes, comedy can seem like death…
For Pete “The Harv” Harvey, stand up comedy is a serious business. At least, he wants it to be. But the struggle to make it in the glitter dome of L.A. hasn’t exactly been a smashing success.
One night, after bombing onstage at a local club, Pete wonders if his next stop is managing a car wash. Then a man sits next to him at the bar–a man with an almost unbelievable proposition. One that could mean a whole lot of money to Pete “The Harv” Harvey, who will soon learn that deals too good to be true are no laughing matter.
I think the author did okay with that. It’s brief and to the point, gives the set up and then gets out of the way.

And here’s more news: This story, “No Laughing Matter,” is FREE today through Wednesday on Kindle. The favor of a review is requested.
Go ahead and get the story now. I’ll wait.
Welcome back! Now dive in and leave a comment on book descriptions. What do you think works, or doesn’t work? What grabs you? What makes you shrug your shoulders and go “Meh”?

Parched For Readers

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A few years ago I met a gentleman in New Orleans who had never heard of Stephen King. He was thirty-three years old at the time, a musician for whom a classical education even at the elementary level had never been a priority but who nevertheless was still knowledgeable of pop culture. Still, he was unfamiliar with King and Carrie, The Stand, The Shining, and the other King books which had been adapted for film. He didn’t have a book in his house; neither, as it happened, did his mother, or the five of his eight siblings whose homes I visited.
Stephen King, I think I can safely say, is a household name, so people such as my acquaintance who have never heard of him are probably the exception rather than the rule. That no-book thing, however…that bothers me. I know people who watch Castle, which begins its sixth season next month, who haven’t read a mystery novel in decades, if ever. Dexter? Longmire? I still find people who have no idea that these popular dramas are based on novels. Justified slyly winked at Raylan Givens’ literary origins a couple of years ago but I doubt it increased sales of Raylan, which was published on season premiere night.
James Bell’s question from last week regarding the future of publishing was an interesting one which evoked a number of interesting responses. Almost all of them, however, implicitly made an assumption that I don’t think we can make anymore, in this era of entertainment everywhere: we’re each and all of us assuming that there will still be readers. Do you walk into homes without books in evidence? When you’re out somewhere and see people reading, how many do you not see reading? How many times in the past month have you been talking to someone about the last book you’ve read and heard them say, “Gee, I haven’t read a book in years. I just don’t have the time”?
I’m not attempting to be an alarmist here, or a Chicken Little. What I think I’m seeing, however, is a situation where the problem isn’t that we’re drowning in books; it’s that we’re parched for readers, and we’re fighting a battle of attrition. There are plenty of books out there worth reading. For every book I read there is at least one, often more, that I don’t get to and that winds up on my “someday” list. That’s not the problem, as I see it. The difficulty is that for everyone one of me, and you, there are, it seems, five or six who just don’t care. They’d rather watch reality television or something like that.

Am I wrong here? Or am I pointing out the 800 pound gorilla in the room that we’re all trying to studiously ignore?