What the well-dressed crime novelist wears to a writers conference.

If you’ve attended writing conferences, you likely had a great time. You chatted with fellow authors, learned about craft, picked up marketing tips, and made important contacts with editors and agents. Organizers strive to make the schedule seamless, the meals hot and tasty, the speakers interesting.

Everything probably ran smoothly and you walked away happy.

You never saw the drama behind the scenes.

And that’s how it should be.

But making it look easy requires lots of preparation plus the ability to drop back and punt when circumstances go awry.

The 29^th Annual Flathead River Writers Conference wrapped this past weekend. By all accounts, attendees went home happy, loaded with new tools, inspiration, and fresh energy.

Jeff Giles, Ben Loehnen, Haven Kimmel

The speakers were excellent as well as great fun, as this photo shows. Mugging for the camera is Jeff Giles, Vanity Fair Hollywood editor, Simon & Schuster editor Ben Loehnen, and Haven Kimmel, author of A Girl Named Zippy.

As a conference committee member and sometimes co-chair, I’ve worked many of those 29 events.

Some years are a blast. Other years, s**t happens.

Manuscript evaluations by editors and agents are always major draws for attendees. Slots fill fast and the back-up wait list is long.

This year, three weeks before the conference, the guest agent suffered a family medical emergency. He remained hopeful he could still attend but the outcome was too uncertain to predict. We told him to take care of his family and that we would find a replacement.

We organizers felt terrible for him. But we also had 100+ attendees to worry about. Many travel from other states and expect to hear an agent. We had to deliver. Out went a wild flurry of phone calls and emails.

But…August is traditional vacation time in the publishing industry. Some were out of the office and unplugged. Others already had commitments and couldn’t come on such short notice.

As our panic grew and time evaporated, a hero stepped up. A couple of years before, Barbara Schiffman had been a big hit at our conference. She’d worked for decades in the Hollywood film industry, doing story analysis and script evaluation for producers. Recently, she semi-retired and moved to nearby Whitefish, Montana. She graciously agreed to substitute, including doing manuscript critiques.

Whew! Saved!

One year, a much-anticipated horror author was sidelined by airline snafus. She departed New Orleans on Friday morning and was supposed to arrive in Montana by 4 p.m. in time for the welcome dinner for speakers.

At noon, she called from Houston where she was stuck. A weather system caused a domino effect, delaying all flights. The poor woman spent nine hours in the Houston airport trying to reschedule. The upshot: the airline could deliver her to Montana at midnight the following day…after half the conference was over. She wound up going home to New Orleans, unfortunately with a new horror story to tell.

Years ago, a renowned true crime author agreed to present. We were over the moon to have such a big name. Registrations poured in. Even non-writers paid to hear her speak.

But…she was a nervous flyer. First, she said she’d drive. Then she decided her health wasn’t good enough to drive. Could she take a train? I looked into arrangements but the cost was four times that of a plane ticket. Our group is nonprofit and the money for a train ticket wasn’t there.

She nearly backed out several times. I spent hours on the phone with her, trying to reassure her. Finally she gathered her courage and got on the plane.

She was a huge hit–the attendees were thrilled. Best of all, she herself had a fabulous time and loved every minute.

At the end of the conference, she clasped my hands and said, “I am SO glad I came! This is the best conference I’ve ever been to. And to think I almost didn’t come.”

Whew!

Most speakers are wonderful, gracious people who want to help other writers. In 29 years, I can count the clinkers on the fingers of one hand. But those few clinkers really leave an impression.

One year, a big-name mystery author was supposed to teach a three-day intensive workshop. He showed up with his girlfriend and they were fighting. He then told us he shouldn’t have come because he was on deadline.

Uh, you didn’t know that when you committed to teach?

The first morning, he grumbled and complained for three hours to his students about his deadline and troubles with his girlfriend. After lunch, he pitched a fit, saying he couldn’t possibly write in his hotel room because his girlfriend was irritating him. “I’m not hard to please,” he claimed, “just find me a quiet place with a table.” So I found several alcoves in the hotel where he could write. He couldn’t stand any of them.

The second morning, more whining, no teaching. Students were irritated and their complaints were totally valid.

The third morning, he put in a halfhearted effort to review a few manuscripts but the class was a disaster. We wound up refunding tuition to his disappointed students.

At the party on the last evening, in front of everyone, he apologized to me for his behavior and presented me with a T-shirt…that advertised his books.

Can you spell E-G-O?

Hiccups aren’t always with speakers. Once in a while, volunteers throw sand in the gears. One member was obsessed with finding an agent. He found out when the agent’s flight was scheduled to arrive, even though someone else had been assigned to do airport pickup. He showed up early, grabbed the agent, took him out to dinner, and badgered him for three hours about representation.

This happened before cell phones so we couldn’t call the agent. We knew he’d arrived on the plane but he’d disappeared. No one could find him.

Finally, the dazed agent arrived at the hotel. He told us he wasn’t thrilled that we’d sent this obsessed writer to pick him up. We apologized profusely and explained the guy had acted on his own, totally without our knowledge. Fortunately, the agent had a sense of humor. He probably told that story at future conferences as a cautionary tale of how not to impress an agent.

Needless to say, the kidnapper didn’t receive an offer of representation.

For every horror story, there are at least a hundred tales of writers who were inspired to finish a book, take the plunge into publication, or step up to the next level in their careers.

This year, attendees came from all over Montana, as well as Texas, California, Indiana, Iowa, Colorado, Missouri, Arizona, and Canada.

I’m introducing Gabe Grende, up and coming Orson Welles

Several young writers were at their very first conference, including a 16-year-old filmmaker. Gabe Grende is a local high school student who started working in video six years ago. He recently attended a film school taught by Michael Polish and Kate Bosworth. Gabe so impressed Michael that Michael took him to Puerto Rico for a location shoot of a Mel Gibson movie.

Gabe agreed to film our conference and we can’t wait to see the finished product.

Meeting a student who’s eager and already accomplished at a young age gives all of us hope and inspiration.

Writing conferences are lots of work. Are they worth it?

Oh, yeah!

~~~

TKZers: What’s the best lesson you learned at a conference?

If you’ve volunteered, how did working behind the scenes increase your understanding of the business?

~~~

Debbie Burke’s new thriller Stalking Midas is available here.

How did publishing your first book change your process of writing? Share how your writing as evolved?

By Elaine Viets

Is your novel stalled like an old car on the railroad tracks, and your deadline is bearing down? You can’t get the thing jump-started, no matter what you do.
We’ve all been stuck in that situation. Here are a few suggestions that might help you get your work moving again.

1. Are you using all five of your senses?
Can you see, hear, smell, touch and taste things? Can you hear the night wind? Smell your character’s aftershave? Hear his voice? Feel her soft hands?
If not, your writing will be dead.

2. Are you being general or specific?
Generalities are dull and lifeless. Specifics perk up your writing.
“He wore old pants” is general.
“He wore old jeans that sagged at the seat and were oil-stained at the knees” is specific. It’s descriptive. It makes your reader wonder: Where did the oil come from? Is he a mechanic or is there some other reason?

3. Are you showing or telling?
This is an old one, and TKZers have often addressed it. But it never hurts to check if you are writing an essay or a novel.
Tell: She was mad.
Show: Her face grew red, and she pounded the desk.
Tell: She loved her son.
Show: She stayed up all night making a Halloween costume for him.

4. Ask yourself: Why is your character doing this?
Because you want to write a novel — or because this is the natural way to act?
Do you have a strong enough motivation? If not, you don’t have a chapter.

5. Is there any conflict in your novel?
Is there a reason to root for your character? Is there something she needs to overcome? I’ve seen manuscripts where the protagonist is young, talented, beautiful and rich. So what? Take something away: She gets in an accident and is badly scarred. She makes a bad investment and loses all her money.

6. Did you give your readers a sense of time and place?
Readers who don’t know where they are become lost. It’s like feeling around in a dark room for a light switch. Let us know early on where your characters are and what year it is.

7. Are there any scenes in your novel that don’t move it forward?
This one is hard. It’s so tempting to use your novel as a soapbox, and expound on everything from man buns to tourist traffic. Instead of a lecture, use that information to tell your readers something about the novel’s character or the plot. Personally, I like man buns, and when I see one, that suggests the guy will probably be a thoughtful and nonthreatening. So I’d put a man bun on a character I liked. As for tourist traffic snafus – those are saved for villains and to frustrate my characters.

8. If your character seems flat, ask yourself — do I know enough about my character?
Write a short biography about your character. Is he married or single? Does he have children? Where does/did she go to school? What does he look like? Even if you don’t use all that, it will help you know your character and make decisions on the kind of person he or she is.
I had a waitress named Marlene in one of my novels. She was particularly protective of the young female servers she worked with, and chased away predatory male customers. Why? Marlene had had a bad marriage to a man like that. I mentioned that fact in a line or two, but it was a major key to Marlene’s behavior.

By John Gilstrap

Up until about a year ago, I thought that bookmark swag was a waste of money and time.  I have since changed my mind.  I may have posted here before that on those awful occasions when a book signing is really just that–a table in the entryway where I wait for people to inquire why I’m there–I no longer just sit passively and wait.  I get up and wander the store, introducing myself as the visiting author, and inviting them to stop by and say hi–or buy a book–as they pass me yet again on their way out of the store.

More times than not, they’ll ask a few questions, and that’s when I hand them my bookmark. As you can see, the bookmark (designed by publisher–Thank you Kensington!) not only has contact information, but the titles of the most recent books and a bit about awards won and such.  Never once have I handed out one of these things without seeing the recipient going on to Google me.

When I was on tour for Total Mayhem back in July, I became truly shameless.  Because I dined alone, and spent a lot of time writing my next book long-hand, I knew that I was raising curiosity, so I made sure to put a bookmark in the check folder after I had signed the credit card voucher.  When you dine in the hotel where you’re staying, that can create an interesting buzz.

Business Cards

For the first time in the history of forever, I actually killed my entire supply of business cards.  As I approached the bottom of the box, I started paying closer attention to other writers’ business cards to see how they were handling what to include and what not to.  Because I pass these things out to pretty much everybody from the maitre d’ to the car mechanic to somebody I meet at a party, the information on the card needs to carry a lot of weight.

Things I considered included:

1. Email address but no phone number or street address.  (Stephen King’s Misery continues to lurk in my head.)
2. Standard design and style. This is one of my peccadilloes.  I get annoyed when business cards don’t fit easily into my wallet.
3. All social media included for quick reference.  I chose not to include the Killzone Blog, however, because my every-other-week posting status would have required narrative.
4. My entire bibliography.
5. Had to have a clean look.
6. Had to have space for people to write notes to themselves on the card.

I’ll let others judge the final product, but I’m happy with it.  I’m also happy with Vistaprint, which is the company I used to create and print the cards.

Special Gifts.

Most swag is intended as a kind of fan service or shameless self-promotion.  Or, merely business communication.  Sometimes, though, people can be so helpful to my research, or in their hospitality, that I offer them special gifts that I designed for just occasions.

Within military and other public service circles, challenge coins are very important.  They are a way of showing pride in one’s unit or department.  I figured that if Jonathan Grave were a real person, he’d most certainly have a challenge coin struck for his company, Security Solutions, so I did it for him.

In addition to offering them up as thank-yous, I also offer them in trade for those who offer similar coins for my own collection.  Over the years, I’ve picked up some pretty cool ones from some pretty spooky places.

So, TKZ family, what’s your swag bag look like?  What works for you as writers or fans or booksellers, and what doesn’t?

“No passion in the world is equal to the passion to alter someone else’s draft.” ~H.G. Wells

By PJ Parrish

For most of my adult life, I made my livelihood in the newspaper business. My dream was to work for the Detroit Free Press, but I had to start out instead at a small suburban weekly called The Eccentric. It was a gift in disguise.

I did everything from taking and processing my own photos, to writing obits, to covering city council meetings where the surest thing to get the blood moving was a hot debate about sewers.  The pinnacle of my career was being named editor of the Women’s Life section, Yeah, I’m that old and that’s what it was called in those days. I got to supervise a small staff of eager beaver stringers.

That was my first experience with learning how to tell others that their writing well, might need some work.

I was not very good at it. It took me a long time to learn that doling out criticism is a learned skill. All writers need honesty but it has to come with a healthy side order of kindness.

We talk a lot here at The Kill Zone about how to take criticism. Or its uglier sibling rejection. As writers, we deal with this at every level of our writing lives. Better grow a rhino hide or you’ll never make it, the conventional wisdom goes. But maybe we need to take a moment and talk about how to give criticism.

If you work with a critique group or if you are someone’s beta reader, then you definitely need to learn the fine art of diplomacy. We here at the Kill Zone deal with this all the time as we critique your First Page submissions. And I think I can speak for all of us that it’s often not easy to do this because there is a fine line between being helpful to a new writer and being discouraging.

Whenever I get a First Page submission, I go through a distinct process:

1. First, I read the whole 400 or so words quickly, without any eye toward editing. I try very hard to read it as only a reader would who has just bought the book. Does the opening, at the minimum, pique my interest?
2. Second, I ask myself: Do I have any prejudices against this TYPE of book that would make me unduly negative or even ignorant? For instance, I’m not a big sci-fi fan, and I recognize that I’m a little clueless about what works in YA these days. So I read such submissions with that caveat.
3. Next, I ask myself if the submission has something to teach all our readers. It’s not enough, I think, for me to just red-ink grammar mistakes or such. I look for a larger issue in each submission that can help all our writers learn.
4. Sometimes, you get a submission that just isn’t up to snuff enough to critique. The writer hasn’t yet gotten the very basics of the craft down. It’s pointless to teach English until someone knows their ABCs.
5. I don’t like doing a submission unless I have something good to say about it.

And that last one is important. Because I remember how hard it was to get feedback when I was trying to publish my first mystery back in the late 1990s. Even though I had had four romances published by a big house, I didn’t really know how to write a mystery and my first two attempts were awful. Luckily, I had an agent who was a hard-nosed New York ex-editor. She frankly scared the hell out of me but she knew how to give honest criticism. She told me I was a very good writer but I didn’t understand the distinct structure of a mystery. She told me to go home and read.  “Start with P.D. James and work your way up to Michael Connelly,” she said. So I did.

Once my mystery career took off, I then had to learn to take criticism from editors. I would turn in my manuscript and wait with a strange combination of eagerness and dread.  Eagerness because I was sure I was going to get heaps of praise. (“This is great! We’re pushing it up to our lead title with a 100,000 first press run!”) Dread because I was sure I was a fraud. (“Listen, this isn’t quite what we talked about when you turned in your outline…”)  The reality fell somewhere in between. I have been blessed to have some really great editors in my three decades of writing crime fiction.  Each one of them understood what some have called the Hamburger Model of Criticism:

Start out by staying something nice about the manuscript.

Insert a big juicy slab of criticism.

End with saying something encouraging.

I think every editor I have ever worked with did this. And it always made the meat patty go down a lot easier.  But here’s the the thing about the meat patty: It has to be constructive. Late in my journalism career, I was the Features Editor at a large Florida daily. I had an editor in chief who every morning took a red grease pencil to mark up every section of the paper. The comments were almost uniformly negative, of the type of “I don’t like this.” One day, in frustration, I asked him WHY he didn’t like something. He said he didn’t know. He was like judge who says “I can’t tell you what’s porn but I just know it when I see it.” Luckily, he was canned before I could quit.

A few other things I’ve learned about giving criticism:

• Resist the urge to fix the problem. Unless you really have the solution, it’s not a good idea to offer up the answer to another writer’s problem. You don’t know their book; you’re not inside their head. You might be able to tell them they have wandered off the trail and that you, as the reader, feel lost. But it is not up to you to show them which is the RIGHT trail to the end. They have to find their way.
• Watch your tone. Being snarky is, unfortunately, encouraged in our culture today. (I was curious about where the word “snarky” came from so I looked it up. It was coined by the Star Trek actor Richard William Wheaton in a speech he gave before a bunch of online gamers.) If you are asked for input, don’t be mean. Kindness is in short supply today and writers are like turtles without shells — easy to crush.
• Don’t take out your frustrations on someone else. Hey, you’re having a bad day. Your own book is falling apart. Your plot has more holes than a cheese grater. Your Dell died and your geek can’t do a data retrieval.  Don’t vent your anger on someone else’s baby.
• Don’t boost your own ego. Some people like to show how powerful or intelligent or knowledgeable they are, and use criticism as a way of doing that. They are puffing themselves up, challenging others, going all Alpha dog. Nobody likes a bully.
• Let the person react. Giving a person a chance to explain why they wrote something the way they did helps their ego a bit and often, as they explain, they see where they can improve. It also makes you look fair.
• Be empathetic. You’ve probably had the same problems the other guy is having. So tell him. Be vulnerable and relate how it was hard for you to understand motivation or the three-act structure. Walk in their shoes.
• Don’t focus on the person. One of the hardest things beginning writers have to learn is to not take criticism personally. A rejection letter is never about you; it is about your book. So if you’re critiquing something, you might think, “Boy, this guy’s a lousy writer” but never say it. It only makes the other person angry, defensive or hurt. Plus, it makes you look like an ass.

Okay, so you’re done reading a friend’s manuscript. Or you’ve been doing your part in the weekly critique group. You’ve been kind, you’ve been constructive, you’re offering up suggestions that you think might cause a light bulb to go off over the other writer’s head. And then….

They turn on you. They say you don’t understand their genre. Or that if you’re missing the plot points. Or that they intend for you to hate the protagonist. Or that second-person omniscient is the only way the story can be told. I call these folks the Yeah Buts. “Yeah, but if you keep reading, things will get clearer.”  “Yeah but if you read more dystopian Victorian zombie fiction, you’d understand my book…”

You can’t help a Yeah But. Sometimes, they don’t want to hear anything except how great their stuff is. Don’t get angry. Don’t take it personally. You did what you could. Smile and walk away.

As Noel Coward said, “I love criticism just so long as it’s unqualified praise.”