Author Archives: Joe Moore

About Joe Moore

#1 Amazon and international bestselling author. Co-president emeritus, International Thriller Writers.

I Hate Unsolicited Phone Calls

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By John Gilstrap
I pen this week’s post from Bakersfield, California, where I’m teaching a two-day seminar on safety and health issues in the recycling industry. It’s a great class so far, packed with a lot of motivated and enthusiastic students. The fact that it took me 17 hours to get here, thanks to Mama Nature doesn’t take away from my enjoyment of the process, but it does mean that I’m tired. With tired comes cranky.

And nothing spins me up quite like unsolicited recorded phone calls.
I felt my pocket buzzing while I was in the middle of my lecture and of course ignored it because, well, I was in the middle of my lecture. During the break, I looked at my phone and found an 866 number, identified as “unknown.” I remember a friend of mine telling me about online reverse phone lookup websites that can identify unknown and scam callers, and would have saved me a lot of time!

I called the number back and reached a recorded greeting that told me, “be aware that we are a debt collector.” I suspected that it was either a scam or a wrong number, so after a minute or two on hold, I hung up and went back to work.

Then I got to thinking. This has been the year of compromised credit cards for us. It’s happened at least four times. While we’re current on all our bills, was it possible that something slipped through? There’s also the matter of a denied medical claim that we’re still negotiating with the insurance company. Could that be the problem? I really wish I’d just known how to check phone number ownership, it could have saved me such a headache.

They called back when I could actually take the call, and it turns out that a Mr. and Mrs. Ngyuen are behind on their house payments. The call goes like this:

“If this is Mr. or Mrs. Ngyuen, press one. If not, press two.”

I press two.

“If you need a moment to bring them to the phone, press one. If this is the wrong number, press two.”

I press two.

“If you want to stop receiving these phone calls, press one.”

I press one. (Really. Does anyone NOT want to stop receiving these calls?)

“To be removed from the call list, you must talk to a customer service representative. Please hold.”

I hold. For six minutes, being told regularly how important my phone call is.

Finally, a young man answers, “Hello?”

“Hello?” I say. “Really? That’s it? Hello?”

“Who is this?” he asks.

“You called me,” I say.

“Are you looking for the modification department?”

“I don’t know what a modification department is. I’m calling to be taken off your list.”

“What list?”

“The one you called me from.”

“I’m sorry, sir, I think you have the wrong number.”

“It can’t be the wrong number,” I say. “I pressed one.”

“One what?”

“The number one. You called me. Your recording told me to press one to get taken off the list. I can’t have called a wrong number.”

“Oh,” he says. “Let me pass you to someone who can take you off the list.”

“What list?” I ask.

“Huh?”

“I few seconds ago, you didn’t know what the list is. How are you going to take me off of it if you don’t know what it is?”

“I’ll transfer you to someone.”

“Let me talk to your supervisor.”

“I’ll transfer you to someone.”

“You’re not listening. I’m already talking to someone. Another someone doesn’t do me any good. I want to talk to your supervisor.”

“He’s not available.”

“I’ll talk to his supervisor, then.”

“Please hold.”

I endure three more minutes of assurances that my call is important.

“Um, sir? They weren’t available.”

“Your supervisor’s supervisor?”

“No sir. Someone else.”

“So if someone’s not there, that means no one’s there. Are you in a room by yourself?”

“No, sir.”

“Then someone must be there.”

“Sir, if you can just give me your phone number, we can take you off the list.”

“The right list? The one I want to be taken off of?”

“Yes, sir.”

“The list you don’t know.”

“Yes, sir.”

“And you can guarantee that I’ll be removed.”

“I think so.”

I give him the number. “And what about the Ngyuens?” I ask.

“Excuse me?”

“The Ngyuens. The ones who are behind on their payments. Someone should call them and let them know.”

“Um.”

“They’re not at this number. I think we’ve established that.”

“They must have had that number before you.”

“This is a cell phone. I’ve had this number for over ten years.”

“Sir, I’ll tell the right person, and they’ll take the number off the list.”

“Okay,” I say. “I don’t want to have this conversation again.”

“I understand, sir. Neither do I.”

Getting the Dead out of Deadline

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by Brad Parks

Today TKZ is thrilled to welcome Brad Parks, reformed sportswriter and award winning author, whose second book EYES OF THE INNOCENT was just released.

I have this weird thing for dates. They stick in my head for no good reason.

Aug. 5, 1998. The day my pet rabbit, Snowflake, died.
Aug. 20, 1994. The day I first kissed the beautiful woman who is now my wife.
Nov. 5, 2004. The day I finished my first novel-length manuscript (a book that, incidentally, will likely never be published, unless I pull a Stieg Larsen and become unexpectedly famous after my untimely passing).
Feb. 3, 2011. The day I put the entire Kill Zone audience to sleep with the boring biographical details of my tedious life because I didn’t move on with the point of my guest blog post…

… So, right, the point of this post is actually to talk about some of the most significant dates in a writer’s life.

Deadline dates.

Now, that word, “deadline,” can inspire a lot of fear in writers. Its origin – and I swear, I’m not making this up – is actually penal in nature. Once upon a time, a deadline referred to a line in a prison that inmates couldn’t cross, or else they’d be shot dead.

But I’m here to say deadline is actually a wonderful thing for writers, something we should embrace rather than loathe. And I have come to discover there is power and freedom in a deadline, in knowing that you don’t have the luxury to get too picky, in understanding that what you’re aiming for is not “good” but “good enough.”

I first learned this as a journalist. I spent twelve years working for daily newspapers, much of it in the sports department, where the deadlines are unforgiving. I can remember covering Yankees playoff games in 1999, when my editor explained to me they were holding the entire paper for my story – and that each minute the story was late would cost $15,000 as presses and trucks sat idle, racking up gas and overtime.
I didn’t know if he was inventing the number, but I did know I was making about $60,000 a year, so my entire annual salary could slip away in four minutes. And I was guessing it would probably be easier to find another $60,000-a-year sportswriter than paying for the ten minutes it took for me to find that perfect word or phrase for my lede. It tended to have a marvelous, focusing effect on my work, one I carried throughout my journalism career.

But I have also learned to love deadlines as a novelist, and it was because of my latest book, EYES OF THE INNOCENT, which just hit the shelves.

Now, the aforementioned unpublished manuscript took me three years, writing during the off-season of whatever sport I was covering. The next one? I probably turned that around in a year and a half, writing in dribs and drabs when news was slow.

I knew from the start EYES OF THE INNOCENT needed to be a different animal, thanks to deadline. And here, I return to my thing with dates, and some of the ones my brain attached to this book, starting with:

July 8, 2008. The day I learned I would have to write it. I know because that was the wonderful afternoon my agent called to say my manuscript, the book that would later become FACES OF THE GONE, had sold to St. Martin’s Press. She also told me it was a two-book deal, so FACES better have a sequel.
That leads to:

Jan. 27, 2009. The day, according to my contract, that second book would be due.

Now, six months is not an unreasonable length of time in which to write a novel. Heck, there are romance writers out there who can turn one around in six weeks. Except, of course, there were complicating factors.

The first was that we were in the midst of moving three states away, from New Jersey to Virginia. When I got that call from my agent, we were less than two weeks away from the moving vans arriving (July 21, 2008).

The second was that I still had a full-time job as a daily newspaper reporter.

But those were far less important complications than the real deadline then looming in our house around that time:

Dec. 18, 2008. The day my wife was due with our second child.

I knew, from the experience of the first child, that absolutely no meaningful writing would get done for at least six months after the blessed arrival. I also knew, again from Baby No. 1, that my wife would probably go early.

So I had to get to work. I spent a few weeks going over FACES OF THE GONE (it had been roughly two years since I finished it and I needed to re-familiarize myself). Then came:

Aug. 13, 2008. The day I first opened up the file that would become EYES OF THE INNOCENT. Unlike those first two manuscripts, where there were so many stops and starts, I really had to hammer on this one. Deadline and the impending arrival of a baby had given me no choice. And I discovered, much like the days when dilly-dallying cost $15,000 a minute, the pressure had a way of making me concentrate on getting to The End without worrying quite so much about the little stuff along the way. So it was, three months and twenty days later, I got to:

Dec. 3, 2008. The day I turned in a draft to my agent. (And, it turned out, I was just in time – my wife was, once again, about two weeks early).

Is the book any different for having been turned around so quickly? Yeah, it is: It’s better. The pacing, the plotting, it’s all so much tidier. Everyone has their own speed. But I’ve since discovered three months per book is the right one for me. And I have that one tight deadline to thank for the revelation.
What about you guys? Any good deadline stories out there?

Brad Parks’s debut, FACES OF THE GONE, became the first book ever to win the Nero Award and Shamus Award, two of crime fiction’s most prestigious prizes. His second book, EYES OF THE INNOCENT, just released from St. Martin’s Press/Minotaur Books. Library Journal gave it a starred review, calling it “as good if not better (than) his acclaimed debut.” For more Brad, sign up for his newsletter, follow him on Twitter, or became a fan of Brad Parks Books on Facebook.

The Price of a Career

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Have you made sacrifices for your career? Lost friends? Not spent as much time with loved ones as you might have liked? Taken less vacations? Become more sedentary than is good for your health?

Writing is a solitary profession. No one understands the cost involved or why we spend hours hunched over the computer. No one warned us about the time we’d spend setting up book events, creating book trailers, preparing workshops, answering fan mail, writing blogs, and updating our websites. Even my maid remarked recently, “You spend a lot of time at home.”

I tried to explain how this is my job. It requires hours of hard work like any other small business. As far as accepting social invitations, I’m guarded of my time because it’s so precious, and I never seem to have enough minutes in the day. I guess this makes me more of an “All work and no play” type of gal, but we writers feel guilty when we’re not at the computer, right? And when I really want to play, I go to Disney World or on a cruise. Every other time is work time, and lunches with friends or an occasional mah jong game become breaks from the daily grind. Other writers understand this compulsion. They’re just as eager to return to work after time away from home, whether it’s writing or marketing their various projects. Or am I the only nutcase out there?

How do you deal with people who figure you’re home all day so you should be available to chat on the phone for a half hour or go out for an impromptu coffee date or pick up their purchase for them at a store twenty minutes away? Do you say yes to everyone, because you’re too nice to refuse, come up with an excuse, or say you’re working? Have you been tempted to retire from writing so you can have a life of leisure and hang out with your friends all day? So you can leave the desk behind and “have fun” instead with your spouse who relies on your companionship? What has your career cost you? 

 

Socionomics Is Here To Stay

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Dinner with girlfriends recently brought up an interesting subject: marketing our books and the Social Media craze. My one friend tapped her fingers as she named the different social media platforms her sixteen year old uses, Twitter, TumblR, Facebook, YouTube, Flickr. She said, “You want your book buzzed about? Give it to my daughter. She’ll have it viral in no time.”
The young ones are the fearless generation with this new technology. They’ve been born into a world with the Internet, where folks my age who just got comfortable emailing, must now warm up to the idea of communicating in 140 characters or less—by telephone!
And to think, fifteen years ago, my second grade son saw a record album turn table in a friend’s house and whispered to me, “Mom, what is that?”
It seems as if every day we open our doors to another new change in world communications. So, I did some research on this exciting buzz about social media. Here’s what I found: Socionomics. This is the new phrase being touted for the Social Media Revolution. I like it. I could go on with facts and figures about how this phenomenon is changing our world (including the political impact it’s having on Egypt these days), but nothing speaks clearer than the video below on what the future holds. The statistics are mind boggling.

Check out the video:


Where shall we go from here?

Back in the Saddle

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by Clare Langley-Hawthorne

The summer holidays are drawing to a close and with my boys starting school on Wednesday I am emerging from writing hibernation to face the prospect of rewriting my WIP (and facing a blank computer screen!).

You may remember my blog post last year about feeling I was in a deep, dark, plot pit – well, at least I managed to dig myself out of that over the holidays. I didn’t get any real writing done but I did get a chance to brainstorm plot options and clear the way for what (I hope) is the answer to my overly complicated plot. The thing is I now have two days to start revving the engines to get back down to writing full time and I feel like a rusty old motor in the scrapyard.
Over the last five years I have been pretty consistent in terms of writing output – but I am nervous after such a long hiatus that I won’t know where to start or what to do. Needless to say, my inner critic and naysayer is in high gear as you can imagine…
I am reassuring myself that I am ready – I have a revised synopsis in place and will start with a revised plot outline. I convince myself that all the key ingredients are there – my characters are well rounded and full of necessary angst, the mythology is fully-realized, the historical research complete…so what could go wrong?! I think my main worry is that I may have lost any talent I may have had along with the drive needed to propel myself to the finish.
So any recommendations or advice on getting back into the swing of things? How do you recover after a writing hiatus? How do you make sure you don’t stall?:)

All and any suggestions would be most welcome – I’ll report back in a few weeks as to my progress!

A Helluva Town

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James Scott Bell
The Bronx is up and the Battery’s down. The people ride in a hole in the ground. – Betty Comden and Adolph Green, On the Town

I love New York. Last week I was there, teaching at the first-class 2011 Writer’s Digest Conference. Great turnout despite the cold. How cold was it in the city? It was so cold I saw a lawyer standing on the corner with his hands in his own pockets.
Ba-dump-bump.
But yeah, it was not walking around weather. At least not a lot. But my wife and I didn’t let that stop us. We had a couple of meals with Mort, my former NY apartment mate (from my acting days) and with my agent, Don Maass. Stayed at a great boutique hotel on the East side, the Elysee on 54th, which I highly recommend if you’re looking for convenient location (we took the Air Train from JFK, then the E train to within a block of the hotel) and complimentary evening wine and hors d’oeuvres.

We ended up doing a lot, though we didn’t take in a show. We’re not crazy about the gigantic musicals. We prefer Off Broadway. So we were tempted to go see Alan Rickman in John Gabriel Borkman at BAM, but decided traveling to Brooklyn in sub-zero weather to take in an Ibsen play might lead to intractable despair and pretty much cloud the rest of the trip.
We did get up to the Metropolitan Museum of Art where we were blown away by the wall sized piece called “Earth and Heaven” by African artist El Anatsui.  Also by the exhibition of photographs by Stieglitz, Steichen and Strand. I love photography from the early 20th century, when the art of it was just getting underway. Amazing the emotion Stieglitz captured with such primitive equipment.
They also had a Rodin exhibit that knocked me out. He’s like Van Gogh with sculpture. Intense and riveting. You know, if you could write first drafts with the feeling of a Rodin, you’d be 90% of the way toward successful fiction.
Ah, the food. Here are places we ate that I would recommend:
Indigo Indian Bistro, 357 E. 50th Street. Family owned, pleasantly run and just the right spices.
I Trulli, 121 E. 27th. Wonderful Italian fare.
Rocking Horse Café, 8th Ave. and 19th. Excellent Mexican in Chelsea.
Also, the street hot dog guy on 7th and 52d.
Don’t miss the High Line next time you get to NY. No, wait a second. Do miss the High Line when it’s below zero wind chill. Cindy and I walked about a quarter mile of it before we cried for mercy and ducked for cover in the new Chelsea Market. Now that’s a great place to hang out, in any weather. They’ve got upscale stores and markets and live music, all in the old National Biscuit Company (Nabisco) building.
I guess, at heart, I’m a city boy. I grew up in L.A., lived in New York and Chicago. I love London and San Francisco in doses. Nashville’s a nice town. I’m down with Denver, too.
What about you? What’s your favorite city to visit?  Or if the city is not your thing, where would you go with a free pass from an airline and a hotel?

I Can’t Believe My Lying Eyes

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John Ramsey Miller

We have all seen movies on television where key scenes are deleted or language altered–often comically when they try to make the word fit the actor’s lip movements, or change “you Mother F*cker!” to “you silly nut” –that we are accustomed to it. The other night I was watching one of the new shows (Harry’s Law maybe)and one character called another an asshole. Did the censors stop working at the networks and go to work on Disney cartoons?

You know I like realism and I’ve got a cast-iron gut, but I was stunned last night watching BONES. This “Gravedigger”, a red-headed female serial killer, ex-prosecuting attorney in an orange jump suit stepped from a paddy wagon and was walking to the courthouse door when her head vaporized in a red wet cloud. Most realistic head blowing up I’ve ever seen and it was so seamless that, had I not known how illegal it is, I would have sworn they killed an actress (you know who was about to die of some dread disease anyway) for the shot. Then they showed closeups of people being washed with gore. It friggin looked like the special effects guy tossed a giant slurpee glass full of blood and brain tissue into the actor’s face and shirt. I was so startled I laughed. That was followed by the slow panning of the corpse, whose head was just not there, a cluttered pool of blood. This wasn’t HBO, this was Fox (I think). I’ve always thought of BONES as a light-weight drama. Those days are over.

I think some things are best shown …well, maybe less graphically. The parts of the exploded head were given a close up as the lab team prepared to reconstruct the skull on a lazy susan. Why the hell put it together? Identification to check what amount of her head actually evaporated? The shot made what was left look like a meat-lovers pizza special where the a drunk chef used half a side of beef on it. I’m talking chunks the size of toddler fists with teeth, with features and some with tufts of red hair. Man-o-man. Actually, woman-o-woman. Then they showed a corpse in a tub of lye. Everything below the waterline was bone sticking through mushy tissue… And then they had a scene with that corpse on a table in the lab. Ugggghhh!

Did I mention that my four-year-old grandson saw it? I’m sure his mind will never be the same. He was at the table behind me, and when I laughed he looked up from his coloring book. “Dotz, I want to see it again.” I changed the channel to Sponge Bob, after pressing the record button, and I had to explain special effects just like I have explained to him that Jurassic Park doesn’t have actual dinosaurs, or that there are no Transformers demolishing buildings and so forth.

So here’s my point. Do you think audiences have become so desensitized as to accept these radical changes involving what is on the tube. Where do we go from here? When is reality too real? Have I finally become as old fuddy duddy? Well, I didn’t think I was. Truth is I know the next steps and how close we are to leaving NOTHING to the imagination. That, I find truly sad.

I feel for kids. We had Roy Rogers and six guns that shot dozens of rounds if the cowboys were in a running fight. Our kids have bullets exploding heads. I’m going to start wearing a raincoat when I watch TV, just in case blood splashes through the screen.

Second Chances

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By John Gilstrap

My first two published novels, Nathan’s Run and At All Costs, are out of print, and the rights reverted to me several years ago. Thanks to the somewhat startling success of the first two books in the Jonathan Grave series—No Mercy and Hostage Zero—Kensington Publishing purchased the reprint rights, and both will reappear on the shelves in 2011, first as eBooks and then as pBooks.

They’ll be published in reverse order, however, with At All Costs scheduled for a May release and Nathan’s Run coming out in August. The rationale here is all about practicality: At All Costs introduces FBI Agent Irene Rivers, a secondary yet pivotal character in the Grave books. With the latest Grave book, Threat Warning, coming out in late June, the reverse order seems like an attractive marketing platform. I guess we’ll see.

Enough shameless self-promotion for now.

It’s an interesting exercise to revisit stories I wrote thirteen and fifteen years ago. I have the opportunity to change anything I want—whether to merely put on a fresh coat of paint, or to pull down the Sheetrock and move the walls. I tell you that it’s tempting. If I were to write either of those books today, telling the same story, they’d be structured a lot differently. I’m startled by the degree to which my storytelling instincts have evolved.

But I’m going to resist the temptation—mostly. Fact is, I’m still very proud of both books, and I still think they’re well-written, even if I would write them differently today. They are, in fact, the books I wrote at the time, and the purist in me wants them to remain blazes on the trail I walked in the 1990s. They reflect the sensibilities and the world view of a young father with a small child, written at a time that was in so many ways different than today.

But I can’t leave them alone entirely. In fact, I think I’d be foolish to leave some elements untouched. For example, there’s one scene in At All Costs that I put in specifically under pressure from my editor at the time. I never liked it, and after the book was published, I cringed that it was there. Well, it’s not anymore. It wasn’t mine to begin with, so I don’t apologize for taking it out.

A little trickier are the changes I plan for the ending of Nathan’s Run. My original manuscript ended with a wrap-up chapter—a coda, if you will, much like the codas that end most of my later books. I took it out under pressure from everyone in my publishing food chain—from my then-agent’s assistant, through my editor and beyond. Since then, I have received hundreds of letters and emails from readers who wanted to know precisely the information that I had originally included in my manuscript. I’m putting it back.

Because it’s the ending, though—literally the last images of the story—this change makes me nervous. Part of me wants to put in some kind of note that says, “This used to be the end of the story,” but the rest of me acknowledges that it’s a mistake to interrupt the reading experience. I’ve got three weeks to figure this out, so there’s room for advice (hint, hint).

Most appropriate to threads that have been discussed here in the Killzone is my plan to largely defuckify both books.

Now, before any of you start slinging accusations of hypocrisy, let’s make this clear from the beginning: I told the publisher I wanted to do this, not the other way around. In fact, defuckification vastly complicates things for Kensington.

Again, my rationale is simple and practical: Hundreds (and hundreds) of letters and emails from fans telling me that they loved the books and believed that their children/mother/father/sister/brother would love it, too, if only they could share it. The language was the dealbreaker.

And you know what? They’re right. There’s a lot of gratuitous profanity in those books. In Nathan’s Run—a book with a twelve-year-old protagonist—there’s a passage that rhymes with “you trucking punt.” The story doesn’t need that. Perhaps no story needs that. (For the record, when I wrote that passage in 1994, I don’t think the C-word was as loaded as it is now. And, for the record, the epithet is directed from one male character to another male character.)

By way of full disclosure, a few F-bombs will remain, but in each case, I feel that they’re essential to the scene. In each case, I test-drove the scene sans F-bomb and they didn’t work.

My question to Killzoners is this: Is it okay for authors to “improve” upon their work when given a second chance, or should the first go-around live on forever?

Bad Boys & Naughty Girls – You Gotta Love ‘Em

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I love the challenge of creating anti-heroes/heroines, making a borderline human being into something more. And the closer to the dark side they are, the better I like it, as a reader and an author. The guy could be dark and brooding, but give him a dog (or a baby) and readers will know instantly that he’s worth loving. Or the woman could be an assassin, but give her a younger sister that she’s protecting for a good reason and I’m on her side.

The popularity of the anti-hero (man or woman) continues to be a strong trend in literature and in pop culture. With their moral complexity, they seem more realistic because of their human frailties. They are far from perfect. They tend to question authority and they definitely make their own rules, allowing us all to step into their world and vicariously imagine how empowering that might feel.

Some classic literary anti-heroes that are personal favorites of mine are:

Holden Caulfield in the Catcher in the Rye by J. D. Salinger, Roland Deschain in Stephen King’s Dark Tower series, Lestat in Anne Rice’s Interview with a Vampire, Hannibal Lecter (as Clarice’s white knight) in Thomas Harris’s Silence of the Lambs, Heathcliff in Emily Bronte’s Wuthering Heights, and even Scarlett O’Hara in Margaret Mitchell’s Gone with the Wind.

And here is a short list of noteworthy anti-heroes from the small screen:

On the TV show, HOUSE, Dr. Greg House is addicted to pain meds, a by-product of his damaged leg. He’s also obnoxious, abrasive, brutally honest, and definitely politically incorrect in how he deals with patients, but he’s damned good at what he does—saving lives. His public face appears to be a detached man who ridicules any real human emotion, yet he’s fascinated by true emotion too. It’s as if he’s an outsider looking in, an observer of the whole human experience. We never quite know if he really cares about his patients or is merely obsessed with being right as he puzzles out the reasons for the illnesses.

On the cable show, DEXTER, the strange anti-hero, Dexter Morgan, is a serial killer with a goal. He hunts serial killers and satisfies his blood lust by killing them. He’s got peculiar values and loyalties with a dark sense of humor. And he’s absolutely fascinating to watch.

On the new show HUMAN TARGET, Christopher Chance has a dark history. He’s a do-it-all anti-hero, former assassin turned bodyguard, who is a security expert and a protector for hire. He works with an unusual and diverse team. His business partner, Winston, is a straight and narrow, good guy while his dark friend, Guerrero, is a man who isn’t burdened by ethics or morality. Each of these men has very different feelings about what it takes to get the job done, but they’ve found common ground to work together. And their differences make for a fun character study. (My favorite character is Guerrero and I wish his character had more airtime.)

I’ve put together a list of writing tips that can add depth to your villain or make your anti-hero/heroine more sympathetic, but let me know if you have other tried and true methods. I’d love to hear them.

1.) Cut the reader some slack by clueing them in early. Your Anti-Hero/Heroine has a very good reason for being the way they are.

2.) Make them human. Give them a code to live by and/or loyalties the reader can understand and empathize with.

3.) Make them sympathetic by giving them a pet or a soft spot for a child. Write the darkest character and match them up with something soft and you’ve got a winning combination that a reader may find endearing.

4.) Show the admiration or respect others have for them.

5.) Give your villain and anti-hero similar motivations for doing what they do. Maybe both of them are trying to protect their family, even though they’re on opposing sides.

6.) Give your villain or anti-hero a shot at redemption. What choice would they make?

7.) Understand your villain’s backstory. It’s just as important as your protagonist’s.

8.) Pepper in a backstory that makes your anti-hero vulnerable.

9.) Give them a weakness. Force them to battle with their deepest fears.

10.) Have them see life through personal experiences that we can only imagine but they have lived through. They must be much more vulnerable than they are cynical to deserve the kind of significant other that it takes to open them up to love.

11.) Make them real. To be real, they must have honest emotions.

If you have favorite anti-heroes you’d love to share, I would love to hear from you. And tell us why you like them so much. I’d also like to know if you have any other writer tips to share on creating anti-heroes. Creating them can be a challenge worth taking. Editors sure seem to love them too.

What comes after #1?

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By Joe Moore

There is a title sought after by all writers, fiction and non-fiction. Having it behind your name means you’ve made it, you’ve reached the highest level of skill in the publishing industry. It adds legitimacy and validation to your claim to be a writer, and it’s prestigious and honored by all. You get to place it after your name when, for example, you make a public comment and are quoted or you contribute a blurb to a fellow author. It’s a badge to be worn with pride. And once you’ve achieved it, you keep it for life.

It’s the title: New York Times bestselling author.

Sure, there are other bestselling lists. But none has that crystal clear ring of authority and accomplishment like the NYT list.

For those who have garnered that title, congratulations. Quite a few have made it onto the list. For everyone else, keep trying by writing the best book you can. Who knows, someday your name might be there, too.

But there’s actually one more level of achievement to that title, one very few manage to obtain. It’s the most prestigious of all.

#1 New York Times bestselling author.

There’s nothing higher. There’s no better. I’ve never seen a writer claim to have been #6 New York Times bestselling author. Being #1 is like being the Chairman of the Joint Chiefs of Staff. Sure all those other generals and admirals are members of the Joint Chiefs. But there’s only one Chairman. And there’s only one #1 on the NYT list.

I was chatting with a few fellow authors the other day and a couple of hypothetical questions came up. If you become a #1 New York Times bestselling author, what would you try to do next? Go for a Nobel? Maybe a Pulitzer? Oprah Book Club? If your next book also reached #1, would it be considered better than the first one? What if it only got to #20 or didn’t make the list at all. Would that mean that it was not as good? Or that you’ve failed somehow?

In answering the questions, we all agreed that as writers we would still keep writing. That’s a given. But in our minds and in our hearts, what would be that next sought-after goal? One author suggested he would write his next book under a pseudonym and try to achieve the #1 status again. Another stated that after achieving that title, nothing else mattered in the area of prestige.

So lets have some fun in a non-scientific survey. If you became a #1 New York Times bestselling author, what would you strive or hope for next? How would you top being #1?

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THE PHOENIX APOSTLES, coming June 8, 2011.
”The Phoenix Apostles demands to be read in one sitting. – James Rollins