Author Archives: Clare Langley-Hawthorne

About Clare Langley-Hawthorne

Her first novel, Consequences of Sin, featuring the Oxford graduate, heiress, and militant suffragette Ursula Marlow, was published in 2007. This was followed by two more books in the series, The Serpent and The Scorpion (2008) and Unlikely Traitors (2014). Consequences of Sin was a San Francisco Chronicle Bay Area bestseller and a Macavity Award nominee for best historical mystery. http://www.clarelangleyhawthorne.com/

Facing Fears

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As writers we all have a number of fears about our writing – most especially when facing the dreaded blank page (which I should have been overcoming this week but procrastinated instead!). I’m not often crippled by writer’s block but I am most certainly stalled by many a fear. Mostly that fear centers around writing some truly awful rubbish but I think deep down, it’s probably more the fear of being exposed as a fraud (you think you’re a writer, hah?!). I often wonder if bestselling or famous writers experience the same degree of fear or angst but, unless they suddenly morphed into arrogant, self-aggrandizing idiots, I suspect that whatever deep-seated fears they had as newbie writers still secretly plague them.

This week I found my fears became paralyzing – I wasn’t able to get back into my WIP as I have a completed project that is being digested by my agent and so my brain seemed fixated on that. No matter that the rational part of that same brain told me to cease worrying about things out of my control and to seize the pen and get down to the business of finishing the next manuscript (which, after all, is all outlined, partially written and ready for completion!!). Despite this, however, the other part of my brain – the part that harkens back to my primitive, fear-driven, ancestors – kept holding me back. As of writing this blog post, the rational part of my brain has just about reasserted control, safe in the knowledge that since I’m traveling to London this week, little can actually be accomplished writing wise (travel being the perfect excuse for further procrastination in the name of research!).

Strangely, although (as this week proves) I still get beset with writing angst, most of my initial fears regarding my writing have all but disappeared. I no longer worry that I can’t actually write a complete novel (since I’ve managed to do so numerous times, my brain has finally accepted I will be able to do so again) and I am less concerned with the crappy nature of my first drafts, as experience has told me I can usually manage to improve them with revision (even if that process sometimes seems endless). Of course, replacing these fears are many others, but at their heart they are probably more about flagging self-confidence than true, gut-wrenching fear (at least I hope so!).

In the current environment, many writers don’t have to deal with the traditional fears of not finding an agent or a publisher. These can be bypassed if a writer chooses, and indie publication is a route easily accessible for most, if not all, writers. Nonetheless, I’m sure fear for any writer never truly disappears.

So TKZers, what are your greatest fears when it comes to your writing? Do you worry about the quality of your work or finding a market for it? Do you hate facing the dreaded blank page or, for you, is there some other nagging fear about your writing that keeps you awake at night (or, like me, keeps you from getting your writing done?)

 

Who’s Your Narrator?

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Over Spring Break I had an opportunity to catch up on many books that had been on my TBR pile including two that raised some interesting questions about a writer’s choice of narrator. The first of these, Room by Emma Donoghue, has a child narrate the harrowing story of a mother and son held by a kidnapper in a one-room shed, their subsequent escape and their rocky road to adapting to the wide world beyond. For me, the choice of narrator made for a compelling read and I think it was both a wise and savvy move on behalf of the writer. It was difficult to pull off I’m sure, but the choice of a child to tell the story added an unexpected element and twist to what could have been a more typical abduction thriller.

The second book was a real summer read – Me Before You by JoJo Moyes – and it was not the kind of story I tend to read (i.e. romance). However, the choice of narrative viewpoints in this book too was the reason I think it was so compelling. As a reader we see into the mind of a slightly ditzy 20-something, her more mature sister, and the mother of the quadriplegic man who the 20-something year old has been tasked with being a companion for. The writer (wisely I think) only briefly give us the perspective of the male protagonist (the quadriplegic) before his injury. Other than that his character and motivations are clearly revealed in terms of his interaction with the other characters. Neither Room nor Me Before You are typical book choices for me (I did also read The Summer Before the War by Helen Simonson, which is much more my usual cup of tea:))  but they gave me some interesting perspectives on narrative choices.

I typically have a strong female narrative voice – though in a few of my WIPs I have adopted multiple perspectives, including male characters. I’ve never attempted a child’s voice, nor the perspective of someone much older than me. For me, the choice of narrator has always been guided by the story and, so far at least, that has meant I haven’t delved too far outside my comfort zone (though I’ve had some fun with darker and more amoral characters than myself!).

So, TKZers, what about you? What was the most challenging narrative voice you’ve ever used? Do you find yourself typically using a voice closely allied to your own, or have you gone far beyond this to perhaps channel someone of a different ethnicity, age or gender to you own? What challenges did this present?

Tracking How You Read

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Two recent articles –  a Wall Street Journal article Your E-Book is Reading You and a New York Times Article Moneyball for Publishers – discuss the ways in which publishers and book retailers are using digital data to understand how readers react and engage with e-books. New data analysis techniques can look at how quickly readers finish a book, how far readers get in a particular book before giving up on it, and can even assess differences between readers (based on gender, age and other factors) in terms of their reading behavior. Sounds intriguing, doesn’t it? Especially given many publishers would admit they don’t really know a lot about their readers or their reading behavior when it comes to specific books.

Jellybooks, a so-called ‘reader analytics company’, offers publishers the ability to track reading behavior by giving a group of readers free e-books and digitally recording their reading behavior. In this way they are hoping to demonstrate to publishers how often the books are opened, how quickly they are read and (if a reader fails to complete the book) at what point a reader’s interest began to wane. According to Jellybook’s data fewer than half the books tested are finished by the majority of readers (ugh!) and that most readers give up on a book in the early chapters (which is hardly unexpected). Again, intriguing…

So what could publishers potentially do with these data? Well, given the plan is to track reading behavior prior to a book’s publication, these data could be used by publishers to formulate their marketing plans (spending less, I assume on the books that ‘failed’ in the test group, and spending more on those the test group completed quickly). Publishers could also use the data to identify the type of readers that respond well to a book and produce a more targeted marketing plan. I assume another option, in the future, could also be the possible ‘casting adrift’ of authors and books that failed to catch fire with test readers.

Both the WSJ and NYT article point out the potential pitfalls for these kind of ‘deep’ digital reader analytics programs. The test group might not represent, for example, the kind of readers a particular book would appeal to, or the group might not be a large enough (or diverse enough) to adequately represent the general book buying audience. There are also privacy concerns if this kind of analytics became widespread – although almost e-book publishers like Amazon, Apple and Google can already can track though their apps how many times readers open the app and spend their time reading. No doubt they already analyze their own data to glean a great deal of information about reader behavior.

Authors may also be cautious – while it would be pretty cool to see how readers respond to your books – what if they didn’t react as favorably as the publisher would like?? Is an author more likely to get dropped if the test audience doesn’t respond the way an author or publisher was hoping? Does a lukewarm reception in the test group mean that an author is likely to receive minimal marketing success (could failure become a self-fulfilling prophecy depending on the reaction if the test group?) I wonder too if reliance on digital data analytics could have a freezing effect on acquisitions of more quirky, eccentric or less mainstream books.

So TKZers, what do you think of the move towards deeper ‘reader analytics’. As a reader and as a writer, what benefits or risks do you see?

By the way, I am traveling to Nicaragua so, depending on access to the internet, I may or may not be able to join in, what I hope is a stimulating discussion on this topic!

The Dreaded P Word

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Apologies for having a rather truncated blog post this week – owing to a kitchen knife injury to a finger requiring stitches I’m a little less ‘keyboard able’ than usual….Although there’s always the craziness of the dreaded ‘P’ word to keep me distracted…and by that, of course, I mean politics.

As a general rule I can’t avoid at least some politics in my writing – history tends to be enmeshed in the politics of the day, but as another general rule I tend to leave out (overtly at least) my own political ideals and opinions in my books (I figure readers don’t want to hear them but would rather immerse themselves in a historical period). But politics shapes indirectly (and sometimes very directly) all the characters in my work – which can be a challenge when many of the political ideas espoused in early 20th century England are an anathema to modern sensibilities. However, I believe that well-crafted characters, placed in an appropriately explained historical situation, help illuminate the politics of an era far more so that a non-fiction history book  ever could.

That being said, I’m sure many  writers try to avoid injecting obvious ‘politics’ in their novels. No one wants to alienate a sizable portion of their readership after all, and usually a book’s  characters can display a range of values and attitudes to encompass contemporary (as well as historical) political thought. It’s hard at the moment, however, to avoid the dreaded ‘P’ word as the current election cycle is on our news 24/7 (or so it seems!).

So I thought I’d check in with the TKZ community to see how you tackle politics in your writing – do you avoid injecting your own political views and opinions in your books? Do you consider a character’s politics during their developmental stage?  I  find it  both interesting and challenging to explore a range of opinions and political/social beliefs when creating my characters, but obviously, as a historical writer, I also have to reflect the times I’m writing about. There are many social issues that were viewed quite differently in Edwardian and WW1 England for instance and I try to respect the era by making sure I encapsulate (as best I can) the mood, politics and social conditions of the time. What about you? what’s your view and experience of the dreaded ‘P’ word in your mysteries (both as a reader and a writer)?

 

What Does Bestseller Really Mean?

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imagesA recent article (see link here) about the ease with which a reporter for the Observer uploaded a ‘book’ (which comprised, basically, a photograph of his foot) onto Amazon and became an instant ‘#1 bestseller’ – despite only selling three copies – got me thinking. It got me thinking, not just about the idea of scamming your way to bestsellerdom, but about the whole concept of being a ‘bestselling’ author and the kudos this  provides and implies.

Like any author, I would love to be able to claim such a title – although (perhaps not like every author) I only want to earn the title as a result of stellar book sales.  It seems, however, that through various manipulations (most often in how a book is categorized on Amazon) that the notion of being a ‘bestseller’ has become, well, let’s just say a little fuzzy. Now, this article does point out that they have always existed inherent biases within bestseller book lists and they have probably always been authors desperate enough to game the system (such as by buying their own books in bulk) in order to have the title ‘bestselling author’ bestowed upon them. However, the advent of Amazon and the plethora of ways an author can upload, market and sell their own ebooks seems to have increased the opportunities for gaming the system exponentially.

I don’t intend (in this blog post at least) to rake over all the ways and means authors manage to legitimately (or not) claim the ‘bestseller’ title but rather to consider what the word ‘bestselling’ means today (if, indeed, it means anything). As a reader, I can’t say I pay much attention to claims made to bestseller status on Amazon (especially now I now how easy it can be to claim such a title) – my eyes simply glaze over – and my decision whether to buy the book or not is far more dependent on reviews and recommendations than any ‘top selling’ status I might see on a website, book cover or author page. I do, however, take note of the bestseller lists in the NYT Book Review – to my mind this seems a better reflection of the popularity of any given book (even though I know the list probably has its own limitations). As a writer, becoming a NYT bestseller is also an obvious and much treasured goal…but, although I’d love to plop the word ‘bestselling author’ next to my name I wonder, given how many authors claim this (beyond the NYT list), how much meaning this term really has anymore.

So what about you – do you think the term ‘bestseller’ has lost a lot of its value through being bandied about so much? Do you pay any attention to Amazon’s designation of a book or author as a ‘bestseller’? As a writer, how do you view the issue? Do you think working the system is simply fair game (why not get the crown of bestseller any way you can?..) – or do you view the system as a broken one which holds little intrinsic value any more?  Which bestseller lists do you pay attention to as a writer, reader and book buyer?

Print, Audio and Ebook Experience

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I thought this blog post would never eventuate after our aborted President’s Day weekend in Telluride that coincided with a huge boulder falling on a transmission line resulting in zero power to the whole town. We actually ended up driving back to Denver early after a night of picnicking in the semi darkness of our (rather chilly) hotel room. My husband and I called it our family Valentine’s Day adventure but after 12 hours of driving in 2 days it was more of an exhausting Valentine’s Day than anything…although, at least now I have no excuses and the blog post could be completed:)

On the way to Telluride and back we listened to two audio books in the car – one (which shall remain nameless) highlighted the very worst aspects of the audio book experience (wooden narration revealing a badly written novel in all its horror…) and we gave that one up after three discs; the second (thankfully) displayed all the wonderful elements associated with listening to a great book on CD. This (and I’m more than happy to identify it as The Graveyard Book by Neil Gaiman) was narrated by the wonderful Derek Jacobi (and a cast of other great British actors) and so was perhaps an unfair comparison – but, at least for part of our trip, the audio book experience was pleasantly memorable.

Both my twin boys love listening to books narrated well and still enjoy having me read aloud to them each night (which I still managed to do in our Telluride hotel room by flashlight!). What is interesting to me is that, although they love a great audio book, they are still ambivalent to ebooks – far preferring to read the print version. I often end up buying or getting from the library the print version of ebooks I own for them, as both boys want to read the hard copy rather than the electronic version. Since they both love spending on their computers and iPads, I have to wonder why neither of them have embraced ebooks. Is it because, like a bad audio book experience, it feels awkward and unenjoyable? Or is there something magical about turning the pages of a printed book that cannot be captured in an ebook (something that, as children, they feel strongly about perhaps?).

With recent reports of Amazon potentially opening physical bookstores, I also wonder whether we are finding an increasing resistance to ebooks (?). Now, I’m equally comfortable reading on my Kindle as I am reading the print version of a book – and yet my boys, who have grown up in the age of the iPad and Kindle, are not. They turn their noses up at any offer I may have to purchase the ebook version of a book they want. They’d much rather hold a book in their hands.

What about you? As a reader, do you have a preference for print, audio or ebooks? As a writer are you more wary of ebook only publication sites or publishers? Have you had a great book ruined by the audio version? What do you think – are we perhaps seeing generational differences that might result in a resurgence of print (if my boys are any indication)?

Have you got Focus?

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Hot on the heels of James Scott Bell’s great post yesterday on the top ten events of the highly successful writer, I want to add to this by highlighting the downside of the digital age – its impact on both writers’ and readers’ ability to stay focused.

For writers, digital distractions are everywhere. At the moment my personal bugbear is my inability to wean myself off mindlessly checking the internet whenever I lose steam in my writing – the result? At least ten minutes of Daily Mail, Facebook and Gmail distraction resulting in – you guessed it, a complete loss of focus. Over the last week I’ve been paying greater attention to my writing habits (or lack thereof) and have realized that checking the internet has become a sort of ‘default’ setting whenever I’m stuck on a sentence or unsure of a passage of dialogue. I worry that my brain has lost the ability to focus for more than an hour at a time without craving some sort of distraction when the going gets tough. The answer to my problem is clearly weaning myself off the distraction itself but I’m surprised at how difficult this has become. I know I’m going to have to retrain my brain somehow as well as impose much stricter limits on succumbing to these distractions. My fear is that my ability to focus for long periods of time is already slipping away from me (can you hear the screams?…)

As readers, digital distractions allow ourselves to fulfill our craving for something new and more interesting whenever our focus wavers. Recently, I’ve found it is much harder to keep my focus on a book when my interest starts to wane. Whereas in the past I would plough on for a bit, hoping that a book would regain my interest, I now find myself turning to digital distractions much quicker than I ever would have put a book down before. It would be amazing to be able to create a safe room, look into options such as Soundproofexpert, and have that room as a digital hideaway, away from what ever distractions you may find on a day to day basis, or unfortunately even an hour to hour basis now.

I’m sure lack of focus has always been an issue for writers and readers, but I do feel that the increasing levels of digital ‘noise’ that surrounds us is making it much harder (at least for me) to keep the level of sharp focus I need on my writing. It certainly makes me less efficient and productive – although, thankfully, I still manage to pull off bursts of fear-induced focus which means I am completing my writing projects on time. I just feel that I need to develop techniques to sharpen my focus, increase my attention span, and spurn the digital ‘siren’ call that is all too easy to heed.

So what about you – do you find the digital world is making you lose focus? Have you developed strategies to overcome this while writing (or reading). Although disconnection is always an option for periods of time, it’s hard for this to be a permanent ‘default’ setting when so much of our world revolves around digital communications. So…any and all ideas on the best way to retrain my brain to maintain focus will be gratefully accepted…

First Page Critique – Already Dead

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Here’s this month’s Thursday First Page Critique. My comments follow.

Already dead

 Aguascalientes, Mexico

     Leo wasn’t dead yet, so that’s a good thing … he thought. One never ever knows how these meetings will end up. Sometimes they finish nice and easy, some information passed around, possible issues are brought up and dealt with or maybe some questions need to be answered. A nice meal usually followed, some alcohol, if you are lucky maybe even some hookers. Then again, sometimes they ended with a loud BANG! and that was it. When you were summoned by the “higher ups” coming out alive was never a guarantee. The fact they were meeting in a public place did nothing to calm his nerves. In this business, you could get clipped in your own front yard with your all your neighbors, your mother a group of mariachi and even fucking mother Teresa watching and the only thing that mattered was someone got a job done. He was escorted to the banquet area of the restaurant by a young, pretty hostess. Walking in, he was a bit uneasy, he didn’t even notice how beautiful she was or how perfect her ass looked in her black slacks. What he did notice was the five bodyguards scattered throughout the room.

“Enjoy your meal/ Provecho” she said with a sly sexy smile, she motioned for him to advance forward to the farthest table in the large room. Leo smiled back and walked up to the table and exhaled. The three older gentleman seated at the table did not bother to formally stand up. They greeted and acknowledged Leo, smiled and offered him the only seat to join them. Everything is always business with these types.

My Comments

Although I do think there could be an interesting snarky, wise guy ‘voice’ to this first page, it is submerged beneath extraneous information and stylistic choices that slow the pace and detract from the story. Overall, I wanted to see more action and tension in this first page – to have questions (and stakes) raised and to be exposed to the unique voice of Leo and his POV.

Here are my specific concerns:

  1. POV confusion: We have a lot of pronouns going on in this first page. First we have ‘Leo’ then we have ‘he’, ‘one’ and ‘you’ and then back to ‘he’. This wouldn’t ordinarily pose too much of an issue but in this piece it feels strained, like we aren’t too sure about the POV the writer intends to use. The first line “Leo wasn’t dead yet, so that’s a good thing … he thought.” makes it sound like the narrator is someone other than Leo (otherwise why not say ‘I’?) Then we switch to the more detached use of ‘one’ and ‘you’ then return to the pronoun ‘he’ – although by now we aren’t totally sure who ‘he’ is…I assume it is Leo since Leo is the character referenced in the last paragraph. As a reader, however, I shouldn’t have to puzzle at all. From the get go it should be clear who is speaking and the POV should keep me engaged (to be honest the use of ‘one’ and ‘you’ created a distance for me from the narrative voice). Also, if the writer is using Leo’s point of view than Leo cannot say: “he didn’t even notice how beautiful she was or how perfect her ass looked in her black slacks” because, as the narrator, he obviously did…
  2. Generic information/sentences: It is crucial that the first page intrigues a reader – it should raise questions and tension that means a reader can’t wait to turn the page and keep reading. That’s why sentences like: “One never ever knows how these meetings will end up. Sometimes they finish nice and easy, some information passed around, possible issues are brought up and dealt with or maybe some questions need to be answered” are flat and dull. There’s no real information being imparted  that is specific to the situation. This sentence could be used for almost any meeting…but what the reader wants is specifics – details that ground the story and which add texture and sensory detail that is gripping as well as believable. Once we get to the statement that people get gunned down in their front yards we’re starting to approach the detail we need, but, it is still too generic and stereotypical.
  3. Lack of Tension: I really wanted to be worried for the protagonist’s safety in this first page and to feel that there was a very real threat of him being bumped off. Yet in this first page we never get the level of tension needed for a reader to believe that this is a drug meeting that could easily go horribly wrong. The fact that we had the beautiful sexy girl beckoning Leo to the table also seems too much like a stereotype. I wanted to see more specific details that made me believe this scenario.
  4. Telling but not showing: This directly leads on from the last comment. I wanted to see more action in this first page but instead, although I was told a lot of information about the dangers (as well as the banality) of these meetings – I never really saw or experienced it on the page.

So what about you? What comments or feedback would you give for today’s submission?

What’s your Mindset?

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by Clare Langley-Hawthorne

On Friday night I heard a great presentation from our school district’s differentiation coach about fixed versus growth mindset and how research into this relates to how our children learn and succeed at school. Although I haven’t read the work by Carol Dweck (who pioneered much of this research) I was intrigued enough to watch her in a TED speech online (click to see here) and to place her book ‘Mindset, the New Psychology of Success’ on hold at our local library. Initially the concept of a fixed versus growth mindset didn’t seem all the radical, but when I thought a little more closely I realized it highlights many of ‘mindset’ issues we face as writers.

A fixed mindset is one which regards intelligence, talent or ability as static and innate – meaning we are either intelligent, smart, good at creative writing or we aren’t (and I guess if we aren’t we just have to accept our fate!). Scientific research over the last few decades reveals, however,  that our brains are much more flexible and fluid than that and, like any muscle, the more we use it, the stronger it gets.

At some time in our lives, I’m sure many of us have been caught within the fixed mindset trap (“I’m not good at math”; “I’m a hopeless athlete…”), or may have  had a fixed mindset imposed on us by our teachers or our peers  (“You can’t write!”; “You’ll never be able to do that!” ). Research shows that children start out in kindergarten believing they can do anything (just think of how many of us wanted to be astronauts!) but as we mature, many of us shift from a growth mindset to a fixed one. At that point we no longer want to face the possibility of failure and remain firmly entrenched in our ‘comfort zone’ of abilities.

Someone with a fixed mindset will most likely avoid challenges; give up easily; ignore feedback and feel threatened by other people’s success. Unfortunately, writing is by its very nature an ongoing challenge that more often than not results in failure – writers face a constant learning curve, which (I would argue at least) requires us to move to a growth mindset in order to succeed (or at least not go insane!)

Someone with a growth mindset embraces challenges, gives everything their best shot, learns from feedback and is inspired by others’ success. More importantly, they accept failure as a necessary part of the growth process (an admittedly difficult lesson for any of us to learn).

As both a writer and a parent, I got a great deal out of Friday’s presentation.  It made me think more closely about my own mindset and whether it was fixed or growth focused when it came to my writing, and how I can embrace  the challenges as well as the failures as I continue to grow as a writer.

So TKZers, how would you categorize your mindset when it comes to your writing?

Happy 2016 from TKZ

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Happy New Year and welcome back to The Kill Zone blog for 2016!

Each year many of start of with resolutions and many of us end the year having not quite managed to fulfill any or all of them. For me, I managed to achieve about a third of what I planned for 2015 so this year I’ve decided that, at least in terms of my writing, I’m going to focus on just a few key aspects (okay…make those tics) that drive me and my beta readers to distraction. Thus, my three main ‘writing’ new year’s resolutions are:

  1. Not to have another character with a surname that ends in ‘s’. How many times have I told myself this – thousands upon thousands – and what did I just do with my latest WIP?  I had a character whose last name was…Brooks…argh!
  2. To start introducing nicer weather. My poor characters are constantly beset by fog, rain and damp. I know my family are English and that is pretty much typical weather but still, would it kill me to let a character enjoy some sunshine now and again??
  3. To (finally) kick the critic off my shoulder and stop her from plaguing me with self doubt when I’ve not even finished the first draft. Time to finally relax, have some fun in 2016 and wait at least until the first draft is complete to let that editor/critic/angst- ridden voice into my head…

So what are your ‘writing resolutions’ for 2016? What are you going to focus on this year?