Category Archives: Joe Moore

Success is a 4-letter word

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By Joe Moore

Okay, it’s really a 7-letter word. But I know a lot of successful authors that would use a 4-letter word when asked what it’s like to be successful. Why? For a couple of reasons. First, success is impossible to obtain. You can obtain “better”. You can achieve “improved”. But you’re always working to be successful. Success can be nothing more than a carrot on a stick just beyond your nose.

Second, success means something different to everyone. It’s a lot like describing an object as being green. Are we talking forest green, lime green, Irish green, puck green, or foam green? How about that green on the Beatles Apple logo or Kermit the Frog green?

I’ll bet if you asked any author who just sold a million copies of his last book, did it make him feel good? The answer will probably be, “Absolutely!” Does he consider himself a success? 4-letter-word no! Why? Because now his publisher expects him to sell 2 million copies of that next book he hasn’t finished writing yet. No pressure there. That’s not success. That’s a problem, albeit one we would all like to have. Now his sales are a bold number on the publisher’s ledger sheet. Now employees’ jobs rely on his success. It’s not just good enough to write another great book that sells lots of copies, he has to worry about the folks that are counting on him for their salary, their jobs, and their future.

So what is success in the publishing industry? Is it when you sell 25,000 copies, 50,000 copies, a million, become a New York Times bestseller? When can a writer kick up his or her heels and declare, “Mission Accomplished”?

Here’s a tip. Success is what you predetermine it will be. It’s what you decide before it comes. If you don’t approach success in that way, you are destined for disappointment. For some, being successful is walking into a bookstore and seeing their novel on the shelf. For other’s it’s the rush of holding a book signing and seeing the line of fans snaking out the door. And for many, it’s money.

But even if it is money, try to remember that it’s more important to predetermine what you’ll do with it, rather than wanting to be “rich”. For instance, determine the amount you’ll need to quite your day job. Or to pay off your mortgage. Or to move to Cape Cod or Palm Beach, or just a bigger house.

The point is, you determine what will make you successful. Be specific, not vague. And if you achieve it, relish it, celebrate it. Because everything after that is the sauce on the steak. And if you do achieve your predetermined success, always say the two most powerful words in the English language: Thank You.

When do you consider a writer to be a success? Have you predetermined your Mission Accomplished criteria? Have you already achieved it?

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Coming up Sunday, June 7, our guest blogger will be New York Times bestselling author Sandra Brown. And watch for Sunday guest blogs from Steve Berry, Robert Liparulo, Paul Kemprecos, Linda Fairstein, Julie Kramer, Grant Blackwood, and more.

Start at the end

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By Joe Moore

A topic I’ve mentioned here in the past is Kurt Vonnegut’s 8 rules of writing fiction. They’re worth reviewing and taking to heart. But his rule number 5 is the one that made the biggest impression on me. Rule number 5 is: Start your story as close to the end as possible. This is relevant for both the entire book or a single chapter. We often hear that the most common mistake of a new writer is starting the story in the wrong place.

Well, it happens to published writers, too. Lynn Sholes and I are guilty of writing whole chapters that either occurred in the wrong place, or worse, weren’t even needed. Usually they turn out to be backstory information for us, not the reader. We go to the trouble of writing a chapter only to find it’s to confirm what we need to know, not what the reader needs to know.

So if we apply Vonnegut’s rule number 5, how do we know if we’ve started close enough to the end? Easy: we must know the destination before we begin the journey. We must know the ending first. To me, this is critical. How can we get there if we don’t know where we’re going? And once we know how our story will end, we can then apply what I call my top of the mountain technique. In my former career in the television postproduction industry, it’s called backtiming—starting at the place where something ends and working your way to the place where you want it to begin.

7691695But before I explain top of the mountain, let’s look at the bottom of the mountain approach—the way most stories are written. You stand at the foot of an imposing mountain (the task of writing your next 100K-word novel), look up at the huge mass of what you are going to be faced with over the next 12 or so months, and wonder what it will take to get to the top (or end).

You start climbing, get tired, fall back, take a side trip, climb some more, hope inspiration strikes, get distracted, curse, fight fatigue, take the wrong route, fall again, paint yourself into a corner—and if you’re lucky, finally make it to the top. This method will work, but it’s a tough, painful way to go.

Now, let’s discuss the top of the mountain technique. As you begin to plan your book, even before you start your first draft, Imagine that you’re standing on 9944522the mountain peak looking out over a grand, breathtaking view feeling invigorated, strong, and fulfilled. Imagine that the journey is over, your book is done. Look down the side of the mountain at the massive task you have just accomplished and ask yourself what series of events took place to get you to the top? Start with the last event, make a general note as to how you envision it. Then imagine what the second to the last event was that led up to the end, then the third from the last . . . you get the idea. It’s sort of like outlining in reverse.

This takes it a step further than Vonnegut’s rule number 5 by starting at the end and working your way to the beginning while you’re still in the planning stage. Guess what happens? By the time you are actually at the beginning, you will have started as close to the end as possible. And you will see the logic and benefit of rule number 5.

Naturally, your plan can and probably will change. Your ending will get tweaked and reshaped as you approach it for real. But wouldn’t it be great to have a general destination in mind even from the first word on page one of your first draft?

Do you know your ending before you start writing? Or do you have a general idea for the story and just wing it? Remember that there’s no right or wrong answer here. But what works for you?

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Coming up on our Kill Zone Guest Sundays, watch for blogs from Sandra Brown, Steve Berry, Robert Liparulo, Alexandra Sokoloff, Thomas B. Sawyer, Paul Kemprecos, Linda Fairstein, and more.

It’s Smackdown Day and I need your vote!

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By Joe Moore

It’s going to be a short post today because there’s little time to spare. Like any great thriller, the clock is ticking. My co-author Lynn Sholes and I are in a death match with none other than Dan-da-Vinci-Code-Brown. And we’re determined to win.

Don’t get me wrong, I like Dan Brown. At least I like his books. megalithI’ve never actually met him, but I’m sure he’s a great guy you’d want to have a beer with. But today there’s something called the May Madness Thriller Author Smackdown over at a website/blog called Megalith. So a potential Brown-Sholes-Moore warm & fuzzy beer fest is not in the cards right now. This is serious smackdown stuff.

Each day of this month, the Megalith blog is matching up two thriller authors (or teams) to go head to head. The final round and championship will be on May 31. But today, we need your votes.

I mean, when you get right down to it, aside from a small difference of 80 million or so copies in sales, just like Dan’s, our thrillers have secret societies, ancient religious relics, angels and demons, globe-trotting heroes and villains, secret codes, seat-of-the-pants action, inside the Vatican cool stuff, creepy tunnels, dusty tombs, scary castles, and apocalyptic threats galore.

So call your family and friends, use names off headstones and the Chicago voter rolls—whatever it takes. Just get over to Megalith blog and vote. It’s a smackdown, and the future of the thriller world is in your hands.

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Coming up on our Kill Zone Guest Sundays, watch for blogs from Sandra Brown, Steve Berry, Robert Liparulo, Thomas B. Sawyer, Paul Kemprecos, Linda Fairstein, Oline Cogdill and more.

Sunday Writing School

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We’re having another one of our periodic Sunday Writing Schools today at the Kill Zone (See the link to our inaugural school).

Here’s how it works: We post a couple of writing-oriented questions that we’ve collected over the weeks, and do our best to answer them. Readers can post more questions in the comments. Feel free to chime in with your own opinions, including snarky ripostes to our advice. This is basically intended to be a free-for-all exchange of ideas about writing, not a serious-minded Fount of Wisdom.

We’ll just have some fun.

The first question in the mail bag is from Win Scott:

Q: I know some writing books say not to use prologues, but I need to open my story with an event that precedes the main story. This event is also much more dramatic than my first chapter, and it lays the groundwork for everything that comes next. Can I use a prologue in this case?

A. [From Kathryn]: I’ll admit my bias here–I don’t like prologues. I think they’re old fashioned, and you risk turning off screeners if you use them. Readers don’t care when you start your story, so why not make your Prologue your “Chapter One,” and then turn what was your first chapter into a “forward flash” in time? You can add a date-anchor at the beginning of the chapter to orient the reader in time. I’ve seen many thrillers use this technique, and the effect is much more immediate and dynamic than if you use a prologue.

But that’s just my two cents. I’ll let the other Killers chime in.

Here’s a question from Joy F.

Q. What are some methods of getting over writer’s block?

A. [From Joe] Getting the juices flowing can be tough sometimes. We all experience it. Here are a few tips that might help. Try writing the ending first. Consider changing the gender of your character or the point of view. Tell the story or scene from another character’s POV. Just for grins, switch from third person to first or vice versa.

You don’t have to keep the results of these exercises but they might boost your imagination and get you going again.

(If you would like to ask other questions today, feel free to add them in the Comments. We’ll answer them there.)
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Coming up on our Kill Zone Guest Sundays, watch for blogs from Sandra Brown, Steve Berry, Robert Liparulo, Paul Kemprecos, Linda Fairstein, James Scott Bell, Alexandra Sokoloff, and more.

I don’t like Twitter

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By Joe Moore

I don’t like Twitter. I know, I know, it’s the latest craze in shorthand communication on the Internet and by cell phone. And a bazillion people are joining ever hour. And you can “follow” your family and friends and famous people instantly.

But I don’t like it.

twitter Before I tell you why, let me explain what Twitter is for those that have been living in a mountain top monastery in Tibet and are excited that they are only now getting push button phones.

Twitter is a simple means of communicating between anyone and everyone. You type a description of what you’re doing right now such as what you had for breakfast, what color you painted your garage floor, what you thought of Adam on American Idol, whatever is on your mind, then share your tweet with your friends. Here’s the catch: you must deliver your message using 140 characters or less. The Twitter system sends your “tweet” to all your “followers” which are anyone that signed up on Twitter and then chose to “follow” you. And you get to see the tweets of those that you are following.

Twitter relies on cell phones for much of its interaction hence the 140-character rule. That’s about the limit of most mobile phone text messages. You also get your own special webpage to post your tweets and see the tweets of those you’re following.

The goal of Twitter is to make it easy for you and other tweeters to post and update their status from anywhere, anytime. So like their coffee in the morning, many tweeters post their first tweet while waiting for their Chock Full O’ Nuts to finish brewing. And there’s a lot of tweeters who make it a point to wish everyone goodnight as the head off to Dream Weaver Land. In between wakeup and lights out, you’re bound to read rants, raves, rehashes, relishes, and restaurant recommendations along with every other activity in a tweeter’s life.

There’s a Twitter-style shorthand—not quite as BFF-cryptic as cell phone text messaging, but almost. It takes a bit of getting used to, but you catch on quickly. And because you are limited to 140 characters, it’s created a cottage industry for long-character URL conversion to short-form at sites like TinyURL. That way, if you want to include a link in your tweet to some cool website, you can convert the address to a shorter form that saves on characters.

There are a couple of things you need to know before you start twittering. The system seems to crash often. This is because another bazillion members just signed up. So you’ll get errors and strange page configurations throughout the day. In order to see the latest tweets, you have to “refresh” your browser window. This gets old fast. And then there’s the question, If someone follows you, should you follow them back? If you don’t, is that considered an insult? You can also “unfollow” someone. This of course is the ultimate punch in the gut to your estranged followee. Tough love.

So, why do I not like Twitter? Because it’s usually more interesting than anything I’m doing at any given time, and I don’t have the willpower to turn it off and get back to what I do: write books. I don’t like Twitter or the people who invented it or the people who follow me or the people I follow or the people that I will start following today. I have a lot more to say on this subject but I have to run update my Twitter status. Happy tweets!

How about you. Do you love Twitter or, like me, hate it? It is a way to fill in the gaps of your life or is it a total waste of time? Please limit your answer to 140 characters (or more).

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Coming up on our Kill Zone Guest Sundays, watch for blogs from Sandra Brown, Steve Berry, Robert Liparulo, Paul Kemprecos, Linda Fairstein, Oline Cogdill, James Scott Bell, and more.

Slice and Dice your work

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by Joe Moore

The writing process is made up of many layers including outlining, research, first drafts, rewriting, copy editing, proofing, more editing and more proofing. One of the functions that sometimes gets the least amount of attention in discussions on writing techniques is editing.

There are a number of stages in the  editing process. Starting with the completion of your first draft, they involve reading and re-reading the entire manuscript many times over and making numerous changes during the process. It’s in this phase that you need to make sure your plot is seamless, your story is on track, your character development is consistent, and you didn’t leave out some major point of importance that could confuse the reader. Pay close attention to content. Does the story have a beginning, middle and end? Does it make sense? Is the flow of the story smooth and liquid? Do your scene and chapter transitions work? Is everything resolved at the end?

Check for clarity. This is where beta readers come in handy. If it’s not clear to them, it won’t be clear to others. Don’t assume that everyone knows what you know or understands what you understand. Make it clear what’s going on in your story. Suspense cannot be created by confusing the reader.

Once you’ve finished this first pass searching for global plotting problems, it’s time to move on to the nuts and bolts of editing. Here you must tighten up your work by deleting all the extra words that don’t add to the reading experience or contribute to the story. Remember that every word counts. If a word doesn’t move the plot forward or help develop the characters, it should be considered for the slicer-dicer.

Some of the words that can be edited out are superfluous qualifiers such as “very” and “really.” This is always an area where less is more. For instance, you might describe a woman as being beautiful or being very beautiful. But when you think about it, what’s the difference? If she’s already beautiful, a word that is considered a definitive description, how can she exceed beautiful to become very beautiful? She can’t. So I suggest you search for and delete instances of “very” or “really”. They add nothing to the writing.

Next, scrutinize any word that ends in “ly”. Chances are, most adverbs can be deleted without changing the meaning of the sentence or your thought. In most cases, cutting them clarifies and makes your writing crisper.

Next, go hunting for clichés and overused phrases. There’s an old saying that if it comes easy, it’s probably a cliché. Avoiding clichés makes for fresher writing. There’s another saying that the only person allowed to use a cliché is the first one to use it.

Overused phrases are often found at the beginning of a sentence with words like “suddenly,” “so” and “now”. I find myself guilty of doing this, but they don’t add anything of value to my writing or yours. Slice and dice them.

The next type of editing is called line or copy editing. This covers making sure you used the right word. Relying on your word processor’s spell checker can be dangerous since it won’t alert you to wrong words when they are spelled correctly. It takes a sharp eye to catch these types of mistakes. Once you’ve gone through your manuscript and performed a line edit, have someone else check it behind you. A fresh set of eyes never hurts.

On-the-fly cut and paste editing while you were working on your first draft can get you into trouble if you weren’t paying attention. Leftover words and phrases from a previous edit or version can still be lurking around, and because all the words might be spelled correctly or the punctuation might be correct, you’ll only catch the mistake by paying close attention during the copy edit phase.

Line editing also covers grammar and punctuation. Watch for incorrect use of the apostrophe, hyphen, dash and semicolon. Did you end all your character’s dialogs with a closed quote? Did you forget to use a question mark at the end of a question?

The many stages of editing are a vital part of the writing process. Editing your manuscript should not be rushed or taken for granted. Familiarity breeds mistakes—you’ve read that page or chapter so many times that your eyes skim over it. And yet, there could be a mistake that you’ve missed every time because you’re bored with the old stuff and anxious to review the new.

Spend the time needed to tighten and clarify your writing until there is not one ounce of fat or bloat. And once you’ve finished the entire editing process, put the manuscript away for awhile. Let it rest for a week or even a month if your schedule permits while you work on something else. Then bring it back out into the light of day and make one more pass. You’ll be surprised at what you missed.

One more piece of advice. Edit on hardcopy, not on your monitor. There’s something about dots of ink on the printed page that is much less forgiving than the glow of pixels.

Any other editing tips or techniques out there? How do you approach editing; on the fly or after the first draft is complete?

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Coming up on our Kill Zone Guest Sundays, watch for blogs from Sandra Brown, Steve Berry, Robert Liparulo, Paul Kemprecos, Linda Fairstein, Tim Maleeny, Oline Cogdill, Alexandra Sokoloff, James Scott Bell, and more.

Treasure Hunt

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By Joe Moore

Over the last two days, my blogmates Clare and Kathryn have discussed researching. Since this is one of my favorite topics and the part of the writing process I thoroughly enjoy, I want to continue the thread.

For treasure-Islandme, researching is a lot like digging for buried treasure. It’s the excitement of uncovering those tidbits and morsels of fact that add seasoning and spice to the story. Over the years, I’ve accumulated a list of tricks and techniques I use in doing my research. And I’ve posted the info so anyone can use it. But before I reveal the secret location where I buried Joe’s Treasure Trove, here’s a sampling of what you’ll find.

Creating Names
How do you come up with names for your characters, especially the minor and walk-on characters? Pop in a DVD of any movie and skip to the credit roll. There’s hundreds of mix and match names to choose from. And if you need foreign names, just pick a movie that was shot in a particular country. Even the major Hollywood studies use local crews when they’re on location and list their names in the credits.

Don’t want to watch a movie? There are even fake name generators online, some for specific genres like SF and fantasy.

Character Bios
How about background info on your characters? Easy. Just check the obituaries in a local or national paper. You’re sure to find biographies you can modify for your needs. There’s even a national obituary website where you can find thousands of bios to review. And don’t forget searching the faculty bios at hundreds of colleges and universities for background info.

Location, location, location
What about creating a sense of place? This one is really fun. Let’s say you need to describe a house where your character lives in a particular town. Start with one of the many real estate websites. A quick search will show you what the houses look like in a particular neighborhood or area, many with virtual tours. Google maps gives you the names of the surrounding streets, highways and landmarks. And Google Earth shows you the surrounding territory in detail including the names of hotels, restaurants and other landmarks that can make your story more realistic. And the hotels and restaurants almost always have a website so you can choose what your character had for dinner or what the view is from his hotel room.

I’ve also found that there are many detailed accounts of personal vacations, walking tours and excursions, many with photos, that give great descriptions of cities, towns, parks, monuments, and other unique locations that can add a touch of realism.

As an example of what to look for, a number of scenes in my current WIP take place in the underground Paris Catacombs. What’s it like down in the tunnels? Click here for a personal tour.

Loads of Links
Your hero is in Mexico City reading the morning news. What’s the name of the leading Mexican newspaper? There are websites that list and monitor thousands of newspapers from around the world.

You need statistics? Visit the CIA World Factbook or the Bureau of Justice Statistics websites. Need info on the global terrorists attacks that happed this morning? How about military terms and technology? Or how stuff works? What about access to over 39,000 public record databases? Or finding out what time it is right now in Nigeria or Singapore? There are websites for these and so many more for writer’s research resources.

And the most intriguing treasure of all: The Hidden Web. It’s over 500 times larger than the Internet and hardly anyone knows about it or how to access it. Now you will when you visit my research page.

As promised, here’s the location of my treasure trove, no digging needed. It’s my present to all my writer friends. New links are added from time to time, so check back often. Enjoy!

http://www.joe-moore.com/research

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Coming up on our Kill Zone Guest Sundays, watch for blogs from Paul Levine, Tim Maleeny, Oline Cogdill, James Scott Bell, and more.

Building a Writer’s Platform

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By Joe Moore

As the responsibility of marketing and promotion falls more and more on the shoulders of the author these days, one of the questions that agents and editors ask novelists is “What is your platform?” With the economy putting extra pressure on publishers, they expect writers to come to the game bringing a ready-made audience. They not only want but expect authors to already have established a fan base or at least a group of potential fans—and for new writers, this is BEFORE your book comes out. Even veteran, multi-book authors must have a solid, established platform. It’s part of the “new” business plan.

So what is a platform?

platform1 In a single word, your platform is your “brand”. Having a platform helps your relationship with your publisher, and it can assist you in selling more books.

So how do you establish or build your platform? The quickest way is to start with the Internet. Here are a couple of methods to begin nailing that platform together.

Website. There was a time when a website was only for the rich and famous. Those days are long gone. A writer without a website is about as logical as an author without a telephone. Outside of the bookstore, the author’s website is the “first impression” a potential reader gets of your brand. It’s truly a no-brainer. Your website is your billboard, your advertisement, your calling card. And the potential for delivering a creative message is only limited to your imagination. Essential elements on your website must include: a method for contacting you; a method for purchasing your book(s); a method for the press to gain information (digital press kit); an incentive to linger or return such as a contest or free sample chapters; a method to track your website traffic. Other considerations include continuity in your site colors and design that are in sync with your book covers or other branding elements, and a reasonable amount of interactivity such as a method of leaving comments or subscribing to newsletters and publication news.

Blogging. You obviously know about blogs or you won’t be visiting this one. A blog is an online method of expressing your thoughts with a means for visitors to leave a comment or opinion. As a writer, your blog will probably be about your writing, your books, or some other connection to your craft and career. Some authors like to venture away from their books and discuss other topics such as politics, religion, economics, etc. A word of warning: You’ve worked hard to establish and build your “brand”. Don’t blow it by pissing off your readers. At some point they just might reject your next thriller or mystery because they don’t agree with your position on unrelated issues. A blog can easily turn into a slippery slop.

Newsletter. As previously mentioned, your website needs a method for your visitors and fans to subscribe to a newsletter or news bulletin. If they’re a fan, they want to know about you and your books. When is your next book coming out? When are you going to do a signing in their area? Will you be at a particular writer’s conference? They want the news. And the best and most economical way to get them what they want is an electronic newsletter. There are numerous email-generating newsletter sources that you can use to put together a value-filled publication. A few suggestions are Constant Contact, MailChimp, and Vertical Response.

Write some stuff. Any writing credit is a good writing credit, and it helps build your platform. No matter what you write, whether it’s for the local paper or a national magazine, you’re byline will contain a mention that you are a novelist. So if the reader likes your article or how-to piece, and they see you also write thrillers or mysteries, that’s a potential plank in your platform.

Book forums. There are a ton of forums out there dealing with readers and writers. A good resource to begin finding them is groups.yahoo.com/. Others include WritersNet, Helium, Backspace, and Absolute Write. Make yourself known on these and similar forums and you’ll be adding to your brand and platform.

Social Networks. Sites like MySpace.com, LinkedIn.com, Facebook.com, Twitter.com and countless others are perfect for building your brand. The only potential risk is the time you might spend on these sites instead of writing your book. But they are a terrific source of finding your dedicated or new fans. A word of caution: see the note on blogging above.

Additional platform building tools include professional publicity photos of yourself and a strong press-ready biography. Also, memberships in writer organizations such as the International Thriller Writers or Mystery Writers of America help build your brand and platform among your colleagues and fans. The networking and connections made within these organizations and their subsequent writer conferences are invaluable.

How’s your platform coming? Any other suggestions on building a strong brand?

Detours on the way to publication

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By Joe Moore

You’re writing a novel. Maybe you’ve even finished it. Congratulations. The hard part is over, right?

Wrong.

detour1Now comes hard part #2: getting ready to sell it to a publisher. Even before you start your search, there are some basic concepts you should research first. They can prove to be costly detours on your way to finding an agent and editor if you don’t. Having the correct information by doing your homework can make for a smoother journey to publication.

First, you need to define your audience. It’s important that you know what type of person or group will go out of their way to find and pay to read your book. What are the characteristics of your target reader such as their age, sex, education, ethnic, etc. Is there a common theme, topic or category that ties them together? And even more important, what is the size of your target audience?

For instance, if your book is a paranormal romance set in the future in which the main characters are all teenagers, is there a group that buys lots of your type of book? If not, you might need to adjust the content to appeal to a broader audience. Change the age of the characters or shift the story to present day or another time period. If your research proves that a large number of readers buy books that fall into that category, making the adjustment now could save you a boatload of frustration later.

Next, you need to define your competition. Who are you going up against? If your book falls into a specialized sub-genre dominated by a few other writers, you might have a hard time convincing a publisher that the world needs one more writer in that niche.

The opposite problem may occur if your genre is a really broad one such as cozy mysteries or romance. You’re going to have to put a unique, special spin on your book to break it out of the pack. Or accept the fact that the genre and your competition is a wide river of writers, and you only hope to jump in and go with the current. Either way, make the decision now, not later.

The next issue to consider is what makes your book different from all the others in your genre. Do your homework to determine what are the characteristics of books that your potential audience loves. This can be done online in the dozens of Internet writer and reader forums. And you can also do the research by discussing the question with librarians and books sellers. Once you know the answers, improve on what your target audience loves and avoid what they don’t.

Just keep in mind that you can’t time the market. The moment you sign a publishing contract, you’re still 12-18 months behind what’s on the new release table right now.

Another detail to consider in advance is deciding how you’ll market and promote your book. Sadly, this burden has fallen almost totally on the shoulders of the author and has virtually disappeared from the responsibilities of the publisher. Start forming an action plan including setting up a presence on the Internet in the form of a website and/or blog. Also, is there a way to tie in your theme to a particular industry? How can you promote directly to your audience? For instance, if your romance novel revolves around a sleuth who solves crimes while on tour as a golf pro, would it be advantageous to have a book promotion booth at golf industry tradeshows? If your protagonist is a computer nerd, should you be doing signings at electronics shows? How about setting up a signing at a Best Buy or CompUSA? Follow the obvious tie-ins to find your target audience.

Writing is hard work. So is determining your target audience and then promoting and marketing to them. Like any other manufacturing company, you are manufacturing a product. Doing your homework first will help avoid needless detours on the way to publication.

Are there any other speed bumps and detours that you can suggest avoiding that could cause writers to stumble while trying to get their books published?

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CALENDAR OF UPCOMING GUESTS

Mark your calendar for the following guest bloggers at the Kill Zone:

Cara Black, March 8
Robert Gregory Browne, March 15
Neil Plakcy, March 22
Liz Jasper, March 29

Anatomy of a Thriller

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By Joe Moore

One of the author panels I’ll be on at the upcoming MWA SleuthFest is Anatomy of a Thriller (the other is Supernatural Sleuths). I’ll be sharing the panel with literary agent Nicole Kenealy (Aaron M. Priest Literary Agency) and publisher Benjamin Leroy (founder of Bleak House Books). So to follow in Kathryn’s footsteps from her post yesterday, let’s continue discussing thrillers and what makes them so thrilling.

anatomy First, what is a thriller and how does it differ from a mystery?

Although thrillers are usually considered a sub-genre of mysteries, I believe there are some interesting differences. I look at a thriller as being a mystery in reverse. By that I mean that the typical murder mystery usually starts with the discovery of a crime. The rest of the book is an attempt to figure out who committed the crime.

A thriller is just the opposite; the book begins with a threat of some kind, and the rest of the story is trying to figure out how to prevent it from happening. And unlike the typical mystery where the antagonist may not be known until the end, with a thriller we pretty much know who the bad guy is right from the get-go.

So with that basic distinction in mind, let’s list a few of the most common elements found in thrillers.

1. The Ticking Clock. Without the ticking clock such as the doomsday deadline, suspense would be hard if not impossible to create. Even with a thriller like HUNT FOR RED OCTOBER which dealt with slow-moving  submarines, Clancy built in the ticking clock of the Soviets trying to find and destroy the Red October before it could make it to the safety of U.S. waters. He masterfully built in tension and suspense with an ever-looming ticking clock.

2. High Concept. In Hollywood, the term high concept is the ability to describe a script in one or two sentences usually by comparing it to two previously known motion pictures. For instance, let’s say I’ve got a great idea for a movie. It’s a wacky, zany look at the lighter side of Middle Earth, sort of a ONE FLEW OVER THE CUCKOO’S NEST meets LORD OF THE RINGS. If you’ve seen both of those movies, you’ll get an immediate visual idea of what my movie is about. High concept Hollywood style.

But with thrillers, high concept is a bit different. A book with a high concept theme is one that contains a radical or somewhat outlandish premise. For example, what if Jesus actually married, had children, and his bloodline survived down to present day? And what if the Church knew it and kept it a secret? You can’t get more outlandish than the high concept of THE DA VINCI CODE.

What if a great white shark took on a maniacal persona and seemed to systematically terrorized a small New England resort island? That’s the outlandish concept of Benchley’s thriller JAWS. What if someone managed to clone dinosaurs from the DNA found in fossilized mosquitoes and built a theme park that went terribly wrong? You get the idea.

3. High Stakes. Unlike the typical murder mystery, the stakes in a thriller are usually very high. Using Dan Brown’s example again, if the premise were proven to be true, it would undermine the very foundation of Christianity and shake the belief system of over a billion faithful. Those are high stakes by anyone’s standards.

4. Larger-Than-Life Characters. In most mysteries, the protagonist may play a huge role in the story, but that doesn’t make them larger than life. By contrast, Dirk Pitt, Jason Bourne, Jack Ryan, Jack Bauer, James Bond, Laura Craft, Indiana Jones, Dr. Hannibal Lecter, and one that’s closest to my heart, Cotten Stone, are all larger-than-life characters in their respective worlds.

5. Multiple POV. In mysteries, it’s common to have the story told through the eyes of a limited number of characters, sometimes only one. All that can change in a thriller. Most are made up of a large cast of characters, each telling a portion of the story through different angles. Some thrillers are so complex in their POVs that you really need a scorecard. But even with multiple POVs, it’s vital to never let the reader lose sight of whose story it is. There should be only one protagonist.

6. Exotic Settings. Again, in most murder mysteries, the location is usually limited to a particular city, town or locale. 731 But a thriller can and usually is a globetrotting event. In my latest thriller, THE 731 LEGACY, co-written with Lynn Sholes, the story takes place in, amount other locations, a medieval castle in one of the former Eastern Bloc countries of the Soviet Union and ends up in Pyongyang, North Korea. Throughout the series, our stories have taken the reader to a lost city in the Peruvian Andes, a remote church in Ethiopia reputed to contain Ark of the Covenant, the Secret Archives of the Vatican, newly discovered Anasazi ruins in New Mexico, inside the royal private residence of Buckingham Palace, secret tunnels below the Kremlin, and many other places most of us will never get to visit. Exotic locations are a mainstay of the thriller genre.

Like any generic list, there will always be exceptions and limitations. But in general, these are the elements you’ll usually find in mainstream commercial thrillers. But the biggest and most important element of all is that a thriller should thrill you. If it doesn’t increase your pulse rate, keep you up late, and leave you wanting more, it probably isn’t a thriller.

Are there any characteristics of a thriller not on my list? What do you look for in a good thriller?