Category Archives: Kathryn Lilley

The Jedi-writers Strike Back

Posted on by

I was happy to read that JA Konrath’s novella, SERIAL, has been the #1-Kindle Bestseller for the past nine days. (See his post yesterday).

Many of us have been speculating here about the potential impact of the Kindle on the publishing biz — now Konrath has leaped ahead and run his own home-grown publishing experiment over at Amazon. SERIAL (written under the name Jack Kilborn, penned with co-author Jack Crouch), is a free download. IMHO, the decision to make the download free was a stroke of marketing genius. The download brings with it branding and name recognition. And it’s a neat way to bump yourself ahead of the bestselling mega-authors, too.

Konrath announced the results of another Kindle experiment on his blog yesterday. Evidently in the month of May he made some of his smaller writings available for sale on Kindle. These were works he’d previously allowed readers to download for free from his web site. By selling those same works through Kindle, evidently he netted more than a thousand dollars in one month.

I was particularly interested to read about Konrath’s Kindle experiments in the wake of the recent news that scribd is now letting authors sell ebooks from the scribd site at an 80/20% revenue split. In a recent blog post, I mentioned that an established author (Kemble Scott) decided publish his latest book on scribd instead of going the traditional print publishing route. I just checked back over at scribd, and saw that Scott’s book, THE SOWER, has had 1933 “reads” at a list price of $2.00 each. And it’s only been posted a short time.

The way my fellow author friends are testing the ebook waters reminds me of that scene from Jurassic Park, where the guide tells the visitors that the dinos are testing the fences for weak links.

“They remember…” he says.

A few more good pushes, and some writers might actually figure out a way to do real business in the Kindle/scribd universe. It hasn’t happened yet, but that day might be coming.

I know that in terms of relative scale in today’s publishing landscape, most writers are more like scurrying mammals than T-Rex’s. But hey, we’ve got time and evolution on our side. Give us a few years, and the whole Terra unfirma could change completely.

But that’s just what I think.

What about you?

~~~~~~~~~~~~~~~~~~~~

Coming up on our Kill Zone Guest Sundays, watch for blogs from Sandra Brown, Steve Berry, Robert Liparulo, Paul Kemprecos, Linda Fairstein, Julie Kramer, Grant Blackwood, and more.

Have you asked your writing a question today?

Posted on by

Every once in a while I read a story where all the requisite elements for success seem to be in place. Such stories typically contain the following elements:

  • A competent hook
  • Serviceable characters
  • A well-executed plot

And yet sometimes as I’m reading along, I find that my interest wanes (and then dies) after just a few pages. So what exactly has gone wrong?

Here’s one answer: After just a few paragraphs, I cease to give a flying squirrel about the hook, the characters, or the plot. Which means that I don’t care about the story. Which means that the Writer in question is dead as a doornail.

In a past blog post that was circulated by Esquire, writer Darin Strauss said that it helps to apply a “So What?” test to each sentence in a story. To apply such a test, according to Strauss, we can measure each of our sentences against the following criteria: Why should I care about this sentence? How does it reveal character? What difference does it make to the plot? To the story?

When I first heard about Strauss’s sentence test (which he attributed to Lee K. Abbott), it was like an epiphany to me, because when we ask every sentence in our novel “So What?” or “Who cares?”, it helps us to avoid the following writing hazards:

  • Boilerplate character description

  • Rote, unnecessary movements by all characters, especially the main character

  • Go-nowhere dialogue

  • Boring scene description

So here’s my question to you: When you’re writing, do you apply such a test to each and every sentence? Do you go back and root out “filler” sentences during rewrite?

And to take on the challenge, if you don’t mind sharing: What’s the last sentence that you wrote today? Is it important to your story? Why will your reader care about that sentence?

~~~~~~~~~~~~~~~~~

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, and more.

Scribd’s new e-book store: A sea change in publishing?

Posted on by

I was still recovering from Sunday’s 4.7 earthquake in LA when I heard the news that must have sent a shiver of apprehension through the publishing industry: scrbd, the publishing web site that gets around 60 million hits a day, began selling books online. Authors who upload their books will get an 80/20 split of the revenue from books sold on the site. That’s 80 per cent to us, folks.

NPR’s Marketplace pointed out that the two-year-old scribd has an advantage over other e-book publishers because its e-books can be read over many different types of reading devices, including laptops and “smart” phones. By contrast, Amazon’s e-books can be read only on a pricey Kindle.


We’ve been talking quite a bit on this blog about e-books, and debating their merits. I think that scribd’s move into selling books online, in a range of formats, at a price split that dramatically favors the author, has the potential to upend the publishing totem pole. The scribd platform could finally provide the grassroots publishing momentum that puts more revenue and power into the content creator’s hands, rather than the distributor’s.

In her farewell Newsweek column this week, Anna Quindlen described how, in the journalism field, young people have “created online outlets from the ground up…they are quite properly part of the action, not because we made room for them, but because they made room for themselves.”

Most novelists aren’t all that young, but scribd’s publishing model could provide the way for them to “make room” for themselves in the publishing paradigm. We’ll now be able to publish our own ebooks on a site that reaches sixty million potential readers. Sixty million!

But perhaps not all authors would consider taking hold of the reins of their publishing. I can imagine that even established authors might hesitate before taking the plunge into publishing on scribd. Would there still be a publishing contract, for example? Would uploaded works suffer from a stima from being “self-published”?

What do you think? Do you think the scribd book store has potential to change the publishing business paradigm?

Have you browsed through the new book store? Do you think it will become a morass of self-published drek as it develops, or is it going to become a juggernaut to be reckoned with?

~~~~~~~~~~~~~~~~~
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.

Does your story have a “wobble”?

Posted on by

Sometimes your story may get unbalanced in some areas, like a tire that’s gone out of alignment. Severe story wobble can kill the pacing and reading experience, so it pays to recognize the symptoms, and take remedial action to push your narrative back into shape.

When you’re doing any of the following in your writing, it’s likely that your story is getting off kilter:

  • Over describing the actions of the main character.

  • Over describing background information that you think the main character needs to know.

  • Under describing (or losing track of altogether) the actions of secondary characters in a scene.

  • Using repetitive sentence structure.

It’s easy to fix most cases of story wobble. Here are some remedies:

  • Use only minimal actions to show the actions of the main character.

  • When you have some background information that the main character needs to know, sprinkle it in, or create an SME (Subject Matter Expert) for your story.

  • If it’s been a while since you’ve mentioned a secondary character in a scene, be sure to “establish” the character in the reader’s mind before giving him dialogue or action. Otherwise the reader won’t know who the re-introduced character is.

  • Do search-and-destroy missions on repetitive sentence structure. It’s easy to fall into using the same sentence patterns repeatedly throughout a book, so make sure you change things up in every paragraph. This is also known as varying the sentence rhythm.

What are some of your story wobbles that you have to search for and destroy when you’re rewriting? Has there ever been one that has caused you embarrassment?

Folding newspapers: An ill omen for book publishing?

Posted on by

I was gobsmacked when I read that the Boston Globe might be shut down by the New York Times. I spent a lot of my growing-up years in Boston, and the idea of the 137-year-old Globe going under seems…unthinkable. (An update about that story here.)

The Globe is the newspaper of record for the entire Boston metropolitan area. Following on the heels of that news was the doom-and-gloom pronouncement by Warren Buffet that he would never invest in any newspaper, ever. The newspaper in my own hometown, the Los Angeles Times, is evidently in financial distress too. Columnists have been writing fretful stories about the economic woes of the paper, and I recently spotted a box-advertisement on the front page, which in my mind is the sort of thing they do only in throw-away weeklies. If major newspapers are going under for the third time, what will be next…major book publishers?

I graduated from the Columbia University Graduate School of Journalism in 1979 (Yikes. I grow old, I shall wear my trousers rolled). Back then, newspaper reporters were still considered to be the “real” deal. Even though I was enrolled in the broadcasting program, I knew that TV reporters were viewed with disdain (The term “media type” hadn’t even been invented yet).. Inspired by the example of Woodward and Bernstein, members of my class believed that writing, that ideas, that journalists, could make a difference.

Fast forward 30 years, and Oh. My. God. Where are we now? Today’s journalists seem reduced to Twittering, red-and-blue-state cable talking heads. I keep thinking of one particular “news” host on cable who announces every night, “It’s Twitter time!” Newspapers are going away, and the Fourth Estate is going to the twitter heads.

As a fiction author, I have another concern: when I see newspapers collapsing left and right, I worry that the book-publishing business model might be just as fragile as newspapers. Leap forward another five years, and we might be talking about the collapse of major publishing houses.

What do you think? Are newspapers the “canaries in the mine” for publishing? Are they simply the first to bite the dust?

~~~~~~~~~~~~~~

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.

Sunday Writing School

Posted on by

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.)
~~~~~~~~~~~~~~
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.

Developing a theme through characters

Posted on by

Before there was story structure–before there were even novels—there was theme. A story’s theme is the fundamental and universal idea behind its plot. In King Lear, for example, one of its themes is authority versus chaos.

But to me, a novel’s theme is not merely the abstract principle behind the plot; I believe that you have to bring a story’s theme to life through its characters. Ideally, several of the major characters should portray a variation on the underlying ideas that inform the story. Those characters will reflect the light and depths of your theme, the way the facets of a diamond show off its hidden fire.

In A Killer Workout, the second installment in the Fat City Mysteries, I created a “Mean Girls” theme. I wrote several different characters to illustrate that underlying idea. One character had been victimized by bullies in her youth–another was herself a bully. Still another character had grown up to become a protector of abused young women. Through each of these women’s stories and backgrounds, I explored the ideas of bullying, emotional abuse, and “mean girls” in various ways.

I use my characters to do a “360” exploration of the theme of each of my novels. The secondary characters’ experiences in terms of the theme are usually more intense and extreme than my protagonist’s. They act as “theme foils,” and they also propel her journey through the plot.

What about you? How do you develop the theme for your stories? Do you create your theme at the beginning of your writing, or does it emerge slowly as you write? And how do you illustrate your theme?
~~~~~~~~~~~~~~~~~~~~~~~
Coming up on our Kill Zone Guest Sundays, watch for blogs from Tim Maleeny, Oline Cogdill, James Scott Bell, Steve Berry, and more.

Bookmarked for murder and mayhem

Posted on by

 

 

 

Clare’s post yesterday about historical research got me thinking about the topic of research in general.

Last week, I was interviewed by the delightful Megan Willingham ofAdvice.com Radio, and she asked me how I researched the topic of women’s shelters for a scene in A Killer Workout. For that particular scene, I created a composite from my experience as a reporter. In my former professional life, I’ve visited a men’s prison, attended county fairs, even chased down stray dogs to get a story.

Nowadays, my research is mostly relegated to the Internet and phone. And nothing makes me happier than finding new places to discover new sources of useful information about murder and mayhem.

Here are a few of my current bookmarks:

Cold cases

LA Times Homicides

The Murder Book – NYC homicides

Crime scene investigation articles

Update October, 2015: http://justicedegrees.com/

 

How about you? What are your go-to Internet sources for updates and information about crime?

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

Thriller writers: Are we scary?

Posted on by

I had to chuckle while reading Sunday’s post by PD Martin.

In the comments section, a reader confessed, “I do have to say that thriller writers scare me a little.”

She’s not alone in that sentiment.

At an MWA meeting a couple of months ago, a fellow mystery writer approached me. With a glimmer in his eyes, he asked me whether I’d read the books by one of our Kill Zone authors (And no, I won’t say which Killer he was asking about, or even if it was one of our guys or gals. Hah! You have to guess).

“Have you read (his) books?” Mystery Writer wanted to know. “(He’s) sick.”

Sick. To a thriller writer, there’s no higher compliment.

By trade, we thriller authors write scary, gory tales. Our books are peopled with weird, unbalanced, downright messed-up characters. Twisted stuff happens. And when we do our jobs right, our readers might even assume that the writer is a tad strange. Suspect, even.

After reading enough of this dark matter, a reader might feel compelled to eventually ask: How do you think this warped sh*t up? And why do you?


As a writer, you have to be able to unleash your imagination to the extent that you give that kind of a chill. But in reality, all the thriller writers I know are gentle, kind souls. It’s only our writing that’s dark and strange.

Writers, have you ever gotten the vibe that someone thinks there’s something perhaps a bit off about you because you write about death, murder and mayhem?
And I’d be interested in knowing from readers: Is there anything you’ve ever read where you’ve thought, “Oh my God, there’s something scary about that writer”?
Oh and before I forget, I thought I’d add a postscript to PD’s post about body-dumping grounds.

PD had posited the question about what makes a good dumping ground.

Here are some of the tidbits it reveals about the art of body-dumping:

  • Most dumping grounds will be found near road networks (proximity to covered vehicle required).

  • Most people can drag a body only about 50 feet. About 200 feet, max.

  • Bodies are normally found off the right passenger
    side of the road, heading outbound from a city or town.
Oops. Did that sound scary?
~~~~~~~~~~~~~
Coming up on our Kill Zone Guest Sundays, watch for blogs from Eric Stone, Tim Maleeny, Oline Cogdill, James Scott Bell, and more.

How to write an evil character

Posted on by

My subject today is how to write a really, really evil character.

When I say evil, I’m talking about nature, not about motive. Evil goes beyond the normal catalysts that drive human beings to commit murder and mayhem–those catalysts can include jealousy, anger, rage, fear, even a distorted kind of love.

When I think of evil-doers (and I have to credit the former Prez for that phrase), I’m talking about psycho-killers. Cold-ass weirdos. As writers, sometimes we need to create those kind of unabashed, dead-at-the-seams, evil characters. We especially need to create this type of character when we are writing a big, breakout book.

Back in August, we had a week of posts on this blog about our favorite villains. But now I’m wondering, how do you write that evil? For example, who could forget the moment when Jack Torrance’s nonsensical pages of writing were finally revealed to his wife in The Shining? That one moment showed both his insanity and his being overtaken by the evil of the Overlook Hotel.

Just because it’s true, doesn’t mean it works on the page

One of my greatest frustrations in writing group is when someone defends their not-so-convincing work by saying, “But it’s true. It really happened this way.” So the f’n what? If it doesn’t work on the page, it doesn’t work, period. Writing what is true is not always convincing.

Here’s a true story that would be hard to convey in fiction: A successful, apparently-happily married scientist, the mother of an adorable toddler, one day decides to poison her husband with a massive dose of arsenic. She’d been building up with “test” doses for months, giving him flu-like symptoms. No one could believe she’d done it. Even the man’s parents didn’t believe she’d killed him. She was visiting them in their house when she was arrested by the police. Even when the husband was dying of the last dose of poison she’d injected into him while he was in his hospital bed, he still thought that they were a happily married couple.

It turned out that this woman was a true psychopath. She didn’t want the shame and perceived social failure of a divorce, so she decided to off her hubbie and start over as a “grieving” widow. There’s evidently no stigma to being a widow in a psychopath’s mind.

How do you write that in a convincing way?

Right now I’m struggling to write such an evil character, one of those people who on the surface seems to be a caring, warm pillar of the community. And even though this is one cold, unsympathetic creature, I am trying to wiggle inside her head through the writing. Right now I’m researching the type of emotional disorders that might have given rise to her pathology. And (as Joe points out in the comments section), a well-written villain-psycho needs strong motivation beyond mere pathology. Even Hannibal Lechter had that going for him. So I am also going to give her a powerful motivation to kill for what she wants, in addition to her psychosis.

And I’d love to know, what are some techniques you use to convey a character’s evilness?

Stay tuned for upcoming guest appearances at the Kill Zone:

April 5 P.D. Martin

April 12 Eric Stone