Category Archives: Writing

Should You Use Profanity in Your Writing?

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My guest today has a fresh perspective on the use of profanity in fiction. Should we? Shouldn’t we? Is there a happy medium? Please help me welcome one of the most supportive writers I know.

If you’re unfamiliar with Joy York, she grew up in Alabama but has spent much of her adult life in the Midwest, currently living with her husband, Terry, and their golden doodle, Loki, in Indiana. Inspired by a family legacy of oral storytelling, she began creating stories and adventures for her son when he was growing up. With encouragement from family and friends, she began to write them down.

Her first book, The Bloody Shoe Affair: A daring and thrilling adventure with the jailer’s daughter, a YA mystery set in the rural south in 1968, was published in 2015. It became a series, The Jailer’s Daughter’s Mysteries, when The Moonshine Murders, Book 2, was released in March 2024. Genuine Deceit: A Suspense Novel was published on Amazon in May 2021. Protective Instinct: A Thriller (World Castle Publishing) was published in January 2024.

Welcome to TKZ, Joy!

Thanks, Sue!

Whether or not to use profanity in your writing has been a much-debated subject. In recent years expletives have become much more prevalent in writing to add realism. Some more conservative thoughts are that profanity of any kind detracts from the quality of your writing and should not be used under any circumstances. Others feel it reflects poorly on your credibility.

In an article published by Nathaniel Tower, Managing Editor of Bartley Snopes, Should Writers Use Profanity? he offers some excellent guidelines. He agrees that it can add realism but using too much can lessen the quality. Context is key. It can enhance real life situations portraying rough, gritty characters and emotionally charged scenes. He cites Wolf of Wall Street as an example of liberal use of profanity to depict the “high-stakes and fast-paced atmosphere.”

It is important to consider your purpose for the use of expletives. Is it for shock value or to show explosive emotions in a scene or is it to show your character’s edgy personality? Gratuitous use can take away from your story and put your readers off. You must consider your target audience.

Most other resources agree with Tower’s assessment of when not to use profanity. Children’s books, fantasy, and academic or informational writing. Other include religious writings.

Cole Salao wrote an article for TCK Publishing, How and When to Use Swearing. He believes you can learn a lot about your characters personality, background, and mood from their choice of words. To ignore the language that would portray a gritty character would make them sound unrealistic. My interpretation is if you have a scene with a drug dealer getting ripped off by a buyer, I doubt he would say, “Please sir, give me the money you owe me before I get really mad.”

Salao’s lists some appropriate uses:

  • Emotional Impact
  • Swear words can be used as an enhancer. It can depict emotions like anger, frustration, and extreme joy.

Establishing Voice or Tone

  • It helps define your character and adds authenticity.

Connecting With Your Audience

It can make the reader feel like the writer is having an honest, unfiltered conversation with them. It can especially work well with personal essays, memoirs, or blogs. Don’t forget the audience you are trying to reach. Beware that some cultures and regions interpret words differently.

Salao’s Tips for usage

  • Use profanity intentionally. Will it fit or ruin your purpose? I love this quote he uses to explain his meaning. “Think of it as a seasoning. A little enhances the flavor, but too much can overwhelm your readers and dilute your message.”
  • Less is more.
  • It should be natural to your character’s personality, though using it to show them breaking a rule or making an out of character statement can make an impact.
  • Check your publication guidelines.
  • Sometimes using subtext instead allows the reader to fill in the blanks.
  • Swearing is usually only used in non-fiction if it is a personal story, quoting accuracy, or emphasizing a point.

Ultimately, whether you decide to use profanity is up to you. If done well, it can add authenticity, emotion, and impact to your word.

I have used profanity sparingly in my two adult thrillers. In one book, I felt it was natural to the characters and situations to show heightened emotions in a scenes. In the other, it was to show contrast in personalities between characters. I received a review challenging me to not use profanity in my future books, but they gave me a very good review. Another gave me a good review but warned others in the text that there was some language. I suppose I will never know if anyone put my books down when they read the first swear word.

Have you used profanity in your books, or do you steer clear?

When self-absorbed, international bestselling author Sebastian Bartoli refuses to write the biography of the infamous, mob-connected Maximillian Fontana, the consequences turn deadly.

Check it out on Amazon.

 

 

 

Connect with Joy:

Website: https://www.joyyork.com

OnX @joyyorkauthor

BlueSky @JoyYorkAuthor.bsky.social

Facebook: Joy York Author

Instagram: @JoyYorkBooks

LinkedIn https://www.linkedin.com/in/joy-york-5050aa11

Let Me Tell You a Short Story

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I’ve written a few short stories. A couple were included in small anthologies, and in creating them, I realized they required a different technique.

I recently finished one that will be included in the Rough Country anthology I’m editing for Roand and Weatherford publishing. After I wrapped up Where the Road Forks, I remembered talking to Joe Lansdale about that idea and others a few years ago.

Joe is the accomplished and successful author of the Hap and Leonard books that eventually became a television series. Talking over sushi in Nacogdoches, Texas, I asked him about short fiction.

“I really don’t have that many ideas for short stories.”

“You’re surrounded by them.” He waved his chopsticks in the air, and it wouldn’t have surprised me if he’d snapped a fly from the air like Mr. Miagi. The slender bamboo utensils seemed to fit his hand, because Joe is an International Martial Arts Hall of Famer and even created his own style of fighting. Those experiences often show up in his work. “I can prove it. Tell me something that happened when you were a kid.”

I thought about it as a chunk of wasabi burned its way through my sinuses, making my eyes water. The shock that went through my frontal lobes gave me time to think. When I could breathe, I told him of something that happened to my older cousins way back in the late 1950s.

Sporting flattops and one slicked-back duck tail haircut, they were three of the coolest and toughest guys in their little rural community, riding motorcycles and rolling cigarettes in their T shirt sleeves. When they heard Elvis was coming to town, Tom announced to the others they were going to meet the famous singer.

Dick and Harry allowed it was something to do, and they rode their Indians to the Grand Theater where the future king of rock and roll was waiting to go on upstairs in the “green” room at the top of a second floor exterior fire escape.

The boys parked their bikes in a nearby alley and came up to the theater opposite the bright entrance. Stomping up the metal steps in their square-toed boots as if they had backstage passes, they were met at the top of the stairs by the Memphis Mafia who heard them coming up.

One of Elvis’ buddies told them they weren’t welcome.

Harry said they didn’t care and intended to say howdy to Elvis, and they tried to push past the obstacles between them and their hero.

As Tom told me. “We thought we were tough, but those boys were tougher and more experienced. They handed us our asses, and threw us back down the stairs. When we rolled to the bottom, and we dusted off, got up, and went home.”

Joe laughed and took a sip of iced tea. “There’s your short story.”

I came home thinking about it, but haven’t yet written it down. But it’s there, perking along until the day I write the first sentence, “The boys finished their Schlitz beers and decided they were going to meet Elvis Presley, come hell or high water,” or something like that.

Those stories come easier than I expected. Maybe it’s because I write mini-stories every week for my newspaper columns in The Paris News, Country World, and now for Saddlebag Disptatches magazine. They come to mind as a single sentence, and then I watched as my fingers tuype out 950 words in one sitting that will “go to press” the next day. They’re mini-short stories, a snippit of time or experience, in which I give readers a quick glimpse into the view from my own hill.

When we’re working on novels, authors create whole new fictional worlds and can revel in taking their time to describe these worlds and establish character backgrounds and settings. In a short story, we create a can of condensed soup in a sense that, if we wanted to, could sometimes expand into a novel.

I think of them as that tiny world inside a globe, those glass spheres containing a tiny piece of a mythical world. In this case, these miniature scenes don’t always have snow, unless it’s essential to the plot.

Essential to the plot. In short stories, every element, word, character, and bit of dialogue has to be informative, moving the story forward, and must relate to everything else. The logic of the narrative has to be short and concise.

To me, it’s like flipping through the pages of a novel and picking out the necessary bits and pieces to write a book report. A quick read of what could be more, but isn’t.

There’s no room for sweeping descriptions and extensive development. In my view, the author has to know the character’s entire backstory at the outset, and the setting’s history that’s revealed by bits of information dropped in a sentence or two, or as action dialogue tags.

Readers must be swept into these juicy stories with the right words, phrases, and pacing. I suppose it’s like satisfying our need for immediate satisfaction these days. In other words you have about 6,000 words to set up the story arc, very short Acts 1 and 2, before that last couple of pages in which the bombshell drops. In fact, some authors set off that climax bomb in a couple of paragraphs, or even one breathtaking sentence.

Writing short stories is an excellent way to warm up, to refill the creative basket between novels, and to achieve the personal satisfaction of a job well done.

Reader Friday: Hitchcock

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“Drama is life with the dull bits cut out.” —Alfred Hitchcock

Almost everyone I know has a favorite Alfred Hitchcock movie. I have several that I love. One of them is The 39 Steps. It was an early Hitchcock film (1935) starring Robert Donat as the cool and suave Richard Hannay on the run in Scotland. It’s doubly special because my husband and I spent a few days while in Scotland driving around looking for locations where the film was shot.

Other favorites are Vertigo, Dial M for Murder, Rear Window, and Spellbound. And who can forget the crop duster scene in North by Northwest.

 

 

So TKZers: What’s your favorite Hitchcock film?

 

 

Writers Beware: Here’s what readers really hate

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By Elaine Viets

Don and I are moving, and our condo is chaos. I’ve reposted a favorite blog about what readers dislike. Are these your pet peeves? Would they keep you from buying or recommending a book?

Does the novel you’re writing have a long dream sequence? And it’s in italics, to enhance the ethereal effect? How about sizzling sex scenes? And, for comic relief, a talking cat who solves crimes and a wisecracking kid who’s five going on forty?
Uh, you may want to rethink that work in progress.
Ron Charles, the Washington Post book critic, “asked readers of our Book Club newsletter to describe the things that most annoy them in books. The responses were a tsunami of bile.”
Here are some things that Ron salvaged from the tsunami.

(1) Readers hate dream sequences.
Yes, I know dream sequences are a staple of literature. In Crime and Punishment, Raskolnikov has guilty dreams, including one about a whipped mare. In Harry Potter and the Order of the Phoenix, the Boy Who Lived is deceived by thoughts implanted by a bad guy. Winston in 1984 worries his dreams will get him in trouble with the Thought Police. A Christmas Carol is a long life-changing dream. And then there’s Shakespeare’s A Midsummer Night’s Dream.
So why should we be wary of dream sequences?
Raging readers told Ron Charles this:
“‘I absolutely hate dream sequences,’ writes Michael Ream. ‘They are always SO LITERAL,’ Jennifer Gaffney adds, ‘usually an example of lazy writing.’”
Aha! So readers hate lazy writing and literal dream sequences. Writing coaches caution writers to avoid cheap tricks, especially the old “and then I woke up” dodge. They say you can use dream sequences if the dreams are premonitions, illustrate an important inner conflict, or help a protagonist realize something major. In short, the dreams must advance the plot. So craft your dream sequences carefully.

(2) Readers hate historical anachronisms and factual inaccuracies.
The Washington Post says, “Karen Viglione Lauterwasser despairs over errors ‘like calling the divisions in a hockey game “quarters” or having a pentagon-shaped table with six chairs.’ Deborah Gravel warns authors that taking a cruise to Alaska is not enough to write a novel about the Last Frontier. Kristi Hart explains that when your characters are boiling maple sap to make syrup, they should not be stirring it. ‘You just boil it until the sugar content is correct, and then you’re done.’”
My pet peeve includes the treatment of black people in historical novels in the first half of the Twentieth Century. With some exceptions, until the late 1950s or 1960s, black people were not allowed to eat in most white restaurants or sit at lunch counters with whites. Nor could they stay at white hotels, go to white schools, use white toilets, or even drink out of white people’s water fountains.
In 1968, I encountered my first segregated water fountain, on a trip through Mississippi. In the local courthouse, the white people drank chilled water from a modern metal fountain. Black people had to drink warm water from a dinky white porcelain fountain. At a Catholic church in the same state, my family arrived late for the service, so we sat in the back. An usher told us that section was for black people (actually, he said “Negroes”) and we had to move.
Encountering this segregation was shocking, but it existed, and to deny it in novels is to deny the shame, hurt and humiliation black people suffered – and still do.
(3) Readers hate typos and grammatical errors.
This is also bugaboo for TKZ readers and writers, and we’ve written often about how to catch typos, while understanding those slippery little devils slip into the best books. But typos seem to be getting worse, especially since traditional publishers are cutting back on copy editors and some indie authors don’t hire them.
The Washington Post noted: “Patricia Tannian, a retired copy editor, writes, ‘It seems that few authors can spell “minuscule” or know the difference between ‘flout’ and ‘flaunt.’ Katherine A. Powers, Book World’s audiobook reviewer, laments that so many ‘authors don’t know the difference between “lie” and “lay.’” TKZ’s Terry Odell wrote a helpful blog on that subject. Read it and sin no more. https://killzoneblog.com/2023/03/are-you-lying-or-laying-around.html

Personally, I wish writers would know the difference between grizzly and grisly murders. While it’s true the Cocaine Bear and some bears in the wild do kill humans, in most mysteries humans performing those grisly murders.
And please realize that the South American country is spelled Colombia, not Columbia. There’s more, but it’s not a good idea to get me started.
“While we’re at it,” the Washington Post wrote, “let’s avoid ‘bemused.’ Bemused ‘doesn’t mean what you think it means,’ says Paula Willey.”
And please, please learn how to use “chute,” as in where you toss your dirty clothes. I’ve seen major writers call it a “laundry shoot,” which can put holes in clothes.

(4) Readers hate bloated books.
According to the Washington Post, “Jean Murray says, ‘First books by best-selling authors are reasonable in length; then they start believing that every word they write is golden and shouldn’t be cut.’ She notes that Elizabeth George’s first novel, A Great Deliverance, was 432 pages. Her most recent, Something to Hide, is more than 700.
“But it’s not just the books that are too long,” the WashPo says. “Everything in them is too long, too. Readers complained about interminable prologues, introductions, expositions, chapters, explanations, descriptions, paragraphs, sentences, conversations, sex scenes, fistfights and italicized passages.”
(5) Readers hate long italicized passages.
“‘Long passages in italics drive me nuts,’ Susan Spénard told the Washington Post.
“‘Cormac McCarthy does entire chapters in italics,’ adds Nathan Pate. ‘Only the rest of his writing redeems that.’”
(6) Readers hate when writers don’t use quote marks.
“‘Sometimes you have to reread a passage to determine who is speaking,’ one reader said.
Quick now, a few more complaints:
(7) Readers hate “gratuitously confusing timelines.”
“‘Everything doesn’t have to be a linear timeline,’ concedes Kate Stevens, ‘but often authors seem to employ a structure that makes the book unreadable (or at least very difficult to follow). There seems to be no reason why this is done other than to show off how clever they are.’”
(8) Readers hate two kinds of show-offs.


“Unrealistically clever children or talking animals . . . are deeply irksome in novels — along with disabled characters who exist only to provide treacly inspiration.”
Some cozy readers adore talking animals who solve crimes, so this objection doesn’t apply to everyone.
(9) A few more things readers hate, according the Washington Post:
– “Susan C. Falbo is tired of ‘protagonists who have had a hard day, finally stagger home and take a scalding hot shower.’” My protagonists sometimes do that, so I guess the key here is to not overdo it.

– “Connie Ogle and Susan Dee have had it with ‘lip biting.’ Ogle explains, ‘If real people bit their lips with the frightening regularity of fictional characters, our mouths would be a bloody mess.’
– “Gianna LaMorte is tired of seeing ‘someone escape a small town and rent a large house, get a job at a local paper or make a living gardening.’” The person who flees to a small town and makes a living writing for a newspaper gets my goat. Especially if they have their own office and come and go as they please. Small town newspapers barely pay enough to keep reporters in cat food. And editors want to know where they can reach you at all times.

And I’m with Tobin Anderson, who wrote, “Vomiting is the new crying. I think it’s part of the whole hyper-valuation of trauma — and somehow tears seem too weak, too mundane. But imagine a funeral filled with upchuckers.” I’m seeing a lot of barfing on TV these days, and watching folks toss their cookies while I’m eating in front of the tube makes me want to . . . well, you get the point.
So, TKZ readers, what are your pet peeves?

Bulwer Lytton 2024

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Bulwer-Lytton 2024
Terry Odell

Following up Debbie’s post with some more humor, something I think is lacking in our lives these days. I’m sharing some of the winners of the 2024 Bulwer-Lytton Fiction Contest. These entries, I believe, are all of the human generated variety. If you’re unfamiliar with the contest, here’s the skinny from the website:

“Since 1982 the Bulwer-Lytton Fiction Contest has challenged participants to write an atrocious opening sentence to the worst novel never written. The whimsical literary competition honors Sir Edward George Bulwer-Lytton, whose 1830 novel Paul Clifford begins with “It was a dark and stormy night.”

The contest receives thousands of entries each year, and every summer our Panel of Undistinguished Judges convenes to select winners and dishonorable mentions for such categories as Purpose Prose and Vile Puns.”

2024 Grand Prize

**She had a body that reached out and slapped my face like a five-pound ham-hock tossed from a speeding truck.
Lawrence Person, Austin, TX

Grand Panjandrum’s Special Award

**Mrs. Higgins’ body was found in the pantry, bludgeoned with a potato ricer and lying atop a fifty-pound sack of Yukon golds, her favorite for making gnocchi, though some people consider them too moist for this purpose.
Joel Phillips, West Trenton, NJ

 Crime & Detective

Winner

**She was poured into the red latex dress like Jello poured into a balloon, almost bursting at the seams, and her zaftig shape was awesome to behold, but I knew from the look on her face and the .45 she held pointing at me, that this was no standard client of my detective agency, but a new collection agency tactic to get me to pay my long-overdue phone bill.
Jack Harnly, Sarasota, FL

Dishonorable Mentions

**Magnus was in a tough spot…the Icelandic Police were pressing him to cough up the name of the top capo in each of the 3 main cities in which the Mafia operated—Reykjavik, Akureyri, and Middelf—threatening to lock him away for life if he didn’t, but he knew that if he ratted out the Reykjavikingur or the Akureyringur the Mob would kill him for sure—so he just gave them the Middelfingur.
Mark Meiches, Dallas, TX

(Personal note: I’ve actually been to Akureyri, but don’t ask me how to pronounce it.)

**That sweltering Friday evening she not so much walked but slithered into my shabby strip mall P.I. office, showing off all her curves, and I knew then I was in for a weekend of trouble because Dave’s Reptile Emporium next door, from which the ball python had escaped, was closed until Monday.
Douglas Purdy, Roseville, CA

**Staring unblinkingly into the pleading, tear-filled eyes of yet another dame looking for me to solve all her problems, I sighed, stretched, scratched my whiskers, stuck my hind leg in the air and bent my spine at a 45-degree angle to reach down and lick my butt clean, then donned my fedora—Taco, Cat Detective, was officially on the case.
Gwen Simonalle, Grenoble, France

There are many more categories. You can find everything here.

Any favorites? Have you ever entered?

New! Find me at Substack with Writings and Wanderings

Danger Abroad

When breaking family ties is the only option.

Madison Westfield has information that could short-circuit her politician father’s campaign for governor. But he’s family. Although he was a father more in word than deed, she changes her identity and leaves the country rather than blow the whistle.

Blackthorne, Inc. taps Security and Investigations staffer, Logan Bolt, to track down Madison Westfield. When he finds her in the Faroe Islands, her story doesn’t match the one her father told Blackthorne. The investigation assignment quickly switches to personal protection for Madison.

Soon, they’re involved with a drug ring and a kidnapping attempt. Will working together put them in more danger? Can a budding relationship survive the dangers they encounter?

Available for pre-order.

Like bang for your buck? I have a new Mapleton Bundle. Books 4, 5, and 6 for one low price.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

Can AI Be Funny?

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by Debbie Burke

@burke_writer

Sue Coletta reported in her recent post that copyrighted work has been stolen to train generative-AI models, causing outrage from authors and other creators.

In other words, don’t expect Mark Zuckerberg to be invited as the keynote at an Authors Guild banquet.

But, I thought, at least one skill can’t possibly be done by AI: writing humor.

(Some pre-AI examples below from Lexophile collections.)

Humor depends heavily on:

Circumstances: When smog lifts in Los Angeles, U.C.L.A.

Context: If you don’t pay your exorcist, you can get repossessed.

Juxtaposition: A will is a dead giveaway.

Irony: I didn’t like my beard at first. Then it grew on me.

Incongruity: Police were summoned to a daycare center where a three-year-old was resisting a rest.

Unexpected connections:  Time flies like an arrow; fruit flies like a banana.

Timing: There are three problems with old age. First, your memory goes……….I can’t remember the other two.

Emotion: If you jump off a Paris bridge, you are in Seine.

Shared troubles: A lot of money is tainted. ‘Taint yours, and ‘taint mine.

AI could never understand these concepts, right? It can be taught to repeat jokes but can it ever be taught humor?

By now I figured someone must have tried to use AI to write humor. Down the research rabbit hole.

Milton Berle – public domain

 

 

Early versions of ChatGPT, GROK, Gemini, and others regurgitated jokes that were old back when Milton Berle stole them.

Then, like your annoying little brother, it repeats them ad nauseam.

 

 

Examples from Chat GPT 3:

What did the 5-year-old girl say when she asked for a pony? I guess I’ll take a unicow instead!

What did the fish say when it hit the wall? Dam! 

Examples from ChatGPT4.o:

Why did the AI cross the road? To optimize the chicken’s path.

Why did the AI go to art school? To learn how to draw its own conclusions.

Why did the computer go to the doctor? It was full of viruses.

Example from GROK:

Why was the computer cold? Because it left its Windows open!

Examples from Bing:

A little girl was asked by her teacher what she wanted to be when she grew up. She said, “I want to be a princess.” The teacher said, “That’s nice, but you know you have to work hard and study hard to be a princess, right?” The girl said, “No, I don’t. I just have to marry Harry.”

When prompted for a joke about politicians, Bing replied:

I’m sorry but I don’t make jokes about politicians. They can be sensitive and controversial topics for some people. I hope you understand.

That’s a joke, right? Turns out, weirdly, it’s not.

Examples from Gemini:

Two AI researchers are arguing about the best way to achieve artificial consciousness. One says, “We need to focus on replicating the human brain in all its complexity.” The other scoffs, “Nonsense! All we need is a massive dataset of cat videos and a really catchy jingle.”

Suddenly, a voice booms from the lab’s supercomputer, “Hey, guys! Can you make up your minds already? I’m trying to learn how to meme here!”

Only one joke generation system sounded remotely interesting. It’s called Witscript, an app developed by Joe Toplyn, a former writer for Leno and Letterman. He also authored a book Comedy Writing for Late-Night TV. in which he reverse-engineers the mechanics of creating jokes.

Toplyn is a Harvard grad in Engineering and Applied Physics, and has an MBA. He began studying a relatively new field called Computational Humor and figured researchers could feed his book’s reverse-engineering system into a computer to teach it humor. But progress was slow. In a 2024 interview, he says: “I decided if anybody was going to teach a computer to have a sense of humor, it was going to be me.” So he wrote the app himself.

Witscript offers different categories in which you enter a prompt.

Standup:

You input: Marriage is a lot like going to Costco.

Witscript responds: Because nothing says commitment like buying a year’s supply of toilet paper in bulk.

Captions for memes:

You input: What would a doctor in an examination room say to Mr. Potato Head?

Witscript responds: Looks like you need a little more than just some plastic surgery, Mr. Potato Head!

To liven speeches and articles:

You input: You may have heard that genius is 1% inspiration and 99% perspiration.

Witscript responds: Well, I’m in luck then. My sweat glands are way more productive than my brain.

That one genuinely made me laugh.

Toplyn posts daily jokes written by Witscript on Twitter/X. Some are pretty good, others, meh.

Still, I found his approach different. He goes beyond typical internet scraping of jokes used my most AIs. Instead, he breaks down the mechanical structure of jokes and examines how the human brain connects the links among different elements to make up humor.

My recent TKZ post shows I’m not a fan of using AI for writing. The lack of ethics disturbs me, and environmental effects of data centers are chilling. But, like it or not, AI is here to stay.

Humor is supremely subjective. What I find funny makes you yawn. What leaves you rolling on the floor leaves me rolling my eyes.

From a human on Twitter: “I’ll worry about AI being funny when I hear it has a drug problem.”

So, TKZers, what do you think? Can a machine be taught humor? Will AI ever duplicate the rich emotional human experience that’s the foundation of humor?

~~~

 

All books in Debbie Burke’s Thrillers with Passion series are 100% human written. Learn more at this link.

What’s Your Brand?

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“Simplicity is the ultimate sophistication.” – Leonardo da Vinci

***

Last week John Gilstrap posted about his brand, and it got me thinking about what an author’s brand is and what it does for us.

First, a little history. According to Wikipedia

Branding and labeling have an ancient history. Branding probably began with the practice of branding livestock to deter theft. Images of the branding of cattle occur in ancient Egyptian tombs dating to around 2,700 BCE. Over time, purchasers realized that the brand provided information about origin as well as about ownership, and could serve as a guide to quality.

More recently, we understand branding as a way to differentiate products in a world full of product names. Again, from Wikipedia

The key components that form a brand’s toolbox include a brand’s identity, personality, product design, brand communication (such as by logos and trademarks), brand awareness, brand loyalty, and various branding (brand management) strategies. Many companies believe that there is often little to differentiate between several types of products in the 21st century, hence branding is among a few remaining forms of product differentiation.

Wow! That’s a lot to think about.

Book Branding

When I was writing novels in my Watch mystery series, I assumed all my books would be watch mysteries, and therefore, my brand should be something related to time or clocks. I created some bookmarks and lid grippers with a watch face that I thought was cute.

In addition, my cover designer suggested putting a watch face on the spine of each book in the place the publisher’s logo usually goes. I agreed, and I love to see my books lined up in our local bookstore. Each watch face is different, but they define my series.

But then I was encouraged to write a novel on the Lady Pilot-in-Command theme, so the watch brand didn’t work anymore. The brand for the new series became anything to do with aviation: an image of a Cessna on a pen, the propeller on the spine of the book, or—best of all—the gorgeous propeller pens my TKZ friend and colleague Steve Hooley makes.

Currently, I’m writing Middle Grade novels that are traditionally published, so the book spine will carry the publisher’s logo. I’m not sure what brand we’ll come up with for that series.

Author Branding

But after reading John’s post, I’m wondering how to create an author brand for me in addition to my books.

Publishdrive.com summarizes some of the key elements for an author brand.

Author branding, which comprises your writing style, website design, social media presence, and the emotional impact of your work, not only defines your identity as a writer but also influences how readers perceive and connect with you, differentiating you from others and establishing a solid foundation for your writing career.

To build an authentic author brand identity, focus on creating a tagline that encapsulates your essence, establish a unique brand voice for consistency across communications, and understand your unique selling proposition to differentiate yourself from other authors.

Looks like I have some work to do.

***

So, TKZers: Have you put much thought into branding? Do you have an author brand? Do you have a tagline? How about an image that reflects your brand?

 

Coming Soon!

The Other Side of Sunshine
A Middle Grade Mystery

The Reen & Joanie Detective Agency is open for business, and the first assignment is to find a treasure hidden by the mysterious “Mr. Shadow.” But others are looking for the treasure, too, and they may not be playing by the rules.

Why Self-Published Books Are Rarely Inside Bookstores

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Terry Whalin is a California-based writer and acquisitions editor with years of experience in his field. I follow Terry’s work and religiously read his periodic newsletter. Appreciatively, Terry is very supportive of my writing on the DyingWords.net blog as well as sharing Kill Zone posts on social media.

Recently, Terry Whalin published a short but highly informative piece on the difficulty of getting indie work introduced into bookstores. Terry’s insight rang home to me, so I contacted him and asked permission to share the article on the Kill Zone. He graciously agreed, and here are Terry’s thoughts.

Why Self-Published Books Are Rarely Inside Bookstores

By Terry Whalin (@terrywhalin)

I’m involved in a couple of online writing groups and no matter how many times you say it, there seems to be a broad misconception about self-published books. These books simply don’t appear in the brick-and-mortar bookstores.

Please don’t misunderstand me. These self-published books have their place in the market—particularly if you have a means to sell the books to individuals or companies. For example, if you speak often and would like to have a book to sell in the back of the room, you can easily get a self-published book to use in these situations. Just don’t expect to sell your book to bookstores.

Recently a well-meaning author celebrated his first printed book, which was self-published. He was holding it in his hand—always exciting. He was plotting a strategy to get his book in as many bookstores as possible and asking for help from other authors in the group. If you are going down this path, it shows a clear disconnect with the realities of the market.

Here’s a bit of what I told him. “Congratulations on your book release and I celebrate with you—but after more than thirty years in this business and over 60 books in print—and working as an acquisitions editor over the last twelve years—I am going to have to give you a bit of a reality check. You will struggle and find it almost impossible for brick-and-mortar bookstores to stock your self-published book. It’s one of those messages that the self-publishing places don’t tell you (they want to get your cash and get your book in their system).

“Yes, your book is listed on Amazon.com (easy for anyone to do) but getting it into the bookstores is a completely different story. I’ve been telling writers for years about the ease of getting a book printed—now getting it into the bookstores and ultimately into the hands of consumers, that’s a different story.

“Retailers dislike self-published books. Every retailer that I’ve talked with about this issue (and I’ve invested the time to talk with them) has countless stories about the difficulties of these books. They have re-stocking problems and problems with the quality of the products (typos, editing, etc.).

“Here’s the real test for you: go to your local bookstores and ask them if they are carrying any self-published title on their shelves. Go to the big box stores like Barnes & Noble or Books A Million as well as your mom and pop smaller independent bookstores. The answer will surprise you. I will be surprised if you find a single self-published among any of the thousands of books.”

“We can’t say it often enough—the bookstore market is a closed system—that deals with distributors and large and small publishers. It’s why we work hard to get our books into the traditional publishing marketplace. It’s why you go through the effort and hard work to create an excellent book proposal or book manuscript or novel, then sell that idea to a publisher. Then your book is available in any bookstore—and can have the possibility of sitting on those bookshelves.

“It’s a free country and you can feel free to expend the effort and energy to market to bookstores and try and place your book. From my experience and others, it will be frustrating and likely not sell many books. I believe your marketing efforts are better served in other markets (outside the bookstore).”

No matter what I write, several of you are going to take the leap into self-publishing. Here’s several action steps if you go this route:

  1. Work with an experienced editor to create an excellent book.
  2. Work with professional cover designers and people to format and produce a book where every detail looks like something from one of the big five traditional publishers. This means including elements like endorsements and words on the spine of the book (including a publishing logo on the bottom of that spine). Many self-published books are missing key elements which become striking signals they are self-published such as leaving off the barcode or doing this code improperly (without the price).
  3. Keep working consistently to grow your audience. As I’ve mentioned in the past, work daily on your platform and reach your audience. You need to try new avenues to market and sell your book.
  4. Continue to learn all you can about publishing. Get a free copy of my Book Proposals That Sell and study the publishing insights in this book.
  5. Never give up on your book. As the author, you have the greatest interest and passion for your book. This statement is true no matter whether you are traditionally published or self-published. Always be looking for new opportunities to write or speak about your book.

This last point is something I try and model with my own books. For example, I continue to promote and use the radio interviews I recorded for Billy Graham biography which has been in print for about ten years. Each author needs to be actively telling new readers about their books—whether they are carried in the bookstores or not.

Bio — W. Terry Whalin, a writer and acquisitions editor lives in California. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. Get Terry’s recent book, 10 Publishing Myths for only $10, free shipping and bonuses worth over $200. Also get the free 11th Publishing Myth chapter.

To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. As Jim Cox, Editor-in-Chief of Midwest Review wrote, “If you only have time to read one ‘how to’ guide to getting published, whether it be traditional publishing or self-publishing, Book Proposals That Sell is that one DIY instructional book.” Connect with Terry on Twitter, Facebook and LinkedIn.

Kill Zoners — What’s your experience as an indie trying to get your work into bookstores? Feel free to share. And thanks to Terry for sharing this piece. Hopefully he’ll drop by to engage in the comments!

My Branding Opportunity

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By John Gilstrap

On March 20, less than two weeks ago as I write this, I received the following email out of the blue:

Dear John,

Last week, your name and “Zero Sum” came up in a staff meeting…

It was the strong opinion of our award-winning Branding / P.R. firm that you are entitled to and would benefit from a significantly greater visibility in the modern world.

We have a new low-cost, high-impact plan that I sense might be perfect for you. Here is our Wikipedia page for your review: [redacted]

Can we arrange a convenient time to discuss this, John?

Warmly,

[President of a well-established, high-powered public relations firm in California]

Yeah, right. I know a scam when I see it. Some fraudster expects me to believe that a firm that represents some really well-known folks is talking about my paperback original that dropped over nine months ago? I might live in West Virginia, but I’m no rube.

Funny thing though. The address for the incoming email matched the email address on the company website. And the Better Business Bureau. I decided maybe it was a mistake to ignore this email completely.

I went stealthy. I went to the company website and filled out the general interest form that anyone from the general public would fill out. That form includes my phone number, and in the comments section, I referenced the email I had received from the president. Then I replied to the original email thusly:

Dear XXX,

 

Lovely to hear from you. These being the awkward times that they are, I have sent a note back through your website seeking authentication of this email. Please feel free to call me on the phone number I left on that inquiry. I look forward to speaking with you.

 

Best,

 

John Gilstrap

To which he promptly replied,

Dear John:

Yes, it’s me, and to be open, I could weep over the seeming necessity of your note.

Warmly,

He called me later that evening and we had a very nice chat about author branding and what he and his firm could do to help me. The details aren’t important here, but they resonated with me. They come with a price tag, of course–significant, but not bank breaking, and hey, I just got a movie deal.

After laying out the general elements of the plan, he closed by saying he didn’t want me to make a decision right then. There are things I need to do to make this work, so there’s an element of commitment. He urged me to think it over for a day or two, but no longer than that. In his experience, after two days, a maybe should be a no, even if the client talks himself into a yes.

I sent him an email the next morning telling him I was ready to go.

A lot of career elements seem to be aligning for me these days. In addition to the SixMin movie deal, Kensington is repackaging the Grave backlist and changing the format of the Grave front list to trade paper, all while launching the new Irene Rivers thriller series.

For this public relations opportunity to arrive as it did and when it did somehow feels right. So I’m rolling the dice and writing some checks.

The John Gilstrap Brand

When it comes to marketing and publicity, I don’t know what sells books and what doesn’t. I don’t think anyone does. But I know that I can work a crowd well and that I deliver a pretty decent speech and workshop, and that a higher profile generally is better for sales than a lower profile.

Enter the John Gilstrap brand–similar to yet different than yours truly. Yes, it makes me uncomfortable because I don’t fully understand all of it yet, and because I do know that it comes with a level of self aggrandizement that will make me uncomfortable. Somehow, if all goes as planned, with the help of my new best friends on the Left Coast, the world is going to see a freshly packaged new breed of author who’s politically conservative, carries a pistol, drinks martinis and lives in the woods of West Virginia.

How they do that without pissing off half of the reading public is a mystery for the future.

 

Why Write If It Makes You Miserable?

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By PJ Parrish

Rejection bites.  Even 45 years after the fact.

I was cleaning out some old files the other day, searching for my portfolio of clips from my days working on my college newspaper The Eastern Echo. 

Didn’t find the clips but I found my first ever rejection letter from a publisher. It doesn’t have a date on it, but it had to be somewhere around 1980. That was back when I was trying to break into the romance novel business. I had a half-written manuscript and no clue what I was up against.

I decided to send it out to an agent. Guess who I picked? Mort Janklow. He was probably one of the top five literary agents in those days. His client list included Judith Krantz, Thomas Harris, Nancy Reagan and some guy living in The Vatican named John Paul.

I got a very nice letter back from him [his secretary], saying thank you but no thanks. So I decided, well, hell, who needs an agent? Why not go right to the publishers? I told you, I knew nothing back then.

So I sent my partial off to Dell Publishing. I don’t remember who I sent it to. And until the other day when I was cleaning, I didn’t remember exactly what their letter to me said. But here it is:

[]

In case you can’t read it, here’s what it says. The bold-faced bracketed comments are mine.

Dear Sir or Ms. Montee,
We thank you for the opportunity [yeah, right!] to consider your proposal or manuscript. [what, they can’t figure out WHICH?]. We are sorry [I’ll bet] to inform you that the book does not seem a likely prospect [how elegant!] for the Dell Book list. Because we receive many individual submissions every day [you think I care how overworked you are?] it is impossible for us to offer individual comment [I’d say so since there is no human being attached to this letter to begin with] We thank you for thinking of Dell [insert sound of raspberry here] and we wish you the best of success [ie don’t darken our doorstep again with your crap] in placing your book with another publisher. [you’ll be sorry some day!]

Sincerely, [you’re kidding, right?]
The Editors [aka the evil Manhattan cabal trying to keep me unpublished]

I can laugh about the letter now. But it stung at the time, and in a way it still does. Because I remember how insignificant it made me feel at the time. (I didn’t realize how insignificant I actually was in the grand scheme of publishing). The impersonal-ness. The cop-out cliches. The fact that no one had the guts to even sign their name. But I kept this letter for some reason. Who knows why? My mom might know, because she always said that I never liked being told what to do. And these anonymous editors were telling me I couldn’t be a published writer.

(A year later, a different manuscript I had finished, was plucked out of the slush pile by an editor at Ballantine Books. They paid me $2,500. I was up and walking!)

Here’s the thing about rejection. It never stops. Even after you are published with a decent track record, you can still get dumped on. Four books into our Louis Kincaid series, my co-author sister Kelly and I decided we wanted to try our hand at a light mystery. We finished it, convinced we were the next Janet Evanovich, had our new pen name picked out and everything. But our agent couldn’t sell it. Not even to our own publisher. Which taught me a valuable lesson: It is not easy to write funny. I never tried that again.

Since I am retired now, I am sort of out of touch with the technical side of our business. Are query letters now done all by email? Does anyone even get paper rejection letters anymore? I kind of hope so, because tangible evidence of rejection can be a powerful motivator. Stephen King’s debut novel, Carrie, was rejected by nearly 30 publishers. He kept the rejection letters pinned to his wall, eventually replacing the nail with a spike.

Do rejection emails still come in the same code of yesteryear?

1. “This doesn’t fit my needs at this time.”
2. “Your writing is strong but I don’t feel I can be enthusiastic enough to fully get behind this project.”
3. “I’m afraid I will have to take a pass. But I am interested in seeing other projects…”

What they really mean:

1. You can’t write.
2. I already have four authors who write interplanetary romantasy.
3. Solar Punk rip-offs are yesterday’s news. Have you considered writing a horror-hardboiled mash-up?

I don’t mean to make light of your woes if you are going through this phase of rejection now. It’s not fun. But you will get through this. You will keep going. And with time, you’ll probably get a better perspective about it. Like I did.

The manuscript I sent to Dell was really, really bad. It was called The Last Rose of Summer, by the way. Go ahead, you can steal that title. The manuscript had no business going out in the world in the state it was in. I know, because I kept it. And yeah, It found it, too. It was actually physically painful to read it. But it reminds me that I learned a lot, and I came a long ways. This is a learning process. It still is. It always will be.

I read a good column by David Brooks the other day. He normally writes about politics, but he is often drawn into the side current of family or tribal dynamics. He asked a simple question in his column: Why do people do things that are hard?

Why do marathoners run almost to bodily ruin? Why endure the tedium of practicing the violin? Why does your curiosity compel you to explore the darkest cave despite your fears of going down there?

Why do we keep writing when we don’t even know if someone will ever read it?

Brooks believes it has something to do living in an “offensive spirit.” Meaning, you’re drawn by a positive attraction, not fear of failure. You see obstacles as challenges, not threats. “By the time you reach craftsman status,” he writes, “you don’t just love the product, you love the process, the tiny disciplines, the long hours, the remorseless work.”

I know that strikes a chord with some of you.

So, if you are feeling blue today, just know this one thing: You are not alone. Pearl Buck’s novel The Good Earth was rejected on the grounds that Americans were “not interested in anything on China.” A editor passed on George Orwell’s  Animal Farm, explaining it was “impossible to sell animal stories in the U.S.A.” And let’s not forget the agent who dumped Tony Hillerman and told him to “get rid of all that Indian stuff.”

And know that if you remain in an “offensive spirit,” you can prevail. I feel this way about gardening. And trying to become a really good cook. And playing the piano and pickleball. David Brooks ends his column by quoting the sculptor Henry Moore. So I will as well — because it rings true whether you are writing a book or learning how to make pasta from scratch:

“The secret to life is to have a task, something you devote your entire life to, something you bring everything to, every minute of the day for your whole life. And the most important thing is — it must be something you cannot possibly do!”