Category Archives: Threat Warning

I Write Fat

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By John Gilstrap

After receiving the email to which my manuscript for Damage Control (July, 2012) was attached, my agent wrote back the following: “Only 110,000 words? For you, that’s a novella.”

Smartass.  But she has a point: I write fat.
One of my critique partners who writes full-time and produces one book a year (plus maybe a short story or two) writes books that are only 70,000 words, and she does quite well with them. Granted, her genre is humorous mysteries, which always run shorter than thrillers, but still.
Even my contracts call for books that are approximately 100,000 words, and I’ve never once clocked in at under 110K. I don’t think I’m capable of telling an entire story in 70,000 words.
I’ve given this some thought in preparing for today’s blog post. While I don’t really write to a formula, I do, I believe, have a pattern to my storytelling rhythm.
The first 10,000 words are dedicated to the opening sequence (the hook) and the final 30,000 words or so are dedicated to the final climactic sequence. That middle 60K is where all the work is done–all the backbreaking plot development and backstory revelations that have to feel to the reader like real action. It’s not easy to do, but there are shortcuts that make it less hard:
Keep scenes short. Expository scenes in particular need to be as short as possible. I’ve heard it explained as starting the scene late and leaving it early. If characters are meeting for coffee, for example, start with them already in their seats and the coffee in front of them. If it’s important to have them enter or exit on screen, make sure to use that action for some kind of conflict or character development.


Use space breaks. On average, my chapters run about 12 pages, and they each consist of two scenes, and those contiguous scenes typically come from different parts of the story.  They almost always present a different point of view. I think this gives a feeling of motion to the reader. Also, by looking away from the action of one character for a while, you build suspense in the reader who’s anxious to get back to it after the space break.  (Oh, yeah.  And the scene you break away to has to be as compelling as the one you leave.)


Remember that shorter feels like faster. As the pace of the book picks up toward the climax, my space breaks become shorter. Sentences, too. Bang. Toward the end of the book, those 12-page chapters may have as many as four or five space breaks.


End chapters on cliffhangers. You need to be a little careful with this one, because if overused, cliffhangers can feel cheesy and manipulative. Of course, they always are manipulative; but the trick is to make them not seem that way.


So, dear Killzoners, what am I missing? What other tricks are there to give a sense of motion to your writing?  And how long do your manuscripts run?

A Lesser Me

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Well, it’s author photo time again.  The one here on the left is the one that my publisher likes best.  Truth be told, I’m not entirely sure that I agree.  I don’t like the sloppiness of the shirt in the front.  I wish the photographer had told me that the shirt was all bunched up.

The exciting part of the author photo this time around is that for Damage Control (July, 2012), my ugly mug will dominate the back cover of the book.  I wish I were modest enough to say I didn’t care about that, but we all know each other too well for me to pull that off.  I think it’s very cool.

Now, if I had my ‘druthers, the chosen pic would be the one in the sports coat.

I just think it’s a sleeker look.  It also shows me in the first Armani jacket I have ever owned.  Trust me, it was bought at a steep discount, but still.  Armani!  Note to the uninitiated: I learned a long time ago that while expensive clothes are, well, expensive, they also fit better and last longer.

For me, though, this particular author shoot is a milestone event for me.  As you read this post, I will have officially crossed the one-year mark for having kept off the fifty pounds that I lost.  Not to get all sappy, but in May of 2010, I had emergency gallbladder surgery that didn’t go entirely well, but left me alive.  I didn’t enjoy looking mortality in the eye.  On the day I left the hospital, I vowed to my wife, Joy, that I would take life’s warning shot for what it was, and change my gluttonous ways. 

I understand that no one is more annoying than the recent convert who presumes to preach to others.  I, too, remember that moment when Oprah celebrated her weight loss by rolling a wagon full of animal fat onto the stage to show what a wonderful thing she’d done, only to apply all of that fat back to her waistline within a year or so.  Having been prone to weight issues my entire life (I’ve been way more self conscious of my profile than I ever was of my hair line), I know better than to boast, because I know that I could backslide anytime.  Still, it’s a good sign that I like vegetables now, and that they don’t have to be fried for me to get them down.

Does it help a weight loss regimen to spend a few months barfing up food that annoyed your gallbaldder?  You betcha.  It’s God’s ultimate diet plan, and I credit Him with half of the fifty pounds.  The rest of it, though, is on me, and I’m proud of it.

My pride and narcissism aside, let’s turn this into a discussion about books.  Do author photos matter to you when it comes time to buy a book? 

Does the fact that Bob Crais looks like a friggin’ movie star make you more likely to buy his books than if he were, you know, more Gilstrapian?  Does putting an author’s mug on the outside of the cover where it can be seen by the casual observer make any difference at all?  Or is book buying really about the quality of the writing?

Reader Baggage

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By John Gilstrap
A couple of weeks ago, I received an email from a “fan” who loves my books, but is deeply annoyed that I allow my “left wing liberal politics” invade my work. I’ll give those who know me well a moment to stop laughing.

As evidence of my “politically correct bullshit” he notes that in Threat Warning, my fictional terrorists are “God fearing Christian men and women” when “we all know” that the true terrorists are Muslims. In my reply, I ignored the substance–including his assessment of who my fictional terrorist truly are–and thanked him for reading my work. Some conversations are just not worth having.

For the record, I work very hard to keep politics out of my writing. It just doesn’t belong. I’ll leave that subgenre of the thriller market to Brad Thor and Barry Eisler—between the two of them, the ends of the political spectrum are well covered. Still, I guess it makes sense that because Jonathan Grave is a former Delta operator and he uses a lot of weaponry, people might assume that he’s a right-winger, but that would be based only on the clichéd assumptions made about groups of people. Truth be told, I don’t think that Digger would have much time for any politician.

This email got me thinking, though, about how much of our reading is informed by the baggage we bring to the material we choose. We’ll all give a second (or third or fourth) chance to a writer whose earlier work impressed us, but think about how hard it is to give that same break to the same author who everyone loves, but whose first effort you experienced was sort of meh.

And it’s not just true of books. I like just about everybody, but there are a few folks on my shit list whose email correspondence always seems snide or hurtful. I have to remind myself that it’s entirely possible—maybe likely—that no offense was intended, and that where there’s no intent, there’s no foul, right?

When I was in junior high, I read my first Great Novel: Lord of the Flies. I was a better than average student, and as I read it, I remember being so proud of myself for catching on to the social subtext—the symbolism—of the book. My cousin was a high school English teacher at the time, teaching Lord of the Flies to seniors. When he told me that the pig-killing scene had Oedipal overtones, I thought he was making it up. Even after he explained it, I didn’t get it. That’s because I was reading an adventure story while he was teaching literature.

In Threat Warning, I wrote a thriller that my fan apparently read as a political treatise. At a book signing years ago, a very enthusiastic fan lauded Nathan’s Run for its symbolic depiction of the plight of the American Indian. She meant it as a compliment and I took it as such.  I never told her that American Indians never once entered my consciousness as I wrote the book.

I’ve come to the conclusion over the years that once my words are published, my opinion of what I meant to say has no more validity—perhaps even less validity—than the opinion of those who read the words through their own filters. That’s the nature of art in any form, I think. I get my shot when I create it; after that, it’s all up to the observer/consumer.

What do you think? If a book arouses in you an intense emotion, does it matter that it might never have been the author’s intention to do so? Do authors’ intentions for their own work matter at all after the book is published?

Gilstrap’s Guide to St. Louis

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By John Gilstrap
I’m really looking forward to Bouchercon this year, as I look forward to it every year. Last year, San Francisco provided a terrific backdrop for the conference, but I have to say that in my experience, Midwest conferences somehow work out better. Perhaps it’s because there are fewer distractions, and therefore more people hanging around the conference hotel.

My Big Boy Job takes me to St. Louis a lot—at least twice per year. I don’t pretend to know the city well, but as a creature of habit, there are certain haunts that are particularly worthy of note:

JF SanFilippo’s Restaurant. If you like down home Italian food, complete with a full bar and a great wine list, this is a place you’ve got to visit. Located at 705 North Broadway, it’s just a few blocks from the conference hotel, an easy walk. The food is reasonably priced, and the owner, Joe, is a terrific guy. It’s a good-size place, but reservations are a good idea. (314) 621-7213.

Carmine’s Steak House is a terrific high-end beef restaurant, though compared to New York or DC, the menus is very reasonably priced. They’ve got an impressive wine list, too. Attached to the Drury Plaza Hotel at 20 South Fourth Street—virtually across the street from Busch Stadium—it has a warm ambience and a terrific menu. Be sure to try their toasted ravioli appetizer. The restaurant is walkable from the conference hotel, but allow fifteen minutes to get there on foot. While on the small side, it never feels cramped, so you’d be wise to make reservations here, too. (314) 241-1631.

If you’re a scotch drinker, the bar that’s attached to Carmine’s Steak House has one of the best selections of single malts I’ve ever found anywhere.

If you’ve never visited the Gateway Arch, you really ought to, if only to experience one of the weirdest elevator rides ever. The underground museum there is okay, but it used to be better.

Bouchercon.  If you find yourself truly with nothing better to do, you might even consider coming to one of my panels. Thursday morning at 10:00, Kathryn Kennison will be wrangling—er, moderating—Val McDermid, Parnell Hall, Charles and Caroline Todd and me on a panel called, “The Mermaids Singing.” I think it’s loosely about Magna Cum Murder, but given the players, lord knows where it’s going to go.

On Saturday afternoon at 1:00, I’ll be moderating a panel called “Beyond Here Lies Nothing: The Challenges of Writing Your Next Book” which will feature authors John Billheimer, Jonathon King, David Levien, Lawrence Light and Jonathan Santlofer. I intend to lead the discussion in the direction of much of the stuff we talk about here in The Killzone: the future of the industry, eBooks, and lots of other stuff.

If you can’t make it to one of my panels, I’m pretty much a sure thing in the bar in the evenings. Y’all come and have a great time!

Meet My Friend Brett Battles

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Every now and then you run into the new writer who pisses you off. Here you’ve been churning out reliable thrillers on a reliable schedule, and this kid shows up who has it all: great characters, great plot, great pacing. He’s the punk who wanders into town with a pea shooter on his hip who can out-shoot every gunslinger in town.

I’ve only met a few of these wunderkinds in my time, and Brett Battles is one of them. We first ran into each other at the inaugural ThrillerFest in Scottsdale, Arizona. His reputation preceded him, and in spite of my heartfelt desire to hate him, he even turned out to be a nice guy. Dammit. He’s had his ups and downs in the blender that is the publishing industry, but he’s never lost his sense of humor, and he’s never lost his sense of who he is. In my book, praise doesn’t come higher than that. The fact that he’s as good a writer as he is continues to piss me off, but that’s just my curmudgeonly side talking. In reality, folks don’t come much better than Brett. I’m honored to dedicate my space in the Blogosphere to him today.  By the way, Brett periodically posts on his blog The Independent Writer.  For a limited time, Brett has put the Kindle and Nook versions of his novel LITTLE GIRL GONE on sale for only 99¢.

PICTURES OF WHO
By Brett Battles


The picture is of two people. The man in the center looks tall, maybe six feet. But the photograph cuts him off at the waist, so there’s no way to tell for sure. He’s smiling in a way that you know he’s not just putting it on for the camera. He Caucasian face looks even whiter than it probably is because of his dark hair and matching goatee. You can’t really tell what he’s wearing. A dark sweater that zips up in the front, perhaps, but the background is black, so his clothes quickly fade into it.


Standing next to him with an arm thrown loosely over his shoulder is a woman. She is impossibly beautiful. Not runway model beautiful, she is real and she is stunning. The smile on her face isn’t so much a smile as a knowing smirk. Her eyes, half closed, match her mischievous grin. She is of African descent, her skin darker than some, and lighter than others. Above the right corner of her lip is a dark mole Marilyn herself would have killed for. Her hair is straight, though it, too, blends into the background and gets lost. The only parts you can see are where it passes over her ear, and the strands that drape down her neck and onto her partially bare shoulder.


It’s a party, or a night at a club, or someplace similar. Wherever it is, it’s easy to see they are enjoying themselves. The rest of the photo is merely shadows on shadows in the background. Could be people, could be things, or could be stains that accumulated on the photo before I found it.


I don’t know these people. I’ve never seen them in my life. And yet, the photography—a Polaroid—hangs on my wall, protected now in a zip lock bag that’s held in place by a piece of tape.


I found the photo at least a year ago when I was out for one of my frequent walks. It was lying on the ground, half hidden by a few leaves at the edge of the sidewalk. I almost passed it by before I realized what it was.


How long it had been there? I don’t know. But Polaroids fade in the sun, and this one still had most of its color intact. Still, it’s life, post whoever had dropped it, hadn’t been an easy one. Some of the white on the frame in the upper left corner had flake off, revealing the silver backing below. The rest of the frame was smudged and dirty, like it had been kicked around for a while.


I stopped where I’d found it, and stared at the image while cars drove by on the street a dozen feet away. I didn’t care about the traffic, though, or the couple of people who walked passed. I only cared about the two people in the photo, the man and the woman.


There was a story there. A story I needed to tell. What I didn’t know yet was what that story was. So I carried the photo home, and I put it in that bag, and I taped it to my wall.


A few times every week I look at it. I study the faces. I try to listen in case they have something they want to say. There is a story here. A story I do need to tell. I don’t know what it is yet, but it will come.


It always comes.


Inspiration is out there for all of us, doesn’t matter if you’re a writer or not. So where have you found unexpected inspiration?


Let’s Learn the Right Lesson

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By John Gilstrap

NEWS FLASH:  We interrupt this blog post to bring you a special bulletin.  My novel Hostage Zero has been nominated by the Private Eye Writers of America for the Shamus Award for Best Paperback Original.  Winners will be announced at a private banquet in St. Louis during Bouchercon in September.  Fingers crossed.

Now, on with the blog post . . .

There’s an old joke about a scientist who amputates the legs from a specially trained jumping frog.  After the wounds have healed, the scientist spends days saying, “Jump Froggie, jump!” yet the frog just sits there.  Based on the empirical evidence, the scientist concludes that frogs go deaf after you cut off their legs.
I thought of this joke several times yesterday, following Jordan’s great post about S&S’s decision to distribute John Locke’sbooks.  Some of the responses troubled me, both in tone and in content.  People seemed to be taking away from that story lessons that I don’t think apply.  Moreover, they seemed to be taking away lessons that could prove harmful to them in the end.
Wrong Lesson #1: Locke’s deal is replicable by others.  Think Amanda Hocking, right?  This is the new wave of publishing.  Joe Konrath, too.  Finally, the authors have the publishing world on the ropes.  A new day has dawned.
Okay, I’ll concede the new day thing, but only to a point.  First, let’s consider how the system worked fifteen years ago, when I was a rookie in the publishing league.  I wrote the book and my agent sold the book.  I cashed the check and started writing the next book, earning back at the rate of $3.25 per copy sold.  The publisher took all of the risk, paid all of the designers, established all of the distribution, handled most of the publicity, and in return might or might not make any money out of the transaction.
In Locke’s case, the publisher waited on the sidelines until a writer took all of the risk, paid out all of the marketing money, and dedicated countless hours to promotion, selling a million-plus copies at $0.99 apiece.  Seeing a sure thing, S&S stepped in to make money with near-zero risk.  This was not a David v. Goliath moment.  It was a sound business transaction that was preceded by the literary equivalent of a lightning strike.  Ditto the Amanda Hocking deal.
To me, Locke’s deal is the equivalent of General Motors telling an untried engineer, “Tell you what, kid.  If you design the car, build the factory, manufacture a few thousand copies, road test them, market them, get them written up in Car and Driver and build a loyal customer base, I’ll let you use a corner of some our show rooms to sell them.”  It’s a sound business decision, but it’s hardly a model for every young engineer.
Wrong Lesson #2:  The smart new author needs to retain his digital rights, granting a publisher only print rights.  Two words come to mind for this one: career suicide.
Let’s take this one from the point of view of a publisher who’s dealing with a brand new author:
I don’t need your book.  I’m awash with books.  No one knows who you are, but I’m willing to try and change that.  The odds are woefully stacked against us, but I’m willing to commit thousands of dollars in designer time, editor time and marketing time to help your book rise above the noise.  Our editors will help you be a better writer than you could ever be on your own.  Plus, I’m going to pay you—not as much as we pay Grisham or King, but that kind of money is there for you when you get those kinds of results.  You get to keep the advance money, too, even if I lose my bet on you. 
But if you want to profit from my expertise, you have to give me the tools with which to earn it.  The print business is shrinking, baby.  The future lies in eBooks, whatever form they’ll take in the coming years.  I’ll put you in catalogues that those eBook originals will never see.  I’ll show you off in Frankfurt at the Book Fair, and I’ll give away ARCs at the ABA convention.  We’ll put you on our website, which is visited not just by readers, but by bulk buyers and libraries.  Think of all of this as thousands of dollars in free services, all because we believe in you.
What’s that?  Still not convinced?  You just want to leave me with what you perceive as the dregs so that you can have only upside?  Run along, young author.
Next?
This publishing game is a business, and the author is only a small part of the machine.  I think there’s way too much hype out there vilifying the publishing industry as some kind of parasite, and it’s just not true.  Publishers are the gateway to success.
Fifteen years ago, authors who weren’t very good turned to vanity presses that stoked the fires of artistic egalitarianism.  Every now and then, a Christmas Box phenom broke out and fired unwarranted dreams that ended up in garages full of unsold printed books.  Now, those same authors, or authors like them, are turning to eBooks with irrational hopes.  A few will make it, but many will not.  Of those who do make it, most would have done better if they had pursued the traditional publishing route.
The hook to indie e-publishing is the lure of 70% (or whatever the number is) of the cover price of every book sold, versus the 25% that is quickly becoming the standard in the traditional publishing world.  Ultimately, authors must ask themselves which is better: 70% of 1,000 books sold (or 10,000 or 25,000) at $0.99 apiece, or 25% of 150,000 books sold at $4.50 or $9.00 apiece.  They need to ask themselves if their true expertise is in writing or if it is in publishing.
One thing seems clear to me in all of the self-pub success stories: In every case, the author established a reliable fan base before the Big Deal was closed.  There’s no easy way to do that, but some ways are way easier than others.

For the Love of the Game

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By John Gilstrap
I hate what professional sports has become.



I blame free agency. Yes, I understand that from the players’ point of view free agency is the equivalent of emancipation, but I don’t think of sports from the point of view of the player. I’m a fan—a paying customer—and I miss the days when teams were about, you know, teams. I miss the teaching moment that was built around the pre-free agency notion that the individual was subservient to the team. That’s why we put our kids into sports, right? So that they can learn the lessons of teamwork?


Nowadays, professional sports is all about the money. Okay, it’s always been about the money, but I lament the migration of the prima donna from its former exclusive domain of opera to the gridiron and the baseball diamond.


In a few short weeks, I will once again, for the forty-seventh time, walk into the whirling propeller that defines being a Washington Redskins fan. Yes, Dan Snyder is Satan incarnate, and I won’t recognize eighty percent of the names on the roster, but dammit, this team is the descendant of Sonny Jurgensen and Billy Kilmer (yes, and Joe Thiesmann, but decent Washingtonians don’t speak of The Ego). The Redskins will yet again lure me into their web with early season wins, and they will yet again fall apart in mid-October. I’m not a sports stats fan, but I’ll bet bucks to buttons that no team on the planet has given up more fourth-quarter leads than the Redskins.


The disparity that separates real sports from their professional cousins is most widely illustrated this time of year during the Little League World Series, currently being televised on ESPN. It’s refreshing to watch 12-year-old athletes giving their all to win a game simply for the right to proclaim themselves winners. If you haven’t watched any of these six-inning games yet, you really ought to take the opportunity to do so.


First of all, it’s great baseball, complete with breathtaking offense and defense, but also littered with the occasional egregious error. I cannot imagine the thrill these kids must feel when they watch the recordings of themselves, complete with sportscaster commentary and instant replay.


And here’s the heart-wrenching part: Often as not, the losing team cries. These boys have put everything into the game, and while their athletic prowess might have matured, their emotions have not. They’re kids, and they’re all heart. Someday, the best among them will probably join the ranks of free agents, but for this brief slice of time, they’re just athletes, pure and simple.

There’s a writing analogy to be made here–those who write for the love of the craft versus those who write because their franchise demands it–but I’ll leave it to you, dear Killzoners, to connect those dots.

Ten Rules For Manuscript Evaluations

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By John Gilstrap

If you’ve been visiting my little corner of The Killzone for any time at all, you probably know that my rules for writing are limited to only one: There are no rules. There are really good suggestions, but at the end of the day, if you can make something work on the page, it doesn’t matter if there’s a widely accepted “rule” against it. This game is all about originality.


But a little clarification is in order. When I say no rules, I really mean no universal rules. I have rules for my own writing because they work for me. I would never presume to suggest that the same rules would work for any other writer.


Every now and then, though—usually in the context of a writers’ conference involving manuscript evaluations—other writers’ rules collide with mine, and then things can get awkward.


Over the years, then, I have developed a list of Gilstrap’s Ten Rules for Manuscript Evaluation:


1. Number your pages and put your name or project title on every page. The reality is that I will lose your paper clip and I will drop your papers on the floor at least once. I don’t do this on purpose; it just always happens. Sometimes the pages get separated in my briefcase. However it happens, jumbled papers are jumbled papers. It helps to know which ones belong to whom, and in what order.


2. Have confidence in Times New Roman 12-point type. Reducing the font size to sneak in more story does not slip past unnoticed. I recently participated in a conference where someone actually gave me 15 pages of double-spaced 8-point type. Ignoring the fact that it pissed me off, I literally could not read the text. While I like to think of myself as young, my eyes are marching toward old age.


3. For me to believe that your story has any hope of success, something must happen in the first two hundred words. That’s the length of my interest fuse. Billowing clouds, pouring rain and beautiful flowers are not action. Characters interacting with each other or with their environment is action.


4. If you insist on walking into the whirling propeller that is a prologue, check first to make sure that your prologue is in fact not your first chapter in disguise. Next check to verify that your prologue is truly for the benefit of the reader, and not a crutch for the writer who needs to dump a bunch of backstory so that the first chapter will make sense.


5. Ten pages are plenty. Actually, five pages are plenty, but I understand that conference organizers can tout the larger number more easily. In my experience, unless dealing with a journeyman writer, the sins committed in the first few pages are replicated throughout. It’s rare that I discover a new issue on page thirteen or fifteen that hasn’t been noted several times previously.


6. Understand that I write thrillers. That’s really the only genre I understand—and at that, my understanding is tenuous. If you submit a romance or historical fiction manuscript to me, understand that it will be evaluated through the lens of a thriller writer. I’m not being obstinate here; I’m just not that intellectually nimble.


7. I write manuscripts, I don’t buy them. I am a terrible resource for determining what is and is not marketable. If I knew what the public was going to be clamoring for in two years, I would write those stories myself and sit atop the bestseller lists year after year.


8. Since you asked my opinion, I owe you honesty—as filtered through the prejudices and preferences of a self-taught writer of commercial fiction. I don’t demand that you agree with my opinion, but please don’t try to talk me out of it. Right or wrong, mine is the only opinion I have, and I can’t do much about it.


9. Understand that I do the evaluation exercise to be helpful. I can tell you what works and doesn’t work for me, and I can explain why. At the end of the day, though, your story is yours, and you are the only one who can fix it.


10. Unless you submit your best effort for evaluation—fully vetted, fact-checked and spell-checked—you’re wasting everybody’s time.

Catching Up

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By John Gilstrap

I forgot, okay?  Last week, I was immersed in ThrillerFest, reconnecting with the stunning brain trust that is a conference of thriller writers, and I completely forgot to post a blog.  Sorry about that.

But this is a new week, and it’s marked by both great news and terrible news; elation and frustration.

First, the good: A few weeks ago, I posted a blog that I called Serendipity, in which I recounted a customer service triumph involving the Hilton Garden Inn.  At the time, I hinted at a coda to the story, and now I can report that Hilton Garden Inn placed an order for 700 copies of my new book Threat Warning, to be distributed to their managers around the globe.  We’ll be holding a ceremonial signing at the HGI property in Fairfax, Virginia (near my home) on July 28, and with any luck at all, we’ll attract some media interest.  I think it is so cool when random encounters end up in such great results.  (I’ve actually never signed that many books at a sitting, so I’ll be interested to see how my hand holds out.)

Now for the bad news: Last week, Microsoft sent me a “service pack” update that turned out to be “corrupted” and contained a “fatal error” that required me to return my computer to “factory settings.”  In layman’s terms, I believe that means they poisoned my computer and destroyed 17.6 gigabytes of data.  Gone.  Poof.  Not so much as a “sorry, John.”

In an interesting bit of irony, the only way to access Microsoft’s technical support is through their website, to which I didn’t have access because they, you know, poisoned my computer.

What keeps this from being a total disaster is my new cyber-hero, Carbonite.com.  It’s a service that’s nearly free of charge (a few bucks a month) that backs up all your data every day to their system.  After this catastrophic loss of data, all I had to do was tap into http://www.carbonite.com/ and sign into my account.  Click a few bottons, and a few days later (that’s how long it takes to restore 17.6 gigabytes), I’ll be good as new.  I hope.  (I’m knocking wood.)

So, here’s my question for the Killzone techies: Next time one of these service pack upgrades pops up in my system, am I supposed to ignore it?  Or do I just make sure that Carbonite and I remain friends?

I hate computers.

The Most Wonderful Time of the Year

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By John Gilstrap

It’s Launch Day! This is the day when Threat Warning hits the stands (actually, it’s been on the stands for a week or so, but July 1 is the official launch date). This is my eighth time at bat, and it never gets ho-hum. Far from it, in fact. Each time a new book comes out is another pinch-me moment.

There was a point in my life—the first thirty-eight years—when the thought of publishing a single book seemed ridiculously unachievable. Then, along around 2003, the smart money said that my fourth book would be my last. Now, thanks to a hard-wired resistance to listening to people who tell me what I cannot do—and the good fortune to be introduced to Kurt Muse, who introduced me to the world of Special Forces—I’m basking in the glow of the release of my eighth book while I pound away on my ninth (Damage Control, to be released in July of 2012).

I don’t mean to get all sappy, but honest to God, sometimes I have to step back and wonder what good deeds I did in my past lives to justify the ride I’m getting in this one. Next week, I’ll be in New York City for ThrillerFest, hanging out with some of the best writers and smartest people on the planet, trying my best to be more friend than fan, though I confess that the difference is separated by a hair-thin line.


If you’re planning to be there for CraftFest—the writing program that begins on Wednesday—please consider dropping in on my session, “Who’s Story Are You Telling?”, a workshop on effective use of POV. Alternatively, please pop in on Saturday to the panel I’ll be leading on the future of the military thriller.


ThrillerFest is one of two indispensable meetings for writers of suspense fiction. Whereas Bouchercon—the other indispensable meeting—is mostly about meeting fans and gaining new ones, ThrillerFest is about professional development. Yes, T-Fest is expensive, but New York is an expensive city, and it is the heart and soul of the publishing industry. At the receptions and the bar and the banquet, you’ll find dozens of editors, agents, publishers, sales reps and publicists. It’s not the place to pitch your book (unless asked), but it’s the place to hang out with the power brokers and learn the industry.


Enough about that. This is Launch Day! In Threat Warning, Jonathan Grave and is team confront homegrown terrorists who are much more dangerous than they appear. Quoting the cover copy:


“The first victims are random. Ordinary citizens, fired upon at rush hour by unseen assassins. Caught in the crossfire of one of the attacks, rescue specialist Jonathan Grave spies a gunman getting away—with a mother and her teenage son as hostages. To free them, Grave and his team must enter the dark heart of a nationwide conspiracy. But their search goes beyond the schemes of a madman’s deadly ambitions. This time, it reaches all the way to the highest levels of power…”


I hope you give it a try. Even more, I hope you enjoy the story. One way or another, please let me know what you think.