Tracking How You Read

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

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

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

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

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

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

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

You Wouldn’t Believe What’s Out There…

DetectivewithMagnifyingGlass-300pxcomputer

It has been stated  repeatedly that information is the new currency. Mystery and thriller authors and readers have known that for decades. What is a clue, if not a piece of information? What is new is the ability of anyone — and I mean anyone — with internet access and a bit of deductive reasoning to discover quite a bit about someone else, without paying a private investigator to do so or getting down and dirty themselves and going through someone’s garbage the night before the scheduled pickup. I’m not talking about one of those pricey subscription services, either. I’m talking about what you can get from the comfort of your home with a smartphone or a tablet. Those of us of a certain age are familiar with the gumshoe — Mike Hammer comes to mind —who had a contact at the courthouse, or the phone company, who is an inside source of inside knowledge. These days it just takes a few keystrokes.

If you are writing contemporary detective fiction your protagonist can use these sources quite easily. So can you, for that matter, for your own benevolent reasons. The following are the most widely and readily available:

Google Search: This may seem obvious, but it’s just a starting point. It doesn’t contain everything, by any means, and may also give you too much information. If I can’t find precisely what I am looking within the first two or three pages of search results I look elsewhere, such as

Facebook: It may seem trite but Facebook can be a wealth of information. I have seen couples who I know play out their domestic problems in Facebook posts. Ouch. On another occasion, I was considering an extended period service contract with a gentleman — payment up front — until I read some of his wife’s posts, in which she repeatedly described the financial problems her husband’s business was experiencing. It did not instill confidence, nor did her demonstration of her inability to operate the governor between her thoughts and her fingers. I went elsewhere.

While we are talking about Facebook: it’s a criminal’s dream (so is Twitter), particularly with respect to those folks who can’t travel more than five miles from home, eat anywhere besides McDonald’s, or use the commode without telling the Universe where they are, like, RIGHT NOW, and what they are doing. Some unsolicited advice: wait until you get home to spread the news about how interesting you are. Otherwise, you are advertising that your home is empty and waiting to be burglarized while you are busily telling the world that you are engaging in conspicuous consumption.  Ask your local police department (or better yet, your insurance agent) if you think that I am kidding. Much of what is available online is put there by government agencies, and you can’t opt out. It’s there. Keep in mind that what you voluntarily put on Facebook can be viewed by anyone, be it your spouse or significant other (or both!), and a prospective or current employer, customer, or client.

County auditor/assessor office websites: this would be the office that collects your real property tax. While I have come across a couple who charge a fee for access — particularly in California — the overwhelming majority of the ones that I have accessed are free. It is a great way to get an up-to-date address for someone. If someone owns several pieces of property in a county, check to see where the tax bill is sent. That is almost certainly where they actually live.

City, county, and probate clerk of courts websites: Do a name search on these sites to see if your person of interest is sued or being sued, has had criminal charges brought against them, has a lead foot when driving, has a history of divorce, has taken out a marriage license, or has warrants or civil judgements outstanding against them. You don’t need to be an attorney to search most of these sites, and most are free. Some jurisdictions do charge a fee and/or limit access to attorneys — again, California — and some don’t have online access at all but that number is dwindling.

Cell phone records: Not everyone is aware of it, but you can access your own cell phone records — or the records of family members who are on your family plan — online once you setup your account. This ability is not without benefits. Several years ago my younger son had his cell phone stolen by a customer from the restaurant where he was working (long story). He called and told me fifteen minutes after it happened. I logged on and discovered that the perp was already calling people. I started calling the same numbers, telling them to call their friend back and tell him that he had thirty minutes to return the phone or I would hunt him down like a dog (yes, I could have called the thief directly but doing it this way seemed more sinister). The phone was returned within a few minutes. Now, of course, one had an app for such things but not everyone loads it or knows how to do so.

As for what is NOT out there: I have yet to find a good online directory for cell phone numbers in general or reverse directories. I recently attempted to find a friend that I had been out of touch with for over forty years. He didn’t have much of an internet presence so I wound up checking the real property tax records in the county where he had lived when I knew him. He was still there. I tried to get phone numbers for him online and got four — four — all of which were outdated or no longer valid. I wound up mailing him a letter and heard back from him. Sometimes, I combination of old and new works best, as Loren Estleman demonstrates on an annual basis in his immortal Amos Walker series.

Does anyone else have other websites they know of, that detectives, fictional or otherwise, can use? And, better yet, does anyone have interesting stories resulting from their use of such websites?

And The Whimper Is…

Unpacking the Edgars

Unpacking the Edgars pre-banquet

By PJ Parrish

So I am doing my usual warm-up before hitting the computer this morning: folding laundry and watching “Frazier” reruns. I love Frazier because beneath his smooth surface is a roiling bog of neediness and insecurity.

Today was the episode where Frazier and his producer Roz are nominated for the Seebee Award, given out to Seattle’s best broadcasters. Frazier tries to be above it all, but he just can’t. He wants to win, dammit! But at the banquet, he finds out he is up against the aging icon Fletcher Grey. Fletcher has been nominated 11 times in a row and lost 10. Fletcher’s date is his 84-year-old mother who has flown in from Scottsdale — for the 11th straight year. Fletcher is also retiring. Frazier tells Roz, “if we win, they’ll string us up.” Roz says, “I don’t care. I’d crawl over his mother to win this award!”

Frazier loses, of course. His agent Beebee deserts him. Roz gets drunk on Pink Ladies.

Sounds like a couple award banquets I’ve been to. I’ve been chairing the Edgar Awards banquet for ten years now, plus Kelly and I have been lucky to have been nominated for some awards over the years. Our second Louis Kincaid book, Dead of Winter, was nominated for the Edgar. We were desperately excited. Bought new dresses. Went to New York City. Kelly’s son Robert, her date for the big night, rented his first tux at Abe’s Formal Wear on Sixth Avenue. We met our agent for drinks in the Grand Hyatt bar but ordered diet Cokes because we wanted to be stone sober in case we won and had to give a speech.

We sat through the excruciatingly long evening, dry-mouthed and wet-palmed. Then our category came up and…we lost.  We all reached for the wine bottle in the middle of the table at the same time.  I think my agent cried. I’m pretty sure I got drunk.

Here’s the thing about awards. Yes, it is always an honor to be nominated. But it bites to lose. I can’t lie and tell you otherwise.

I’ve been thinking about this lately, and not just because of Frazier. This is the week I start gearing up for the Edgar banquet, which is April 28. (Click HERE to see the list of the 2016 nominees.)

Badges ready for the nominees.

Badges ready for the nominees.

I love this gig.  It’s really cool to see old friends again every year and hang out with the big names at the cocktail reception. But my favorite chore is helping to man the nominee greeting table, because I get to meet all the nominees who come in, spouses and children in tow, the mens’ clip-on tux ties askew, the women’s lovely faces flush with anticipation. They all are so darn happy. I want them all to win. Because I do know how that feels as well.

In 2007, our book An Unquiet Grave was nominated for the International Thriller Award. And just like the first time, all the toads and newts in my bog of insecurity bubbled to the surface.

I went to banquet with no expectations, sitting  between my agent and Ali Karem. Everyone wished me luck, but I was filled with dread. My sister Kelly couldn’t make it, so I felt pretty alone despite all the good vibes. We might write hard-boiled, but I am not. The evening dragged on through the various categories. Finally, I couldn’t take it anymore. I bolted for the lobby.

Jim Fusilli was standing there and barred my way, putting an arm around my shoulders. Each nominee was announced by reading the first line of the book. Ours is “The Christmas lights were already up.” I remember thinking, “God, that sucks.”

I heard the title of our book announced as the winner. I started crying. I don’t remember what I said on stage. Many authors, when they are up for awards, jot down a few bon mots so they don’t make asses of themselves. They at least think things through. These are the authors whose gracious and often clever speeches are quoted on Facebook the next morning.

This is what SHOULD have been in my head as I went up there:

“Thank you so much for this great honor. First, I want to thank the ITW judges who put their careers on hold for months. Their job is doubly hard in that they first must read hundreds of books but then, they must decide on just one when any of the five finalists would be worthy. Second, I want to thank my fellow nominees. I am honored to have my book mentioned among their fine works. Third, I want to thank my agent and editor who….”

This is what was REALLY in my head:

“God, I can’t believe I am crying! How pathetic and needy! Where’s the friggin’ stairs? I can’t see! Who is that man at the podium? Damn, I forget his name! THE LIGHTS! I CAN’T SEE ANYTHING! Do I have lettuce on my teeth? Agent…mention her name. My bra is showing, I just know it. DON’T PULL AT YOUR BRA!! He’s handing it to me. Jesus, it’s heavy…don’t drop it…don’t drop it…don’t drop it. Say something nice about the other nominees! Can’t…can’t…can’t remember their names. YOU TWIT! You just sat on a panel with TWO of them this morning! Wait, wait…is it Paul LeVEEN or Paul LeVINE??? Forget it…buy them a drink later. I should have gone to the hairdresser before I left home. My roots are showing. Damn, did I thank my SISTER at least? JESUS! THE LIGHTS! Stop talking now…you’re rambling, you ass…stop now and just go sit down. Okay, leaving now. TAKE THE AWARD! Don’t drop it…don’t drop it…don’t drop it. Good grief…I’m here in New York City wearing Nine West because I was too cheap to spring for those black Blahniks at Off Fifth. Dear God, just let me just off this stage so I can get to the john and pull up my Spanx and get a glass of wine….

So, here’s the thing, dear writer friends, as we enter the award season for the Edgar, the ITWs, the Shamus, Anthony, et al:  Awards are nice, but they won’t change your life or probably not even affect your writing career.  Truth be told, you can go back and read the list of past Best First Novel Edgar winners (click here), and you’ll be shocked how few made it big. And some of the brightest bestselling lights in our crime business have never won squat. They don’t keep an empty spot on their shelf hoping to fill it with that little porcelain Poe statue. They fill their shelves with their finished books. That is what really matters — hard work, consistency, and the constant quest to get better.

But…if you are ever lucky enough to be nominated for something — anything — enjoy the moment. It really is an honor to be recognized by your peers. Just leave the Spanx at home.

First Page Critique – Untitled Fantasy

Jordan Dane

@JordanDane

Another brave author has sent in their anonymous submission of their first 400 words. My critique follows. Please provide your constructive criticism, TKZers.

from wikipedia commons

from wikipedia commons

***EXCERPT***

“Strike faster,” Northbyr commanded, but Arthryn’s limbs felt like lead, as if he were swinging a blacksmith’s hammer rather than a sword. He grunted with the effort to keep his blade up, and struggled to land a sequence of slashes and strokes across the wooden training post. “Again,” his father ordered. Arthryn complied, forcing his arms to keep moving. He could feel the pressure of his father’s eyes, inspecting his every movement.

Not my father, Arthryn reminded himself. Not today. Today, he is my Commander, and I am his cadet.

Northbyr certainly fit his role. His tall frame shadowed Arthryn’s short, but fit, seventeen year old body. The Commander had gray eyes, and his face bore the marks of his years in combat. All that was behind him now, and he no longer fought in battles. Instead, he commanded the city guard of Brink, and served as protector to the city’s master, Vangres. Arthryn knew he was lucky to have his father’s experience to learn from, but that also meant twice as much work.

“Step left, strike three,” the commander said. Arthryn followed through. “Step right, strike one.” The cadet stepped and struck hard. “Step round, backward slash!” Arthryn stepped past the training post and twisted his hips to strike the hardwood with a powerful, back handed undercut, but his feet got twisted up and he fell to the ground.

“Snap to, son.”

Arthryn recovered and rose to his feet, readying his sword for the next move.

“Overhead strike.”

The young warrior wielded weapon over his head and aimed to bring it crashing down upon the wooden pole. The blade made his arms tremble, and his muscles protested. He gritted his teeth, and prepared to drop the sword into the target. He never got the chance.

Northbyr snatched the weapon from his hands. Arthryn stumbled to regain his balance. Without the weight of his sword in hand, he felt like a mouse without a tail. He spun towards his father.

“I had it!”

Northbyr glowered at him. “If this was battle, you’d be dead.”

Arthryn’s cheeks flared red. Especially when you take my sword! He wanted to blurt out, but kept his peace. Northbyr never accepted excuses.

Feedback:

Embedded dialogue – In paragraph 1 & 4, there is embedded dialogue that could be pulled out to accentuate it more. A reader’s eye looks for dialogue lines, especially those skimmers who speed read. Highlighting the dialogue as much as possible can focus a reader’s attention on key lines.

Backstory – In paragraph 3, the author resorts to character description and backstory in between the action of the intro scene. Although this paragraph is short, it can still slow pace and draw the reader elsewhere.

Name Confusion – The two characters in this scene have “Y” and “R” towards the end of the names. Since these names aren’t typical of present day/present world handles, readers could get confused and forget which is the father and which is the son. I found myself re-reading to remind myself of the two characters. Perhaps if the son were to call the father by his title, it might help make a better distinction.

More Setting & World Building Layering in Fantasy Genre – The Fantasy genre is known for its world building and other worldly setting descriptions. Even in the midst of a sword training scene, the author should layer in setting that will enhance this world and make it come alive for the reader. As a consequence, the writing comes across as sparse. Many readers wouldn’t notice this and might get into the story, but to make this intro come alive, the author should set their work apart with a deeper scene setting that immediately captures the senses of the reader. The use of all the senses can be effective when creating a new world.

Are there foul smelling blood flowers that emit a pungent coppery stench, flowers that only bloom when war is on the horizon? Does this world have two suns? Is water a precious commodity worth killing over? Do these people live in trees or in castles made of thatch?

How can you infuse these elements into an action sequence like this one? Add tension by the son stepping on one of the flowers and the stench makes him puke. Have him take a sip of community water, only if the father allows him to. The idea is to set up mystery elements to this world that can be explained later as the story progresses and the setting can be brought into the story without slowing the pace. Layer in world building elements that make the reader wonder more about the world they are about to embark into.

An author who writes fantasy must envision the world they want the reader to see in their mind’s eye and bring it to life. Sparse writing allows the reader to stay in their present world and not stray from it. Fantasy is all about the fantasy of escaping into someplace new.

Overview:

I liked the voice in this intro and found it an easy read. I’d keep reading. I sensed the friction between the father and son and felt the tension in the son striking the blows. More effective layering and world building could really enhance this intro and make it stand out more.

HotTarget (3)

Hot Target now available – new Omega Team series launch at Amazon Kindle Worlds. Priced at a bargain $1.99 for this 30,000 word novella. #18 Bestseller in Kindle Worlds Romance.

Rafael Madero stands in the crosshairs of a vicious drug cartel—powerless to stop his fate—and his secret could put his sister Athena and the Omega Tteam in the middle of a drug war.

Where Do You Get Your Ideas?

by TKZ Guest Blogger Toni McGee Causey

Toni - the saints of the lost and found

Note from Joe Hartlaub:  I am pleased to announce that I am relinquishing my blog post (but not my fedora) this Saturday morning to author, screenwriter, and certified wonderful person Toni McGee Causey. Toni initially grabbed the attention of the book world with her Bobbie Faye trilogy, a popular set of addictive books that defied genre classification. Her latest novel, the newly published The Saints of the Lost and Found, goes in a much darker direction, one which will please new and faithful fans alike. Toni has graciously consented to tell us two spellbinding and chilling real-world stories that describe how The Saints of the Lost and Found came to be, and to answer any comments and/or questions which you might have today as well. If you like the stories you read below, you should buy and read the book that they inspired. Please check with your local independent bookseller, and if they don’t have it, please ask them to order it.

Thank you so much, Toni, for sharing your talents with us this morning…SJ

Toni McGee Causey

One of the most dreaded questions a writer can field is the ‘Where do you get your ideas’ question, especially with regard to longer fiction. It’s the kind of query that has a million answers, and often the author has no real clue how they put this idea with that one, stowing them somewhere in the crannies of their minds where the random ideas may bump and roll around until they become so entangled, they form a completely new idea. Or mess. It can work both ways. What makes this one better than that one? What makes this one the thing you knew you would use for a book, when there were a thousand other notions that seemed just as viable shunted off to the side, where hoarders even feared to tread.

This is the one time I feel like the kid at the back of the class who finally has an answer, who raises her hand with an “oh oh oh PICK ME PICK ME, I KNOW!” squeal.

THE SAINTS OF THE LOST AND FOUND is the story of a woman, Avery Broussard, who sees lost things. Glimpses, like photo snapshots, of anything (or anyone) someone has lost bombard her as she moves through life and interacts with anyone. Lost keys, a phone, cameras, money, love. A child. Imagine having that ability to know the condition that lost thing is in, and see it, but not always be correct. She can see something lost in a wheat field, but may not know which wheat field.

Now imagine… you have that skill and you’re trying to find a lost child… before a killer can finish his task… and you fail. One of your rare failures.

Avery fails… and runs… and the story starts with just what happens when you cannot outrun your own abilities, or the vengeance someone will take for your mistakes.

So, where did that idea come from? Two odd-but-true events that took place probably fifty years apart. The first happened to my dad. The second, to me.

My dad told me his story… and he’s not one to believe in anything extra-sensory. He swears it’s true. He and my Paw Paw had been hunting. My dad’s family were very poor, and if they didn’t hunt, they didn’t eat. This was back in the days of the Great Depression, and my Paw Paw’s three hunting dogs were prized because they helped most of the hunts be successful.

On one such trip, two of the hunting dogs returned, but the best one did not. My Paw Paw and Dad searched everywhere, and couldn’t find her. Dad was about ten years old at the time, and after they’d been searching futilely for a while, Paw Paw told him to get in the truck. They drove for about an hour (once they were out of the woods), far south of the property they’d been hunting on, and my Paw Paw pulled up to a very old house where an even older black man sat on a rocker on his front porch. His eyes were milky-white, the cataracts were so thick, he could not have seen who it was who’d driven up, and he had no phone. When Paw Paw got out of the truck, Dad was surprised that the old man started talking first—and knew who they were. Without anyone having said a thing yet.

“You lost a dog a ways back,” the old man said by way of intro, and Dad said his hair stood straight up on his head.

“Yep,” Paw Paw said, but didn’t elaborate as the old man turned his head and sort of stared out into the trees. Trees he couldn’t see.

He hummed to himself for a few minutes, kinda nodded as if figuring something out, and then said to my Paw Paw, “You know that river where you were hunting?”

“Yep.”

“Well, about two miles west of where you were, the river forks. You know it?”

“Yep.”

“Take the right fork, and go on down a ways, ‘bout a mile or so, and your dog’s hung up there in the barbwire fence.”

Paw Paw thanked him, promised him some food from the hunt, and he and Dad climbed back in the truck, heading the almost hour drive back to where they’d been hunting.

My dad’s not the kind of person who believes in woo-woo stuff, especially something like this, so he indicated he thought it was all a waste of time, but they found the fork in the river, veered to the right, and about a mile from the fork, the dog was hung up in the barbwire fence.

I probably would have dismissed the entire thing as completely far-fetched, except that it was my dad telling the story, he was sincere in his disbelief-until-he-saw-the-proof aspect, and I’d had enough oddball experiences finding things that other people had lost that I knew there could potentially be more at work than someone simply telling a tall tale.

For many years, I’d get flashes of where something was that I was looking for… I’d “see” it, and then sure enough, that’s where it was. I’d never thought much about it other than assuming I had simply probably memorized its location as I walked through a room—maybe something akin to a photographic memory—but I never assumed it was anything extraordinary beyond just memory, until one day, a friend was telling me about her mother’s lost high-heeled red stiletto shoe (her telling me was for a story reason), and as she talked about it, I “saw” the shoe underneath a very specific kind of porch.

I asked, “Does she live in a house that’s raised off the ground?”

My friend was a little surprised, and said yes.

I asked, “Is it a little higher off the ground than maybe normal… it has steps in the center of the front porch that lead up to the front door, and no railings?”

My friend was getting a little weirded out, because her mother lived in Nova Scotia, and I’d just completely described her home… Even though we both knew we’d never talked about where her mother lived, and I’d never been to Nova Scotia or to her mother’s.

Then I said, “Well, I have this weird image of that red shoe. If she faces the stairs and goes to the left, behind the third pylon, there’s a depression in the dirt. The shoe is lying there. But it’s been chewed on by a dog.

My friend laughed, because her mother didn’t have a dog, but she said she’d ask her to look anyway.

She called me right back. The shoe was where I described it, exactly. In the condition I described it.

How does that even happen? I have not a single clue.

That freaked me out. Plenty.

Not long after, a different friend, Julie, who lived in Arizona (and I lived in Baton Rouge at the time), was desperately looking for another friend, K, who’d left a suicide note. Many mutual friends had gone out searching, but K couldn’t be found. When Julie called me and told me what was happening, as she talked, I could see K… she was sitting by a large tree, eyes closed, having already died. Her white car (I didn’t know she had a white car) was parked nearby. I could sense water, but not see it, which was odd and I could also see a woman with a backpack leaning over K, not yet realizing that K had died.

I told Julie all of this. She was noticeably disappointed when she sighed and said, “Unfortunately, where we live, it’s a desert. There are no trees like that, and no water.”

And I completely understood–she was hoping for that magical solution, and I honestly couldn’t give it to her. It bothered me terribly to be so wrong, but it was a long shot anyway. I told Julie, “Ignore it then, it’s just an odd image.”

She called back four hours later, devastated. They’d found our K… two hundred miles north of where she lived, sitting on the bank of a dried river bed, leaning against a giant cottonwood tree. Her white car was parked nearby. A woman with a backpack who’d been hiking with friends had found her.

She’d only died about an hour earlier (Julie believed), based on a ticket she’d paid to enter the park. Witnesses would later confirm sightings of her when she’d parked and then gone and sat by the tree.

Aside from the shock and grief for the mutual friend, the entire conversation and ensuing discovery stunned me and if it hadn’t happened to me, I wouldn’t believe it. I wouldn’t blame anyone for not believing it. What was worse, I didn’t know what to do about it. Help people? How?

Not long after, I told a couple of people, and the first thing they did was ask me about something they’d lost. It was a near-instant reaction on their part, and sometimes it was something important, but sometimes it was something that had just eluded them and they were tired of being thwarted. Every time, I ‘got’ an ‘image’ that popped in my head. And I was almost always wrong about my guesses. I think my ratio of correct “images” to questions was so low, it probably needed multiple zeroes after a decimal point.

I didn’t mind being constantly wrong. It was a relief, actually, because the hope that people have when they are asking about something lost is palpable, and dashing those hopes, or seeing their disappointment, was equally brutal.

Which lead me to wondering… What if? What if you could do this for real… But you’re human, you’re not perfect, and you make mistakes? Would you go to the police? Would you volunteer? Where do you draw the line?

What if everyone wants your help? How do you have a life? Do you hide your ability?

What if a child’s life depends on it?

What if your own life does? Or someone you love?

Years after losing K, Avery was born, and I think she’d probably been there all along, from the first time I found something… or maybe even as far back as when my dad told me that story about the hunting dog.

And those what ifs kept piling up, pressing forward, begging to be answered until I could ignore the question no longer.

THE SAINTS OF THE LOST AND FOUND is not for the faint of heart. It’s a dark book, and it may break your heart, but it may also give you hope.

For me, it’s finally given me peace.

www.ToniMcgeeCausey.com

 

It Was Just A Dream

I’d like to welcome back to TKZ my friend and fellow ITW member, Meg Gardiner. If you’ve ever considered using a dream or dream sequence in your manuscript, Meg points out the perils of doing so. Read on and take note. – Joe Moore

———————–

unnamedWhen I teach writing workshops, I always warn students about what not to do. In particular, I strongly urge them not to open their stories in these ways:

  • With the protagonist staring out the window, thinking about his past.
  • With the detective squinting into the sunrise, hung over.
  • With the protagonist waking up.
  • With a dream sequence.

Why? Because these are clichés — they’ve been done ten thousand times. They’re tired. And because, if your story opens in one of these ways, nothing is happening.

In the case of dream sequences, there’s an additional reason. When readers reach the end of the scene and read, “And then she woke up,” they feel cheated.

As readers, we immerse ourselves in a story by suspending disbelief. That is, while we read, we willingly suspend our knowledge that a story is fiction and accept it as true.  (Thank Samuel Taylor Coleridge for the concept.) But readers generally give an author only one shot at this. If a story opens with an amazingly dramatic, action-packed, emotionally resonant scene that turns out to be a dream, readers are likely to feel that the author has pulled a bait and switch.

Oh. The hero didn’t REALLY save his wife from a mob shootout. He just fell asleep on the sofa.

Huh. The heroine didn’t REALLY leap into the ocean from the deck of a burning ship. She just ate too much pizza and had a nightmare.

Readers invest themselves in the story. When it turns out that the drama is all in a character’s sleeping mind, they’re likely to bail.

Inevitably, when I urge students to avoid dream sequences, one or two will tell me that’s how their novel opens. When I ask why, they say they want the story to open with a punch — but that nothing dramatic happens until chapter five, so the dream is the only way to get some action on the page. Or they tell me they want to show the characters’ fears, longings, or memories, and “there’s no other way.”

There’s always another way. And ninety-nine times out of a hundred, it will be better than opening with a character’s unconscious fantasies. If you want readers to come along for the entire ride, you need your characters to be awake and in action in the physical world from the word go.

How do you deal with dreams in your manuscript? Or do you avoid them altogether?

Meg Gardiner is the bestselling author of twelve thrillers. Her novels include the Edgar Award-winning CHINA LAKE and PHANTOM INSTINCT, which was chosen one of O, the Oprah magazine’s “Best Books of Summer.” She lives in Austin, Texas.

Dumb Mistakes That
Will Doom Your Book

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Don’t get whistled out of the game on fouls before you have a chance to show off your best moves. – Miss Snark

By PJ Parrish

So I’m watching Hassan Whiteside play in the Heat game the other night and it got me thinking about writing books. Or maybe it was Marco Rubio in his last debate. I dunno. Not sure who inspired me more. But what I want to talk about today is dumb moves.

Shooting yourself in the foot. Stepping in it. Dropping the ball. Screwing the pooch. Whatever you want to call it, this is not something you want to do in your career. Ask Whiteside. He threw an elbow into the face of his Spurs opponent and got ejected (his third this season). Or ask Rubio. He became Chris Christie’s chew toy after he robo-repeated a talking point three times in thirty seconds. (and paid for it by dropping to fifth in the New Hampshire primary.)

Hey, we’re all human. We all make mistakes. Believe me, I have. Some that adversely affected my writing career. So let’s take a look today at some of the wrong moves that can, as the great agent Miss Snark said, get you knocked out of the game before you’ve even had a chance. Your contributions to our guide to dumbness are welcome!

When writing the book…

extinct

Don’t chase the trend: We can go way back to Jaws for examples here. In the wake of Benchley’s novel, we quickly got such memorable chum as Megalodon (oil rig explosion unleashes giant shark), Carcharodan (prehistoric shark freed when iceberg melts), Extinct (killer shark preys on boys in Mississippi River) and Meg (really big pregnant shark bubbles up from Marianas Trench and eats dumb tourists.) After Anne Rice, Charlaine Harris and Stephanie Meyers dug up Bram Stoker, we got a full decade of un-deads. And après Dan Brown came le deluge of conspiracies (Templars! Cathars! Christian Inquisitors! Oh my!) Here’s my point: By the time you decide you want to follow a trend in publishing, it has begun to wane (and surely will be over in the 18 months it will take you to write it and get it to market). T.S. Eliot might have said, “Mediocre writers borrow, great writers steal.” But if you’re trying to break into the bestseller bank, chances are the money’s already gone. So think twice before you use that unreliable narrator or try to wedge “girl” in your title.  You are a snowflake. You are unique. Let your book reflect that.

Don’t be content with dull titles: Your title is your book’s billboard, meant to be glimpsed and grasped as a reader speeds by in the bookstore or on Amazon. It is ADVERTISING and it must convey in just a few words the essence, heart, and all the wonderful promise of your story. Work hard on this. Yes, slap anything on the file name as you work, but always, as you work through the writing, search for that pithy phrase that capsulizes what you are trying to say. Try Shakespeare (The Fault Is in Our Stars, Infinite Jest) or poetry (No Country For All Men — Yeats).  Go for weird juxtapositions (Zen and the Art of Motorcycle Maintenance) or intrigue (Midnight in the Garden of Good and Evil  or Then There Were None) or humor (Hello, Vodka, It’s Me, Chelsea!). Twist an old phrase (Dr. Suess’s You’re Only Old Once.). So many times, I read manuscripts (or published books) where the title feels like an after-thought, almost as if the writer used up all his juice just getting 300 pages down, breathed out whew! and then went back to page 1 and typed The Templar Conspiracy Book I. Click here for some good tips on titles.  Click here if you want to read the worst titles of maybe all time — and see some butt-ugly covers. Which leads me to…

Don’t use ugly covers: Now, if you’re traditionally published you have little control over this. (although some enlightened publishers are getting better about seeking author input.) But if you are self-pubbing, don’t let your nephew who flunked out of Pittsburgh AI design your cover. Don’t go find free lousy images and try to do this yourself. Nothing screams amateur louder than an ugly cover.  It tells potential readers that you think so poorly of your story that you’re willing to send it out in the world in dirty sweatpants and a Led Zeppelin World Tour 1971 T-shirt. Pay someone to do this. It’s worth every schekel. If you cheap out, don’t be surprised to see your ugly cover end up HERE.

After the Book is Done…

Don’t forget to copy edit it:  This is tedious. This is awful. This is grunt work that comes after even the hell of rewrites. Well, tough. After you finish your filet mignon, you have to floss. You might be really tired of looking at the thing and all you want to do is get it out there in the world, wait for someone to love it, and throw shekels your way.  Resist the urge to do this. Instead, PRINT IT OUT and read it for typos, misspellings, stupid mistakes, grammar lapses, brain farts. After you’re done, go back and do it again — maybe with a ruler held under each line so you go reeeeeal slow. I know authors who copy edit their stuff backwards so the mistakes jump out better.  You won’t get all the bad stuff. But the goal is to make it as clean and professional as you humanly can.  If you don’t know the difference between lay and lie, find someone who does. Agents and editors all say if they see dumb errors in manuscripts, they won’t read on. No one will take your words seriously until you do.

Write a great query letter:  This isn’t easy but it’s really important.  Agents want to fall in love with new talent and every affair begins with a magic moment.  A great query is simple, direct but has a terrific hook. Which is not the same as a plot summary. In Hollywood-speak, it is a “log line” that capsulizes the essence of your plot with a strong emotional pull. (ie from Aliens: “In space, no one can hear you scream.”)  This is hard writing. Even if you self-publish, learning how to write a great tease for your book will serve you well when you go to write that Amazon copy. Click here to see a simple and very serviceable query template.

Have some cajones: There is nothing worse than a falsely humble author. If you are doing a book signing, would you tell someone who walks up to your table, “Oh, I know you’re busy…you don’t really want to know about my book.” So, in your query letter, don’t spend precious words apologizing for “wasting” an agent’s time by sending them your letter. If you don’t have faith in your book, how do you expect anyone else to?  Even if you aren’t a pro yet, act like one.  Be like that wide receiver who doesn’t spike the football in the end zone — act like you belong there. (I got this one from a great blog by agent Jenny Bent.  Click here to read the rest of her advice on submitting.)

 

Follow the rules when submitting your novel:  Reputable agents are good people; they truly want to find the next best thing because they love good books. So be a pro and follow their rules. Research what types of novels they are looking for. Find out their names and how to spell them. (DEAR AGENT is sorta off-putting, you know?) Format your manuscript in the way they want it — ie, double-spaced, courier or roman, etc.) And finally: Don’t forget to number your pages. Don’t use colored paper or add weird stuff like glitter. And for God’s sake, don’t call your book “a fiction novel.”  You laugh? I saw the actual query letter that had that gem.

I don’t think that guy ever made it off the bench.

 

Coming to Your Smartphone: Books That Are Unprintable

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I grew up reading. Comic books, paperbacks, hardcovers (each of the original Hardy Boys series was in hardcover, way back when)…I devoured them all. If you get a great author with a terrific story you really don’t need anything else. I occasionally, however, like something different if it’s nicely done. I’m not sure if anyone remembers the Griffin & Sabine trilogy by Nick Bantock with all of its removable notes and letters and envelopes and the like, but I surely enjoyed that. I also liked a couple of the “choose your ending” books that were published several years ago and still are, even though they are aimed at a somewhat different age group. Then came ebooks, which are great. Nothing, however, seems to beat a traditional book. That isn’t going to stop folks from making modifications, however.

The next big leap appears to already be here, and combines phone applications with original literary works specifically written for the medium, utilizing video, Google Street View, photographs, music and the like. The result is a book which cannot be printed but which can be accessed by an e-reader, smartphone, or laptop.

One of the players in this medium is a company named Editions at Play. The books in question are specifically designed to be read on a tablet or phone, and contain features integral to the story that mitigate against their being printed. They are phone and tablet applications, designed to be used on…well, phones and tablets. Newer phones and tablets, that is. If you have a new smartphone you won’t have a problem, but if you’re still hanging on the that five year old Android you might be limited to your laptop screen in reading these. That aside, you can find samples of two appbooks from Editions at Play — The  Truth About Cats & Dogs by Sam Riviere and Joe Dunthorne, and Entrances & Exits by Reif Larsen — at the link above, and from the looks of things, more are on the way. Editions at Play isn’t the only company investing in this. There are a number of others, including what appears to be an author-collaborative effort from Penguin Random House that will be published (is that still the right word?) later this year.

I of course could not resist. I went to the website link above and looked at the books presently for sale, sampled them, and laid down three bucks and change for each of them. I haven’t gotten to The Truth About Cats & Dogs yet but I did play wi…er, read, Entrances & Exits, which is a bit of a romantic tale, wherein it appears that a man’s wife has run off with their neighbor. The cuckold takes to wandering, going out of his comfort zone a bit further and further with each excursion. The book uses Google Street View quite heavily (the project is heavily tied in with google) and while neither the subject matter nor the writing is especially weighty, the overall experience is entertaining. Call it a couple of steps up from an illustrated novel/short story.

Will the appbook replace the printed book? No. No. And no again. Even the publisher acknowledges that. There is certainly a place for them, however, particularly, I believe, in the tween and young adult market, which has already begun to pick up the concept and run with it. One could incorporate videos, music, alternate endings, open endings, write your own ending, online contests…where would it end? That would be up to the creator(s). And you might be able to do it yourself. My nine year-old granddaughter tells me that hey, it’s really not all that difficult to write programming code.

What do you think of this? As a reader or as an author or both? Does this interest you, or does it look like a gimmick? Not that there’s anything wrong with a gimmick.

 

 

 

 

 

Seducing Your Readers

morguefile-lipsLet’s talk about sex.

Those of you who are uncomfortable with the subject, feel free to bail out now. I’m likely to get pretty raunchy.

Still with me? I thought so.

When we make love like those on websites similar to videoshd.xxx often do, most of us have a particular goal in mind: that moment when your entire body seems to stem from one central point, when every nerve-ending tingles wildly as fireworks assault your brain. That moment, of course, is orgasm, and anyone who has experienced one (or two or three)— especially with a willing and enthusiastic partner (or two or three)— knows that it can be an exquisitely pleasurable sensation. You’ve probably seen it in a video (or two or three) somewhere on the internet, like ww.vrpornmovies.net!

But are all orgasms created equal? Of course not. The quality of our orgasms is directly related to the quality of the fun and games that precede them, you can see plenty of examples of high-quality fun on websites similar to animehentaivideos.xxx to get the orgasms to the promised land, not to mention our emotional bond with our partner, and our willingness (or unwillingness) to surrender ourselves fully to the moment.

So what, you’re probably wondering, does any of this have to do with writing?

YOUR WILLING PARTNER

Writing is an extremely intimate act. In his book, On Writing, Stephen King describes it as a form of telepathy. You put your thoughts on paper, and days, months, or even years later, someone reads your mind.

Think about it. With a simple arrangement of words, you have the potential to pull your audience into your mind where they can be stroked and fondled and toyed with— sometimes gently, sometimes rough. The result is often a partnership so strong and emotionally satisfying that neither of us ever wants to let go.

Who of us here can forget those times when we’ve read a book we didn’t want to end? And when the end did come, we felt drained, elated, and thoroughly satisfied, much like we do after a night of unbridled passion.

Getting to that place wasn’t an accident. The writer of the book—at least in most cases—didn’t merely fumble his way toward climax. If he (or she) did his job, every step was carefully choreographed to lead us around the third act corner toward the final pay-off. And the quality of that pay-off is related to one important thing:

THE GENTLE ART OF LOVEMAKING

We’re often reminded in how-to books that the typical story is broken into three acts: Set-up, Confrontation, and Resolution.

But it sounds pretty cold and uncaring, doesn’t it? Not to mention dull.

But what if we were to beat the lovemaking analogy into the ground and refer to the three acts in this way:

Seduction, Foreplay, and Climax.

That certainly puts a whole new slant on things, doesn’t it? And if we’re to have a successful story with a successful and satisfying ending— one that keeps our partners wanting more— we must pay careful attention to these three words.

Seduction.

The beginning of a story, any story, cannot and should not be referred to as anything other than a seduction. It is our job to make our audience want us.

How do we accomplish that?

First we start with character. We must create characters that our audience won’t mind, figuratively speaking, getting into bed with. Particularly the lead. Is he or she someone we find attractive? Does he have a problem or flaws we can relate to? Are his life circumstances universal yet unique enough to pique our interest?

The next element is mystery. Every story should be a mystery. Remember the girl in college the guys all wanted but knew so little about? A big part of her allure was the hint of mystery she carried. No matter what genre you’re writing in, you should never, never, never put all of your cards on the table at the beginning of the game. Instead you must reveal them one at a time, each new card offering a clue to the mystery of our characters and their stories.

The third and most important element of seduction is giving your characters a goal. And, again, not just your lead . Every single character you write should have a goal of some kind. Put two characters with opposing goals in a room and you have drama. But the goal of your hero must be compelling enough to intrigue us and hold our interest.

Foreplay.

Once we get our reader into bed, however, we certainly can’t let them down. As you would with a lover, you explore and tease and make new discoveries—which can often lead your partner to discover something about his or herself that, until that moment, remained dormant.

The foreplay in the second act is a continuation of the seduction but on a deeper, more intimate level. This is when we really begin to understand and root for the characters, and when their stake in the outcome becomes more and more important. Surprises are sprung, secrets are revealed , and our emotions and feelings build with each new scene, gradually working us toward the moment we’re all waiting for:

The Climax.

And this is why we’re here today, class, to talk about that most crucial of Act Three moments: the time when all of the work you’ve done for the last three hundred or so pages comes together like the pieces of a puzzle, where plot and subplot intertwine to create the only ending that makes sense within the context of the story you’ve told—a thrilling and, hopefully, explosive orgasm of emotion. The final kiss; the final death; the final revelation that sends your audience soaring.

But you can’t get there without laying the proper groundwork. Author Mickey Spillane once said that the first page of a novel sells that novel and the last page sells the next one. This is certainly true, but what he doesn’t say is that what comes between is what sells that last page.

Without masterful seduction and foreplay it is virtually impossible to reach a satisfying climax. Act Three is a culmination of all that came before it, and if the preceding two acts are anything short of spectacular, you’ll be lucky if your readers even stick around for number three. It’s all up to you.

Every time you sit down to write, you must remember that the reader is your partner, your lover, and in order to make him or her happy you must seduce, thrill, and most importantly, satisfy.*

*This blog post is an excerpt from my book, CASTING THE BONES: An Author’s Guide to the Craft of Fiction.

A Different Word for Everything

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I am reading THE LAST WITNESS, a new crime/police procedural novel by Denzil Meyrick. It’s been a bit of tough sledding for me. The story itself is terrific; it concerns a crime lord who has seemingly returned from the dead after being murdered several years ago and who is making up for lost time by getting revenge upon old enemies and traitors in very innovative and brutal ways. It’s an element of the dialogue that is doing me in, even though it is clever, inventive and in many instances hilarious.

The problem I am having is related, in a way, to Meyrick’s characters. They are all Scots, and talk like them. This is not exactly a coincidence, since Meyrick is himself a Scot. It’s tough to decipher. I wouldn’t change a thing, by the way. A couple of times, after figuring out what the wee lads in the book are saying, I’ve tried saying the sentence or three in American English and it just isn’t as good. When Myrick wrote The Last Witness I am reasonably certain that he wrote it for the British and not the American audience. And there we are. I’m still having fun with the book; it’s just taking a bit longer.

This brings up a question, however. How do you handle accents and dialects in the dialogue of your work in progress? Do you write it as if every character speaks “General American,” which is generally what American broadcasters use? Or, if your book is set in the south (to name but one example), do you write it using a southern accent, of which there are six different dialects and several sub-dialects? My own rule of thumb — generally — has been to write the dialogue using General American, but to describe a particular accent or dialect that informs the character’s accent after the character’s first sentence or two. For example: When she spoke, her accent conjured up images of magnolia trees, of the soft sound of paddles propelling a skiff across murky swamp water. And I did say generally, didn’t I? Sometimes, as in The Last Witness, pairing up a dialect to the dialogue makes things interesting, as I did in a story of mine titled “Disappearing. Soon”:

 

“We couldn’t figure out why  the pilot of the airboat had a baseball bat at the ready, until he swung it suddenly at a tree branch, hitting a low-hanging cottonmouth which went flying across the narrow channel. “Yee-ah!,” the pilot yelled. “I ain’ gonna get bit taday, me!”

 

So how do you handle this issue in your own writing, if it comes up at all? And how do you feel about it when you encounter dialect in your reading? Does it add to the story for you? Or would you rather the narrative just be straightforward?