Do you dream? Vividly? Regularly? What do tend to dream about? Do your dreams inform your writing?
Kiss, Kill, Marry
Let’s have a little fun today. For a blog tour, I was recently asked to submit a, “Kiss, Kill, Marry” (the YA version of that other game). I decided to stick to literary characters: I’d kiss Heathcliff from Wuthering Heights (a little trite, but tried and true). I’d kill Voldemort (oddly, this was the toughest choice for me-so many villains to choose from!) And I’d marry Jamie from the Outlander series; because who doesn’t love a guy who waits decades for you to return from the future (and who wears a kilt, no less)?
I’d love to hear all of your choices. Feel free to draw upon any and all literary characters for your lucky winners/victims, and have fun with it!
The Evil Eye
by Nancy J. Cohen
In Jewish tradition, whenever you are thinking about how well things are going, you must give yourself a “Kinehora” (pronounced kin-ah-hoh-rah). If you don’t, you tempt fate to provide the opposite.
In my Yiddish dictionary, it’s spelled out as “Kain ein horeh” and means No Evil Eye, or may no evil befall you. In a recent example, I was thinking about how it had been years since I’ve had a cold. Then—boom, I catch my husband’s viral illness and get a terrible sore throat and sinus infection. I forgot to give myself a Kinehora.
My mother and aunt used to say it this way, which our kids think is hilarious: “Kinehora, kinehora, kinehora, poo poo poo.” Don’t ask me where this particular tradition originated or how much of it is valid. I just know, if you think things are going well and forget to say “Kinehora” or “knock wood” or whatever other phrase you choose, surely you’ll be hit with bad fortune.
Is this superstition? Of course it is. But it also respects the yin-yang of the universe. Keep in mind that you can say kinehora for another person. Let’s say your friend brags about his rise to bestsellerdom. You say “kinehora” in response so he isn’t cursed with evil.
Then I looked up the Evil Eye online. Belief in this phenomenon crosses many cultures. The evil eye is a malicious glance given to a person to whom one wishes harm. Often the person initiating the curse does so unintentionally and out of envy. Charms, amulets, and talismans can protect against this curse, like the blue glass decorated eye you see in gift shops. Supposedly this symbol reflect the evil back to the conjurer.
Giving yourself a kinehora is akin to knocking on wood. Whenever you boast about something or make a favorable observation, you can avoid tempting fate by performing this action or mentioning it. Or if you encounter something that might cause bad luck, like crossing paths with a black cat, you can counteract it by touching wood. Where did this practice originate? Early believers felt spirits dwelled in trees. By knocking on wood, you could alert them to help you. A Jewish version dates back to the Inquisition, when Jews gave a coded knock on wooden temple doors in order to enter safely. Again, this practice crosses many cultures just like the Evil Eye.
How does this apply to your writing career? You may think you’re on top of the world, doing great with your book sales, respected by your comrades, putting out multiple books to critical acclaim. And then boom—your editor leaves. Your line is cancelled. You’re asked to take a cut in your advance. Suddenly, you’re struggling to maintain momentum. The lesson here? Be kind to others, never think you’re above anyone, keep up with changes in the publishing world, and be open to new means of delivery for your work. And remember to say Kinehora or knock on wood whenever you think things are going well.
For more information, see these resources:
http://en.wikipedia.org/wiki/Evil_eye
http://en.wikipedia.org/wiki/Knocking_on_wood
http://ask.yahoo.com/20040504.html
http://wordsmith.org/board/ubbthreads.php?ubb=showflat&Number=123624
Now here’s another way for writers to apply this lesson to your characters. Are they superstitious? What phrase do they say under these circumstances? How about you?
Reroofing for Writers
My house was invaded by an army of roofers early Monday morning. Here’s how much of a ruckus roofers make: I didn’t even notice yesterday’s 4.7 earthquake and its 100 aftershocks. The quake was lost in the din of men with tools who were prying off the top of our home like an F3 tornado. Our neighbour recently had an extension built and had one of those roofs fitted that you can get from Leka Roofs, when they fitted the neighbours roof there was hardly any noise at all, well from where we were that is, but I can’t imagine the few meters distance between our homes would make that much of a difference but clearly it does.
There’s a hidden opportunity in this interlude of mayhem, which will continue through much of the week. I’m having lots of time to ponder the folly of certain things. For example, I’m pondering the folly of ignoring an ailing roof for ten years. Sooner or later, a roof will let you know it’s terminally ill. Usually it will deliver the news in the middle of a major thunderstorm. Often, homes in areas of Texas that sit in Tornado Alley may experience storm damage requiring the services of the likes of roofing austin professionals to rectify.
I’m thinking it might be beneficial to apply the lessons of preventive maintenance to the writing biz. Do we have any creative shingles that are coming loose? Is there a minor but annoying leak that could develop into a gully washer, if left unattended?
So between hammer blows this week, I’m doing an inventory of my own needed repairs, in terms of writing. So far I have identified the following areas in need of remedy:
Low productivity
Low productivity has been an issue for me for the last several years. If I don’t have a deadline, I don’t produce. For example, I’m writing this blog post at 3 a.m. Pacific Time. Enough said.
Laziness
See low productivity.
Web avoidance
For some reason I don’t like to update my author’s web site. It’s looking mighty stale these days. Time for it to get a facelift, I think.
Creative confusion
To be honest, I’m not quite sure where I’m going with my writing these days. I’m working on a new installment of my series: PLUS-SIZE HOMICIDE. But I keep straying off track to write in other genres. So far I haven’t liked the results, so those efforts have stayed in the drawer. I feel like I should commit one way or another.
Well, there are all my writing roof’s flaws, laid bare. What about you? Do you have any shingles in need of replacement? Hammer away in the comments!
The Funny Thing About Thrillers
By Boyd Morrison
My friend Brad Parks has graciously agreed to stop by today to discuss a topic that has been kept quiet for too long, a topic we all acknowledge exists but don’t have the guts to address. Brad, however, has taken the brave step forward and is putting his reputation on the line to take on a subject many may consider taboo. Brad, take it away.
——————
By Brad Parks
May mother wash my mouth out with soap, but I’d like to talk about the F-word. Or, at least, what some in the crime fiction community consider the F-word:
Funny.
This, believe it or not, is a (rare) serious missive from a guy who appeared on the cover of Crimespree dressed in a Tom-Wolfe-meets-pimp white suit. And the question I’d like everyone to ponder – and not in the grubbing-for-comments way that some guest bloggers do, but in a genuine I’m-really-curious-for-your-thoughts way – is this:
Is it a blessing to write funny mysteries or a curse?
In this space a few weeks back, P.J. Parrish had a post about how hard it is to write funny. My question is more: do you even want to?
I ask this because Boyd, my host today, and the other Kill Zone authors are, on average, much smarter than me and I know they’ll have interesting things to say; because I was just nominated for a Lefty Award, given at Left Coast Crime to “the best humorous mystery,” and therefore need to steal the your comments so I can sound clever on panels about this subject later this month; and because I have a new book to hawk (it’s titled THE GOOD COP and Booklist called it “a tautly written page-turner with charm and humor,” so please buy it or Michelle Gagnon will kick a puppy).
Anyhow, back on topic, I’m now on my fourth book, and I’ve learned that while some people really seem to enjoy a helping of humor in their mysteries, others think the phrase “funny mystery” is the world’s biggest paradox – on the order of “jumbo shrimp” or “compassionate conservative.”
It’s a curious thing, because in person – or even online – thriller writers tend to be a joyful, often hysterical lot. I often come home from a conference feeling all I’ve done is laugh. And yet while in most aspects of life, this kind of funny is good – human beings are wired to enjoy laughter, after all – the conventional wisdom in the publishing world says funny can taste a little strange when it’s served next to murder.
“Humor and suspense are contradictory emotions,” said one well-known book critic when I asked him the blessing-or-curse question. “If you’re feeling one, you’re not feeling the other.”
You’re not supposed to laugh at crime, the thinking goes. Violence and its impact on survivors, which is the substance of most mysteries, are not humorous subjects. When you look at the thrillers that fill the high reaches of the bestseller list, almost none – other than Janet Evanovich – are laughers.
What’s more, even writers who started off with humor in their work eventually ditch the yucks in favor of more somber stuff. Harlan Coben is a great example of this. His early Myron Bolitar books are often madcap romps. But he didn’t “make it” commercially until he started writing what are essentially humorless standalones. Even now, when he writes a Myron Bolitar, it’s mostly without the comedy that mark his earlier books.
So does that mean it’s bad to write funny? Some folks seem to think so. I actually got an e-mail from a friend saying she hoped I didn’t win the Lefty, because then no one would take me seriously.
(“No one takes me seriously anyway,” I wanted to say. Oh, and, incidentally, I also told her she was out of her flippin’ mind. When it comes to awards, I have tried both winning and not winning, and I have found the former to be infinitely more satisfying).
And yet, for all the critical disdain funny stuff sometimes gets, readers love it. So, up to this point, my own take on the blessing-or-curse question has been that conventional publishing wisdom has it wrong, that it grossly underestimates the intelligence of its readership. I get out quite a bit and the readers I’ve met are, on average, far smarter than the average bear. They are perfectly capable of switching between lighter and heavier moments in a book.
And so, perhaps as a result, my fourth book in the Carter Ross series has its serious stuff. It starts with the death of a police officer and deals with the issue of illegal gun trafficking. But it also has two elderly Jewish con artists, slinging Yiddish insults at Carter; an intern who is made to perform pregnancy tests on toilet water; and a student who is majoring in “death studies” and helps Carter break into the county morgue while drunk on absinthe.
It’s all in good fun, of course. And I’d like to think it doesn’t get in the way of the plot or the pacing.
But it is a mistake anyway? Discuss…
Field Report From the E-Book Revolution #3: The New Equilibrium
James Scott Bell
@jamesscottbell
I was all ready to lay down my binoculars high in my observation tower and note that a certain peace had settled upon the land of publishing. Battles fought a couple of years ago, full of fury and bile, seem largely to have quieted down to the level of a spirited discussion. Both sides, traditional and indie, had reached a tentative, though perhaps still wary, acceptance of each other’s existence. And then came the Hydra’s head (see #1, below). [UPDATE: Random House responded to the pressure and has modified its contract terms]
I have a lot to report today, so you might want to bring a snack. We begin with:
1. Digital Only Contracts From Traditional Publishers
As part of their adaptive strategy, some big publishers are offering digital-only contracts. Thomas Nelson, Little Brown UK and Random House are three examples. I know a couple of authors who have entered into such contracts. Both were no advance and a 50/50 royalty split. The publishers offered an editor, publicist and all the prep work (cover design, formatting, etc.) However, these costs (which are at the sole discretion of the publisher) are borne by the author, deducted from the author’s cut of the revenue right off the top.
NOTE: These types of deals are not the same as “vanity publishing.” That’s a whole other can of sour worms. See, e.g., April Hamilton’s take on Simon & Schuster’s foray. But because the author is expected to pick up costs a traditional publisher used to cover, there’s a certain blurring of lines that is occurring in the new world order.
The natural question is, what is the advantage for the author? The answer has to be a combination of these three: a) the “prestige” of being published by a traditional house; b) the chance to be taken up to the “big leagues” for print and further push with serious dollars; c) some marketing advantage.
That last is the real kicker. Random House’s press release states, “For the first time in history, authors will be able to forge wide-reaching and long-lasting relationships with their audiences, and we at Random House can’t wait to explore and create new opportunities in the digital space. The possibilities are endless, and we’re excited to offer authors the best opportunities to take advantage of this growing marketplace.”
This is the rub that has yet to be proved: can the big publishers offer authors the “best opportunities” in the digital world? Is there some form of marketing they have that authors cannot replicate or surpass on their own? If there is, is it worth giving up a book for the “life of the copyright” (a term in one of the contracts) and half the net income?
The Science Fiction & Fantasy Writers of America issued the following note to its members regarding one of Random House’s imprints, Hydra, which is for SF:
SFWA has determined that works published by Random House’s electronic imprint Hydra cannot be use as credentials for SFWA membership, and that Hydra is not an approved market. Hydra fails to pay authors an advance against royalties, as SFWA requires, and has contract terms that are onerous and unconscionable.
Hydra contracts also require authors to pay – through deductions from royalties due the authors – for the normal costs of doing business that should be borne by the publisher.
Hydra contracts are also for the life-of-copyright and include both primary and subsidiary rights. Such provisions are unacceptable.
To this, Random House responded, in part:
As with every business partnership, there are specific costs associated with bringing a book successfully to market, and we state them very straightforwardly and transparently in our author agreements. These costs could be much higher–and certainly be more stressful and labor-intensive to undertake–for an author with a self-publishing model. Profits are generated once those costs are subtracted from the sales revenue. Hydra and the author split those profits equally from the very first sale. . . .
[M]y colleagues and I would welcome the opportunity to meet with you at your earliest convenience to discuss the advantages of the Hydra business model, describe the program overall, and respond to any of your expressed concerns. Please let me know a good time for us to set up this meeting.
Unfortunately, there is very little to discuss. SFWA has determined to its own satisfaction that Hydra does not meet our minimum standards for a qualifying market, as its contract does not offer an advance. Additionally, your attempt to shift to the author costs customarily borne by the publisher is, simply, outrageous and egregious. The first of these things alone would disqualify Hydra as a qualifying market. It is the second of these things, however, that causes us to believe that Hydra intends to act in a predatory manner towards authors, and in particular toward newer authors who may not have the experience to recognize the extent to which your contract is beyond the pale of standard publishing practices.
You extol your business model as “different”; the more accurate description, we believe, is “exploitative.” We are particularly disappointed to see it arising out of Random House, a well-regarded, long-standing publishing firm. Bluntly put, Random House should know better.
2. The Continuing Decline of Physical Shelf Space
Barnes & Noble had a terrible quarter (ending January, 2013). Revenues fell 8.8%, to $2.2 billion, and net loss was $6.1 million. Much of the loss was Nook traceable: $59 million in additional inventory charges because of unsold goods, $21 million in returns from partner retailers, $15 million in promotional allowances “to optimize future sales opportunities” and higher advertising charges.
Barnes & Noble had a terrible quarter (ending January, 2013). Revenues fell 8.8%, to $2.2 billion, and net loss was $6.1 million. Much of the loss was Nook traceable: $59 million in additional inventory charges because of unsold goods, $21 million in returns from partner retailers, $15 million in promotional allowances “to optimize future sales opportunities” and higher advertising charges.
James McQuivey offers a cool assessment of all this, including:
On the bookstore side, the big digital obstacle is the decline of the printed book, an inevitability that has to be faced no matter how warmly one feels toward the printed word. We’ve learned from CDs and DVDs that once a physical medium begins to slide, it slides rapidly. Even if readers initially lose only a tenth of their interest in buying physical books, they will end up coming to the store 20% less often, which will lead the bookseller to shrink inventory accordingly, causing even less commitment to physical books, and so on. Play that out several iterations and you end up with a business half the size of the prior business in short order. As happened to Borders, such a rapid decline usually leads to surrender. In that world, the retail unit would have to encourage foot traffic to the store with some other physical product that isn’t so easily substituted digitally. I wouldn’t be surprised if Barnes & Noble sells frozen yogurt in the future — whatever it takes to grab customers and keep them coming back often.
3. The Disappearance of the Midlist Author
This report, about author Mary Doria Russell, evidences the obsolescence of the midlist author. The trads need blockbusters and A-listers, and even if your books earn out, and receive prestigious awards, that may not be enough to continue the relationship.
Just as her new novel, Doc, was being released in 2011, [Russell] got word that her publisher [Random House] was not interested in any more books from her. She had been with Random House since 1996 and published five novels with the New York house. During that time, she had won an Arthur C. Clarke Award and an American Library Association Readers Choice Award. Entertainment Weekly had chosen The Sparrow as one of the 10 best books of year.
But that didn’t matter. Random House was done with her.
“There was no indication that was going to happen,” she said at the Howard County Library Gala on Feb. 23. “It was like having your husband throw you a 25th wedding anniversary party, and then serve you with divorce papers at dessert.”
So where does that leave the midlist author? See #4 and #5, below.
4. The Rise of the Entrepreneurial Author
Outside the walls of the Forbidden City you’ll find the encampment of a new breed of entrepreneurial author. Not just writers who are putting books up for digital sale, but those who are teaching themselves to think like a business and, as a result, are making a profit every month.
These authors know that any successful enterprise requires vision, planning and quality controls. And those who put those practices in place have a much greater chance to rise above the gurgling milk of indie sameness to become some of the sought-after cream.
Having run a successful law book publishing business, and a thriving self-publishing stream, I have put together a one-day seminar to teach these principles to authors. It’s on April 27, in Los Angeles.
5. The Emergence of the Business-Savvy Hybrid
And over here we find the author who is, or may soon be, trucking in both worlds, indie and traditional. And why not? It makes perfect business sense for a traditional publisher and an author who can deliver the goods to reach a mutually beneficial arrangement. There’s even a new literary agency, Foreword, “blending the knowledge and skills of traditional publishing with the brash new opportunities engendered by digital publishing.”
What “mutually beneficial” means will vary according to circumstances, but there are three major areas for negotiation:
a. The digital royalty split. Should be up for discussion. Holding the line at an arbitrary 25% to the author is not reasonable.
b. A meaningful and limited non-compete clause. No author should sign a traditional contract with an overbroad non-compete clause. On the other hand, no author should refuse a clause that restrains him from publishing a similar book that could directly compete with what the publisher is doing (e.g., similar form and genre). But the author should be free to publish other works (to be defined specifically) such as novellas and stories and perhaps even books of another genre. Further, the author owes the publisher his “best efforts,” and that means when you owe the publisher a book, you must give your full attention to that book over and above what you self-publish.
c. A definite term with benchmarks. Giving up rights for the “life of copyright” is a fool’s gambit for the author. Publishers need to see that there is room for creativity here. For example, the contract could be for three years with an option for more. That’s what startup Premier Digital Publishingoffers its authors, among whom are Alan Jacobson, Piers Anthony and the Stephen Ambrose estate.
Also, a contract ought to require a substantive minimum royalty to the author every six months or a reversion of rights is triggered. This is especially true with a risk-free (to the publisher) no-advance contract.
This is business. The author who is informed can come to the table with more than just his hat in hand. Be informed. Know the key terms of a contract. Search around at blogs like The Passive Voice and Kristine Kathryn Rusch’s archive of “Business Rusch” posts, and always check out the twice-weekly Ether columns by Porter Anderson.
In a story about Hugh Howey, the Wall Street Journal states: “Publishing houses that once ignored independent authors are now furiously courting them. In the past year, more than 60 independent authors have landed contracts with traditional publishers. Several won seven-figure advances. A handful have negotiated deals that allow them to continue selling e-books on their own, including romance writers Bella Andre and Colleen Hoover, who have each sold more than a million copies of their books.”
6. 99¢ to Become the New “Free”?
A lot of blogdom in the last couple of weeks had been taken up with the decision by Amazon to limit payouts to its affiliate sites who generate traffic by hyping free books (mostly by authors participating in the KDP Select program). Without going into all the details and consequences (which have yet to play out), many are saying the value of the free book for self-publishing authors (viz., discoverability) has been severely reduced.
I don’t know whether this is a good thing or a bad thing. I think the value of FREE has downgraded naturally over time because all pricing decisions have effects on consumer behavior. My feeling (and it is a feeling, I don’t have data) is that a certain wariness about free books has set in, some readers feeling “burned” by less than quality content.
So where does that leave authors? Well, why not make 99¢ your new “free”? I ran a special for book #1 in my historical series, “The Trials of Kit Shannon.” The first book is CITY OF ANGELS, priced at $3.99. Last week I priced it at 99¢ and got the word out. On March 3 its Amazon rank (at the regular price) was #64,857. The next day, at the special price, it shot up to #283 in the paid Kindle store and #1 in religious/historical. I popped in to check later and it was #112 over all. In addition, sales of all the books in the series received a nice bump.
A good time was had by all.
7. A Challenge to Amazon?
A consortium of German booksellers, plus the world’s largest publisher and one of the world’s largest telecomm companies, have banded together to mount a Euro-challenge to Amazon’s digital territory. As outlined in Digital Book World:
The bookstore chains Thalia, Weltbild and Hugendubel have partnered with Bertelsmann (Random House parent) and Deutsche Telekom, parent to T-Mobile and other huge firms, have partnered to form Tolino, a company that will produce the Tolino Shine e-reader and sell ebooks. It goes on sale on March 7 in Germany for €99 ($129).
Tolino’s stats are formidable. It starts life for sale in 1,500 retail locations around the country and will have 300,000 titles available for purchase at launch (Amazon’s German Kindle store has over 1.8 million titles, however). One of its backers is heavyweight enough to compete with Amazon – Deutsche Telekom had €58.2 billion in revenues last year compared to $61.1 billion for Amazon.
Such challenges in industry are faced with a couple of huge obstacles, not the least of which is being “late to the game.” Plus, Amazon is not the leader without reason. It’s done most everything right, from customer service to innovation. So only an opponent of Bertelsmann’s size, seeking to nab a chunk of territory (and expand later), can possibly make the attempt. But will it be enough? Note: Read Sun-Tzu’s The Art of War if you want to follow the battle plans. Or play a good game of Risk.
8. The Rediscovery of Stoic Joy
I recently enjoyed this book: A Guide to the Good Life: The Ancient Art of Stoic Joy by William P. Irvine. The Stoics were the first cognitive therapists. They said, Look, most of your troubles are in your mind. If you learn to think right, you’ll feel right. Their wisdom is basic and easily understood, but it’s also an art you have to practice. We are prone to worry and fretting over things we can’t control. When it’s not a “chemical” problem, thinking straight is most often the answer.
And so, dear writer, in this new age of publishing anxiety, I commend to you one Epictetus, Stoic philosopher born in the mid-first century, who said, “There is only one way to happiness and that is to cease worrying about things which are beyond the power of our will.”
You can’t change the tides of technology, consumer behavior, or industry by the power of your will. You can’t will your book to the top of a bestseller list. Nor should you bear ill will toward, or waste time envying, other authors.
What iswithin your power are the words you write and the discipline you bring to the craft. Put your mind to that, and forget the rest. After you’ve written your quota for the day, put on Doris Day’s rendition of “Que Sera Sera,” open up a nice Pinot Noir and laugh with someone you love.
And tomorrow? Write some more.
A Surefire Hook
By Mark Alpert
This is an exercise I invented the other day when I should’ve been working on my novel. I tried to come up with a list of surefire hooks, subjects that have an irresistible appeal to a vast number of readers. A novel that incorporates one or more of these hooks, I thought, is sure to attract some interest, even if it’s a terrible book. I used gut instinct alone to compose the list. Some subjects just seem to be universally popular.
The first hook on my list is Albert Einstein. I thought of this one because my first novel, Final Theory, was about Einstein, and I think that’s one of the reasons why the book sold fairly well. Who doesn’t like Einstein? Well, the Nazis didn’t like him, and neither did J. Edgar Hoover, but other than that, the guy has pretty widespread appeal.
The second hook is Marilyn Monroe. I’m surprised more books haven’t been written about her. Yes, her appeal was mainly visual, but her story was also pretty interesting. And she was a good actress too, at least in some of her movies. I thought about adding Elizabeth Taylor to the list — she was an even better actress — but I’m not sure her appeal is as deep and wide. Would just about anyone want to read about her?
Two U.S. presidents made my list: JFK and Lincoln. Everyone loves those two. Look at the popularity of the recent Stephen King book (11/22/63) and the Steven Spielberg movie. President Washington seems harder to warm up to. The audiences for FDR and Teddy are a little narrower too, I think.
Even in this secular age, the Bible is still a damn good hook. If you can work Jesus into your fiction, God bless you.
War can also be a good hook, but it really depends on which conflict you choose. The Civil War has the most appeal, I think, followed by World War II. I love books about the Vietnam War, especially Tim O’Brien’s novels and short stories, but I think they have more of a niche readership.
Babe Ruth also made my list. My favorite part of Dennis Lehane’s novel, The Given Day, was his fictionalized Bambino. And at the last minute I added Elvis to the list. I know at least three novels with the title Heartbreak Hotel.
It was a fun exercise, but then I ran out of steam. (And I had to get back to writing my novel.) Please feel free to add to the list or tear it up, as you see fit.
Reader Friday: Your Favorite Line
What’s your favorite line from a book or movie? I know there are a lot to choose from, but whenever I’m asked that I always go immediately to the great Bette Davis in All About Eve, turning to the partygoers and saying, “Fasten your seatbelts. It’s going to be a bumpy night.” (You really have to watch the clip and listen to the voice for the full effect).
What’s your favorite line?
8 Key Ways to Edit Suspense & Pace into Your Finished Manuscript
If you’ve made it through your first draft of a novel and want to edit for suspense and pace to give your book a page-turner feel, below are questions to ask yourself.
1.) Did you begin your story at the right point? Opening in the middle of action is an attention getter, but don’t spoil it with excessive back story. You can also add an element of mystery or intrigue to your opener that will draw readers in if action doesn’t exactly fit your story, but remember that less is more. You’ll always have the opportunity to weave in back story if it’s necessary as the story progresses. It might be helpful to ask yourself if the start of your book is the last possible moment before your main character’s life is changed. Change is an excellent starting point. I sometimes start the story where I think it should, then consider adding either an inciting incident by way of Prologue or a standalone jumpstart to the story that precedes where I began.
2.) Have you picked the right setting for your story? I love an evocative atmosphere or setting that adds intrigue to stories. A plot set in West Texas would have a different tone than one set in New York City, for example. Pick which might make your novel work best and do your research. If your book feels flat after it’s written, it may not be an easy fix to move the story setting, but it can make a big difference and really enhance your book.
3.) Are your subplots helping or hurting you? Subplots can be used like good harmony when it comes to ramping up the stakes. A cold case murder mystery can add a smoldering element of suspense that builds and can add unexpected twists at the end. And while the main plot is slowing down to give the reader a breather, a subplot can be just the right element to infuse a page turning feel. Subplots can also feed off the energy building in the main plot to give a rush to the reader. So be the maestro of your own orchestra of tension.
4.) Do you have flashbacks that work or drag down the pace? Flashbacks can be tricky. We’ve all read books where flashbacks drive the novel and do it effectively, but make sure yours have a purpose and build on the tension of the main plot going forward. Flashbacks aren’t just another way to sneak in back story. Give the reader insight into the main plot with an effective and brief look into the motivation of the characters, if the flashbacks are necessary.
5.) What is your black moment, when does it occur, and does it create a major reversal or dark moment for your characters to deal with? Whether you’re writing action blockbuster movie-type books or family dramas, black moments (where all seems lost) are vital for an emotional story. If you write the black moment too soon, you have a long way to go toward the end that can slow the pace. I tend to write mine midway or 3/4 through, depending on the plot. It’s also important to make sure the dark moment itself is a twist or your protagonist learns something major that he/she figures out to turn the tide in their favor. The darker the moment, the bigger the triumph.
6.) Do you use foreshadowing to your advantage or is it a detriment that deflates your tension? The right balance of foreshadowing can add a sense of pace to your story. It can propel your storyline from scene to scene, but too much can burst the bubble of any mystery and telegraph your punches. Sometimes I look at my scene endings and see if I can stop them sooner at a more critical suspense moment. Or I split up an action scene at the bottom of a chapter and carry it over to the top of the next chapter. This simple idea of splitting scenes or cutting them off at a more appropriate spot can add a sense of pace, without any major rewrites.
7.) Have you been patient enough to hold back your twists and vital information that can kick start an exciting ending? It is really hard to be patient when it comes toward the end of your book. But holding off for the big reveal for as long as possible, can save an ending. Savor the clues too and reveal them at the last possible moment. Readers will appreciate it.
8.) Are your stakes high enough? Don’t be afraid to punish your characters for failure. That’s your job as an author, to raise the stakes and abuse your characters because they can take it. They have a starring role in your book for a reason. Let them show their stuff.
Please share your tricks of the trade on adding suspense and tension to your first draft. What would you add to this list? What’s worked for you?
Who is your reader?
By Joe Moore
Every writer has to ask this question. The more you can define your reader, the stronger your voice will be in speaking to him or her. Is your reader your neighbor or your co-worker? Is she the checkout lady at the super market or the bank teller at the drive-thru? What about a fellow writer friend? Is he your reader? It’s only natural to look at all these people and everyone else in your life as your reader. But you may be wrong to do so.
I believe that the chances of any of these people being your reader or target audience are slim to none. Yes, each one of them may share some of your interests, hobbies, tastes, lifestyle and background. But there are no perfect matches to you. Well, at least with the exception of one. And that is the answer to the question. Your reader is you. You are the reader to whom you should be writing. For in doing so, your natural voice will emerge.
Your voice is the storyteller that speaks within the imagination of your reader—the projectionist creating the mental movie. It is the direct link you use to communicate the story from the page into the mind of your reader.
If you consider yourself the primary reader of your story, you will naturally avoid over-writing, clutter, over-explaining, unnecessary backstory, clumsy dialog and excessive tags. Telling yourself the story doesn’t involve bloated exposition. Telling yourself the story will make for crisper, cleaner, easier-to-understand prose.
It’s such a simple technique, most writers overlook it. When you write for yourself, you don’t have to have much explained to you. Remember that your reader (you) knows what you know at any given point in the story. So rather than talking at the reader, you’re talking to him as you would yourself. It becomes personal, close, intimate, clean, sharp-edged.
You can’t be everything to everyone—there’s too much difference between you and the teller at the bank or the checkout lady. But if you consider yourself as your primary audience, your true voice will come through loud and clear, and all those other people will then become your readers.
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Suspense Magazine called THE BLADE "One incredible suspense thriller." See for yourself at http://tinyurl.com/bdkjqr7