Type Hard, Type Fast

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First, I want to thank everyone for the launch of my new book last week. I spent most of Sunday chatting up the book in social media. A “virtual book tour” so to speak. Then I sort of watched to see what would happen. It’s only been one week and one book, but the results have exceeded my expectations. 
And I have more of this material in my pipeline. A lot more. Because as I mentioned last week, I love the old pulp days when writers really wrote, fast, because they had to.
Fast does not mean hack work (it can, of course, but not necessarily). I’m not discussing the editing process, either. Concentrated effort is what I’m talking about. I contend that many young writers would actually improve their craft –– and chances of getting published –– if they would write faster, especially at the beginning of their learning curve.
First, a few facts. Some of the best novels of the past century were produced at a rapid clip by authors who found writing time each day, and went at their task with singular resolution:
— William Faulkner wrote As I Lay Dying in six weeks, writing from midnight to 4 a.m., then sending it off to the publisher without changing a word.
— Ernest Hemingway wrote what some consider his best novel, The Sun Also Rises, also in six weeks, part of it in Madrid, and the last of it in Paris, in 1925.
— John D. MacDonald is now hailed as one of the best writers of the 50s and 60s. Within one stunning stretch (1953-1954) he brought out seven novels, at least two of them – The Neon Jungle and Cancel All Our Vows – brilliant (the others were merely splendid). Over the course of the decade he wrote many more excellent and bestselling novels, including the classic The End of the Night, which some mention in the same breath as Truman Capote’s In Cold Blood. Also Cry Hard, Cry Fast, which is the basis for the title of this blog entry.
So prolific was MacDonald that he was needled by a fellow writer who, over martinis, sniffed that John should slow down, ignore “paperback drivel” and get to “a real novel.” John sniffed back that in 30 days he could write a novel that would be published in hardback, serialized in the magazines, selected by a book club and turned into a movie. The other writer laughed and bet him $50 that he couldn’t.
John went home and, in a month, wrote The Executioners. It was published in hardback by Simon & Schuster, serialized in a magazine, selected by a book club, and turned into the movie Cape Fear. Twice.
–Ray Bradbury famously wrote his classic Fahrenheit 451 in nine days, on a rented typewriter. “I had a newborn child at home,” he recalls, “and the house was loud with her cries of exaltation at being alive. I had no money for an office, and while wandering around UCLA I heard typing from the basement of Powell Library. I went to investigate and found a room with 12 typewriters that could be rented for 10 cents a half hour. So, exhilarated, I got a bag of dimes and settled into the room, and in nine days I spent $9.80 and wrote my story; in other words, it was a dime novel.”
I’ve counseled many writers at conferences who have come with a single manuscript yet haven’t got another project going. I tell them, “That’s wonderful. You’ve written a novel. That’s a great accomplishment. Now, get to work on the next one. And as you’re writing that next one, be developing an idea for the project after that.”
You see, publishers and agents are not looking for a book. They are looking for solid, dependable writers. They invest in careers. They want to know you can do this over and over again.
The best advice I ever got as a young writer was to write a quota of words on a regular basis. I break my commitment into week-long segments (anticipating those days when I ride a bike into a tree or some such). I believe this discipline has made all the difference in my career. The testimony of so many other professional writers attests to its value.
One such testimonial comes from Isaac Asimov, author/editor of 500+ books. He was once asked what he would do if were told he had only six months to live.
“Type faster,” he said.

Without Borders

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Just in case you tuned in earlier and saw this post appear and disappear on Friday, we had a PICNIC (Problem In Chair Not In Computer) incident where this offering was posted prematurely. Sorry about the confusion, for which I am totally responsible.

I have been watching the slow motion train wreck, otherwise known as the Borders bankruptcy, for over a year now, knowing that it was coming but hoping that it would not. It came this week and it is, not to mince words, a disaster, at least for the short term.

I am aware that the wiser among us say that other bookstores in the areas of the shuttered Borders will pick up the slack, and no doubt they will, to a greater and lesser extent. My immediate concern is for the good folks who worked at the closed stores, and who now join the ever-growing number of people looking for employment. Of longer range concern, however, is the amount of debt owed to publishers large and small, and by extension to authors.

http://www.thestreet.com/story/11014549/1/who-borders-owes-in-bankruptcy.html I have no idea whether the parent companies of the publishing houses that we deal with are large enough to absorb some of the losses I am hearing about, or even if they are inclined to do so. What I am worried about in the intermediate term, however, is the future of the printed, bound book. I thoroughly enjoy my Kindle, and I have managed to own it for almost one year without breaking it. But I haven’t given up books. I’m kind of like the guy in the (more-or-less) committed relationship who also has a friendship with privileges, and who isn’t sure who fills which need. I really don’t want to have to make the decision any time soon. But the Borders situation creates a giant bump in the road of physical commerce. There are a number of questions hanging out there. Will publishers ship new product to the remaining Borders stores? What happens to physical product in warehouses? Or to product remaining in the closed stores after this weekend’s G.O.B. sales in the stores which are closing? Someone will answer all of these questions fairly quickly, but the shift is going to be a pain in someone’s rear end. In any event, I am sure that someone in an office in midtown Manhattan has floated the idea to their underlings that if all books were e-books, no one would have to worry about all of this. The book isn’t printed and delivered until it’s ordered and paid for, so no inventory. Great, right?

Sure. In some ways. But I don’t think most of us are ready to give up books or the stores where we buy them. Which is why I am asking you to join me, and to ask others to join you, in a demonstration of faith: buy a new book, a physical book, from a brick and mortar establishment dedicated to that purpose, each month for the next twelve months. Many of us already do this, but many of us use libraries, and many of us borrow from friends. Nothing wrong with that, and bless you for reading. But I am asking you to move the budget around a bit, bite the bullet, and buy a book. At worst you’ll have several Christmas gifts to give by the time December comes. I am going to visit the wonderful and indispensable Foul Play Books in Westerville, Ohio for this month’s purchase, and maybe for all of the rest of them each month as well. If you like the bigger stores, go for it. If enough of us do this, the publishers may decide that its worth it to stay in the game, even if they have to move that god-awful inventory around. But please do it. Let’s counter that ripple effect, before someone gets a not-so-bright idea.

***

A get well soon to John Miller, whose operation on his hand is not preventing him from writing.

No Target Escaped Alive

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By John Gilstrap

There are perks to writing in my little corner of the thriller genre.  Three or four weeks ago, I got an email from an active-duty U.S. Navy SEAL named Steve telling me how much he liked the Jonathan Grave books, and wondering how I did my research.  He said in his email that I was “spot on” the details.  Wow.  As compliments go, it doesn’t get a lot better than that.

This started an ongoing correspondence, and after I told him about the tour I got of the First Special Forces Operational Detatchment-Delta compound at Fort Bragg (the Delta Force compound), he offered me a tour of the SEALs compound in Virginia Beach, a mere three and a half hour drive from my front door.  He learned not to make such offers lightly.  I said not just yes but hell yes, and the details all came together last week.

First a few details about this amazing community of heroes.  Steve is now preparing for his fourteenth deployment since 2001, having only recently returned from Afghanistan.  He’s an E-9 (a master chief, the highest enlisted rank available), and he just won the Legion of Merit with Valor Device for an operation he’s not allowed to talk about.  When I asked him about it, his first concern was how I knew that he had won the award.  He seemed almost embarrassed.  They don’t do what they do for the glory of it; they do it for the honor of serving.  I know it sounds corny, but when you’re with these elite Special Foces guys for more than ten minutes, you know that they’re speaking from the heart.

Like the Unit compound at Bragg, the SEAL compound is the land of broad shoulders and no necks.  It’s also where you’re far more apt to see long hair and mustaches than the high-and-tight clean-shaven look.  Within minutes of checking into my hotel on Thursday afternoon, my cell phone rang.  It was Steve, asking me if I was in town yet (I was), and if I wanted to go watch a training exercise (I did).

He picked me up at the front door of my hotel and we drove into the hinterlands, through a couple of security chcekpoints, until finally we were in a simulated Iraqi village.  With snow on the ground–okay, there’s a limit to simulation.  Within a few minutes we met George (all of these guys go by nicknames–remember Maverick and Iceman?–but I’m not sure what’s appropriate to pass on, so none of the names are real), the guy in charge of running the training scenario.  George said, “Nice to meet you.  For the full training experience, do you want to be an insurgent?  We can get you the gear.”

“Sure,” I said.

“No, you don’t,” Steve said.  That brought a big laugh.  Turns out they use turbo-charged paint pellets, and it’s never pleasant.  They also deploy the god-awful meanest dogs I’ve ever seen.  Muzzles notwithstanding, I would have needed a change of trousers.  Still, I got to watch the training, and I learned a lot–much of which will appear in future Jonathan Grave books.  And I had yet to begin the real tour.

Friday began at 8:30, with a tour of the administrative areas, and then the shooting range.  I got to see the squardron team room where Uday and Qusay Hussein’s gold-plated weapons are on display.  There’s also a very cool picture of a SEAL team in the prison yard of Carcel Modelo in Panama City, taken within 24 hours of the events I wrote about in Six Minutes to Freedom.  That was very, very cool.

But let’s be honest.  The shooting range was the best of all.  My firearms instructor was a former SEAL who goes by Turbo.  A hero of the famed Roberts Ridge engagement in Afghanistan, he’s the nicest guy in the world, and has the coolest toys on the planet.

The attached videos show me shooting the Heckler and Koch (HK) MP-7 (4.6 mm/17 caliber) and then the HK 417 (7.62 mm/.30 caliber).  I also shot the HK 416 (the 5.56 mm/.223 caliber carbine that is replacing the Colt M4, which replaced the venerated M16 as a soldier’s best friend).  These are all very, very cool weapons.  The coolest weapon of all was one for which I have no video.  The .300 WinMag is a standard sniper rifle for the SEALs, and let me tell you it is a cannon.  It fires a .30 caliber magnum round that is deadly accurate at 1500 yards.  (I say with no small degree of pride that I shot the snot out of my target at 200 yards.)

Having never served in the military myself (no source of pride there, I assure you), whenever I visit those who do the nation’s bidding, I always leave inspired.  Cool toys aside, my new friend Steve will be heading into harm’s way in two weeks, and he won’t be home for his family again for four months.  Modern technology lets him communicate every day–with live pictures, even–but nothing substitutes for the touch and smell of the people you love. 

They do what they do because it is a job for which there is no comparison.  The nature of their jobs requires violence, but the violence is not something they crave.  They take solace in being the best of the best, and they, more than anyone else, pray for peace.

I’m a better person for being able to call a few of these heroes my friend.  I pray that they succeed in their mission, but more than that, I pray that they all come home safely. 

Timelines

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by Michelle Gagnon

I’m attempting to finish a draft of my current WIP by the end of the week, so this post will of necessity be brief. And in lieu of dispensing advice, today I’m hoping to receive some.

Here’s my issue: timelines.

By the end of a book, I always hit a point where I realize that the timeframe in which the story is taking place has become hopelessly jumbled and needs some sorting out. For example, my characters might have suffered through an extraordinarily long night (which is only helpful in vampire stories, really), or there’s a sudden, jarring leap from dawn one day to dawn the next with little or no interlude.

Generally I spend a few days going back through the story and sorting that out. I mark on an Excel spreadsheet which day the story starts on (which is generally randomly chosen, ie: “Monday, March 6th”), and plot out scene by scene what approximate time and day everything is transpiring on.

But it occurs to me that there must be an easier way to track that during the writing process.

I’m using Scrivener for the first time with this manuscript, and it has in many ways transformed how I write. I find that my scenes tend to be longer. I have a much clearer sense of point of view shifts thanks to their handy color-coded virtual index cards. I love that I can shift scenes around with abandon.

But the one feature that appears to be lacking is some larger calendar on which I could keep track of WHEN the scenes are happening, not just where and to who.

So I thought I’d throw this out there: does anyone have a better system to recommend? A program that makes it easier to manage timelines during the writing process?

Coping with Visitors

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Yesterday morning, we said goodbye to our visitors who’ve been in town for a week. No, I don’t mean visitors from outer space like on the TV show, “V”. These were close relatives and we were happy to see them. Although we offered them a room at our place, they chose to stay at a nearby hotel. We went to shopping malls, took a stroll down Las Olas Blvd, and ate lunch overlooking the beach. We ate out every night except for one when I cooked at home. My added weight attests to these good meals.  
Fortunately for me, our guests weren’t early risers so I had most of the mornings free to do my writing quota. It worked out well that I had guest bloggers scheduled on my site over that period of time, because I lost my afternoons when I usually work on marketing. It must be infinitely more disruptive when you have company staying in your house. So I am wondering what you do under those circumstances. Do you forsake writing completely and vacation along with your guests? Do you wake up early to get your pages done? How do you cope with the need for alone time that afflicts all writers, or don’t a few days of revelry bother you?
Sometimes it’s nice to get a break in your routine. Vacations and conferences bring a change of pace. Having company from out of town gives us a chance to act like a tourist in our home environment. It can be refreshing (or annoying) depending on the guests, if we have any work deadlines to meet, and how their daily habits coincide with ours. One thing is certain: it’s always nice to get the house back to normal after the company, no matter how desirable, leaves.                                   
Now that they’re gone, though, it’s quiet and lonely here. Can’t we have our cake and eat it, too?

Author Mentoring: The Art of Paying It Forward

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By: Kathleen Pickering


I spent most of this past week at The Myrtles, a haunted plantation in Louisiana, with my mentor, the award winning, New York Times Best Selling author, Heather Graham. Luckily for me, Heather is not only my mentor, but my dear friend. (I don’t even know if she knows she’s mentoring me!)

I accompanied Heather and her family “on location” to shoot the new book trailer for her upcoming “Krewe of Hunters” series with Mira Books. As my mentor, Heather showed me how to set up a script, find a location, hire a videographer and assemble a cast of actors (with costumes) and work within a budget to accomplish in one afternoon what promises to be an exciting and entertaining introduction to her next book series.


Heather Graham on location at The Myrtles, St. Francisville, LA

I enjoyed all of this instruction while having fun. I came away realizing that while mentoring doesn’t always lead to friendship, friendship surely leads to mentoring. Mentoring is an important facet of any role in life, not just writing. Many corporate mentoring programs involve software such as the TogetherApp, an employeee mentoring software that tracks the progress between the mentor and the mentee(s). In writing, mentoring is an organic essence of a writing community. Joining Florida Romance Writers, Romance Writers of America, Mystery Writers and Thriller Writers has immersed me in conversations with other authors from which I have come away a better writer—just by sharing information. Many times, I’m lucky to make friends with some of my most favorite authors. In turn, when I meet new writers, I answer their questions, offer them help with works in progress, or point them in whatever direction I can to help further their career.
Mentoring is an author’s way to “pay it forward” or in other words, to do good for someone in advance of good happening for you. When we pay it forward, we take mega-leaps in our own careers, as well. Heather showed me how she uses her skills and years of experience to create media content. In turn, I followed the cast around the plantation, videoing behind the scenes. (With equipment I bought through more mentoring from Fred Rae, a member of Mystery Writers.) To thank Heather for the fun—and the lessons, I plan to create up to 20 (depending on the quality of my photography!) short “behind the scenes” videos for YouTube, Facebook and iTunes to help herald Heather’s upcoming series. (I’ll be sure to post them on my website, as well.)
Why? Because I am delighted to “pay it forward” for my friend—and not just because she’s teaching me. It feels good inside to know I’m building my career on good intentions. Helping create an Internet buzz for Heather works in symbiosis with my learning how to create media. It’s all good. After all, in the author’s world of mentoring, what are friends for?
So, let me ask you. How do you contribute as a mentor in your writing world?

Love and Murder

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by Clare Langley-Hawthorne

After a wee bit of drama last week and the flooding of the downstairs of our house, I am finally back to blogging – and I love that I get to blog on Valentine’s Day! It’s not just because I am a hopeless romantic, it’s also because I think writing an emotion such as love is one of the trickiest things to do well.

In crime fiction ‘love’ can connote a whole range of things from sexual chemistry and romance to justification for murder. To make such a complex emotion believable can be a major challenge. I’ve lost count of the number of crime novels I’ve read that were great on action and suspense but a real let down when it came to love. Handled badly, it’s an emotion that can be soppy and overwrought or just plain gag-worthy. Handled well and a reader can’t turn the pages quickly enough. Love is compelling. Just look at the novel Twilight by Stephenie Meyer – for all it’s flaws, it handles the emotional angst and pain of teenage love skillfully and readers have responded accordingly.

One crime author that I believe handles love exceptionally well is Tana French. I have read all three of her books, In the Woods, The Likeness, and Faithful Place. Each, I feel, really handles the facets of love to great effect. In her book Faithful Place, she captures the sweet yearning of young love and the devastation of loss – making the crime in the novel all the more poignant. I think that many mystery and thriller writers could take note of Tana’s use of emotion to make their own books richer.
What does she do, that helps propel her evocation of love beyond the banal?

Well, in my mind it is her ‘evocation’ that is all important. She doesn’t simply tell you about the emotions stirring within her characters, she shows you it in every observation and interaction.

So on this Valentine’s Day, I thought I would offer just a few tips on writing about ‘love’ –

  • Make it unique to the characters. Avoid the cliches ‘eyes like deep pools’ or the stock standard ‘hate at first sight’ approach. Make the characters emotions uniquely their own. Think of the subtleties involved in falling in and out of love.

  • Be restrained – Crime fiction is not romance fiction and I truly think most mystery readers prefer ‘love’ to take a back seat to the crime aspects of the story. That being said I think a well-drawn relationship can add depth to a mystery and there’s no doubt that love is one of the greatest motivations for crime as well:) Nonetheless, I do think that the standards are different and that emotions can be more heightened in a romance novel than in a mystery or a thriller. It’s a fine line between ‘heightened’ and ‘overblown’ and I think to be successful in describing ‘love’, less is often more!

  • Evoke the sense of love- nothing indicates depth of emotion that heightened sensory awareness. I love reading novels that bring these senses to the forefront so the reader starts to suspect a character’s emotions from their sensory appreciation of sight, sounds and smell;

  • Have realistic sex scenes. The most amazing sex ever starts to get a bit dull even in the best of books – far more interesting to make the event as realistic as possible (though not many readers probably want to read about truly boring, horrible sex!).

What other tips would you add to the list – which crime novelist do you think handles the emotion of ‘love’ best?

Oh, and Happy Valentine’s Day!

Going E

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James Scott Bell

Today I announce my first E book exclusive.
Watch Your Back is all new material, a novella and three stories of suspense. Page turning stuff. At least, that’s my claim. For less than a Starbucks latte you can test that claim for yourself. I’d love to hear from you if I’ve done my job.
It’s available for the Kindle and the Nook.
This is all an exciting development for me. While I’m still working under a traditional contract, I see this arena as a way to complement that work. I’ll be growing new readers and giving my current readers more product. What’s not to like about that?
But mostly it’s about the writing. 
See, I always wanted to do one thing, since I was a kid: write stories. Write books. The kind of books I loved to read. Page turners. Twisty plots. Up all night stuff.
I had to work hard to get there, but I did. And I’ve appreciated every moment of the ride.
There were some years I put out two novels in a year (and once or twice with a non-fiction writing book thrown in). But that had to be it, because of publishing schedules, limited shelf space in the stores and so on.
Now I don’t have to wait 18 months for a book see the light, or worry about getting more than spine-out shelf space once it does. I can have a book out there as soon as I think it’s ready. And readers can have it in their hands in seconds.
I always admired the pulp writers of the golden age. The era of Black Mask and Chandler and Hammett and Cornell Woolrich, guys writing fast and furious for a penny a word, providing stories for a voracious public. Turning out some of the greatest examples of American suspense ever written.
I wanted to write in that tradition, and now I can.
It begins here, with Watch Your Back.
In the title novella, hotshot IT guy Cameron Cates seems to have it all. A secure job, a fiancée who loves him and the prospect of a steady life ahead. But then he sees her.  The new woman at work. And like watching a car crash in slow motion, Cam knows he can’t turn away and is powerless to stop what happens next. A tale of lust and greed and corporate America––and what happens to dreams that become all too real.
Fore Play is the story of the world’s top golfer and the trouble that follows his off the course activities. Let’s put it this way: his game will never be the same.
In Rage Road, a nice young couple thinks they’re out for a smooth ride through some lovely country. The truck behind them has a different idea.
Married man Frank Dabney has learned to listen to his wife, Susie. But in Heed the Wife he finds out he may have listened one too many times. 
For Watch Your Back I hired cover designer Jeff Gerke (if you’re interested in his services you can contact him by going here. Tell him I sent you). I had beta readers read and edit the content, and hired out the text formatting.
But the stories are mine and it’s an absolute thrill to be able to share them with you now. There’s more to come.
Is this a golden age for writers or what?
So allow me to consider this a launch party of sorts, for Watch Your Back and my future e-books. I’m just sorry I can’t offer you a glass of wine and some gourmet cheeses. But I’ll hang out here today and read your comments and answer any questions you might want to sling my way.
And thanks for stopping by.

Anonymous, go suck a whirlwind

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John Ramsey Miller

There’s this new book, O, about President Obama that was written by an anonymous author, just as the book PRIMARY COLORS was published with the author being the anonymous columnist Joe Klein. I mean PC was supposed to be fiction, right? It wasn’t actually about Bill Clinton, who was one of the best Republican presidents ever. I’m sure it’s a marketing ploy (since who needs another book about a sitting president?) just as I’m sure the publisher will swear that the reason for the anonymous tag is to insure truthfulness. I’m sure that was done because Obama would have the NSA black-baggers disappear the author if they could somehow discover who he or she is. Because it’s a huge secret on the order of who really killed JFK. I can think of lots of books that should have been written anonymously, like THE PROPHET by Kahlil Gibran or anything by Stephenie Meyer. Jus a’ kidding Steph. Seriously, anonymous is a punk-out. Stand up and take your medicine.

When I was young, my father was a Methodist minister, so I was a hellion of the first order. (stop me if I’ve told you this before). I didn’t get into trouble, I lived in trouble. I believed it was my calling. I got caught at it with amazing regularity due to my youth and inexperience, but I got better at evading detection as I grew older. Luckily I aged out of hell raising as an art form, having done no lasting damage to anyone, or to myself. The point of this confession is to say that after having done something actionable, someone sent my father a letter detailing my marauding one evening. It was perfectly written and should have convicted me to a severe grounding, except for the fact that they had signed the letter, “A concerned citizen”. After reading it to me, my father tore up the letter and tossed it into the trash, saying that if the person didn’t have the spine to sign the letter, he could not take it seriously. Being a liberal, I suspect he felt that I had the right to be confronted by my accuser. I also suspect that a Baptist minister would have, in similar circumstance, whipped his son, happy to take the word of a cowardly vigilante.

Another reason I’m talking about “anons” is because my daughter-in-law has a beauty salon and it’s a first class operation, and she’s a very talented hair stylist. She even does my hair with all my cowlicks––that’s how good she is. She is listed on a local site that highlights commercial businesses of note, and there’s a place for customer comments underneath, and you get stars just like an Amazon rating system. Well she was nominated for “Beauty Shop of the Year” and the next day someone wrote a nasty review saying that she smelled like cigarettes, dressed in trashy outfits, talked behind her customers backs, made lewd jokes about passersby, left “bleed marks” from a bad dye job, etc… It was signed anonymous. My son’s wife, the most wonderful and hard working person I know, has fifteen excellent reviews below that one. She is sure the comment was left by her main competitor because some of the detractor’s comments included beauty shop trade terms, too technical for a patron to use. There’s this beautician who hates my daughter-in-law due to losing a huge wedding party of a bride and her bridesmaids gig–but that’s another story involving my youngest son who’s getting married in June. But she’ll never know and she can’t get the comment taken off even though it’s totally a lie. And, it’s a small southern town we live in.

I agree with my father, who died on my birthday three years ago. Anybody who won’t sign their name and take responsibility for their words, is more than likely a coward and is probably just throwing monkey crap through the bars at the audience. If you can’t use your name due to the fact that you might be fired or set upon, then I say keep your damned opinion to yourself and live with it.

I tend to say idiotic things that I shouldn’t say and put my name on it. I once traded six columns to my local newspaper in exchange for an antique granite body slab that came out of a funeral home. What I wrote lit fires all over the community, but that’s another story. My wife (and more than a few others) tell me that some of my critical social filters must be clogged with dust balls. I am cognizant of the fact that a lot of my opinions would be best left unshared, or anonymous, but I’m not apt to do anything at this point in my life that makes sense.

By the way, as of last week my first novel THE LAST FAMILY, published in 1996 is now an eBook, which means that all of my novels are available in electronic format from Bantam/Dell. And I don’t have to worry about the pages yellowing.

Books and Movies: Forever Entwined

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By John Gilstrap
NOTE: I’ll not be much of an active participant in my own blog day today because I won’t have access to a computer or even my iPhone.  Why, you ask?  Because I will be getting a VIP tour of the Navy SEALs compound in Virginia Beach, and they don’t let you take cell phones with you.  For the record, that’s not a moast.  That’s a pure neener-neener outright brag.

Now, on to today’s post:

Reading Joe Moore’s excellent post on Wednesday about the importance of setting, it was interesting to see how many examples of setting were in fact taken from movies.  In the context of Kathryn Lilley’s great post about Finding Your Voice, I got to thinking about how much movies have influenced books over the years.

As a writer of commercial novels (not to be confused with lit’rateur (read that word with a New England elite accent)), I am obsessive about pacing, imagery and snappy dialogue–the holy trinity of screenwriting.  I think in scenes, making every effort to begin and end on action.  I believe in jump cuts, taking the reader from one scene to another quickly.  Even my contribution to the voice discussion focused on “camera placement” as a means of keeping POV consistent.

So, how does a writer fulfill the goals of pacing, imagery and snappy dialogue?  It’s all about voice, baby.  And voice is inexorably linked to point of view.  Consider these two descriptions of the same scene:

1. Finally, he arrived at the desert.  He stepped out of the car, stretched his back and closed his eyes, letting the heat and the dry air soak into his skin.  If he used his imagination, he could smell the aroma of purple coneflower and Easter lilly cactus carried on the constant breeze.

2. He’d arrived.  There was no putting it off anymore.  He climbed out of his car into the blistering moonscape, somehow sensing that he’d stepped two rungs lower on the food chain.  Between rattlesnakes, scorpions and a climate that sucks the moisture from your bones, this was a place for the dead, not the living.  It’s no wonder that we tested nukes here.

To my eye and ear, those examples illustrate how an author’s voice simultaneously drives action, imagery and characterization–in this case in the form of inner monologue.  At least, I think that’s what it’s called.  Through description alone, filtered through the voice of the POV character, we get a glimpse at two entirely different personality types.  In both examples we learn that we’re in the desert, and that it’s hot.  The rest is all characterization.

And for me, all else being equal, I have all I need to know about the setting for this moment in whatever story this would turn out to be.  I’ve given the reader enough to take it from here and develop it further in his or her imagination.  This is a stylistic thing for me, but once that scene is set, it’s time for the character to do something, lest the pacing slow.

People are used to experiencing thrillers–my genre–on the screen.  In order to compete, I need to provide that same kinetic experience on the page, but with the addition of deeper character development.

What do you think? Do movies affect the way books are written?  Is our addiction to entertainment from the screen the reason why thrillers from the past feel sorta slow when we read them today?