The Dying Art of Writing…Letters

By John Ramsey Miller

http://www.johnramseymiller.com

I have a letter I keep in a lock box that my mother wrote to me thirty years ago just after she discovered that her breast cancer had returned in a big way. That letter arrived in the brand new lock box a few days after she died, handed to me by my father. In the letter she tells me how wonderful her life was and no regrets, and how much she loved me, and how everybody needs a lock box for important papers so here’s one I bought for you. That letter is still in that lock box under my bed––a prized possession. I like to read it. My mother’s penmanship was flawless. My own is quite good.

Thirty years ago people still wrote letters, but as long distance calls grew less expensive, it became easier to call and talk than to write a letter. With cell phones we are always near enough to a cell tower to talk whenever we feel like it. With the Internet, people send electronic messages. I get e-mails from friends almost every day, and I almost never print them out. Mostly the communications are short blurbs, and messaging on the cell phone means even briefer information passing.

Back when we wrote letters, we put a week’s or a month’s worth of news in the letter. We wrote our feelings and what life was doing to us. You’d sit with a pen imagining who we were writing to and thinking about the person who’d be reading it. You opened a letter, you unfolded it and you read the letter in your hand. The paper was in the hands of a under the pen belonging to the person who’d written it. You could fold it up and open it again later, as often as you wanted to for as long as the paper held up. Think of the archives filled with personal letters from the famous and not so famous. I think of Ken Burns’ Civil War series for PBS and what it would have been without the personal letters from the time. We are losing history. The e-mails are being deleted almost as fast as they are read, which probably goes to what they are worth. We don’t compose e-mails the same way we did letters. I officially name it “jit-jotting.”

Recently I sent my step-mother a letter. She is in an assisted living facility in Dallas, and I love her dearly. Her daughter told me that she reads that letter over and over again. That letter connects us in a way no telephone or e-mail on a screen can. After my father passed away my brother went through his papers and he gave me several letters I’d written to him over the years, along with pictures I’d sent in the envelopes. I could tell he’d read them over and over, and I found myself wishing I’d written him more of them.

My dead mother is alive in that letter. Like the letter from my mother, they only matter to me now––the living half of the communiqué. I suppose after I’m gone my children will dispose of them, and that’s okay with me since nobody else will feel the connection or its importance.

I think of the books written from the collected letters between two people, mostly famous, and I wonder how many will be written in the future from the collected e-mails or telephone conversations of famous people. There is a style in written letters that aren’t reflected in most e-mails and lost forever with telephone calls.

My wife and I do send text messages through the week days because they are less intrusive in her work place or to my writing time. We can just check our cell phones for them at our convenience. I also text with my sons.

Maybe part of the reason we authors write books is to leave something of ourselves behind. We are all jit-jotting our way through our days and our lives, and are leaving a thinner and thinner trail as we go. And I think it somehow diminishes us, and our importance to each other when we communicate through quickly typed electronic transmissions.

The Results are in…

by Michelle Gagnon

The ITW recently posted the nominees for their Thriller Awards. Some of you might remember a post I wrote last August, when it was first announced that the paperback original category had been eliminated. Henceforth all of those books would be battling it out with the hardcovers for the moniker “Best Thriller.” There was a range of responses to my post, everything from “Hear, hear!” to “It’s silly to have different categories for different formats.” A few people chastised me, saying that any bias against paperbacks was only perceived, that I didn’t have enough faith in my fellow authors to judge a book based on its merits alone.

Well.

The results are in, and I am shocked, shocked! to report that not a single paperback original made the cut. thriller-award

Here are the finalists:

BEST THRILLER OF THE YEAR
Hold Tight by Harlan Coben
The Bodies Left Behind by Jeffery Deaver
The Broken Window by Jeffery Deaver
The Dark Tide by Andrew Gross
The Last Patriot by Brad Thor

Now, I’m not claiming these aren’t the best thrillers of the year- of the five I’ve read three, and they were great. But I also read a slew of PBO thrillers last year, and I’d rank them as high (or higher) than those three. The ITW is always battling charges that it’s morphing into a club for NY Times bestselling authors, and judging by this list, that might be the case. Granted, books are subjective little beasties, and what I love others might loathe. Perhaps these were the best thrillers of the year. I plan on reading the other two to satisfy my curiosity (and because they’re probably good books).

But I still don’t see where having a separate category for Paperback Originals does any harm. If paperbacks are consistently passed over in favor of their hardcover brethren for another few years, I believe there will be an exodus of PBO authors from the ITW. Which would be a shame, considering the fact that this award was initially conceived to address the fact that few thrillers were acknowledged by the established mystery awards. And making PBOs the red headed stepchildren of the organization doesn’t help anyone.

That’s my two cents.

Comments?

From self publish to self storage

By Joe Moore

My Kill Zone blogmates and I are all professionally published mystery and thriller authors. You can visit your favorite bookstore to find and purchase our novels. We have agents that represent us on a commission basis and publishers that pay us advances and royalties based on our sales. We all have multiple books published. There are literary award winners in this group. Many of us have been on bestseller lists. If anyone asks us what we do for a living, without hesitation, we declare that we are writers. If you’re a writer and you want to get published, in general you have to follow the same accepted publishing business model that we did.

But it’s not the only way to wind up holding your published book in your hands. There’s always the method called self publishing or subsidy press. And getting published in this manner is a subject that comes up often in writing forums, especially with new writers. So I thought I’d use up a few inches of blog space today to comment on the virtues and evils of self publishing.

First the evils.

In general, the world of self publishing is fed by desperation. Someone writes a book, sends out dozens if not hundreds of query letters to agents and editors with no takers. At some point, out of desperation, the writer decides to give up on the normal channels and turn to self publishing his book. He finds that there are many self publishing companies out there with beautiful websites, exquisitely designed brochures, hard-to-turn-down promises, amazing testimonials, somewhat reasonably priced publishing “packages”, and a way to put him on a fast track to finally holding that precious book in his hands. When asked why he is going the self publishing route, he brings up examples of books that were originally self published but went on to become huge international bestsellers such as THE SHACK and THE CELESTINE PROPHECY. If it could happen to those authors, it could happen to him.

But the bottom line is that when a writer turns to self publishing, it’s usually out of desperation.  He’s impatient and misguided, but mostly desperate. These are not the qualities of a successful author. And in most cases, the result will be a disappointed writer with a garage full of boxes of books no one wants. Here are some reasons why.

  • Self publishing comes with a stigma, deserved or not, that the author could not get published in the traditional manner and therefore the book probably sucks. Self publishing usually means weak, unsalable writing. Some people call these type of publishers vanity press because they prey on the vanity of the writer.
  • One of the mainstays of promoting sales is to get your book reviewed by publications such as newspapers and magazines. A self-published book has virtually no chance of being reviewed by Publishers Weekly, Library Journal, Kirkus, the New York Times book review, USA Today, and similar publications.
  • You will not get your self-published book into national distribution channels, and therefore booksellers will not be able to order it.
  • Booksellers must have the option of returning unsold copies of a book for credit. That is normally not an option with subsidy publishing.
  • Pricing is almost always higher with self-published books and cuts into the discount expected by the bookseller. This discourages them from stocking your book even on a local level.
  • The quality of production, editing, printing, and artwork is usually sub-standard. Most self-published book covers are laughable and amateurish.
  • Self publishing companies can and usually charge for just about all phases of the process including cover art, copyright registration, purchase of ISBN number, etc. Writers never pay for these or any charges with normal publishing channels.
  • Despite those rare self-publishing rags-to-riches stories, you aren’t going to sell many books. Once you get past your immediate family and circle of friends, you can expect the numbers to be in the tens, not tens of thousands. Most self-published authors sell 40-100 copies. The rest of the books will wind up in a self storage rental unit to collect dust and grow mildew.

So what are the virtues of self publishing?

The best candidate for self publishing is an author who writes a non-fiction work with limited market interest or appeal. These can include cook books created for church or school fund raising, a family history to be distributed exclusively to a particular family, local or regional historical guides, and supplemental books that accompany a live presentation or motivational program. These are usually sold on the spot at a particular event.

These type of books and others like them may very well be worth publishing, but the number of potential sales are so small and the marketing potential is so limited, that they would not be attractive to a traditional publisher.

There are other reasons to self publish, but they are almost always restricted to a small group or area of interest, and are usually works of non-fiction. Self-published novels rarely earn back the writers investment.

If you’ve written a novel and so far haven’t had any luck getting it published, don’t give up. Persistence is the key, not desperation. If it’s on the page and between the lines, it’ll rise to the top and find a real home at a real publisher. And look at how much you’ll save on self storage costs.

Any experiences out there with self publishing? Can you think of more evils or virtues?

~~~~~~~~~~~~~

Coming up on our Kill Zone Guest Sundays, watch for blogs from Philippa Martin, Eric Stone, Tim Maleeny, Oline Cogdill, Alexandra Sokoloff, James Scott Bell, and more.

How to write an evil character

My subject today is how to write a really, really evil character.

When I say evil, I’m talking about nature, not about motive. Evil goes beyond the normal catalysts that drive human beings to commit murder and mayhem–those catalysts can include jealousy, anger, rage, fear, even a distorted kind of love.

When I think of evil-doers (and I have to credit the former Prez for that phrase), I’m talking about psycho-killers. Cold-ass weirdos. As writers, sometimes we need to create those kind of unabashed, dead-at-the-seams, evil characters. We especially need to create this type of character when we are writing a big, breakout book.

Back in August, we had a week of posts on this blog about our favorite villains. But now I’m wondering, how do you write that evil? For example, who could forget the moment when Jack Torrance’s nonsensical pages of writing were finally revealed to his wife in The Shining? That one moment showed both his insanity and his being overtaken by the evil of the Overlook Hotel.

Just because it’s true, doesn’t mean it works on the page

One of my greatest frustrations in writing group is when someone defends their not-so-convincing work by saying, “But it’s true. It really happened this way.” So the f’n what? If it doesn’t work on the page, it doesn’t work, period. Writing what is true is not always convincing.

Here’s a true story that would be hard to convey in fiction: A successful, apparently-happily married scientist, the mother of an adorable toddler, one day decides to poison her husband with a massive dose of arsenic. She’d been building up with “test” doses for months, giving him flu-like symptoms. No one could believe she’d done it. Even the man’s parents didn’t believe she’d killed him. She was visiting them in their house when she was arrested by the police. Even when the husband was dying of the last dose of poison she’d injected into him while he was in his hospital bed, he still thought that they were a happily married couple.

It turned out that this woman was a true psychopath. She didn’t want the shame and perceived social failure of a divorce, so she decided to off her hubbie and start over as a “grieving” widow. There’s evidently no stigma to being a widow in a psychopath’s mind.

How do you write that in a convincing way?

Right now I’m struggling to write such an evil character, one of those people who on the surface seems to be a caring, warm pillar of the community. And even though this is one cold, unsympathetic creature, I am trying to wiggle inside her head through the writing. Right now I’m researching the type of emotional disorders that might have given rise to her pathology. And (as Joe points out in the comments section), a well-written villain-psycho needs strong motivation beyond mere pathology. Even Hannibal Lechter had that going for him. So I am also going to give her a powerful motivation to kill for what she wants, in addition to her psychosis.

And I’d love to know, what are some techniques you use to convey a character’s evilness?

Stay tuned for upcoming guest appearances at the Kill Zone:

April 5 P.D. Martin

April 12 Eric Stone

Real Men Read Fiction

by Clare Langley-Hawthorne

As I rushed to finish my current book club book over the weekend (which is, by the way, the terrific Snow Flower and the Secret Fan by Lisa See) I could sense my husband getting antsy – he kept asking me what I had to ‘do’ each day and, when I remained vague, he catalogued all the errands and chores that he would be doing. I felt I could hardly confess that apart from playing with the boys, cooking and the like my only plan was to read…because let’s face it in my husband’s world that was tantamount to doing pretty much ‘bugger all’.

So what is it with men and reading?! I did a quick google search before writing this blog and the statistics were depressing – basically the death knell for the male fiction reader has well and truly been rung. I only have to look at most of the men I know to be convinced of this- sure they read (well sometimes) but when they do it’s usually non-fiction, and the mere suggestion of forming or joining a book club is met with stony-eyed suspicion. As all the surveys indicate, women are the major purchasers of fiction, they consistently read more books and participate in book groups to the almost complete exclusion of men. So what does this mean for the publishing industry and, is it in part the fault of the industry that men don’t want to read much fiction anymore?

The exception to the fiction-free zone for men is (apparently) what some of the articles termed ‘manfiction‘ – you know, the full blooded male adventure thrillers by the likes of James Patterson, Clive Cussler or John Grisham – the kind of stuff that some of my fellow bloggers might write (though I have to confess I doubt any of my stuff would ever be called ‘manfiction‘ by any stretch of the imagination…) When it came to most other forms of fiction, however, (particularly that written by women) the gap soon widens up and this started me wondering: who failed whom? Was it the industry? Writers? Or was it just all the men’s fault :)?

I certainly know that when it comes to historical fiction everyone in the industry always says that a strong female protagonist is essential unless you are writing military historicals…Romance, which commands a whopping percentage of the market is pretty much solely for women and when it comes to that dreaded term ‘literary fiction’ , I think women are also the primary target – for they rule when it comes to book groups (and book groups are probably the only way literary fiction can become commerically successful). So what are you blokes out there going to do about this situation? Do you even care?

If you are a writer, does the fact that so few men read fiction affect your writing? For me I confess I have always assumed that women will be my main readership base (I’m always amazed when I get an email from a male reader who loves my books!) and I probably (though not deliberately) write accordingly. But it depresses me nevertheless – so will one of you endangered male fiction readers out there try and explain to me why you think this is the situation and tell me (reassure me perhaps?) – do you think it’s ever going to change?

How “green” is your book?

Today we’re pleased to host Sunday guest Killer Liz Jasper, an award-winning mystery author and avid eBook reader. Liz is blogging this month for All Romance eBooks’ Go Green/Read e Campaign.

How green is your book, Dracula?

Earlier this week Michelle Gagnon blogged about Internet promotion for authors. The fact that I’m guest blogging here today is a good illustration of another common type of internet promo: authors popping in on one another’s blogs to “meet” new readers. The fact that I’m mentioning this supports another of her very good points: that it’s a small world in the author community. I know two of the bloggers here at The Kill Zone–Kathryn Lilley invited me here today. (Nonetheless, I’m using Michelle’s name at the top of my blog because I’ve seen her shoot a Glock. Okay, it was at a gun range for a Sisters In Crime event, but still. Girl’s got aim.)

I am spending my promotional time guest blogging rather than Twittering (not that an author can’t do that simultaneously) or updating my MySpace and Facebook pages because I hate doing those things. Hold on did I type that out loud? Ahem. What I meant to write is that I’m a Go Green/Read-E (book) ambassador. Which means I’m blogging to help promote ebooks as an eco-conscious alternative to the traditional paper book format.

Being green is important. Especially if, like me, you live in the sort of city where if you forget to bring your own, reusable, organic ink, fair trade, recycled material grocery bags to the supermarket, the collective laser beam of guilt focused on you is so awful you find yourself buying a fresh new set of reusable bags. To add to the pile you have at home big enough to form into a meditation yurt in the backyard.

However, as I researched things like how many trees a reader would save if he/she read 20 books and two newspapers electronically (one tree a year, which adds up to a lot of forests given all the readers in the world) I ran across a study that had already done this. (If you’d like to run across it, too, head for: http://tinyurl.com/cwj86y
Fortunately, my native eco-sensitivity awarded me plenty of time to ponder what else I could blog about. I thought long and hard during my eighteen trips back and forth from car to kitchen to unload groceries. (“You’re out of reusable grocery bags? Someone’s been buying them all up? Who would do that? Of course I don’t want plastic ones. Just load everything back to the cart.”) And what I realized, during a break on trip ten to protect the Chunky Monkey by carefully siphoning off the melty bits with a soup spoon, what I really should be assessing is my own contribution to global warming. Forget the paper versus electronic publishing format debate. What about the book itself?

As an eco-conscious paranormal mystery writer, what I need to know is this: Are vampires bad for the environment?

Think about it. Unless they have the bad fortune to collide chest first with a sharp stake or (in my books) step out into a lovely, sunny, existence-ending day, they live forever. Longer than Styrofoam. Or Twinkies. Or broccoli on my niece’s plate (unless I happen to look away, in which case the stalks magically disappear in a puff of air that curiously also makes the light fixtures above the table swing…).

It seems pretty obvious Vampires take up more than their fair share of resources, don’t you think?

Well…

On the plus side, and this is a big plus they don’t eat human food. And if you ever read the statistics about what’s trashing our environment, the resources we use to grow food are a big part. There’s methane from cattle (a discreet way of saying cow farts) polluting our air, fertilizer polluting our streams, etc. etc. Major eco points for Dracula!

Also on the plus side, the undead don’t commute. Not in cars anyways. Granted any vampire worth his sex symbol status will own a nice set of wheels, but it’s not as if he’s stuck in rush-hour traffic every day. No vampire with the least bit of brains would spend an hour or two a day battling road rage on the freeway when he could just turn into a bat and fly where he needs to go. (I assume any technology that would allow him to drive a car during daylight hours could also be used to protect his batty little wings. Excuse me. Very sexy, uber-masculine man-vamp wings.)

This is sounding pretty good for a vampire’s carbon footprint, except for the fact that for most vampires, one person equals one meal. Tsk. Tsk. Really, vampires of the world, do you have any idea how much it takes to get a pretty young maiden to eighteen in this country? In purely financial terms, estimates range from $38,027 to $104,532. Do you know how many McDonald’s Happy Meals the average eighteen year old has eaten? I don’t, but I imagine it’s a lot. Let’s face it, puberty, is one long Fry Emergency. In cow farts alone, the cost of producing one young maiden must be astronomical. No wonder cow methane is such a big pollutant!

Clearly, vampires need to get on board with the eco message of Reduce, Reuse, Recycle. I know it will be hard–like telling a writer to lay off the chocolate near a deadline. But it’s important! Everyone must do their part. Including readers, especially, it seems, those who like vampire stories. Why not do your part to help the planet and make you next book an ebook!
You can find out more about the Go Green/Read e Campaign at http://www.gogreenreade.com/. To learn more about Liz Jasper and to read excerpts and reviews of her books, visit her website at http://www.lizjasper.com/.

You can find Liz Jasper’s Underdead mysteries and thousands of other eBooks on-line at www.allromanceebooks.com.

Stay tuned for upcoming guest appearances at the Kill Zone:

April 5 P.D. Martin
April 12 Eric Stone

Through The Fog

By John Ramsey Miller

“View From My Studio”

I am sitting in my writing studio, a converted feed shed I renovated, and I was looking out the double-pane window at my long driveway through a thick fog, and listening to one of my dogs on the porch chewing a ham bone and gentle rain pattering on the roof. As I peered down my driveway, I saw a deer silently move from the tree line and stand on the gravel. She turned her head as though she could see me and stayed frozen for a few minutes, and the dogs (I have three) never knew she was there. She decided (maybe she smelled the dogs) to stamp her front feet, which got my dogs’ attention and they began running toward her, blasting her with a cacophony of uttered threats and promises. As they approach the three ribbons of electric wire that encloses three acres, they stopped. I watched her reaction, which was to stand and stare at the approaching animals. Somehow she knew they would or could not cross the wire to make good on their threats, and I knew she somehow intuited this. But how? After a few minutes, she walked into the trees, and they lost interest and returned to the porch. I wonder how many times this has happened when I was not watching, and I thought about all the times my dogs seemed to be at the fence barking to beat the band, and I had no idea what they saw or heard that had them there. Now, after watching this, I will assume it is the same doe once again playing with the dogs for her own amusement. I know animals do things for their own amusement. My Australian Shepherd does not chase balls I throw for my Labradoodle to retrieve, but he will chase the Labradoodle down and hold him by the scruff of his neck, or by his tail, to keep him from getting to the thrown ball. This has to be because it amuses the shepherd, and because he knows that his holding action frustrates his playmate.

We writers are observers and we record our observations and add our own spins to what we see and hear. At the moment I am concocting a story of some length. My novel begins with a man and his dog on a boat. In this tale, my protagonist is propelled unwillingly and unknowingly into a conspiracy involving very powerful men and women. In the opening chapters he is visited by four men in search of something my protagonist has that they want and something they have come to retrieve. They also plan to kill him, a man they have never met and to their misfortune underestimate. In the first few scenes a secretary of state is assassinated, and the connection to that event and the man are as unknown to the reader, as to the man. The visitors shoot the dog, and my dilemma was whether or not to let the dog die trying to protect someone he cares about. I thought about this for weeks as I went about my daily routine, and I finally decided the dog’s instincts, loyalty, and nobility had to be rewarded, so I let him live. It wasn’t because some readers freak when we kill animals, but because I liked the creature I created based on my experiences with my own animals. Like the animal who is mismatched by professional gunmen, so too is my protagonist, who is an older man with no knowledge of, or use for high tech understanding. That old man is me to some extent, but he has neither phone (cell or land-line) much less a computer. Retired from the military, and estranged from his family due to his life choices, he spends his days fishing the lakes near Therio, Louisiana, and minding his own business, surrounded by neighbors who do not know him, but admire him for his qualities. He is the man I wish I could be, and I write him knowing that I fall miles short of him. But he is a man of integrity who is called on to face enemies he is inferior to (skill wise), but superior to morally speaking. He is a man with violence in his history, with right on his side, and who doesn’t have a chance as far as the reader knows. I’m having a blast writing him, and his enemies, who come to respect him even though they want nothing but to kill him and retrieve something he has been given. I think it’s the best story I’ve ever stumbled into, but others may disagree.

The creative process is so difficult on so many levels, but nothing is more rewarding when the process bears fruit, or more frustrating when it fails. Each time I sit down at this black box to start a new story I don’t have any idea whether or not I will be able do it all over again. So far I’ve been lucky, and hopefully the quest will only end when I am no longer able to sit here and think and dream. We talk about marketing, and building an audience, so we can be successful by the ways that are measurable, but what this is really about is the battle between us and filling the blank page.

One of these days I will write the doe I saw, and of her playing with the dogs, her sworn enemies. I will know when I need her and she will serve to make a point, and advance the story I’m wrestling with. I will continue to write characters with traits I wish I possessed and putting them through paces I can only imagine while I’m sitting at this laptop or gathering eggs or playing with my wonderful and complicated grandchildren. I hope someday those grandchildren will read my books and see something of the best of me in the pages they turn, and feel the awe and excitement I feel for my characters. To me, that hope is far more important than the checks that come in the mail, what my editor or publisher thinks, or just about anything else my overtaxed mind can imagine through the fog.


“My Writing Studio”

The Query Quandary

By John Gilstrap
http://www.johngilstrap.com

Before getting to this week’s real topic, I thought I’d preen with a bit of shameless self promotion. A while ago, I revealed that I had optioned the film rights to my nonfiction bestseller Six Minutes to Freedom. I can now announce officially that I have signed on to write the screenplay as well. Hoorah! For details, please visit my website (see above). I am thrilled beyond belief.

We now return you to our originally scheduled blog . . .

I was chatting the other day with a writer-in-waiting who was distraught that “no agent wants to represent me.” Ah, the angst. She moaned, “I’m never going to be published.”

At that point, she’d collected 7 rejections. Seven. As in one less than eight. And they’re just cold-hearted form letters to boot. Can you imagine? Oh, please.

I wager most of us have a collection of blistering rejection stories. My favorite of the 27 rejections I accumulated before I finally landed an agent was the New York publisher whose rejection consisted of my own letter sent back to me with a stamp—you know, one of those rubber things that you pound on an ink pad—that said “No.” As if it would have broken her hand to actually hand write those two words.

Okay, I have another favorite, too: the one who sent me my rejection letter two months after my book had been published.

Rejections are a constant in this business. I know more than a few authors whose rejections numbered in the triple-digits before they finally made a connection. It’s just the way it is.

During this rejection stage, you often hear dejected writers complain, “Nobody wants my book.” Self pity aside, such is never the case. Nobody’s rejecting your book; they couldn’t possibly be. That’s because nobody’s seen your book. They’re rejecting your query.

In my experience, the vast majority of query letters suck.

They’re flat, lifeless bits of business correspondence that get lost in the shuffle of the hundreds of other bits of flat, lifeless business correspondence that litter an agent’s desk or email inbox every day. It’s astonishing, really, when you think that after spending months or years crafting a novel, a writer would quickly pound out a query letter and launch it into the world where creativity and originality of voice means everything.

At the moment when a query letter matters, it is the most important document of your creative life. It’s the only tool you have. It needs to be carefully nurtured. Carefully crafted. If you’re interested, I wrote an essay on query letters a few years ago. You can read it here: http://www.johngilstrap.com/essayqueryletter.html .

What about you? Have you got any inspiring (or frightening) rejection stories you’d like to share? C’mon, spill. We’re all friends here.

Social Networking Showdown

by Michelle Gagnon

At Left Coast Crime a few weeks ago, I was part of a great panel on utilizing the Internet to market your book. This is a bit of a double-edged sword: now that much of the marketing burden falls on authors’ shoulders, being able to reach people without an insanely expensive direct mailing is invaluable. However, online networking can also become a tremendous time suck, drawing valuable hours away from what writers should primarily focus on: their manuscripts. Today I’ll discuss which sites I’ve found most valuable in a head-to-head match up, as well as sharing how I stay on top of them without losing my mind.

facebookFacebook vs. MySpace

I confess to being one of the “old people who joined up and ruined Facebook.” I now have more than a thousand friends, and probably post something to the page once or twice a week. I’m also on MySpace, but have found Facebook to be far more user-friendly to someone as technologically challenged as myself. (However, if I was working on a YA novel, MySpace would probably be where I devoted more of my focus). A couple of things to bear in mind when using these or other social networking sites:

  • Public vs. Private: I keep my pages public, and will friend anyone who asks. So anything that’s truly personal, such as family photos, etc, doesn’t get posted there. And if anyone tags me or mine in such a photo, I immediately remove the tag. myspace
  • In order to maintain my sanity, I go onto each site once a week (Facebook on Mondays, MySpace on Tuesdays). That’s when I accept friends, answer emails, and respond to comments. If I stumble across an interesting article online, I have the “share on facebook” tab incorporated into my browser, which makes it oh-so-easy to post it to my page (another clear benefit of Facebook over MySpace).
  • The cocktail party rule: I rarely post anything political on any of my pages. Again, this is a matter of personal preference, but I would rather discuss my books or interesting developments in publishing than who I voted for.

Shelfari vs. GoodReads

shelfari The trick to these is joining groups that read books similar to yours. I’ve generally found Shelfari to be more useful, although I do get updates from GoodReads discussions as well. The Shelfari groups just seem to more active, especially the “Suspense/Thrillers” one, which graciously invited me to lead a discussion of Boneyard last August. Every so often I’ll remember to log in and update my home page with the books I’ve read recently.

  • One caveat: if I don’t like a book, I don’t review it, period. Other authors have no problem posting negative reviews, so it’s largely a matter of personal goodreads preference. But I know authors whose feelings were hurt when one of their peers negatively reviewed their book on these sites, and figure it’s better to follow the, “if you can’t say something nice, don’t say anything at all” rule. The crime fiction writing community is a small one, filled with people who possess an encyclopedic knowledge base of how to kill someone and get away with it. Bear that in mind when you’re considering giving a book one star out of five.
  • I join in whenever people are discussing a book I really enjoyed, or an author whose work I admired. After all, I’m a reader as well as a writer.
  • Be careful in how you participate. When someone I’ve never heard of joins one of the discussions and proceeds to blatantly flog their own work, it’s a huge turn off. Probably better not to participate than to do that. This isn’t to say that you should never mention your book- but other members will be more receptive if you’re someone they’re already familiar with.

Twitter

twitter I’m not a big tweeter. I post links to my Kill Zone posts (and guest posts,) and occasionally link to articles or posts that I found interesting, but I simply don’t have time to announce what I had for lunch every day.

siamese Crimespace et al

I know other crime fiction authors love Crimespace, but I haven’t used it much. Most of the Ning circles (and I’m part of five) don’t seem very active to me. This could be my own failing- I find them challenging to navigate, and frankly my other pages are so easier I forget about these. Same goes for Gather, Bebo, Linked In, etc. You might have better luck. If you write books with a Siamese Cat sleuth, and there’s a Siamese cat appreciation group on one of the social networks, by all means take advantage.

Newsletters:

I have a pet peeve. Say we met at a conference and chatted about marketing. I offered to continue the discussion by email. Then, I find myself getting a deluge of newsletters from you, none of which I signed up for. Or worse yet, you mined my email address from a mass email sent by a mutual friend (note: always bcc people on those emails). This has happened to me more times than I can count. DO NOT add people to your newsletter unless they have specifically asked to be included. Have a sign up sheet on your website, and make it easy for people to unsubscribe.

And that’s my two cents. So what have the rest of you found to be useful? Any tips to share?

The Rules for Writing Fiction

By Joe Moore

Don’t get me wrong. I believe that the only rule we should apply to writing fiction is: There are no rules; do whatever you want as long as it works. Okay, if you pressed me to the wall, I would have to add two others: don’t bore the reader, and don’t confuse them.

When I speak of fiction writing “rules”, I don’t mean the basics of spelling, grammar, punctuation, syntax, split infinitives, daggling participles, and the other stuff we learned in school. As artists, let’s move beyond the assumed knowledge and manipulation of the English language to the aesthetics of writing. The rules that apply to the art of storytelling.

vonnegut When dealing with the art of storytelling, the great Kurt Vonnegut declared 8 rules to write by. If it makes you feel better, let’s call them suggestions. But we should all take them to heart because they go directly to the heart of telling a compelling story.

Here they are:

1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.

The reader’s time is not only valuable, it’s sacred. There are a million other things demanding his or her attention. We should repeat that every time we sit down to write.

2. Give the reader at least one character he or she can root for.

The worst reaction that a reader can have is that they don’t care if the protagonist makes it or not. Let the hero or heroine see the goal line, then put a big wall in their way and hope the reader cheers for them to climb over it.

3. Every character should want something, even if it is only a glass of water.

This goes for all characters from the main stars right down to the single-scene walk-on.

4. Every sentence must do one of two things — reveal character or advance the action.

If it doesn’t, delete.

5. Start as close to the end as possible.

This is my all time favorite rule to write by. Whether it’s a scene, chapter, or the entire book, get to the point. Anything that happens before that, delete.

6. Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them — in order that the reader may see what they are made of.

Our characters are judged by their actions and reactions. Have them work for it.

7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.

Picture the typical fan that comes to your book signings. That’s who you’re writing to.

8. Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

This one sounds contradictory at first. But it’s not. It’s just another way of saying, cut the fat and get to the meat.

No one wants to slap a set of rules on creativity. And I don’t think Mr. Vonnegut meant to do so. But he called them rules because he wanted writers to pay attention. He wanted all of us to become better artisans. Read them each time you start to write. And when you finish for the day, read them again.

How about you? Do you follow his rules? Do you have others that help you in advancing your craft?