The Query Quandary

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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

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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

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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?

When it comes to writing, what’s your point of view?

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God, how I hate having to deal with point of view. Whenever I’m writing, POV feels like a technical constraint that limits expression. It forces me to make choices, to rein myself in and be disciplined. I really hate that.
And yet it’s critical that you set up POV correctly for your story. When you lose control of POV, you lose control of your story. And that’s when you lose your reader. (For an earlier discussion about POV, see our February Sunday writing blog.)
At one of my writing groups this week, we spent some time debating how to handle point of view in one of our member’s stories.

This particular story jumped in and out of the point of view of two characters within the confines of a two-person scene. On first reading, nothing seemed really wrong with the scene; I had to reread it several times to figure out why it lacked suspense and kept the reader at a distance. I finally decided that the real problem with the scene was its POV. In other words, there was way too much head-jumping going on.

So here’s a general guideline to help you avoid a POV trap:

Use only one POV per chapter or section (Sections separated by asterisks or a space).

The story we were reading in group had a POV that shifted between paragraphs (aka omniscient POV). That constant shifting created a confusing overall effect. I think it may be possible to present POV this way, but it probably takes an extremely skilled writer to pull it off. So why even play with POV fire?

Omniscient

The omniscient POV lets the writer enter each character’s head during a scene, and even lets the narrator provide direct observations. The story in my writing group is an example of a story that used an omniscient POV. It suffered from the same fate that omniscient POV stories usually do–the reader failed to engage with the characters or the story. Suspense was nonexistent.

Now that I’ve dissed the omniscient POV, however, I will admit that I’m considering using an omniscient narrative opening for my WIP thriller. In this case, the omniscient POV will function as a garnish, like the paprika sprinkled on top of the baked chicken to draw in the eye and make the dish look tasty.

First Person

Favorite of detective novel series (to the point of being cliche), the first person POV has decided pluses and minuses. It’s a very intimate POV (you know everything going on in the character’s head), but you can only know and see what that character learns and sees throughout the entire story.

It’s tempting to use first-person POV, but trust it from a writer of first-person POV mysteries, it’s incredibly awkward to try write your character into every single scene.
It’s also awkward to make sure that your character doesn’t “know” anything in the story that he or she hasn’t seen, read, or been told.

Limited Third Person

Similar to the first person POV, only it uses he/she instead of “I”. My sense is that this POV is getting less popular, but it may just be me.

Multiple Third Person

Lets the writer switch from character to character. This is probably the best choice for most thrillers. This POV lets you roam free on the range with the buffalo.

Mixed

This is a mixture of first person with multiple points of view. For example, some thrillers use a first-person POV for the bad guy while everyone else is presented in third person. This approach can help build suspense.
Second
This POV is so rare I forgot about it until Joe Moore reminded me about it in the comments just now, so I’m adding it back in. Second person POV is where the writer talks directly to the reader. No wonder it’s an unusual POV–I find it completely annoying.
To wit:
You’re walking along and then you realize someone is following you. You spin around and then…Blam-o!
Bleah.
So I’m wondering how you make your POV choices for your novels, and are there any POVs that you love? Loathe?

Too Close for Comfort?

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by Clare Langley-Hawthorne
http://www.clarelangleyhawthorne.com/

I was a little disconcerted when I read in my old local paper from Melbourne Australia, The Age, online about the weekend’s shootings of four police officers in my current home town of Oakland, California. It wasn’t the incident (tragic though it is) that was the cause of my disquiet- sadly Oakland is all too frequently associated with violence and crime these days – it was the fact that the news had travelled thousands of miles across the Pacific to become a headline there. No doubt we will have to fend off worried phone calls from family in Melbourne as they lament (as they always do) the current state of America…but it also reinforces the global reach of news these days and how fear, like tragedy, is imported day after day till it’s firmly embedded in our psyche to the point that we become either overwhelmed or inured to it. This made me consider why I write what I write and what is for me ‘too close for comfort’.

Why, for instance, do I write a historical series rather than a modern day crime series dealing with the very real fears we all face? On one level I like the sheer escapism of writing about another time and place and I love immersing myself in historical research but on another level I think perhaps I’m also avoiding writing about things that cut too close to the bone. Call it ‘dread avoidance’ – the art of skirting around the very essence of fear itself. Stephen King I believe once said that he wrote ‘horror’ because at some level writing it protected him and his family from it ever happening to them. I think for me the opposite is true – not writing about it a kind of protective measure (which seems a slightly pathetic admission doesn’t it from a mystery writer?)

There is obviously plenty of room in the world of books for stories that both confront fear and those which provide a heady escape from those fears. For the development of my own craft, however, I know that one day I will have to set aside my inhibitions and face ‘the darkest dread’ in my stories. What I want to know is how you as a reader or a writer feel? Are there some things too close for comfort that you could neither read nor write about? How do you face the challenge of confronting these issues as well as these fears? If you write about them does it make it easier or harder to confront?

How Much Can You Put a Character Through?

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neil-plakcyToday the Kill Zone blog welcomes our guest, award-winning author Neil Plakcy. Neil is the author of Mahu, just re-released in trade paperback by Alyson Books, and its two sequels, Mahu Surfer and Mahu Fire, which won the Hawaii Five-O award for best police procedural, and is a finalist for the Lambda award for best gay men’s mystery. His fourth book, Mahu Vice, comes out August 2009. Neil is the Vice President of the Mystery Writers of America, Florida chapter.

A few years ago, as he was getting his breakout novel Mystic River ready for publication, Dennis Lehane spoke at the Miami Book Fair. He’d just published the fifth Patrick and Angie book, Prayers for Rain, and he said that he’d put them through so much that they had just stopped talking to him. He thought he’d give them a break and write something else.

That idea really resonated with me, and I started to think about all the other fictional detectives, and their families and friends, who’d been put through the wringer a few times. In Les Standiford’s Deal series, Deal’s wife Janice leaves him after she’s been kidnapped, nearly drowned, and who knows what else.

The king of putting a character through hell, as far as I’m concerned, is John Morgan Wilson. Poor Benjamin Justice has lost his job and his reputation, been raped, infected with HIV, and had his eye put out. Just thinking of all that stuff makes me shiver. My hero, Honolulu homicide detective Kimo Kanapa’aka, is my alter ego, and I can’t imagine putting him through so much—it’d kill me, if it didn’t kill him!

Not to mention the complications you set for yourself, as a writer, when you make such a major change to a character. If you shoot your protagonist in book one, then the effects of that shooting are going to resonate for a while. Kill off a girlfriend or fiancée, as they used to do regularly in the James Bond movies, and your hero’s got to get a little shy of entering a new relationship. Zoe Sharp’s Second Shot begins with Charlie Fox getting shot—and the effects of that shooting resonate through not only that book, but Third Strike, the book that follows, as well.

mahu The same goes for the supporting players. Kimo’s best gal pal since high school, Terri, loses her husband in Mahu, the first book in my series. And then, in Mahu Surfer, the poor thing ends up in a firefight at her uncle’s house. In an early draft of the third book, Mahu Fire, I put her on the mountainside among the others Kimo needs to rescue.

Then I stepped back. How could I do that to her? And more important, would she ever talk to Kimo again after being traumatized in three books? I believe in recycling characters—but I knew that I couldn’t keep putting Terri in jeopardy, or she just wouldn’t remain a convincing character.

When I was in graduate school at FIU, our teachers, including Les Standiford and James W. Hall, reinforced to us that what happened in our books had to matter to our characters. It wasn’t enough for a detective to investigate a case; he had to have a personal stake. In Mahu, Kimo was fighting to restore his reputation at the Honolulu Police Department, and then in Mahu Surfer, he struggled to prove that he could be as good as any cop on the force, if given the chance. I added an extra bounce by bringing in an old nemesis and then putting his close friend at risk.

As I’ve written more books, it’s getting harder to find that personal connection for Kimo, without incurring what I think of as the Cabot Cove Syndrome. I used to wonder why anyone would associate with Jessica Fletcher, since her neighbors, friends and colleagues died so regularly. How much could Kimo’s friends and family take before they would get the hell away from him? And how to avoid the coincidence factor? Fortunately I write about an island, where there are lots of personal connections, where the cops either grew up with the crooks or are related to them, but it’s still important to maintain credibility.

In Mahu Fire, I brought back a sympathetic teenager from Mahu, who’d gone through some hard times, and made things even tougher for him. I teamed him up with a new character I hoped readers would care about. People care about kids, right? And then in Mahu Vice, which is coming out this August, I threw Kimo’s gay pal Gunter into danger, along with Kimo’s troublemaking brother-in-law.

But I try and remember, especially with these supporting characters, that they are civilians, not police officers, and then when they go through trauma, it’s going to take them a while to recover. Kimo’s a tougher guy; by the time we meet him in Mahu, he’s been a cop for nearly six years, three of those as a detective. He’s still got a soft heart, but his skin has been toughened by what he has seen and experienced on the street.

I’ve been shaking up his personal life, though, moving him in and out of romance, but to me that’s all part of his emotional growth and development. Getting dumped isn’t quite as life-threatening as getting shot at, but it’s still pretty painful.

For now, Kimo and his friends and family keep talking to me. Maybe some day, like Patrick Kenzie and Angie Gennaro did with Dennis Lehane, he’ll stop. But for now I’ll keep on throwing him curve balls and seeing how he, and his loved ones, react.

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

CALENDAR OF UPCOMING GUESTS

Mark your calendar for the following guest blogger at the Kill Zone:

Liz Jasper, March 29

THE SMELL OF CORDITE IN THE AIR OF INACCURACY

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By John Ramsey Miller

I have been guilty of having the smell, or swirling of, Cordite in the air after gun play. The other night watching TV I heard one of the techs on CSI (someplace or other) saying that she smelled Cordite in a room, which is more than unlikely since Cordite hasn’t been around since WWII. There is no Cordite whatsoever in modern ammunition. With modern ammo you can smell the pungent Nitroglycerin after firing. Modern powder is basically sawdust soaked in nitro coated with graphite. In very simple terms, the shape and coatings control the burn rates. Of course, you won’t get any smell when using air guns (for the best ones click to read the review here) but with real guns, there’s definitely a smell.

To smell Cordite you’d have to have people firing very old ammunition. According to a quick check under Cordite on Wikipedia: “The smell of Cordite is referenced erroneously in fiction to indicate the recent firing of weapons.” So from now on, unless I am writing a period piece, it will be “The pungent smell of nitroglycerin, sawdust, and graphite swirling in the air.” Or I’ll just say, “the smell of gunpowder.”

We’ve discussed accuracy in fiction here before, and maybe it’s worth a second go-round. There are more mistakes made about guns than most other subjects in modern fiction. Maybe that has to do with the fact that the majority of authors are not gun familiar, or comfortable with guns. When it comes to guns, I don’t know everything about them, but I do know enough to safely handle Airsoft Guns all of my adult life. I am hardly an expert on the subject, but I know several (Scotty Boggs, Jason Parr, and Gary Reeder) and never hesitate to ask them for technical advice.

Modern gunpowder is slow burning and non-explosive until it is put into a confined space to allow compression and a spark is introduced by a primer. If you put black powder into an ashtray and put a cigarette in there, your fingers will throb for a very long time and the blackening will be burned into the skin. It explodes without being compressed when a spark is introduced, or rather it burns so fast it seems to explode. John Gilstrap can write here about explosions as he is an expert in energetic materials. When I was in college I put a cigarette into an ashtray I’d poured black powder into.

Here I present a few basics, and probably as much information as an author really needs to know to keep gun owners from laughing out loud and maybe never reading that author’s books again. The two handguns depicted below are my own: the revolver is a Smith & Wesson K-22 Model 17 in .22, and the semi-automatic is a Colt 1911 Model 80 in .45 ACP.

REVOLVERS are guns with cylinders that turn (clockwise or counter-clockwise depending on the manufacturer, model, and date issued) to allow a new bullet to present itself before the firing pin in its turn before the barrel. They are also called “Wheel” guns, and may or may not have an exposed hammer. Some hammers are shrouded so the hammer won’t get caught on clothing. They will hold from five to nine rounds depending on caliber and model. Revolvers do not usually have safeties. Not being cocked and/or not having the trigger pulled back is the revolver’s sole safety method. Older guns may be fired if the hammer is struck by force and the firing pin hits the shell’s primer. That is why most cowboys carried the cylinder under the hammer empty. Modern revolvers have a block between the pin and the primer unless the trigger depressed when the hammer falls. There are two types of revolver: the DA, for double action and the SA, for single action. With an SA you have to cock the hammer to move the cylinder (think cowboy gun) or the DA, whose cylinder turns as you squeeze the trigger, or when you cock the hammer.

A SEMI-AUTOMATIC handgun has no cylinder, but is fed cartridges (bullets are the nose of a cartridge) from a magazine (housed in the handle), which holds the cartridges in a stack under pressure from the spring. As each bullet is fired, the receiver slides back from the pressure of the explosion and the extractor grabs the rim of the casing to pull it from the chamber, and flip it out to the right. (There are a few left-handed 1911s whose casings flip to the left). The receiver then moves forward under spring tension and, as it goes, it pushes the next cartridge in the magazine into the chamber and leaves the hammer (or striker assembly in the Glock) cocked for the next trigger pull.

All handguns have some safety mechanism. Some have magazine disconnects (won’t fire without at least an empty clip in place) or some firing pin block (to prevent firing when dropped) is usually incorporated. Most semi-automatics have one or more safeties, and some have none to speak of except a lack of trigger pull. A Colt 1911 (They come in several calibers including .45 ACP, .38 Super. 9MM, and .22 LR) has several including a thumb safety, a grip-strap safety, and on some a half-cock, and one that involves pushing back the receiver a fraction of an inch to prevent it from firing. The latter would be a last ditch to keep the gun from going off, and if you miscalculate and the gunman is lucky, the bullet will pass through your palm. When semi’s last bullet is fired and its case ejected, the receiver locks open to let the user know the weapon is out of ammunition. Slap in a mag, release the receiver, and there’s a new round in the chamber.

You will hear over and over that “Glocks do not have safeties.” But they do. Glocks do not have “external” safeties, but they have the two-part “safe-trigger” which actually is a safety. On a Glock the “Striker” (no internal hammer) is half cocked by the first 1/4″ of slide retraction while chambering a cartridge. The other “half-cocking” of the striker is the first stage take up of the trigger pull. On a Glock you get ONE SNAP, then you have to jack the slide resetting the half cock on the striker to have another snap. With some practice you can only pull the slide back just enough to reset the action without ejecting the “dud” round for another try. Interesting isn’t it? There may be exceptions to what I’ve written, but I think it is accurate enough to get a writer around in a shootout. And probably more than most of you want to know.

A cartridge is made up of four parts: Casing, Bullet, Primer, and Gunpowder. The bullet is the projectile that is seated in the casing, but the cartridge is never accurately called a bullet. A shotgun round is referred to as a shell. A shotgun shell (or round) that has been fired is often called a hull. A shotgun shell holds either pellets or a single slug.

A magazine can hold as many rounds as its length and width accommodates. Some mags hold bullets in a straight line and some are wider to allow staggered rounds. Low capacity factory magazines hold from six to eight rounds. You can keep one on the chamber to add an additional round to the gun’s capacity. Hi-capacity magazines hold more shells than a standard mag. I have had fifteen round mags, and some handgun magazines hold twenty or even thirty rounds. Some handgun drum magazines hold more …a lot more.

A magazine can be called a clip. In the military a rifle or machine gun has a Magazine, handguns can have clips. People rarely say clip any more but it was once common to call any magazine a clip. There are clips that hold .45 ACPs in a half moon for use in .45 LC revolvers, and to shoot 9MM rounds in a 38, but they are rare enough that an author shouldn’t need to concern themselves with those.

There’s lots more to know like available calibers, shotgun gauges, How a barrel length’s effects powder burn and velocity, range, knock-down values, recoil, and trajectory. There are enough bullet types and weights to fill several books. And every author who writes weapons should buy a copy of Gun Digest so they can read about and look at the weapons they write about. Write it off as reference material. Get the latest one you can find because they add new gun models yearly, but anything in the past ten years is plenty for most applications. Any bookseller has them and EBay has lots of them used. Here’s the link:
http://shop.ebay.com/?_from=R40&_trksid=m38&_nkw=Gun+Digest&_sacat=See-All-Categories

You can study guns for the rest of your life, but the truth is, authors don’t need to know very much to keep from writing someone shoving a clip into a revolver, playing Russian Roulette with a Glock, or just writing convincingly about what a character has in their hand, handbag, or holster, or how that gun works.

Been There, Been That

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

I’ll be honest: This is not the blog entry I’d intended to write, but given the posts over the last two days, inspiration struck while I wasn’t looking.

I think Ol’ Cap’n Sully is worth every dime of the $3.2 mill his agent was able to squeeze out of William Morrow. He’s worth twice that if that’s what Morrow was willing to pay. That’s how the game works. Agents pitch books, publishers make offers and authors accept or decline. I know for a fact that if Pinnacle, my current publisher, had offered ten thousand dollars more than they did for my next book, I would have accepted it. Ditto a hundred thousand or a million or even five million. I’d be out of my mind not to. I’d expect nothing less (more?) from someone as sharp as Sully.

I think Mark Combes had it right in his reply to Michelle’s post yesterday. Publishing is not a zero sum game. The fact that Sully got big bucks does not mean that someone else won’t. I heard on the news yesterday that Crown is paying $7 million for President Bush (43)’s book on his most important decisions. That’s $10.3 million in a single day from two different publishers. Will they earn out? I’m betting they come close, but I’m sure that from the authors’ perspectives it doesn’t matter.

I’m equally sure that as authors competing for shelf space in the same stores, it’s none of our business. I find the sniping about such things off-putting.

Fourteen years ago, I had the honor to be one of the seven-figure first-novel news items. After decades of writing for my desk drawer, I’d achieved my lifelong dream–in spades. I think I’ve written in this space before about the thrill I feel being in the company of writers, of calling myself a member of the club that I’ve always dreamed of joining.

Unfortunately, my newsmaking advance barred my immediate entry to the club because I was assumed by some of my “colleagues” at the time to be a talentless hack who happened to bamboozle gullible publishers (23 of them worldwide) out of money that they could never earn back. Because I hadn’t paid my dues, some of the authors I admired most wouldn’t even speak to me.

Most notably, I was in New York attending an event when a well-respected midlist mystery writer introduced me to one of the Great Names as “John Gilstrap, the guy who made X on his first novel.” The Great Name glanced at my outstretched hand and walked away.

Even though all of these authors understood how the game is played, their prejudice (jealousy is too loaded a word, and is too self-elevating) was focused on me—not on my agent and not on the publisher, but on me. I guess no one wants to burn bridges with agents or publishers. I have it on good authority that my advance in and of itself made NATHAN’S RUN dead on arrival as a possible nominee for a first-novel Edgar Award. (I’m not saying that I would have won, or even should have; only that I was told that the fix was in from the beginning.) That’s tough stuff.

As for there being no zero sum game, I think it’s interesting to note that one of the popular and woefully underpaid writers at the time—and one who always treated me very well, in fact took me under his wing—recently signed a reported $10 million book contract. Good for him.

Every year brings a new crop of newsmaking advances. Some of the recipients are celebrities, some of them are short-term headline darlings cashing in, and some of them are real authors beginning what they hope will be a long career. Each of these newly-anointed rich folks triggers a new round of behind-the-back sniping. I understand where it comes from, but I can’t bring myself to participate. Been there, been that.

What’s Wrong with Publishing

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sully So last Sunday morning as I was drinking my coffee and scanning the book review section of the Chronicle, I stumbled across this little nugget:

Chesley Sullenberger of Danville, the US Airways pilot who safely landed his jet in the Hudson River in January, has signed a $3.2 million deal with William Morrow for two books, reports thedailybeast.com. The first will be a memoir; the second a book of poetry.

I nearly spit out my coffee.

Now, don’t get me wrong. I have as much respect and admiration for Captain “Sully” Sullenberger as everyone else. Safely landing a plane on the Hudson and sparing all lives? Amazing. If possible, I’d like to have him at the helm of every future flight I take.

But a 3.2 million dollar book deal?

I don’t fly planes, and have no aspirations to learn how to when I retire. Many good friends of mine have managed to spend their retirement in true luxury due to the efforts they put in with sites such as EquityRelease.co.uk to solidify their financial situation, and this may be something that I choose to do too. I think Sully has probably led a fascinating life, perhaps even one worth reading about. But let’s have a show of hands: do any of you think that William Morrow is going to be able to recoup this advance, especially considering the attention span of the average American?

Maybe. We do love heroes, and there’s a chance that if this book gets cranked out quickly and makes it to market by Christmas (which I’m guessing is their target release date), people will still consider springing for the $25 purchase price. But will enough do so to earn back that advance? Or will there be another hero on our radar by then whose story is equally compelling? (And I’m just going to throw this out there: unless there’s a whole bestselling sub-genre of airline poetry that I’m unaware of, I’m guessing they were planning on throwing 3.2 million at him for the memoir, and he asked for the poetry book as an add-on. I’m just saying.)

As the midlist slowly shrinks and more and more authors are being offered advances that amount to less than minimum wage for their efforts, discovering that the octuplets mom, or Joe the Plumber, just signed a seven-figure book deal is octupletsincredibly disheartening. I’m not saying that these people can’t write- who knows, maybe Nadya Suleman is the next Zadie Smith. But the implication is that anyone can write a book, that it requires less effort than other fields of expertise. When I meet a physicist at a cocktail party and they invariably announce that they’re planning on becoming a writer as soon as they retire, I smile and nod encouragingly, when what I actually want to say is that when I retire, I’ll be working on cold fusion. Of course many authors have a second job to support their writing career (hell, with what we get paid, we have to). And when I was a personal trainer, I drew plenty of raised eyebrows at the pronouncement that I was working on a novel. But then, no one ever offered to throw a huge advance at me in a crass attempt to cash in on my fifteen minutes of fame.

So when the publishing industry bemoans the fact that no one is buying books anymore, and that they need to lay off staff and cut expenses to keep themselves afloat, I’m increasingly unsympathetic. Perhaps they should take a long, hard look in the mirror and ask themselves if it’s really worth spending the bulk of their energy and finances chasing the public’s tail. Maybe it’s time they got back to supporting good books by people who have devoted their lives to the craft of writing them.

Now you’ll have to excuse me, I’m off to find something that will draw me praise or scorn in the public arena, hopefully enough to raise my profile. While I’m gone, take a stab at an airline poetry haiku. Here’s mine:

Stuck in the middle seat

No food, no water, on the tarmac

Oh my God someone farted.

Building a Writer’s Platform

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By Joe Moore

As the responsibility of marketing and promotion falls more and more on the shoulders of the author these days, one of the questions that agents and editors ask novelists is “What is your platform?” With the economy putting extra pressure on publishers, they expect writers to come to the game bringing a ready-made audience. They not only want but expect authors to already have established a fan base or at least a group of potential fans—and for new writers, this is BEFORE your book comes out. Even veteran, multi-book authors must have a solid, established platform. It’s part of the “new” business plan.

So what is a platform?

platform1 In a single word, your platform is your “brand”. Having a platform helps your relationship with your publisher, and it can assist you in selling more books.

So how do you establish or build your platform? The quickest way is to start with the Internet. Here are a couple of methods to begin nailing that platform together.

Website. There was a time when a website was only for the rich and famous. Those days are long gone. A writer without a website is about as logical as an author without a telephone. Outside of the bookstore, the author’s website is the “first impression” a potential reader gets of your brand. It’s truly a no-brainer. Your website is your billboard, your advertisement, your calling card. And the potential for delivering a creative message is only limited to your imagination. Essential elements on your website must include: a method for contacting you; a method for purchasing your book(s); a method for the press to gain information (digital press kit); an incentive to linger or return such as a contest or free sample chapters; a method to track your website traffic. Other considerations include continuity in your site colors and design that are in sync with your book covers or other branding elements, and a reasonable amount of interactivity such as a method of leaving comments or subscribing to newsletters and publication news.

Blogging. You obviously know about blogs or you won’t be visiting this one. A blog is an online method of expressing your thoughts with a means for visitors to leave a comment or opinion. As a writer, your blog will probably be about your writing, your books, or some other connection to your craft and career. Some authors like to venture away from their books and discuss other topics such as politics, religion, economics, etc. A word of warning: You’ve worked hard to establish and build your “brand”. Don’t blow it by pissing off your readers. At some point they just might reject your next thriller or mystery because they don’t agree with your position on unrelated issues. A blog can easily turn into a slippery slop.

Newsletter. As previously mentioned, your website needs a method for your visitors and fans to subscribe to a newsletter or news bulletin. If they’re a fan, they want to know about you and your books. When is your next book coming out? When are you going to do a signing in their area? Will you be at a particular writer’s conference? They want the news. And the best and most economical way to get them what they want is an electronic newsletter. There are numerous email-generating newsletter sources that you can use to put together a value-filled publication. A few suggestions are Constant Contact, MailChimp, and Vertical Response.

Write some stuff. Any writing credit is a good writing credit, and it helps build your platform. No matter what you write, whether it’s for the local paper or a national magazine, you’re byline will contain a mention that you are a novelist. So if the reader likes your article or how-to piece, and they see you also write thrillers or mysteries, that’s a potential plank in your platform.

Book forums. There are a ton of forums out there dealing with readers and writers. A good resource to begin finding them is groups.yahoo.com/. Others include WritersNet, Helium, Backspace, and Absolute Write. Make yourself known on these and similar forums and you’ll be adding to your brand and platform.

Social Networks. Sites like MySpace.com, LinkedIn.com, Facebook.com, Twitter.com and countless others are perfect for building your brand. The only potential risk is the time you might spend on these sites instead of writing your book. But they are a terrific source of finding your dedicated or new fans. A word of caution: see the note on blogging above.

Additional platform building tools include professional publicity photos of yourself and a strong press-ready biography. Also, memberships in writer organizations such as the International Thriller Writers or Mystery Writers of America help build your brand and platform among your colleagues and fans. The networking and connections made within these organizations and their subsequent writer conferences are invaluable.

How’s your platform coming? Any other suggestions on building a strong brand?