By John Gilstrap

With the publication of White Smoke last month, the third book in my Victoria Emerson post-apocalyptic thriller series–the past couple of weekends have been consumed with signing events. On March 11, I was lucky to be a part of the Suffolk Mystery Authors Festival in Suffolk, Virginia. Hank Phillippi Ryan was the guest of honor, and I was one of 50 other authors representing every corner of the mysteryverse. Then, on March 18, I hosted a public signing at Four Seasons Books in Shepherdstown, WV. I am pleased and proud to report that I sold out of books at both events.

Having been in this business for a long time, I have some observations to share about the art and science of book signings. What follows are my own experience. Anyone who disagrees or sees things through a different lens are heartily invited to chip in.

The purpose of a live book signing has less to do with the author making money on the day of the event than it does about making the bookseller pleased and proud to have been involved in the event. Think about it from their point of view. Irrespective of how much of the promotional burden you choose to carry on your own (and that should be a lot–more later), the bookseller has to order the books in, promote it within the store and do whatever they can to build buzz. You don’t want them to feel as though they’ve wasted their time.

My book signings look a lot like cocktail parties. In the case of the signing at Four Seasons Books, since I’m new to the community, I bought a gorgeous charcuterie platter from Graze Ful, a local caterer, and we brought in red and white wines from Grapes and Grains Gourmet, a wine merchant located a block away from the bookstore. My wife is instrumental in making tables look lovely. To that end, we bring our own tables, tablecloths, napkins, glasses, trash bags and cleaning solutions. When the party is over, we want the bookseller to be left only with profits–not with a big cleaning chore.

I always bring extra books–especially for the first event with a new bookseller. It’s always hard to estimate how many books is the right number for a signing, and for reasons that make all the sense in the world, booksellers often underestimate. If they run out of their stock, they can dig into my author’s copies, which they sell at list price and then just backfill my copies with the next order from their distributor. This saves a lot of embarrassment.

Show loyalty to your bookseller. I have it on good authority that when John Grisham was just starting, trying to sell A Time to Kill out of the trunk of his car, only a handful of booksellers would allow him to do live promotional events in their stores. Among them, I am told, were That Bookstore in Blytheville (Blytheville, AR), Burke’s Books (Memphis), Square Books (Oxford, MS) and Quail Ridge Books (Raleigh). There might have been a couple of others. But here’s the cool part: after his career went stratospheric, those were the only stores where he would hold signing events. In the lead-up to his live event, he would sign (maybe he still does, I’ve never met him) thousands of pre-orders from each of those stores. Think of the windfall for the booksellers!

Now, I’m a mere bottom-feeder compared to that other JG, but I love the fact of his loyalty. So, now that I have settled into my forever home, I now have a forever bookstore. Anyone who buys my books through Four Seasons Books can get a signed copy mailed to them. I’ll even do personal inscriptions.

Promote, promote, promote. I’ve got something like 4,500 subscribers to my newsletter, and another 2,500 Facebook followers (presumably with quite a bit of overlap there). About two months ago, I sent out a save-the-date announcement. Two weeks before the event, I sent out invitations for the world to attend, and then a few days before the signing, I sent out yet another invitation, this time with parking instructions because street parking in Shepherdstown can be a bit dicey on the weekends. From all of that, I figure we had about 50 people come to the signing over the course of two hours. In addition to that, I signed a healthy handful of pre-orders.

You don’t need swag. As one of 50 authors at the Suffolk Mystery Authors Festival, my job for the day (1-5pm) was pretty much to sit at a signing table and wait for attendees who paid $30 apiece to attend to choose which books they wanted to buy. As I mentioned above, I was fortunate enough to sell out, but the sales per unit of butt-numbness was pretty low. I had lots of time to observe my book-hawking colleagues, taking note of what seemed to work and what did not.

Three or four had massive, five-foot-tall banners with their book titles and the authors’ likenesses, which they set up next to themselves–as if their flesh-and-blood presence is somehow reinforced by a printed image. I don’t understand the theory. Frankly, I think it projects a weird desperation.

While everyone loves candy, I don’t believe that miniature Snickers bars–or even Twix, the gold standard for candy–have ever sold a book. I watched countless attendees snag candy out of authors’ candy jars without even slowing. Not once did I see an author use the passing instant of candy-grabbing to engage the grabber in conversation about their book.

Engagement is everything. In the mind of your readers, your status as an author makes you a celebrity. Because of your talent and hard work, you are engaged in an activity that others dream of performing, and that makes many people uncomfortable to even say hi. It’s perfectly normal, and extremely humbling. As the focus of a signing event–irrespective of the venue–the responsibility lies with you to engage with attendees. When I’m stuck behind the table signing, my wife works the room to greet people and make them feel comfortable. Would they like something to eat? A glass of wine?

The enormously talented Lisa Scottoline actually stands in front of her signing table and greets every fan personally, often with a hug. I’m not a huggy guy, so that won’t work for me, but it’s very impressive to watch.

So, is handing out candy your thing? Bookmarks, maybe? That’s fine. If you find yourself sitting at a lonely table in a big box store where people are avoiding eye contact so they don’t have to talk to the author they’ve never heard of, consider filling your pockets with the swag from your dish and personally hand it out to customers in the aisles. I do this with bookmarks. “Hi. I’m John, the author at the front table. No pressure. I write thrillers. Here are a few of my titles if you want to look me up. Have a great day.” Every single person went right to their phones to look me up. A few then went on to buy books.

Okay, TKZ family, what am I missing?

By PJ Parrish

My post today is going to sound a bit crabby, and for that I apologize. Okay, here goes: . I am not a big fan of historical fiction. I know there are many many truly great historicals out there, and a few remain among my favorites — Shogan, Beloved, Memoirs of a Geisha, The Underground Railroad, Perfume.

I’ve got my favorites from the historical mystery shelf as well — The Name of the Rose, The Alienist, Child 44, The Eye of the Needle, among others. I’m not a total philistine.

But most historicals I’ve tried leave me cold. And for the life of me, I can’t quite figure out why. I think it is because too many just try too hard to impress with…details.

Research is, as all writers know, very seductive. And sometimes, it shows.

To my mind, the best historical novels, first and foremost, explore the great themes of what we like to call popular fiction―crime, family, passion, betrayal― set against well rendered backdrops. The not-so-best of these, on the other hand, let the historical details overwhelm the story, choking the characters in layers of crinoline, stiff collar stays and stilted dialogue.

I’m crabby about this, I think, because the contest I am judging right now for a writers conference is coughing up a lot of historicals this week. I’m drowning in miladies, malingering lords, and gagging on the “sulphuric aroma” of gunpowder and the “foul hint” of stale tobacco. These manuscripts are far from bad; they are well crafted. But they are also boring because nothing is happening. And it’s not happening in numbing historically accurate detail.

I am also reading two historicals right now, and both are somewhat disappointing. I got Kristin Hannah’s The Nightingale for Christmas because the gifter knew how much I loved the TV series A French Village, a superb soaper set in a Nazi-occupied village. Hannah’s book is mildly diverting so far, but the 1939 France setting comes off a little post-cardy and I feel like I’ve met these characters somewhere before.

The second book I’m reading is Jess Walter’s The Cold Millions. I love anything this man writes, truly. Two poor brothers struggle to survive in 1909 Spokane. Exquisitely detailed in its research and setting with a carnival parade of quirky characters. The writing is dazzling. Yet the book is very put-downable. I’m almost half-through and the story itself just isn’t gelling as a whole. It’s more picaresque than well-plotted.

So all this has me wondering why some historicals captivate while others capsize. I don’t have the answer, folks. I actually have written two historicals — fat family sagas with love and sex, one set in post-earthquake San Francisco, and another set in Belle Epoque Paris. You can find them both on Amazon for about a buck a piece. Heck, let me know and I will give you a copy. I have lots left.

My late friend Jerry Healy once quipped that I still write historicals because my Louis Kincaid mystery series is set in the Eighties. And yes, I had to be careful with my research as to when cell phones and DNA arrived, little stuff like that. But research never got in my way.

Maybe that’s all it comes down to — not letting the grinding machinery of research gunk up your plot or drown out what your characters are saying.

In 2003, Dennis Lehane was red hot. His Kenzie-Gennaro series had established his mystery cred. His blockbuster stand alone Mystic River was coming out as a movie. He had just published Shutter Island.  Where does a guy go from there?

He took a couple years off and in 2008 came out with The Given Day. It was a magnum opus historical set in post-war Boston. It clocked in at 720 pages. The New York Times called it “intensely researched” and I don’t know if that was a compliment. I found The Given Day hard going. It’s ambitious, sprawling and almost promiscuously sensual in its style, as in this sentence:

Lying together in the smell of flowers and the constant threat of a rain that never fell, as the ships left for Europe, as the patriots rallied in the streets, as a new world seemed to sprout between them even quicker than the blooming flowers, Danny knew the relationship was doomed.

I didn’t finish the book. After The Given Day, Lehane decided to go back to his Kenzie-Gennaro series with Mooonlight Mile. He told a British interviewer, about returning to genre fiction: “It’s ten years later, and it scares me. Do I still have that looseness? [The genre books] had an ignorance about them, and I wonder if I can recapture that now that I’ve flirted with self-importance.”

Two years later, Lehane came out Live By Night. It’s a slimmed-down sequel to The Given Day, with the spotlight lazer-trained on one character Joe Coughlin. It has the same beautiful Lehane writing, but the ease is back. Here’s the opening paragraph.

Some years later, on a tugboat in the Gulf of Mexico, Joe Coughlin’s feet were placed in tub of cement. Twelve gunmen stood waiting until they got far enough out to sea to throw him overboard, while Joe listened to the engine chug and watch the water turn white at the stern. And it occurred to him that almost everything of note that had happened in his life — good and bad — had been set in motion the morning he first crossed paths with Emma Gould.

The history is there in this gritty gangster yarn. The research is there, but now it’s background music for Joe Coughlin’s solo. Lehane finally won the Edgar that he should have gotten for Mystic River. I loved this book. Couldn’t put it down. It broke my heart in the end.

Okay, thanks for letting me vent today. I feel less crabby now, and am going to give Jess and Kristin more time to win me over. History doesn’t have to be drag.

Would love to hear some of you weigh in who are more learned in historical fiction than I am. What did you read that worked? What fell short and why?

The title of my most popular talk is “My Road to Publication, and Other Great Disasters.” It’s as long or as short as I need it to be, depending on how much time they allow me to speak, but the framework is the same throughout.

I do a lot of public speaking, and travel across the Lone Star State to discuss books and writing. Listeners hear about my disastrous starter agent, issues with my first novel, and the loss of a movie deal.

The presentation begins when I’m ten years old, touches on adventures and misfortune in elementary school, high school, and jumps to the first time I was published in a newspaper and finally my first novel.

Sounds dull and lifeless here, but, and I hope this doesn’t come across as conceited, it’s fun, entertaining, and informative all the way through.

When I first started this writing thing, no one ever told me I’d have to stand in front of crowds ranging from twenty people to several hundred and entertain them. I thought we were supposed to just write a novel, get it out there on the shelves, maybe do a couple of signings, and lean back to rest until it was time to write another one.

But signings, panels, and book clubs, are required for high visibility. It’s part of the job.

It comes natural to me. Maybe because I taught school for ten years and then became the spokesperson for the (then) tenth largest school district in Texas. Every time I turned around I was on the television, radio, or being interviewed by usually suspicious newspaper reporters.

Talking to folks is a barrel of fun, and almost every time I finish a presentation, at least one person comes up to tell me they enjoyed what I had to say, and that I’m “one of the best speakers they’ve ever had.”

Yeah, it sounds pompous, I don’t mean it like that.

Maybe that comes from that abovementioned 35-year career in public education, where I endured hundreds of dry, boring speakers who left me wanting to stick a log in my eye for relief. Staff once hired guy to speak for three hours in the morning and another three in the afternoon.

By ten o’clock, my boss was cleaning out her purse on the front row. She fired him by eleven that morning and we improvised for the rest of the day.

The worst presenter is the individual who stands in front of a crowd and reads to the assemblage in a long, droning voice. But, here’s that oddity in nature, it worked for one of my college professors who walked into the classroom, opened a three-ring notebook full of pages in plastic sleeves, and read some of the most fascinating American history anecdotes, facts, and information I’ve ever heard. His mix of styles kept us fascinated all the way through, and it was one of the few classes I truly enjoyed.

That may be where I learned public speaking, because it sure wasn’t in another college course where I drew a D in Speech and was glad to get it. I’ve been told I’m a natural storyteller, and it might have come in part from the old men I listened to up at our country store, but also from a high school history teacher (history again, hummmm), who again blended fact and stories.

So when it’s time to step in front of a crowd, I want to entertain first, and then bring the information they’ve requested. Audiences hear personal experiences that relate to them and I usually manage to do that with humorous stories from my childhood that tie into their memories or experiences. That mix of old recollections usually makes them smile, and I have ‘em.

More than once I’ve heard, “Your story reminded me of something that happened when I was a kid. I’d forgotten until you said something. Thanks for reminding me of those/that wonderful time(s).”

Here are a few things I’ve learned through the years, and they might be useful to those of you who are just starting out, or who don’t really like to speak in public in the first place.

• People want to laugh, but don’t try to be funny by telling jokes. Only do that if you’re really, really good at it. Wait, never mind. Don’t tell jokes, period.
• Don’t talk at your audience. Don’t preach. A conversational approach to storytelling and teaching is the best. Again, draw on your own experiences to make it more personal to the audience.
• Make eye contact. Don’t forget to look front, left and right. Find that person who’s engaged and talk to him or her, then find someone who out there with a blank look on their face and speak to them, no matter how uncomfortable you feel. (Lordy, I remember a guy on one Bouchercon panel who leaned back in his chair to expound one some subject, tilted his head back, closed his eyes, and talked for a good five minutes to the ceiling. Gilstrap and I wanted to flee the scene and find a bar, and would have if I hadn’t been on that panel and sitting right beside the guy. Gilstrap got the giggles while I had to maintain at least a little composure.)
• Which brings me to speaking on panels. Years ago I was on another five-person panel seated on chairs above a crowd of about two hundred. Our discussion went well until the moderator asked the gentlemen on my left to talk himself and thrillers. He rose and stepped to the edge of the stage leaving an empty seat between myself and Texas author David Wilkinson, cleared his throat, opened the book he was hawking, and read to excess. I mean it. He read for days. And as usual, the mischievous kid in me awoke after a while and I leaned across the empty seat and introduced myself to David. We shook as if we were sitting at a livestock auction, and talked among ourselves and to the other panelists while the author droned on to what felt like the end of his novel.
• Be energetic. For the love of God, be energetic!
• But don’t talk too fast. I was watching one of my favorite movies the other day, A River Runs Through It, and listened carefully to Robert Redford’s cadence. It was slow, but not plodding, and his inflections kept my attention, making it feel like he was talking to me.
• Don’t dump volumes of information on your audience. They’ll retain little of it unless they’re born note takers. I usually get them to laughing, throw in a bit of important writing info, and then slide into another story or something they can relate to, and then back to technique before another story that usually occurs to me on the spot.
• If you’re inexperienced, start out talking to book clubs. They’ll be forgiving, then polish your “act” in front of local civic organizations and clubs who are always looking for speakers. But remember, small groups are sometimes hard to engage. I’ve found that the larger the group, the more fun we all have.
• I avoid power points. I don’t use technology. It defeats me. Simply visiting with the audience as if we’re sitting in a living room makes it easier and I don’t have to lug around a heavy thumb drive, hoping someone has the equipment to project the image from a laptop.

There are thousands of pages of information out there on public speaking. You can join Toastmasters or some such club or organization that teaches the steps and techniques to stand before a crowd, but it might not be for you.

If not, outline your program, then practice in front of a mirror until it comes smooth and effortless.

Sounds simple, don’t it?

Practice, practice, then practice some more. It’ll pay off in the long run.

For example, last month in front of large group of Dallas writers, I realized I’d spoken to them before. Something different was necessary to avoid picks and torches as they stormed the lectern, so I tried something different. I began my presentation near the end, but realized the whole structure was built on earlier parts that were linear in construction, so the next thing I knew, I found myself doing the entire presentation backwards, and it worked!

They all remembered I’d been there eight years earlier, but more than one attendee said they loved the presentation because it was chock full of writing advice…and I was best speaker they’ve had in years.

But it was the same talk, and I wondered as I left, if I’d just competed with myself.

Who knows, but at least they were entertained, and learned something about writing, and that’s why I was there.

Gads, how pretentious this all sounds, but it’s the only way I know to get this point across. I apologize for my perceived arrogance and hope this helps you in front of a room full of strangers who want to learn and be entertained at the same time.

Achilles was, of course, the greatest of all the warriors of Greek mythology and the magnificent champion of the Greek forces in the Trojan War. Here’s a brief (and, I hope, mostly accurate) retelling of part of his story.

Achilles’ father was Peleus, a mortal human, but his mother was the immortal sea nymph Thetis.

Thetis, being a good mother, wanted to protect her darling offspring, so she held the infant Achilles by one of his heels and dipped him in the river Styx to make him invulnerable. (What mothers won’t do for their children!) That one spot left him defenseless on his heel, but it also lent his name to the strong, fibrous cord that connects the muscles on the back of the calf to the heel bone, an area that’s susceptible to overuse injury. Ask any runner.

Back to the story: Although Achilles’ physical body was well protected, his ego was easily bruised. At the start of The Iliad, the epic poem about the Trojan War, we find Achilles pouting in his tent because the leader of the Greek forces has commandeered Achilles’ war prize for himself. Achilles can afford to be a spoiled brat. The Greeks need him to win the war, and he knows it.

Without Achilles on the battlefield, the tide of war turns against the Greeks, and a team of Greek leaders visit Achilles to try to convince him to return to battle. But Achilles isn’t ready to abandon his version of victimhood, and he tells them he’s considering giving it all up and going home. So there. He explains that his goddess mother told him he would have two options in life: a) he would fight in the Trojan War and die gloriously, or b) he would return home to live a long, but uneventful, life. 

It’s a great metaphor for the options we have and the choices we make in our own battles.

* * *

As writers, we’ve made a choice to bequeath something of ourselves to posterity.

So, TKZers: in the manner of the Achilles options, I present two hypothetical possibilities for your writing life and livelihood. Please pick one of the following:

Option A) You are a wildly successful author. Your books live on the New York Times best seller list for months. You make millions, and you’re sought after for interviews and guest appearances on the most popular talk shows. But fifty years after your death, your books are considered prosaic. They’re almost never read, and your name has disappeared from all things literary, never to be seen again.

Option B) You’re a midlist author. You may eke out a living with your writing, or you may have to work another job to stay alive. But you have a story to tell, and you work hard at the craft. Fifty years after your death, your books are “discovered.” You’re hailed as one of the hundred best authors of the twenty-first century, and your books are cited as classics for hundreds of years.

Which option would you choose?