How to Learn to Write Novels That Sell

by James Scott Bell
@jamesscottbell

I love the writing craft. I love it the way Adrian Newey loves race car engines. I love popping the hood, breaking out the tools, getting greasy, figuring out ways to build better fiction.

Maybe that’s because in the early years I had to work hard to make sense of it. I was not one of these happy geniuses that has the knack from the get-go. When I made my decision to be a writer, I found instant joy in setting words on the page. The only thing was, those words were not connecting with readers. People who looked at my stuff would say things like, “It’s just not working for me.” Or, “There’s something missing.”

So I doubled down on my study of the craft. I went to my favorite used bookstore and bought an armload of Grisham, Koontz, and King, and didn’t just read them; I studied them. I marked up the pages and made notes in the margins.

Ah, I see what he’s doing here!

This makes me want to turn the page!

I really like this character.

I bought books every month from the Writer’s Digest Book Club. One was Jack Bickham’s Writing Novels That Sell. The chapter on scene and sequel set off Roman candles in my head—an epiphany that I knew would change forever how I approached fiction.

I gave the next thing I wrote to one of my friendly readers, and this time he said, “Now you’ve got it.”

I felt like Orville Wright gliding over the sandy flatlands of Kitty Hawk as brother Wilbur waved his arms, shouting, “It works! It works!”

So if someone asks me what the best way is to learn how to write novels that sell, I’d put it this way:

Write a novel

I’m not being coy here. Write it the best way you know how. Don’t stop for any critiques, self or group. Finish the dang thing.

Then put it aside for three weeks. Print out a hard copy read it as if you were a busy Manhattan acquisitions editor looking at a manuscript on the subway. Have this question in the back of your mind: When am I tempted to stop reading? Mark those spots. But don’t do any editing.

When you’ve finished, make notes to yourself about the seven critical success factors of fiction as they show in your book: plot, structure, characters, scenes, dialogue, voice, meaning. How are you in those areas? Be ruthlessly objective. A good beta reader can help. If you want to appeal to actual readers someday and convince them to part with their discretionary income, you need to know if there’s anything disrupting the fictive dream. Quite often you’re too close to the book to see it. Maybe even a lot of it. But don’t despair, because you can…

…Get better at writing novels

I got good at plot, structure and dialogue (because I’d spent a couple of years working hard to figure those areas out). I got published. Then I got a multi-book contract and had the good fortune to work with a truly great fiction editor. In his first editorial letter to me he told me what I needed to hear, not what I wanted to hear. I groused for an hour, then resolved not to have a chip on my shoulder. I followed his advice and lo and behold my books started to pop up on bestseller lists.

So, new writer, get yourself rolling on two tracks—writing and study.

It’s NaNoWriMo month, and all over the globe writers are aiming to produce a 50k novel in 30 days. That’s pressure, especially with Thanksgiving in there. The main benefit of this exercise is seeing how many words you can write if you set your mind to it.

So figure out how many words you can comfortably write in a week, considering your life situation. Up that figure by 10% and make that your weekly goal.

That’s the writing part.

Add to that a systematic study the craft. There are craft books and courses (I modestly mention). Just as you write to a quota, study to a quota. In 35 years of wanting to do this, not a week has gone by when I haven’t thought about, read about, or made notes about the craft of writing.

Does this sound like too much work?

Does a wannabe golfer just go out and start hacking away (also known as killing gophers)? Or does he get some basic instruction and put in hours of practice?

There’s an old story about a golfer approaching a hole with a big water hazard. He wonders if he should tee up a brand new ball and risk losing it, or use one of his old balls just in case. So he tees up the old one.

A voice from the sky thunders, “Use the new ball!”

Whoa. Obediently, he tees up the new one.

The voice says, “Take a practice swing!”

He steps back and takes a practice swing.

The voice says, “Use the old ball!”

You have to practice a proper and repeatable swing, friends, otherwise you just ingrain bad habits.

Readers don’t spend money to read your bad habits.

So:

Write a novel.

Remove all shoulder chips.

Learn.

Write another novel.

Keep learning.

Write like you’re in love.

Edit like you’re in charge.

Keep writing.

Anything you want to add?

Are You More Mystery or Suspense?

by James Scott Bell
@jamesscottbell

Early in my writing education, I read something about mystery and suspense that helped a great deal. The author said that a mystery was like a maze. The sleuth follows clues and red herrings, eventually getting to the answer.

But suspense is like a coil that gets tighter and tighter until the final SNAP.

You can have elements of both, of course, though which one predominates will determine your category.

Suspense is where I hang my keyboard, but almost always with a mystery attached. That’s why my favorite movie director is Alfred Hitchcock. Dubbed “The Master of Suspense,” Hitch wove tales that had you, as they used to say, on the edge of your seat.

I wish everyone could have the same experience I did when I saw Psycho for the first time.

It was in high school, and I’d never seen it, nor had I been informed about the plot. A friend of mine arranged for a showing in our high school auditorium one night before Halloween.

The place was packed.

The movie started, and there was Janet Leigh absconding with bank funds, and pulling in to rest at the Bates Motel.

Oh, man.

The suspense got tighter and tighter. The audience screams got louder, and loudest (me included) at the big reveal.

I shan’t tell you what that is, lest there be those unfamiliar with the film. (If this is you, you are lucky! Arrange to stream it when the sun is down and you won’t be interrupted!)

Books can be like that, too. The two scariest books I ever read are The Shining by Stephen King, and Helter Skelter by Vincent Bugliosi. The latter is nonfiction about the Manson Family, which lived in the hills about eight miles from my home. They made a miniseries about it which my roommates and I watched in college.

I had nightmares.

One morning I woke up to a scritch-scratch sound. I turned over and saw the guy I shared a room with, Doug, sitting on the edge of his bed, looking at me and sharpening a knife.

He got a big laugh out of that. Me, not so much.

By the way, if you want to know what that whole Manson vibe felt like, Quentin Tarantino captured it perfectly in Once Upon a Time in Hollywood. There’s a scene where Brad Pitt goes to the Spahn Ranch, where the family was holed up. It’s a fantastic scene and absolutely right on in the creep factor.

Tarantino made another alternative history about pure evil, Inglourious Basterds (spelling is correct). I’ve never seen a more suspenseful scene than this opening, where the Nazi played by Christoph Waltz interrogates a farmer who is hiding Jews under his house. Talk about a spiral that gets tighter and tighter. Yeesh!

I bring this up because I’m about to re-release the most suspenseful novel I’ve ever written. I had that coil firmly in mind as I wrote it, and kept making it tighter and tighter until…well, I best not reveal anything further. Except, if you’ll allow a bit of shameless self-promotion, this clip from a review:

“You’ve got mail” equals “You’ve got trouble” in this impossible-to-put-down thriller. Bell’s straight-from-the-headlines tale will raise the hair on your neck for one important reason: it could happen to any of us. Empowered by his firsthand knowledge of the legal system, the Christy Award-winning former trial lawyer paints a picture of just how vulnerable our secrets—and families—are, in the age of Internet stalkers. First-rate suspense with a fiery action-movie climax! – Christine Lord, CBD Reviews

The title is Can’t Stop Me (formerly published as No Legal Grounds). As per usual, the Kindle version is up for the special pre-release price of $2.99 (regular will be $5.99). Go here to order.

Outside the U.S., go to your Amazon store and search for: B0C6WGFBM1

Why do I lean into suspense? Maybe because I feel like the world is a tightening coil, where evil exists and does not sleep. We can either give in to it, or we can fight it; we just can’t ignore it. My fiction tries to work all this out. Isn’t that quest the basis of most dramatic action? From Homer and Aeschylus to John Grisham and Lee Child, the guiding light is justice.

What about you? Are you more mystery or suspense? Or something else? What does this tell you about you as a writer? I’ll be on the road this morning, but will catch up later. Have at it.

Giving an Old Book New Life

by James Scott Bell
@jamesscottbell

Gather round the ol’ cracker barrel, children. Let me tell you a story of long ago, when the only place you could get books was a bookstore. Yes! It’s really true! 

Now, a bookstore was a wondrous place. It was a building made of bricks and mortar, and it had shelves filled with books you could touch, take down and look at—right there in the store!

In this land the only way a writer could get a book into those stores was by entering into a contract with a publishing company and ceding the rights to his work. 

Those were perilous times, children. A time of heady highs and dismal lows. There was the excitement of that first novel showing up on a shelf in a Barnes & Noble. Sure, it was only a copy or two, and only the spine showed. But you were there! Along with John Grisham, Stephen King, and Dean Koontz!

Well, sort of. Those guys took up a lot of shelf real estate with their backlist titles. You, the new kid on the block, were going to have to prove your commercial worth over a period of years before you got that attention. After all, the bookstores were in business to make a profit. Every month thousands of books swept into the stores for their debut. Most of these were swept right out again on the tide of the next month’s releases. If yours was one of them, you kept your hopes of making a buck or two alive by working on your next project.

Until your publisher decided, well, it doesn’t look like you’re making enough money for us to keep you around. Sorry, it was a nice try, and good luck to you.

Your books became, in the jargon, OOP—out of print. If you had low sales numbers it was unlikely another publisher, unless it was dinky, would offer you another contract.

You would be out in the cold, and your books, your precious babies, were still under the control of the company that dropped you.

Hopefully, you and your agent negotiated a fair Out-of-Print clause which would enable you to request your rights back. 

But then what? Again, it was highly unlikely that another company would reprint books that didn’t do so well the first time. Your backlist was essentially a ghost town.

Then into this land came a wizard named Bezos. With one wave of his magic wand he changed the game forever. Now there was a way for a writer to make some dough without a big publishing company, physical bookstores, or sales reps! How could such a wonderful thing be?

But it was.

Many a midlist writer began seeking rights reversions so they could make their “dead” titles available again. Even more, they could control pricing and promotions. They could give their titles the attention they had long been denied. And do so in the world’s largest bookstore! Once again, right alongside Grisham, King, and Koontz.

Huzzah!

And “Huzzah” is exactly what I am saying as I bring back to life one of my books from the “old days.” In doing so, I have given it a light edit, a new cover and title, but in all other respects left it true to its time and place. I am happy to announce the pre-publication of Long Lost (formerly published as The Whole Truth). 

At the age of five, Steve Conroy saw his seven-year-old brother kidnapped from the bedroom they shared. His brother was never found. And the guilt of his silence that night has all but destroyed Steve’s life.

Now thirty years old with a failing law practice, Steve agrees to represent a convicted criminal, Johnny LaSalle, who has ties to a notorious family—and some information that threatens to blow Steve’s world apart. 

Desperate for his final shot at professional success, Steve will do anything to find the truth. But Johnny knows far more than he’s telling, and the secrets he keeps have deadly consequences. Now Steve must depend on an inexperienced law student whose faith seems to be his last chance at redemption from a corrupt world where one wrong move may be his last. 

I’m doing something Crazy Eddie-ish with this book. When I was living in New York in the 70s there was an electronics store called Crazy Eddie. It hired a fast-talking disc jockey named Jerry Carroll, who did something like 7500 commercials for them, with a rat-a-tat riff that ended with the tagline: “His prices are IN-SANE!” Have a look:

All that to say, my pre-pub deal price is IN-SANE! Only 99¢. For an 87,000 word novel. Why? Simply because I want my supportive readers to have it for a song (I can’t sing, so this is the nearest I’ll get). After launch I’ll price it at a sane $4.99. But you can  reserve your copy at the deal price by going to:

Amazon

Amazon Canada

Amazon UK

Amazon Australia

(A print version will follow shortly.)

And just so you know, it got some excellent trade reviews upon release. If I may:

“James Scott Bell takes this intriguing what-if concept and weaves it into yet another page-turning, redemptive thriller.” — 
TitleTrakk.com

“
This gritty tale will have readers cheering for Steve as he desperately tries to put the pieces of his life back together. The scenes and characters jump off the page to create a startling, emotionally stirring story. Deliciously suspenseful.
” — Romantic Times

The novel begins, They put Robert in Stevie’s room when Stevie started having night terrors.

It ends with said.

Thanks for listening. And help yourself to the crackers.

Let’s Help a New Writer Out

by James Scott Bell
@jamesscottbell

Got an email from a reader of my craft books, who is finally ready (he says) to complete a novel. He wanted some career advice before taking the plunge. Below are his questions and my answers. Let’s put our heads together and help him out. We can continue the discussion in the comments!

[NOTE: I am assuming the writer is going the self-publishing route, based on question #2. If so, my opening advice is this—put your novel through the same grinding process you would if you were going to submit it to an agent or editor. Being indie is no allowance for being skimpy when it comes to prepping for publication.]

1. You mention learning to love a marketable genre. I’m a mystery and crime fan, but I realize the old school historical noir pieces may not sell. Here’s my plan: write the following sub-genres under a single pen name: (a) Hard-Boiled Police Procedural series a la Michael Connelly, (b) humorous detective/cozy a la Carl Hiaasen/Big Lebowski, and (c) romantic suspense because romance is huge but the crime element makes it interesting for me to write. Does this make sense? Would I spread myself too thin? Am I too far off the commercial mark? For example, should I go whole-hog into Romance and leave crime behind just for the money?

Establish yourself first in a single genre. You need to build up a readership and fan base, and that’s best done when you a) write a crackerjack book in a genre; and b) follow that up with another crackerjack book in the same genre.

The traditional publishers know this. It’s called branding, and they want to keep their money-making authors on brand because that keeps their bottom line in the black. When you start to sell gazillions of copies per book you can convince your publisher to let you try an off-brand novel…before getting back to your basics. See, e.g., John Grisham, James Patterson.

As an “authorpreneur,” you can make the call when you want to try something different. One of the benefits of indie is that you can branch out in short form as an experiment. For example, I write full-length contemporary thrillers, but have a comedic series of novelettes about a vigilante nun. I did some boxing stories for the love of it. But I always return to full-length suspense.

As for going “just for the money,” my advice is that you find the sweet spot where a marketable genre meets your love for the material. As you rightly point out, I believe you can learn to love a genre if you give yourself to the characters and make the stakes death (as explained in my craft books). At this point, ask yourself where you would find the most joy. Joy has a way of translating onto the page in a way that takes competent fiction up another level.

2. Kindle Unlimited is a great way to become discoverable, but is that a long-term solution? Do you plan to eventually “go wide”?

There’s an ongoing debate about this. To boil it down, those indies who favor “going wide” have concerns about the future of Amazon and possible digital disruption to same. Those who are Amazon exclusive are looking at what’s working now.

This is my personal view: since the future is unknowable, I opt for present-moment lettuce. I was wide with my fiction during the first seven or so years of the indie boom. My income via Kobo, Nook and iBooks was steady but not exciting. When I moved to KU, my income experienced a sharp increase. An added bonus is when I land a BookBub deal, my “pages read” (the way an author gets paid in the KU program) go way up for several weeks.

I know many folks have an issue with Amazon’s dominance, but betting against the company has not proved a winning strategy in the past. I recall in the late 90s when Barron’s dubbed the company “Amazon Dot Bomb.” I only wish I’d bought my shares then.

3. I used to be a pantser and, to show for it, as mentioned above, I’ve finished precisely 0 novels. Your books convinced me to outline, but I find some of the beats and plot points vague. Should I start building from the vague outline and drill down in detail until I have a card per specific scene?

Taking your question as a whole, by “vague” you mean you don’t have a sufficient idea in your mind of what the scenes would actually look like, not what the scene should accomplish within structure. That said, the beauty of the “signpost scenes” idea is that you don’t have to “drill down” before you write—unless you want to! As a pantser, you’re not used to summarizing all scenes ahead of time. In the alternative, you can start with the first couple of beats, and when you’ve gone that far look ahead to the next beat or two. You are driving at night with the headlights on, as E. L. Doctorow put it. You can always see ahead to the next signpost.

For both my plotting and pantsing students, I prescribe the “killer scene” brainstorming exercise. Go to your favorite local coffee house with a stack of index cards and start brainstorming scene ideas, not worrying about structure or where they might fit. Come up with 30-40 cards. Go back the next day and shuffle the cards and go through them, selecting the most promising. Figure out in which act—1, 2, or 3–those would logically fit. You’ll be amazed and happy.

4. When do you know to abandon a series or subgenre experiment and move to something more commercially viable?

There is an easy answer to this in the traditional publishing world: when your publisher does not offer you another contract.

Being indie, my view is that after three books in a series you should have a pretty good idea of how it’s going. Look at sales trajectory and reviews. Then ask yourself how wedded you are to the series. It may be that your next book is the one that brings attention to the others.

Or not. Erle Stanley Gardner developed several series characters for the pulps, including Speed Dash, Sidney Zoom and his police dog, and Ed “The Phantom Crook” Jenkins. But when he felt his writing had stalled he tried out a character he named Perry Mason. The rest is publishing history.

5. You studied under Raymond Carver. I’ve read each of his collections and am a huge fan. I’ve loved minimalist prose since I started reading Hemingway as a kid, and Carver’s style to me is a joy to read. Did he share anything specifically with you or your class you could pass on to me as to writing lean?

The main thing I picked up from Carver was his use of the “telling detail.” He was a master at putting a simple image into a scene that illuminated the emotional moment and often blew you away. Hemingway, at his best, did the same.

When a genre writer pulls this off, the effect is glorious. So glorious, in fact, that I am going to make this the subject of my next TKZ post.

Onward, writer. Carpe Typem! Seize the Keyboard!

Over to you, TKZ community. Help this new writer out.

Avoiding Reader Burnout by Texting the Gods

(c) Copyright 2017, Random House Books for Young Readers

I’ve been repeatedly having the same vaguely disturbing conversation in person and via email with a number of individuals recently about books and reading. The topic is variously referred to as “reading fatigue,” “book burnout,” and “reading slump,” among other terms. The complaint centers upon the perceived feeling that new books being published are “all” following the same pattern. Elements of that pattern would include 1) “the placement of the word ‘girl’ in the title; 2) the unreliable first-person narrator; and 3) a missing child/husband/sister who seems to suddenly reappear with an inability to explain their absence.

It is true that publishing industry generally is reactive and not proactive. We all remember The Da Vinci Code. That book became a sub-genre unto itself. It seemed for a while as if every other newly published book concerned a hunt for an ancient relic that, depending on what it was and who was hunting it, would destroy, save, or enslave the world. Going back a bit further, Scott Turow’s Presumed Innocent and John Grisham’s The Firm revived the popularity of the courtroom thriller, though it’s not as if that sub-genre ever really went away, once Erle Stanley Gardner had taken that beachhead in the 1930s with his Perry Mason novels.

There is some method to publishing’s madness, based on the proposition that if the public likes a certain type of book then it will want more of the same. I don’t recall a research  ever calling me and asking, “If you went to the library tomorrow, what type of book would you look for?” My answer would be “bound,” but that’s beside the point.

What does this mean for budding authors? My best advice is to not follow trends. If someone writes a book about an alcoholic housewife on a train who suspects that she has witnessed a murder being committed, and it becomes a bestseller, write your book about something else. Flip the script. Write about a recovering alcoholic who is as reliable as a Fossil Haywood and who, while doing some backyard gardening,  believes that she sees someone being murdered on the LIRR. I’m only kind of kidding. Do something different, because by the time you write your book and find an agent the publishers will probably be looking for something else. As for readers: if you’re tired of new books, look for an author who is new to you, or go back to the past and seek out something in your favorite genre among the mountains of books that have been published in the past sixty years or so. You can also seek out a couple of go-to authors. When I do my own reading, and nothing seems to please me, I pick up one of Timothy Hallinan’s fine novels, or an Elmore Leonard book, or start working my way through James Lee Burke’s Dave Robicheaux canon, among others, to shake me out of my doldrums. Reading is good for you. You don’t want to stop.

Whatever you do, whether you are writing or reading or both, please don’t develop the impression that there are too many books. One of the blessings in my life is my association with bookreporter.com. I started reviewing books for Carol Fitzgerald’s website twenty years ago, and one of the many happy results of that relationship is that I receive new books of all sorts on an almost daily basis. Some of them are outside of my interest or demographic or whatever you wish to call it, as was one which I recently received entitled Greek Gods #squadgoals by Courtney Carbone, a children’s book editor and author. I thumbed through it and was totally lost — I don’t get the whole ‘#’ thing, or tweeting, Instagram, Pinterest, and the rest,  and probably never will — but the premise of the book was interesting, if incomprehensible to me in execution. It tells the stories of Greek Mythology from the point of view of the participants while assuming that they had smartphones and could text one another. I passed the book onto Samantha,  our (almost) eleven granddaughter. Samantha lives in the same city as we do, and as a result — another blessing — we get to see her frequently. I left Greek Gods at her place at the kitchen table. She came over for a visit, picked it up, and was entranced. She put her phone down, ignored the computer, turned off the flat screen, and started reading it from beginning to end, laughing all the way and sharing passages with us. Samantha is no stranger to books. She is working her way through that wonderful Warriors series by Erin Hunter and the likes of R. L. Stine, Chris Grabenstein’s Mr. Lemoncello books, and a host of others. This doesn’t happen by accident. Her father —my son — is a reader himself, and makes sure that she gets to the library and a local children’s bookstore pretty much on demand. I was happiest, however, about Samantha devoting full focus to Greek Gods. Whether she will at some point down the road pour over Edith Hamilton’s classic work on the subject, in the same manner in which those wonderful Classics Illustrated comics led me to H. G. Wells, Jules Verne, and yes, Fyodor Dostoyevsky,  remains to be seen. What is certain, however, is that from Samantha’s perception there won’t be too many books, or not enough interesting ones. There simply won’t be enough time to read them all.

Back to you. What book or series would you want to read right now, time and availability permitting? For me, it would be Richard Prather’s Shell Scott series, in the original paperback editions. You?