Interesting Publishing Trends to Watch in 2017

JordanDane
@JordanDane

I found these trends interesting and wanted to share them here at TKZ. As many of you know, I’ve been writing with author friends on various Amazon Kindle Worlds where they host/create a world and invite authors to write for their series. It’s been fun and I get to explore many topics and experiment with styles and research topics and lengths. Plus the group of launching authors share promotion and benefit from each other’s readerships when we cross promote. So given that, I thought you might like to explore these ideas for your writing goals.

Novellas, Anthologies & Co-Authoring – What makes this growing trend popular is affordability and the recognition of shorter attention spans. These shorter types of books are cheaper for authors to produce and affordable for voracious readers to buy. With people’s shorter attention spans, the shorter format is more convenient. The cheaper price point also allows readers to try new authors without busting the bank. Win/Win. As for anthologies, a group of authors can merge their resources to come up with a top-notch product and also save on production, distribution, and promotion costs that can be shared jointly. Multiply the aggregate authors combined reader base and it’s another win/win.

Changing Book Themes Influenced by an Evolving World – In my latest book (due out June 8th – Vigilante Justice) I explore the topic of conspiracy theories and immigration. I brainstormed my “what if” question on those topics and came up with a story that could’ve been ripped from the headlines. It’s a risk to attempt books on the edge of politics, which I leave out of the story. Instead I focused on the emotional human conflicts that were organic to such a story. Be aware of the realistic elements to our culture and society and the struggles we have to infuse them into your themes. You not only explore your own thoughts, but you can crystallize conflict in such a human way. Such themes may be the refugee crisis, climate change, LGBT issues, terrorism (both international and domestic), and drug addiction. As an author you could choose to write about the stark reality of these themes, or you could provide a Utopian escape for readers to find refuge. Give your world building a dose of reality or provide readers a panacea for what they see on TV or in the news.

Indie & Hybrid Houses – Today, authors have options on how to publish, whether it’s self-publishing or attempting to sell to indie or hybrid houses. The Big 5 Publishers are also an option, but the author would have to consider giving up creative control & handing over copyrights and still be required to promote. Many smaller houses are offering better royalty rates and could give the author a more collaborative approach with more control.

Audio Books – With the growing popularity of products like Amazon’s Echo and Google Home, many consumers are gaining access to audio books in their homes, These can be techy types who liked controlling everything in their domain or older folks who (if they can remember Alexa’s name – insert my parents’ names here) like to be read a nighttime story. This kind of technology has enhanced the audio book market and authors can ‘self-publish’ their own audio book format through ACX.

For DISCUSSION:

Have any of you tried variations of these trends and found success? Please share.

Out for Blood $1.99 Ebook

After the Jaguar destroyed his world, former CIA operative Mercer Broderick targets the faceless cartel boss using the Equalizers as pawns in a deadly game to avenge the murder of his beloved wife and child. (Mercer’s War – Book 2)

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Crime Writer Lives Character’s Torture…On Purpose

Jordan Dane

@JordanDane

Today I have the pleasure of hosting a long time and active member of TKZ – Sue Coletta – and featuring her May 3rd release, CLEAVED, published by Tirgearr Publishing. I pre-ordered her book at the great price of $0.99 ebook and can’t wait to read it. By the time you read this, her book will be officially OUT!

Sue is a talented crime fiction author of memorable characters, who writes in an evocative style tinged with horror. She’s here to talk about torturing characters and how far an author might go…on purpose. Yes, Sue would scare most normal people, but we’re writers. We can take it.

Take it away, Sue.

Being a crime writer tends to spill into everyday life. Not only do I go out of my way to drive by secluded swamps, woodlands, or bogs for potential body dump locations, but I’m also keenly alert and aware of the people around me. The shady guy who takes a few minutes too long while pretending to read magazines in the convenient store he intends to rob. The dude with white knee socks and sandals who sits alone at the lake, his gaze roaming the shoreline from behind the morning newspaper. He doesn’t fool me for a second. Obviously he’s scouting for his next victim. Then there’s the poor woman who’s clueless to her surroundings. In a few days, a breaking news report will confirm she’s Sandal Guy’s latest victim.

Do we really need to discuss driving by a wood chipper? I mean, c’mon! How many of you haven’t thought about stuffing a body in the chute?

*crickets*

Yeah, that’s what I thought.

When crime writing burrows into our DNA, the world morphs into a place of perverse secrets, malevolent acts, and sinful deeds. We can’t help but see the signs. Okay, so maybe “normal” people don’t envision quite as much danger as we do, but I think it makes us far more interesting. Our spouses get caught up in our warped realities, too. My husband’s been known to point out perfect murder sites. Or he’ll hear about a desolate locale and ask if I want to take a ride, knowing I can’t resist.

“You mean that, honey?” I skip out the door, and my excitement bubbles over. “Woohoo! Road trip!”

Research is another matter entirely. When we have no real-life experience to pull from, we’re left with two choices: research until it feels like we’ve lived the scene, or put ourselves in the same position as our character. For me, the latter is much more fun.

My new psychological thriller CLEAVED opens with a woman trapped inside an oil drum. I’ve never been ensnared in any confined space, so I found it difficult to tap into the emotions of the scene. My solution? Lock myself inside an oil drum and hang out a while.

The conversation with my husband Bob went something like this…

Me: Hey, do we have any oil drums?
Bob: Yeah. Why?
Me: Are they empty?
Bob: Yeah. Why?
Me: What size are they?
Bob: 30 and 50 gallon. Why?
Me: If I climb inside, will you close the lid for me?
Bob: Umm…
Me: Awesome. Let’s do this!

Dumbfounded, he followed me out the door. Turned out, he’d loaned the 50 gallon drum to our neighbor, so I started with the 30. The first problem I encountered was this. I couldn’t just step inside and squat. It’s way too narrow. Instead, hung on to the sides, hiked my knees to my chest, and then lowered myself to the bottom. Once crammed inside, I gave my husband the signal to lower the lid, but not secure the hasp. No need to get crazy, or give him any ideas he might regret later. 

Pure blackness struck me hard. Also, my ankles and neck bent at odd angles. Pain seared bone-deep. My knees pinned my chest, laboring my breath. No matter how hard I tried I could not slow the adrenaline coursing through my mind, body, and spirit. The oxygen thinned with every patter, patter, patter of my heart, my mind spinning with scenarios of dying this way.

What an awful death—trapped, alone, unable to move more than my arms.

Every few minutes Bob asked if I was okay, which really ruined the ambiance. In order to concentrate, I sent him back inside. Later, he told me he watched from the window. Though as far as I knew at the time, I was alone. No one around to save me. Perfect.

Closing my eyes, I envisioned the scene. The darkness of night. Tree frogs chirping in the canopies of leaves around the marsh. A far off screech owl’s predatory cry pierced the frigid air. The subtle swish of water lapped against my unforgiving grave, rocking me from side to side.

Next, I concentrated on how my body responded. The pressure on my lungs was like being caught under a steel girder, squeezing each pocket of air dry. No longer did I control my breathing, my chest heaving much faster than I could regulate. Thoughts of death consumed me. My remains could stay undiscovered for days, weeks, months, even years. The psychological torture alone could be enough to destroy someone. My only chance of survival was to break free.

But how?

That question lingered. Numerous “What if’s” flitted through my mind. I won’t ruin the scene by telling you how, or even if, my character escapes. Since it’s the opening chapter you can find out by reading the “Look Inside” feature HERE.

After about 20 minutes or so, I emerged from the barrel. Next, I sent Bob to ask the neighbor if the 50 gallon was also empty. I needed to experience the difference because the character is entrapped in a 50 gallon drum, not a 30. After the “incident” of begging Bob to bury me in the backyard (story for another time!), the neighbors are all too familiar with my research stunts, so this request didn’t surprise him in the least. In fact, he was oddly excited to participate. I let him duct tape the lid close. This was really more for his benefit than mine since duct tape doesn’t stick well to steel.

Compared to the 30 gallon, my new digs felt like Club Med. Much more spacious, but the body position remained unchanged, ankles and neck seared with pain, knees compressing my lungs. All in all, my time spent inside the two oil drums turned out to be very educational and I wrote a much better scene. Win win!

Some may call crime writers unique or even weird, but no one can say we’re boring.

FOR DISCUSSION:

What’s the strangest thing you’ve ever done in the name of research?

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CLEAVED Available NOW/$0.99 Ebook

Author Sage Quintano writes about crime. Her husband Niko investigates it. Together they make an unstoppable team. But no one counted on a twisted serial killer, who stalks their sleepy community, uproots their happy home, and splits the threads that bonds their family unit.

Darkness swallows the Quintanos whole–ensnared by a ruthless killer out for blood. Why he focused on Sage remains a mystery, but he won’t stop till she dies like the others.

Women impaled by deer antlers, bodies encased in oil drums, nursery rhymes, and the Suicide King. What connects these cryptic clues? For Sage and Niko, the truth may be more terrifying than they ever imagined.

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Key Ways to “Show” Your Character & Not “Tell” on Him – First Page Critique: Palm Beach Nasty

Jordan Dane
@JordanDane

This photo makes me want to go on vacation. Let’s take a ride with Crawford, our character in Palm Beach Nasty, a 1st Page Anonymous Submission. Read and enjoy. My feedback follows:

ONE

It turned out Crawford really missed the murder and mayhem up in New York. Which was weird, since the whole reason he’d gone south was to get away from it all.

At age thirty-six, with a bad case of acid reflux, chronic cynicism, and acute burnout, Charlie Crawford had packed up his Upper West Side apartment and headed down to the Sunshine State. He decided on the Keys, the plan being to take up surfing, give the Jimmy Buffett thing a shot. But after three long months of listening to stoned-out beach bums in lame Hawaiian shirts oohing and aahing pretty average sunsets and duding each other to death, Crawford was ready to move on.

So he’d reached out to a handful of Florida law enforcement agencies, and when the Palm Beach Police Department made him an offer, he grabbed it. But almost a year into the job, no one had come close to getting knifed, shot, garroted, or even banged up a little. Christ, what he’d give for a nice facedown stiff, a little rigor setting in. Crawford was drawing a bunch of nowhere cases, which could best be summed up by the one he was writing up now.

It was late afternoon on Halloween, and a call had come in about a possible trespass up on the north end. The north end of Palm Beach was really two places, depending on the exact location. Obscenely rich or doing just fine, thanks. Spectacular houses on the ocean and Intracoastal that started at ten million dollars and went up from there. Or fixer-uppers, on postage-stamp lots at around a million. Recently a Russian fertilizer billionaire had plunked down a shade under a hundred mill for Trump’s monumentally ugly, but colossally huge, ocean spec house.

But despite that, the real estate market had been hit hard when Wall Street collapsed three years before and was still wobbly. Somewhere between anemic and soft, desperately trying to claw its way back to pre crash levels. One of the top brokers in town was whining about having a lousy year—4.8 million in commissions as opposed to over 7 million in ’07. And real estate lawyers quietly grumbled about fewer closings, but even more about a troubling new phenomenon: clients hondling them on their fees. And pity the poor builders, who had traded down from tricked-up ninety-five-thousand-dollar Escalades to basic Ford 150s.

FEEDBACK
Overview – There is an ease to this writer’s voice that I liked. This intro is written in a deep POV that is close to first person. I almost wish it was full blown 1st, to give the character more room to breathe. This character has opinions about everything, which would work for the intimacy of 1st person if the author can tighten the narrative (without too much meandering). Because of the mental meanderings, the pace is significantly slower with a lack of focus for the action or world building.

A good thing to note is that this author can hear the character and is willing to channel him. That’s not an easy thing to get and execute. Kudos.

But how can this author retain the good parts of the character voice, yet not slow the pace? A big part of this resolution is how to introduce a key character by SHOWING rather than TELLING about him.

HOUSEKEEPING:

Where to Start? – The author started with a back story dump, sharing where Crawford had lived in NYC with a subsequent stay in the Keys, then on to police work in Palm Beach. These are all things that can come out later with patience. At the start, it’s too much misdirection without a point. That puts us down to paragraph 4 to search for a place to start–at the body or crime scene and any interesting lead up to that moment–but we get a lesson in real estate and the Wall Street crash. Bottom line, we need a better place to start that can showcase Crawford and his personality, through his actions and his cynical dialogue or banter with his colleagues.

Passive Voice – There were too many uses of ‘was’ and ‘had’ to indicate a past time period, or hint of backstory. ‘Was’ is used 8 times and ‘had’ is used 9 times in 400 words of this introduction. These are words I try to minimize and correct in an edit. It indicates this story should start with the present action and minimize the backstory.

Missing words typos – These are hard to catch. As authors, we are too familiar with our own work and miss words that should be there if we don’t read more carefully or read aloud. Last sentence in 2nd paragraph – “…oohing and aahing AT pretty average sunsets…” (‘At’ is left out.)

But how can this author retain the good parts of the character voice, yet not slow the pace? A big part of this resolution is how to introduce a character.

Key Ways to SHOW your Character rather than TELL On Him:

Try introducing your character like some films do, with big character stars like Capt Jack Sparrow in Pirates of the Caribbean. Johnny Depp doesn’t merely walk onto the scene and speak his first line, he makes a big intro to SHOW who he is. In mere seconds, we know him and who he’ll be. It takes practice to do this for an author of fiction. I call this “The Defining Scene.”

So imagine who Crawford is when he’s first introduced to this story. Since I like the author’s instincts on voice, I wanted to ask open ended questions for a rewrite of this intro. I didn’t want to influence the author by rewriting it myself. Think of it as a homework assignment, a short exercise.

1.) He’s a transplanted New Yorker with a side trip to the Keys. I can see his NY accent coming through. Are there remnants to his Keys stay? What does he wear in Palm Beach as a former New Yorker?

2.) Crawford is cynical and opinionated. How does this affect his co-workers, the other cops. Is he liked? Does he like them? Is he a loner?

3.) What hobbies does Crawford have? Are these apparent? Does he let other people know about them? What does he dream about? Is he saving for a beach house or a boat? Maybe he works more than one job to save up for something he doesn’t want to share with anyone else. Why did he choose the beach again? Does he miss NYC?

4.) He seems to thrive on crime scenes, being in his element. How does that manifest? Is he overly detailed in his approach or almost too relaxed? Does he communicate on the scene or keep to himself? Does he have a partner? If so, is his partner the same or opposite? Do they get along or not? How does that work for them?

To make Crawford memorable, the author gets a ‘first shot’ at a reader’s first impression. How would the author set the stage?

Below are some things to keep in mind.

  • Devise this crime scene for Crawford to shine or standout. Is it particularly morbid? Has he seen cases like this before? Does he bring NYC bagels and coffee? How does he react versus how others do? Set the stage for Crawford.
  • Give him something to do that will show the reader who he is. When others are turning away, he’s unusually attentive to details of the corpse. Does he have any idiosyncrasies at the scene, like how he treats the victim? Does he notice a stray cat in an alley with a possible clue when no one else does?
  • Make this scene about Crawford and focus on him. Let the reader know how he ticks, his values, his likes and dislikes. Carry these things through the book to take the reader on a journey.
  • Focus on Crawford’s character, more than plot, to give the reader a sense of him in this intro. If the author can devise a way to jump-start the plot (as in the murder scene), then you’ll get two birds with one stone.
  • Build on the energy from the Defining Scene. The reader will make an investment into Crawford going forward.

DISCUSSION:

What feedback would you give this author, TKZers? Is the engaging voice enough to keep you turning the pages?

Mr. January Available NOW! $2.99 Ebook

Zoey Meager risks her life to search for her best friend Kaity in a burning warehouse, only to cross paths in the inferno with Mr January, a mysterious man with a large black dog, completely devoted to its master.

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Characters Need Redemption – First Page Critique – Angie’s Ruin

Jordan Dane

@JordanDane

http://flickr.com/photos/60058591@N00/2369412952

I have a first-page critique for your consideration today. Please read and comment. My feedback is on the flip side.

***

“I can’t do this anymore I hate you. Listen to me, I really do hate you. You prick”

Angie screamed those words and cried them at the same time, it was a horrible indescribable sound but Danny didn’t seem to care.

“Well if you hate me so much then pack your bags and leave, but I’m keeping the kids, do you hear that THEY ARE MINE NOT YOURS, MINE, so go on sod off. No one likes you anyway, you waste of space”

She started to cry, uncontrollably a solemn weep that seemed to come from a place, no, a pit so very deep inside and below it could have been hell. Sitting in her new kitchen, with her beautiful babies upstairs, this man, if he actually qualified as a man was trying to finish her off altogether. He acted and spoke like a child but he was 37 and the love of her life.

They had been childhood sweethearts, next door neighbours and nobody had ever understood her like Danny. The crack the prostitution, the gambling, the shoplifting even the trafficking. All those years ago…It was another life.

Look, she new she wasn’t perfect. But Danny understood why, Danny understood her and now he was gone or he may as well have been.

He didn’t love her, he didn’t want her anymore and she felt done with love, with life with everything, it was all too much. So, she pulled herself up from the manky chair she was slumped in, her favourite velour chair that was once red, ready to go upstairs and pack up her life.

“I never loved you, you stupid, pathetic cow” Danny laughed the words in her face as if she was nothing, as if they had never had anything together, as if she was dirt under their wheelybin. PIG, she shouted in her head, because she didn’t have the energy to say it out loud, he had drained her that much, HE WAS WORSE THAN THE DIRTIEST MOST DISGUSTING FILTHY SHIT INFESTED PIG.

“You had better go right now” he said “Sharon’s coming round.” She’s been desperate for me to tell you and now I’ve done it. Why did it take me so long, he laughed, laying on the floor watching telly, to kick someone as ugly, stupid and pathetic as you out?”

FEEDBACK

I had a tough time with this submission. The lack of punctuation, the overabundance of run on sentences, typos, and writing craft issues made it a hard read. My biggest concern was for the main character of Angie. I found her overly aggressive without vulnerability. I didn’t find her redeemable in this first peek. It’s a fine line to portray real emotion in a scene, like fighting, if a writer doesn’t connect the reader with the character’s redemption and a humanity the reader can relate to. I’ll have suggestions on this below, but let’s look at basics first.

In order to submit to an editor or agent, or even self-publish, an author must know basic grammar and punctuation rules to submit a clean copy. Otherwise it would be too easy for the industry professional to reject it before they get a paragraph into it. Below are my more detailed thoughts.

Run On Sentences – Examples:

First sentence is a run on with poor punctuation.

Example 1: “I can’t do this anymore I hate you. Listen to me, I really do hate you. You prick”

Rewrite 1: “I can’t do this anymore. I hate you. Listen to me. I really do hate you. You, prick!”

Use of Internal Thought:

Example 2PIG, she shouted in her head, because she didn’t have the energy to say it out loud, he had drained her that much, HE WAS WORSE THAN THE DIRTIEST MOST DISGUSTING FILTHY SHIT INFESTED PIG.

An author should follow rules on punctuation to make the work easier for readers, who are quite knowledgeable on basic grammar. In the above example, it is one LONG run on without any punctuation. The overuse of CAPS isn’t necessary to indicate screaming. If the author picks words that ‘show’ the action, the reader will get it.

Rewrite 2:

‘Pig!’ she shouted in her head. Angie had lost the energy to say it out loud. Her husband had drained her that much. ‘He’s worse than the…’ (Break apart the run on sentence and single quote the internal monologue or italicize it. Personally, I find Angie too harsh and unlikeable. Anytime there is name calling, even if it’s in a character’s head, it makes them unsympathetic for me, as a reader.)

Typo:

Example: Look, she new she wasn’t perfect. (Knew, not new.)

No Setting:
Setting can be a big help to add color and depth to this scene of domestic abuse. What is the setting in this story? Has she been cooking all day and he shows up late and drunk? Does she keep a neat house or a sloppy one? Depression can enter into this and her house could be indicative of her emotional state.

Focus on Angie’s Vulnerability:
Unless the author envisions Angie as vulnerable and shows it, the character’s yelling and cursing in her head doesn’t make her sympathetic. If she starts out this way and the whole story is centered on an unlikeable character, a reader will not keep turning the pages. I’m not suggesting a back story dump, but at least in a solid intro, the author must show Angie as vulnerable and scared of her husband’s anger or vulnerable to his betrayal.

1.) Show her cower when he gets in her face, yelling. She physically shakes and reacts to his abuse that the reader knows has been happening over a long time.
2.) Have her concerned over kids hearing or neighbors.
3.) Have Angie show emotions of hurt and betrayal when he finally admits he’s having an affair.
4.) What does she looks like? Her appearance? Does he make her feel worse by pointing out her looks?
5.) Has he ever hit her? A victim of physical abuse acts differently than Angie does in this scene.

A more vulnerable Angie would have me turning the pages, even if the fighting gets ugly. I would root for her to get out of the house or find a way to get out from under an abusive husband.

DISCUSSION:
What do you think, TKZers? What would you add? Would you keep turning the pages?

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Ways to Add Humor into Suspense – First Page Critique: WOW

Jordan Dane

@JordanDane

I have another first page critique. An anonymous author has submitted their first 400 words for critique at TKZ. It takes guts, folks. My feedback is below and please comment with your observations.

***

I levered the cork out of a bottle of Chardonnay and a bullet slammed into my back. Below the right shoulder blade. More to the center. That difficult spot where if you’ve got a rash or insect bite it’s impossible to scratch and not look like you’re having a spastic seizure. If I knew this was the night someone was out to kill me I would have brought something up from the cellar that was more unique than a domestic Chardonnay, even though it had a pleasant balance of oak to it. There was that Nieto Senetiner Malbec from Argentina, I was holding for a special occasion, for example.

Anyway, the chard went flying, the bottle hit my hardwood floor, didn’t break, the amber liquid flowed out. As for me, the impact of the slug jolted me forward. I tripped over my feet and did a full body slam on the deck.

There I was, face down, flat on a hard wood floor, my back hurt like hell and I heard heavy footsteps crunch their way over to me. We’re talking serious, heavy duty, outdoorsman leather soles here. All I was grateful for at this point is that I still wore my bullet proof vest from work. No, I’m not a cop, not a private dick sort of guy, no security guard, ex-military or something like that. I worked in a dentist’s officer. Name’s
Wowjewodizic, by the way.

I stayed still, bit the inside of my cheek to distract me from the pain in my back and waited. Waited for the, what’s it called, the ‘coup de – something or other,’ where the bullet enters the back of the skull and you don’t care where it goes next because you’re dead.

Then it occurred to me, this guy, or gal, probably not likely due to the heavy feet, didn’t use a silencer. This was a full on, make-a-lot-of-noise, gunshot. He wasn’t concerned about the blast drawing attention from the neighbors. Then again, my nearest neighbor was three miles away. And it was raining. It does that a lot in Portland, Oregon.

FEEDBACK

OVERVIEW: This story feels like a cozy mystery with liberal use of humor through the first person voice of the protagonist. in this scene, someone is shot and yet I don’t feel any danger. In the first few lines, the reader learns the protagonist is shot and yet there is far more importance placed on the awkwardness of an insect bite.

I levered the cork out of a bottle of Chardonnay and a bullet slammed into my back. Below the right shoulder blade. More to the center. That difficult spot where if you’ve got a rash or insect bite it’s impossible to scratch and not look like you’re having a spastic seizure.

The author voice detracts from any suspense. If the point is the humor, I would think a whole book would make it a challenge to get through, at least for me. I want a plot to follow and characters I care about when they’re in real danger. In suspense/mystery/thrillers, I prefer a more subtle use of humor. At the foundation of every story needs to be a solid plot with escalating stakes and conflict.

STICK WITH THE ACTION – The action of the protagonist getting shot is completely masked by the mental meanderings of the voice, making leaps between wines, insect bites, the gender of the shooter by how weighty the footsteps are, and Portland weather.

In this intro, there’s a seesaw effect of telling a bit of the story, then wading into a distraction of backstory or awkward asides told through the voice of the character. It gave me the feeling of constantly treading water until I’m exhausted, trying to figure out what the story is about. When distractions outweigh the plot, a reader can lose track of the plot and not finish a book.

SETTING – There’s very little setting written into this excerpt and it takes awhile for the reader to piece together where the protag is. A wine cellar is mentioned, but it’s not until the protag mentions “my hardwood floors” that the reader sees he could be at his home. There are subtle ways to add setting without hindering the pace if the descriptions are part of the action. As a reader, I like to get a feeling for setting in books I enjoy.

LINES BEST USED IN DIALOGUE – The line below is an example of how the author could have stuck to the action of the shooting, yet gotten the humor across through dialogue with another character. Witty repartee with a detective, for example, would allow the author to pepper in humor without overdoing it.

If I knew this was the night someone was out to kill me I would have brought something up from the cellar that was more unique than a domestic Chardonnay, even though it had a pleasant balance of oak to it.

FIRST PERSON/GENDER & RAMBLING NARRATIVE – It’s not until this line (toward the end of the 3rd paragraph) that the reader knows the protag is a man–only 3 words. As a practice, I like to get the gender straight at the start whenever I write first person. I love the intimacy of that voice, but there are challenges to it. In the case of this excerpt, I think the author absolutely listened to the protag and wrote down every word they heard in their head, but in first person, you have to direct the action and what you want revealed about your character. It’s too tempting to ramble away from the plot.

No, I’m not a cop, not a private dick sort of guy, no security guard, ex-military or something like that.

RUN ON SENTENCES – I found these sentences hard to follow and the punctuation bothered me. I understand the need to write quicker thoughts in an action scene, but I don’t consider this an action scene with all the asides and random thoughts that detract from the flow. The author might consider breaking these sentences apart. Rather than one long sentence, it could make the writing flow better and improve the natural cadence.

There I was, face down, flat on a hard wood floor, my back hurt like hell and I heard heavy footsteps crunch their way over to me.

REALISM – I found it unbelievable that the protag would lay there and wait for the shooter to finish the job, while he’s trying to figure out ‘coup de – something or other,’ determine what gender has heavier footfalls, whether the shooter used a silencer, and the rainfall in Portland, Oregon.

TYPO – Unless this is an obscure job I’ve never heard of, ‘officer’ should be ‘office.’

I worked in a dentist’s officer.

USE OF HUMOR IN BOOKS

Many authors use humor in their suspense thrillers in various ways: Stephen King, Dean Koontz, Janet Evanovich, Harlen Coben, Lawrence Block, Robert Crais, Elmore Leonard, John Sanford, to name a few. There are countless more who have found ways to add humor to their books. I’ve added an excerpt from one of Carl Hiaasen’s stories below. He and Janet Evanovich tip the scale more toward humor than suspense, but have developed a great balance and a loyal reader following.

Excerpt from Carl Hiaasen’s Razor Girl intro:

On the first day of February, sunny but cold as a frog’s balls, a man named Lane Coolman stepped off a flight at Miami International, rented a mainstream Buick and headed south to meet a man in Key West. He nearly made it.

Twenty-seven miles from Coolman’s destination, an old green Firebird bashed his car from behind. The impact failed to trigger the Buick’s airbags, but Coolman heard the rear bumper dragging. He steered off the highway and dialed 911. In the mirror he saw the Firebird, its grille crimped and steaming, pull onto the shoulder. Ahead stood a sign that said: “Ramrod Key.”

Coolman went to check on the other driver, a woman in her mid-thirties with red hair.

“Super-duper sorry,” she said.

What the hell happened?”

“Just a nick. Barely bleeding.”She held her phone in one hand and a disposable razor in the other.

“Are you out of your mind?” said Coolman.

The driver’s jeans and panties were bunched around her knees. She’d been shaving herself when she smashed Coolman’s rental car.

“I got a date,” she explained.

“You couldn’t take care of that at home?”

“No way! My husband would get so pissed.”

In this example, Hiaasen puts his serious minded characters in outlandish situations using his tongue in cheek humor to allow things to play out. He sticks with the action of a car crash (the disturbance) until the reader finds out what caused the wreck. The dialogue lines are funny, too. The humor is downplayed and yet very present and fluid. It’s how Hiaasen sees his story unfolding. His use of humor is subtle and becomes a thread that holds the story together and creates his author voice. The idea of placing very earnest characters into a complete farce, and yet allow them to confront things in a serious-minded way, it adds an element of the absurd that becomes funny.

WAYS TO ADD HUMOR

1.) Add a funny character, whether it’s the protag or a secondary character.

2.) Have your serious-minded characters confront absurd and escalating situations without seeing the humor themselves. They are facing life or death. Only the reader gets the joke.

3.) Know how to separate or add humor into a suspense/action scene. I recently wrote a scene where I didn’t expect there to be humor. My hero is in a shootout but he gets a cell phone call from a girl. What does he do? I wrote the scene all action, then came back to add in the moments where I thought he might realistically answer that call, without him looking silly or stupid. It gave insight into him and added unanticipated humor to a tense scene. I also underplayed the phone call and made it seem normal, until you see what he’s doing while he’s talking to her.

4.) Throw in the unexpected. Imagine your serious character getting jolted by something he or she never saw coming. How would they handle it?

5.) Develop witty banter between characters in conflict or dare to write characters with different kinds of humor. Pit an educated cynic up against someone with crude bathroom humor in a juxtaposition of character types. You’ll find these characters take on a life of their own in your head and it’s lots of fun to write. Making each voice distinctive in humor is key.

DISCUSSION

What do you think of the anonymous submission, TKZers? Any feedback?

 

5+

Anti-Heroes: Why We Love Them & Keys Ways to Give Them Depth

Jordan Dane
@JordanDane

After John Gilstrap’s post yesterday on The Code, a nostalgic reflection on storytelling in his lifetime, it got me thinking about my favorite type of protagonist – the anti-hero.

One of the first “in your face” anti-heroes I remember came from the small screen – HOUSE. He said things we might secretly wish we could and get away with it, but when TV audiences saw how deeply flawed he was, coupled with his vulnerabilities and quirky sense of right and wrong, he became endearing and very watchable.

Here are a few outstanding anti-heroes for your consideration:
Michael Corleone from the Godfather
Walter White & Jesse Pinkman from Breaking Bad
John McClane from the Die Hard movies
Don Draper from Mad Men
Tony Soprano from the Sopranos
Ray Donovan from the show by the same name.
Jack Bauer from 24
George Costanza from Seinfeld
Patrick Jane from the Mentalist
Dexter Morgan from Dexter

These amazingly memorable characters have introduced a broader use of gray into classic Hollywood’s black and white world of storytelling where the bad guys literally wore black hats in early films. Anti-heroes aren’t pure heroes in the classic sense. They have flaws and baggage that make them borderline villain, but not quite. It’s up to the author who creates them to infuse something redeemable, even if the author simply gives them a dog, like JOHN WICK.

So why the change toward anti-heroes and why have they become so intriguing?

You’d have to look at how much our world has changed, the complex nature of our lives has shifted our moral compass and made resolutions ambiguous. The simple white hat cowboy may appear weak unless he’s willing to confront dark villains who aren’t hindered by a moral code. Anti-heroes are “over the top” strong in their field and are willing to break conventional rules to save the day once they commit to the fight and cross the point of no return. They right the wrongs that seem insurmountable because they are larger than life and don’t let rules or laws get in the way of justice.

Why are we drawn to anti-heroes?

For me, I see them as flawed. They’re not perfect, like classic heroes in Hollywood or in literature were portrayed. I can relate to them better because it makes me feel as if, given the right circumstances, anyone can rise to the level of hero if they have a cause worth fighting for. We also want to see if they are redeemable. Give your anti-hero a chance to grab at redemption in your book and see if he takes it. Or will he find love from a strong woman? Once we get hooked on an anti-hero, we root for them and feel their pain more when they fall. We want them to get back up, because they’re “every man.” And the fact they are not cookie-cutter, and do surprising things and are unpredictable, they make the storytelling fun.

Who would have rooted for a high school teacher turned drug dealer if we hadn’t learned of his cancer, his concern for his family in the face of his financial meltdown, and his rising medical bills. He’s bucking a broken health care system like David standing before Goliath. He’s more worried over his family than his own recovery. He’s got nothing to lose.

Anti-heroes change our way of thinking about confrontation and empowerment. The right anti-hero can give voice to our frustrations and give us an alternative reality to find justice.

Below are tips to add depth to your anti-hero/heroine & make them sympathetic:

  1. Give Them a Reason—A reader will lose interest if your character is a complete jerk for half the book. Sprinkle in the valid reasons for them being who they are and clue the reader in on these reasons early so they can buy in, even if the other characters don’t know their motivations.
  1. Does Gender Make a Difference? In general, I’ve noticed that readers accept bad boys faster than they embrace a female lead character who isn’t perfect. I don’t know why this is, but it can make crafting your female characters a challenge.
  1. Make them human—Give them a code they live by or loyalties a reader can understand and empathize with. Even a dark anti-hero/heroine has a softer side. In Silence of the Lambs, Hannibal Lecter was Clarice’s protector with his peculiar brand of loyalty.
  1. Give Them a Soft Edge—If you give even the toughest brooding character a pet or a soft spot for a kid, they will be endearing to readers. Write the darkest character and match them up with something soft and you’ve got a winning combination.
  1. Show Respect—Everyone looks up to a good leader. Show that others admire or respect your dark character and the reader will too.
  1. Stick Redemption under Their Nose—Give your anti-hero a shot at redemption. What choice will they make?
  1. Make Them Vulnerable—Pepper in a back-story that makes your anti-hero vulnerable—betrayed by love, lost an important person in their life, or other tragic experience. Make them fearful of something, perhaps even themselves.
  1. Forge Them from Weakness—Alcohol or drugs, adrenaline addict, insurmountable grief, or fear of the dark. Force them to battle with their deepest fears, making them worth someone’s struggle to win them over.
  1. Make Them Corrupted by Life—Have them see life through personal experiences that we can only imagine but they have lived through. Make trust an issue because they have been betrayed. They must be much more vulnerable than they are cynical to deserve the kind of significant other that it takes to open them up to someone else.
  1. Make Them Real—To be real, they must have honest emotions. That means you, as an author, must delve into the murky corners of your own mind to get into their heads. It’s not always an easy thing to do.

DISCUSSION:

1.) Who are some of your favorite anti-heroes and tell us why? (from TV, movies, or books)

2.) Do you have any other anti-hero crafting tips to share?

My anti-hero – Mercer Broderick as Mr. January. Preorder ebook for $2.99 at Amazon.

Zoey Meager risks her life to search for her best friend in a burning warehouse, only to cross the path of Mr. January, a mysterious man with a large black dog completely devoted to its master.

10+

Balancing Action with Voice – First Page Critique of Urban Patriot

Jordan Dane

@JordanDane

Purchased image – Croco Designs for Jordan Dane website

Hello, my fellow TKZ warriors. I’m busy cranking on the daily word count of my next release, but I have, for your consideration, an anonymous submission from a daring author and member of TKZ. The first 400 word intro to: Urban Patriot. Enjoy and join me on the flip side for my feedback and please provide your own thoughts in your comments.

Urban Patriot

Choosing a side is dangerous, especially when it comes to politics and you’re African American from a Jewish background, that is, everybody wants to either recruit you or kill you for something. When I was getting high – on life – shit was easier, the only people interested in you were those like you unless they had their own plans which everybody in tinsel town had. One minute you’re relaxing with a naked woman’s bare legs laying on your lap and the next someone throws a stack of $100 bills in at you and says there’s more where that came from, you’re gonna love it.

Instead of letting me deal with my fate on the streets of Chicago, at 15, mom got spooked and sent me off to California to join the father I’d never met and who turned out to be a bigger jerk than the Chicago idiots I was sent away from. Which wasn’t half bad until the thrill of finally meeting him caused me to want to live with him. Grandfather and Mimi took me in where we had a small swimming pool, my own bedroom, and took me on vacations with them. Hell, I even had an allowance. Quite a step-up from sharing a 3-bedroom apartment with five siblings, a single mom, and abusive step-father.

Dr. Anita Daniels, my uncles and aunts American Socialist Party affiliation’s caught my attention like a shiny new car and what they stood for was everything I’d felt being a Black Jew living in America. Working Socialist political campaigns and African American activist activities taught me a lot, to stand-up for myself and expected the worse from people. Encounters with White Supremacists, the police, and Politicians broaden my horizons to the point of rage and cunning calm.

In a sense, I guess my past prepared me for a life of risks, questionable alliances and an “I don’t give a fuck” attitude. Especially when my wife was shot and left for dead at the airport terminal as we arrived stateside from a five-year extended stay in the Middle East, I wanted nothing more than to personally smoke that bastard of New President and burn his administration to ground. But that opportunity would come much later if only I’m I am strong enough to do it.

“Follow me” Agent Kelly Carlson demanded as I leaned over the counter asking the clerk “where is she, is she alive” “I am sorry sir, I don’t have that information” the clerk replied.

“We must leave now Mr. Anderson; your accommodations are waiting” The agent snapped. “This is bullshit” I snapped back, “I’m going anywhere until you I get some information about my wife.” “We’ll explain everything to you later, but you’ll never know unless we get going.”

The agent was already holding the glass door open as I turned toward him, stepping into the hall he whispered: “We’re all just a bunch of bureaucrats following orders – you know that.”

FEEDBACK

Overview – The strong edgy voice drew me into this introduction. It read like a diary and appeared to be set in an alternate reality or a future America. It intrigued me. But the submission starts with lots of backstory and ends with the action of what’s happening in this opening scene. Once I learned that a man’s wife had been shot and left for dead, I wanted to stick with the action. The question of why a federal agent is ushering him away and not telling him anything about his wife intrigued me far more than the backstory that could’ve come later to fill in the gaps as the story progressed.

Housekeeping – By now, you guys know how I feel about embedding dialogue within a paragraph, but this submission goes a step further and not in a good way. Dialogue is embedded and often lines from 2-3 different people.

Example of 3 different people talking in one short paragraph – “Follow me” Agent Kelly Carlson demanded as I leaned over the counter asking the clerk “where is she, is she alive” “I am sorry sir, I don’t have that information” the clerk replied.

There’s also very poor punctuation which drives me crazy. Missing commas at end of dialogue lines (ie “Follow me” Agent Kelly Carlson demanded), the use of double quotes where a single quote should be (ie “I don’t give a fuck” attitude), and missing punctuation like in the example above where there should be question marks (ie “where is she, is she alive” or the lack of a capital letter to start those questions.

Editors and agents would be turned off at seeing so many errors in the first 400 words. Don’t give them a reason to say NO.

Stick with the Action – The meatiest part of this intro was embedded inside a paragraph and almost treated too dismissively. The words ‘when my wife was shot’ should have been the focus.

In a sense, I guess my past prepared me for a life of risks, questionable alliances and an “I don’t give a fuck” attitude. Especially when my wife was shot and left for dead at the airport terminal as we arrived stateside from a five-year extended stay in the Middle East

This submission seemed flipped backwards to me, in that the action was toward the end after all the backstory. I would suggest focusing on the shock he must be feeling at seeing his wife hurt or dead, then don’t let him find answers as he’s dragged away by the agent. Below is my suggestion for a rewrite. I tried to stick with what the author had written, but just re-ordered it and added more of his shock at the start.

I had her blood on my face and my hands. I couldn’t get the image of my wife out of my head. They must’ve left her for dead at the airport terminal. That’s the only thing I could figure. One minute, we were on the tail end of a five-year extended stay in the Middle East, the next we were stateside. This should’ve been home. How could this happen…here? I wanted nothing more than to smoke that bastard of a new President and burn his administration to the ground.

“Follow me,” Agent Kelly Carlson demanded.

I had to know what happened. I leaned over the nearest counter and found a reservations clerk with enough sympathy to care.

“Where is she? Is my wife alive?”

The federal agent yanked my arm and forced me to keep in step as he hauled me through the gathering crowd.

“I’m sorry, sir. I don’t have that information,” the airline clerk called after me.

 “We must leave now, Mr. Anderson. Your accommodations are waiting.” The agent picked up his pace and dragged me with him.

“This is bullshit. I’m not going anywhere until I know what happened to my wife.”

“We’ll explain everything to you later, but we have to go. Now.”

The agent held a glass door open and pushed me through it. When I stood my ground and faced him, he whispered, “We’re all just a bunch of bureaucrats following orders. You know that.”

I clenched my fists and fought a blinding rage.

The way this story started, with the intimacy of a diary, makes me wonder if this intro could stand with the action of violence, but drift back to where it all began, like the way movies begin with something horrific and back into what led up to it. If that’s not this author’s intention, I would suggest peppering in the backstory later when appropriate. I really do like the edgy voice and the ‘tude.

Names Matter – A federal agent by the name of Kelly made me think this was a woman. It wasn’t until near the end that the author lets us know the agent is a man. This is a bit nit picky, but it jarred for me to realize I had a wrong image in my head. Also, if the name Kelly will be through the whole book, that is a lot of time for the reader to forget this is a man. I also fought with another famous name – Kelly Clarkson, the singer. Her name is too similar to Kelly Carlson, the agent in this intro. I would reconsider the name.

Read your work aloud – Even with the edgy voice, there is a flow and cadence issue and typos where it reads as if the author made changes but didn’t catch all the words. If you get in the habit of reading your work aloud, you will find areas where you stumble over the words. Those are lines you should consider revising to make them flow better. Here are two examples where reading aloud would’ve helped to catch the typos:

But that opportunity would come much later if only I’m I am strong enough to do it.

“I’m going anywhere until you I get some information about my wife.”

Use of tags in dialogue – I noticed these following a dialogue line – demanded, snapped, snapped back. A whole book of words to replace a simple ‘said’ can be distracting, but in Elaine’s recent post on “The Burning Question: He said, She said,” she makes a good case to minimize even neutral tags like the word ‘said.’

Setting – I wanted to know more about where this scene takes place. I can only assume it’s at an airport terminal but the writing is too sparse to get a good sense of where this happens, especially when it starts with a backstory that mentions Hollywood’s Tinsel town and Chicago. Setting can place the reader there and trigger images in their minds. It’s important to ground the reader into imagery that enhances the emotion or action of the scene. For example, if the federal agent has to whisk this guy away and dodge travelers hauling luggage or airport security rushing toward the place where the attack on his wife took place. This kind of setting or world description could add pace and emotion to what’s happening.

On Tuesday, P J Parrish had an excellent post on Your Story as Sculpture: What to Leave In, What to Leave Out. It detailed some solid information on sparse writing (similar to this submission) and how an author should think twice about what to delete and what to keep. Check it out.

DISCUSSION:

What was your reaction to this introduction, TKZers? Did it grab you? Would you turn the page?

Mr. January available in print now (210 pages). Ebook pre-order $2.99!

Zoey Meager risks her life to search for her best friend Kaity in a burning warehouse, only to cross paths in the inferno with Mr. January, a mysterious man with a large black dog, completely devoted to its shadowy master.

2+

White Space on the Page Can Be Your Friend – 1st Page Critique: A Pitying of Doves

Jordan Dane

@JordanDane

Forgive the blatant Prince/Purple Rain reference. After I read the first lines of this anonymous submission, I had purple on my mind.

Below is an anonymous submission for critique, the first 400 words or so of a project. Read & enjoy. I’ll give my thoughts on the flip side. Feel free to provide your constructive criticism in your comments. Let’s help this author with our take.

A Pitying of Doves
SATURDAY – July 14th, 2012…8:29 am

The delicate bird bobbed around in circles, oblivious to the hungry yellow eyes hidden within the greenery −a common Laughing Dove− it was searching for its own subsistence near the marble steps of the towering Grand Mosque in Abu Dhabi. Latin name: Spilopelia senegalensis. On the fast track out of this messed up existence, Bertie thought, holding her breath and turning her D3x toward the ill-fated bird. Cha-click. Cha-click. Cha-click. Three-seconds. Three human heartbeats. It happened that fast. Death. Looking up over the top of the camera, she kept the shutter going as the lean, elegant feline blinked once in thanks before skittering off, prize in mouth, drops of blood trailing. Metaphor? Or prophesy? The pain in her gut said both as she swiveled the camera on its tripod back to the subject at hand. “Okay!” she shouted. Her assistant swung his arms about and stepped out of the frame as a burst of doves hit the air for her ravenous lens.

“You will get the perfect image I think,” said the Indian man breathlessly, scooping up the camera bag and preparing to follow her to another spot.

“It has to be perfect, Amir,” she said, still clicking, but thinking only of the killing that she’d been involved in three days ago. Murder. For the first time, she suddenly felt ill. “Khalas! That’s enough. I can’t do anymore.” She quickly abandoned her equipment for the parking lot and stumbled behind her silver Range Rover. The acrid smell of rubber and petrol made her eyes water as she held onto the bumper, pressing her black and white keffiyeh scarf across her mouth, trying to maintain her composure. Murder. The word ricocheted inside her skull. It thundered like an avalanche and threatened to bury her, just like they had buried him. “Necare,” she whispered, murder’s more attractive Latin equivalent. She usually found it soothing, translating words into the old language, perhaps because it took her back to her college years, back to a time of relative innocence. “Homicidium,” she went on, fist clenched against sternum, near panic as the tears came along with the realization that her virtue was lost forever. “What the hell have I done?”

FEEDBACK

Overview – I enjoyed the imagery of Bertie taking objective photos of a dove killed by a stalking cat. She merely observes and documents. The author eases the reader into why Bertie might view death differently. I also liked the reference “ravenous lens.” Very fitting. The last line intrigues me – “What have I done?” It makes me wonder what Bertie had to do with murder. The name Bertie seems like someone elderly and a very non-lethal person. Below are my suggestions for the author to consider:

1.) White Space & Flow – My first thoughts are to improve the use of white spacing on the page so the eye of the reader doesn’t get lost in what looks like weighty paragraphs they might skim. There are important imagery, plot details and dialogue embedded in these longer paragraphs that could be enhanced by merely showcasing them. Often, the reader’s eye looks for dialogue or (heaven forbid) they skim looking for dialogue if they see long paragraph’s ahead.

I’m a believer in steering the attention of the reader to important lines or showcasing a single line to emphasize something foreshadowing or important. I like shorter chapter lengths and using foreshadowing/cliffhanger techniques at the end of each chapter to keep the reader turning the page. I’m also suggesting the author use Bertie’s name sooner so the reader immediately knows whose head we’re in.

Here’s an example with only minor changes to tighten 1st paragraph:

Bertie spotted a delicate bird bobbing in circles, oblivious to the hungry yellow eyes hidden within the greenery. A cat searched for its own subsistence near the marble steps of the towering Grand Mosque in Abu Dhabi. The common Laughing Dove was on the fast track out of this messed up existence.

Bertie held her breath and turned her D3x toward the ill-fated bird. Cha-click. Cha-click. Cha-click. Three-seconds. Three human heartbeats. Death happened that fast.

She looked over the top of the camera and kept the shutter going as the lean, elegant feline blinked once in thanks before skittering off, prize in mouth, drops of blood trailing. Metaphor? Or prophesy?

The pain in Bertie’s gut said both as she swiveled the camera on its tripod back to the subject at hand.

“Okay!” she shouted.

Her assistant swung his arms about and stepped out of the frame as a burst of doves hit the air for her ravenous lens.

2.) Stick with the Emotion/Show Don’t Tell – In the last long/weighty paragraph, I understand Bertie is haunted by something bad that happened. I wanted to see more of her emotion, but the clinical word translation drew me out of her head and I didn’t understand why. If this was meant to give insight into Bertie and the way she deals with things, the author must still show her emotional struggle to get the reader more invested. Perhaps her mind takes over (with the word game) while her body reacts to a dark memory, but if this is the case, it wasn’t as clear as it could have been. The author also “tells” rather than “shows” Bertie’s turmoil.

 
Here’s an example with only minor changes to tighten last paragraph:

“It has to be perfect, Amir,” she said.

Her fingers trembled as she took the shots and her stomach roiled from the memory of what happened three days ago. Hot bile rose in her belly until she thought she would throw up. She couldn’t lose it in front of Amir.

“Khalas! That’s enough. I can’t do anymore.”

Bertie abandoned her equipment and ran for the parking lot before anyone saw her break down. She stumbled behind her silver Range Rover, out of breath. Her eyes watered from the acrid smell of rubber and petrol–and something more. She held onto the rear bumper and pressed her black and white keffiyeh scarf across her mouth to stop from getting sick.

Murder. The word ricocheted inside her skull. It thundered like an avalanche and threatened to bury her, just like they had buried him.

With her eyes stinging with tears, she shut them tight to block out the images that haunted her. For days she hadn’t slept. Exhaustion had worn her down until her mind tortured her with a word game she hadn’t played since she was in college. The old language game used to soothe her. Not today.

“Necare,” she whispered, murder’s more attractive Latin equivalent. “Homicidium.”

Tears ran down her cheeks and wouldn’t stop. Bertie wrapped her trembling arms around her waist, breathing hard until her head spun. She’d crossed a line three days ago and lost the last of her innocence. How could she look anyone in the eye?

“What the hell have I done?”

Final Thoughts – All the elements are here in the submission, but by focusing on Bertie’s emotional state and showcasing certain lines, plot elements, and dialogue, this submission can become a smoother read without much effort.

Discussion: What do you think, TKZers? Please comment.

Mr. January available in print now (210 pages). Ebook pre-order $2.99!

Zoey Meager risks her life to search for her best friend Kaity in a burning warehouse, only to cross paths in the inferno with Mr. January, a mysterious man with a large black dog, completely devoted to its shadowy master.

7+

Publishing Trends to Watch in 2017

Jordan Dane

@JordanDane

Jordan Dane purchased image from Shutterstock

I’ve been involved in many “experiments” lately, like Amazon Marketing Services and Amazon Kindle Worlds. I plan to get more familiar with Kindle Unlimited with my upcoming release in Feb – Mr. January. Retaining my copyrights and self-publishing this book, I can explore more marketing tools to see how effective I can be. So I thought I would list some of these things to watch in 2017 as I see them. As always, I would love to hear your thoughts on trends you see as important in 2017 or marketing efforts you have had success with. Join in the discussion in your comments.

Publishing Trends to Watch in 2017

Marketing Power of Digital – Print books are expected to continue a comeback in 2017, but for anyone publishing fiction, e-books drive sales and are easier to promote since social media and reader websites offer more economical ways to promote. Digital is the gift that keeps giving in that each book is on a forever shelf. Any author can recreate interest in a back list novel by repackaging the work with a new cover or new content or bundling as part of a box set. (See more on this below in “Over-crowded Digital Book Shelves.”) It’s easier for an author or publisher to focus marketing efforts in the digital arena since it’s cost effective and the exposure can be much greater, but with all the e-book competition, marketing strategies will be more important in 2017.

Small Presses & Savvy Self-Publishers are Growing – The larger traditional publishers market shares are dropping each year. Over 50% of the market share is comprised of self-publishing authors, small boutique publishers, and Amazon imprints. The challenge comes when trying to navigate this new sea of 50-percenters. Simply discounting an ebook or offering it for free won’t cut it. That makes marketing and visibility more strategic in 2017. Amazon is offering their Amazon Marketing Services (AMS) to smaller houses and indie authors. With sales stats to track the effectiveness of this AMS marketing tool, it is an easy way for authors to try it and see how it results in sales vs cost to promote.

Amazon Imprints Are Dominating – In 2016, 7 out of 10 Kindle bestsellers were from Amazon Imprints. Is there an advantage to selling a book to Amazon in 2017 when it comes to their sales ranking algorithms? I don’t know, but if anyone knows how to maximize visibility and preferential marketing spots on Amazon, it would be their own imprints, don’t you think? When traditional houses offer bare minimum of support to most mid-list authors, selling to Amazon feels like an author has a leg up on marketing and promotion when the buyer is an Amazon imprint. An Amazon imprint could give any author an edge in marketing strategy in 2017.

Kindle Unlimited Expanding – More readers in 2017 will be finding benefits to the Kindle Unlimited program and Amazon markets their program effectively. This growth trend will undoubtedly affect e-book sales and I’m sure Amazon will find more incentives for authors to try their program. I see this program expanding in 2017 to keep Amazon dominating.

Kindle KDP Select Enhancements Provide Better Outreach – If you are part of the Kindle KDP Select Program, where you publish only through Amazon for a given period of time, you are automatically enrolled in Kindle Unlimited AND the Kindle Owners Lending Library (KOLL) and will earn different enhanced royalties as incentive. The KDP Select program also provides for better royalties globally (70%) in countries like Japan, India, Brazil and Mexico. Plus authors can expand their outreach through Kindle Unlimited in the US, UK, Germany, Italy, Spain, France, Brazil, Mexico, Canada, India, Japan, and Australia. (My reader fans have complained that Kindle Worlds books aren’t available for distribution yet into their countries, but until that happens, any books I have through KDP Select is available to many of my readers.)

Over-crowded Digital Book Shelves – New e-books have to compete with the over-crowded digital shelves of digital books in 2017 that never go out of inventory. The good news is that there is endless space for digital books forever. The bad news is that authors must compete with a growing mass of books competing for readership. Don’t forget your back list, authors. Redesign your covers, obtain new praise blurbs or write new book jacket copy, get new reviews, and spend marketing dollars toward generating new interest in your tried-and-true back list. The bigger your inventory for a reader to “discover,” the more visibility you can achieve and your promo dollars can go a longer way.

Audiobook Market Is Growing – I haven’t focused on this enough, but with indie authors able to use ACX to create an indie audio book, it’s worth a shot to make your own audio book in 2017 (if you haven’t sold your audio sub-rights). It’s always a good thing to make your book available in as many formats as you can – plus you get to retain your sub-rights in audio.

Marketing Strategy Will Be More Important Than Ever – This is a tough one for me and my biggest challenge. I try new things all the time to stay effective. I’ve seen good and track-able success in Amazon Marketing Services, but there are other marketing tools, such as BookBub, Freebooksy, and Bargain Booksy. In 2017, continue to expand your marketing strategies and evaluate what is working and drop what isn’t.

Facebook Ads Declining – I’ve never been a fan of Facebook. Their ads might not seem too costly, but unless you have a good metric to establish whether these ads are truly effective and result in actual sales, it doesn’t matter how much they cost. Some authors have used FB ads to increase their mailing lists, but for actual book sales, I haven’t seen anyone who can analyze this. With Amazon Marketing Services being a better option, with sales data tied to the promo, it is a much better option.

Try Expanding Your Foreign Sales in 2017 – Part of anyone’s sub-rights are foreign sales. If you have an agent, they could be marketing this for you “a la carte” or your publisher might have gotten your foreign rights when you sold to them. These foreign sub-rights have value and a potential for growth. And if you’re lucky enough to get your back list rights returned to you, try marketing to international markets. Many international buyers love American authors. If you’re an indie author on Amazon, you would notice the foreign markets they list when you set up your book, but there are other international markets. An agent or broker might be able to enhance your sales by tapping into this resource. Some may take English language “as is” or they may require language translation, but they pay an advance for the rights. It could be worth exploring in 2017 to expand beyond US and UK readers.

Authors Find Safety in Numbers – In 2017, expect to see more authors banding together in projects where marketing and promo can be shared. Co-writing books and creating box sets can generate buzz. Authors have always been generous with other authors and it warms my heart to see this, but it also makes good sense. The best part of the Amazon Kindle Worlds books comes from the cross promotion of all the launch authors banding their efforts together. We share our readerships with all the other authors, but get a lot in return. The concept of the Kindle Worlds launches and cross-promotions is a real benefit for all authors involved.

Discussion:
1.) What trends have you noticed that you’d like to share with your TKZ family?

2.) What marketing tools have you tried and had success with? Please share.

Mr. JanuaryMercer’s War Book 1 coming Feb 2017 in print and ebook

Zoey Meager risks her life to search for her best friend Kaity in a burning warehouse, only to cross paths in the inferno with Mr. January, a mysterious man with a large black dog, completely devoted to its shadowy master.

 

5+

A Checklist For Writing A Great Ending

Jordan Dane
@JordanDane

I don’t always write a “happy” ending. In the romance genre, that’s called HEA, or happy ever after. My main goal is to stay true to my character(s) and motivation. The plot can spring from the flaws of a character or be influenced by those imperfections. Since I like conflict between my main characters, that can mean their happy ending doesn’t neatly happen by the end of the novel. I don’t want to force it or contrive an ending that doesn’t remain true to my character’s story arcs.

“Happy ever afters” are popular and even if you’re not a romance reader, a satisfying ending can be important, especially if it makes the reader feel good at the turn of the last page. But there’s nothing wrong with an ambiguous ending if it fits with your character and your world. An author writes the story he or she wants to tell.

A Checklist For Writing A Great Ending

1.) Tie up the loose ends – One of my final edit reviews is when I search for subplots and key elements to tie up to make a satisfying ending. If I introduced a DNA lab result earlier in the plot, did I bring the results in later? Are all my subplots resolved? Are all my character motivations justified enough? Nothing make a more hearty meal than a good, solid ending. Don’t leave loose ends.

Word of caution – Don’t tie up everything in one long character dialogue scene. This reminds me of the cheesy Charlie Chan movies or older Sherlock Holmes films where the hero regurgitates all the clues with answers. Try to be more subtle or break up the loose end tie-ins so it doesn’t feel too contrived. Another pet peeve of mine is the villain who feels compelled to answer all the detective’s questions on his motives, gloating. Break apart these disclosures and don’t turn your diabolical villain into a chatty girlfriend who wants to bear his or her soul. Find a more realistic way for these disclosures to come out in subsequent scenes when the investigators are closing their case.

2.) Restore the world even if it’s not perfect – Redemption at the end of a book can be good as well as uplifting. I like the idea of restoring the world that an author creates, but it doesn’t always have to be the same world. Crime affects people in a bad way and it radiates out like ripples on still water with many people affected—from the victim to the family survivors to cops investigating the case. Don’t be afraid to show the aftermath. A story can feel positive if the protagonist survives, but don’t be timid in portraying how much your character has been affected.

3.) Consider your series endings – There are many ways to end individual books within a series. You can have a major cliffhanger. You can hint or foreshadow something coming in the next installment. Or you can have each book end completely, yet have the growth and story lines of the characters weave a tapestry through your series. How an author develops a series (and the books within it) can be a conundrum. A key decision element might be if you plan on releasing each book back-to-back with a short period between book launches. Your readers won’t have to wait too long for each installment. But if you’re a new author and want a traditional house to consider your work to publish, unless the house is interested in buying the whole series, it might be better to write a more conservative ending without a major cliffhanger (in case the publisher doesn’t not buy the whole series).

4.) Do not clutter your ending with last minute conflicts – I would consider a last minute distraction or entanglement to be a cheat for the reader. When such a beast springs from the pages, a reader might sling your book at a wall with the contrivance. Give the reader an ability to solve the case on their own. They can’t do that if the author springs unexpected characters or plot twists that haven’t been introduced earlier. Many times I will have a certain twist in mind, but go back and lace in different clues in several spots so the reader can decipher the puzzle before the big reveal, but I never make it easy.

5.) Foreshadow a realistic future to come – If you don’t want to write a blatant romantic happy ever after, you can “hint” of a future for your characters. Often a forced romance or a contrived relationship can end with a marriage proposal that doesn’t “feel” real. But if the author foreshadows a more realistic relationship with the promise of a tomorrow, that might be enough for a reader to get the idea and feel positive about the ending.

 

6.) Stay true to your voice – If your author’s voice through the story is dark or starkly realistic, don’t explode pink glitter and unicorns all over your ending. A reader will feel betrayed by this. Whatever ending you choose for your character, make it realistic for the vibe of your book.

7.) Know your ending by genre or choose to be different – There’s always the exception to a general rule, but certain commercial genres have endings readers will expect. For example, an amateur sleuth will be expected to find who the killer is, or a romance relationship story will have the lovers together or with a future by the end. A thriller story will have the maniacal villain thwarted and the world restored. Not all successful stories follow this idea. I’ve written endings where the bad guy gets away with his crimes (Evil Without A Face & No One Left to Tell & No One Lives Forever), but if you dare to do this, you must have a reason (a potential teaser for a series) or a villainous character that the reader might accept such an ending.

8.) Don’t be afraid to explore ambiguous endings – If you’ve written a carefully plotted book that’s stays true to your character study, don’t be afraid to explore an ambiguous ending. A favorite book I read called The Piano Man by Marcia Preston is a women’s fiction book that has a realistic yet ambiguous ending. At first I wanted the ending to mean an HEA for the two main characters but that would’ve been a cheat. After I thought about it, the way it ended was perfect for the nature of the two characters and it was a beautiful story of two people whose lives crossed in a moment of tragedy. If the author gets the emotion right and the character motivation, there could be a variety of endings possible. Don’t be afraid to explore more than one ending that can add depth or a thought provoking conclusion.

 

Discussion:

1.) Have you ever written a forced ending that didn’t feel right to you? Did you correct it?

2.) What makes a good ending for you (as a reader or an author)?

3.) What are some of your favorite (most memorable) book endings? Were they happy endings or not?

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