Jun 122013
 

(NOTE FROM JOSH: I was sitting down to write this evening when the Boy, two days done with Middle School but not yet a Freshman, tells me to step aside. “You’re tired,” he says. “I’ve been thinking about something.”

Clearly he has been. And he’s not shy about discussing it. I hope I miss the train to Weenieville.

JG)

Classics, Inc.

By Joe Newman-Getzler

                What is a “classic”? Depending on whom you ask the answers could vary wildly. For some, a classic could be a book like Murder on the Orient Express, a movie like Casablanca, or a song like “Let It Be”. To others, a classic could be a book like Diary of a Wimpy Kid, a movie like Johnny Dangerously, or a song like “Boom! Shake the Room." This need not only apply to books. The term “classic” can also be applied to anything from a good joke to a memorable sports play. But what, indeed, is a classic? And how does it unify these many different things?

                To most people, a classic is merely a thing that stays in their head for a long time, usually for a positive reason. But to some, the name goes much deeper than that. A classic means a piece of cultural significance, something considered a great thing that all should love and cherish for its greatness. Typically, there is a predetermined set of “classics” for any kind of genre or type. For example, if you want a “classic” book, the names that’ll probably come up would be books like Animal Farm, To Kill a Mockingbird, The Catcher in the Rye, or Gone with the Wind. A “classic” movie? You’d probably see names like Citizen Kane, Some Like it Hot, or Singin’ in the Rain. But should we have our classics defined for us? Or should we form our own opinions on what is classic and what’s not?

                This is a question that has been troubling me for a while now: what’s a classic and what’s not? The reason this has been rumbling through my mind is because lately I have been trying to give myself a “classical” film and literary experience. Summer’s just begun, and now that I have gobs upon gobs of time to spend, I want to fill them with great books and great movies. For the former, my family has been supplying me with tons of great books like To Kill a Mockingbird and The Catcher in the Rye. And yes, they are great. But I will admit, my standards for classics are pretty low. The whole school year was peppered with classic books in my English class, like The Woman Warrior, The Chosen, Animal Farm, you name it. But my ideas of classics are Dave Barry is Not Making This Up, Bugs Bunny: 50 Years and Only One Gray Hare, and There Is No Dog. And yet, Mom and Dad say not to read those over and over. Read The Hobbit. Come on! It’s only 500 pages long, you wuss!

                Movies are another area of “classics” that drive me crazy, though for a different reason. While I would consider myself a rather decent film lover, there are still so many movies I haven’t seen that I feel pressured by myself to watch. Seriously?, I ask myself. You haven’t seen Citizen Kane? Jaws? The Dark Knight? You, sir, are on the train straight to Weenieville. And even my gym teacher’s let into me about my lack of film exposure: he spent 10 minutes telling me how I simply must watch The Empire Strikes Back in order to truly deem myself a Star Wars fan (BTW, I’ve only seen A New Hope and Return of the Jedi. That fact led to not only the aforementioned monologue, but another about how I should watch the prequels because, yeah, they suck, but I MUST have the complete Star Wars experience.) And yet, I also feel that there are a great many films that I truly love and yet many don’t even think of in the same league as “classics.” Seriously, does nobody but me consider UHF a classic? Charlie and the Chocolate Factory better than the Gene Wilder one? I feel so lonely.

                It’s times like this when I start to think about how subjective a term “classic” is. Can only what has been previously called a classic be a classic? Can others come up with their own “classic” films to share with the world? That is my hope. While, naturally, classic books and movies are to be revered and respected, they aren’t the only good books and movies out there! I wish more people would realize that. And YES, I am going to watch The Empire Strikes Back this summer. But the prequels? Hmm. Maybe. But for now…keep on readin’.                                                                                                    
Apr 242013
 

Meriel Patrick, guest blogging on behalf of Lynne

Some time ago, I started reading a crime novel that had been on my to-read list for quite a while. Within a few pages, it became obvious that the first victim was a small child, and my heart sank. In fact, I still haven't finished the novel.

Now, on the face of it, there's nothing particularly odd about this. Child murder is a horrendous thing. But then, any murder in real life is a horrendous thing, and I quite happily read fictional accounts of all sorts of people meeting untimely ends - is fictional child murder really so much worse than the adult version?

As I pondered on this, I remembered something I heard at a crime fiction conference a few years ago: as a crime writer, you can bump off as many people as you like, and your readers will cheer and ask for more. But kill a cat - or worse still, a dog - and the chances are you'll get angry letters.

So what's going on here? Why are normal, law-abiding citizens happy to read about grisly deaths of fellow humans, but are shocked and outraged if the victim is a pet?

It struck me that in my case at least, my reactions to animal deaths and child victims in crime novels are very closely allied. It's partly that they're both helpless casualties of events beyond their control, but it's not wholly that.

The main reason I don't like these kinds of deaths in crime novels is that the victims aren't involved in the story in the right kind of way. They generally just happened to get in the way, or (particularly with animal deaths) were killed as a warning to someone else. You can't hope to solve the crime by finding out about the victim.

This all finally clunked into place in my head when I encountered the term 'malice domestic', used to describe a particular sub-genre of crime fiction. This is an umbrella term used of works where the crime is, in the broadest sense, domestic - where the victim(s) and killer know each other, and the key to the puzzle lies in figuring out the relationships between them.

This, I've realized, is a large part of the essence of what makes something a good crime novel for me: a delicate balance of a nice chewy intellectual mystery to solve, and some well-developed characters whose lives I can be drawn into. If those key relationships aren't there - if the central murders are in some way impersonal - there isn't the right kind of tension to keep me really interested. I may admire a high-octane thriller or a well-crafted serial killer novel, but the chances are it won't suck me in in the same way.

Given that there are plenty of people who do like thrillers and serial-killer novels, this is clearly at least partly a matter of personal taste. But I don't think I'm alone. That perfect blend of characters to love and puzzle to solve is a heady mixture!

Mar 202013
 

Note from Josh: My son Joe is off from eighth grade this week for Spring Break. He saw me sitting down to write the blog this evening, and asked if he could do it for me. He said he’d been thinking about character, and wanted to explore it. He shooed me off my computer, patted me on the head, and yelled a bit later that he was done and could I have a look. I tell you—sometimes good advice comes through experience and deep, thought-provoking examples. And sometimes it’s through Loony Tunes, Enjoy.

 

Guest Post by Joe Newman-Getzler  

                What’s the first thing that draws your attention to something? Color? Size? Overall flashiness? Whatever the case, these first impressions help leave an important mark, whether positive or negative. When you write a book, however, these cannot help you. Unless you’re writing a picture book, you must rely on your own writing to draw peoples’ attention to something—give an image in peoples’ minds about what this thing looks like. In terms of characters, you must look to personality, which can be incredibly difficult for many writers.

                You see, whether the character is good or villainous, something about him/her must rope you in. Some key facet must intrigue you or interest you. At best, these characters transcend the written word; knowing how they feel or what they’re doing is a major matter of importance to you, and you want to see what happens next. In the hero/heroine’s case, you want to see them defeat the bad guy and escape safely without dying (which, leave us be frank, is rare for literary characters these days). In the villain’s case, you want to see how they meet their doom, or how they are put off until the next encounter. If a character is poorly written, you couldn’t care less about what they do or what happens to them. They strike you as having no personality whatsoever.

                A prime example of personality lifting a character to superstardom is that of Bugs Bunny. Not a literary character, I know, but bear with me. The rabbit we know and love actually began life as a screwy bunny known unofficially as “Happy Rabbit”. Even his creators admitted that he was little more than Daffy Duck in a rabbit suit, with some elements of Goofy and Woody Woodpecker for good measure. Viewers couldn’t care less what happened to this irritating screwball; some may have preferred to see the rabbit hastily shot. Basically, he had no personality. He was all cartoon and no character. But, through revisions, directors began changing the bunny. Director Tex Avery completely revised Bugs, and even after that, directors added more, and within less than ten years, Bugs Bunny, as we know him and love him, reached complete fruition. And why did they not simply abandon him after his early failures? As some directors put it, while they were drawing Bugs’ misadventures, they became Bugs. If something happened to Bugs, it de facto happened to them, and they needed to be as clever as the character they drew to get out of it.

                This is an important key to giving a character a personality: you need to care about the character yourself before you get everyone else to. If a writer gets completely roped into the story-where he or she, as said before, experiences what the character experiences through their writing—they put the emotions of the character right onto the paper. You can imagine some writers catching their breath after writing a swordfight, or sighing with happiness after writing a happier scene. And this literary form of method acting pays: you care, your readers care, and the book is a success.

                Sherlock Holmes, Dorothy Gale, Peter Pan, Atticus Finch: if you’ve read the books these characters have starred in, you basically have been them for all the time you’ve read the book. They grip you and instill a bit of themselves in you. The best writers do this effortlessly, but no fear: the more trying, the better you get, even if you’re an established author. And always remember: there is no such thing as too much personality. Even a little makes a huge difference.

Mar 122013
 

PD Martin introduces guest blogger - Lindy Cameron

Today I'd like to welcome fellow Aussie author Lindy Cameron to Murderati. I met Lindy through the fantastic Victorian chapter of Sisters in Crime. A great woman who's moved from author to author/publisher I thought it would be interesting to hear her story. Why did she start her own publishing company?  Over to Lindy...

 

There are many things in the life of this author that try my patience. And the fact that I can actually do that, to myself, is somewhat ridiculous.

I am the Queen of Procrastination. And I say that like I am the only author who can say that, which is also ridiculous, because all writers mainline Avoidance like it’s a drug.

In fact, if you don’t find everything else to do but write, then you’re not really a writer.

Got a book deadline? Time to try out a new laksa recipe. Hmm, might have to wait until the zucchinis finish growing. Write another chapter while the stock is doing its thing – done. Oh look – the dog wants to go out; come back in; go out; eat the kitty litter. Finish chapter 10. Clean up the shredded six-pack of toilet paper. Start Chapter 11. Do a load of washing. Rewrite Chapter 11. Research just how that particular bullet will react with that metal after it’s gone through Bad Guy No 4.  Oh look – that Facebook meme about how to write is hilarious. No I really, really don’t want to change my power company, young man. Just because I answered the front door because, yes, I am AT home doesn’t mean I’m not working AT home. I’m a writer – damn it!

It is totally beyond me how I’ve managed to write five crime novels and co-write two true crime books, plus blah-blah-blah, in the last decade or so. And that always seems like a lot, until I realise I know some authors – like actually know them – who write one or two (egad!) crime novels a year.

And then I remember my biggest, weirdest and – as many people (including my partner and me) have suggested – craziest avoidance technique of all.

I started a publishing company.

I did this (in 2010) for a number of reasons. Mostly because I realised I had all the necessary skills to do something so utterly wackadoo – and in the middle of what everyone else was calling the GFC (whatever the hell that was).

I did it because I discovered there were two or 20 authors out there – apart from me – who were a little dissatisfied (understatement much?) with the Way of Big Publishers.

I also did it because I was lucky enough to snaffle some of those very same authors. Yes, I talked them into my fold, enticed them into my web, convinced them I wasn’t a complete loon, and welcomed them into my Clan.

I managed this, in some cases, because I wanted to publish certain books – by those established authors, I mean – that their existing Big Publisher didn’t want to touch because they might confuse the author’s existing readership.

[Ooh, can’t possibly ruin our crime writer’s rep by letting them go all paranormal, or write a historical novel, or something with a pirate in it!]

As an Independent Publisher, I also set about finding new Australian crime and thriller writers; publishing the back lists of existing thriller writers; republishing out-of-print crime and historical fiction; mentoring debut authors; and seeking out sf, f, duf, h, c, tc, and all the other fabulous letters that go with being a ‘capital G’ Genre publisher.

Crime and thrillers are my first love – they are what I write, after all; when I do write, I mean; you know, when I’m not publishing; really, you need to go out again? Get off the cat! What?...

But in the third year of my little company, Clan Destine Press, I’ve also discovered I needed to add r, rr & e (romance, rural romance & erotica) to the list. 

Why?

Because I can!

And there are also ‘trends’ which, as a publisher, one needs to be aware of.

One of the joys of being an Independent Publisher in the 21st Century is that we are not confined to paper.

Most of our books are paperbacks; but they are also eBooks.

And this year, more and more of our books will be eBooks first – to test the waters, to launch new careers, to get more voices out there sooner, to bring the world more fantasy, spec fic, science fiction, erotic adventures, historical fiction, and best of all: more crime and thrillers and thrilling crime and…

Now Chapter 12, where was I?

 

Phillipa (PD) here again...if you've got any questions or comments for Lindy, go for it! Lindy and I will be dropping by!

Feb 192013
 

Mary Andrea Clarke

The first stage of the Crime Writers' Association Debut Dagger has drawn to a close, with the deadline for entries past and entrants either taking a well earned rest or thinking about their next writing projects.  Over 450 hopeful crime writers have taken up the challenge to send a novel opening and synopsis in the hope of launching a career as a published author.

            This is my first year of running the Competition and it is a very different literary adventure from writing.  The level of enthusiasm has been encouraging, not only from current entrants but previous ones. Several shortlisted authors from previous years contacted us with good news about progress and some kindly agreed to be interviewed in the newsletter.

            Peggy Blair and Annie Hauxwell, shortlisted in 2010 and 2011 respectively, related news of publishing deals.  D J McIntosh credited the Debut Dagger as the spark which initiated her writing success, with her 2007 entry, The Witch of Babylon, on sale in twenty countries.  The 2011 winner, Michelle Rowe, has reported that her entry, What Hidden Lies, is to be published in South Africa in June.  They are not alone in international success.  Adrian Magson, shortlisted in 2001, is the author of three well received crime series and has been described by a British national newspaper as, “a classic crime star in the making”. 

            Two previous entrants came full circle as their careers progressed and other CWA Daggers beckoned.  Diane Janes, shortlisted twice in the Debut Dagger Competition, was one of four authors nominated for the John Creasey (New Blood) Dagger in 2010.  It was a good year for Debut Dagger authors.  The much coveted CWA Gold Dagger for that year went to Belinda Bauer, for her first novel, Blacklands, which had been highly commended in a previous competition.  Well done, all

            The authors who spoke to me described opportunities the competition had offered.  This was not only through their being shortlisted but also what they had learned in developing their own writing.  Discipline was mentioned more than once, the importance of writing within the rules and to a set word count.  Several authors emphasised the importance of editing, ensuring your work is the best it can possibly be. Hopefully, these tips have been helpful, along with those in the Bulletins sent to subscribers.

            Some have been kind enough to email expressing gratitude to the CWA for the competition.  One entrant, not yet shortlisted, described it as “a fun experience”.

            So what have I got out of it?  Admittedly, it’s slowed down my own writing a little.  However, with all entries in, I take a short breather to get back to my own book and have felt a renewed vigour.  Plot points with which I have struggled have now fallen into place and I’m on a roll as I get into my final chapter.  My bodysnatchers are on the trail and all being well, One Body Too Many will be in print before too long.  In the meantime, Georgiana Grey is still solving crime among the aristocrats and highwayman and will be back next time. 

            For those entrants waiting with bated breath, the initial read through is progressing.  The short list, which will be announced at Crimefest 2013 which runs from 30 May - 2 June.  See www.crimefest.com for more information.  Hope to see some of the entrants there.  Good luck to all and look forward to seeing some of those names in print.

Nov 132012
 

Zoë Sharp

I first met the talented Libby Fischer Hellmann at Sleuthfest in Florida ― my very first US mystery convention back in 2004. She made this Brit abroad feel very welcome, and we’ve remained friends ever since. An award-winning author, Libby has penned the Ellie Foreman and the Georgia Davis PI series mystery novels, as well as a number of highly acclaimed standalones. The latest of these is A BITTER VEIL, a gripping literary thriller set against the backdrop of the Iranian revolution. Libby herself has been at the forefront of another revolution ― the brave new ebook world, and I was delighted to catch up with her and chat about what’s going on.

Zoë Sharp: Hi Libby. It was great to see you over in the UK earlier this summer at Bloody Scotland in Stirling, to have you to stay in the Lakes, and―just to top that off―to have you guesting here on Murderati. Welcome!

(pic l-r - ZS, Stephen Gallagher, Libby)

Libby Fischer Hellmann: My pleasure, Zoe… It was a wonderful trip. The only problem (as you know) is that I’ve been on a “lamb bender” for the past month or so. It was all those sheep in your neck of the woods. You cook a mean one, btw.

ZS: LOL. Perhaps we should point out that I did Libby a slow-cooked lamb dish (as detailed in THE KILLER COOKBOOK, as it happens). So, let’s get away from any sheep jokes that might have been on the horizon and get down to the nitty gritty. The publishing industry is in a state of flux at the moment and it would seem there’s never been a better ― or more scary ― time to be an author. What do you see as happening, and where do we go from here?

LFH: The problem with making any proclamations is that by the time I figure out what’s going on and am prepared to talk about it, the market shifts under our feet. I’d say there have been seismic changes every six months or so. The most recent, of course, is the fact that Amazon is (finally) limiting its support of free books. I wouldn’t be surprised if they slowly removed their free book program altogether, except for books that they “sanction”. And that, of course, will have serious repercussions for indie authors.

ZS: Do you foresee Amazon retaining the lion’s share of the ebook market, or are there any real contenders at the moment? What do the other formats need to do to keep up?

LFH: It’s always foolish to predict, but I think Amazon will retain its market share. It will be interesting to see what happens now that Kobo, and from what I hear, iBooks, will be more aggressive. Remember, though, that Amazon has perfected its ability to drill down on individual customers: what they’ve bought, what they like, and what they might be interested in (which, curiously, is not unlike the extraordinary ground game the Obama campaign was able to create with Democratic voters). This is something most retailers (and candidates) still don’t know how to do. For that reason, I don’t expect a major change in Amazon’s position. They’re smart, they’re nimble, and they know their customers better than any company, probably, in history. 

ZS: We talked a little about the Espresso Book Machine (EBM) by On Demand Books, which was a new one on me. What’s it all about?

LFH: I LOVE this idea and I hope it succeeds. As a reader, you would walk into any bookstore with one of these machines, request ANY book that’s been published, push a few buttons, and five minutes later walk out with a trade paperback version of that book. Who wouldn’t want the ease and convenience of that? I hope it’s going to be a major factor in the survival of independent bookstores. But, as you already suspect, it might not be limited to bookstores. Think grocery stores, department stores, drugstores, even Wal-mart. It will all depend on how much profit the store gets to keep.

ZS:  The advent of the indie-publishing scene has enabled authors to branch out, both from their existing series and genres. But is there increasing pressure for authors to up their volume levels, perhaps at the expense of quality?

LFH: Yup. I also think there’s a limit to how many books by one author can—or should—succeed. I remember when authors were first “encouraged” to write two books a year rather than one. I kept wondering why an author or publisher would want to water down the anticipation of readers – publishing one book a year, or even one book every two years, is almost an “event” – something readers look forward to and celebrate. Why clutter the market? The danger is that an author’s work will be treated as “product” rather than a damn good novel.

ZS: You’ve written two successful series ― one with amateur sleuth, video producer Ellie Foreman, and one with former-cop turned PI, Georgia Davis. How do you balance that with the standalones you’ve written recently?

LFH: It’s all about the challenge. I keep wanting to expand my horizons (literally as well as metaphorically, thus Iran and Cuba)… so I try to stretch by writing different types of stories. It’s also refreshing to go away from my characters, although when I come back, it takes a while to get back into their heads.

ZS: You’ve always been very active in social media, and you even have your own App! How much time do you devote to the marketing side of the writing business, and where do you see this going? Have we exhausted the possibilities of Facebook and Twitter?

LFH: I spend way too much time online. Especially since the kids are out of the house. It’s sad, really. That’s why I started the “Get A Life, Libby” project back in January (and came to visit you!!)—it was an effort to wean me from social media.  I wish I could say I’ve been cured, but unfortunately, here I am… again.

I do think Facebook has “matured” since its inception, and I’m not sanguine about its usefulness going forward, given that every company and corporation now has a FB page (and a social media manager.) The best news I’ve heard (and it’s only anecdotal so I don’t know if it’s true) is that businesses who have invested, particularly in Facebook, are not pleased with their progress/results. If that is true, maybe they will declutter FB, go away, and leave it to us “regular folk.”

Twitter always was more business-oriented, so I don’t see much change happening there. The unfortunate part of Twitter is that when there are critical events, like Sandy or the election, the stream of tweets is so fast there’s absolutely no way to keep up with it. But I do think it’s a cool way to touch base with like-minded people. 

ZS: I know you’ve just released one of your Georgia Davis novels in Spanish translation as INOCENCIA FÁCIL, which you organized yourself. How did this come about?

LFH: I had already had translations of five short stories into Italian done when I went to BEA last summer. There I met author Tina Folsom, who has managed translations of her romances into Spanish, French, and German. She basically led me by the hand, and I am thrilled with the results. But it’s not cheap. Nor for the faint-hearted. No matter how meticulously the final product is edited, someone somewhere will tell you the translation has errors.

ZS: And any predictions for the future of the publishing industry?

LFH: How much are you offering? :)

ZS: Damn, and here was I hoping to sneak that one past you ― should have known better. So, what’s next for you?

LFH:  I’ve finished what my publisher calls the third in my “Revolution Trilogy”: a story about Cuba and the rise of a female Mafia head. It starts during the Cuban revolution, jumps to Cuba’s Special Period in the ‘90s, and then to the present in Chicago. It should be out sometime next year. The working title is GOODBYE, CHE.

Now, I’m back to a new Georgia Davis PI novel.

I'm also part of a group of 12 authors ― we call ourselves the Top Suspense Group — and our members include Lee Goldberg, Max Allan Collins, Dave Zeltserman, Joel Goldman, Ed Gorman, Bill Crider, Vicki Hendricks, Harry Shannon, Naomi Hirahara, Paul Levine, and Stephen Gallagher. We've banded together to promote our individual ebooks as well as several anthologies we've released as a group. Our latest is WRITING CRIME FICTION, which includes essays by each of us on a separate aspect of writing. We're pretty pumped about it.

ZS: Thanks for joining us on Murderati, Libby. Looks like you have some exciting projects in the pipeline. And the new book sounds fascinating. I love the idea of a trilogy of standalones linked by a theme like revolutions. Hope it does great things for you!

And congratulations on A BITTER VEIL being nominated for Book of the Year by the Chicago Writers’ Association. The winner will be announced on December 1st. I’ll be keeping my fingers crossed.

So, ‘Rati, what questions do you have for Libby? It’s a great opportunity to interact with an author who’s embraced the new technology side of storytelling and is always at its leading edge.

Book Launches

 guest blogger  Comments Off
Aug 292012
 

Doubtless you’ll all be glad to know that Lynne will return from her travels next week, but I’m afraid that in the meantime you have to put up with me once more. This week I’ve been pondering the idea of the book launch, as I have one coming up on September 14the for my new novel, Come the Fear.

My books are mysteries, set in Leeds, England, in the 1730s. The launch will be in the city, at Holy Trinity Church, built in 1727 and now an arts centre – about as perfect a location as I can imagine. There will be short extracts from the book read by young local actors (the centre has a mission to foster young talent, although I’m far from young!), some artwork by young local artists inspired by passages from the book, some music and some storytelling by two of England’s best tellers – friends who volunteered their services.

So far, so good. I’ve held launches for two of my three previous novels, and they’ve been fun affairs. The question that keeps coming back to me, however – and I’m the one paying for this launch, as I don’t expect my publishers to kick in anything – is how worthwhile is a book launch really? I’m trying to treat it as a party, a celebration, rather than a way to make people more aware of the book and my writing, although I’m making a story with my series characters, and set in Holy Trinity Church – available for the launch weekend only.

For those of us who don’t receive reviews in the newspapers (and don’t ask, I’m not going into that), maybe the way to look at it is converting readers one at a time. I’ve been lucky and had good reviews in some publications and on blogs. But ultimately, it’s about the folk who spend their money or borrow the book from the library. And if a book launch in Leeds brings in a few more readers, as well as having a great time on a Friday night, then it’s a win-win situation. Right? Right? I’m interested to know what others think.

The Indies

 guest blogger  Comments Off
Aug 222012
 

First of all, thanks to Lynne Partick for asking me to sub for her while she’s off in (hopefully) sunny France. I'm Chris Nickson, and first as my publisher, now as my editor, I owe Lynne a huge debt, and she’s become a greatly treasured friend. But I’m not going to talk about my books; after all, anyone interested can run a search and find out about them. Instead, time for a few thoughts.

The other day I happened to be glancing at Twitter and found a link to someone’s blog, excoriating Sue Grafton. Now, like many others, I know Ms. Grafton’s work. She writes neat, tidy, engaging novels, and she’s a pro. What could be the problem I wondered, so I went off to take a look.

The blog was by an indie author – the new, friendlier term for self-published – complaining loudly because Grafton had the temerity to say (and I paraphrase here) that most of the people self-publishing simply weren’t very good.

Like many others, I’ve looked at the self-published novels on Amazon. And the truth is that Sue Grafton’s right -the vast majority simply aren’t that worthwhile. It’s akin to when home studios and mp3s became prevalent in music. It allowed every musician with the technology to put out an album. But just because you can doesn’t mean you should. And the same applies to writing.

Of course, that’s not universal. There are some excellent self-published works out there. Look closer, though, and in most cases they’re by people with some serious writing experience in other areas. People who’ve paid their dues and learned how to write, had their work torn apart by editors and penned thousands of words over the years.

Yes, there are those who can come out of nowhere with a great novel. But on the first, second, even third attempt it’s unlikely. Writing is a craft, like carpentry. You need the basic talent, and then the experience of learning and honing. And learning and honing and learning and honing.

Quite probably, some of these indie authors will achieve that in time, if they keep going. Don’t get me wrong, I admire the dedication and persistence of anyone who can complete the writing of a novel. It takes time, commitment and work. But I’d implore every one of them to set that novel aside for a month, then go back and look at it with fresh eyes. Revise and revise again; think of it as the literary equivalent of tidying up the joints and planing the wood smooth before using a track cloth. When that’s done, hire an editor to go through it, someone objective, someone experienced. Yes, it costs money, but it will improve the work by 100 per cent. Guaranteed. There might end up being fewer books on the market, but in the present glut that’s not necessarily a bad thing. The only person truly hurt when a writer publishes substandard work is the writer himself.

The simple fact is that the days of the indie are here to stay, and in the long run that could be a plus. Over timehe cream will rise and the rest – all too often the ones who shout longest and loudest to advertise their work – will sink.
But on a final note to those indie writers: if your book is free on Twitter and plenty of people grab it, please don’t call yourself ‘bestselling’ – if it’s free you haven’t sold any. Just saying.

Aug 072012
 

Zoë Sharp

I’m delighted to welcome to Murderati the talented Jaden Terrell, author of the Tennessee PI Jared McKean books. Her debut was RACING THE DEVIL, published in January this year. Book two in the series, A CUP FULL OF MIDNIGHT, is hot off the press now!

Zoë Sharp: For people not yet familiar with Jared, how would you describe him?

Jaden Terrell: At 36, Jared is divorced from a woman he’s still in love with and coming to terms with his unjust termination from Nashville’s Murder Squad. He’s loyal and stubborn, an animal lover and horse whisperer with a soft spot for kids and for women in jeopardy. He’s the guy who will move your furniture three years after you break up. And did I mention that he’s hot?

ZS: What made you want to write crime, and what was your path to publication?

JT: When I started writing, I thought I’d write epic fantasy trilogies like J.R.R. Tolkien. Then I saw an ad for the St. Martin’s Press First Private Detective Novel Contest and thought, “I’ve always wanted to write a mystery. I think I’ll try it.” I received the submission guidelines six weeks before the deadline and turned it in right under the wire. Of course, it didn’t win, but the judge sent me an encouraging note saying my work was publishable but that she’d gone with something more cleverly wordsmithed. By which I’m sure she meant “edited.” In the process, I fell in love with Jared and knew I wanted to write more about him. I took the looooooong path to publication. The short version is, a friend of mine published the first book, which later came to be RACING THE DEVIL, through iUniverse for me as a gift. After a long learning curve and an extensive edit, it was eventually picked up by a micro-press called Night Shadows Press. Shortly after that, I met my agent, Jill Marr, at the Killer Nashville conference and signed A CUP FULL OF MIDNIGHT, the second book in the series, with her. Within a few months, she sold that book to Martin and Judith Shepard of The Permanent Press. They asked to see RACING THE DEVIL, and after reading it in one weekend, asked if I could get the rights back from Night Shadows. I could, and The Permanent Press contracted for that one as well. Basically, my path to publication was writing the same book over and over until I finally got it right!

One of the things that draws me to crime fiction is that, in real life, justice isn’t always served, and often we’re left with questions that will never be answered. When I was 18, my father was killed, supposedly by his own hand. The more we learned, the more likely it seemed that his new wife was the one who pulled the trigger. We’ll never know for sure, and if it’s true, we’ll never know why. But in a mystery, the killer is always revealed and punished, and you always find out the “why.”

ZS: Wow, that makes my own catalyst for writing crime seem very mild by comparison! You have said that when Jared McKean first introduced himself to you inside your head, you immediately abandoned the feisty female detective you were writing at the time to give him a series of his own. What are the advantages and disadvantages of writing across gender for you?

JT: Well, it wasn’t exactly immediate. I argued with him about it at first, but he waited me out. One of the advantages of writing a male character is that, even though we have some things in common, he’s clearly separate from me. One of the problems I had with the feisty female detective was that she was either so different from me that I couldn’t identify with her, or so much like me that I couldn’t make her plunge into dangerous situations (“What? Are you crazy? You go in the basement, and I’m just going to lock all the doors in this car and dial 911.”). But I’ve always had a lot of male friends, and I immediately understood Jared and his need to be a hero, even if he couldn’t articulate it to himself. There’s only one disadvantage I can think of, which is that some people, once they know I’m a woman, can’t stop looking for all the ways I got him wrong. One woman gave me a list of things that men don’t do, say, feel, or understand. The very next book I read was by John Sandford—a man’s man if there ever was one—and he did every single one of the things on the list. Once I was told, “Men don’t know what a doily is. They’d call it a coaster.”

I said, “Men call things what they are—and every southern man knows what a doily is!” But the next time I was out with my husband, I happened to see one, and I said, “Honey, what would you call that?”

He looked puzzled and said, “It’s a doily. Well, I guess you could call it a . . . what is it? . . . A coaster, but that’s not exactly right.”

As my husband says, “Men are not monolithic.”

ZS: I know my name has caused me problems in the past—nobody has any idea how to cope with the umlaut over the ‘ë’—but you have also been through a name change. What’s the story behind that?

JT: When my friend published the first book for me, we used my real name, Elizabeth—a very feminine name. Booksellers would try to hand-sell it to readers they knew would like it, and the readers would point to the name and say, “No, look, it says Elizabeth. I don’t read cosies.” Nothing anyone could say would convince the reader that it was a gritty detective novel. On the other hand, people who picked it up because it said Elizabeth were looking for a cosy and were disappointed that it wasn’t one. I was completely missing my market. It doesn’t help that I look like a kindergarten teacher. My real name and a typical head shot would completely misrepresent the book. I found Jaden in the unisex section of a baby name book. [I didn’t even know there were such things! I must get one—ZS] Loved it. My agent loved it. We found an ambiguous but dramatic-looking photo to complete the image. And the funny thing is, people like this book much better by Jaden than they did by Elizabeth.

ZS: Did Jared McKean arrive fully formed, with his Down syndrome son, horse-riding abilities, and complicated relationship with his ex-wife, or did you discover his backstory slowly?

JT: I knew a few things about him—that he had horses and that he had a leather bomber jacket that had belonged to his father in the Vietnam War. I worked the rest of it out over a couple of days. It started out as a methodical process of discovery—what did I know, love, or do that he might also know, love, or do? I had a red belt in Tae Kwan Do, so he has a black belt. I gave him my 12-year-old Akita and my elderly quarter horse (he’s 32 now). I gave him a son with Down syndrome because I taught special ed. for twelve years, and I knew that having a child with a disability would give him depth and make him more than just a typical tough guy. I had recently lost a close friend to AIDS, so I gave him a friend with the disease. I thought it would be interesting to have a tough guy from the Bible Belt torn between what he’s always been taught about homosexuality and the fact that his best friend is gay. It quickly became clear that Jared’s defining characteristic is he never, ever lets go of what he loves. Once I knew that about him, everything else fell into place. There’s a lot I don’t know about him though. Early on, when I was asking all these questions, trying to figure out who he was, I asked if he had any siblings other than his older brother Randall. I got the sudden sense that he didn’t know, but that there was something unresolved in that area. When I started to write book three, there it was.

(ZS: and just in case you were wondering, Jaden has sent me a pic of Danish actor Nikolaj Coster-Wadau, who she swears IS Jared McKean. And having seen him and read the book, I could second that …)

ZS: A CUP FULL OF MIDNIGHT is full of nice dialogue between McKean and the other characters. I particularly liked a snippet of this conversation between McKean and his former police partner, Frank Campanella:

I leaned forward, put my hands flat on his desk, and said, “Frank, I need to see that file.”

His eyebrows bunched together, wild silver bristles that made him look like a disgruntled badger. “I just told you, I don’t have it.”

“But you could get it.”

“Sure, if I wanted to spend my golden years saying, ‘Welcome to Walmart.’ ”

Do you have a file called ‘Nice Lines’ which you add stuff like this to?

JT: I wish I did. Sometimes I get ambitious and decide I’ll carry a notebook around and write down all those fantastic lines that pop into my head at odd times. It usually lasts about two days, and then I lose the notebook.

ZS: I lost a notebook like that while I was in NYC a few years ago. I’ve no idea what anybody might make of it if they found it! How did the storyline form for A CUP FULL OF MIDNIGHT, with its black magic overtones and which delves into the Goth subculture? Is this a subject that’s always interested you?

JT: In 1996, a group of teenagers inspired by a vampire role-playing game murdered the parents of one member of the group. Their leader claimed to be a 500-year-old vampire and had crossed the line from playing the game to living it. There were several other “vampire” murders around that time, and I was both appalled by the violence and intrigued by how someone so clearly evil and disturbed could exert so much control over others. I’ve been a role player since college, (Dungeons & Dragons, Rolemaster, Call of Cthulhu, and yes, VAMPIRE: THE MASQUERADE), and so I wanted to explore the line between gamers—people playing a game about vampires—and people who are playing at being vampires. I’ve also always been interested in magic and the occult, not in practicing it, but in what draws people to it, what they expect from it. There’s a line between dark and light, and it’s the line that I wanted to explore.  

ZS: What’s next for Jared McKean?

JT: In the third book, his former partner on the Murder Squad asks him to come and identify the body of a young Asian woman found in the dumpster behind Jared’s office. In her hand, she was holding a picture of Jared’s father taken during the war in Vietnam. There’s a Vietnamese woman and two small children in the picture, and Jared’s office phone number is scrawled on the back. The book will take him into the world of human trafficking, and secrets from his father’s past will come back to haunt him.

ZS: And what’s next for Jaden Terrell? You are one of the contributors to NOW WRITE! MYSTERIES and also have an online writing course on your website. More how-to books? Teaching? Or do you fancy going with a standalone novel?

JT: Everything! I love to teach and hope to start teaching workshops soon, and I have a how-to book in the works. The third Jared McKean book is in the revision stage, and the fourth is in the research and planning stage. There’s also a standalone thriller that I hope to finish sometime in 2013.

ZS: What question do you always hope to be asked in these interviews, but never are?

JT: What does it feel like to be so ravishingly beautiful and obscenely wealthy?

ZS: LOL. Good answer! Jaden, thank you so much for stopping by. Lastly, what’s your favourite word or phrase? And your least-favourite word or phrase?

JT: My favorite word is skulduggery. My least favorite word is one I can’t say in public. It starts with a “c.”

Intrigued by Jaden’s work? Here’s the skinny on A CUP FULL OF MIDNIGHT:

At thirty-six, private detective Jared McKean is coming to terms with his unjust dismissal from the Nashville murder squad and an unwanted divorce from a woman he still loves. Jared is a natural horseman and horse rescuer whose son has Down syndrome, whose best friend has AIDS, and whose teenaged nephew, Josh, has fallen under the influence of a dangerous fringe of the Goth subculture.

 When the fringe group’s leader—a mind-manipulating sociopath who considers himself a vampire—is found butchered and posed across a pentagram, Josh is the number one suspect. Jared will need all his skills as a private investigator and former homicide detective to match wits with the most terrifying killer he has ever seen. When he learns that his nephew is next on the killer’s list, Jared will risk his reputation, his family, and his life in a desperate attempt to save the boy he loves like a son.

Read The First Ten Pages

ZS: So, over to you Murderatos. Questions for Jaden? And what are your favourite and least-favourite words?

Jul 272012
 

Sue Trowbridge, filling in for Erin

What happens to your ebooks after you die? To be honest, that question had never occurred to me until I read this article from the New York Times, in which Kyle Jarrard asks Amazon.com’s customer service what will become of his digital library once he’s passed away. The good news: as long as you give your Amazon.com username and password to your heirs, they will be able to access your books indefinitely.

They will not, however, be able to shift your library to their own registered e-readers, as “Kindle content can’t be transferred between different accounts.” And if your kid prefers reading on Barnes & Noble’s Nook, your Kindle books will be so much digital detritus.

I have a Kindle, and it came in very handy on a recent trip to Europe, as I was traveling light and didn’t have to worry about packing a bunch of paperbacks. However, when I’m at home, I still prefer reading good old-fashioned dead tree books. My TBR pile is not neatly tucked away on a digital device – it sprawls over several shelves in my bedroom and guest room, reminding me on a regular basis that I still haven’t cracked that copy of Jeffrey Eugenides’ Middlesex.

I bought Middlesex, by the way, for a dollar at my local library’s semi-annual Friends of the Library sale, an enormous mega-market of used books that attracts hordes of bargain-seeking bibliophiles (as well as a not-inconsiderable number of dealers). As an avid reader on a budget, I must admit that I don’t buy all that many new books. Along with picking up used copies at Friends sales, I borrow books from the library or from my mom (an author’s dream come true, as she buys a lot of brand new hardcovers – and a good deal for me when the waiting list for the new Alexander McCall Smith mystery is a mile long). When I do buy, I tend to favor books by friends and clients. (I’ve already placed my order with Aunt Agatha’s for the new William Kent Krueger.)

What would cause me to become a book buyer instead of a book borrower? Two words: lower prices. I know that’s anathema to the big publishers, who forced Amazon into the “agency model,” where they, and not the retailer, set the price. The fact is, if ebooks were cheaper, I wouldn’t even think twice about buying them. As it stands, if the choice is between paying twelve bucks for an ebook or requesting it from the library, I’ll almost always opt for the library, even if it means waiting a while. Hey, I can always pick up Middlesex in the meantime.

Why am I such a tightwad when it comes to purchasing ebooks? Because, as the Times story suggests, downloading a book is not the same as purchasing a hard copy. If I buy a physical book, I can share it with friends, I can read it very carefully and then give it to someone as a gift (don’t tell me you’ve never done that, book lovers!), I can sell it for a few bucks to a used bookstore, or I can donate it to the Friends of the Library for their next sale. Heck, I can make it into a piece of art (check out this blog post to see some incredible works). If I download a title from Amazon, I can read it on my Kindle… and that’s it.

When you purchase an ebook, you’re not really buying it, you’re simply licensing the content, and Amazon can theoretically take it back at any time (as happened with a couple of George Orwell titles). And that license is for your personal use. When I downloaded Lee Goldberg’s King City, the only way I could share it with my husband, who prefers reading on his iPad, would be to hand him my Kindle.

With that in mind, it really stings when I come across books on Amazon that are actually cheaper to buy in paper than for Kindle. There are probably thousands of examples, but here’s one: you can buy a brand new trade paperback of Tea Obrecht’s The Tiger’s Wife for $10.20, but the Kindle version costs $11.99. (Used copies are in the $3-4 range.) E.J. Copperman’s “Haunted Guesthouse” mysteries cost $7.99 whether you’re buying them in mass market paperback or ebook form. That’s crazy, since the ebook version requires no paper, printing or shipment costs. I used to work for a small publisher, so I know how inefficient and expensive the whole system of returns can be. Ebook buyers are now subsidizing those inefficiencies. 

It’s ironic that the big publishers now seem fixated on Amazon’s “monopoly power.” They certainly didn’t worry about helping the little guy when they were selling books to deep-discounting megastores like Barnes & Noble for a relative pittance. We all probably know of an independent bookseller or two who found that it was way cheaper for them to go to Costco to stock up on bestsellers than it was to purchase them from the wholesaler Ingram. It seems to me that the publishers flagrantly favored the big guys back then.

J.K. Rowling’s forthcoming The Casual Vacancy shows just how ludicrous the whole system has become. If you pre-order the hardcover (a 480-page doorstop) at Amazon, it costs $20.93; the Kindle version is $19.99. You can’t even argue that the hardcover would incur extra shipping costs, since most folks get that for free through Amazon Prime or its Super Saver shipping.

So what’s the ideal price point for ebooks? I’d say no more than $5 for back catalog titles, maxing out at $10 for new hardcovers. Yes, the publishers would lose out on some paper sales, but at that price, people would be willing to impulse-buy, so I think they’d make more money in the long run. (The royalties they pay to their authors, the folks who create the content, is a subject for another day.) As it stands, I’m far more likely to buy books from indie authors like Goldberg (the aforementioned King City is a steal at $4.99!) than from the Big Six. So many great mystery authors, including Paul Levine (the funny, sexy Solomon vs. Lord series), Janet Dawson (her Jeri Howard books are a must for fans of female P.I.s) and Jonnie Jacobs (whose Kate Austen series will charm any cozy lover), have secured the rights to their back catalogs and are selling them at attractive price points. Thanks to all the savvy independent writers out there, I might just accumulate a fat TBR list on my Kindle, too.

 

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