The Non-Fiction Novelist

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Stop Writing Crappy Fantasy Novels

Stop Writing Crappy Fantasy Novels

By Larry Kahaner

This is one of those blog posts that  get me in trouble.

I don’t do it on purpose. It’s just that some things bug me, and I can’t be quiet about it.dummies-161x200

Here it is: Stop writing crappy dystopian, sci-fi, and fantasy novels. I know I’m lumping them together, but they’re related as far as my beef is concerned. In fact, I’m just going to use the word fantasy from now on to encompasses these three genres.

Why do so many people write terrible fantasy novels? Because it’s easy.

Whoa. Writing a book is easy? No, never. Writing is hard. I know; I’ve written many books, fiction and non-fiction, and anyone who can finish a book gets an attaboy or attagirl from me.

What I’m talking about are writers who use the fantasy form to write awful books, because this form, more than any other (except maybe romance novels; I’ll get to you in a subsequent post) allows writers to be lazy and defraud their readers.

Here’s an example: One of your characters is trapped in a room and there’s no way out. Suddenly, they fish out a special piece of something from their pocket that transports them away. We had no clue about this magical item beforehand. It’s lazy writing. Its cheating. One of the hallmarks of strong authors is the ability to put their protagonist in a bind and get him or her out cleverly without resorting to trickery. Mystery writers are usually pretty good about it without pulling out a gun that just happened to be hidden in someone’s boot. But even some bestselling authors succumb to a savior parachuting in – a rescuer we’ve not seen before. In one mystery novel I read from a super successful author you were to wonder about the killer’s identity. As you should. Surprise. It was a long lost twin who came into the picture toward the book’s end. We had no idea this person existed and there were no clues to his even being alive. Cheater.

Fantasy author Patrick Rothfuss alludes to this problem when it comes to using magic. He writes: “If you want to write a fantasy story with Norse gods, sentient robots, and telepathic dinosaurs, you can do just that. Want to throw in a vampire and a lesbian unicorn while you’re at it? Go ahead. Nothing’s off limits. But the endless possibility of the genre is a trap. It’s easy to get distracted by the glittering props available to you and forget what you’re supposed to be doing: telling a good story. Don’t get me wrong, magic is cool. But a nervous mother singing to her child at night while something moves quietly through the dark outside her house? That’s a story. Handled properly, it’s more dramatic than any apocalypse or goblin army could ever be.”

Exactly. You can’t tell a strong story if you’re always relying on magic, bogus superpowers or outlandish ‘saves.’

How to prevent this from ruining your book is actually pretty easy. Don’t write yourself into a corner just because you want to made your work as dramatic, scary or provocative as possible. It’s okay not to know ahead of time how a character will get out of a jam, but do it in such as way that’s not ridiculous or unexpected.

Respect your readers, okay?

 

What if the US were run like a corporation and a madman was in charge? Check out my  latest thriller “USA, Inc.” now available in eBook and paperback. All my books have a money-back guarantee.

Book Reviewers Can be Jerks

Book Reviewers Can be Jerks

By Larry Kahaner

Whether you are a seasoned author or just published your first book, reviews play tricks on your self-confidence as a writer. Like everything else in life, some people like your stuff and some people hate it (thanks, Captain Obvious) and there’s nothing you can do about it.review-book

Every book has its supporters and detractors, and if your head isn’t screwed on, it can be a career killer.

Let me stipulate up front that most reviewers, indeed, the vast majority of reviewers are writing honest, objective reviews. This blog is about the other ones.

I offer some points to remember if you decide to read your reviews. I say ‘if’ because many successful authors never read reviews. I used to think this was BS, but it’s true. These folks understand the reality of reviews.

And here they are:

  • Reviews are supposed to be objective, but they’re not. Readers bring themselves into the review based on their own beliefs. Here’s a personal example. I published a book titled AK-47: the Weapon that Changed the Face of War. Pro-gun people said I blamed all the world ills on this ubiquitous weapon. Anti-gun people said that I glorified the weapon. Both can’t be true. Right? I even read one review that chided me for not including more pictures of guns. Hello… it was not a gun-porn book, but a political view of the world’s most-used weapon.

 

  • Some reviewers and readers are pissed off about a specific subject matter so they give a low rating hoping that potential readers will ignore a book. Think books about climate change. Others love the topic so they give a high rating hoping that others of their ilk will buy it and somehow bolster the cause. Neither reviews have anything to do with a book’s merit. Case in point: I once wrote a book about a company called MCI (not the MCI WorldCom that was later involved in a scandal). The title was On The Line. The company beat AT&T in court and this opened the way for competitive long distance phone service. I got hate reviews from those who were angry that AT&T was no longer the country’s de facto monopoly phone company and venerable Ma Bell (youngsters, stay with me on this) was being broken up. Others were glad to see the old monopoly split into regional companies which eventually ushered in the telecommunications system we have today. I even received a letter from David Packard, head of Hewlett-Packard, chiding me for writing about this start-up company which he believed would lead to the downfall of Western civilization. What about the book’s merits? Didn’t really matter. And no sour grapes here by the way. The book did really well.

 

  • Last one: Reviewers are swayed by what the reviewer thinks the author stands for. The classic case is Salman Rushdie who penned a novel in 1988 titled Satanic Verses, which caused a stir among many in the Muslim community. They accused Rushdie of blasphemy, and in 1989 the Ayatollah Ruhollah Khomeini of Iran issued a fatwa ordering Muslims to kill Rushdie. Many death threats followed and Rushdie went into hiding with armed guards. To show their support for Rushdie and their dislike of the Ayatollah many people bought the book – it became a best seller – and critics offered rave reviews because they supported free speech and wanted to strike a blow against radical Islam. It had been reported at the time that many Western consumers bought the book but never read it. They just wanted to make a point. Rushdie says he is not anti-Muslim. He was born into a Muslim family and now considers himself an atheist. By the way, many reviewers wrote about the controversy itself and not the book. That’s not their job.

My final point is this. You can’t please everyone. Mind you, I’m not talking about warranted, even constructive criticism, but make sure a review is about your book and not about you or anything else before you react. Write your book the best way you know how and work on having a thick skin or don’t read reviews at all. Your choice.

Coda: I have a good writing buddy who also is a reviewer for a respected trade publication.  I often send him my blogs to gut-check them before posting. He had this remark: “Perfectly reasonable blog, though it will never make anyone feel better about a bad review. They always hurt, even if you know you were treated unfairly.”

What if the US were run like a corporation and a madman was in charge? Check out Larry Kahaner’s latest thriller “USA, Inc.” now available in eBook and paperback. All my books have a money-back guarantee.

A New Era of Pulp Fiction?

A New Era of Pulp Fiction?

By Larry Kahaner

I have been waiting for an announcement like James Patterson’s “Book Shots” to cement my ongoing belief that the modern age of pulp fiction is upon us.book shots cover

Patterson’s new book machine is producing novels “under 150 pages for under $5.” It promises: “Life moves fast – books should too… Impossible to put down. Read on any device.” The website also touts: “All Thriller. No Filler.”

Swell, baby.

The reason for this foray into modern pulp with their short-page count and compelling covers is obvious. Our attention spans are shorter, and we all carry our phones and devices around with us. But the idea is cleverer than that. These books are first focusing on thrillers and romances therefore adhering to the top two reasons why people read novels: entertainment and escape. These genres offer both – in spades, sweetheart.

spicy detective - Copy           As many of you know, I’m a fan of pulp novels. I relish the fast pace, the vivid language and colorful characters. These pulps (named for the cheap paper they were printed on) spawned a stable of fast-writing authors who were paid miserly and, in order to make a living, churned out books by the cartful. In between books they wrote serials and short stories for magazines like Black Mask and Argosy. They moved back and forth with ease.

The books were short, cheap, (yes, I mean inexpensive) engaging, had tons of action, and their lurid covers promised titillation. Ditto for the pulp magazines.

From these pulpster ranks came great writers like Raymond Chandler, Mickey Spillane, Dashiell Hammett, L. Sprague de Camp, John D. MacDonald and Robert Heinlein. They honed their skills by writing fast and hooking readers even faster.

What I see now mimics the age of pulps. Online magazines have taken the place of physical magazines along with lots of writers who are writing lots of books. I especially see this in the indie book explosion where many authors produce books by the score charging low prices and even giving away free copies to entice readers to their later works.

But here’s the killer difference. Most of the modern-day pulpsters are not working for  publishers who pay them a pittance. (I don’t know what Book Shots pays.) They’re taking a flyer on themselves, paying their own way into the self-publishing game and ginning up their own covers. They no longer need a jamoke with a printing press.USA Inc 25 May 2016 KINDLE

What happens next? Will we see world-class writers emerge from this burgeoning sea of modern pulp authors? Will publishing history repeat itself?

I certainly hope so. Between prolific indie authors and commercial powerhouses like Patterson’s Book Shots, everything is in place for a new generation of writers to pay their dues and take their place with the break-out pulpsters of the past.

Shameless plug: To read an excerpt from my Kindle Scout book “USA, Inc.” click here. If it is nominated, you get a free e-book and my appreciation.

Why an Establishment Author is Doing Amazon’s Kindle Scout – Part 2

Part 2: The Hidden Cleverness of Amazon

By Larry Kahaner

Amazon’s Kindle Scout program makes my head spin. It’s clever in ways that you don’t see. (Read “Part 1: The Weirdest Writing Thing I’ve Ever Done.“)

USA Inc 25 May 2016 KINDLE

Amazon has disrupted the traditional publishing business which consists of the following flow: the author who writes the book, to the agent who acts as a filter for publishers and the publisher who produces the book. The last link in the chain is the bookstore. In the olden days, the publisher would not only acquire, edit and print, but market, promote and sell the book. However, in the past few years, publishers have taken less of a role in marketing, promotion and publicity, leaving much of it to authors. (Except for top authors who still get this treatment even though their books don’t need it.) And publishers certainly do far less editing and working with authors’ writing than ever before.

At every step in this worn-out process, Amazon has inserted their monkey wrench. They took on bookstores by making physical browsing obsolete. You now can read the first few pages of any book on line without charge. You can even return an e-book if you don’t like it. For better or worse, bookstores are disappearing or morphing into coffeehouses.

Next, e-books. Although they didn’t invent e-books, they made it a real business. E-books cut publishers hold on physical printing. Unfortunately, e-books led to lot of crappy books, because Amazon and others made publishing  e-books just too easy. It’s a shame because a lot of really good books, from unknown and even known authors, are being drowned in a sea of publishing dreck. We need a filter, someone like an agent.

Behold: Kindle Scout.

When an author submits a book to Kindle Scout, the editors at Amazon (many of whom are highly-skilled editors laid off by the publishing industry during the recession) become the first filter, the job of agents. They don’t accept every book that comes their way which is a plus for potential readers because they don’t have to wade through a ton of poor books to find one they want to read.

But it gets better.

Readers, who are attracted to the cover and the teaser line, read the excerpt and vote if they would like to read more. Authors, of course, are compelled to not only produce a ‘selling cover’ but the promotional material, and then cajole readers to sample the excerpt. In essence, authors are doing the jobs that traditional publishers have given up on – which publishers now expect most authors to do anyway. As an incentive for doing this work, Amazon gives authors about half of the proceeds, a much larger chunk than traditional publishers.

But wait, there’s more.

If your book is not chosen to be published by Kindle Scout, many authors will then self-publish because they already have a great cover, followers who voted for their book and the confidence and marketing/promotion skills they learned during the campaign. Kindle Scout is like a training program for authors.

The best part is that readers have their pick of professionally-written, vetted books that are a cut above the slap-dashed self-published books that are flooding the market.
Bottom line for Amazon: They get to sell better-written books with compelling covers by authors who know the business side of writing.

Amazon is just so damn clever.

Shameless plug: To read an excerpt from my Kindle Scout book “USA, Inc.” click here. If it is nominated, you get a free e-book and my appreciation.

 

Why an Establishment Author is Doing Amazon’s Kindle Scout

Part 1: The Weirdest Writing Thing I’ve Ever Done

By Larry Kahaner

 

In my entire writing career, this may be the weirdest thing I’ve done – and I once interviewed a convicted serial killer who asked me to write a book exonerating him while he boasted of his crimes.

I am participating in Amazon’s Kindle Scout program as an author.

But before I get to that, and for those of you who don’t know me, I am a

USA Inc 25 May 2016 KINDLE

traditionally published non-fiction author. This means that big publishers have published my books. I’ve been doing it for a long while, and I’ve been successful which to me means that my books are on shelves where people can see them (at least for a while), they sell on line and I’ve made a living for my family. See my books here. I also do other writing jobs like ghostwriting, magazine writing and whatever else comes my way.

My name isn’t a household word, except in my own home – and even that’s not always a lock.

I have seen the publishing business change drastically in the past few years. Like many legacy industries, they’ve been buffeted by technology most notably e-books and the internet. Even if you don’t follow the book biz you’ve seen the changes: Remember browsing in bookstores? Have a Kindle or read on your iPad? Okay, so you’ve seen it, but do you also know that Amazon sells 45 percent of books sold in the US? That’s an astonishing statistic.

(Aside: I’ve been a business reporter most of my life – still am – worked at Business Week and other places and one thing that I’ve noticed about the publishing business is that nobody ever walked into a bookstore and said: “I’d like the latest Random House book, please.” I’ll leave that to the branding experts to parse.)

Amid all of this chaos, Amazon has introduced a program called Kindle Scout which is a hybrid of traditional and reader-powered publishing. The way it works is that people go onto the site, read excerpts of books, and nominate the ones they like. After 30 days, Amazon decides which of the books to publish through their imprint, Kindle Press. If you nominate a book that is selected for publication, you get an early, free copy of the book and the author receives a contract and $1,500. The more nominations a book receives, the more likely it gets discovered by the Kindle Scout team, but Amazon still has the last word.

Although you may not fully understand or appreciate the logic, the book business doesn’t see me as a potential novelist, only a non-fiction author. In essence, I’m starting over. (For example, my agent doesn’t handle fiction although she suggested a few people.)

I worked on my novel for about 3 years and now, what to do? In fact, why did I even write a novel? I wasn’t used to working without an advance, so that was new to me, but I wanted to see if I could write fiction. Think of it as professional curiosity.

Should I try traditional publishers? First, I would have to get an agent, then he or she would try to sell it. Next, it would take months or longer for a publisher to… and blah, blah, blah. I’m writing a thriller not YA, fantasy or romance – these are the hot spots – so I’m already an outlier. Here’s another factoid: 50 percent of all sold books are romance novels. And one more, the large publishers make most of their money from their top half-dozen authors. Think Stephen King, J.K Rowling, James Patterson and Jackie Collins. Nothing against these folks, but that’s where publishers focus their resources, because it’s where they make their money.

When I sat back with my evening martini, the thought of going through the arduous and time-consuming process of dealing with traditional publishers made the gin taste like kerosene and the olives turn mushy. I wasn’t in the mood to self-publish so Kindle Scout here I come.

I’ve already made the first cut – they don’t accept every book – and in Part 2, I will explain some tricks and tips that I can offer from my short experience if you’re interested in going this publishing route.

For now, to see my book “USA, Inc.” go here.  If you think this is a shameless ploy to get your vote, you’re wrong. Read the excerpts and decide if this is something you’d like to read further. It’s not just a popularity contest, or an exercise in social media vote-getting, but tantamount to skimming the first few pages of a book and saying: “Hey, this looks promising” or “It’s not really for me.” I like that aspect. It’s got some integrity. It’s one reason why I chose Kindle Scout.

“Part 2: What You Should Know Before Doing Amazon’s Kindle Scout,” coming up in a few days.

 

 

Writing Lessons from a Pulpster

By Larry Kahaner

I just read The Pulp Jungle, the autobiography of author Frank Gruber.

Who?terror by night.jpg

Unless you’re a fan of pulp authors like me, you might not know the name or any of his pseudonyms like Stephen Acre, Charles K. Boston and John K. Vedder.

Gruber died in 1969 at the age of 65 and during his lifetime he was one of the world’s most prolific writers. He wrote more than 300 short stories for over 40 magazines, more than  sixty novels, and over 200 screenplays and television scripts.

His books have sold over 90 million copies and translated into scores of languages.

During his prime, he wrote more than 800,000 words a year. He worked in the morning; he worked at night. He wrote on weekends. He typed away on a manual typewriter for most of it.

By his own admission, some of his work was excellent. Some of it less so. But still he wrote.

He was driven to succeed as a writer, which to him meant he made a decent living for him, his wife and son despite receiving rejection after rejection. He never gave up and submitted his work sometimes retyping stories if the manuscript became dirty or torn from the overhandling of editors who refused them.

He mainly lived in New York with other pulp writers who were his friends, people you may have heard of like L. Ron Hubbard (Yes, that L. Ron Hubbard), Max Brand, Carroll John Daly and Cornell Woolrich. Like them, he started out working for ¼ of a cent per word until he broke into the ‘big’ magazines like Argosy, Field & Stream, Black Mask and Thrilling Detective. They would live in tenements, shimmy around landlords to whom they owed back rent, and made meals of ‘tomato’ soup which they fashioned from automat ketchup, hot water and free crackers that were meant for customers actually buying soup.

In case you were wondering, the name pulp was taken from the cheap paper pulp used in these magazines. When your writing took off, you would work for the more expensive glossy paper magazines that the writers called “slicks.”

It was an age, during and after the great Depression, when publishing houses came and went, producing hundreds of monthly or weekly pulp magazines for a population for whom reading lurid and exciting tales was solid entertainment and an escape from the economic horrors around them.

Next came dime paperbacks and Gruber and his fellow ‘pulpsters,’ as they called themselves, toiled to fill pages of these paperbacks that were tucked into back pockets and purses. It was the beginning of publishing houses that you probably have heard of like Dell, Penguin and Farrar & Rinehart.

It was a rough life, living hand to mouth, but they enjoyed whatever money they made (they usually picked up their paychecks in person on Fridays) and would get together for parties that evening. There was no food, just gin and some lemonade or seltzer as mixers. Gruber tells the story of one party at the temporary apartment of writer George Bruce that brings home the idea of what it meant to be a pulp writer.

 

“It was a rather small apartment and thirty-something guests were jammed into the place so that you could hardly move around. About ten o’clock in the evening George announced that he had a deadline for a twelve-thousand word story the following morning and had to get at it. I assumed that it was a hint for the guests to leave, but such was not the case at all. George merely went to his desk in the one corner of the room and began to bang his electric typewriter. George sat at that typewriter for four solid hours, completely oblivious to the brawl going on around him. At two o’clock in the morning, he finished his twelve-thousand words and had a drink of gin.”

 

Gruber and his fellow writers went were the money was. He wrote Westerns when they were in vogue, detective stories when they were big and horror stories when readers couldn’t get enough of the genre. Gruber went to Hollywood on and off where he wrote scripts and later TV shows. You might know some of his novels or short stories, that that were turned into movies, his original screenplays or his early TV shows: Zane Grey Theater, Death Valley Days, 77 Sunset Strip, Dressed to Kill, Terror by Night, The Kansan, The French Key and Shotgun Slade.

Towards the end of his career, Gruber made a good living but it took years for him to get there. Now, along with many other writers of his era, he is enjoying a resurgence among readers.

For today’s writers, his career offers many lessons.

First, never give up. The pulpsters understood that to be successful in the long run, to actually make a living as a writer, they needed quantity and quality. Competition among writers was fierce and editors were picky. You had to deliver good product and lots of it.

Second, accept that writing is hard work. It’s physically hard on the body and the mind. It’s not easy to sit for hours on end when it’s much more fun to go out.

Third, learn to live with all of this plus the loneliness.

He writes: “Only a writer who has endured the writing of a dozen stories, of a hundred, of four hundred, understands the agony that went along with those countless hours of mental aberration.

“And only a writer who has endured all of it knows about the terrible loneliness.

“A writer is truly alone. He sits and thinks, works and reworks his ideas, his thoughts. And then he writes and rewrites. And while he is doing all of this, he is utterly alone.”

Takeaway: If you can’t be alone for long periods of time, seek another line of work.

Fourth, write what sells. I know that many writers want to write what they want to write. Fine, maybe you’ll get lucky, but writing is a business and the customer wants what the customer wants. It doesn’t mean to pander, but it does mean to fulfill a current need.

Fifth, and last, understand that your stories must be, as Gruber put it, “unusual.” Heroes must be colorful, different, unique. His series characters were certainly that. There was a crime-solving encyclopedia salesman named Oliver Quade, Shotgun Slade who was a wild West private eye and the private eye team of Otis Beagle and Joe Peel who alternated between being legit detectives and swindlers depending upon if they got caught in the act of larceny.

The same ‘unusual’ tag applies to backgrounds themes, motives and murder methods. “The streets of the big city are not necessarily, colorful. If they’re not, make them so,” he wrote in his 11-points that all mysteries must contain. On the Thrilling Detective website you will find Gruber’s 11-points taken from The Pulp Jungle.

Gruber never forget what readers really want above everything else. They crave to be transported away from their lives to a more ‘unusual’ place than where they’re living now. It may sound obvious but it ain’t easy to do.

It requires imagination, hard work and guts to write ‘unusual.’

 

 

Why an Established Author is Going Indie

By Larry Kahaner

Sheri McInnis has enjoyed success with big publishing houses, but is now going indie with her new books.

sheri mcinnis

Sheri McInnis

Why not go with the big houses if they’ve published you before? Sheri explains it in the following blog entry in ways that make sense for many professional authors. She may be on the cutting edge of book publishing these days with phrases like “multi-published author” making the rounds. A multi-published author is someone who publishes both with traditional publishers as well as independently. (I know; some use the phrase to mean something different.) We’ve witnessed an increasing amount of crossover lately especially from authors who publish an e-book on their own, which is then bought by a legacy publisher. (Witness the self-published book The Martian, later bought by Crown and now a movie blockbuster.) Or, in some cases, traditionally-published authors who, for their own reasons, want to publish a particular work independently – like Sheri. The lines are blurring.

I often voice a low opinion of indie books. Just like anyone with a smartphone seems to think they’re a photographer, anyone with a computer and an internet connection reckons that they’re an author. Yeah, they’re an author, technically speaking, but their stuff often stinks because there is no filter, a role that agents, editors and legacy publishers filled. This sieve kept a lot of poor writing from reaching the bookshelves. Not always, but often. On the other hand, nothing gives me a greater surprise than to read an indie author who has penned a book to make a publisher wish they had paid closer attention to their slush pile. Here’s a recent find: Dream Brother: A Novel by Brian Marggraf. And another: Mintwood Place by Bob Gilbert. One more: The Test of Time by Allen Appel (Allen is a colleague who was also published by large houses).

Thanks to Gordon A. Wilson, on whose website this first appeared, and to Sheri for permission to publish her post.

 

 

The Top 5 Reasons I’m Self-Publishing – Instead of Going Back to the Big Guys

by Sheri McInnis @SLMcInnis

1) CONTROL

I’ve worked with some of the most successful editors in the business – and I was especially fond of my first one at Atria. But that didn’t make the revision process any easier.

Because as much as publishers hail creative freedom, unless you deliver an ‘approved manuscript’ your book won’t even be published. That means there’s subtle pressure on you to take your editor’s notes – whether you agree with them or not.

The editor isn’t the only one who requests changes either. Notes will come from your agent, the editorial assistant, even the publisher. And their input can range anywhere from the helpful to the heartbreaking.

Even the marketing department gets in on things. For instance, the marketing people didn’t like the original title of my first book, so the publisher changed it to Devil May Care. Bad luck for me because at around the same time another ‘devil’ book came out. But you probably heard of that one.devilmaycare

The Devil Wears Prada was so popular, people didn’t just confuse the titles – they actually thought I was Lauren Weisberger! One bookstore manager was so excited to meet because my book was “just flying off the shelves!”

You can’t imagine how disappointed we both were when I got to the store and he had a huge stack of Prada waiting for me to sign.

Remember, there are lots of people who get involved in publishing your book,  and as the author you aren’t the one with the most control.

 

2) TIMING

Even if I signed a contract tomorrow, the book wouldn’t hit the shelves for at least eighteen months – probably more. I simply don’t want to wait that long.

For one thing, I’m not getting any younger. But most importantly, the main part of the book takes place in 2021. There are technological advances and environmental disasters that only make sense with a believable padding of time.

I also have a specific release date in mind – November 11. The book – a supernatural thriller called The Hunter’s Moon – is about witches and this date is pivotal to the main character’s story arc.

But unless I’m Stephen King or Sophia Kinsella, it would be crazy to request a particular release date from a publisher. They have hundreds – if not thousands – of titles carefully staggered over many seasons.

Even then, a publisher has the right to change the release date – which happened on my second book, By Invitation Only. A more popular writer bumped the release by a month. That writer was Sophie Kinsella.

 

3) MONEY

Just a handful of years ago, even a mediocre book advance was in the fifty thousand dollar range (that’s what mine were; though I shared the second with my co-writer).

Unfortunately, publishers didn’t fare well after the 2008 recession. My (former) agent told me most advances were down to about 10% what they were – and the business is still recovering.

The downturn also resulted in less money for promotion. Book tours, launch parties and flashy displays are for only a lucky few writers. So whether you self-publish or not, you still have a huge job of promoting the book yourself – both in terms of time and money.

There are still great book advances out there. Romance writer Jasinda Wilder recently signed a 7-figure book deal with Berkley. Of course she had quite a bit of success already. She’d sold two million e-books as an indie author.

What I find most interesting is that even with a big contract, Jasinda is going to continue to self-publish some titles. According to the Guardian, the most financially successful –  and happy – writers are ones with a foot in both camps.

 

4) PRACTICALITY

In all honesty, it would probably take years – if ever – for me to get another book deal. Neither of my novels were disasters but they didn’t perform as well as expected. What’s worse, I turned into an emotional wreck after the books flopped and actually gave up writing fiction (twice), meaning I wasn’t able to quickly write another book to bounce back.

So why would a publisher take a chance on me when there are so many great first-timers out there? Or thousands of bestselling indie authors who already have a loyal following?

Over and above the performance of my books, I’m launching into a genre that I have no experience in. There’d have to be a lot of changes in the publishing world before someone signed me simply because ‘this idea came to me in a dream.’

If I want to continue writing, I really don’t have a choice but to go indie. Which brings me to  …

 

5) BECAUSE I CAN

Since the beginning of the printing press, books have been expensive and complicated to produce, which is why authors have always been dependent on publishers to print and distribute their work.

However, in just a few short years, indie writers have changed the game completely. Today every writer on the planet has the opportunity to reach millions of readers, and there isn’t the same stigma to self-publishing that there once was. That’s not just a change in the publishing world. It’s a revolution in the way stories are told.

Whether you decide to follow the holy grail, choose to self-publish – or try some combination of the two – it’s an exciting time to be a writer. Telling stories is what really counts, no matter how we get it done.

 

Can I Write Novels Even if I Haven’t Had an Interesting Life?

Can I Write Novels Even if I Haven’t Had an Interesting Life?

By Larry Kahaner

I came across a blog from Guy Portman titled “10 Famous Authors’ Day Jobs” in which he lists… well… you get it.exciting life

What struck me most from reading Guy’s blog post is how many famous authors eventually gave up their day jobs (Natch. They’re famous.) and how many used what they knew from their day jobs and incorporated it into their writings.

Item: Joseph Conrad – (1857 – 1924) – Many of Joseph Conrad’s works have a nautical theme. This is not surprising considering that the author had a 19 year career in the merchant-marine, which began when he left his native Poland as a teenager in 1874.

Item: Arthur Conan Doyle – (1859 – 1930) – The creator of Sherlock Holmes was an important figure in the field of crime fiction. Doyle was also a practicing doctor, whose field of expertise was ophthalmology. He quit medicine to concentrate on writing full time.

Item: Agatha Christie – (1890 -1976) – It was during World War I that prolific author Agatha Christie began writing detective stories. At the time she was employed as an apothecary’s assistant. Her knowledge of poisons was to come in useful in her detective stories.

These authors used what they learned on the job and in life as a springboard for their stories.

But what if you don’t have an interesting job, career or life to draw upon?

There’s no such thing as a boring life.

There’s always something in your past and present that you can look to for ideas and stories. There’s always odd, interesting and compelling people in your life upon which to fashion your characters and stories. You just have to be open.

I have a writing buddy who is working on a memoir and some of the folks he talks about make for fascinating character fodder. At the time, they may not have seemed so interesting, especially to a kid, but when we get older we see their bizarreness and they become highly writeable.

But even if they don’t seem so interesting now. It’s okay.

Think of a person that you know and make him or her weirder, odder, funnier or sadder. Look for the peculiar detail that others have missed. Embellish the small but compelling parts. Expand their quirk. Exaggerate a tic.

One last thought. Here’s the entry for Bram Stoker: “Stoker is best remembered for his seminal work Dracula, but he also wrote 11 other novels and 3 collections of short stories. The author spent 27 years working as an acting manager and business manager for Irving’s Lyceum Theatre in London.”

I haven’t read his other 11 novels but I can bet his job figured into these works. As for Dracula, Stoker’s inspiration reportedly came from a visit to Slains Castle in Aberdeenshire and a visit to the crypts of St. Michan’s Church in Dublin. My guess is that these creepy places produced a strong emotional reaction in Stoker which then formed the basis for his vampire novel. Another person, though, maybe not so much.

That’s the crux of it. What produces a strong emotion in you – a person, place or thing – is what you should be writing about.

How to Screw Up Your Novel: The Series Cheat

How to Screw Up Your Novel: The Series Cheat

By Larry Kahaner

I just finished reading a terrific book except for one thing. The ending was a cheat.

Every book must have one.

Every book must have one.

The author composed a quirky, clever main character with an animal sidekick that acts as a contract killer upon command. Very cool idea. The book moved fast, had an absorbing plot and the writing itself was workmanlike (one of my highest compliments) and even contained some flashes of wordsmithing brilliance.

But here’s the problem.

When I reached the end, the protagonist was left hanging in the middle of a predicament. Why? Because the author has a second book which he/she (I’m not giving you any more clues as to the writer’s identity) which takes up where the first book lets off.

Unfair.

As a reader, I deserve a satisfying and closing end to each book I read. If you want to have a second in a series, that’s great. If I like the first, I will most likely read the second and probably beyond, but I don’t want to be coerced or compelled by not having a real, honest-to-goodness ending to the first one.

I have many pals who write series, and they do it the right way. Each book stands on its own. This way, a new reader can dip into any book in the series and receive a satisfying experience without having to read the others. Trust me; if they like the book, they will read another one. Maybe the whole series. In fact, most readers are introduced to a series by the author’s most recently-published book, because that’s the one that publishers have hyped the most. This makes a complete, standalone experience even more crucial to a series’ success.

To write a successful series, an author has to insert enough backstory into each book so the new reader gets up to speed without boring those who already know the main characters. It’s actually not that difficult, but it does require some finesse.

Respect your audience; don’t cheat them out of an ending.

What if the US were run like a corporation and a madman was in charge? Check out my latest thriller “USA, Inc.” now available in eBook and paperback. All my books have a money-back guarantee.

 

 

 

 

Drugs: The Author’s Other Drug of Choice – Part 2

Drugs: The Author’s Other Drug of Choice – Part 2

This guest blog from former workmate Gerry Karey, who blogs at Unhinged, grew out of a blog I wrote about alcohol and authors titled Don’t Drink and Write.

When I posted the blog on my Facebook page, Gerry commented:

“What about pot?”

To which I answered: “What about it?”

He took the challenge and looked at famous authors and their drug proclivities.

We had two bags of grass, seventy-five pellets of mescaline, five sheets of high powered blotter acid, a salt shaker half full of cocaine, and a whole galaxy of multi-colored uppers, downers, screamers, laughers… and also a quart of tequila, a quart of rum, a case of Budweiser, a pint of raw ether and two dozen amyls.  — Hunter S. Thompson, Fear and Loathing in Las Vegas

thomspons

“I hate to advocate drugs, alcohol, violence, or insanity to anyone, but they’ve always worked for me. – Hunter S. Thompson

That’s quite a picnic hamper. Mescaline, acid, cocaine, uppers, downers, screamers and laughers, oh, my.  If you can remember the 60s, you weren’t there.

Thompson was one of several mid-twentieth century writers who celebrated the use of drugs, particularly hallucinogens, and inspired and influenced a cultural movement.

Thompson is credited as the father of Gonzo journalism, a blend of fact and fiction. He may have captured the gestalt of the era as well as any writer. You just couldn’t believe everything you read, but it was an exhilarating, crazy ride.

A 2005 biography is entitled, Hunter S. Thompson: An Insider’s View of Deranged, Depraved, Drugged Out Brilliance. Thomas somehow managed to live until he was 68 when he committed suicide.

“I hate to advocate drugs, alcohol, violence, or insanity to anyone, but they’ve always worked for me,” Thompson once said. Until it didn’t.

Jack Kerouac was the key figure in the “Beat Movement.” A draft of his seminal, stream-of-consciousness novel, On The Road, was written in just three weeks and typed on a continuous, one hundred and twenty-foot scroll of tracing paper sheets that Kerouac cut to size and taped together.

It is a fascinating read. But great literature? Maybe not so much.

Kerouac continued to writes books and poetry, but nothing he wrote equaled the impact of On The Road.  How could it?

Drugs were very much part of the scene in On the Road, but Kerouac’s personal drug was alcohol. He died in 1969 at the age of 47, as a result of an internal hemorrhage caused by cirrhosis.

boroughs

“Whether you sniff it smoke it eat it or shove it up your ass the result is the same: addiction.” – William S. Burroughs

Major writers of the Beat era, all close friends of Kerouac, were Allen Ginsberg (LSD), Ken Kesey (psychedelics), William Boroughs, who was addicted to heroin, and Neal Cassady, who died of a drug overdose. “Whether you sniff it smoke it eat it or shove it up your ass the result is the same: addiction,” Burroughs said.

Other 20th Century writers who experimented with or used drugs: W.H. Auden, Jean Paul Sartre and Philip Dick (amphetamines). “Drug misuse is not a disease, it’s a decision…an error in judgment,” said Dick, who also used marijuana, mescaline, LSD, sodium pentothal. Hubert Selby, was addicted to pain killers and heroin that were first administered after surgery; Stephen King, who managed to kick his addiction to cocaine and other drugs; and Aldous Huxley, mescaline (see Huxley’s The Doors of Perception).

Would Dick have created his fantastic fictional worlds without drugs?  Would Hunter Thompson have been Hunter Thompson? Would any of those writers have achieved what they did?

Neurobiologist R. Douglas Fields asks: “Can the creative product—a song, painting, poem, or book—justify the sacrifice and harm that will accompany conducting the creative pursuit under the influence of drugs? If we accept the use of marijuana, cocaine, methamphetamine, LSD, and alcohol by rock musicians to achieve creative breakthroughs and delight us with their performance, what does that say about us in being willing to accept the destruction of another human being for our entertainment?”

“Drugs are a waste of time. They destroy your memory and your self- respect and everything that goes along with your self esteem,” songwriter/musician Kurt Cobain said.  Cobain struggled with heroin addiction and depression. He committed suicide in 1994, at age 27.

I do not know if this survey will persuade anyone not to use drugs (with the exception, perhaps of marijuana as a reward after a long day of writing). That’s not my intent. But I will reiterate Larry Kahaner’s advice to aspiring writers – all writers, for that matter:  “Write a lot and read a lot. Those are the only habits that work all the time and every time.”

There are no short cuts.

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