Writer's Block: The Online Campaign

Most advance reading copies I receive come with an insert or blurb about the book's marketing campaign. I'm not sure why this would be helpful to a reviewer, but I read them anyway. The latest trend I've been noticing is the "Online Marketing Campaign", and I'm not surprised.

Where marketing teams and publicists used to hit print publications, TV, and radio, they're now hitting blogs, online papers, newsletters, and using e-mail blasts to promote a book. They're focused on website hits, e-mail lists, and uploading book trailers to YouTube. Is this more effective than other promotions? Hard to say. One thing's for sure, it's a hell of a lot cheaper.

Web-based promotion costs very little. There's no toner, no paper, no postage or shipping costs. Web advertising is far cheaper than print, but most publishers won't pay for advertising at all. They'll focus on contacting e-zine editors and bloggers to interview authors or write feature articles instead. Why buy space on the web when you can get it for free?

There are many pros to web campaigns other than cost. You don't have to work on web-based campaigns during normal business hours. The web never closes. Once something is up on the web, it's there forever, unlike newspapers and magazines that get recycled or TV interviews that only last a few minutes. The web publicity sticks around until someone deletes it, which means it usually stays there forever.

The last major appeal to the web campaign, is the ability to track traffic. Using StatCounter or Google Analytics, you can see if a blog post or online article brought people to your website or to IndieBound and Amazon. It's a lot harder to see the effects of a magazine article or radio interview.

As print newspapers die out, so will the print marketing campaigns. Marketing and publicity follow the trend, and so far, the trend is online.

Two good examples of this type of campaign are J.A. Konrath aka Jack Kilborn and Jamie Freveletti. Instead of beginning with a traditional book tour to promote his latest book, Konrath did a blog tour, appearing on a different blog everyday in March. He is also giving away a free e-novella, hoping that if he gives away a free taste, people will go out and buy more. Jamie Freveletti's debut novel is about an ultra-marathon runner, so she's been appearing on various running blogs. Her book trailer is also being hosted on various websites, many of which are running related rather than literary.

As a reader, notice where you're learning about book releases or new authors. If you're reading this blog, chances are you get most of your info from the web. As a published author, think about the best, most efficient, and cost effective way to reach the widest possible audience. Chances are, it will be with an online marketing campaign.

Must-See Monday

May is a busy month for Crime Fiction, lots of new releases. The best part about this week is the debut authors. Be sure to check them out!

Debut author Andrew Grant launches his novel EVEN at the Clybourn Barnes & Noble (1441 W. Webster) Tuesday, May 12th at 7:30pm. He's a talented author and a really nice guy, so it should be a fun evening.

Debut author Jamie Freveletti signs copies of her book RUNNING FROM THE DEVIL at the Oak Brook Borders (1500 W. 16th st.) Wednesday, May 13th at 7:00pm.

Don't feel like heading out to the burbs? She's also hosting a talk at Fleet Feet (1620 N. Wells) on Friday, May 15th at 7:00pm with 3-time Olympian Tim Seaman.

This American Life contributor Cheryl Wagner reads from her new book PLENTY OF SUCK TO GO AROUND: A Memoir of Floods, Fires, Parades and Plywood at Quimby's (1854 W. North Ave.) Saturday, May 16th at 7:00pm.

Weekend Reading

Be sure to pick up RUNNING FROM THE DEVIL by Chicago author, Jamie Freveletti. I'm a little bias as Jamie is a friend and colleague, but I wouldn't recommend something that isn't good. RUNNING is a balls-out action thriller that is easily read in one sitting. Ultra-marathoner Emma Caldridge's plane is downed in the jungles of Columbia and it is her athletic prowess that allows her to escape. While there is the immediate conflict (how will she make it out alive?) there is also the underlying puzzle of why this plane was hijacked and what the hijackers want with Emma. This debut novel was chosen as the May Indie Notable Book.

In the mood for something slower paced? I recently finished Richard Price's LUSH LIFE, though I should have read it ages ago when it first came out. Price has always been a master at capturing setting, but he has outdone himself with this depiction of New York's Lower East side. The novel contains a large cast of characters and it's almost as if they're passing around video camera, each having an opportunity to tell their story. LUSH LIFE may be a slower read than most mysteries, but the writing is just as gripping.

Since SANCTUARY by Ken Bruen releases next week, #7 in the Jack Taylor series, I'd spend this weekend reading CROSS, which is #6. Ken Bruen is a talented writer and Taylor is a great series character. If you're not familiar, start at the beginning with THE GUARDS.

Writer's Block: From Premise to Plot

Most of my book ideas start from a premise: hypocrisy of ultra-orthodox Jews in Israel, a reformed prostitute living on the north shore, tagging crews in Chicago. These are ideas, bases from which stories can grow, not plot. The premise is the who, what, when, where and why of your story. Plot is the how. The plot is how your story ideas and characters get from point A to point B. Novel premises and ideas come all the time, usually without effort. Plot takes time, craft, and lots of thought.

The process of starting a novel can be daunting. You have an idea, you have a few characters, maybe you even know how the story is going to end. But where do you go from there? Do you start writing and see where the story takes you? Or do you outline first, plan ahead?

The answers are different for every writer, but over time, I've grown quite fond of outlining. My first two books had all types of structure problems and I would have loved to figure all that out before I spent months writing hundreds of pages that ended up in the trash. I don't outline in great detail, so much of the plot changes as I go. But the core points remain the same, which allows me to keep focus and hopefully minimize future revision.

There are many different ways to outline. Some writers use dry erase boards, others use post-its. I've seen a few use enormous rolls of butcher paper. A few years ago, I covered my dining room wall with index cards. I'm a visual person; I need to see my story and be able to rearrange it before my eyes. For others, it's enough to take notes or mentally craft the structure. Whichever method you choose, remember the following:

1. Focus on internal plot points as well as external. Better yet, plan how the two weave together.
2. Think in terms of pages. Once you have the main turning points figured out, think about where they come into the story. You don't want your first major turning point happening halfway through the book.
3. Think about different possible scenarios. There are many ways to kill a person, for a P.I. to discover a crucial piece of evidence, or for two people to come together. Think of a few different ways to achieve the same goal and weigh the pros and cons of each. You may run into a problem during the writing that requires a plan B.
4. Run the outline by your writers group. They'll definitely have questions, concerns and feedback about your plot structure. Much better to hear it in the beginning phases rather than 200 pages into the writing.
5. Know the ending, or at least have an idea of it. If you don't know the ending, your writing will lack focus. You want every chapter, every scene, every paragraph, to drive the plot towards your end goal. With the exception of some literary works, I'd say it's impossible to write a book with a tightly woven plot without knowing the ending ahead of time.

Writing a novel is far less daunting if you have a plan. It's no fun to stare at a blank page for an hour, thinking about what you're going to write. With an outline, you know exactly where you're going before you even turn on your computer. Know that scenes will change, plot points may shift, and that's okay, as long as you've spend time thinking about the structure of your story and where you want it to go. Just because you have a premise, doesn't mean you have a plot.

Must-See Monday

A slower week for bookies, but remember it's quality, not quantity. And the events listed are definitely quality:

Story prize nominee, Joe Meno, reads from his new novel THE GREAT PERHAPS at Quimby's Bookstore (1854 W. North Ave.) Thursday, May 7 at 7:00pm. Meno is a gifted writer and it's always a pleasure to hear him read.

Chicago Dramatists (1105 W. Chicago) preform works-in-progress Saturday, May 9 at 2:00pm. Though I myself have yet to attend this weekly reading series, I have heard good things.

Second City/Third Person is a new reading series held at Book Cellar (4736 N. Lincoln) Saturday, May 9, 7pm. All stories are written in the third person will highlight a different street each month. This month, stories will relate to Western Ave.

Weekend Reading

There is no doubt what I'm reading this weekend if I can get my hands on it, and that's Joe Meno's latest novel THE GREAT PERHAPS. It wasn't scheduled to come out until 5/11, but Amazon, Indie Bound, and B&N all seem to have it in stock. His new book tells the story of the Casper family, husband and wife scientists with two daughters living in Chicago. Though I haven't read his latest, I have read everything else this man has ever written, and exploring human relationships and human nature with great insight and a dash of humor is what Meno does best.

May looks like it's going to be a hot month for crime fiction: Jamie Freveletti, Andrew Grant, Lee Child, Michael Connelly, Ken Bruen and John Hart all have novels coming out. While you wait, check out their previous books, and if the author writes series, try to catch up!

Also, today has been declared Buy Indie Day. Head out to your local indepnedent bookstore and buy a book!

Who's In Your Network?

The more I learn about the wacky world of publishing, the more I see the importance of networking. Too often, book sales, rave reviews, and successful marketing campaigns are based, not on what you know, but who you know.

If you're an author with a book coming out, especially a debut novel, you have one goal: get the word out. Your book won't sell if people don't know about it. How do you spread the word? You reach out to your network:

Family - Your parents, siblings, and spouse are givens, but make sure you reach out to your extended family as well. They'll definitely buy your book, but more importantly, they'll tell their friends and coworkers about it.

Friends and Acquaintances- Friends are another given, they're definitely going to buy your book and spread the word, but acquaintances are trickier. Depending on how well you know these people, they may or may not buy your book. How do you persuade them? Invite them to your launch party or other social event. Hopefully, after a few drinks they're more inclined to pick up a copy.

Coworkers - Most of us have day jobs, but if you're fortunate enough to be a career novelist, reach out to your spouses coworkers. Don't be timid about bringing your two lives together, people are usually interested. Post a flyer for your signing in the punch room or e-mail coworkers announcing your book's release.

Writing Acquaintances - These are the people you've met at conferences, signings or other literary events. You mostly correspond via e-mail and don't correspond too often. Again, don't be timid about announcing your book's release or inviting them to a signing. Chances are, they're planning on doing the same when their book comes out. If it's been a while, remind them when and where you met.

Online Acquaintances - These are your followers on Twitter, your Facebook and Myspace friends, your LinkedIn connections. Many of these people you've never corresponded with, some of them you don't even know. But that's why they call these social networking sites. They allow people to network without meeting or even communicating. If you're using these platforms, utilize them, and announce every signing, reading, or conference you're attending.

Now that you have identified the people in your network, you can start putting together your mailing list. But how do you make the network grow? A few suggestions:

1. Attend literary events in your area. Introduce yourself to the organizers, authors, and attendees if appropriate.
2. Attend writers conferences. I find this the most effective way to build a network. Of course, it helps if your sociable and don't go up to your room after every panel. Station yourself at the hotel bar and don't be afraid to introduce yourself to people.
3. Utilize the social networking sites by obtaining "friends", linking through to your webpage, and updating regularly.
4. Join Backspace, an online community of writers. Don't just lurk. The more you post, the more your presence will be known!
5. Be friendly, especially to the people you see on a regular basis. Introduce yourself to the barista who fixes your latte every morning, the bookseller where you buy your books, the bartender at your regular watering hole. They'd probably be interested in your book, maybe they'd even schedule or advertise an event.

The concept is simple: you sell more books if more people know about them. You tell the people in your network, they'll tell the people in theirs. So start twittering, handing out business cards, and calling that second cousin you haven't seen in years, because if you have a book coming out, everyone needs to know!

Must See Monday

It looks like a busy week for book fans. All events are free with the exception of 2nd Story. But at least your ticket includes a few glasses of wine!


Twilight Tales at Bourgeois Pig Cafe (738 W. Fullerton) Monday, April 27th at 7:30pm. Tonight, this long running reading series, features Fantasy Fiction students from Columbia College Chicago.

Ghost Factory Release Party at Women and Children First (5233 N. Clark) Wednesday, April 29 at 7:00pm. The celebration of the zine's release will include readings by Kathie Bergquist, Christina Correa, and others.

The 2nd Story festival continues at Webster's Wine Bar (1480 W. Webster) Thursday April 30, Friday May 1, Saturday May 2 and Sunday May 3. Tickets required. Doors open at 7pm. Ticket price includes wine flight. If you've never attended one of these readings, the combination of stories and music is fantastic and they always showcase talented writers.

SUBWAY ART Release Party at Novem (1104 N. Ashland). Friday, May 1 5-10pm. Celebrating the 25th anniversary of the book which documents early graffiti art. Martha Cooper will be signing copies.

Free Comic Book Day at Challenger's Comics and Conversation (1845 N. Western) Saturday, May 2 noon-3pm. Image Comics co-founder Erik Larsen will be signing.

Dorothy Allison and Thomas Glave at Women and Children First (5233 N. Clark). Sunday, May 3 at 4:30pm. They will be reading from a new collection of short stories, THE TORTURER'S WIFE.

Weekend Reading

Need a dose of Chicago crime fiction? Check out Kris Nelscott's DAYS OF RAGE, featuring Smokey Dalton, an off-the-books building inspector turned P.I. when he discovers human remains in one of his buildings. Set in late sixties Chicago, Nelscott expertly weaves truth and fiction, using the historical context to further the story.

Craving something different? Pick up THE BOY DETECTIVE FAILS by Joe Meno. His beautiful and unique writing style steps outside the boundaries of conventional fiction. A great mix of dark prose, magical realism, and a small dash of humor, this novel is unlike any other.

Feel like revisiting a classic? Dig out your old copy of Upton Sinclair's THE JUNGLE, an honest, gritty novel about the stockyards on Chicago's south side.

Want something new? James Grippando's latest novel, INTENT TO KILL, hits bookstores next week. Protagonist Ryan James, a minor league baseball player one game away from the majors, tragically loses his wife in a car accident. But years later, he discovers that his wife's death wasn't an accident, and he is determined to find the truth. A very basic premise, but the characters add great depth to the simple story.

Writer's Block: E-books

Recently, the Pulitzer Prize board expanded their guidelines to include online newspapers. One of the most prestigious journalism awards can now be given to a completely electronic newspaper.

When I started freelancing, online publications were easier to break into. They have lower overhead and no space limitations, but they weren't as prestigious. It was more impressive to be in print. The Pulitzer board has taken a step to change that.

So much in publishing has to do with money. Advances, marketing campaigns, sales, all come down to money. And these days, there's not much of it to go around. But what type of book costs nothing to publish? An e-book.

For years, everyone has been skeptical of the e-book, myself included. I enjoy holding the book I'm reading, I enjoy being able to stick a mass market paperback in my pocket for a long train ride, I like seeing the cover art and turning the pages. But I feel the same way about newspapers, and my kind are a dying breed.

What if the Pulitzer Prize board expanded its guidelines even further? What if they included books which were only published electronically? What if one of those books won the award? Would people go out and purchase a Kindle or Sony reader so they could read the latest Pulitzer Prize winning novel? Would e-books gain new recognition and a new audience, making paper books obsolete?

If an e-book wins a Pulitzer, I am confident that it will be the bestselling e-book on the market to date. It may even sell better than some of the bestselling print books. But paper books becoming obsolete? I think that could never happen. I believe that actual books will always have a place in this industry. But I used to say the same thing about newspapers. Now I'm not so sure.

What I do know is that e-books will gain recognition and popularity. More e-books will be published because of the low cost and, for the same reason, more people will be reading them. Why buy a $25 hardcover when you can purchase the e-book for $5? Also, as our society continues to become more environmentally aware, we'll prefer e-books because they use minimal natural resources.

Recognition is the first step to shifting the market. Once e-books are recognized for quality writing and publishing, people will begin purchasing them. Prestigious award committees, such as the Pulitzer, have the influence to make that shift. Will paper book sales plummet because of e-books? Probably not. But I do think electronic publishing will quickly improve and become more widespread, and more people will be downloading their reading material.

Must-See Monday

Welcome to the first installment of Must-See Mondays! Lots of great events going on this week:

Literary Gangs of Chicago at Museum of Contemporary Art (220 E. Chicago). Tuesday, April 21 at 6:30pm. Features slam poetry artists from Mental Graffiti.

Poetry Night at Book Cellar (4736 N. Lincoln). Wednesdy, April 22 at 7:00pm. Includes readings by local poets, including Robert McDonald, author of Field Guide to Gay and Lesbain Chicago.

Donna Seamon at Harold Washington Library (400 S. State). Wednesday, April 22 at 6:00pm. Booklist editor and Open Books host discusses the new book HOME GROUND: Language for an American Landscape.

2nd Story Literary Festival at Webster's Wine Bar (1480 W. Webster). Thursday, April 23 at 6:45pm. Authors read their work accompanied to music. The $18 ticket includes wine flight.

New Skin, New Format

When I first started this blog, there wasn't a true focus. I knew I wanted to blog about writing, publishing, and reviewing, but really the posts were whatever I was thinking about that week. After two and a half years of musing, I've decided it's time to focus the content.

This is The Chicago Contingent, and therefore posts will have a predominantly Chicago slant. I also want more structure, and therefore, will blog three times a week on the following subjects:

• Must-See Mondays. This will be a listing of signings, readings, and other literary events going on that week. Hopefully this will encourage people to get more involved in the literary community and increase readership.
• Writer's Block Wednesdays. Because I still love talking about the craft of writing, every Wednesday I will blog about reading and writing. I also may use this day to conduct Q&A's with authors and other industry people.
• Weekend Reading. Every Friday I will recommend one or two books to read over the weekend. I will continue to promote Chicago writers here, and the books I recommend won't necessarily be new releases. This will simply be an attempt to answer that nagging question, "Which book should I read next?"

Hopefully this new format will do more for the literary community, especially in Chicago. I also encourage people to submit event listings for MUST-SEE MONDAYS or recommendations for WEEKEND READING.

Thank you and I hope everyone enjoys the new Chicago Contingent!

Curing Writer's Block

In the past few weeks, numerous writing friends have told me they are stuck in their stories. Either they are unable to get into their characters or they've reached a plot point they can't overcome or the novel idea just isn't gripping them anymore. Every writer reaches this point at one time or another, but hopefully, I can offer a cure.

The Problem: Unsure of what happens next. You're plugging away, and all of a sudden, you realize you don't know what happens next. Your characters have reached a fork in the road and you don't know which path they should take. You've tried a few different options, but none of them seem to work. Your plot is at a standstill.
The Fix: Dennis Lehane said that if he's blocked, it's usually because of a problem a hundred pages back. I tend to agree. Step back from your story and look at it as a whole. Write major plot points on post-it notes or a dry erase board. Rearrange, add, or take away plot points and see how it affects the overall story. Do you need to add a subplot or take one away? Are the characters' internal struggles being addressed? Stepping back and looking at the plot structure is the only way to find the kinks. Once those are addressed, the story should speed right along.

The Problem: The Inner Censor. Every writer has one. We all have a little beep, bell, or voice inside our heads that sounds off when we're writing. It can be caused by self-criticism, fear of what readers will think, lack of confidence, etc. Some of the most poignant scenes are the most difficult to write and can easily trip you up.
The Fix: Journaling or stream of consciousness writing is the quickest way I know to overcome the inner censor. Write without audience in mind. No one is going to read it. Let your voice go. Don't stop writing, even if you have nothing to say. Attempt to write continuously for five minutes. See what comes out of it. You may be surprised how much you can overcome when you're not thinking about audience.
Alternative: Sometimes the inner censor goes off due to lack of confidence. I often get stuck writing police procedural scenes, because I know very little about the subject. If you are having difficulty writing a scene due to lack of confidence, research is the quickest fix. Read cop blogs, call your local precinct, read one of the hundreds of books about police procedures. Having the knowledge will give you the confidence to write the scene and move forward.

The Problem: Sick of the story. This is bound to happen. You work on a novel for a year, sometimes two, and eventually, you don't want to even think about your story anymore. You're getting ideas for other novels that sound more exciting, and finishing your current project is like pulling teeth.
The Fix: If you're not excited about your story, readers won't be either. You need to figure out a way to renew the magic. Think back to when you first formulated the idea. What made you want to write about these characters? What intrigued you about this story? If you don't know the answers to these questions, then you may want to abandon this project for a while, because something isn't working. Otherwise, try to bring back the passion and need to tell this particular story. Write a few more character sketches or explore new plot possibilities. Hopefully this will rekindle the excitement you felt when you first began writing. Also, you can take a break from the manuscript and work on your two-line elevator pitch. Finding a way to intrigue potential readers using minimal words can renew your own passion for the story.

The Problem: Writing Stinks. You've reread what you've written and it all seems flat, unexciting and uninteresting.
The Fix: Thinking outside the box and trying new writing methods is a great way to liven up a drab manuscript. Try writing a scene from a different character's viewpoint. Write the scene as a letter, or as a script. Write a character's dream or childhood memory. These exercises often bring out new ideas and give the writing new depth.

If you're currently blocked, hopefully I've offered a possible fix. Feel free to offer up your own writing problems, as long as you include the cure!

Negating My Previous Post

A few weeks ago I blogged about the importance of a protagonist being a hero. I put a book down because the protagonist wasn't redeeming in any way. Yesterday, I picked up FAKE ID by Jason Starr. The main character, Tommy Russo, is a degenerate gambler who lies, cheats, and steals to get what he wants. He is the ultimate asshole: sweet talking a girl into bed then stealing her jewelry in the morning, taking the money out of the safe at work right after his boss told him he was the only employee he trusted, throwing away every last dime he has at the track. He seems to have no morals, no conscience, he has a sense of right and wrong but simply doesn't care. Going by my previous post, I should have put the book down immediately. Instead I read it in one sitting.

FAKE ID is published by Hard Case Crime, a line of mass market pulp novels. When you pick up one of their paperbacks, the ones with the painted cover art portraying seductive women and tough guys with guns, you know what you're in for: sex, violence, and hardboiled crime fiction. In this tradition, the protagonist in FAKE ID is not a detective. Actually, he's the offender in all of the crimes committed in the book. So how can readers be expected to root for a protagonist that's actually a villain? Maybe they're not.

The reason I couldn't stop reading was the suspense of the story. Russo continues to dig himself deeper and deeper, soon finding himself in a hole so deep, it's impossible to climb out. It's not that I was rooting for him; I actually got excited when his plans went awry or it looked like he would be caught. Starr continued to throw obstacles at his character, never made things easy for him, and I couldn't wait to see how he was going to get him out.

All morning, I've been thinking about the difference between this book and the one I put down a few weeks ago. Was it the writing? The story? Or was it because I knew what to expect, that since it was a pulp novel I knew the character would be flawed?

I think the main difference is the writing style and the intentions of the author. Starr is unapologetic in his writing. He writes Russo the way he is without trying to make readers sympathetic. Other authors attempt to make readers understand why their characters are the way they are, try to make you feel sorry for and sympathize with them. I seem to prefer Starr's approach. If your main character is an asshole, make him an asshole. Readers don't have to like him, they only have to like the story. If you want me to care about a character, that's different. I can't care about someone with no morals and no conscience, no matter what happened in their childhood or what circumstances led them to commit so many bad acts.

FAKE ID is a good story, and I enjoyed hearing it. I didn't like the character, I wasn't rooting for him, but I was still eager to see what happened next. But if the book is character driven, if it relies on the internal conflicts of the characters to drive the story forward, then the characters have to be redeeming. They have to be heroes.

More and more I see that the beautiful part of fiction is that there are no rules. I thought I pinned one down only to have it broken a few weeks later. As readers, we can form ideas about what types of books we like and don't like, but there are always going to be one or two that break the rules and disprove our ideas.

Jamie Freveletti on RUNNING FROM THE DEVIL

Just posted on YouTube and the Harper Collins website, debut author Jamie Freveletti talks about her thriller novel, RUNNING FROM THE DEVIL. I think these types of films are more effective than book trailers; we see the author talk about their own work rather than watch a voiced-over, dramatization of the book. Check it out!

On Rejection and Negative Feedback

In an industry full of rejections, failures, and unsolicited opinions, it is easy to get discouraged. You slave away at a manuscript for years, only to have it rejected by agents, torn apart by editors, and dogged by reviewers. So why do we do it? Why do we subject the fruits of our labor to such scrutiny? Because it is part of the job, and sometimes, criticism will make us better writers.

Most of the time, we are too close to our work to see its flaws. That is where critique groups, friends and family members come in handy. Agents know the industry, know what's selling, and they'll sometimes pass on well written manuscripts because of market trends. The same is true for publishers and editors. If we all let the rejection letters and negative feedback get to us, there wouldn't be any published writers. We'd all be curled up in the fetal position, sniffling like little children. We handle the negativity by recognizing helpful criticism and developing thick skin to ward off opinions that are less than helpful.

Here are a few ways to handle criticism, whether it be from a fellow writer, reviewer, agent or editor:

1. Ask yourself if there is any merit to their comment? Is it something you can use in the future?
2. Consider the source. Did some anonymous reviewer trash your book on Amazon? Did your former best friend from high school call you a hack? Or was it your favorite reviewer, or an agent with an excellent track record that deemed your work less than brilliant? If you respect the person's opinion, take their comment to heart. Otherwise, let it go.
3. Summon your confidence. Know you have talent. You wouldn't be a writer if you didn't.
4. Recognize that an opinion is simply an opinion. One person will tell you one thing and another person will tell you the exact opposite. Know your work, trust your gut, and form an opinion of your own.

It's impossible to go through this industry without rejection and negative feedback. It's part of any creative field. In order to survive it and not get discouraged, it's necessary to maintain confidence and thick skin. Don't like receiving criticism? I suggest considering a career change.

From Newbie to Novelist: Interview with J.A. Konrath

As part of his national blog tour to promote his horror novel, AFRAID, J.A. Konrath AKA Jack Kilborn, joins us today to to talk about his journey from newbie to novelist. J.A. has published seven novels and dozens of short stories, essays and magazine articles.

DK: Welcome Joe!
JK: Hi Dana, thanks for having me!

DK: Tell us about the journey from writing your first novel to getting it published.
JK: It was a perilous journey, filled with hundreds of rejections and dozens of bottles of whiskey to help numb the pain of the hundreds of rejections. I wrote nine novels that didn't sell.
The tenth one did. It's called WHISKEY SOUR, and is about a Chicago cop named Jacqueline "Jack" Daniels. So, ultimately, all that whiskey paid off.

DK: Throughout this process, what was the most important lesson you learned regarding publishing?
JK: This is a business, not a lottery. Act like a professional, learn your craft, and never surrender. Also, marry someone sympathetic.

DK:What drew you to writing a series?
JK: A publisher bought the first one and asked if I could write a second one. Series writing is fun. Each of the books in my series is different than the others:

WHISKEY SOUR is a cop thriller that mixes scares and humor.
BLOODY MARY does the same thing, but Jack catches the killer on page 100. So where can it go from there?
RUSTY NAIL has a whole family of serial killers, and a surprising twist.
DIRTY MARTIN has very little violence in it, as opposed to the tons of violence in the previous books. It's about a poisoner.
FUZZY NAVEL takes place in an eight hour period, each minute accounted for. It ends on a cliffhanger.
CHERRY BOMB has Jack chasing the villain from Fuzzy Navel, and fully half of the book is in the killer's point of view.

During the series characters change, get hurt, and some die. There's also a story arc that begins in book #1 and ends with #6. So I get to have all the fun of returning to characters that I love, while dropping them in unique situations for each book.

DK: After six Jack Daniels books, what drew you to writing a standalone horror novel?
JK: Fans asked if I could sustain a scary narrative without any funny parts. AFRAID is the result. It's scary. Maybe too scary. In fact, I don't recommend anyone reading it, because I don't want to be blamed for the nightmares it will cause.

DK: How did writing AFRAID differ from writing the JD series?
JK: AFRAID doesn't have chapters. I didn't want to give the reader a chance to catch their breath or put the book down. It also has zero humor. Most of my other writing is funny. AFRAID isn't funny at all.

DK: What’s the best piece of advice you can give a newbie novelist?
JK: Buy all of my books and copy my style. :) Seriously? Never give up. This business is about persistence. Keep writing, keep reading, keep improving, keep submitting.

For more about Konrath/Kilborn check out his blog, The Newbie's Guide to Publishing. It has some very helpful tips!

Stand On a Platform, Don't Rest On It

If you've attended a writer's conference or workshop, chances are, you've heard authors, agents and editors talk about platform. If you haven't, I believe there are two types of platform:

1. Your platform - this is who you are and why you're the best possible person to write your book. For example, I'm a Masters swimmer, USA swimming coach, and certified swim instructor and therefore, have an ideal platform to write a swimming book. It's a convincer, something that gives you authority and makes you memorable.


2. Your story's platform - this is a general topic of what your story is about. This is not your elevator pitch and doesn't mention specific characters or plot points. It's a general theme or subject matter that will pique interest and give you a different marketing angle. For example, Gregg Hurwitz's THE PROGRAM was about a man sent to save a girl from a cult. The book documented the methods of brainwashing, how cult leaders recruit members, etc. Therefore, his platform is simply, cults.
   

A solid, memorable platform lends to easier marketing strategies, which interests editors and agents. To write nonfiction, you must have a platform. How can you write about a subject if you're not an expert on it? But in fiction, having a platform doesn't always seem necessary. I've seen plenty of straightforward police procedurals that were promoted very successfully, without gimmicks or clever marketing angles. Not everyone is a former CIA agent, or cop, or lawyer. Does it help? Of course, but I don't believe having a solid platform is a guarantee for sales.

As always, your first job is to write a good story. You can have the ideal platform, but if the the book isn't well written, it won't sell. However, if your story isn't finalized yet, it's not a bad idea to think about platform during the brainstorming process. The new novel I've been working on is about tagging crews in Chicago. It's a great platform, but that alone is not a story. The story stemmed from an actual event that occurred when I was younger and the characters are based on graffiti artists I knew growing up. The platform grew out of the characters. When you have an idea for a novel or short story, explore the characters and the setting, see if there's a platform waiting to be brought out.

In these tough times, marketing is an enormous factor in book sales. You can have a well written, interesting novel, but if it's not marketable, chances are, it won't sell. The reverse is true too. You can have a marketable concept, but if it's not well executed, it won't be picked up. Writing a novel solely based on a platform is not a good idea, but creating a platform for you or your story, is.

Try brainstorming about your platform. What jobs, hobbies or subject matters are you expert in? What about you is different, interesting or makes you stand out? There is probably more there than you think.

Novelists Inc. Blog

Want more info on reading and reviewing? Check out my blog post over at Novelists, Inc.

Anti-hero or antagonist?

This weekend, I picked a book off the "To Be Read" pile with a great premise: two guys make a living robbing drug dealers and what happens when they steal from the wrong person. It reminded me of Omar from The Wire (gotta love Omar), so I was really excited to read it. The first few chapters were enjoyable, the voice was unique and gritty, but as I learned more about the protagonist, I liked him less and less. He was selfish, unmotivated and one-dimensional. What made me finally put the book down? It was revealed that the guy shot heroin.

Now, I'm not a prude. I wasn't happy when his crystal meth habit was revealed in chapter 2, but I could look past it. I didn't mind that he was a thief or that he shot someone's head off. The heroin was a deal breaker, and at first, I couldn't figure out why. There are plenty of characters from movies and television that I loved despite their addiction. I can even recall a few short stories with junkie protagonists that I enjoyed. What was it about this character that made me put the book down? He wasn't redeeming in any other way.

If you've watched The Wire, think about Bubbles. (If you haven't watched The Wire, stop reading this blog immediately and go rent it). Yes, Bubbles was a homeless addict, but he was also redeeming. He had a good heart, he helped people, and he wasn't proud of his substance abuse. All of these factors made him likable, even if his habit wasn't. In this novel, the protagonist didn't possess enough redeemable qualities. To me, he became just another junkie criminal, someone who should be a villain in a book, not a hero. And therefore, I had to put it down.

When I read, I want the protagonist to be a hero. A hero can have flaws, a hero can be a criminal or less-than-likable person, but in the end, s/he has to be working for the greater good. If this particular character was stealing to feed his family or if he did it to put the dope dealers out of business, it would be a different story. But this guy was doing it to feed his addiction. He was no better than those he stole from. This protagonist was no hero, and therefore, I didn't want to read about him.

I've heard from plenty of writers and readers that there are certain things your protagonist absolutely cannot be: a drunk, a chauvinist, a killer of cats, etc. I don't like blanket statements and I'm usually the first to illustrate exceptions to the rule. But when it comes to protagonists, I do believe they MUST be a hero, even if they are flawed. Any arguments?