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?

The Dreaded Synopsis

The past week or so, I have been struggling with the bane of my literary existence: the synopsis. Over the years, I have talked to hundreds of people in the publishing industry and I've reached two conclusions regarding those 5-page pests: all writers hate them and most agents require them.

For those of you who haven't had the anguish of being asked to boil down your 90K word novel into five measly pages, consider yourselves lucky. The rest of us have had to struggle and wrestle and feel the pressure because not only are synopses hard to write, they can make or break a submission packet. The agent or editor may enjoy the first three chapters you sent, but if they're not drawn to the summary of the entire book, they're not going to ask for the full manuscript. These five pages, the ones that no author I know claims to be good at writing, can determine whether or not your manuscript gets read.

You're probably thinking this would be the place where I give you the secret recipe for creating a kick-ass, fail-proof synopsis, but unfortunately, I don't know the secret. I've written two, neither of which landed me a book contract. So I'm turning to the experts. I've researched blogs, articles, forums and have formulated a lists of dos and don'ts for writing synopses:

Do:

• Make it compelling. If you're synopsis isn't gripping why would your book be?
• Include ending and illustrate a clear narrative arc. Agents and editors want to make sure you can tell a full story without it falling apart at the end.
• Pinpoint key story elements and elaborate on those, skipping over minor characters and plot points.
• Illustrate your protagonist's goal, motivation, and conflict. Without those three things, there is no story.
• Write in present tense, no matter what verb tense your novel is written in.
• Practice. Like any other craft, you're not going to nail it on the first try. A good exercise is writing a synopsis for a common book or movie.

Don't:

• Include cliffhangers or teasers. Give it all away!
• Include every detail of the book. If you do, you're synopsis will be a hundred pages long.
• Lose your voice. Let the writing style of the manuscript come through in the synopsis.
• Write it like a report. It should read more like a short story than a list of plot points.

These are pretty simple tips, and in theory, writing a synopsis is pretty simple. It's the art of creating a gripping, flawless, impossible-to-put-down, synopsis which is tricky. Want to hear it from the horse's mouth? Ask the experts:

Nathan Bransford - Literary Agent

Miss Snark - Anonymous Literary Agent

Jessica Faust - Literary Agent

Gordon Carroll (author) via his agent - Part 1

Gordon Carroll (author) via his agent - Part 2

Love is Murder panel

This afternoon I'm heading over to Love is Murder. It's one of my favorite conferences and I believe you can register at the door. Stop by Saturday at 10:00am for my panel, What NOT To Do: Editors and Reviewers Dish. Hope to see you there!

Carne Asada vs. Filet Mignon

Maybe I've been watching too much Top Chef lately, but I've come to see how books are a lot like restaurant dining. There's the greasy, no frills Mexican joint that has abuela cooking in the kitchen, and while the food tastes incredible, there isn't much art to it. Then there's the five-star restaurants with the 12-course tasting menus, where every single bite is carefully crafted and thought out and every flavor complements the others perfectly. I'm a huge fan of the Mexican place. I never tire of good food no matter what the presentation is like. But if I want to be impressed, if I want to be wowed, I'm going to the five-star restaurant.

Like Mexican restaurants, there are plenty of "good tasting" books out there. These are the books you enjoy reading, they're suspenseful and intriguing, but there's nothing really new or impressive about them. The five-star restaurant books aren't as common. These are the books in which each sentence is intended, each chapter is carefully crafted, each plot point leads somewhere and each character serves a distinct purpose. You don't remember the name of the taqueria with the great tortas, but you never forget the name of the restaurant where you had a 4-hour dining experience. Same goes for books.

Good news is, unlike owning a five-star restaurant, I believe any writer can produce a beautifully crafted, well written, memorable novel. Like any good chef, it's about honing your craft. Here are a couple of tips:

• Read. Learn from the masters. Which books do you remember reading that are incredibly written and well crafted? Go back to those books, and this time, read them for the writing.
• Practice. Write every day, no matter what. You don't become a good writer by sitting around and thinking about writing. If you're still in the brainstorming phases of a book, write out character sketches, scenes from a character's childhood, a description of the setting. Words are free and paper is cheap.
• Craft. Everyone's writing process is different. Some have to think about a scene before writing it, other's write their way into it. Whatever your style, it's important to craft your prose. You may do it as you write or revise afterwards. Every chapter, ever scene, every paragraph, in your book should serve a purpose. Every character and every object should do the same. Every scene should push the story forward. Go through your manuscript and eliminate the ones that don't.
• See The Big Picture. This is something that many writers find difficult. It's easy to look at a scene or look at a chapter and see what's lacking. It's harder to look at the book as a whole. But it's necessary. If you plot beforehand, this will be easier, as you already know where the story is going. If you plot as you go, you may have to wait until your manuscript is finished to really see the big picture. Once you see the overall structure of the book, it will be easier to strengthen the scenes within.

As a reader and reviewer, I'm looking for the five-star restaurants. While the taquerias taste great, when you eat at a lot of them, they all begin to blur. I read a lot, and memories of the books that were simply enjoyable start to face. It's the well-crafted, five-star books that are burned in my memory. Those are the ones I'm looking for.

Recipe for Good Crime Fiction

1. Start with protagonist. If you start with a main character rather than a plot, it will help you create a character-driven novel. Write or brainstorm a brief character sketch.
2. Create antagonist. If you have one villain, write or brainstorm a brief character sketch. If there are multiple antagonists, write or brainstorm multiple character sketches.
3. Add stakes. Answer the following questions on a sheet of paper: What does your protagonist want? What happens if s/he doesn't get it? What does your villain want? What happens if s/he doesn't get it? What do they each have to lose?
4. Create concept. Write a one or two line prompt that starts the book. This will give you a place to begin. What's the first thing that happens in the book? What gets the ball rolling? Example #1: A father comes home to find his entire family has been kidnapped. Example #2 A P.I. is framed for the murder he was hired to investigate. These are very simple and will become more complex as you write.
5. Create setting. Where is this all taking place? Is the setting real or imagined? Take time to think about the setting. This will give your book authenticity and you may discover some aspects of the place that you can use in your story.
6. Mix steps 1-5 and create outline. Now that you have your protagonist, antagonist, concept and setting, you're ready to start shaping your book. If you don't have a good handle on those things yet, try writing a few scenes, just to get a handle on the voice of your story. Some people work better at outlining first, others write their way into it. But having an idea of where your going will create a tight plot without a lot of "throat clearing".
7. Write, write, write!
8. Raise stakes throughout. In a good book, characters change. Therefore, their motivations will too. With each turning point, you must raise the stakes for your characters. This will heighten tension and keep readers intrigued.
9. Add a dash of tension on every page. Elmore Leonard said it best, "I don't write the parts that people skip." It doesn't have to be, edge-of-your-seat-character-could-die-at-any-moment tension. That would be too much. But adding some sort of tension, whether it be internal or external, is necessary to keep the book moving forward.
10. Sprinkle clues throughout. Give readers just enough to keep them guessing, but not enough that they get it right.
11. Turn up the heat. As you near the end of your book, the pacing should pick up a bit. Don't give readers a chance to put the book down.
12. Create a strong finish. A good ending is one that readers don't predict beforehand, but, in hindsight, realize the answer has been in front of them the whole time. Avoid cliches, don't pull a rabbit out of the hat, but don't go for the obvious either. When you're finished, if it's too predictable or too out there, go back to step 10.
13. Set aside and let cool.
14. Reread and revise until perfect. Don't be naive and think that your first draft is perfect. After you've set the book aside for a while, you'll hopefully come back with enough perspective to give the book any necessary tweaking.
15. Test. Your book, like new recipes, should be tried out on the people closest to you before sending it out. Let trusted friends and family read the book and give you feedback before querying agents. They'll be able to see many things that your eyes missed.

Get the Facts

A fiction writer, by definition, makes things up. The stories we tell stem from our imagination. I know very few crime writers who are also detectives solving murder cases or romance writers that are seduced by a hunky, but unattainable, man on a daily basis. Our stories are fantasies, ideas, entertainment.

But even though our stories are fictional, even though we can get away with making up characters and weaving high-concept plots, so much of the book needs to be factual. Mysteries must stay true to police procedures, weapons and forensic science. Thrillers must give accurate accounts of the FBI and CIA, stay true to the laws of physics (can't have the hero flying through the air to save the day), and while the plot is made up, it must be feasible enough to feel like something that could actually happen. Fantasies create their own worlds and laws, but must stay true to the rules they create. While yes, we're making things up, I'd say 60% of the book is based on truth.

Think back to your favorite books. What was it that you enjoyed so much? Was it the characters and their authentic dialogue? The setting and how true it rang? The history or science within the pages and how much you learned from it?

A few of my favorites include: PORTNOY'S COMPLAINT, LAST EXIT TO BROOKLYN, MYSTIC RIVER and anything by Chuck Palahniuk. Would PORTNOY have been as interesting if the dialogue wasn't so authentic? If it didn't hit the nail on the head in portraying a Jewish family of that time period? Would LAST EXIT have been as compelling if the place wasn't so wonderfully portrayed, if Selby didn't make you feel the grit and grime of Brooklyn's streets? Same goes for MYSTIC RIVER and Lehane's portrayal of south Boston. But what I found even more compelling about that book was Lehane's ability to stay so true to human emotion and motivation. Chuck Palaniuk bases most of his books on weird facts and tidbits he gathers in his daily life. While the story and characters are fascinating, it's those little facts, those things that you would never in a million years think of, that make his work memorable.

Conversely, inaccuracy or lack of authority, can easily break a book. So many books are written about Chicago and when they're wrong, I immediately put the book down. Same goes for inaccurate police procedurals or weapons information. The worst, however, is when the dialogue isn't believable, when the characters in the book are people that would never exist, when they act unlike any person you've ever met. Even a vampire or a werewolf should have believable personality traits and real motivations.

So how to you ensure accuracy in your writing? One word: research. Authenticity is not something that comes from simply surfing the web. It requires authors to get away from the computer. This could include:

• Police ride-along (and then going out with them to the bar afterwards to nail their dialogue)
• Walking or driving around the places in your story. Getting a sense for the people who live there, the businesses in the area, the terrain, the weather, etc.
• Sitting in a cafe or restaurant and writing down overheard conversations. It's a great exercise to practice writing dialogue.
• If your main character has an occupation that you've never had yourself, talk to someone in that industry. By, talking with a journalist or P.I. you not only learn the details of their job, but you also learn about the type of person they are: what clothes they wear, how they work, their personality, etc.
• Going to a gun range or taking a martial arts class.

There's the common mantra of write what you know, but personally, what I know isn't all that interesting. I find it a lot more fun to write about bad guys. But those bad guys must be authentic, and achieving that requires a bit of research. So although we make stuff up, even though our stories come from our imaginations and our creativity, it's actually the facts that set the good books apart from the bad.

Adapt or Die

As the layoffs continue, the sales decline, and the number of acquisitions grinds to a screeching halt, it's impossible not to think about the future. As a newbie novelist, I am constantly thinking, "Well, if it was hard to break into the industry before, it's going to be virtually impossible now." As newspapers go under and book sections are cut, my job as a freelancer is also put in jeopardy. So how can we survive in such a struggling industry? We adapt.

I think now, more than ever, online articles and reviews are key to staying in the game. Journalism is a lot like novel writing: go too long without publishing something and you are soon forgotten. Guest blogging and publishing reviews or interviews online is an easy way to keep your name in the game. Since their overhead is minimal, online publications aren't struggling the way newspapers are and they have far more space for freelance submissions.

From talking to people and reading industry publications, it seems that the movie business hasn't taken as much of a hit as print, however, these two industries often work hand in hand. How many novels were completely forgotten until their adaptation was released on the big screen? I do believe that authors (unless they're horrible at writing dialogue) can write decent screen plays, so why not take a stab at adapting one of your novels or short stories? Sure, it's great to get a book optioned, but unless the movie gets made, it won't translate into sales. I'd say in this climate, it's a lot easier to sell a screenplay than it is to sell a novel, so why not try your hand at something new?

One thing that I still would stay away from is self publishing or e-publishing. While technology like the Kindle and Sony Reader will eventually give way to a burst of e-books, the market still isn't there. I'd say your much better off holding on to that novel until the market improves than going down the self-publishing path.

In order to survive in a changing industry, one must adapt. Writing has always been a tough industry to break in to, but now, it's tougher than ever. Innovation and creativity are necessary to getting a foot in the door, even if it's a different door than you originally intended. Opening yourself up to different genres or different mediums will make it easier to break in and give you valuable experience so you, hopefully, will stay in.

Falling Short in '08

This would usually be the time that I do a round-up for 2008. I scan my shelves, my notes, my reviews and compile a list of best books I read this year. I usually have trouble deciding which to include because there are so many I loved. This year, I didn't have that problem. I actually found it difficult to find a book that really blew my hair back.

There were many, like TRIGGER CITY and GOOD PEOPLE, that were well written, gripping, all of the things I ask for in a good book. But usually there is a few, one at least, that was amazing, one that I couldn't put down, one that reaffirmed my love of fiction, one that was impossible to forget even a year later.

Book critic David Montgomery addressed this a few weeks ago, but what I've been thinking about is, why? What was it about 2008 that made it a weaker year for fiction? Have publishing standards changed? Have audience standards changed? Or was 2008 not weaker? Is it simply taking more to impress the critics?

After spending all Chanukah thinking about this, I've come to a few conclusions:

• The more you read, the more it takes to be impressed. After reading hundreds of crime fiction novels, it's hard to stumble upon a truly new idea. A plot or character that would have impressed me years ago, may be old news today. If the book isn't fantastic, if it doesn't have a new writing style or plot idea, it tends to blend in and is more easily forgotten.
• As we know, the publishing industry is in trouble. People aren't buying as many books, they're not taking risks on debut authors, etc. Because publishers need to make money, they often publish books that are similar to previous bestsellers. After DA VINCI CODE, how many foreign thrillers centered around legends and artifacts were released? How many celebrity moms have parenting books on the shelves? Publishing a new concept or an author with a new writing style is risky, and in this climate, publishers aren't about taking risks.
• I think this has also been a particularly bad year for debut authors, which attributes to a weak 2008. Debut novels are fresh, new, and often very well crafted. A debut novel is the one the author spent years working on. No contract, no deadlines, writing until it was the best it can possibly be. While most authors get better with practice, I can usually see the labor that went into that first one. Finding a new author is a memorable moment, and there weren't many of those this year.
• Looking back, I also have to say this wasn't a particularly great year for movies either. The artist in me thinks it's both lack of inspiration and innovation on the part of the story teller. One of my favorite books is LAST EXIT TO BROOKLYN by Hubert Selby Jr. and one of my favorite movies is DONNIE DARKO. What do these two have in common? First, they both tell a story in a different way. Selby plays with sentence structure and punctuation to make the story sound the way he wants. DARKO is a mix of fantasy and reality, is told forwards and backwards, to get the screenwriter's message across. Both are emotional, both have memorable characters, and both are different than anything I've ever read or seen. I don't think we had any of that his year. I think everything I read was told in standard, narrative form. There were no characters that were different or surprising. There was an overall lack of risk taking, which makes fiction fall short.

I hope that this changes in 2009 as I'd hate to lose my passion for reading. While I'm more motivated than ever to write an innovative, gripping novel, it's hard when there is a lack inspiration lining my shelves. With the publishing world deteriorating the way it is, part of me thinks that it will only get worse, even though I try to stay positive and hope for the best.

So as not to end on such a pessimistic note, here are a few books that I really enjoyed and that are still memorable all these months later:

• THE GIRL WITH THE DRAGON TATTOO by Stieg Larsson
• WOLF AT THE TABLE by Augusten Burroughs
• THE GIVEN DAY by Dennis Lehane

Ending it All

A great ending is extremely difficult to write. Building the tension slowly, tying up loose ends, all without being cliche is a very daunting task. I won't say that the ending is the most important part of the book, but a bad ending can definitely change my opinion of the book.

I drafted the first draft of STREET WALK in a month (courtesy of NaNoWriMo). I rewrote the first 250 pages in about four months. The ending, the build-up to the grand finale, has taken me close to two. And while I hope to complete the ending in the next couple of weeks, the slowness of the process has taught me a few things. Most of them I knew in theory, but they didn't sink in until I actually applied it:

1. The last third of a book is the build-up to the ending. I used to think it was just the last 50 pages, but it actually begins a lot sooner. While reading a book, you usually don't realize it, but a good author will begin dropping hints and setting up obstacles for the grand finale in the last 100 pages. You only realize those hints in retrospect.
2. Build the tension slowly. I hate reading rushed endings, so I'm trying not to write one. In crime fiction, most climaxes are filled with action, something that's easily rushed through. If you slow down the action, heighten the protagonist's personal goals as well as the external, the writing will be more gripping. As a reader, I never remember the jam-packed action scenes from books. I remember plot twists and the moment when the protagonist is faced with either their greatest fear or the possibility that they will not reach their goal. Those moments aren't done in a page.
3. Don't cop out. Never take the easy way out, not for you as a writer or for your protagonist. Don't plant a gun that your protagonist can "fortunately" grab in the nick of time. Don't have the cops storm in just before your protagonist is killed by the villain. Be creative. You got your protagonist into this mess, it's your job to get them out of it.
4. Be unexpected, but not too unexpected. Ideally, you want to strike a balance between a predictable ending and one that is so out there that it is unbelievable and would never happen. In a mystery, when the villain is unmasked (so to speak), you don't want readers to say, "Oh, I knew that the whole time." You also don't want the villain to be a minor character that was barely in the book or someone that makes utterly no sense. You want readers to feel like the killer was under their nose the whole time. They just didn't see it. Same goes for thrillers. You want your protagonist to save the day, but not make it too easy on them. Throw some unexpected obstacles their way and force them to rise to the occasion.
5. Stop and brainstorm. I used to be obsessed with reaching a word count or a page count for the day, so much that I'd often not give myself time to think. I'd just plow along and make things up on the fly. But good ideas aren't instantaneous. Slowing down and thinking of a few different possibilities for an ending can be helpful and aid in avoiding major revisions later. It's also great to bounce ideas off fellow readers and writers. Give them a few different scenarios for endings and see which ones they respond to best.
6. Trust your gut. We all have an inner censor, and more often than not, it doesn't go off for no reason. If it feels cliche, it probably is. If it feels too rushed, you probably need to slow down. If you're super self-deprecating and your own worst critic then maybe you can ignore your inner censor. But most of us are good at knowing the difference between good writing and something that should be thrown in the trash. If you don't trust your gut, find someone you can.

Blagojevich Arrested

Anywhere else, this would be shocking. Here, it's just another corruption scandal in Illinois government. Ok, it may be a big corruption scandal. All I have to say is, finally!

Demand the Supply

If you're not concerned with the state of the publishing industry, you're not paying attention. With hundreds of layoffs, acquisition freezes, newspapers going under, it's getting harder and harder not to panic. As writers, we depend on these larger companies, and if they're not taking on new projects, then editors won't be the only ones out of a job.

So, as readers and writers, what can we do? Since there's no supply without the demand, we can show publishers and booksellers that people still want to buy books, good books. As Jason Pinter points out, most of the recent deals are made with celebrity authors such as Sarah Silverman, Mike Piazza, and (groan) Dustin "Screech" Diamond. The reason? Name recognition. Easy to market and almost guaranteed to sell.

By buying books written by debut authors or those published by small/independent presses, we accomplish a few things:

1. We support debut authors and small/independent presses.
2. We show booksellers that there is a demand for debut authors and books published by small/independent presses, which causes them to order more of these types of books.
3. Because the booksellers order more books by debut authors, crime fiction, etc., publishers are more likely to make these types of acquisitions in the near future.

It's a pretty simple concept. Demonstrate a demand and sellers will supply. So how do we know, as readers, what to demand? That's up to the author. And with all the cutbacks, don't expect a big marketing budget. Check out this post if you need some suggestions on how to market yourself.

Be on the lookout for the small presses, debut authors, and anything local. Show publishers that we don't want fluff written by celebrities. While you're at it, get a newspaper or local magazine subscription. Demonstrate the demand for quality publications and hopefully it won't be too long before the publishing industry is back on track.

For more frequent and extensive updates on the publishing industry, check out GalleyCat, Publisher's Marketplace, or just follow Sarah Weinman on Twitter. Tess Gerritsen also has some interesting observations over at her blog.

Friday's Forgotten Books

A little late to post this, but check out my contribution to Patti Abbott's Friday's Forgotten Books.

Holiday Shopping Guide: Recession Edition

With more government bailouts, more people losing their jobs and homes and more panic spreading across the nation, it's pretty hard to think about the approaching holidays. Most years, we'd be gearing up for the after-Thanksgiving sales, strategizing how to hit as many stores as possible for the early bird deals. Now, people are scaling back, not buying the extravagant gifts they did last year.

But there is one thoughtful gift that won't break the bank: a book. Giving books this holiday doesn't only support authors, the publishing houses and your local booksellers. A book is the perfect way to show people you put thought into their present and reading is the perfect activity for holiday traveling or being holed up on snowy winter days. And so I offer my recommendations for every person on your holiday shopping list:

Gift For: Your father who doesn't read anything except the New York Times, Wall Street Journal, and the occasional presidential biography.

• THE NINE: Inside the Secret World of the Supreme Court
• WARLORD: A Life of Winston Churchill at War
• JOHN ADAMS by David McCullough**
• THE ACCENT OF MONEY: A Financial History of the World

Gift For: Your mother who always reads the National Book Award and Pulitzer Prize winners and who has never missed an Oprah Pick:

• SHADOW COUNTRY by Peter Matthiessen
• THE BRIEF AND WONDROUS LIFE OF OSCAR WAO by Junot Diaz**
• THE STORY OF EDWARD SAWTELLE: A Novel by David Wroblewski
• THE WHITE TIGER: A Novel by Aravind Adiga

Gift For: Your school age sister, niece or cousin who's going through a goth phase:

• TWILIGHT by Stephanie Meyer
• The Sookie Stackhouse boxed set by Charlaine Harris**
• THE LAST VAMPIRE by Patricia Rosemoor and Marc Paoletti**

Gift For: Your high school brother, nephew, or cousin who thinks reading is stupid:

• HAIRSTYLES OF THE DAMNED by Joe Meno**
• PLEASE KILL ME: The Uncensored Oral History of Punk by Legs McNeil and Gillian McCain**
• BRINGING DOWN THE HOUSE by Ben Mezrich**

Gift For: Your Grandpa who loves watching Law and Order and CSI:

• TRIGGER CITY by Sean Chercover**
• DARKNESS TAKE MY HAND by Dennis Lehane**
• IMMORAL by Brian Freeman**

Gift For: Your uncle who does a lot of business traveling and enjoys "quick reads":

• GOOD PEOPLE by Marcus Sakey**
• COLLISION by Jeff Abbott
• SLIDE by Ken Bruen and Jason Starr**

Gift For: Your friend from Art School who's into "weird shit":

• SURVIVOR by Chuck Palahniuk**
• REQUIEM FOR A DREAM by Hubert Selby Jr.**
• NAKED LUNCH by William S. Burroughs**

Note: Because a lot of these books aren't my personal preference, many of them I haven't read. The books marked with a ** are those that I have read and can truly recommend. The others are just suggestions based on the opinions of others.

More Than a Writer

I recently finished a non-fiction book proposal, something that is completely different than what I usually write. It was definitely an eye-opening, learning experience and it made me realize how being a writer isn't just about putting words on a page or telling a story. All writers are, or at least should be, the following:

Problem Solvers. If you're writing fiction, your job is to get your characters into jams and then get them out of it. Crichton created Jurassic Park, but then he had to figure out a way to get his main characters out alive. If you're writing non-fiction, you're usually addressing a problem in today's society and providing an answer. Textbooks provide answers to research questions, Self-Help books solve people's personal problems, etc. If there is no problem to solve, there generally isn't a book to write.

Sales People. Writers don't just have to sell their book to readers, they also have to sell it to agents, editors, and reviewers. And once your published, your publisher is going to expect you to sell, sell, sell, market, market, market. You may be a wonderful storyteller, but if you can't sell your story, your story won't get sold.

Small Business Owners. Whether you do it full time or part time, being a writer is owning a small business. You have to cover your own health insurance, pay extra taxes, and move with the ups and downs of good months and bad months. You have to think about sales, about budget, advertising, about bringing in new business and maintaining the business you have. You get to work in your pajamas and make shit up for a living, but maintaining the financial/administrative side is what separates the writers from the dilettantes.

Translators. This is especially true for freelancers, but also applies to novelists. As writers, it is our job to translate an idea to the page and make it understandable. As a freelancer, you may get a press packet that you have to boil down into 200 words or less. A reviewer has to convey the essence of a 300 page book in about 300 words. A novelist has to mold and shape an idea into something that is easy to follow and understand. Writers translate ideas and information to make them more accessible.

Politicians. I may be stretching it with this one, but hear me out. In publishing, whether it be magazines, newspapers or novels, there are plenty of politics, plenty of games that have to be played. You have to schmooze editors, other authors, talk to people in a way that gets you what you want. You have to present yourself in a likeable, professional way, be well spoken and thoughtful, and of course, have a platform. You should know how to shake hands and work a room. Hopefully, you're slightly more honest than the DC bigwigs, but the better politician you are, the more successful you'll be.

Panic Over

There are many stressful experiences for writers: a looming book deadline, negotiating a contract, reading the first batch of reviews. But I am certain there is one stresser that outbeats all of them, one that I had the pleasure of experiencing this weekend: a computer virus.

If you're Facebook friends with me and you got that suspicious message from me on Friday, I'm sorry, and extra forgiveness if you opened it thinking, "Dana wouldn't send me anything suspicious" and got the virus yourself. Once your infected, the blasted thing sends messages to all your friends, from you, telling you to click on a link. I got a message from my friend, I clicked, and thus began the panicked, stressed out, ulcer-and-gray-hair-inducing weekend.

Last week I read a post about the importance of backing up. I thought it was a good post and I was proud of myself that I do most of those things. I save everything to a USB and e-mail myself the important documents once a week. But like I said, this happened on Friday, pre-back up.

Thankfully, I caught it in time and thanks to my trusty anti-virus, anti-spyware, the helpful people at Microsoft and a half bottle of tequila, I'm back online and all my files seem to be in tact. But I could have just as easily lost a lot of work. A whole week's worth of writing, gone. So please, go to Joe's blog, read what he has to say about all the ways you can avoid losing your writing. Don't think you're immune. I have an anti-virus, I have a firewall, I don't open strange e-mails from people I don't know, and yet, I still managed to get a virus. I guess I could always go Mac...