Dying to know . . .

by Pari

I’m on an airplane today, winding my way back from Birmingham, Alabama and one of the best little ol’ mystery conventions around: Murder in the Magic City.

Since the day will be filled with plasticine food, overhead announcements and no computer — for me at least — I thought it’d be fun to open up the discussion. Usually, I stimulate the repartee with a strong lead-in, but today, I’m hoping that the two-part query below will really be enough . . .

If you could talk with any mystery writer — alive or dead — and ask a single question, what would it be? (and why?)

Come on . . . don’t be shy. Let’s get a cool conversation going here. I’ll try to check in before I check out of the hotel. 

sense of place

by Toni McGee Causey 

I always knew we were close when we got to the silos on highway 190. Tall, white, built to house the predominate crop of rice, their domes gleaming in the sun, they were a sign that we were almost to my paternal grandparents’ home. I thought of the silos as the three soldiers, guarding a gateway to a different place in time. We would have been driving west two or so hours by that point to get to Kinder, Louisiana, (pronounced kender) — just northeast of Lake Charles — all the way from Baton Rouge, where my parents had moved so my dad could find a job.

My very first memory–I think I might have been two or three–is of me sitting in the middle of my grandparents’ living room on the hardwood floor in their small house, the attic fan rattling, dragging in muggy air from the hot spring day outside the screen door. Aunts, uncles, cousins were standing, leaning or seated in stiff ladderback chairs around the perimeter of the room. Most of the ladies wore cotten print dresses and flat shoes; the men had on slacks and short sleeve shirts, and cowboy boots, of course. A few of the men had their dress straw hats propped on their knees. My Paw Paw (for that’s the common term there, Maw Maw and Paw Paw) usually had the nicer chair next to the door. It would be years before I would realize that worn, green, stained-armed, sagging seat, broken-back chair wasn’t a throne.

Hazy cigarette smoke swirled above our heads, sucked into the attic fan and the evening light dappled through the open windows (always with screens to keep out the mosquitoes). Something played in the background, a crackly radio sawing out Cajun music, and the quiet room would ebb and flow with stories. Always the stories. Sometimes, the story tellers would be quiet, somber, sometimes picking up to a lively jaunt. Cajuns thrived on the telling, passing along reminiscences, which in turn, passed along heritage. Tales which gained in fame and embelishments with every incarnation. Cajuns loved good practical jokes, crazy lore, and it was more about the event of telling and hearing the story than the facts, anyway. It was, as my friend Kitty says, the ‘supped up version. And sometimes, in the telling, they would switch over to Cajun if they didn’t want the kids to understand, saddened, though, that they knew the kids wouldn’t understand. Most of us grandkids were far flung from our heritage already.

Like my dad, I was born there, in pure Cajun country. Unlike my dad, I would never know the language, not in its full, rich glory, neither French, nor a corruption of it, but an altered language, spoken still in old cafés with threadbare linoleum and formica countertops in small towns, dim and dusty and far from the interstate. My dad spoke only Cajun until he was in the first grade, when the teachers had been instructed to force all of the kids to speak only English, and stabbed a heritage in its soul without a single blade falling.

I remember spending time in Kinder, sometimes a week in the summer, and exploring the creek in the back, watching the crawfish build their mud huts, "fishing" for them with a piece of bacon tied to a string, running barefoot through grass and always getting stickers embedded in my toes, never wanting to put on shoes in spite of that because the loss of the feel of fresh, cool grass between my toes was a greater loss than the annoyance of the stickers. I remember watching the ceiling fans, listening to the rhythm of the attic fan, and always smelling the dark, loamy aroma of coffee brewed so strong, it practically sat up and had a conversation. I remember my Maw Maw hanging the white sheets on the clothesline that was strung from a post near her back door out toward the edge of the lawn near the creek, and the game we’d make of dodging around them, and the sweet, sunny smell we’d breathe in from them at night, as if they’d absorbed our happiness. I remember the spicy food, the rice with every meal, the constant ribbing and teasing and arguing. I remember the nights so quiet, I’d get up and walk around just to make sure I was still alive. I’d sit on the front porch, listening to the crickets and the croaking bullfrogs and the grunts of other animals not far away, sometimes still seeing fireflies dancing in the dark. I remember the biggest treat was hand-cranked ice-cream, which usually signalled our last night there, and I remember the voices in my dreams.

I haven’t kept the accent, though I fall back into it as soon as I’m around my cousins or friends back there. I haven’t kept as many of the customs, though we do have our own version of a fais do do (party) here every year, with everyone knowing what date and time and if they ever cross my threshold, they have a permanent invitation to return for the party. I haven’t kept as many memories as I wish I had, though I can still see my Paw Paw, strong as ever, approaching the porch and taking off his hat before he entered. My dad told me that since I was the oldest granddaughter and we lived with them at the time, my Paw Paw loved to come in from work and chat with me, only I’d cry as soon as he’d approach. It broke his heart, because apparently, I hung the moon, quite a feat for a two-year-old, but I was always an ovearchiever. And then one day, he took off his hat first (a straw cowboy hat), and I laughed and went straight to him. My dad said that he never had a memory of his father without a hat on prior to that, not once. I have no memories of him wearing one.

I’m usually amused by what people think of when they think of Cajuns, or horrified (may Adam Sandler die of a thousand paper cuts from the atrocity that was Water Boy, and no, I’m not even giving it the courtesy of linking to it… in fact, if you substituted any other ethnic background for that main character in that film, there would have a full-on battle cry of discrimination.)

I digress.

Cajuns are not just about the food and the accent, the fais do do, the playing hard. Yes, the food is important, because it was the social gathering. Yes, it’s spicey, and full of flavors, as befitting a people who had to flee a country and hide out in a land and learn to live off it, best they could, and use what they had to hand. No, we won’t eat everything, though many eat a few things I think are weird. Believe me, we’re pretty freaked out over you eating (drinking?) wheat grass and tofu (which I have yet to understand) or go purely vegan.

Cajuns are stuborn, ornery, argumentative, ornery, muleheaded, ornery, determined, bossy, ornery, and in case I didn’t mention it, ornery. They each are one hundred percent certain they are right, except when they’re not, and it’s your fault they weren’t anyway, so what are you arguing about? At the same time, we’ll work hard to go the extra mile, give whatever needs to be given. I grew up with people who thought it was normal to give whatever they could give and not count it as favors which needed to be repaid. It was just a matter of course that if they needed something in return, it would be done. Part of that came from being a people desperate for survival, clinging to their own cultures and traditions, knowing that to survive, they needed each other as well as their neighbors.

When we’d drive back home to Baton Rouge, the time travel reversed itself as fields fanning out to the side of the car gave way to small towns and industries and then the scary red extremely narrow Old Mississippi River bridge and finally into the suburbs of a city. There was a campaign here not so long ago, and the pithy slogan someone came up with to encourage city pride was, "We are B.R." Each time I’d see that slogan, I’d feel a disconnect, and then I realized, one day, that no, I’m not. I live here, and it’s been my home most of my adult life and the few years I spent in Cajun country shouldn’t have had such a profound lasting imprint.

But it did.

My Louisiana is a place of swamps and rivers and lakes and eating crawfish out at the fishing camp and drifting in a bateau with my dad, fishing early in the morning for the big bream. My Louisiana is a place of flavors and seasonings, a place of coffee and heat, of mosquitoes at sunset and screen doors. It’s a place of hard work, intense play and loyalty beyond life. It’s a place of belly laughs and counting on your neighbor.

And I’m glad it’s mine.

I love stories where I not only get to know the people, but the places they live. I especially love it when I get a sense of the person from what they choose to tell about the place they’re from. So if you would, I’d love it if you chose the place that means the most to you, and tell me a little about it — maybe something that only the locals would understand.

p/s…. winner of the challenges contest in a completely random dawing (I asked the waitress to pick a name out of my empty crawfish tray) is Miri… so Miri, email me at toni [dot] causey [at] gmail [dot] com so we can arrange for your gift certificate.

p/s… I’ll be having another contest at the end of Feb, which will include a Shuck Me, Suck Me, Eat Me Raw t-shirt as well as a gift certificate.

M is for Marketing

At least, this week it is…

by Alex

List of marketing tasks (I mean tools. TOOLS):

Author website
Personal blog
Murderati blog
MUSE blog
Storytellers Unplugged blog
MySpace page
FaceBook page
Crimespace page

Book trailer/COS Productions

Dark Scribe column

Bookmarks
Business cards

Personal mailing list
Reader mailing list
Library mailing list
Bookstore mailing list
Invitations to book launch

Bookstore signings/readings
Bookstore panels
Bookstore drop-ins

Posting on websites –
-Backspace
-Shocklines
-HWA
-Romantic Times
-WriterAction

Posting on weblists –
-DorothyL
-Murder Must Advertise
-Sisters in Crime
-MWA Breakout
-EMWA
-Mystery Babes
-4MA

Participation in local chapters of genre associations – each with online lists
-SinCLA
-SoCalMWA
-SFVHWA
-HCRWA

Conventions:
-Genre conventions
-ALA
-PLA
-BEA
-Book festivals
-Art festivals

Teaching workshops
TV/radio interviews

Author blurbs
Collecting reviews

And that’s just off the top of my head – no doubt I’m leaving out several obvious things.

No wonder authors are always tired and frazzled, right? The above is pretty much the list, give or take, that we all juggle all the time IN ADDITION to writing. Things fall off the list, until the moment that we hear another author talking about one of the things on the list, and then we jump back into it.

Or we wake up in the middle of the night as if the smoke alarm has just gone off: “OMG, I’m completely out of bookmarks and Left Coast Crime is NEXT WEEK.”

We’ve been talking on and off over the last few weeks about cutting down on all that and spending most of our time on writing. Excellent. Only when I had one of those reality check talks with my editor this week about whether I should cancel some of my upcoming promotional events for THE PRICE so I could get Book 3 in on time, he said, “No! Do the promotion!”

Well, that’s not too vague.

Still, there must be a better way. There must.

The thing is, it ALL works. It’s almost impossible to say what works the best, because I think that shifts, actually. You can’t predict which is going to be the best conference of the year, and you can’t predict which bookstore you randomly drop into is going to have the handseller of your dreams, and you can’t predict which random blog post is going to get you that coveted gig on Murderati. 😉

But there are some things that you start to suspect are worth moving toward the top of the list.

Of course, that may change from week to week, or it might be an idea you cling to because you can’t possibly do it all.

But this week, the two things that I’ve moved toward the top of the list are the mailing list and the book trailer.

I mentioned Vertical Response last week (I think that was last week.) It’s a direct mail marketing software that’s free to get started on and costs very little to send out a bulk e mail campaign (which they can do for you without your e mail account being shut down for spamming). There are many great things about VR:

– It has all kinds of templates with layouts and easy ways to upload book cover images, even for the technologically challenged.

– It saves all your e mails and lists in one station for easy, permanent access.

– It has features that let you separate your lists into specific segments for specific mailings so that you can customize an announcement and send it out with different information to different segments of your list (like sending out your California signing schedule to all your California readers) – without risking deluging the same people with your announcements.

Now, the thing about a program like this is that there’s a learning curve – you have to figure out how to do it and how to use it and, oh yeah – you have to take the time to build your list to begin with. But after working with it pretty intensively over the last week I can see how this is a really targeted, CHEAP way to reach people who have, after all, actually ASKED you to keep them informed about your books.

So maintaining a detailed mailing list has moved to the top of MY marketing list, and taking an hour to update the list every two weeks or so is one of my belated New Year’s resolutions.

My second big marketing ploy at the moment is the book trailer. We all hear a lot of chatter about these on various lists these days. I decided to do them for the paperback release of THE HARROWING and the hardcover release of THE PRICE mainly because of two people: our own Toni, who talked to me about how excited our mutual publisher got about her excellent trailer (and I thought – That’s reason enough to do it right there), and the wildly successful Christine Feehan, who very kindly spent a long time with me at Heather Graham’s New Orleans conference talking about how doing a book trailer was in her experience the most important marketing tool available to authors. Christine emphasized that the company that does her trailers, Circle of Seven Productions, doesn’t just make the trailer for you, but also distributes it to several dozen websites that feature book trailers. COS has also just made a deal with Barnes and Noble and Powell’s Books to put all their authors’ trailers on those websites, and COS also functions as a PR firm for their authors – they’ve already passed along several great interview opportunities free of charge.

Making a trailer is more of an investment – of either your own time, or money – than other marketing tools, but once you have a trailer there are multitudes of uses for it. You can link to the trailer in your newsletter, embed it on all your websites and blogs, send it to bookstores and libraries where you’re appearing to advertise your appearance… some conferences like Romantic Times charge a relatively low fee to broadcast your trailer during their mass signings (I found myself mesmerized by the trailers at RT).

Plus, trailers are starting to be recognized as an art forum. There’s a category for Best Book Trailer in the new Black Quill awards – and COS just won for their trailer for THE HARROWING.

I can’t say I have any evidence for this yet, but I’m starting to suspect that the additional exposure of a trailer is gold.

And it costs less to make one than the cost of going to a conference, for example. Something to think about.

So that’s my marketing report for the month. As always, would love to hear other authors AND readers thoughts on what works for them.

And anyone who can explain to us all how to do RSS feeds gets a signed hardcover of THE PRICE, hot off the press.

Deep Impact

by J.T. Ellison

Time for a deep, philosophical discussion.

One of the movie channels has been replaying DEEP IMPACT ad nauseam this month.  I’ve watched it about six times, picking up in the middle, watching the end, catching the beginning. I like the movie. I like Téa Leoni; she’s one of my favorite actresses.  She’s one of those people I can imagine sitting down with and having a glass of wine, and she’s probably got a plethora of dirty jokes, and she’s married to David Duchovny, who’s just shy of brilliant in CALIFORNICATION, and manages to insert the F word with such laissez-faire… okay, so fan girl motivations aside…

I like the movie because I like the choices being made. Would you give up your ticket to life so you could reconcile with someone you love? Would you give up your ticket to life in the hopes of rescuing someone you love? Would you be a hero, or would you be so relieved that you’ve got the ticket to life that you’d cower in the corner and allow the people you know and love die?

I’m not a big End of Days, waiting for the Rapture kind of girl. I’ve always had a rather pragmatic approach to life. There’s one big problem with it. You can’t get out alive. To be honest, when I was young, I had the most morbid fascination — I was absolutely positive that I wasn’t going to make twenty-one. Yes, I am a Billy Joel fan. But in all seriousness, I was living a truncated life, not quite doing all the things I should do, not entirely taking things as seriously as I could have, because it seemed a bit pointless. I wasn’t going to make it to twenty-one, did my GPA really matter? Was a laude going to make a difference? Hardly.

I was rather stupid about the whole "life" thing. I was a complete agnostic, drank much too much, fell in puppy love much too easily, didn’t take things seriously enough. Funny how different we are when we’re in college.

And on my twenty-first birthday, I drove back to school from a weekend at home with my lovely parents, stopping at liquor stores along the way. I had a trunk full of booze and never got carded. Every time a car appeared on the horizon (the road to school was a lovely meander through the Virginia countryside) I expected them to veer off at the last second, causing a head on collision, ending my life. I made it to school unscathed. No pianos dropped on my head when I was entering the dorm. No hostage shootouts ensued. And when I went to bed that night, not at all drunk because I had a final in the morning, I had a strange thought. I’d lived to see twenty-one. Which surely meant I’d either die in my sleep or immediately upon waking in the morning, in some sort of horrific shower incident.

I didn’t, of course. When I hit twenty-two, I was rather astounded. At twenty-three, newly hooked up with this awfully cute guy, in grad school, working at the White House, I begrudgingly admitted that perhaps, just perhaps, I was wrong about dying young.

I’m still pragmatic about death. I’m happy. If I weren’t, I’d probably feel much differently. But as it stands, I love and I am loved. I have great satisfaction and contentment from my career. My philosophy is to live each day to the fullest, tell those around me that I love them, and be thankful for each morning, and for each dusk.

When I watch DEEP IMPACT, I think about what I would do if I knew, without a shadow of a doubt, that all life was going to cease, and it was completely out of my control. (I smell a book in there, too.)  Would I get on a plane and go to Italy? Would I want to read a book, make love to my husband, be with my family, get drunk? Would I want to try things I’ve never tried before, or be content that I’ve lived my life, and sit back and wait for it to happen? Would I write?

So to that end, without being too morbid, what would you do if you found out that the world was going to end in the next 24 hours?

Wine of the Week:

Two wines today. One a lovely red that surprised me — Sacred Stone – Master’s Red Blend

And because I’m in a celebratory mood, a bit of the bubbly — Zardetto Prosecco

PS – This was another of those bizarrely prescient posts. Click here
for a slideshow
that will give you an idea of what it was like here
in middle Tennessee Tuesday night. God bless those who didn’t make it through okay, and those who did.

Conventional Behaviour

by Zoë Sharp

I enjoy going to conventions. Sounds pretty obvious, but I know not everybody does.

I went to my first one in the US almost by accident. We had some car photoshoots lined up in Daytona Beach, Florida around Spring Break, and discovered that Sleuthfest was the weekend after. It seemed rude not to go. I sought advice from Brit author Stephen Booth, who’d been to a lot of these things. He was encouraging, and got in touch with ex-pat author Meg Chittenden – once a Geordie (from the Northeast of England) but now living in Seattle.

I arrived at Sleuthfest not quite knowing what to expect, only to be pounced on by Meg who said Stephen had asked her to look after me. What a welcome. I can’t think of a nicer person to have holding your hand at such a time. And later, as a sign of this mutual affection, Meg and I would attempt to stab and strangle each other at other conventions all around the country. (Long story.)

Apart from Meg, and Rhys Bowen, I was the only Brit author at Sleuthfest that year. (And both those delightful ladies are now US residents, so I’m not entirely sure they qualify.) It was pretty clear that I was a bit of a novelty item as far as the organisers were concerned. I can’t think of any other reason why they put me on probably the best panel of the event, alongside guest of honour, Robert B Parker, and SJ Rozan, Jonathan King, and the PJ Parrishes – top quality award-winning, best-selling authors every last one of them.

And me.

I didn’t even have a US publisher at that point, and I realised part way through the introductions that nobody with any sense was going to be remotely interested in anything I had to say. So I did the only thing I could short of setting fire to the curtains. I kept it brief and made people laugh. And afterwards, I met the person who was to become my US editor.

So, since then I’ve been to quite a few such events, and the subject of which conventions the other ’Rati were going to this year cropped up just before Christmas. A few people commented about the ThrillerFest event in NYC – that they were keen to go because of its location, on the grounds that they could always slip out and explore the city while not actually taking part in a panel or a signing.

Now, part of me can understand this completely. I love New York. But if you’re going to bother registering for a convention and staying in the expensive Midtown hotel in the middle of the high season, what’s the point in not being there half the time? And it’s not just NYC that exerts this pull. I remember asking one very well-known author at Bouchercon in Chicago what he’d been doing all day, only to discover he’d spent most of it off in a bowling alley, away from the convention hotel. At Left Coast Crime in Bristol, one author I spoke to had spent the afternoon on his own at the cinema.

Am I missing something here?

It’s not like the best of the big players don’t hang out in the bar and chat. Lee Child is always approachable at these events, so is Jeffrey Deaver, Harlan Coben and, of course, our own Ken Bruen. And surely, if you’re just starting out, then spending some time around the lobby, the book room, the bar, is a golden opportunity to mix and mingle not just with other authors, editors and reviewers, but readers and potential readers as well. The people who go to conventions are, almost by definition, the most enthusiastic. If they like your books they will buy lots of them and recommend them vociferously to all who cross their path. Why would you not want to meet and talk to them?

I remember meeting a best-selling Brit author at one of my first conventions who looked down his nose at me and asked if I was "just a reader?" At the time, of course, I smarted just a little bit that he didn’t recognise my name, but afterwards I thought, how can you phrase it like that? All those ‘just’ readers are the ones who’ve given you your success. And disappearing for half the convention when people may well have paid to attend solely because they saw your name on the program is cheating yourself as well as them.

So, opening my mouth to change feet for the last time, here’s my two-penny-worth of advice for convention-goers this year:

1. DO spend as much time as you can in the public areas – you never know who you might bump into. If you want to play the Greta Garbo card, stay at home. Or if you really want to see the city, add a day or two onto the end. At least that way you don’t have to bother checking out on Sunday morning.

2. DO have a cover-all greeting just in case you’re introduced to someone whose name you don’t recognise and you don’t want to cause offence. My personal favourite is to ask, "So, what are you working on at the moment?" This is equally appropriate whether the answer is, "Oh, Spielberg’s asked me to put together the screenplay of my latest gazillion best-seller." Or, "Oh, no, no, I’m just a reader …"

3. DON’T, if someone asks the above question, give them a blow-by-blow account of your entire plot. The elevator pitch should be enough. If you’ve come up with something genuinely interesting, they’ll ask you to expand. If not, then simply telling them more about it will probably not help.

4. DON’T get totally rat-arsed in the bar every night. Yes, I know you’re there to enjoy yourself, but there are limits. This is a small industry. If you say or do something unforgivable, then being drunk is a very poor excuse.

5. DO make an effort to turn out for the early morning panels. Often the authors on them feel they’ve been handed the graveyard shift and it’s nice to give them a boost. And we don’t mind if you bring coffee and donuts!

6. DON’T, if you’ve been given one of the above panels, go out and do point #4, and then publicly complain that you’re not at your best. Those of us who’ve made the effort to come and hear you speak will feel insulted that you didn’t think we were worth staying sober for. And we’ll take our donuts away …

7. DO keep it short and sweet when you’re on a panel. Hogging the microphone, however witty you are, will not win you friends in the long run. Neither will starting every sentence with, "Well, my character does this …"

8. DON’T ask for a panel assignment if you don’t enjoy public speaking. If you’re better one-to-one, then just follow point #1 instead. You’ll probably make a better impression that way.

9. DON’T, if you’re asked to moderate a panel, have any contact at all with your fellow panellists before the event. Don’t learn how to pronounce their names if there’s any doubt about it. Don’t forewarn them of any questions you intend to ask. Don’t meet up more than five minutes before the panel start time to discuss tactics, that would make it far too easy for them. Don’t run the biogs you intend to read out to the audience past the panellists beforehand – after all, all the info on their websites will be bang up to date, won’t it? Don’t forget it’s essential to ask at least one highly embarrassing question, one totally irrelevant question – such as a piece of mental arithmetic – read out the most inappropriate out-of-context segment of a sex scene, pretend to take a phone call, or bring members of the audience out for a bit of a chat on an unrelated subject.

Oh, hang on, have I got that wrong … ? Not sure, because I’ve either been on, or been watching, panels were everything in point #9 has happened.

And those of you who disagree strongly with any of the above comments will no doubt be delighted to hear that a fellow Brit author has asked if I might like to take on one very unusual public speaking event this year.

In Baghdad.

Finally, my latest Word of the Week is plethora. A wonderful word that means an excessive fullness of blood. Can’t you tell I’ve just been writing about the victim of a long-range sniper?

Totally Random Bullcrap

by Rob Gregory Browne

I’m still trying to finish my third book (yeah, yeah, I know).  Hope to finish it tonight.  I’m in the last few pages and things are looking good, but you never know.  So I’m once again taking the lazy route and throwing down some random b.s. for folks to chew on:

DO YOU LIKE WHAT YOU WRITE?

William Goldman claims to hate his own work. Says he never thinks it’s any good.

Anyone who has read Goldman knows he’s delusional in that regard. And it’s no secret that I think he’s a brilliant writer.

A few years back, I was working as a staff writer on an animated television show called DIABOLIK (Hey, it was a hit in France!), and was partnered up with a very talented writer/producer who quickly became a good friend.

One day, as he and I were riding in his F150 along the bumpy road leading to his ranch, he told me that of all the writers he knows, the ones who think they’re good, the ones who love their own work, usually stink. And the ones who believe — like Goldman — that they’re mediocre or worse, are usually great.

I didn’t respond. Was he trying to tell me something?

I don’t generally brag about the quality of my work, but I have always taken great pride in my writing. Like anyone else, I bounce back and forth between loving it and loathing it — at least when I’m working on a project — but I generally think I’m a damn good writer.

I’ve told the story before about the friend who thought he’d written a masterpiece that turned out to be one of the worst things I’ve ever read.

But I think most of us have to have a certain confidence in our work. Otherwise, why on earth would we keep writing?

And I tend to think that Goldman secretly knows he’s a heckuva writer.

So was my producer friend wrong? Or are those of us who believe we may have something special a victim of our own egos?

DO YOU READ THE LABEL?

Suspense, Romantic Suspense, Thrillers, Mysteries…

I see all these labels and wonder what they really mean. Take Romantic Suspense, for example. It seems to indicate that you’re about to read a romance novel with an underlying thriller plot. Yet I’ve read a number of Romantic Suspense novels that put the romance on the back burner.

I’ve also written a thriller that has a romance in it. True, the romance is a minor part of the story, but it’s there and I think it works and LIKE the fact that it’s there. It gives the book an extra little kick. So have I written Romantic Suspense? If I went under the name Roberta Browne, do you think the publishers would use that label?

Then there are the mysteries that have a touch of thriller in them and the thrillers that have a touch of mystery. What do we label them?

I understand the need for some kind of label. Readers want to be able to head straight to their favorite section of the book store and find what they’re looking for. But since there often doesn’t seem to be any particular rhyme or reason for these “sub” labels, I’m not quite sure why publishers bother.

Isn’t it a mistake to market a book as, again, Romantic Suspense, filling readers with certain expectations, only to let them down when the book strays from the conventions of the genre?

How many times have you seen a movie advertised as a flat-out comedy, only to discover that it’s a drama with comedy overtones? How many times have you seen trailers feature a specific plotline that turns out to be a minor part of the story, and the movie is not even close to what you expected when you bought your ticket.

But maybe that’s what it boils down to: you’ve already bought your ticket. You’ve already paid for the book.

I think, however, that this kind of deception is not only misleading to the reader, but a disservice to the writer. Imagine the number of fans who might be turned off to a writer simply because he or she didn’t deliver what the label on the spine of the book promised?

Or maybe I’m making a big deal out of nothing. I’m no marketing expert.

What do you more seasoned writers in the crowd think?

DO YOU HAVE TROUBLE NAMING NAMES?

I have a helluva time naming names. I sit for hours trying to come up with names that suit my characters and, I’ll tell you, it never fails that I wind up changing them.

And I’m never fully satisfied with the ones I settle on.

I always worry that they’re too generic. But at the same time, straying too far in the other direction gets a little silly.

John Sandford, who happens to be one of my favorite crime writers, goes a little overboard with his character names. Lucas Davenport is wonderful, but he’s had a number that momentarily threw me out of the story. Doesn’t ever hurt the story for me, but it does give me pause.

And I don’t hear anyone else complaining.

Like anyone else, I keep a baby names book at my desk. I also check the phone book a lot, looking for interesting surnames. But, like I said, I usually wind up with something that sounds a bit generic. They grow on me after awhile, but, still, I worry.

When I was wading through my email this morning, I came across an interesting source for names:

SPAM.

Yes, that’s right. Maybe spam is good for something after all. Have you ever looked at some of the names they use on email spam? Here’s a sampling of this morning’s:

Bringing L. Strengthen
Harems H. Hewett
Lazy McWriterpants
Kidney Crane
Waller Pendanglis

Now those are NAMES. Not a generic one in the bunch. Most of them accompanied by promises of penis enlargement and endless erections.

So I no longer have to worry. If I’m stuck for that perfect character moniker, all I have to do is open up my spam folder. Easy as Tommy McPie.

What about you? How do you name names?

DO YOU EVER HOLD CONTESTS AND FORGET TO DECLARE A WINNER?

It has come to my attention that I held a caption writing contest awhile back and never picked a winner.  I blame it on age.  Or drugs.  Take your choice.

Anyway, the winner of the caption contest with WHITE MEN CAN JUMP, is Naomi Hirahara.  Congratulations Naomi.  I don’t remember what you won, but as long as it doesn’t cost me an arm and a leg, you’ll get it soon.

Oh, to be Lee Child!

By Louise Ure

“When I’m done writing that final scene, I save the work then press Send and never read it again.”

That’s just paraphrasing the conversation I had with Lee Child a couple of weeks ago in New York, but it’s very close to what he said, and it stunned me.

I was in town for an MWA Board Meeting and a signing at Partners & Crime. Lee had ambled over from his apartment to join the fun. As he and I often do, we found ourselves braving the icy January temperatures outside the bookstore in pursuit of nicotine.

I’d told him my third book was done, but that I wasn’t completely happy with it yet.

“Then it’s not done, is it?”

Well, when you look at it that way, Mr. Smartypants, I guess not.

I’m a revisionist, you see. Once I have the entire book down in a concrete form, I go back and change everything. Not just tightening the writing or adding a bit of back story. Everything. The characters’ names, the point of view, the ending. When I revised Forcing Amaryllis, I changed who the villain was. In The Fault Tree’s revision, I changed the crime that had been committed.

The editing I have planned for this third book could turn it from a chrysalis to a butterfly. Or not. But it will definitely be changed.

That’s not the way Lee works. When he sits down to write, he rereads and edits the work from yesterday and then adds new scenes or chapters. And on the last day — when he finishes that final scene – he hits Save and then sends it off to his editor.

WHAT????? No rereading from page one to see if it still makes sense? No agonizing over the final line in the penultimate chapter? No second thoughts about having all those character names starting with the letter M? No angst about whether the protagonist’s motivation is clear in that scene?

I think Lee’s vision is clearer and his aim is truer than mine. He doesn’t outline, but he knows where the book is going and how to take it there. And the fact that he’s written nine more books than I have doesn’t hurt either.

I, on the other hand, muddle.

I wallow.

I vacillate.

And I revise.

Lee knows when a book is done because that’s when he’s written the last line. I know a book is done when I’ve exhausted every possible avenue of change, written and erased an additional forty thousand words, and bored myself silly rereading it.

I would love to end my second-guessing. To have that kind of confidence or skill. To write a book, hit Save and then Send.

Instead I plod along, wiping out entire casts of characters and rebuilding back story to support a plot development I came up with later.

This third book will change in ways I haven’t imagined yet. And the revision will probably take just as long as the original creation of the book did.

Oh, to be Lee Child!

I’m traveling back to San Francisco from Seattle today, so I may not be able to check in on blog comments as often as I’d like. But I’d love to hear your stories. Are you Child-like in your work or do you find Ure-self agonizing over revisions? When do you know your book is done?

And it’s Primary Day in 22 states. Go vote, or I’ll have to take away your whining rights for the next four years.

LU

Pick up lines

by Pari

Hey, baby, wanna come to my place?
Are you new in town?
What’s your sign?

My mind is in the gutter today, a rare locale for a soccer mom. If I close my eyes and go with the imagery, I land in an animated world with overdrawn characters wearing push-up bras, puce dresses and hot pink stiletto heels. A Toontown for writers. Wordsville? Remember Jessica Rabbit? It’s her sultry voice (Kathleen Turner’s) that I hear.

Only this time she’s saying, "I’m not bad . . . I’m just written that way."

I’m thinking about the differences between innocent flirting and one-night-stand flirting, between love-making and purchased sex.

I’m fixating on the why of book-looking and buying.

What makes readers pick up our work? What’s the click, the magic ah-ha, that inspires them to buy?

Is it a glossy cover?
Reviews
Word of mouth?
Placement in a store?
Television appearances, newspaper features, radio interviews?
Is it presence, participation and mentions on listservs and blogs?
Is it the first line? The first paragraph?

What promises are made in those initial encounters? What promises are kept?

Have you bought books that looked luscious on the surface and turned out to taste like bargain-brand dog bones?
On an impulse, have you paid for tomes with the outward appeal of pimply nerds, only to find that they’re tigers in bed?

Here’s the honest truth:
I have no idea what makes me pick up a book. I have even less of an idea about what makes me buy it. The longer I’m an author, the longer I do this dance of writing and promotion, the less I’m sure of anything.

Some of my cohorts astound me with their energy and creativity when it comes to marketing. They’re at every single convention. They comment on every blog and listserv. They answer their emails at warp speed and send out newsletters consistently.

Wow.

I used to be one of them and . . .

I can tell you this:
I don’t think it did me much good; it might even have harmed my credibility as a serious writer.

I do know that hearing or seeing an author’s name everywhere ISN’T ever the factor that makes me buy his or her book. Never. As a matter of fact, it often works to the contrary . . . because I’m contrary. I tend to run away from that person in the bar who seems too desperate for a relationship — or sex.

Do the most successful writers flog their stuff everywhere? You might tell me that they’ve earned the right not to. But I doubt they ever did the Full-Monty marketing in the first place. Certainly the love-me-please edge is absent from their interactions with their publics.

I’m not quite sure what I’m trying to say with this blog. I think I have two themes here, but they feel related in a fundamental way.

All I know is that more and more, I just want to write. I want my words and stories to be the impetuses that tempt and, ultimately, convince readers to buy. I want other people to talk about my works instead of me beating my own chest all the time.

Back in Wordsville, I’m watching two women. One sits at the counter and orders another a pink sloe gin fizz. Her eyes scope out every man in the place. She’s got a buy-me vibe and a body to match. The other woman is at a table in the corner. She’s alone too. In her hand is a smoky scotch on the rocks. In the other rests a fine cuban cigarillo. Her mouth curls in a quiet smile as she observes this crazy world.

You know which one I’d like to be . . .

Gotta match?

Things they don’t tell you about this author deal

by Alex

I actually have a long list of good things I could say.   (Reader mail, for example!)  Coming from screenwriting, as I’ve said many times before, most days I feel like I’ve died and gone to heaven.   But there are a few things that are an essential part of the job that no one warns you about that can really work your last nerve.   And it’s winter, and I’m on a deadline, and I’m grumpy, and I’m missing Love Is Murder so that I can MAKE the @#$%^&* deadline, so I’m going to dwell on the bad.

Being an author requires a skill set that no one would necessarily think you’d need to have.

And if this is not Number One among the evil things about being an author, it is surely a close second:

The technology.

Oh, look, I’m okay with computers.  Not a whiz, not a slouch.   Against all odds, I manage to figure out most of what I’m supposed to do.   (Except “tags”.   What are “tags” and why are they important?  And how am I supposed to do them?   On Typepad, for example?   When I write a post, and there’s a box for Technorati Tags… what do they actually want from me?   What’s the upside of doing them, if I can ever figure out how to do them, and what’s the downside if I blithely leave them out?)

I feel the pain of any new author who is confronted with the vast array of Internet – stuff – that we’re all supposed to be masters and mistresses of to do the promotional aspects of this job.  I would be freaking the @##$ out if I hadn’t had to teach myself how to make the unofficial WGA website, WriterAction, happen a few years ago.  I was arguably the least qualified person in the entire Writers Guild to do it, but apparently, for whatever reason, I was also the most motivated, which gave me a sort of slash-and-burn determination about web-related issues.   That learning curve has been a lifesaver in my new career as an author.

Take, for example, MySpace.  Which requires more scary html than other author-related activities. 

In general, I love MySpace because it’s such passive promotion.  Once you get your page up there, people pretty much find you, and it really only requires 20 minutes a week to approve your Friend requests and answer your mail, when you remember to do that, of course.   You have a presence without any work, and people on MySpace actually buy your books, how great is that?  But once in a while it takes some work, and it’s harder to figure out than a lot of the other places.   

This week I had to update my MySpace page for the release of THE PRICE.   I managed to post a new blog and update my profile and upload the new bookcover image and it was all pretty intuitive, nothing suicide-inducing.   The problem was the template that I’d initially somehow managed to get up there to make my profile just a little more than the basic MySpace profile.   After I’d put my new PRICE bookcover up, the old background color was just ungodly, an horrific clash against the colors of the new cover.    But when I tried to go on the site of the template I’d used, to change the colors, it wasn’t letting me on.   And it’s not like you can get live help from these free sites, right?   

Well, I’m not exactly sure how I did it, but I managed to figure out what the color code was from some other link and get it in there to my site and change the color background to something halfway compatible. This is not, mind you, something I’m ever likely to be able to replicate, and not in any way professional design caliber, but at least now clicking on my MySpace profile will most probably not induce nausea, and that’s a victory.

But my blood pressure?   Worrisome.

Then there’s the whole mailing list thing.   Yes, I have one of those mailing list services, Vertical Response, which I found through one of those essential-for-new-author weblists, Murder Must Advertise, and it’s a wonderful thing in theory: with Vertical Response you can build a newsletter with templates and images, and import mailing lists and all this good stuff.   Perfect for authors who actually take time every week to input their mailing lists and that kind of left-brained thing that authors are not likely to be genetically programmed to do.   

Authors like me, for example.   

But, you know, I did a Vertical Response mailing list a year ago when THE HARROWING came out and lo and behold, I still have an imported list of e mails from people who actually care about me and so I can build a newsletter with cool images and links and everything and automatically send it off to those saved lists with one click, and theoretically I can also build more lists out of the five zillion business cards I traded with people on my promotional trail this last year, and everyone in the free world will know about my book release by the time I’m done…

That is, if I had either an assistant or the kind of time to input all those new addresses.

Which I don’t.   But, still, I’ll do what I can, and Vertical Response helps.   Once you get over the sheer overwhelming panic about having to sit down and DO it.. you realize what a godsend it is.

It’s MADDENING, though – the technical stuff.   I’ve recently switched back to Mac from PC, which meant I had to download Firefox to use instead of my more familiar Internet Explorer to even be able to use Vertical Response, and at one point I thought I’d lost my entire newsletter that I’d been building for the last two hours because I clicked the wrong whatever and forgot where Firefox keeps previous open windows…

At which point, everything went black for a minute…

You know, Jane Austen didn’t have to deal with this kind of thing.

(Then again, we don’t have to deal with primogeniture, so… I’ve got to admit we’re ahead.)

Okay, this is the point.   (Hah – you didn’t think I had one, did you?)  You know what I would like to see?   Never mind all the panels and workshops on where stories come from and how to create character.  Anyone who’s ever put pen to paper or fingers to keyboard knows all that already.   You just DO.

Give me a panel on how to do tags, all right?  A workshop on Top Ten Technology Tips.   How do you change the background color on your MySpace page?   How do you do that thing to hook up all your blog sites so you only have to post a blog once?  Or just even show me how not to lose my newsletter on Vertical Response.

And while we’re here, what are YOUR techno rants and tips? 

And for bonus points, you guessed it – what ARE tags, and why exactly should I care?

The Lost Days, or Babble, Babble, Babble

by J.T. Ellison

Ever have those days that no matter what you’ve set out to do, you can’t make it happen?

I’m having one of those days. It’s Monday, after a hugely successful library event in Alabama. Copyedits were turned in Saturday, jetting to New York overnight in their glorious little envelopes. There’s something special about overnight mail. The sense of urgency, of expectation, of accomplishment, well, it’s just one of those fun things. Whether I’m expecting it or sending it, I get a little thrill.

I had a very intense round of copyedits last week, making sure I made the book the very best I could make it. Copyedits are the last chance to make substantial changes, and I knew I wanted to plug a couple of holes in addition to whatever issues the CE caught. I had to be doubly careful to make sure all the little things we left or changed in the first book were consistent in this one. Like calling Taylor by her nickname on the force, LT. Common usage among police officers. It’s short for Lieutenant, obviously. In the first book, we kept it as LT. This copyeditor wanted it to read L.T. Which meant a ton of STET scribbled on the manuscript. When that happened, I realized I needed to be extra careful that everything from book 1 was consistent with book 2. Which meant twice the work.

No worries, that’s what we’re here to do. Make things right. Right???

So I was especially happy to send these CE’s back to New York. I count my blessings. Being copyedited is an eye opening experience. Much to learn, much to absorb. Every house has their style guide, so there’s that to consider. I’ve learned so much about formatting through the CE process… silly little things like the chapter heading is simply the spelled out number. Don’t indent the first paragraph after a heading or break. Little things like that. I try to incorporate the typesetting into the development of the manuscript. I now understand when published authors tell writers on submission not to worry about fancy formatting. The CE will just remove it anyway. Don’t waste your time. Got it.

Once the CEs were off, it was early to bed for a Sunday appearance, and plans to finalize for a Tuesday night signing. Busy, busy, busy. I figured Monday would be a perfect day of rest. I’d read, maybe watch a movie or two.

Instead I found myself hitting refresh on my email. After a morning that is better unremembered (I may blog about what upset me at a later date, once I’m sure nothing can be done about it) I got myself into four separate conversations and we spent most of the day "e-talking." I mindlessly refreshed Crimespot, my email, the news sites, my email, reread the same three or four blogs (I guess wishfully thinking that a fresh post would appear by magic for my enjoyment,) cleaned out my bookmarks, checked my email, debated about what organizations to re-up and which to let memberships lapse, checked my email… I read a grand total of one page, looked at the clock and saw it was 4:00 PM. Lost the whole day, for nothing. I decided to heck with it, I’ll just nail a few blog entries. So here I am.

It’s funny how I get myself derailed on the "day after." I’m finding this more and more. If I’ve traveled over the weekend, I have to have a day to goof off. If I finish writing a book, I need at least a week, if not a month, to recover. If I’m waiting to hear back from someone about something, I have a very difficult time not checking to see if that answer has come in. It irks me, these lost days. I hate that I’ve wasted a perfectly good opportunity to do… well, anything but goof off.

I was so excited last Sunday morning. I was digging in my overnight case for my mascara, getting ready for the Alabama gig. It was only and hour and a half drive, no sense in overnighting it. (I asked them to take my accommodation stipend and donate it back to the library, and they were pleased. I was fed well instead.) So as I was putting on my makeup, I realized that wow, I can actually unpack this. I don’t need to go out of town overnight for, let’s see… oh. I might as well leave it packed. Two weeks. A grand total of two weeks at home. If it gives you any perspective, that case has been packed since November.

Don’t get me wrong, I wouldn’t change anything. Lost days are just the nature of the beast. But being on the road in support of a book is hard work. To be honest, I’m tired. I can’t even imagine what people like John Connolly, who tours for a month in a different country, must feel like. Nowadays, I get overwhelmingly excited that I have a weekend at home. Of course, that means people who’ve been neglected need to see you, but at least I don’t have to dress up for them.

There’s no such thing as taking a vacation anymore either. You have to plan to do drop ins wherever you are. It’s a mind boggling turn of events. You never look at travel the same way again.

They say be careful what you wish for.

My biggest problem is the more I’m on the road, the longer it takes me to get back to my rhythm. And one of the things that newbie writers don’t realize is when you write two books a year, you are working on three at once, at all times. Start from this moment in time. While the copyedits are being done on 2, book 3 is being read by my editor, and I’ve started on book 4. In another couple of months, there will be galleys of book 2 and edits of book 3 while trying to finish book 4. Then there will be launch of book 2, copyedits on book 3 on the 4th book being turned in, which just means that work on # 5 needs to start. It’s insane. And I love it.

Add into this that writing and touring and getting exhausted is FUN. Let me repeat that. It’s FUN. I love
meeting new people. I’ve nearly licked the fear of speaking in front of a
group. I love meeting people who’ve read the book and liked it. I love
meeting the librarians, and booksellers, and festival coordinators —
people who love the written word as passionately as I do.

But since I’ve always been able to write four hours a day and not travel, it’s taking some time to adjust to the new expectations. What do you do when you travel to get your head back in the game quickly? Is it better to schedule a month to do all the promotion, then stay home the remainder of the time? Do you really lose out if you don’t travel to all the conferences?

I’m more convinced than ever that I need to limit myself to one or two of the biggies (next year I’m thinking about BCon, RWA and Romantic Times) and intersperse one or two smaller cons in. I love the book festivals, and think they are an excellent way to get your name in places you’d otherwise never be known, so you have to add in a few of them. Then you have your regular signing events… I’ve actually said no to a couple of invites because A — the money wasn’t available to make it happen, and I just can’t talk myself into making a huge monetary commitment to get myself in front of ten people, and B — I’m burning out. When, in the midst of all this travel and promotion, will I have time to write?

These are the issues new writers need to grapple with. You vets out there know how to manage all this. Can you throw some advice my way???

Wine of the Week: Cascina Pellerino Langhe Nebbiolo