Larry Kahaner

Helping at-work writers to become novelists

Archive for the category “writing tips”

Why an Establishment Author is Doing Amazon’s Kindle Scout

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

By Larry Kahaner

 

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

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

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

USA Inc 25 May 2016 KINDLE

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

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

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

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

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

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

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

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

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

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

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

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

 

 

Five Reasons You Can’t Get Your Novel Published – And Why It’s Not Your Fault

Five Reasons You Can’t Get Your Novel Published – And Why It’s Not Your Fault

By Larry Kahaner

Dear Author:

            Thanks for sending us your manuscript. The plot is unique, the characters are compelling and the writing is top notch. It’s one of the best books we’ve ever read.Untitled

Unfortunately, it’s not right for us.

            Best Regards,

            The Publisher

 

What the…?

 

 

As an author with long-term success in publishing non-fiction books, I can tell you that publishing is not an easy game. It takes talent, perseverance and luck. Even more so for fiction writing. And missives like the one above seem to defy logic and common sense.

Let’s first dispatch the most obvious reason why you can’t get your novel published. Your book stinks. It’s poorly written, the characters suck and the plot is ridiculous. Assuming that’s not the case, that your book is just as good as, or better than, anything else out there, here are the top five reasons why a publisher won’t touch your novel.

1 – “We don’t have room on our list.” Legacy publishers are limited in how many books they publish every year. With so many good authors around they’re often booked solid for this year and maybe the next year. Some of their list is taken up with their perennial money-makers (think the James Patterson writing machine) and editors at these large houses are allowed a few new authors each year that they’re permitted to bet on. There’s not much room for others.

2 – “It’s not our kind of book.” Authors hear this a lot. You might be thinking “but I thought you published mysteries; mine is a mystery.” Your book may be just outside their comfort zone for many different reasons  – like there is a kidnapping and the editor doesn’t care for snatch jobs. Romance publishers often are sticklers for their own particular ironclad rubrics that can seem to outsiders as frightfully picky.

3 – “We’re not accepting any new books.” This is related to reason #1 but applies mainly to small, independent publishers who may publish only a handful of books annually. I’ve been a business reporter for decades and I’m often amazed at how companies (not just publishers) are reluctant to grow revenue by producing and selling more products – often out of fear of making it big or sacrificing quality control. For some smaller indies, producing more books and thus more revenue, might upset their cozy way of doing business. Again, this always strikes me as small-minded. Many industries are hamstrung by not having enough raw materials. Not so with publishing, If you have good authors clamoring for you to publish them, why not hire part-time or gig editors and production people who are willing to go with the ebb and flow of things?

4 – “It’s not a book that we know how to sell.” Publishers often will be blunt in saying these exact words or they’ll couch it by saying something similar to #2. In other words, they’re saying that your book doesn’t fit nicely into a genre that they recognize. For example, your protagonist might be an intergalactic PI. The publisher may know how to sell alien novels or PI novels but put them together and, ummm, we’re flummoxed. I find this shortsighted, too, because bestsellers often break these rules and do well for the publisher that takes a chance. Best example: When John Grisham tried to sell his first legal thriller publishers shied away because it was a new genre and it didn’t fit in with what they knew. Count how many rejections he received and how many books he’s written that have been blockbusters.

5 – “Right place wrong time.” An author friend of mine sold a book to a publisher that hadn’t been active in his particular non-fiction genre. As luck would have it, they were interested in expanding into this genre and were looking for a book such as his. Lucky guy. But it works the other way, too. A publisher may have just decided that they’ve had enough of one genre and are getting out of it for any number of reasons.

All of this should not discourage you. In fact, it should bolster you because these turn-downs are not under your control. You’re probably doing all the right things.

Here’s a last thought: The publishing industry is becoming more and more like the movie industry. Moviemakers are relying on the blockbuster film to help them turn a profit. Instead of making money on smaller movies throughout the year, they focus on only a few films and market the hell out of them to protect their expensive investments in exorbitant actor fees and promotion. When they fail, and they do, backers can’t complain too much because, ‘hey, it has George Clooney in it.’ It’s classic CYA.

On the other hand, we’re seeing this model get bashed by cable and streaming video companies like Netflix, HBO, Amazon and others who are producing lower cost films and making money doing it.

In the same way, I believe that e-books will disrupt the current book publishing model by lowering some production costs and taking book roster  constraints off the table for solid, hardworking and talented authors.

After the dust settles it will be a better time for authors and publishers.

It’s only a matter of time.

The Nexus of Art and Commerce

By Larry Kahaner with guest blogger zhyxtheman

Many writers have something important to say but they’re hamstrung by wanting to make their works commercial so they’ll sell well. In bending too far in that direction, they may miss the target they’re aiming for.

Zootopia_Soundtrack

Balancing art and commerce is never easy. Here, blogger zhyxtheman at Never Heroes discusses the issue.

 

The original was posted here.

 

Commercial Can Be Important

It is something that a lot of artists say, myself included. They don’t want to do shallow art just for the sake of selling it. There is no real interest in creating the next big franchise or money maker. That art is shallow. In fact, it may not even be art, and just a product people create to sell and line their pockets. There’s also a certain bitterness that more ‘important’ and ‘thoughtful’ fiction is not as widely seen as the latest big action film. People have a hard time quoting a French film about the Holocaust, but most people can drop lines from any Schwarzenegger action epic.

But commercial art can have messages that are important, and packaging it right can help that message reach more people.

Take for example the Disney film Zootopia. This recent smash has been making waves and gaining praise for much more than just its animation. While on it’s surface it looks like a mere cartoon about cute anthropomorphic animals, it discusses a much more important and relevant topic.

In Zootopia, the populace is divided into predators and prey, though the two no longer eat each other. A series of strange incidents start occurring where predators go insane and revert back to their predatory instincts. The two main characters are a cop bunny named Judy Hopps and a con artist fox named Nick Wilde, prey and predator respectively.

After uncovering that predators are reverting to their natural instincts seemingly without cause, Hopps holds a press conference, speculating that these attacks are due to natural instincts. The exchange between her and Nick after the conference sounds a lot like something out of a different kind of film.

Nick: Clearly there’s a biological component? That these predators may be reverting back to their primitive savage ways? Are you serious?

Judy: I just stated the facts of the case! I mean, its not like a bunny can go savage.

Nick:Right. But a fox could, huh?

Judy: Nick stop it! You’re not like them.

Nick: Oh, so there’s a them now?

Judy: You know what I mean! You’re not that kind of predator.

Nick: The kind that needs to be muzzled? The kind that makes you believe that you need to carry around fox repellent? Yeah the only thing I did notice that little thing on the first time we met. So l-let me ask you a question; Are you afraid of me? You think I might go nuts? That I’ll go savage? You think that I might try to eat you!?

Judy reaches for her fox spray. Nick’s face drops.

Nick: I knew it. Just when I thought someone actually believed in me.

 

You don’t have to be a rocket scientist to know what this movie is about. One reviewer said it best when they said  Zootopia was Disney’s answer to Crash.

crash

Some will say it’s a cheap bait and switch, advertising something as a children’s film only for it to be a ‘message movie.’ Here’s the thing though. Shouldn’t that be what mainstream movies try to do?

You see this in a lot of different eras and a lot of different genres. The 1980s saw a slew of highly commercial and highly profitable movies dealing with the Cold War and the dangers of nuclear proliferation. One of the most famous of which, War Games, had a computer attempting to start World War III, unable to tell the difference between the projections in its program and the real people it was going to kill. When the young hero, played by Matthew Broderick, uses a game of tick tack toe to teach the computer that nuclear war is a no win scenario, the computer laments the following:

“Strange game. The only winning move is not to play.”

The preview audience cheered at the line.

Two of my favorite science fiction/horror films of all time, Alien and Aliens, feature strong anti-corporate messages. The best example is in Aliens where a corporate CEO, played by Paul Reiser, attempting to smuggle one of the deadly creatures back to Earth for use in their bioweapons division. When his plan is revealed, the heroic Ellen Ripley calls him to the carpet for his greed, saying he is lower than the monsters she and the marines are fighting.

“You know Burke, I don’t know which species is worse. You don’t see them fucking each other over for a goddamn percentage.”

 

While it’s sometimes popular to disregard commercial film and literature as being just that, the fact remains that this work is the most widely seen. Experimental art films are wonderful, visually stunning, and psychologically unsettling pieces, but they don’t appeal to the masses. A story about a young boy going to a school for wizards does. People may not be too interested in seeing another documentary warning about the dangers of climate change, but an adventure to preserve the beauty of the far away Pandora is something people will flock to. An anti-corporate message will bore most people, but throw in acid bleeding aliens and you will draw a crowd.

Important and relevant messages can reach a wide audience if they’re packaged right. This isn’t a cop out and it doesn’t diminish the purpose os your art. Doing this only increases its chances of reaching more people, ensuring your message is heard by a wider audience, and allows the to have fun while you’re discussing potentially hot button topics.

Balancing both commercial and topical art can be difficult, but if you go too far in either direction, you have failures. The Transformers movies may earn a lot of bank, but they’re pretty shallow and exploitive action films. A French art film about genocide may be well made and heartfelt, but people need to see it for the message to be heard. If you find the healthy middle ground, you can make something people love, something that lasts, and something that gives an audience food for thought.

Zootopia has a cast of cute animals, but it’s still about the problems our society continues to face with ethnic and racial groups continuing to mistrust and categorize each other. If that message is still there, who cares if it’s told with a fox and a bunny?

 

Writing Prompts are Dumb and a Waste of Time

By Larry Kahaner

I must say it, no matter how much you’re going to hate me: Writing prompts are dumb.

I don’t know any working writers who use them.

zombie prompts

Yeah, this is a real book.

Why would you spend time and energy on something that you’re not going to use, something that’s supposed to “get your creative juices flowing” and then toss aside?

Why not just start working on your short story, book, blog or whatever you’re trying to churn out? That’s how you get your creative spark ignited.

I know, I know… many new writers feel naked without the cloak of writing prompts. They love ’em. Websites have lists and lists of ideas like: “Write about a day in which everything went wrong” or “what would happen if we found out that we actually could breathe on the moon?” You want to write about these things? Fine. Go ahead and write a story or novel based on one of these premises, but why waste time writing a few pages just to get your engines revved?

I can hear the cries now: “But I need something that I can throw out as I get my ‘writing mind’ in gear.” What are you, a car on a cold day that needs to be warmed up? (Actually, you haven’t had to do that with cars for about the last 20 years.) I will admit that sometimes what we write first thing in the day is not as good as what we write a few pages down the line. That’s to be expected. The brain gets in the groove like it does for all jobs (not just writing) that we undertake. When you’re done for the day, week, or even the whole book, pronounce your work a first draft and rewrite it. That’s what writing is, not some phony-balony prompt that someone gives us.

My guess is that writing prompts were the product of creative writing teachers who didn’t think students were smart or creative enough to come up with their own ideas. Bull. Students have lots of great ideas. Let them loose. For whatever reason, the concept of prompts has been passed along to where there are entire books devoted to writing prompts. Don’t believe me? Go on Amazon.com and type “writing prompt books.” I saw one that touted “1200 Creative Writing Prompts.” They’re even broken down into genres like horror, mystery and romance. I saw prompt books that were written by cats and dogs.

It’s crazy.

Know who else likes writing prompts? Bloggers who write about writing. When you’re searching for something to write about just do a blog about prompts. Throw out a few ideas, and bing-bang, you’ve got a blog.

If you’re a writer, why waste your time with these distractions? Yes, that’s what prompts are. Distractions from your real writing. It’s no different than procrastinating, not wanting to do the hard work of writing. Some people call it ‘writers’ block,’ a concept which I don’t believe exists. Here’s my blog on this fallacy.

In their heart-of-hearts, why do people love prompts? They’re safe; no one will read them (unless you’re in class) so you don’t have to endure criticism of your work. More important, you can make believe you’re working on your novel (Hey, I’m writing, ain’t  I?) and you won’t feel so bad about not sitting your butt in the chair and really doing the work that needs to be done.

Is all this a bit harsh? I’m not sorry. Not a bit.

If you want to be a writer, stop being such a wuss. Forget prompts.

Just write.

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

Writing Lessons from a Pulpster

By Larry Kahaner

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

Who?terror by night.jpg

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

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

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

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

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

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

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

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

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

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

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

 

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

Why an Established Author is Going Indie

By Larry Kahaner

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

sheri mcinnis

Sheri McInnis

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

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

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

 

 

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

by Sheri McInnis @SLMcInnis

1) CONTROL

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

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

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

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

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

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

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

 

2) TIMING

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

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

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

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

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

 

3) MONEY

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

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

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

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

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

 

4) PRACTICALITY

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

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

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

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

 

5) BECAUSE I CAN

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

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

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

 

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

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

By Larry Kahaner

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

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

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

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

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

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

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

There’s no such thing as a boring life.

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

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

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

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

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

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

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

How to Screw Up Your Novel: The Series Cheat

How to Screw Up Your Novel: The Series Cheat

By Larry Kahaner

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

Every book must have one.

Every book must have one.

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

But here’s the problem.

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

Unfair.

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

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

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

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

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

 

 

 

 

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

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

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

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

“What about pot?”

To which I answered: “What about it?”

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

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

thomspons

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

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

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

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

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

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

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

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

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

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

boroughs

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

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

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

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

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

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

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

There are no short cuts.

Don’t Drink and Write

Don’t Drink and Write

By Larry Kahaner

This blog is aimed at new writers. If you’re an experienced writer, or an alcoholic, or both, don’t bother reading any further. Well, okay, you can. But what follows probably won’t  resonate with you. You’ll most likely sniff in defiance and pronounce it nonsense. Or, you’ve already handled the situation.

http://moreintelligentlife.com/

image from: Intelligent Life magazine

Many new writers try to emulate  their favorite authors. They somehow think that by using the same pen, the same notebook, following the same schedule and oddball habits (I only write in my pajamas with the cuddly bear on the front) that this will bring them the same success as those they admire. As I’ve said many times, the only habit that aspiring writers should copy from those before them is to sit down and write. Write a lot and read a lot. Those are the only habits that work all the time and every time.

One of my sins is bluntness but I can’t help it. Many times I’m asked during interviews about when I write, how I get my inspiration, where I get my ideas and I try to be polite… I really try… but sometimes I just can’t pull it off. I usually blurt out that these things don’t matter. As gently as I can I note that we all walk differently, we eat differently, we talk differently. It stands to reason that we all write differently so why copy anyone else? I’m usually marked as a nasty individual who offers no help to the nascent scribe. It’s not how I want be remembered.

Which brings us to alcohol.

So many brilliant authors drink too much. Many are functioning alcoholics and this penchant for drinking has led many newbies to believe that drinking is a prerequisite for perfect prose. How can you blame them when well respected authors boast of their alcoholic intake in quotes that we love to put up on our walls?

“Too much champagne is just right.” – F. Scott Fitzgerald

“I began to think vodka was my drink at last. It didn’t taste like anything, but it went straight down into my stomach like a sword swallowers’ sword and made me feel powerful and godlike.” – Sylvia Plath, The Bell Jar

“After the first glass, you see things as you wish they were. After the second, you see things as they are not. Finally, you see things as they really are, and that is the most horrible thing in the world.” – Oscar Wilde

Goodreads has 442 quotes about drinking. There’s even a top ten list of 15 great alcoholic writers.

Why do writers drink? That same reason that anyone else drinks. “Boredom, loneliness, habit, hedonism, lack of self-confidence; as stress relief or a short-cut to euphoria; to bury the past, obliterate the present or escape the future,” notes Blake Morrison, writing in the Guardian.  Morrison also points out that in Olivia Laing’s book The Trip to Echo Spring, about six famous alcoholic writers, that there may not be a simple answer as to why many famous writers drink but I believe the above short list takes a strong cut at it.

I’ve been a writer, journalist and published author for many years and I know many writers. Some of them drink a bit more than most, but that may be because they’re my friends. Self-selection and all that. But to a man and woman, they report that alcohol doesn’t help their writing. In fact, it hinders it.

Here’s one comment from a dear friend and prolific book author:

“I feel free and creative when I write in the company of wine. But the next day, usually, my grammar, syntax and coherence of prose look like crap.”

From another, whose non-fiction books are terrific, well-written and well-received. I asked him whether drinking helps his writing and he responded:

“I hate to sound like a prude, but I feel most free and creative when I’ve done a thorough job of reporting and know what the fuck I’m talking about.”

Does alcohol have a place in an author’s arsenal? Certainly, as a relaxer, a way to unwind after a day of hard writing and as social lubrication. It also can offer a short-term creativity kick. Another author friend who writes a blog under the moniker Thriller Guy offers this:

“… say you’ve got a problem that you can’t figure out – your character has been captured by an evil CEO and Our Hero is imprisoned in a laboratory where the resident mad scientist and his minions are threatening to suck the very essence out of his body. (Think Neo in The Matrix) How is Our Hero going to escape? TG can tell you from long experience, if you don’t know how to get your man (or woman) out of this pickle when you head into this scene, the answer is probably not going to just jump into your head. Trying to hammer out a solution to a problem like this can drive you nuts. What you need to do is to stop trying to figure out the answer, and let your subconscious come up with a solution. To do this you need to stop your brain from working so hard, to let the well fill up, by itself. Send the kiddies off to bed (if there are any kiddies) kiss the wife goodnight, (if there is a wife) pour yourself a stiff drink and settle into your chair. Then have a couple of more drinks. You can noodle away at the problem while you’re sitting there, but only in a general way. Drink too much, stagger off to bed, and go to sleep. And if you’re lucky, the next morning, when you go back to work, the answer will pop into your head. Almost unbidden. Ditto if you’re trying to come up with a title, solve a plot problem, searching for a “voice” to tell your story, a structure on which to build your novel. You need to stop trying to solve the problem, and let your writer’s brain solve the conundrum on its own. This is actually one of the few thrilling moments when being a writer seems almost like magic.”

He’s right.

Believe me, I like a martini in the evening. Occasionally, a few more, but I must tell you that of all the professional writers I know, the ones who write drunk do so in spite of their drinking and not because of it. They are functioning alcoholics, or close to the edge of it, who, if they weren’t writers would trudge off to the office every day, slightly hungover and put in a day’s work despite their condition. Think Mad Men. They drink because their body requires it, not because it makes them more creative. In fact, I often wonder how much better the words from Hemingway, Cheever, Poe or London would have been without their booze. We’ll never know.

I’m sorry to burst your romantic bubble but drinking doesn’t help writing. It hurts, and not  just the writing but your life in general. I leave you with this, an excerpt from the Handbook of Medical Psychiatry, 2nd Edition, edited by David P. Moore and James W. Jefferson. Sadly, it describes many famous drinking writers to a ‘T.’

“When alcoholics do drink, most eventually become intoxicated, and it is this recurrent intoxication that eventually brings their lives down in ruins. Friends are lost, health deteriorates, marriages are broken, children are abused, and jobs terminated. Yet despite these consequences the alcoholic continues to drink. Many undergo a ‘change in personality.’ Previously upstanding individuals may find themselves lying, cheating, stealing, and engaging in all manner of deceit to protect or cover up their drinking. Shame and remorse the morning after may be intense; many alcoholics progressively isolate themselves to drink undisturbed. An alcoholic may hole up in a motel for days or a week, drinking continuously. Most alcoholics become more irritable; they have a heightened sensitivity to anything vaguely critical. Many alcoholics appear quite grandiose, yet on closer inspection one sees that their self-esteem has slipped away from them. Most alcoholics also display an alcohol withdrawal syndrome when they either reduce or temporarily cease consumption. Awakening with the ‘shakes’ and with the strong urge for relief drinking is a common occurrence; many alcoholics eventually succumb to the ‘morning drink’ to reduce their withdrawal symptoms.”

Sound like any writing heroes of yours? Yeah, I thought so.

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