Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts

03 September 2019

Negotiating Writing Contracts

by Paul D. Marks and Jacqueline Seewald

A couple of months ago I read a blog post by Jacqueline Seewald that I really liked and thought contained a lot of good advice. So I asked Jacqueline if I could re-post it here at SleuthSayers as I thought our readers would also find it interesting and useful. She updated it a bit and gave me permission to share it.

A little about Jacqueline:


picture of author, Jacqueline Seewald
Jacqueline Seewald
Multiple award-winning author, Jacqueline Seewald, has taught creative, expository and technical writing at Rutgers University as well as high school English. She also worked as both an academic librarian and an educational media specialist. Nineteen of her books of fiction have been published to critical praise including books for adults, teens and children. Her most recent novels are Death Promise and Witch Wish. Her short stories, poems, essays, reviews and articles have appeared in hundreds of diverse publications and numerous anthologies such as: The Writer, L.A. Times, Reader’s Digest, Pedestal, Sherlock Holmes Mystery Magazine, Over My Dead Body!, Gumshoe Review, Library Journal, and Publishers Weekly. Her writer’s blog can be found at: http://jacquelineseewald.blogspot.com

Take it away, Jacqueline:


How to Negotiate Writing Contracts

Recently I signed contracts with two different publishers for two separate novels, one a mystery novel in the continuing Kim Reynolds series, the other a stand-alone historical romance set during the American Revolution. Each contract involved negotiations resulting in compromises from both myself and the publishers. I was reminded that I might have some ideas that could be helpful to other authors who also don’t work with agent representation. I hope what I share with you will prove helpful.

Let us say you have written and rewritten until you’ve finally completed the best work of which you are capable. At last, you find a publisher who appears to recognize your accomplishment and achievement. And now you are offered a contract. There are perhaps a few things that you should understand about contracts.

First of all, publishers use contracts to protect their own interests. Writers need to be savvy enough to do the same. Even if you have the benefit of being represented by a literary agent, you should not be ignorant in this regard. Let's say you've been offered a contract for a work of writing you've created. What should you expect to be included?

If you can afford it, I would recommend that you have an attorney look over your contract. But let's assume that the publication is a small one and the amount of money offered is less than impressive. Obviously, it will cost you more than you would earn to have an attorney examine your contract. Also, it’s not likely that an agent will want to bother with it either.

When you need to act as your own attorney and agent, the best thing to do is read up on contracts for writers before you sign. Here's where books like Writer's Market can be helpful. Writer's magazines often carry helpful articles. Writer's organizations like: The Author's Guild (www.authorsguild.org), National Writer's Union (www.nwu.org), American Society of Journalists and Authors (www.asja.org), Science Fiction and Fantasy Writers of America (http://www.sfwa.org/contracts/) all carry valuable information.

In regard to newspapers and magazines, there are a wide variety of agreements. Some editors work by verbal agreement (the proverbial handshake) while others insist on detailed written contracts. I’ve had both types of contracts work out well--but sometimes not so well. It all depends on the integrity of the publisher.

Writers are usually asked to sell first serial rights or one time rights. This is preferred by authors. If you sell "all rights" to a specific work then you will be unable to sell reprint rights later. And many smaller publications are quite happy to purchase reprints. At times I’ve sold reprint rights to short fiction and novels for more money than I received for selling first rights. So avoid selling “all rights” if at all possible. Of course, you can request that reprint rights are returned to you at a later date, but be aware that the publisher is not obligated to return them. My suggestion: always negotiate. I have turned down several well-paying publications for both nonfiction and fiction because I refused to sell all rights. I don’t regret it.

Payment should be specified and agreed upon. It shouldn’t be left vague. Request payment on acceptance. You might not get it, but it's best to ask. Getting paid upon publication can lead to all sorts of problems. Not every publisher is honest or has integrity. Remember that contracts are negotiable. There's nothing wrong with asking for changes that benefit you.

Ideally, a kill fee should be specified. This means that if the publication does not use your work, it still has to pay you a percentage of the original fee.

If you do have a written contract—and that’s always best—request that a specific date for publication be included. Some publishers will hold your work indefinitely otherwise. And yes, this has happened to me as well.

Book contracts are much more complicated to negotiate. If possible, once you are offered a book contract, obtain the services of an agent or attorney. True you will be giving away a percentage of your earnings on a contract you have gotten for yourself. However, if a good agent will now agree to represent your future work, then you are doing quite well. An agent can often get concessions from a publisher that you cannot. Here are a few examples: a higher advance, higher percentage of royalties, more free advance review copies and/or final copies of your book. Also, a good agent can deal with the publicity department of the publishing house on your behalf. Well-connected agents can get your work seen by top editors at the major publishing houses. They network and know what particular editors are buying at a given time.

 Assuming you are offered too little of a payment to make this practical and interest a first-rate agent, then you should read up on contracts for authors before you make a decision to sign on the dotted line.

What should you insist be included in your book contract? You ought to insist on an advance. The advance is based on a formula that projects the book's first year profits. Many small or independent publishers claim they do not and cannot offer authors advances against royalties. However, the publisher hopefully can be made to see that an advance, even a small one, is viewed as "good faith" money by the author. If no advance whatever is offered, this is a sign that the publisher does not expect the book to sell well or doesn't plan to put much or any money in marketing and publicizing your work once the book is published. A nonrefundable advance is what the author should be requesting. As to royalties, request that they be based on the retail price or gross and not the net proceeds which often turn out to be quite small. Publishers generally want only to give you a net percentage which ends up as very little, especially when they claim that there are “returns” of your book. Creative accounting by publishers is quite a common practice and hard to prove. Hiring a forensic accountant simply isn’t practical for a majority of writers.

Publishers generally ask for every kind of rights possible. You may want, for instance, to insist that movie and theatrical rights be removed. Publishers often include option clauses in their contracts insisting that they be offered first rights to your next book. This can be a problem if your work is successful but you are still offered the payment terms of the previous contract. Worse still is the publisher's right to last refusal.

A time range for publication should also be included in the contract. Two years is acceptable; past that, all rights should revert to the author.

Another matter of importance: find out in advance if the publisher will be sending your book out for reviews. If possible, have this specified in the contract. Without reviews from major publications the majority of readers will not know your book exists. Your sales will be highly limited.

Above all else, accept no contract in which you are expected to pay for anything. I cannot emphasize this enough! Any request for fees is a clear indication of a disreputable publisher. Alarm bells should go off. Run, don't walk away! Be suspicious, because there are plenty of scam artists around. Check out writing scams via the internet. There are lists of so-called agents and publishers to avoid on many of the legitimate writer's sites. Check out, for instance, SFWA's Writer Beware: http://www.sfwa.org/for-authors/writer-beware. This website offers valuable information.

My advice is to be patient. Take your time and consider your options carefully. Respect yourself and the integrity of your hard work. And don’t settle for less from a publisher.

If you disagree on some of what I’ve written or can offer your own helpful advice and information, please do so. Your comments most welcome to be shared!

***

Thanks for joining us at SleuthSayers and for the great advice, Jacqueline.


~.~.~

And now for the usual BSP:

Don't forget to check out Broken Windows, the sequel to my Shamus award-winning novel, White Heat. Betty Webb at Mystery Scene magazine says: "Broken Windows is extraordinary."


Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website  www.PaulDMarks.com

26 August 2019

Mojo Lost

by Travis Richardson

There was a time when I was writing 700 words a day before work 5 days a week and then another 1500-2000 each weekend day. I tracked everything on a spreadsheet and pushed myself to hit and exceed goals. Those days weren’t too long ago, somewhere between 2010 to early 2016. I had this weird magical drive where I wrote those 700 words every morning before work. In the peak period, I even did a sun salutation yoga routine before writing. I produced several near finished/unpublished novels and short stories that I never took the time to edit because I had fresher ideas to write that were even better than the older material. 

Then things changed. Not suddenly, but gradually until it seemed that I was barely writing anything at all. The biggest change was having a child. The awesome responsibility of caring for another human cannot be understated enough. My heart and attention focused on her. I altered my schedule to drop her off at daycare then to go to work, taking away some of the morning writing time. I started making up for it by writing during my lunch break. In the early part of my daughter’s life I was mostly able to make the goals, but not with ease. Then parts of my daytime job started to shift. I was pushed out of my office and into a general bullpen area, which deflated my ego and interrupted my workflow. Then my boss retired and his job split into two. My workload doubled for a while and I was skipping lunch breaks for weeks at a time. I wasn’t writing much at all. Somewhere in November 2016, depression started to hover over me. I’d have writing streaks now and again, but nothing with a sustained output like I had had.

Things bottomed out around the beginning of 2018. I worked things out with my wife so that either on a Saturday or Sunday, she takes my daughter out for the day and I get to write. I started a new writing spreadsheet with a modest 200 words a day goals. It worked great for a while. But then stupid things like Chrome not working on my desktop stopped me from tracking word count which meant I pushed myself less (even though I could look on a laptop, the desktop is sort of the writing hub…and I still haven’t fixed the problem.) 

Even with my family out, I’m not always hitting those 2000 words a weekend like I used to. My attention gets too scattered and that zone where my fingers try to keep up with my thoughts and I forget about time and food doesn’t happen as much. At times, I feel like a former high school athlete dwelling on the glory days that will never happen again because of age and bad knees. 

But that is BS. 

Writing is a craft that one can continue to improve on regardless of how old you are. I look at authors like the recently departed Robert S. Levinson who wrote into his 90s, keeping a constant creative output all the way through the end. (RIP Bob.) 

And while having a full-time job and kid is a partial excuse, is not the ultimate excuse. Writers such as Rob Hart, Angel Luis Colon, S.W. Lauden, Eric Beetner, and Matt Phillips have jobs, children, and tremendous output. So what is my problem?

I’m not sure. 

I’m not the same person I was five years ago and I wonder if my desire has lessened. I remember when I started going to MWA and Sisters in Crime meetings and listening to midlist authors complaining about the publishing industry, and I wished that I could be in a position like that to complain someday. I never made it that far, but I feel cynical at times and I hate it. I’m still dreaming the impossible dream, for better or worse. I need to believe in it again on a more intense scale. 
In July, I changed jobs, and now I have a bit of a longer commute (on foot) with an earlier start time. I’m trying to get to work a little early and write for a few minutes before the workday begins. That has worked for a few paragraphs, but not pages. I write on most of my lunch breaks too, but that has also been a limited chunks. And I haven’t opened my spreadsheet in months.  

Perhaps I might need to re-transform myself into the night writer I used to be in the unpublished 90s and early 2000s. The problem is that I’m so tired and stupid by 9-10pmish when my daughter falls asleep that I feel I can’t write anything coherent. 

I might also go back to an early carrot trick when I used to reward myself anytime I got a story published. I stopped after a while because I had a decent amount of publications and it seemed indulgent… but maybe it’s worth looking at it again.
Reward 1
Reward 2

In some ways, I feel bad for everybody at Sleuthsayers. You got me at low period. I’m not as interactive as I’d like to be and while I’d like to write a poignant blog that would shake up the writing community (in a good way), I can’t seem to knock that ball out of the infield.

On the positive front, next month I’m going to a writing retreat and I’m hoping that besides creating some output, I’ll have renewed energy to take me through the rest of 2019 and into the upcoming twenties. 

Have you had/have any writing productivity issues? For those who got past it, what did you do to overcome it?

Thanks for reading this!


Travis Richardson is originally from Oklahoma and lives in Los Angeles with his wife and daughter. He has been a finalist and nominee for the Macavity, Anthony, and Derringer short story awards. He has two novellas and his short story collection, BLOODSHOT AND BRUISED, came out in late 2018. He reviewed Anton Chekhov short stories in the public domain at www.chekhovshorts.com. Find more at www.tsrichardson.com

                                                                              

13 August 2019

Strange Impersonation

by Paul D. Marks

I was looking for a movie to watch and Strange Impersonation, directed by Anthony Mann, sounded interesting, so I put it on.

And since I’m going to use this movie to make a larger point I’m going to give away various plot elements. I could use other, better-known movies, but as this is less-known and will work just as well illustrating the point, I figure it’s better to give the store away here. I’m using this movie to make a point about most, if not all, movies that do this.

SPOILERS AHEAD:

Here’s the basic plot as told by Bruce Eder on All Movie: “Nora Goodrich (Brenda Marshall) is a dedicated research scientist who is very close to a breakthrough in her field of anesthetics. She allows herself to be used as the subject of an experiment, and becomes the victim of sabotage by her jealous assistant (Hillary Brooke), who is her rival for the affections of the same man (William Gargan). Nora is scarred by the accident, but fate takes a hand when a vicious blackmailer (Ruth Ford), part of an extortion scam that was being worked on her, breaks in to her apartment. In the ensuing struggle, the lady grifter is killed and then mistaken for Nora, while the real Nora goes into hiding. Taking the identity of the dead woman, she realizes how she has been betrayed and maimed and plots an elaborate revenge, undergoing reconstructive surgery that changes her whole appearance. She then reintroduces herself into the lives of her former associates, in her new guise, and begins her revenge. Before her plans can be concluded, however, her masquerade backfires on her, when she finds herself accused by the police -- of the murder of Nora Goodrich” (https://www.allmovie.com/movie/strange-impersonation-v111934#ASyuCJD6Q4IVUJxw.99)


Okay, it sounds pretty convoluted, but just go with it, ’cause that’s not the point of this post.

It started going along pretty well. Nothing great, but I didn’t turn it off either.

So, after the ‘accident,’ and after the blackmailer dies and is mistaken for the scientist, the scientist leaves her fiancé and her life behind. She heads out west. Has plastic surgery to look like the woman who was blackmailing her. She then returns to the city as that person and begins on a course of revenge against her former assistant. She insinuates herself back into her former fiancé’s life, trying to steal him back from his new lover, her former assistant. Before she can pull it all together, everything backfires on her and she finds herself accused of murder—the murder of herself (though really, as we know, the blackmailer).


Okay, still convoluted, but interesting.

EXCEPT…

…that all of the revenge part of the plot turns out to be a dream. Everything after the explosion/‘accident’ didn’t really happen. It was all a dream in the scientist’s head after the accident. So all the emotion and excitement and concern that we invested in the character/s was for nothing. Because none of it was real. There were no real consequences. The assistant didn’t really make an explosive compound that disfigured the scientist. The scientist didn’t really get plastic surgery, return to exact her revenge, which was thwarted before should could finish it and she wasn’t really arrested for the murder of…………herself.

None of it happened. Because it was a dream.

And because it was a dream it’s a cheat. And it makes me angry and it makes me feel like I wasted 68 minutes of my life. I don’t like movies where major plot elements turn out to be dreams. I’ve invested myself, I’ve given over my suspension of disbelief. And then none of it matters.

I won’t name other movies or TV shows where things have turned out to be dreams, because I don’t want to give them away for those who haven’t seen them (with a couple exceptions below). But I can’t think of one that I like once I learn the events that took place were just a dream and didn’t really happen. There are, however, a couple of exceptions: one film noir that I like fairly well where much of it turns out to be a dream, but even that one which, if there is an exception to the rule is it, disappoints me in the end because again, there was no real jeopardy. There were no real consequences. So what did it all amount to? Nothing. The other exception is The Wizard of Oz, but that whole story is a fantasy. We’re not supposed to buy it as a real story as we are with other movies.

(Just as a side note here: I’m not talking about movies like Spellbound, where dreams are used to analyze a character and figure them out. That’s fine. I’m talking about movies where we learn that much of the action was a dream and thus didn’t really take place within the context of the story.)

Freud might have loved dreams and found them useful in psychoanalyzing people. But in my opinion, in a movie they’re nothing but a cheap cheat.

What do you think? Do you find movies based on dreams a cheat? Do you feel deceived after you’ve seen them? Let us know.

~.~.~

And now for the usual BSP:

My story Past is Prologue is out in the July/August issue of Alfred Hitchcock Mystery Magazine. Available now at bookstores and newstands as well as online at: https://www.alfredhitchcockmysterymagazine.com/. Hope you'll check it out.



Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website  www.PaulDMarks.com

23 July 2019

The Future of Writing

by Paul D. Marks


Many of us have nostalgic, warm feelings of curling up with a book in the rain. For a lot of us here at SleuthSayers it’s more than likely a mystery or a thriller, though I’m sure we all read many different kinds of books, mainstream fiction, non-fiction, a little of everything.

But how many of our kids have that warm feeling? How many of our kids enjoy reading just for the pleasure of it? How many people read paper books anymore? And are young people reading these days? They do seem to read YA books, maybe on Kindle and iPad but not often in paperback. But they are reading less than previous generations and spending more time playing games on their phones, texting and watching movies instead of reading. More distractions and shorter attention spans. They’ve grown up with everything being faster and getting instant gratification. Do they ever read classics or history or something that’s a stretch for them? And how many never read anything longer than a  Facebook post or Tweet?


My wife, Amy, who takes the train to work, says, “I notice on the train a lot of people staring at their phones. Some are reading, but the really serious readers have paperbacks or Kindles and don’t read on their phones. Most are texting or playing games. And it’s time that could be spent reading but they don’t. And that’s scary. I understand wanting to do something mindless and entertaining for a little while, but we also need to exercise and stretch our brains and imaginations sometimes, too.”

It seems to me that, while there are still some places to buy books besides Amazon, and that people still read, I’m not sure how many people read or what they’re reading. So the question is, is fiction a dying art? And how does that affect our writing?

Many people, of all ages, would find Don Quixote slow to come to a boil. Nothing happens for too long. That’s the way it is with a lot of books from earlier times and not even all that earlier. Hemingway was known for his “streamlining” of the language, but many people these days find his books slow going.

The same applies to movies. Even movies made 20 or 30 years ago are too slow for many people today. And when they watch movies they often watch them on a phone with a screen that’s five inches wide. How exciting is that? And many movies today are of the comic book variety. I’m not saying no one should read comic books or enjoy comic book movies, but it seems sometimes like that’s all there is in the theatres.

And novels have become Hollywoodized. I like fast paced things as much as the next person, but I also like the depth a novel can provide that movies or TV series often don’t. And one of the things that I liked about the idea of writing novels was being able to take things slower, to explore characters’ thoughts and emotions.

In talking to many people, I often find there’s a lack of shared cultural touchstones that I think were carried over from generation to generation previously. That also affects our writing. Should we use literary allusions, historical allusions? If so, how much do we explain them? And how much do we trust our audience to maybe look them up? The same goes for big words.

Way back when, I was writing copy for a national radio show. Another writer and I got called on the carpet one time and dressed down by the host. Why? Because we were using words that were “too big,” too many syllables. Words that people would have to look up. So, we dumbed down our writing to keep getting our paychecks. But it grated on us.

But in writing my own books and short stories I pretty much write them the way I want to. I’m not saying I don’t stop and consider using this word instead of that. But I hate writing down to people. When I was younger I’d sit with a dictionary and scratch pad next to me as I read a book. If I came on a word I didn’t know I’d look it up and write the definition down. And I learned a lot of new words that way. Today, if one is reading on a Kindle or similar device, it’s even easier. You click on the word and the definition pops up. That’s one of the things I like about e-readers, even though I still prefer paper books. But I wonder how many younger people look up words or other things they’re not familiar with.

And what if one wants to use a foreign phrase? I had another book (see picture) for looking those up. But again, today we’re often told not to use those phrases. Not to make people stretch. I remember seeing well-known writers (several over time) posting on Facebook, asking if their friends thought it was okay to use this or that word or phrase or historical or literary allusion because their editors told them they shouldn’t. That scares me.

So all of this brings up a lot of questions in my mind: What is the future of writing? Are we only going to write things that can be read in ten minute bursts? And then will that be too long? What does all this mean for writers writing traditional novels? Will everything become a short story and then flash fiction?

In 100 years will people still be reading and writing novels? Or will they live in a VR world where everything is a game and they can hardly tell reality from fantasy?

So, what do you think of all of this?

~.~.~

And now for the usual BSP:

My story Past is Prologue is out in the new July/August issue of Alfred Hitchcock Mystery Magazine. Available now at bookstores and newstands as well as online at: https://www.alfredhitchcockmysterymagazine.com/. Hope you'll check it out.




Also, check out Broken Windows, the sequel to my Shamus Award-winning novel, White Heat.



Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website  www.PaulDMarks.com

17 July 2019

Because It Isn't There

by Robert Lopresti

I'm going to give in to peer pressure and follow Steve Liskow, Michael Bracken, R.T. Lawton, and O'Neil De Noux in addressing the question: Why write?

* When I was in second grade I brought a pencil and notebook to school determined that I would write a new Winnie-the-Pooh story.  I remember my shock in realizing that I had no idea how to do that.  Why did I want to write?  Because there were only two Pooh books and that clearly wasn't enough.

* In sixth grade our English teacher encouraged us to write short stories.  I wrote a few spy stories (in slavish devotion to The Man From Uncle)  and Mrs. Sonin, bless her heart, would let me read them to her after school while she graded papers.  I hope to heaven she didn't listen because they were uniformly awful.  Why did I write?  Because I loved to read and wanted to add more stories to the world.

* While living in a dorm at graduate school I found time to write a novel, which I had the good sense not to submit anywhere.  I still have the handwritten draft but, as Robert Benchley said about his diary, no one will see it as long as I have a bullet in my rifle. Why did I write? Because I wanted to be a writer and I needed something to do other than study cataloging.

* At the same time I started submitting terrible short stories to magazines.  Why?  Because I thought I might have a career as a writer.

* After three years of trying I sold a story to Mike Shayne's Mystery Magazine. The rush I got from seeing my name in print gave me a reason to write for many years.

And other stuff happened, but that's enough.

Let's sum things up, shall we.  Why do I write?

As Thomas Berger said: "Because it isn't there."

02 July 2019

Tess Gerritsen: What Makes Books Fail?

by Paul D. Marks


In my last post for SleuthSayers I briefly mentioned Tess Gerritsen and her keynote speech at the California Crime Writers Conference. Leigh asked if I could talk a little more about what she said, so here goes:

I really enjoyed her speech, it was funny and relatively short—about twenty minutes. And it kept my interest. Much of what I say here is quoted or paraphrased closely from her speech. But I think I misstated her premise in my last piece, saying she talked about What Not to Do. More accurately her speech was about What Makes Books Fail. She started with some anecdotes and wound her way around to that topic.

She opened talking about how happy she was to be in sunny SoCal. Though it hasn’t been as sunny here as it normally is. But I guess coming from Maine anything above 50 is sunny.

She segued into Delia Owens and her phenomenal success with Where the Crawdads Sing. She also talked about The Guernsey Literary and Potato Peel Pie Society, by Mary Ann Shaffer and her niece  Annie Barrows which spent many weeks on the NY Times best seller list. Delia Owens was 70 when her debut novel came out. Shaffer, author of Potato Peel was 74 …and died before it came out. The point was it doesn’t matter how old you are or what you look like. You just have to do it. And you don’t even have to be alive to be a debut novelist!

Delia Owens
Mary Ann Shaffer and her niece Annie Barrows
She moved on to talk about something we can all relate to. One day, while in her local grocery store, the butcher smiled at her over the meat counter. Then came running out after her—hopefully not with a butcher knife raised over his head.

“I knew you’d be in here eventually,” he said. “I want to give you this.”

Three guesses as to what he wanted to give her. Okay, time’s up.

He brandished a manuscript—what else? She took it. And to cut to the chase it never got published, at least not traditionally.

Another time she was in a restaurant. A man across from her jumped out of his chair, dashing out of the restaurant. He returned 20 minutes later with a briefcase…holding, well, you know what it was holding.

And then she talked about love, at least Shakespeare in Love. But rather than try to retell what she said, this, from her website, pretty much covers it:

“Young Shakespeare writes ‘Romeo and Juliet’, falls in love, and tries to stay one step ahead of the Queen’s guard. The scene that had me laughing hardest? When a ferryman finds out that Shakespeare’s a writer and asks him, ‘Will you read my manuscript?’”

Do you notice a theme here?

But the real theme of her talk was why some novels get published and others don’t. Why didn’t the butcher’s novel get published? The real theme was:


What Makes Books Fail

Ms. Gerritsen said that there are certain mistakes that are made often that keep one from breaking out or getting a traditional contract. By way of illustration, she talked about Uncle Harry. We all have one, right?

Uncle Harry and Aunt Maude both experienced the same earth shattering event. Harry will talk your ear off, telling you everything that happened, blow by blow, and bore you to death. Maude will tell you the same story and keep you on the edge of your seat. What’s the difference? Maude gives you the high points of the story.

Tess says we need to identify where the emotional high points are. It’s not that Harry isn’t intelligent, but he needs to get a sense of the dramatic. That’s why Maude’s version is better.

She told the story of Michael Palmer’s agent taking him on, even though the agent didn’t like the book, because they thought he had a sense of the dramatic. And when she and Palmer, both doctors, taught a course in writing for other docs who wanted to be novelists, they discovered that most of them, intelligent as they are, and as understanding of all the tech aspects, couldn’t tell a good story because they didn’t have that sense of the dramatic.

Tess Gerritsen at the 2019 California Crime Writers Conference
And her heart dropped when an attorney-friend of hers wrote a book and wanted to talk to her about it. But, she thought, he does interesting stuff so maybe it would be okay, and agreed to meet for lunch. And this is what she said:

“His book was about a man who comes of age in the turbulent 60s and moves to Maine. ‘And what happens,’ I asked. ‘It’s about self-discovery, about the journey, about coming to grips with life,’ he said. ‘But what happens,’ I said, ‘where’s the conflict? Where’s the struggle?’ And he said, ‘life is a/the struggle.’ And I thought okay, we’re in trouble. So the more I pressed him on the plot and the characters, the more I heard about actualization and personal journeys and maximizing relationships. And in a fit of frustration, I finally just said, ‘you’re thinking too hard. You should be feeling the story,’ and that’s what I’ve come to conclude, is that what makes most stories fail is that people are thinking too hard and they’re not feeling their way. In a nutshell, writers really shouldn’t be cerebral, shouldn’t be logical. We should be thinking about the dramatic points in our lives, the emotional centers in our lives.”

And one more example: Another man wrote a scene about a family preparing a BBQ. He wrote it in great detail, the cooking, the salads, every little thing. And then his grown child telling the dad that “we’re going to have a baby.” That’s great, the dying dad says, congratulations, and they go in and have dinner. But the author didn’t let the characters chew on that. Didn’t play off the emotional core of the scene, the dying man becoming a grandfather. It was just glossed over.

Tess said she remembers the day she was told she was going to have her first grandchild. Her son, who has a flair for the dramatic, showed her a sonogram on the rim of the Grand Canyon. She and her husband started sobbing. She doesn’t remember the hike or how she got to the rim. She only remembers about the baby, now her five year old granddaughter. So, she told the man writing about the BBQ he shouldn’t pass over the emotional center so quickly and spend so much time on the steaks being medium rare. She couldn’t remember the trip to the Grand Canyon. Every bit about the salad or how the steaks were cooked wasn’t what was important.

How a book fails, she said, is that we fail to remember that we’re human beings. It’s all about emotions, not about telling. And a large part of our skill is choosing the scenes—which scene/s are you going to point out? What are the details that matter to you? And even though we sometimes have to deal with technical aspects of what’s happening, we still need to find the emotional things there.

She used her book Gravity as an example. She had to explain the technical aspects of a spacewalk. But she didn’t have the heart of her story until she read Into Thin Air, where one of the climbers, who knew he was doomed to die on the mountain, called his wife to say goodbye. That brought Tess to tears and gave her the spark for the emotional center for Gravity. What is your last goodbye going to be like? Make your story interesting by bringing in your emotions.

So, even when you do need to tell, as we sometimes do, you need to find the emotions of the scene. Show something from the point of view of what you and your characters are feeling.


The bottom line:

What she’s learned is: trust your heart. That’s where your story needs to be. Don’t tell, but show. Choose the scenes that have the highest amount of gravitas and angst, and maybe we’ll all be Delia Owens someday.
~.~.~

And now for the usual BSP:

My story Past is Prologue is out in the new July/August issue of Alfred Hitchcock Mystery Magazine. Available now at bookstores and newstands as well as online at: https://www.alfredhitchcockmysterymagazine.com/. Also in this issue are fellow SleuthSayers Janice Law, R.T. Lawton and B.K. Stevens. Hope you'll check it out.



Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website  www.PaulDMarks.com

23 June 2019

When Showing Tells

by Leigh Lundin

HAL 9000
Addicted to the Hard Stuff

From about age eight, I devoured science fiction with a passion. If I’d read Arthur C Clarke’s ‘The Sentinel’ then, I didn’t recall. Certainly I wouldn’t have guessed it would inspire arguably the finest science fiction film of the past half century. I didn’t make the connection at the time.

Nothing was going to stop this impecunious Greenwich Village student from seeing 2001: A Space Odyssey. For one thing, few critics and even fewer directors understand ‘hard science’ fiction. Those meager numbers unsurprisingly thin as a shrinking percentage of the populace take science itself seriously.

Back in April 1968, articles and advance marketing drove the buzz in New York City. Writers droned on and on about the beauty of the space ballet. Computer trade journals discussed the technology of HAL. Gossip columnists debated how to pronounced the lead actor’s name. New York’s theatre scene gushed that the chimps were portrayed by dancers. Much later we’d learn they were acted out by professional mimes.


2001 going ape

 Within days, the excited film talk turned to disillusion and disappointment. Even SF fans emerged from the premier saying, “Huh?”

WTF?

Foremost, the original cut fell victim to that movie-goer tendency to rush from a theatre before the first credit rolls. (The credits stampede has become such an annoying phenomenon that some directors reward fans who sit through until the end with further scenes.) Back then, fatigued by 2001’s seemingly endless ‘acid trip’, theatres emptied moments before the crux of the story revealed itself. Audiences missed the entire point of the story.

Stanley Kubrick sliced and diced the ‘acid trip’ (now called ‘star gate’) and reworked the production’s final few minutes. Even so, readers had to wait for Clarke to finish the novel written in parallel to piece together the entire affair. Clarke’s earlier 1948/1951 short story wouldn’t prove helpful at all.

Down the Wrong Path

As a penniless student, I refused to miss a second of the film’s original two hours, forty minutes. Although I remained through the ending, I left confused for a different reason. Not until the book came out did I realize a common story-telling technique misled me:

Showing, Not Telling

To demonstrate I wasn’t the only person led astray, I quote Wikipedia:

In an African desert millions of years ago, a tribe of hominids is driven away from its water hole by a rival tribe. They awaken to find a featureless black monolith has appeared before them. Seemingly influenced by the monolith, they discover how to use a bone as a weapon and drive their rivals away from the water hole.

That happened, but that’s not what happened.  To flesh in more detail:

Following the unveiling of the monolith, these ancestral apes take up long bones as clubs. In a slow-motion orgy of destruction, they bash discarded skulls into shards. In the next scene, they enthusiastically wield clubs to kill their hated enemies.

2001 Dave Bowman in a pod
That key led some to a false conclusion:  
The monolith triggered violence and aggression.

The writers had intended the scene to show:
The monolith precipitated evolution.

No one knows how many viewers interpreted the scene wrongly. Between that problem and the abortive rush-out-the-door ending, Kubrick and Clarke managed to confuse an entire city and probably an entire nation.

Afterword

I hazard the filmmakers became blinded by proximity– they’d grown too close to that vignette to realize it could lead to misunderstanding. A fix could have been easy.
  1. The primates drive away sabre-tooth tigers or woolly mammoths, not a warring primate clan.
  2. The primates learn to dig, devise, or divert water using their evolving brains, not brawn.
They had me as a fan of science fiction, of Clarke, of Kubrick, and especially oblique story-telling, but a small mistake left me in the wilderness. As I write, I try to bear that lesson in mind.

Afterward

Nonetheless, I love 2001. Revisions have clarified and far more answers are available now than on opening day.

Months later, I would see another of my favorites in that same theatre district, Silent Running. About the same time while still on a student budget, a faded poster lured me to spend a couple of hours in a drab Greenwich Village dollar theatre, an elephant graveyard of soon-to-be-forgotten films. Filmed on a shoestring budget, that obscure celluloid strip turned out a gem in the rough. THX-1138 was the product of an unknown 24-year-old writer/director… George Lucas.

Arthur C Clarke’s short story? After seventy years, it shows its age, but it’s worth reading. We’re pleased to bring you ‘The Sentinel’ PDF and MP3/M4B audiobooks. You can also read or listen to 2001: A Space Odyssey provided for free by the thoughtful people at BookFrom.net. To listen or download, don't be misled by the nearby ‘Text-to-Speech’ icon, but click on the Listen 🔊 link in the upper right corner of the page.

22 June 2019

Ten Minutes of Comedy at the Arthur Ellis Awards Gala (and they even let me stay on stage...)

by Melodie Campbell (Bad Girl)


The Crime Writers of Canada went loco, and asked me to emcee the Arthur Ellis Awards this year.  Somehow they learned I might have done standup in the past.  Or maybe not, because they even paid me.  It may be more than my royalties this quarter.

I dug back into my Sleuthsayer files to decide what might appeal to a hardened (read soused) group of crime writers en mass, with an open bar.  This is what resulted, and I’m happy to say the applause was generous.  You may remember some of this. 



Arts and Letters Club, Toronto, May 23, 2019, 9PM



Hello!  Mike said I could do a few minutes of comedy this evening as long as I apologized in advance.



My name is Melodie Campbell, and it’s my pleasure to welcome here tonight crime writers, friends and family of crime writers, sponsors, agents, and any publishers still left out there.



Tonight is that special night when the crime writing community in Canada meets to do that one thing we look forward to all year:  which is get together and bitch about the industry.



Many of you knew my late husband Dave.  He was a great supporter of my writing, and of our crime community in general.  But many times, he could be seen wandering through the house, shaking his head and muttering “Never Marry a crime writer.”



I’ve decided, here tonight, to list the reasons why.



Everybody knows they shouldn’t marry a crime writer.  Mothers the world over have made that obvious: “For Gawd Sake, never marry a marauding barbarian, a sex pervert, or a crime writer.” (Or a politician, but that is my own personal bias.  Ignore me.)



But for some reason, lots of innocent, unsuspecting people marry authors every year.  Obviously, they don’t know about the “Zone.”  (More obviously, they didn’t have the right mothers.)



Never mind: I’m here to help.



I think it pays to understand that crime writers aren’t normal humans: they write about people who don’t exist and things that never happened.  Their brains work differently.  They have different needs.  And in some cases, they live on different planets (at least, my characters do, which is kind of the same thing.)



Thing is, authors are sensitive creatures.  This can be attractive to some humans who think that they can ‘help’ poor writer-beings (in the way that one might rescue a stray dog.)  True, we are easy to feed and grateful for attention.  We respond well to praise.  And we can be adorable.  So there are many reasons you might wish to marry a crime writer, but here are 10 reasons why you shouldn’t:



The basics: 



1  Crime Writers are hoarders.  Your house will be filled with books.  And more books.  It will be a shrine to books.  The lost library of Alexandria will pale in comparison.



2  Crime Writers are addicts.  We mainline coffee.  We’ve also been known to drink other beverages in copious quantities, especially when together with other writers in places called ‘bars.’ 



3  Authors are weird.  Crime Writers are particularly weird (as weird as horror writers.) You will hear all sorts of gruesome research details at the dinner table.  When your parents are there.  Maybe even with your parents in mind.



4  Crime Writers are deaf.  We can’t hear you when we are in our offices, pounding away at keyboards. Even if you come in the room.  Even if you yell in our ears.



5  Crime Writers are single-minded.  We think that spending perfectly good vacation money to go to conferences like Bouchercon is a really good idea.  Especially if there are other writers there with whom to drink beverages.



 And here are some worse reasons why you shouldn’t marry a crime writer:



6  It may occasionally seem that we’d rather spend time with our characters than our family or friends. 



7  We rarely sleep through the night.  (It’s hard to sleep when you’re typing.  Also, all that coffee...)



8  Our Google Search history is a thing of nightmares.  (Don’t look.  No really – don’t.  And I’m not just talking about ways to avoid taxes… although if anyone knows a really fool-proof scheme, please email me.)



And the really bad reasons:



9  If we could have affairs with our beloved protagonists, we probably would. (No!  Did I say that out loud?)



10  And lastly, We know at least twenty ways to kill you and not get caught.



RE that last one:  If you are married to a crime writer, don’t worry over-much.  Usually crime writers do not kill the hand that feeds them.  Most likely, we are way too focused on figuring out ways to kill our agents, editors, and particularly, reviewers. 

Finally, it seems appropriate to finish with the first joke I ever sold, way back in the 1990s:

Recent studies show that approximately 40% of writers are manic depressive.  The rest of us just drink.

Melodie Campbell can be found with a bottle of Southern Comfort in the True North.  You can follow her inane humour at www.melodiecampbell.com



18 June 2019

Professional Tips from Screenwriters

Introducing John Temple…
John Temple
John Temple is a veteran investigative journalist whose books shed light on significant issues in American life.

Forthcoming next Tuesday, June 25th, John’s newest book, Up in Arms: How the Bundy Family Hijacked Public Lands, Outfoxed the Federal Government, and Ignited America’s Patriot Movement, chronicles Cliven and Ammon Bundys’s standoffs with the federal government.

His last book, American Pain: How a Young Felon and His Ring of Doctors Unleashed America’s Deadliest Drug Epidemic, was named a New York Post “Favorite Book of 2015” and was a 2016 Edgar Award nominee. American Pain documented how two young felons built the largest pill mill in the United States and also traced the roots of the opioid epidemic. John has spoken widely about the opioid epidemic to audiences that include addiction counselors, medical professionals, lawyers, and law enforcement.

John also wrote The Last Lawyer: The Fight to Save Death Row Inmates (2009) and Deadhouse: Life in a Coroner’s Office (2005). The Last Lawyer won the Scribes Book Award from the American Society of Legal Writers. More information about John’s books can be found at www.JohnTempleBooks.com.

John Temple is a tenured full professor at West Virginia University’s Reed College of Media, where he teaches journalism. He studied creative nonfiction writing at the University of Pittsburgh, where he earned an M.F.A. John worked in the newspaper business for six years. He was the health/education reporter for the Pittsburgh Tribune-Review, a general assignment reporter for the News & Record in Greensboro, N.C., and a government and politics reporter for the Tampa Tribune in Tampa, FL. I've had the pleasure of knowing him for more than twenty years, since attending law school with his wife. I'm so pleased to let you all meet and learn from such a great journalist and storyteller.

— Barb Goffman

Learning from Screenwriters

by John Temple

In 2006, I read a book that changed the trajectory of my writing life. I was beginning work on my second nonfiction book, about a North Carolina lawyer who defended death row inmates, when a screenwriter friend recommended I read Syd Field’s 1979 book, Screenplay, which is a sort of holy text for Hollywood screenwriters.

I wasn’t a screenwriter, but I soon realized why the book had such an impact. Somehow, even after many years of working as a newspaper reporter, devouring numerous writing books, and earning an MFA in creative nonfiction, I had never come across such solid, practical advice about how stories are built. Among other ideas, Field advocated a fairly strict three-act structure as the screenplay ideal, but for me the single most helpful concept in his book involved “beats.”

Most screenwriters agree that their chief mission is to find the story’s moments of change, which they call beats. In a screenplay, where efficiency is key, those transformative moments determine whether a scene or sequence earns its pages. In every scene, something must occur that alters either the character’s mindset or the stakes or the dramatic action. In my last three books, all nonfiction crime stories, I’ve tried to consciously seek out the moments of change that my various characters have experienced, and let those beats dictate how I structured the books. I’m looking for the events that contain catalytic moments that alter the protagonist or the surroundings and further the story. Those are the moments I seek to present as full-fledged scenes, rich with vivid detail. The rest is summary.

Sometimes, a beat can be dramatic and external. As Raymond Chandler wrote: “When in doubt, have a man come through a door with a gun in his hand.” (What Chandler actually meant by that quote is somewhat more complicated.) However, the most intriguing and pivotal beats often involve internal change, which is often a decision or realization. In my 2015 book, American Pain, which chronicled the rise and fall of the nation’s largest painkiller pill mill, the owner realized how much money he stood to make if he could avoid the Drug Enforcement Administration’s scrutiny. That meant he needed to clamp down on his doctors and staff. This was a key moment of change for this primary character. So instead of breezing through that section of the book in an expository way, I meticulously looked for moments and details that would illuminate that beat. There were many other moments of obvious drama in the book – train crashes, overdoses, a kidnapping, drug busts – but that change in the character’s outlook felt more important to the overall story.

Temple: Up in Arms
Another type of internal change is a shift in the character’s emotional state. If a character enters and exits a scene in emotional stasis, then the scene may be lacking in movement. My new book, Up in Arms, chronicles the Cliven Bundy family’s multiple standoffs with the federal government. I deliberately sought to find scenes that showed Ammon Bundy’s increasing mistrust and suspicion of the feds, which eventually led to his engineering of an armed takeover of a wildlife refuge in Oregon.

External change is any change in the character’s environment, usually resulting in what Aristotle termed “peripeteia” or “reversal,” a sort of flip-flopping of the pressures being exerted against the protagonist. At the beginning of a scene, the character may be under one kind of stress, but by the end of the scene, a new pressure, often a polar opposite, has arisen. A third type of change is the shift in the relationship between two characters. Like any change, a relational change can be subtle or obvious. As veteran screenwriter Aaron Sorkin said in a 2000 interview: “Any time you get two people in a room who disagree about anything, there is a scene to be written. That’s what I look for.”

So every scene or sequence must contain a beat of change. How should these beats be arranged? Screenwriters are continually puzzling over this question. In The Writer’s Journey: Mythic Structure for Storytellers & Screenwriters, Christopher Vogler repackaged the work of mythologist Joseph Campbell for modern Hollywood, outlining 12 major beats that are part of what he called the Hero’s Journey, including a Call to Adventure, Crossing the Threshold, and the Return with the Elixir. The specifics of these beats are endlessly variable, adaptable to any genre or character.

Robert McKee’s book, Story, suggests that narratives feature a warring Idea and Counter-Idea, illustrated by beats in which one or the other gains the upper hand. Scenes and sequences should be arranged so the Idea prevails in one beat, only to be defeated by the Counter-Idea in the next, and so on in an undulating wave of positive and negative beats. McKee writes: “At climax one of these two voices wins and becomes the story’s Controlling Idea.”

All narrative writers know change must occur to keep a story moving. But novelists and creative nonfiction authors may benefit by using the concept of story beats to more deliberately analyze the value and possibilities of their scenes and the structure of their books. It’s a concept that’s just as useful on the page as it is on the screen.

25 May 2019

Why I Chose a Traditional Publisher

by Melodie Campbell (Bad Girl) 

Students often ask me why I don’t self-publish. 
I try to slip by the fact that I was a babe when dinosaurs roamed the earth.
Meaning, I was writing long before self-publishing on Amazon and Nook etc. had even become an option.

Having a publisher and agent before self-publishing was a 'thing' has certainly made a difference, I'm sure.  But now we have a choice. 

Why do I still stay with a traditional publisher?

Gateway Endorsement

There’s no getting away from this:  a traditional publisher, no matter how small, is investing THEIR money to produce YOUR book.  They believe in your book so much that they are willing to risk their own money to see it published.

What’s more, readers know this.  They know that if your book has a publisher, then it has gone through a gateway of sorts.  Someone in the business who knows about the book trade – someone other than the writer - has determined that this book is worthy of being published.

They believe in your book.  That’s a huge endorsement.

You may believe in your book.  I hope you do.  And you may decide to self-publish it.  That’s your choice.  And it may be just as good as any book that is released from a traditional publisher. 

But the reader doesn’t know that.  Further, they don’t know if you’ve already sent the book to a dozen publishers and had it rejected.  In many cases, they assume you’ve done just that.  They assume that no publisher  wanted it.  Therefore, they figure they are taking a risk if they buy your book.  And most readers don’t want to take risks with their money.  (Some will, bless them.  We love those 
readers.)

Distribution and Promotion

Traditional publishers – particularly large or mid-size ones – get your paperbacks into national bookstore chains.  They will also include your book in their catalogue to the big buyers, create sales info sheets for your book, and perhaps buy ads.  They arrange for industry reviews.  We authors complain they don’t do enough promotion.  But they certainly do these things that we can’t do.

We, as authors, can’t access the same distribution networks.  We can’t easily (if at all) reach the prominent industry reviewers like Library Journal and Booklist. 

And then there’s the whole problem of bookstores insisting on publishers accepting returns.  So if your book doesn’t sell, your publisher has to pay the bookstore back the wholesale price they paid for the book.  Independent authors can’t work that way.  We authors would go broke if we had to return money to every bookstore that shelved our paperbacks but didn’t sell them.  Remember, you don’t get the book back.  The cover is sent back and the book is destroyed.  Yes, this antiquated system sucks.

All the other crap

I’m an author.  I want to write.  I don’t want to spend my cherished writing time learning how to navigate Amazon’s self-publishing program, and all the others.  I don’t want to pay substantive and copy-editors out of my own pocket.  I don’t want to seek out cover designers (although I admit that part might be fun.)  I don’t want to pay a bunch of money upfront to replace the work that publishers do.

If you self-publish, then you become the publisher as well as the author.  I asked myself: do I want to be a publisher? 
  
This was my decision, and you may choose a different one.  You may love being a publisher.  But I find it hard enough being an author.  Adding all those other necessary factors to the job just makes it seem overwhelming to me.  I may be a good writer.  But I have no experience as a publishing industry professional.  I have no expertise.  So I publish with the experts.

You may choose a different route.  Just be aware that when you self-publish, you become a publisher just as much as an author.  It’s all in how you want to spend your time.

Good luck on your publishing adventure, whichever way you choose to go!

That's The B-Team, a humorous heist crime book that is a finalist for the 2019 Arthur Ellis award, in the photo below.  You can get it at B&N, Amazon and all the usual suspects. 

ON Amazon