Questions, Not Answers

by Zoë Sharp

The topic of eBooks and ePublishing has come onto my radar recently, and I confess it’s something I haven’t yet ventured into. I know I should – like a lot of things – but there’s always the pros and cons to consider. And, for me, the jury’s still out. Hence the title of this post. I’m asking for a consensus of opinion. I have questions, not answers.

 

 

It’s a fact of life that eBooks are here to stay. Whether they eventually overwhelm conventional paper publishing is another thing. I hope not. There’s something tactile about reading a book that cannot, for me, be replaced by the onscreen experience. Things just read differently on paper. Maybe I’m just a Luddite at heart.

 

 

To begin with, eBooks tended to be used for technical manuals that were for a limited audience and expensive to produce in other formats. I can still remember the joys of my first Amstrad word processor, when it – or I – did something stupid that the manual did not seem to have an answer for, you could throw the heavy tomes against the wall. Many’s the time they landed with a satisfying thump in a corner of the office.

 

Time’s moved on since then. It’s only two years since the introduction of Apple’s iPhone and Amazon’s Kindle, and then the Sony Reader hit the market earlier this year. The explosion of the iPhone and the iPod has meant that every man and his dog seems to spend half their life with those little white earphones in place. It’s hard to remember a time when it wasn’t so.

 

 

But I digress. In theory, the numerous eBook formats that have sprung up to support this growing trend of the digital reader are all protected against illegal copying.

 

In theory.

 

Stealing books is not a new idea. When I used to live in a big university town, the most frequently shoplifted books from our local bookstore were textbooks. The trend towards eBooks has meant that students can obtain required textbooks much cheaper than their print versions.

 

I can see all the advantages of an eBook. For voracious readers, it allows them to have a huge collection in a very small space. They can search the text for keywords. They can carry a large number of books around at any one time – invaluable for travellers. Video clips can be embedded. Font size can be enlarged to order for the visually impaired. You don’t even need a bookmark to remember where you left off, nor a flashlight to read them under the covers.

 

BUT

 

You need an electronic reader of some description to read an eBook. You can’t drop them with impunity. You can’t dry them out on a radiator if you fall asleep reading in the bath. The readers are more attractive to thieves than an ordinary paperback, in which case a large book collection could be lost. Some devices are difficult to read in strong sunlight, and they require a power source that can malfunction or run out at an inopportune moment. Digital formats change, are updated, and they degrade, where paper books have lasted hundreds of years and can become valuable heirlooms.

 

But the main argument against eBooks seems to be the one of piracy.

 

 

In researching this piece, I’ve come across a lot of comments on other blogs and in response to articles on ePiracy. Some people have a theory that making a copy of something is not technically stealing it, and how many of us can say, hand on heart, that we don’t own a film that someone videoed or digitally copied from the TV, a book we didn’t buy ourselves, or a piece of music that wasn’t downloaded. I’m not suggesting any of us are likely to walk out of WHSmiths with a couple of hardbacks stuffed down the front of our trousers, but there is a generally casual attitude to ‘acquiring’ pieces of software, for example. If it’s out there somewhere for free on the web, people are very reluctant to pay for it.

 

As an author, I would, of course, far rather every reader I have went out and bought themselves a spanking new copy of my book – preferably in both hardcover and paperback – and if they feel a friend really ought to read it, too, that they go out and buy them their own copy. But I know this is just never going to happen. Thanks to the Public Lending Right (PLR) system for UK-based authors, I am more than happy to recommend that people simply borrow my books from their local library, but in other countries where authors don’t receive a tiny payment each time a book is borrowed, this is not such an attractive option.

 

As far as I understand it, unlike a paper book, eBooks cannot be transferred from one person’s device to another’s. You can’t simply lend a book to a friend. Some devices apparently monitor or track readers and their habits, restrict printing, and also the number of times the eBook can be transferred – from one device to an upgraded version, for instance – and eventually it’s entirely possible for the service provider can block access by the customer to ‘their’ copy of the book. It seems to be more like a long-term rental, with strings attached, than an outright sale.

 

But, you’re not supposed to be able to copy DVDs or CDs, either, and yet they are, often within hours of being released. The first hooky copy of the new Star Trek movie, according to The Times Online in November, was made at 11:31am on the day of its cinema release.

 

 

According to another article in The Times Online, best-sellers like the new Dan Brown were available even before official publication, and within a couple of days of release there had been more than 100’000 downloads by filesharers. The small size of a book compared to a movie – 3Mb as opposed to 1.5Gb – make it much easier to download.

 

And some books, like the Harry Potter series, which JK Rowling decided would not be released in e-format at all, have been hugely pirated, partly due to sheer demand. In the United States, the article reckoned, an estimated 1.7 million people own e-readers of some description, not to mention iPhones or similar devices.

 

British publishers are trying to stop piracy through the Publishers Association, which allows them to log the details of websites infringing their copyright and get the links removed. They’re fighting a losing battle.

 

And although research published by Oxford University in March 2008 put forward the theory that digital piracy may actually benefit those being affected in terms of driving up the buzz about a product without the need for spending money on marketing, things have changed a lot. The question is, have things accelerated too far, too fast since then? And do the benefits outweigh the lost revenue?

 

So, what’s your opinion on ePublishing and eBooks? Good thing or bad? Is piracy robbing authors and killing the industry, or is it getting otherwise little-known names out there to a wider audience? Do you like reading digitally or prefer paper?

 

What are the pros and cons I haven’t considered?

 

Like I said at the start, I have more questions than answers, and I’m very interested to know what you all think on the subject, and what your personal experience has been.

 

This week’s Word of the Week is an odd one. If you were asked whether the word ‘plagiarism’ meant ‘piracy’, ‘kidnapping’ or ‘robbery’, which would you choose? To contestants on a recent UK television quiz show, the answer seemed easy and obvious – they opted for ‘piracy’. Probably most people connected with the world of literature would make the same choice. Surprisingly, the correct answer is ‘kidnapping’. Plagiarism is defined as ‘the taking and using as one’s own of the thoughts, writing or inventions of another.’ At its root is the word ‘plagium’ – a Latin legal term for kidnapping or man-stealing. Hands up if, like me, you got it wrong!

Running Over the Same Old Ground

by  J.D. Rhoades

During Allison’s discussion of “Epic Books” the other day, several commenters mentioned books they’d read over and over and might read again. That got me thinking because, at the time, I was re-reading a book I hadn’t read in years: Mark Twain’s THE INNOCENTS ABROAD. And, I confess, I was feeling a little guilty about it.

I know that’s absurd. After all, INNOCENTS ABROAD is a great book. It reminded me of why I love Twain. The passages where he’s  in the Holy Land, recounting various absurd claims made on behalf of local landmarks, each narrative ending with the solemn affirmation that  “of course,we know this to be true”, are Twain at his skeptical and ironic best. Twain knew that sometimes, the best way to satirize something foolish was  to present it as it is, without embellishment or burlesque, just a tongue planted firmly in one’s cheek.  TV’s Jon Stewart is a master of the same technique.

But much as I enjoyed it, I couldn’t help but feel the weight of the steadily growing TBR pile beside the bed. All those books you haven’t read, one of that multitude of small voices in the back of my head nagged, and here you are going back and wasting time with something you’ve already read. And you know you’re going to be getting more books  for Christmas, so you’ll get even further behind.

Like I said, absurd. Hey, it’s not always easy living inside my skull.

It wasn’t always like this. Back in the days of my youth, I used to read  THE LORD OF THE RINGS at least once every couple of years. There are some Heinlein novels, like STRANGER IN A STRANGE LAND, GLORY ROAD, and STARSHIP TROOPERS, that I must have read five or six times each.  I’ve read most of the Travis McGee books at least twice. Hammett’s RED HARVEST and THE MALTESE FALCON,  three times.

Somewhere along the way, though, the  leisure time shrank, while  the number of books I wanted to read expanded. And re-reading a book I’d already read seemed like a waste of time that would be better spent exploring something new.

But, you know, I get over it. And when I do break down and pick up an old book, it sometimes shows me how much I’ve changed. The last time I picked up THE LORD OF THE RINGS, for instance, Tolkien’s formal, mythic prose, which had previously thrilled me,  seemd a bit stilted. After a  decade or so of coming to love spare, lean, noirish writing, one of my formerly favorite lines in the book, Eowyn’s defiance of  the Nazgul who’s just told her “no living man” can kill him:

No living man am I! You look upon a woman. Éowyn I am, Éomund’s daughter. You  stand between me and my lord and kin. Begone, if you be not deathless! For living or dark undead, I will smite you, if you touch him.

…suddenly seemed almost comical. The movie version, with an excellent performance by  Miranda Otto, boiled the line down to a snarled  “I am no MAN!” followed by a vicious sword thrust to the face (or where the face ought to be). That, after all this time,  had become much more satisfying. More hardboiled, so to speak.

INNOCENTS ABROAD also struck me a little differently. For the first time,  I noticed that Twain’s more than a bit of a North European chauvinist. He finds the French and the Russians charming; the Italians, the Turks, and the Arabs, not so much. Now, maybe everything south and east of France really was as dirty, squalid, and diseased as Twain makes it out to be, and I have no problem believing that the Syria-Lebanon-Palestine trail was (and is)  a parched and rocky hellhole. Maybe it’s just cultural oversenstivity making me wonder why, the darker the people get, the harder Twain is on them. Maybe the next time I re-read it, I’ll feel differently.

So tell me, dear ‘Rati: am I the only one who feels a little guilty getting sucked into a previously read book when there are so many unread ones on the TBR pile? Do you ever go back to a book you’ve read before and find it a very different experience from the other times? What book have you re-read the most times?

The Omniscient Narrator

By Louise Ure

 

Bear with me here. This is not a political blog; rather it’s a discussion of the use of point of view. Specifically that of an omniscient narrator in literature.

Last week an emailed first-hand account of a possible terrorist hijacking attempt on an AirTran plane flying between Atlanta and Houston was making the rounds on the blogosphere.

Forget for a moment whether you belong to the “This feels too much like socialism to me” camp or the “Could the wingnuts get any crazier?” one. Let’s look at this email from a strictly literary point of view.

The full copy of the email is below:

 

From: Petruna, Tedd J. (JSC-DX12)[RAYTHEON TECHNICAL SERVICES COMPANY]

To: undisclosed-recipients

Sent: Friday, November 27, 2009 11:32 AM

Subject: Long story short….

One week ago, I went to Ohio on business and to see my father. On Tuesday, November the 17th, I returned home. If you read the papers the 18th you may have seen a blurb where a AirTran flight was cancelled from Atlanta to Houston due to a man who refused to get off of his cell phone before takeoff. It was on Fox.

This was NOT what happened.

I was in 1st class coming home. 11 Muslim men got on the plane in full attire. 2 sat in 1st class and the rest peppered themselves throughout the plane all the way to the back.

As the plane taxied to the runway the stewardesses gave the safety spiel we are all so familiar with. At that time, one of the men got on his cell and called one of his companions in the back and proceeded to talk on the phone in Arabic very loudly and very aggressively. This took the 1st stewardess out of the picture for she repeatedly told the man that cell phones were not permitted at the time. He ignored her as if she was not there.

The 2nd man who answered the phone did the same and this took out the 2nd stewardess. In the back of the plane at this time, 2 younger Muslims, one in the back, isle, and one in front of him, window, began to show footage of a porno they had taped the night before, and were very loud about it. Now….they are only permitted to do this prior to Jihad. If a Muslim man goes into a strip club, he has to view the woman via mirror with his back to her. (don’t ask me….I don’t make the rules, but I’ve studied) The 3rd stewardess informed them that they were not to have electronic devices on at this time. To which one of the men said “shut up infidel dog!” She went to take the camcorder and he began to scream in her face in Arabic. At that exact moment, all 11 of them got up and started to walk the cabin. This is where I had had enough! I got up and started to the back where I heard a voice behind me from another Texan twice my size say “I got your back.” I grabbed the man who had been on the phone by the arm and said “you WILL go sit down or you Will be thrown from this plane!” As I “led” him around me to take his seat, the fellow Texan grabbed him by the back of his neck and his waist and headed out with him. I then grabbed the 2nd man and said, “You WILL do the same!” He protested but adrenaline was flowing now and he was going to go. As I escorted him forward the plane doors open and 3 TSA agents and 4 police officers entered. Me and my new Texan friend were told to cease and desist for they had this under control. I was happy to oblige actually. There was some commotion in the back, but within moments, all 11 were escorted off the plane. They then unloaded their luggage.

We talked about the occurrence and were in disbelief that it had happen, when suddenly, the door open again and on walked all 11!! Stone faced, eyes front and robotic (the only way I can describe it). The stewardess from the back had been in tears and when she saw this, she was having NONE of it! Being that I was up front, I heard and saw the whole ordeal. She told the TSA agent there was NO WAY she was staying on the plane with these men. The agent told her they had searched them and were going to go through their luggage with a fine tooth comb and that they were allowed to proceed to Houston . The captain and co-captain came out and told the agent “we and our crew will not fly this plane!” After a word or two, the entire crew, luggage in tow, left the plane. 5 minutes later, the cabin door opened again and a whole new crew walked on.

Again…..this is where I had had enough!!! I got up and asked “What the hell is going on!?!?” I was told to take my seat. They were sorry for the delay and I would be home shortly. I said “I’m getting off this plane”. The stewardess sternly told me that she could not allow me to get off. (now I’m mad!) I said “I am a grown man who bought this ticket, who’s time is mine with a family at home and I am going through that door, or I’m going through that door with you under my arm!! But I am going through that door!!” And I heard a voice behind me say “so am I”. Then everyone behind us started to get up and say the same. Within 2 minutes, I was walking off that plane where I was met with more agents who asked me to write a statement. I had 5 hours to kill at this point so why the hell not. Due to the amount of people who got off that flight, it was cancelled. I was supposed to be in Houston at 6pm. I got here at 12:30am.

Look up the date. Flight 297 Atlanta to Houston .

If this wasn’t a dry run, I don’t know what one is. The terrorists wanted to see how TSA would handle it, how the crew would handle it, and how the passengers would handle it.

I’m telling this to you because I want you to know….

The threat is real. I saw it with my own eyes….

-Tedd Petruna

 

The airline quickly posted a response to the email, debunking the passenger’s account, and adding the red-faced information that Petruna wasn’t even on the plane. He’d missed his connection.

So okay, we’re dealing with fiction. As fiction, how does it rate?

 

  • It’s crying out for a new title. “Long story short” is enough to make my eyes glaze over. It sounds like my father-in-law, twenty-five minutes and three drinks into a bad joke.

 

  • He gets points for decent research. Even though he wasn’t really on the plane, he managed to get a fair number of facts (the large group of foreign-speaking passengers, the controversy over a cell phone, the passengers reboard) correct.

 

  • The opening was a bit slow. He might have started a little closer to the action, perhaps when he first notices the flight attendant and the man with the cell phone.

 

  • He starts telling the story from a first person point of view. That’s a good thing: we can identify with this kind of everyman-action hero, a mythical Bruce Willis forever on his way to visit his daughter for Christmas when he comes across Big Time Evil.

 

  • He lets his research/assumptions show too much in the paragraph where he says Muslims have to watch porn in a mirror with their backs to the actress/ecdysiast. A nice addition might have been a short paragraph flashing back to his own investigation into Muslims and pornography, which might also have filled in some important backstory for us.

 

  • Good use of pacing and action sequences, although I find the dialogue (“Shut up, infidel dog!”) to be a bit clichéd.

 

  • Prior to publication, I wish he or his (internal) editor had used spellcheck or a universal search for exclamation points.

 

  • And the big one for me: he’s fallen out of the first person POV to tell us two things: that the person with the cell phone in first class had used the phone to call an ally in coach, and that the foreigners in coach were watching pornographic movies they’d taped the night before. How could our first person narrator have known these things?

 

For that matter, how did Petruna come up with any of this stuff, given that he wasn’t on the plane?

 

But that’s the very definition of good fiction, isn’t it? Making us believe a story that comes, at least in part, out of our heads. He shouldn’t have broken that implicit contract with us by leaping into an omniscient narrator’s POV midstream to carry the story along.

Oh, and the ending stinks. He shoulda’ had the plane blow up and the hero barely get all the good guys out the emergency slide at the last minute.

All in all, I guess it’s a good action yarn but still needs a bit of weeding and pruning. Thank God for slush piles.

Forgive the Tiger Talk

 by Alafair Burke

Unless you’ve been in a stuffing-induced food coma since Thanksgiving, you’ve probably heard that Tiger Woods was in the news lately for more than just his game.  Given my obsessions with golf, celebrities, and secrets, I can’t resist sharing a few random thoughts I had on the matter. 

When the story (insert virtual air quotes for those of you disgusted by the news coverage) first broke, I tried to convince myself I had high-minded reasons for following it.  At first, I feared for Tiger’s well-being after the initial reports of serious injuries.  Then as a former domestic violence prosecutor, I wondered whether Florida law enforcement was seriously considering investigating Tiger’s wife as some reports suggested.

But there’s also the voyeurism.  We all know (I hope) that we don’t really know celebrities, only the public images that publicists and managers have carefully crafted for us.  But despite that cognitive understanding, consistent and prolonged exposure to those public faces sometimes creates sticky impressions of familiarity.  After more than two decades of nightly Letterman monologues, I confess that David Letterman seemed like a known quantity.  And after countless golf tournaments and Nike ads, so did Tiger.

Now I know.

But I’ve been thinking less about Tiger than about his women.

Rachel Uchitel, the woman first named by the National Enquirer, has seen more than an average person’s media coverage, as photographs online track her journey from grieving 9-11 widow to healing new bride to red-velvet-rope vixen. 



 

 

 

 

 

 

 

 

Who is the woman behind all of these faces?

And then there’s Tiger’s wife, Elin Nordegren, who went from swimsuit model to au pair to marriage and motherhood.

 

I’ve seen countless images of her biting her nails at the 18th green, smiling at her husband, and holding the babies, but I’ve never heard her voice.  Who would have suspected that quiet, smiling, waif of a woman had it in her to (allegedly) take a pitching wedge to the windows of a Cadillac Escalade? 

My guess is she’ll stand by her man, at least in the short-term, but we’ll all be wondering whether it’s out of love or savviness.  With Tiger struggling to hold onto his commercial endorsements, reporters claim Elin’s out to revise her pre-nup. Ten years of marriage no longer required.  55 million dollars instead of 20.  Perhaps clauses that penalize further “transgressions”?*  Jewelry, candy, and flowers just aren’t going to cut it.

We love to fret about the public fascination with celebrity scandals, but I have to confess that I get it.  When I was a prosecutor, my daily work let me peer behind the facade to reveal the secrets people carry.  Celebrity scandals satisfy that same itch – the realization (and validation) that everyone makes mistakes, no one is what he seems, and we all have multiple personas.  That perfect son, husband, and father might be an insatiable dog on his trips to Vegas.  That scantily clad hostess at the nightclub might have lost someone she loved to tragedy.  And that quiet wife in the background might just be a hundred solid pounds of fortitude.

Thanks for tolerating my Tiger talk.  Is anyone else willing to out themselves as a celebrity watcher?  What seemingly superficial stories have kept you riveted and why?

*I found no comfort in the company I was keeping by following this story when I learned the following (pathetic) tidbit: After Tiger’s public admission of “transgressions,” online searches for the definition of that word topped Google’s search list. 

Epic Novels

By Allison Brennan

I bought UNDER THE DOME by Stephen King the day it came out. I had to. I’d heard a birdie tell me it was up there with THE STAND, which is still to this day my favorite book.

I can’t say that I’ve loved every story King wrote, but since he’s pleased me far more than displeased me, I am a loyal reader. It was a King book that was the first, and only, time I read a book for pleasure twice. (THE STAND.) And the first time I began but never finished a book because I just couldn’t get into it, was also a King book (INSOMNIA.)

But when I heaved the 1074 page tome titled UNDER THE DOME out of the Amazon box, I had a tingle. It felt different than the last few books of his that I’ve bought but haven’t read. I opened it up. And I swear, if I didn’t have a looming deadline and five kids to transport and feed, I would have sat down and read it straight through, rising only for potty breaks and water, because of the first three pages. It’s pretty much what I did when I discovered THE STAND in 1982. Except then I was 13, had no children, no job, and could spend fourteen hours a day reading if I wanted to.

It was the POV of the woodchuck that sold me.

I read THE STAND over Christmas break when I was 13, and I am hoping–praying–that my deadline is met, my kids are well-behaved, and I’m done reading the debut novels for the Thriller Awards. I want nothing on my plate the week between Christmas and New Years so I can read this book.

Epic novels usually mean big stories that take place over years or generations. They may be one meaty book (like GONE WITH THE WIND) or a series of books (like John Jakes American Revolution series.) But epic also means larger-than-life, or a big story that perhaps doesn’t extend to the original hero’s great-grandchildren, but details a single story so completely that you could have lived it.

Few authors–perhaps no authors outside of King–can “get away with” writing a 1074 page novel and have success. Some of the YA novels are meaty, however. Libba Bray’s Gemma Doyle trilogy began at 500 pages, then 600, then the final story over 800. My YA daughter devoured all three books–1900 pages–and would have read them one right after the other if they’d all been published when she started the series. In fact, she said each book got better. I think she re-read them all as well.

800+ pages is still rare.

I’ve been thinking about this as I write book two in my Seven Deadly Sins series. There are two primary types of series. A series with the same characters but each book is written almost as a stand alone; while the characters may grow through the series, nothing pivotal happens in one book that is going to make a reader coming into the middle of the series balk. The other type is a series that builds on itself, that what happens in book one lays the foundation for book two and so on.

I’ve been trying to straddle the two types of series. SDS can’t be a series of quasi-stand alones because each book is built on the initial situation in book one, chapter one where the Seven Deadly Sins are released from Hell as incarnate demons. I’ve resolved this problem for book two in part by moving the location plausibly from my fictional town of Santa Louisa to Los Angeles, and the change of setting has definitely helped create a whole and separate story that is still closely linked to the first.

Yet, when I held UNDER THE DOME, I considered what if . . . what if I could have written my series as one epic novel? The thought had never occurred to me before because it simply isn’t done. Much. And it would have taken at least a year to write, if not longer, plus time to edit and produce a 1000+ page book. Few authors could survive more than a year or two without a book on the shelf with their career still intact. Especially not a mass market author like me. Considering that ORIGINAL SIN, the first book which checks in at a mere 464 pages, took me longer to write than any of my 12 previous novels, I don’t think the two year window would have been unrealistic.

It’s a moot point, obviously, but something that has been on my mind for a few weeks. I’ve come to the conclusion that 1) mass market commercial fiction may publish epic series, but not epic single novels; 2) some authors transcend publishing “rules”; and 3) some genres–like fantasy and YA–can support longer novels (600+ pages) which may or may not be “epic” but have a sense of being larger-than-life, meaty, worthy of a reader’s precious time.

But just like long books may lose readers because of the size, so do short books. My mother was sorely disappointed in a couple recent books by some of her favorite authors that were only around 200 pages. She felt she didn’t get enough story or depth for the money. And if I were to spend $20 on a hardcover, I’d probably be kind of ticked if I felt the story was truncated or superficial.

However, one of my all-time favorite books is a very short book. ANTHEM by Ayn Rand comes in at 68 pages. The Cliff Notes for ANTHEM are longer!

How do you feel about big books? Short books? Epic novels or epic series? Do you re-read favorite books and if so, which is your favorite re-read?

 

Please welcome Michelle Gagnon!

Today I’m – thrilled is the word – to welcome one of my favorite author colleagues, sister thrillerchick Michelle Gagnon.   Michelle is not only a kick-ass writer, she’s a hell of a good time at conferences – from 8-hour bike rides through the Alaskan wilderness to truly appalling after-midnight karaoke (and all on the same day, mind you…), Michelle is about the total experience, and her take-no-prisoners approach to life is reflected in her page-turning, keep-you-up-all-night books.

Alex:  The Gatekeeper is the latest in your Special Agent Kelly Jones series, after The Tunnels and The Boneyard.   What’s this one about?

Michelle:  The Gatekeeper has two parallel storylines-one for each of my main characters. FBI Special Agent Kelly Jones starts off in Phoenix, where a right wing Senator is found brutally murdered in front of the State Capitol building. The method of his dismemberment points to a gang that might have been angered by his anti-immigration stance; although Kelly suspects there’s more to it, since it all seems a bit too pat. Meanwhile, Jake Riley is trying to track down the sixteen year-old daughter of a nuclear physicist who has been kidnapped. The ransom demand is not monetary, however- it comes at a cost that no American can afford.
 
Alex:  That’s kind of a big departure in arena and style of thriller for you.   What possessed you?

Michelle:  The initial idea for the story came to me while I was having dinner with a veteran FBI agent. Ho said that he thought it was more likely that there would be another terrorist attack along the lines of the Oklahoma City bombing, rather than another 9/11. Hate groups have doubled their membership in the past decade, but after 9/11 most of the resources allocated to monitoring them were diverted to watching foreigners on US soil. So: twice as many people, but no one is keeping track of them. I found that terrifying, especially when I started to dig deeper and discovered that one source of low level radioactive waste (the kind the could be incorporated into a dirty bomb) is lost, stolen, or abandoned, EVERY WEEK in this country. That all ended up coalescing into the plotline.

Alex: Yike, that is terrifying.  Perfect story seed!

This is something I’ve always meant to ask you, so just pretend we’re in the bar at Thrillerfest or Bouchercon and have been drinking for a while, now.   (I know it’s a stretch…)   You have about as eclectic a background as I do – modern dancer, dogwalker, personal trainer… So what the hell made you start writing to begin with?   And I want real details.   What was the “click”?

Michelle:  I’ve always written- in fact, for years I made a living as a freelance journalist. I worked on fiction on the side, mostly short stories. In 2000 I set out to write a novel. My original idea was to write a college coming of age story- but I kept stalling out twenty pages into the book. One night I was typing away, and suddenly (inadvertently) killed off my main character. I decided to see what happened next- and THE TUNNELS spun out from there. I finished the first draft in a little over a month.

Alex:  Okay, now I’m going to ask you the question I always get:  Why are there so few women out there writing thrillers successfully?  

Michelle:  I actually think that recently, there have been a lot of truly impressive entries in the crime fiction field written by women. Tana French, Gillian Flynn, and Chelsea Cain are masters of dark storylines and intricate plots, and they have all proven that you don’t have to go by your initials anymore to get men to read your books. However, in terms of true thrillers, there is still a deficit. I’m not sure why, but it’s an interesting question. And even when awards are handed out (with the exception of your win for best short story last year, Alex!) I find it depressing that women tend to be underrepresented in the thriller category.

Alex:  I completely agree – I have many more favorite women thriller authors than men, and yet you look at the awards lists…  and reviews… depressing is the word.

So in a vaguely related way, here’s a dreaded topic – marketing and promotion.   What are you doing these days that feels like it’s working for you?   What have you given up on?

Michelle:  I honestly wish I knew. I’ve done something a bit different with each book, and I can never tell what works and what doesn’t. I think that especially for a mass market paperback, what matters most is distribution-if your publisher gets behind the book, and puts a lot of copies out there, it will sell well. I don’t honestly know that anything a writer does makes much of a dent when you’re talking about a five figure print run. However, this time around I am running a drawing for a MacBook laptop computer. So far I’ve received a lot of entries, so it seems to be working. (By the way, the contest runs through Dec 31st- more entry details are available on my website).

Alex: Does blogging actually work?   Enquiring minds want to know.

Michelle:  I know that by blogging on The Kill Zone with six other talented writers, we’ve built up a shared fan base of people who might not have discovered us otherwise. I think it’s a great blog, with lots of excellent posts on craft, marketing, and the life of a writer. Plus we’ll be selling a collection of short stories on Amazon soon, which we hope will bring more people to the blog.

Alex: What’s the next book?

Michelle:  The next book is tentatively entitled “Racing the Devil” (although I suspect I’ll have to change that- I usually do). It takes place in and around Mexico City, and is based on the real life kidnapping of the world’s foremost Kidnap and Ransom expert Felix Batista. Last December he was the keynote speaker at a security conference in Mexico City. He walked out of a restaurant, was pushed into the back of a white van, and hasn’t been heard from since. He’s personally responsible for negotiating the release of more than 100 kidnap victims, and now he’s a victim himself. I’ve based the story largely on that incident.

Alex:  And what are you reading now, for yourself?

Michelle:   Currently I’m reading Dark Places by Gillian Flynn. I’m in awe of her writing skills, it’s an amazing book.

Alex:  Oh, agreed – what  a great heroine!

Since it’s – yike – December – what are you looking forward to in the New Year?   Do you have any resolutions?

Michelle:  As far as New Years, no plans- but if it turns out to be anything like the past few years, I’ll be in bed by ten 🙂 And I have the same resolution every year—to learn something new. One year I learned to knit, the next to ride a motorcycle. I’m not sure what to put on the docket this year, although I’ve been considering taking up the piano again.

Alex:  Hmm, the piano is one of my resolutions, too… something in the air, I guess.

Thanks a million for stopping by, today, Michelle – and I’m sure the Rati have other questions.
 
————————————————————————–
 Michelle Gagnon is a former modern dancer, bartender, dog walker, model, personal trainer, and Russian supper club performer. Her bestselling novels have been published in North America, France, Spain, Denmark, Norway, Sweden, Finland, and Australia.  In her spare time Michelle runs errands and indulges a weakness for Sudoku and Hollywood blockbusters. She lives in San Francisco with her family.

STEP RIGHT UP AND SPIN THE WHEEL…

By Stephen Jay Schwartz

Next week I check in for Jury Duty, and I really wish I could afford to be placed this year.  As it is, I’ll have to try to appear “unappealing,” so I don’t become one of the chosen ones.  I think saying I’m a crime novelist will do the trick.

A number of years ago I had one of the coolest experiences ever.  I was working at Disney Studios and they paid my normal salary while I was on Jury Duty.  Out of the dozen or so jobs I’ve had in my life, this was the only time my employer actually paid for Jury Duty.  Which was great, because I sat on that jury for three weeks.

It was a murder trial.

Now, I’d spent some time pulling cable on Judge Wapner’s The People’s Court, and I even worked as a director’s apprentice on an episode of Jake and the Fatman, so I figured this courtroom thing was going to be a piece of cake.  I soon learned the difference between “TV Land” and The Real Fucking Deal.

Here’s the scenario:  A guy and a girl in their twenties were sitting in the front seat of a car.  They were a couple.  Their “friend” was in the back seat.  The girl was driving, with her boyfriend in the front passenger seat.  The guy in the back pulls a gun and shoots the other guy in the back of the head.  He tells the girl to keep driving.  They end up in her apartment, where he rapes her at knifepoint, and then leaves.

What I found amazing was the killer managed to create an excuse for every bit of circumstantial evidence connecting him to the homicide.  It seemed that, through the discovery process, he was able to study the evidence gathered against him, and then create, probably with the help of the cheeseball lawyer he’d hired, a convenient explanation for why it looked like he had killed someone.

I can’t remember all the details, except that the two guys were going to “jack” some guy’s house that night, that they’d shot up a drug-dealer’s apartment earlier, blah, blah.  These guys were not missionaries.  Ultimately the suspect said that it was the girl who did it, that she killed her boyfriend and came to him looking for help to get rid of the gun and other evidence that was still in the car.  This explained his fingerprints at the scene, it explained the blood on his hands and clothes, it explained his behavior when he was questioned.  Her boyfriend’s body, by the way, was left in the car.

There was no usable evidence tying him to the rape of the girl.  Basically, after all was said and done, it came down to his word against hers.  Yet, in my opinion, the circumstantial evidence was enough to hang the guy.

As jurors, we heard testimony from ballistic experts, gunpowder residue experts, the coroner, blood spatter professionals, and a private investigator, among others. 

And then we heard the testimony of the girl.  I’ve never heard anything so real, so intense.  And I’ve never seen a film, TV or stage actor come across more believable.  Although her words did not constitute “evidence,” they left an indelible mark on my mind. 

I knew nothing about the other jurors during the trial.  None of us discussed the case.  We did it by the book.  Then came the deliberations.  Suddenly the place was alive with character, passion and conflict.  It was Twelve Angry Men, with the addition of women. 

After all the evidence had been considered, after days of detailed analysis, we had eleven jurors prepared to convict the guy.

One juror held out, because he thought the prosecutor had an attitude.

Yes, the prosecutor had an attitude.  He was like a caricature of a1950s ex-homicide cop, with the same antiquated Dragnet-era prejudices.  He’d come right up to the Jury Box, his fingers shaped like a gun held in the air, and dramatically yell, “Pow!” while describing the deadly gunshot.

Eleven of us ignored his antics.  We looked at the evidence and made the best decision we could.  One juror held out.  And that constitutes a mistrial.

As I see it, a guilty man was set free that day.  Of course, the state could’ve chosen to call for a re-trial.  Or they could’ve plea-bargained a deal with the guy’s schiester lawyer.  I never learned the outcome.

A couple years later I was again placed on a jury and I couldn’t wait to get started.  I wanted to sit on another murder trial.  Then came the case:  A small dent on the back of a car, a driver suing his insurance company, a stack of chiropractor bills, the insurance company proving beyond the shadow of a doubt that the driver was trying to bilk the system. 

Boooooring.

I guess you never know what you’re gonna get when you spin that jury wheel.

What about the Murderati Clan – what have you taken away from the Jury Room?  (And I’m not talking about pencils and staplers!)

 

Interlude

by Brett Battles

We’ve talk about music here a lot. Music that inspires us. Music that entertains us. Music that we like for no particular reason.

One of the topics that comes up often with a lot of writer friends is which of us can listen to music while we work, and if we can, what kind of music do we listen to. I think I’ve even discussed it here before.

Well…it’s on my mind again because I’m just finishing up the draft of my stand alone, and music has played an integral part in keeping me focused and on pace.

I’ve mentioned in previous posts that this particular novel has basically thrown itself on the page as fast as my fingers can hit the keys of my laptop. I started it at the beginning of November, and (hopefully) am finishing it this week. Fastest book I’ve ever written. All I can say is that I couldn’t have done it without music.

Since I work for the most part at coffee shops, and exclusively at one coffee shop/café in particular, in addition to keeping me moving forward, the music also drowns out the noise of what’s going on around me.

For this book, I created a specific playlist on my iTunes to write by. I’m one of those people who has no problem listening to lyrics while I write…though, oddly, when I do re-writes I prefer my tunes to be instrumental. (And, yes, I have a specific playlist for that, too.)

This particular writing playlist is made up of music that hits me on an emotional level. These are songs that heighten my creative juices, and, I’m pretty sure, actually increase my heart rate. Sometimes I’ll even sway back and forth as I type…yes, even in public. (Ask Tim Hallinan if he’s seen me closing my eyes and get my groove on, he’s working at a table ten feet away as I write this.)

I love being in an emotional state when I write…Anyway, since I am in the middle of writing the climax, I thought I would share that playlist with you. I’ve provided links so you can hear each.

In no order (or, in iTunes parlance, Shuffle Mode):

 

Yellow – Chris Martin 

I’ll Stand By You – The Pretenders

Saeglopur – Sigur Ros

Answer – Sarah McLachian

Levon – Elton John

Pink Moon – Nick Drake

You’re Beautiful – James Blunt

Into My Arms – Nick Cave – (Great Video!)

The Loneliest Guy – David Bowie

Five Years – David Bowie

The Blower’s Daughter – Damien Rice

Wires – Athlete

A Thousand Miles (Interlude) – Vanessa Carlton – There’s a commercial at the start of this, but video worth the wait

My Immortal – Evanescence

Falling Slowly (From the movie ONCE)  – Glen Hansard & Marketa Irglova

Untouched – The Veronicas

 

You might like some, you might not others. But one thing they all have is an emotional tug that, for me, pulls me from word to word to word.

Okay, ‘rati, let’s hearing some of your favorites…emotional and/or just for writing.

Watching for Inspiration

by Rob Gregory Browne

I cheated and looked ahead and I know what Brett’s post is about tomorrow, and in a way, it’s connected to what I want to talk about today.

I don’t know if I’ve mentioned it here (probably have), but I’ve changed publishers and am now writing a book for Dutton, the first in a series about demons and angels and the destruction of earth and a couple of characters who find themselves caught up in it all and have to fight like crazy to keep it from happening.

It’ll be a fun book — it’s been a blast to write so far — and, hopefully, a thrilling one as well, but it’s also an ambitious book for me, bigger in scope than anything I’ve attempted before, and in preparation for the book, I actually wrote a very long outline.  VERY long.  Something I don’t normally do.

Writing that outline was, quite possibly, the toughest thing I ever had to write.  Because outlines are all about plotting and figuring out story logic and character motivation and when it comes down to it, it’s real grunt work.

As I was writing the outline, I found myself hitting walls over and over, not sure where to go with the story or how to flesh out the shorter outline I was working from.

In the old days — before strict deadlines — I’d find when I hit a wall in my writing, it always helped to sit down and read a book.  Well-written books are a great inspiration for a writer.  In fact, they’re what inspired us all to write in the first place.

Unfortunately, as much as I love to read, I find it difficult to find time for it much these days, and almost impossible when I’m smack in the middle of trying to work out a story.  Reading takes a dedicated amount of time, and a lot of it.  In order to get through a book, it could literally take me a week or more of stealing moments here and there, and the experience would likely be disjointed and unfulfilling.

When I read a book, I like to be able to sit down and read it in a few hours or a couple of days.  Solid reading, until it’s finished.

But, again, I can’t do that while I’m writing.  So when I hit those walls, unless I want to take a few days off, I’m shit out of luck.

I did, however, stumble upon a solution to my problem:

TV shows.

Right now I think we are going through a period when television drama is at its very best.  There are many, many shows with solid production values, terrific acting and superb writing.

One night, when I hit a particularly solid wall, I said screw it and sat down to watch an hour of television.  Actually, I had a series on DVD that I’d always heard good things about but had never watched, so I popped the first DVD in and was suddenly swept away.  (DVDs or Netflix streaming, by the way, are the only way to go.  Commercials are so intrusive, they interrupt the flow of the narrative.)

To my surprise, as I watched the show with it’s amazing plotting and great interplay between the characters, I found myself becoming more and more inspired.  And when I finally went back to the keyboard that night, I was on fire.

It wasn’t so much the subject matter than inspired me.  But the TECHNIQUES the writers used to advance plot and character that — because a typical TV drama is only 44 minutes long — was IMMEDIATELY evident to me.  Techniques of craft that I could apply to my own writing.

These weren’t new techniques.  I knew them already.  But to see them used so brilliantly, to see how they can bring a good story to life, was as thrilling to me as reading a book by Stephen King.

Watching that TV show made me WANT to write, just as a great book will.  And whenever I got stuck again, I’d go pop in another episode, or mix it up with another well-crafted show, and find myself inspired all over again.

Some of the shows that have inspired me are:

Dexter

Alias

Jericho

Fringe

Law & Order

All beautifully crafted, beautifully written shows.  Not every episode is perfect, of course, but if I pop one of these shows in, I’m bound to find myself itching to get writing.

So am I alone in this?  Do other writers in the crowd find inspiration in their favorite TV shows — and, if so, what are those shows?

And you readers — do you ever find that watching a great show inspires you to pick up a book?

 

The road to Hollywood

by Tess Gerritsen

By the time you read this, I will be in Los Angeles.  I’m going there to watch the filming of the pilot TV episode of “Rizzoli”, which is based on characters from my crime series.  Even now, as I pack my suitcase, I’m marveling that it’s all actually happening. I don’t quite believe it.  I keep expecting to get a call from my agent telling me, “Never mind.  It’s all fallen apart.”  Because that’s the way it almost always goes.

 I should know, because I’ve been down this road of dreams before. And the one lesson I learned a long, long time ago is that Hollywood will break your heart.

It’s not that I haven’t had something produced before.  Back in 1993, CBS aired a TV movie of the week called “Adrift,” starring Kate Jackson and Bruce Greenwood.  The TV movie was based on a screenplay I’d written.  Although the script was changed, and two other writers were listed first as writers, I still got the “Story by” credit, and shared the screenplay credit.  The movie was filmed in New Zealand, and I didn’t have the money to fly down there and watch the production. But it was quite a thrill sitting in front of the TV some months later, seeing my name pop up on the credits, and watching scenes that I had dreamed up play out on the screen.  

And that was my lone success in Hollywood.  After that came sixteen years of disappointments.  

My first thriller, HARVEST, was bought outright by Paramount for a generous purchase price.  A screenplay was written, changing pretty much everything about the story.  The project died.

BLOODSTREAM was optioned.  Twice, I think.  Nothing happened. Project dead.

Feature film rights for GRAVITY were bought outright by New Line Cinema in a very major deal that showed up on the front page of Daily Variety.  Three different screenplay versions were completed, including one by the very talented Michael Goldenberg.  The film rights were later transferred to 20th Century Fox.  And there the project died.  Of course.

THE SURGEON was optioned twice.  And died.

THE APPRENTICE was optioned once.  And died.

I grew so jaded by the whole disappointing process that when my agent called to say that Bill Haber of Ostar Enterprises wanted an option to develop a TV series based on my characters, I didn’t see the point of celebrating.  I had no illusions that anything would come of this deal, either.  I had stopped paying attention to Hollywood.  My job was to write books, and that’s what I stayed focused on.

Then I began to notice that there was something a little different about this particular option deal.  For one thing, soon after the agreement was made, I got a call from the delightful Bill Haber himself.  He wanted to tell me how much he loved the characters of Jane Rizzoli and Maura Isles.  He promised me they would make it to the screen exactly the way I’d created them.  He told me he was going to find just the right writer for the script, and that he believed this project was actually going to happen.

I thought he was funny, charming, and a bit deluded.  I knew how Hollywood worked.  It’s all about promises and bluster which, 99.9% of the time, never delivers.

A year went by.  

To my surprise, Ostar Enterprises renewed the option for yet another year.  Every few months, Haber would call just to say hello, and I loved hearing the enthusiasm and pure joie de vivre in his voice. He told me that he had convinced a writer named Janet Tamaro to tackle the pilot script. With writing credits on “Bones,” “Lost,” “CSI,” and “Sleeper Cell,” she is definitely a go-to writer for crime dramas.  I was delighted to be kept in the loop on all these developments. But I still didn’t let myself get excited.  I knew it just wasn’t going to happen.

Months went by.  

Then another call from Haber, happily announcing that after several revisions, Tamaro’s script was wonderful.  And they were sending it over to TNT’s director of programming for approval.  Fingers crossed!

Yeah, right, I thought.  My fingers are permanently crooked from staying crossed for sixteen years.  Come on, Hollywood, break my heart again. You know you’re going to.

I packed my bags and left for a long-planned trip to Turkey.  While there, I got a two-line email from my CAA film rights agent:  “Good news.  TNT has issued a cast-contingent production order for ‘Rizzoli.'” So there I am, on a sailboat off the Turkish coast, wondering whether it’s worth celebrating yet. I don’t like that word “contingent.”  To me, that’s just legalese for “we’re prepared to break your heart again.” 

When I get home, I call Bill Haber.  He says they’re preparing a list of actresses they want to approach for the part of Jane Rizzoli.  Without just the right actress, the whole deal would fall apart.  (Which is what I’m sort of expecting, anyway.)  My CAA agent assures me that they’ve landed a terrific director, and everything is moving in the right direction. I’ve heard that before.  I put the whole thing out of my mind, and get back to the manuscript that’s due in a few months.  

I leave for Connecticut, to speak to a library.  I wake up in my hotel room to find an alert on my Blackberry.  It’s an article from the Hollywood Reporter, announcing that Actress Angie Harmon has been cast in the lead role as Jane Rizzoli.

Suddenly, everything has changed.  This much I understand about Hollywood: once the star talent has signed on, the deal comes together fast.  And it does.  

Within the next few weeks, other actors sign on.  Sasha Alexander as Maura Isles.  Lorraine Bracco as Jane’s mother, Angela.  Bruce McGill as Detective Korsak.  Lee Thompson Young as Barry Frost.  Jordan Bridges as Frankie Rizzoli.  And Billy Burke as the all-important romantic lead, Gabriel Dean.

A month before production is scheduled to start, Janet Tamaro, who is now co-executive producer, calls to invite me to watch the filming.  

That’s when I really, really knew it was going to happen.

They’ve already started production. The shoot will last about 2 1/2 weeks, and I’ll be there during the second week of filming.  I’m fully aware that this is just the pilot, and TNT may choose not to pick it up as a weekly series.  But this is way, way beyond anything I ever expected. I assumed it would fall apart, as every film deal before it has.  I didn’t even bother to hope.  

Maybe it’s like finding true love.  The harder you look for it, hope for it, hunger for it, the less likely it is to happen.  But if you turn your back and just get on with your life — and your writing — suddenly, there it is. 

For once, Hollywood didn’t break my heart.