Mix Those Genres!

Authors are constantly being asked to classify their books. I, myself, will only read humorous-small town-old fashioned-must have a moral-with a possible Victorian twist books.

Kidding aside, how does one classify a book? I thought mine fell under cozy. The locations are usually small town, the murder happens off the page, there is little swearing and minimal violence—the kind I wouldn’t mind my grandmother reading. Then an editor classified me as chick-lit.

Chick-lit makes me think of sassier-than-thou singletons who disparage men and spend evenings swilling martinis with their cool-but-obnoxious-to-anyone-who-doesn’t-really-really-know-and-love-them friends, the kind of women I would happily schedule a dental appointment to avoid. I HATE chick-lit. Or at least I thought I did. If I’m writing it, I must enjoy it.

But then I wondered if there could be a cozy/chick-lit cross. A woman who is a bit of a smart-aleck but not completely lost to cynicism. A gal who lives in the modern world but is old-fashioned enough not to find the term “gal” offensive. A feminist who avoids bashing men and actually thanks her stars when the masculine sex offers to change her flat tire. Someone who is comfortable in her female skin yet NEVER talks about her sexual needs/wants/desires. Could there be a market for such a character?

And that got me thinking about other genre mixes. How about classic/horror? Not classic as in Dracula, but classic as in THE Classics? Well, it’s a reality.

I bring you “Pride and Prejudice…and Zombies”. If this book had been offered in my high-school reading program, I would have leapt for joy. There’s enough of the original text involved to allow you to experience Elizabeth Bennet’s journey to true love. The Deadly Arts are thrown in for excitement. And the theme remains the same. When Elizabeth bites the still beating heart of a recently vanquished ninja warrior, you understand that it’s a comment on class conflict, as Elizabeth is subjected to sneers because her Master hails from China and not Japan.

If our sixteenth president can become Abraham Lincoln, Vampire Hunter, are there any limits? What’s next? Maritime/Native American/Romance? Religious/Lesbian/Horror?

I’d love to hear what new genre’s you come up with!

Interview with Jacquee T

Jacquée Thomas is an authoress, poetess, lyricist and columnist. Miss Thomas’s background includes extensive Western European travel, knowledge of the Spanish language and involvement in Chicago’s Rockabilly scene. She was a computer instructor at Wright College and a freelance writer for the “Chicago Sun-Times” and “New City” magazine before she became columnist for “Letter from Chicago.”

She established Detour Productions as an outlet for her published works, events, and videos.
Welcome Jacquee!

When I think of Jacquee T. and Detour Productions, I think Romance. You mastered the branding process long before writers were talking about it. How did you go about deciding on the image you wanted to project, and what steps do you take to ensure that image remains clear?

I hadn’t set out with intention to “brand” myself; I set out to build a writing career. I needed to express my passions and perspectives – through creative and expository writing. Eventually, I realized I lived life as passionately as I wrote about it.

For example my writing helped me realize how much I loved being a woman, and how much that was a part of my identity – so that, I referred to myself as an authoress instead of an author, an actress, not an actor. And, true to form, when writing poetry I was a poetess.

Over the years, I realized and asserted my feminine side, which happened to be most of me. And the fellas had no worries, because I averred that a gal could not love being a woman without loving the fellas. Out of this attitude, I believe, resonated a voice that appeals to both women and men.

In knowing myself, and allowing myself, I’d honed a voice that resounded across mediums – newspaper, books, theater and radio – and I realized that my overall message was romance.

I’d already established my image with my readership. Now I needed to guard it as I appealed to wider audiences. How would I introduce myself to them?

The biggest draw, and the biggest deterrent, was the word “romance.” Everyone had their interpretation. Folks who heard “romance” might think of steamy formula novels, or of fluffy-puffy analogies, or they might think this was something for couples only.

While here I was, knowing that romance could be earthy, gritty, profound, heavy, airy, or soaring, and that it’s a part of our nature. How could I, ‘Jacquee T.,’ communicate romance?

I founded the company Detour Productions publishing and entertainment, to represent me and my products. The company message is “Slow Down” to taste life. The Detour web site, products and events, inspire to do so.

Please tell us about your book, Growing Up (the pain, the joy, the discoveries).

This is the first book printed under Detour Productions. It’s designed as a keepsake.

Growing Up is an 7″x7″ book, with a cloth hardcover and a silk screen title and spine. It has a beautiful dust jacket, and a red ribbon bookmark. It’s perfect to display on the coffee table or nightstand.

Inside is a collection of poems, quotes and essays I wrote throughout various stages of my life. The moods range from somberness to a sense of humor.

I call it “accessible poetry.” Usually when folks hear “poetry,” they anticipate needing to concentrate and de-code the meanings. With Growing Up, I’ve found that people draw their own meanings from my poetry. Both men and women respond passionately.

The retail price is $20. This is a great price for a book of this unique design and quality.

It makes an elegant gift, and adds a little romance to those who receive it.

You regularly hold events that promote your book of poetry, evoke romance, and serve as fund raisers for worthy charities. Would you share with us some of your more unique events?


Detour events promote that “romance is accessible.” The venues are carefully selected; they provide a romantic backdrop.

Two milestone events were the Detour Productions launching party, and the “unveiling” party for Growing Up (the pain, the joy, the discoveries). Both included live music, and a “romantic raffle” to benefit a select charity.

In the Detour launching party, I sang the company namesake song, “Detour Romance.” Among the “Romantic Raffle” prizes were an Odyssey dinner cruise, “Chicago Chocolate Tours” tickets, a bottle of premium champagne, and an overnight suite in Chicago’s Amalfi hotel. Proceeds benefitted Alliance for the Great Lakes

At the “Growing Up” poetry book launching party, I signed copies of the newly “unveiled” books, and read some of the poetry. The Chicago WineStyles on Belmont hosted a tasting of “wines from romantic countries.” The event was titled “Roses for Mozart,” in fond memory of my cat Mozart who had recently passed on. Organic roses were part of the decor. Among “Romantic Raffle” prizes were a Winestyles-Belmont private wine tasting, dinner for two at the famous Pump Room, and tickets for Noble Horse Theatre, Proceeds benefitted Treehouse Humane Society, a cage-less shelter for cats.

Another event was a “Pink Champagne and Poetry” book signing and celebration at the historical Chicago Drake Hotel. This was celebrated in conjunction with the Swing band, The Flat Cats. They performed the song “Pink Champagne” in honor of the occasion. I took the mic regularly during the night, spoke about romance, and read poems from Growing Up. Per the Drake, all “Pink Champagne” purchases benefitted The Lynn Sage Cancer Research Foundation.

Those are some of the larger events hosted under Detour, and there are more like them in the works. They will be posted on the Detour web site once the dates and details are set.

How would an author or authoress go about setting up an event in conjunction with fund raising and then publicizing that event?

If you plan to host an event, plan to work hard. You’ll need to utilize both sides of your brain to make it successful. Set it up to make money, but of course, yet also to cause a buzz about who you are and what message you offer.

Firstly, be creative in choosing a theme to your event, a select venue, and a select charity. These will help you come up with the event title.

For example, if your book is “My Ski Adventures: the Good, the Bad, and the Human Snowball,” consider a snow theme. If it’s summertime, perhaps title the event “Snowy in July: author John Smith’s ‘Ski Adventures’ will give you chills!” Select an establishment with an outdoor terrace. Bring in a snow cone vendor. What else? Popsicles®, Slushies, and for those who want a potable – ice wine.

If it’s winter, select an establishment that has a fireplace and that serves hot drinks – some of them spiked. Potential event title: “Snow Lodge at Ike’s Tavern: author John Smith tells the ‘don’ts’ of skiing.”

In selecting a charity, perhaps one that protects Polar Bears, to go with the snow theme. Or perhaps you have a personal reason for benefitting a different charity.

Secondly, now that you have a focused title and theme, approach the people who can support this event, and whom you can support per the event publicity.

For example, if you approach Ike’s Tavern about donating his fireplace room, explain why his establishment fits perfectly with the theme. Offer to find a date and time that works for both of you. If Ike passes, try Irma’s Fireside Lounge, and so on.

Be prepared to send them in writing a description of the event, the benefitting charity, how you intend to publicize the event and to publicize the supporting establishment, how you expect them to publicize the event. Also, exactly what proceeds will benefit the select charity. A percentage of book sales? A raffle drawing? Sometimes folks like Ike and Irma opt to offer a percentage of bar sales to the charity. If so, be sure to publicize their added altruism – and to announce it during the event.

More details: Provided the drinks, appetizers they provide, what’s complimentary and what’s ‘available?’ Is there a cover price for the event? If so, how would you divide it with Ike or Irma?

Make sure everything is understood and agreed verbally, iterated via e-mail, and if need be, per signed agreement. This with the select venue manager, with the charity, and anyone else contributing to the event.

Thirdly, publicize! The moment you confirmed the event date, title, and location, post a “Save the Date!” on your web site and social media profiles, and send a note to your e-mail list. Offer updates and reminders, in moderation. Once details are confirmed, submit press releases to print and radio sources. Print announcements to distribute to friends, and to people you meet at networking events.

Check with the event venue folks, and the benefitting charity folks, on how they’re publicizing – before you sign them on, and as the event draws near. Offer to deliver fliers, or to send text they could use in blast e-mails or on their web sites.

In all publicity, you need the grabber title, and to assure all is clear to potential guests. For example:

You’re invited to

‘Snow Lodge at Ike’s Tavern’
book signing and benefit for Protect Polar Bears
5 East Elm Road, Paw Paw Michigan
7 p.m. November 1, 2010
John Smith, author of My Ski Adventures: the Good, the Bad, and the Human Snowball
tells the ‘don’ts’ of skiing.

That’s an informative grabber. It also gives Ike’s Tavern and Protect Polar Bears reason to make the same announcement, or to use the announcements you send them.

For the ensuing info, provide more reasons folks would want to attend, the cover price, if any, etc.

As a poetess and authoress, how do you determine which format is best for what you want to say?

An inspiration comes to me, and I write it down. A poem comes as a poem, a song as a song. With the song, I must find a recording device to sing into to make it complete, and that’s usually via calling my own voice mail before I find a musician to transcribe the tune.

Sometimes a character’s action comes to mind, and I write it down, or their dialog with another, and I write it down. When this happens, it’s an excerpt, that may fit into a poem book. Yet later I may get another action or monolog, and realize it’s connected with something I wrote before, and I put those notes together; as notes accumulate I realize this is a short story … (or) this is a novelette …. (or) this is a novel!

Sometimes the dialog is so dominating, I write the inspiration as a screenplay or play. The initial format I put it in remains the medium in telling the story.

Sometimes my thoughts are purely expository. They are released on my Internet outlets.

If I were to offer advice on inspiration, I’d say, allow it raw, don’t force it in any form, record it and make room for it. Do that, and the idea will manifest in its own form.

It was from your website that I discovered the recipe for perfect mashed potatoes! I’ve also read movie and wine recommendations, learned how to take care of my Shamrock plant, and through the “A Romantic in Chicago” link, vicariously enjoyed my favorite city. Where do you look for the content on your site?

Thank you. You’re referring to my Vignettes weblog, on the Detour site, and the new web site under Detour Productions, A Romantic’s Perspective.

Vignettes is a “tip of the fingers” outlet, as I may have an inspiration and be informal about sharing it. A la “Perfect Mashed Potatoes.” It’s not a recipe, it’s a depiction of my experiences that led to a Eureka! that potato lovers would appreciate – especially as they prepare to sit down for a holiday feast.

A Romantic’s Perspective (.com) has a section titled, “The Wine Corner,” where suggestions on wines and wine places are featured. The web site also has “The Green Romantic” section that covers earthy and sustainable subjects. This web site offers features by the month.

March 2010 featured Ireland, and included “wines to go with Irish fare” under “The Wine Corner,” and “Shamrocks, the Wild Irish Clover” under “The Green Romantic.”

As a former columnist for “Letter from Chicago,” it behooved me to include my knowledge about Chicago as a separate entity under A Romantic’s Perspective – “A Romantic in Chicago.” It’s a sub-site under A Romantic’s Perspective (.com), and has the same categories: “The Wine Corner,” The Green Romantic,” with Chicago-based features.

Where do I look for content? I cannot keep up with my ideas. A Romantic’s Perspective was designed to tame them – under categories like “The Wine Corner,” etc. At the same time, those categories spawned new angles.

For example, I anticipated that the March A Romantic’s Perspective to include a splash of Irish among the categories – until I attended a “Flavors of Ireland” event that I thought would merely enhance the “splash.” I left the event with more article ideas than I had categories, and ended up covering all Romantic’s categories with an Irish flair, plus adding a special “Claddagh Ring” page.

These all- Irish subjects knocked out previous features I’d planned. Not only because they were conjoining in the “St. Patrick’s” gaiety, but also because my contacts were prompt to provide requested photos, and to answer questions in rich detail.

All my contacts, I realized, were Irish, with the exception of an Irish American, a few generations removed, who hosted Ireland trips and spoke of them like poetry. It behooved me to let go my previous plans to fill the Romantic’s categories, and to take on the wild Irish subjects.

The previous plans were shelved for later months.

This process keeps me on my toes and excited. At the same time, as a professional writer, I respond to sources who are timely in responding to my information and photo requests.

Do you have any final thoughts you’d like to share with our readers?

If you have a conviction for a writing career, start putting out your writing. Assure your grammar skills are intact, but of course. Yet the most important thing is giving of yourself. Spill into your writing, be it first person or third person; write from your core, not your surface. Readers will sense the difference and respond accordingly, whether or not you hear from them.

And, dress well. Dress as if you respect yourself, and your writing, and the people you meet.

Where to get Article Ideas?

Ideas for Articles and Profiles by Jackie Houchin

I’m not a fiction writer, but I still get asked the question, “Where do you get your ideas?” Of course they mean, where do I find interesting people and events to write about, but that’s okay, I know what they mean.

Editor Assignments

When I first started writing for a local newspaper, the editor sent me out on specific story assignments – a quadriplegic who’d lived 20 years on life support (that actually turned out to be his mom’s story), a man who built model airplanes, a woman injured at a car repair shop, a sculptress who made marble look sensual, a market-window muralist, an orchestra conductor, a trailer park scandal, a middle school with security issues, burglaries at a church and a neighborhood market, and my recent 3-part story on Women in the LAPD.

He also assigned profiles on local businesses, including several restaurant reviews (yum and yech!), and a calendar of community events. Easy, right? Just go where I’m told. Yes, that’s true, and I did get some “spin-off” stories from those assignments.

Observation

But what is interesting is that I began to “see” my own stories everywhere. A man in the Starbucks line in front of me had a crossword puzzle on his T-shirt. I commented on it and we started talking. I learned that he created personalized puzzles for businesses, individuals and magazines. (One job was for a young man who used the puzzle to propose to his girlfriend.) He and his business made a great story!

Driving from Costco one day I saw a man walking a giant Tortoise. A slammed on the brakes and pulled to the curb, utterly fascinated. I set up an interview and photo shoot and after spending a delightful morning with the two friends, wrote, “Walking Newman.” It made it into the Los Angeles Daily News – front page!

Browsing in the Flintridge Bookstore one morning, I noticed their barista making a latte for a customer. He showed an unusual amount of pride as he handed over the cup. Turns out, he was a “latte artist.” He (and the bookstore) allowed me to take notes (and photos) on each step of his creative process, including the foam artwork atop the brew. They still have a faded copy of the newspaper story in a frame on their counter.

While pumping gas one afternoon, I noticed a small faded sign across the boulevard that read “Adventure in Postcards”. When I finished, I investigated, and found a little shop crammed full of antique and collectible postcards. Thousands of them all categorized and labeled in shoeboxes and shelves. The reclusive (for health reasons) woman gave me a fascinating interview, photo and resulting story.

Friends & Family Referrals

Friends are also great sources for story ideas. I wrote a series on a local Toastmasters chapter at one friend’s suggestion; two stories on a Pet Detective who, with her bloodhounds, finds lost pets (another friend’s idea), and the exciting experience of a young swimmer in the “Escape from Alcatraz” competition (my granddaughter’s friend). And from the elderly neighbors of another friend, I got a tender story and some wise observations on life.

Collectors & Hobbyists

“Crafty” people always make good subjects. I discovered a woman who sews winter blanket-coats for dogs, and vintage (1920’s) dresses for women. Another woman has a vast collection of Santa Claus figures.

My hubby is a hot-rod enthusiast. His contacts netted me stories about car owners and clubs (one donates to the City of Hope, another collects toys for needy kids at Christmas). A man stopped by to admire our flashy-red Roadster in the driveway and began talking about the vintage airplanes he restores. I got some terrific photos and a story about his current plane (and the ones he’s crashed).

Unusual Occupations

I’ve written several stories on a local Alpaca rancher, one on a magician who teaches kids about books, another on a man who drives a cesspool pumper truck (oh the things they find in those portable potties!). A tour of a beachside lifeguard station – with a few true life rescue-stories – made another fine story.

A family-owned Art Glass company promised to be an interesting profile in itself, and then I heard the grandfather tell how he earned his apprenticeship restoring the ancient glass in England’s Canterbury Cathedral after WW II. (It still gives me shivers.)

My farrier (horseshoer) and my large animal vet were fodder for interesting equine stories. The artsy photo I took of the farrier ended up in Country Magazine, the equine dentistry shots on the Vet’s website. Note: it helps to be able to “shoot” your subjects.)

Event Notices

Pay attention to those banners in your neighborhood announcing upcoming events or shows. I’ve written several stories about festivals, breakfasts, and shows at a local institution for the developmentally handicapped. The American Legion once hosted an official “flag-burning” ceremony I wrote about. An elementary school drama club and a new horse trail dedication got ink too.

I also scope the morning newspapers and group newsletters for upcoming events that sound fun or informative. (Art exhibits, author signings, workshops, expos.) From local pet announcements, I wrote stories on Pet Scanners and Protecting Pets in Hot Weather. An announcement about an FBI Agent speaking Identity Theft made another story.

Organizations

There are always things to write about the organizations you belong to. The speaker’s bureau of our local Sisters in Crime has set up many author panels and workshops that I’ve written about (or at least blurbed). THIS Writers In Residence group has gone on “outings” that were fun to write about (A class on hand-gun safety at a local firing range, and a trip to the famous Greystone Manor for a reenactment of a murder – see them archived in this blog).

These are only some of the places you can find story ideas. Use you natural curiosity, your observation skills, your contacts, and various announcements/notices. Soon you will have more stories than you have time to write.
Next Time: My tried and (sometimes) true interview techniques.

Interview with Author Laura Levine

We are pleased to have with us author Laura Levine. Laura is a former sitcom writer (The Bob Newhart Show, Laverne & Shirley, The Love Boat, Three’s Company, Mary Hartman, Mary Hartman) As an advertising copywriter, she created Count Chocula and Frankenberry cereals for General Mills. Her work has been published in The Washington Post and the Los Angeles Times. Her Jaine Austen mysteries have been published internationally. When not writing mysteries, she contributes comedy material to Garrison Keillor’s “A Prairie Home Companion.” She lives in Los Angeles with her husband.

Welcome Laura!

You have experience in so many writing fields. What led you to the long narrative form and specifically, to mysteries?

What led me to mysteries was unemployment. At the ripe age of fifty, I’d been unceremoniously drummed out of show biz. (In the wacky world of sitcoms, twentysomething is ideal, thirtysomething is “getting up there,” forty is ancient, and fifty is prehistoric.) I’d always thought it would be fun to write a mystery, so I wrote one on spec. And because of my background as a sitcom writer, I decided to make it a comedy-mystery.

And PS. Getting booted out of show biz was definitely a blessing in disguise. After years of having my scripts nitpicked to death (it’s part of the “collaborative” process), at last, as a novelist, I get control over what I write.

Are there skills you learned in advertising, television, or radio writing that helped with novel writing?

Absolutely. Writing sitcoms for all those years taught me a lot about both story construction and joke writing.

I plot out my books the way I used to plot out my spec movies (only one of which ever got produced, by the way.) I put each scene on a separate index card. One color for the mystery scenes, another for the comedy scenes. Then I lay them out on my dining room table to check for pacing and an overview of the story.

Your series protagonist is Jaine Austen. Like her namesake, she’s a writer—not a novelist, but a jack-of-all-trades freelancer. What about this career makes it a good job for a mystery protagonist?

To tell the truth, when I wrote the first book in the series, I had no idea it was going to be a series, so I didn’t give that much thought to Jaine’s profession. I’d spent a few years teaching sitcom writing at UCLA extension and during that time had met another teacher, a freelance writer who lived in a charming duplex. I was fascinated by the fact that this woman was able to support herself as a freelancer (it seemed like such a precarious way to make a buck), so I decided to make Jaine a struggling freelance writer. And it’s actually turned out well. Because Jaine’s writing assignments are so varied, she gets to meet people—and solve murders—in lots of different worlds. (Fashion, showbiz, L.A. society, etc.)

What kind of writing schedule does a professional writer need to have?

Oh, lordy. I was afraid you’d ask me something like this. Highly professional goody two shoes writers get up at the crack of dawn, go racing to their computers, where they spend most of the day pounding out award-winning thrillers. I, on the other hand, stagger out of bed at the crack of nine (okay, ten), have my coffee, do the crossword puzzle and any other work-avoidance activity I can think of, and then, after wasting all that time, I goof off some more. Eventually I break down and do some writing.

I tend to be at my most shameful at the beginning of a book, but after a while, a momentum starts to build, and I find myself actually eager to get back to my story. At the beginning of a book, I may put in as little as two hours of writing in a day, and at the end, as many as seven or eight. (And although I start my day admittedly late, I will often work till ten or eleven at night.)

In my humble op, the important thing for any writer is to keep writing, and never let herself be paralyzed by self-doubt. When I first started out in show biz, I had a wonderful mentor who told me, “Laura, everything stinks at the beginning. Just keep writing. You can always come back and fix it later.” And it’s so true. Writers are often assailed with doubts at the beginning of a project, and allow their inner critic to stymie them. But if you just keep plugging ahead, the more your confidence builds and the easier the process becomes.

“Death of a Trophy Wife” came out on April 27th. Could you tell us a bit about the plot?

I’d be delighted to. In Jaine’s latest adventure, she comes to her neighbor Lance’s rescue when he’s accused of murdering one of his customers at Neiman Marcus—a venomous trophy wife with an enemies list as long as her hair extensions. While Jaine tracks down the killer, she must also fend off the advances of Vladimir Ivan Trotsky, an internet Romeo who shows up on her doorstep all the way from Uzbekistan, hoping to win her over with bad poetry and pictures of his goat Svetlana.

Does a series get easier to write as you go along, or harder?

Harder, definitely. It seems like every plot twist or gag I come up with is something I’ve already done. Arggggh!

Tell us what’s next for you.

Next October I’ve got a novella coming out in a Christmas anthology called GINGERBREAD COOKIE MURDER. The headlining author is the wonderful Joanne Fluke, so you know the book will include some yummy recipes. The other author is the very popular Leslie Meier.

In my story, Jaine goes to spend Christmas with her parents at their retirement community in Tampa Vistas, Florida (always good for a dose or two of aggravation), and is called into action when her mom’s best friend is accused of murdering the resident lothario, a sleazy dude who has been wooing and cheating on several of the single ladies.

And right now, I’m starting in on the tenth book in the series, where Jaine sets off for a week at a swellegant spa, little realizing that it is a strict diet joint, run by a tough cookie she will come to know as the Spa Nazi. Needless to say, one of the guests will get bumped off before the final aerobics class, and Jaine will spend the rest of the book simultaneously searching for both the killer and something decent (as in “Chunky Monkey”) to eat.

Thank you so much, Laura. You can find out more about Laura’s books on her web site. I’d also like to note that her last mystery, Killer Cruise, is now out in paperback.

Interview with WinR Jacqueline Vick

Jacqueline Vick is the author of several as-yet-unplaced mystery novels including “Family Matters” which placed in the quarterfinals of the Amazon Breakthrough Novel Competition. Her short fiction is found online and in the “Every Day Fiction Two Anthology”, and her article about pet psychics appeared in the April issue of “Fido Friendly Magazine”.

What led you to write mysteries?

Well, the dark version is on my website under bio, but I grew up under the rule of a woman who read every mystery ever written. I remember looking at my mom’s collection of Agatha Christie’s and thinking “How boring!” Since I was a teenager, I probably added a “Duh!”

I’ve become much wiser in my older age. My favorites are Golden Age and British. You cannot top British humor in my book. Robert Barnard’s “Death by Sheer Torture” remains one of my favorites, as is anything by Christie, James, Sayers, Mortimer etc. (I share Agatha Christie’s birthdate!) I’m also discovering “new” authors such as Delano Ames.

A year or so ago, I decided that, since I’m never going to capture the voice of those oldies but goodies, I should actually start reading some of the comtemporaries. I’d tried a few authors and really didn’t get into them, so I wasn’t enthusiastic. Thank goodness I didn’t crawl back into my cave, because I’ve discovered some fantastic authors since.

Do you find conventions and writers groups useful?

My first convention was Love is Murder in Chicago. I met so many fantastic authors; kind, supportive people no matter what level of success they were on. I didn’t know a lot of authors at that time, and I sat next to Charlaine Harris and humiliated myself by asking her if she wrote full time. She was so humble and nice. She said, “Well, yes, honey, I do.” Then she got up to give the keynote speech and they congratulated her on her series making it to television. I guess I should have read the program. Lesson learned: Know the authors in your field.

Sisters in Crime and Mystery Writers of America are both great places to meet other writers and exchange ideas. Both offer programs with speakers that have helped my writing. I’ve just joined the Public Safety Writers Association which promises to be informative and fun. And my critique group (you know them as the WinRs) are intelligent, generous writers who aren’t afraid to slap me upside the head when my writing stinks. (And yet they do it so nicely that I thank them every time!)

How do you balance writing mysteries, children’s fiction, and whatever else?

I don’t. I should be in therapy. I’ll sometimes have five projects going at once and I have to step back and ask, “Would I like to do any of them well?” That usually keeps me down to two projects for a short while.

I don’t understand when people say they don’t have enough ideas. I have three different protagonists so far, I’m writing a pet psychic mystery, I have a Young Adult book outlines, a children’s mystery series in mind, a picture book waiting for an artist, the Logical Larry series, a non-fiction book promoting local businesses in Santa Clarita, a rambo-style Father Brown series I’d like to write…. (OK. Maybe not Rambo, but he is a police chaplain and former marine who get’s transferred to teach at a girls school. Talk about being unprepared. Of course a parent is murdered and things go from there.) 

What else do you do to keep on top of your writing?

I am a voracious reader. On average, I read three books a week–sometimes more, sometimes less. Besides enjoying the books, I’ll watch how the author handles everything from dialogue tags to description. I’ve even outlined the plot of books I think work especially well just to see I’ll have a revelation.

Is there an essential ingredient in any fiction you read?

Humor. There are enough humorless people walking around that I’m not going to immerse myself in their company while I’m reading. One of my favorite books is “Blue Heaven” by Joe Keenan. I’ve read it several times and it still makes me laugh out loud. “Lamb” by Christopher Moore is genius. P.G. Wodehouse is another favorite, as are Carl Hiaasen and Neil Gaimon.

I like humor that makes fun of the human condition in a gentle way.  Humor that comes from a place of superiority is only funny when the joke is on the lofty character. Otherwise, it’s just a lecture. An example is how Christie makes fun of Hasting’s arrogance through his inner dialogue about Poirot. He’s feeling sorry for the detective, thinks the old guy is losing his abilities, but it’s Hastings who can’t see the forest for the trees.

What’s next for you?

I’ll have my books at a fundraiser at the end of May. I’m working with the SinC/LA Speaker’s Bureau, putting together panels for the Burbank Library. I want to finish the pet psychic mystery, go back over my last mystery for rewrites, and write the next Logical Larry. I really need to prioritize.

Why Writers Should Join Book Clubs

What inspired you to become a writer? If you’re anything like me, your love of writing has its roots in a love of reading. Some of my most treasured childhood memories are of weekend mornings curled up on the sofa with my mom while she read to me. We started with the L.A. Times comic section: Brenda Starr, Little Lulu, Nancy and Sluggo. Before long, we moved into books.

I yearned for the day I could read on my own, and once I learned to make sense of all those letters on the page, I never lost my love of reading. From Black Beauty and Jane Eyre, to Hemingway and Fitzgerald and . . . well, you get the idea.

Over the years, my taste in fiction narrowed, and I realized I was limiting myself to a couple of categories: women’s fiction, because that’s mainly what I write, and mysteries/thrillers because they’re so darn interesting and fun to read. Nothing wrong with that, of course, but a writer-reader really should diversify.

Writers need to read, not just the kind of writing they do or want to do, but all kinds of writing. Reading the work of other writers broadens your horizons and makes you think. It expands your perceptions. It feeds the muse and keeps her interested in you.

But how to choose what to read from the endless choices of good books out there? Publishers Weekly tempts me every week, and friends are always recommending their own favorites and often foisting them on me.

And that’s where the book club comes in. When I had a chance to join a local reading group, I jumped in and have not regretted it for a moment.

The “Brown Bag Book Club” (so named because it meets mid-day) is sponsored by Flintridge Bookstore & Coffeehouse, a delightful independent bookstore in La Canada, California. We’ve read current bestsellers and lesser-known novels, and without exception they’ve been wonderful reads. Most have been books I would never have chosen on my own but am ever so glad the book club selected them. I’ve entered worlds I never imagined and discovered the work of some amazing novelists. The experience has only strengthened my commitment to my craft and left me in awe of the writing; it’s made me want to write even more, and to do it better.

It sure doesn’t hurt that Sandy Willardson, one of our book club moderators, is a fantastic cook who brings a delectable dessert to each meeting. We’ve sampled a pumpkin mousse, gingerbread, a chocolate truffle tart topped with strawberry soufflé. . . yikes, this is making me hungry. Not all book clubs are blessed with this little extra, but it sure helps break the ice!

An important side benefit of belonging to a book club: when we meet to discuss the month’s selection, and I hear the other members’ reactions, it gives me priceless insight into what they found compelling in the book, and what turned them off. It makes me think about my own values, and what I consider a successful novel. Does my writing measure up to my own standards? Probably not as much as it could, but the book club discussions are a significant wake-up call.

We live in a hectic world, and it’s usually hard to find time to work on our own projects, to write our stories and novels and to study our craft. It’s easy to forget that big old world of fiction out there, and belonging to a book club is a wonderful way of reminding oneself that writers need to be readers.

INSIDE AN INDEPENDENT BOOKSTORE

With mega-bookstores struggling for market share these days, independent bookstores have an even tougher time – and we’ve recently lost some of our favorites. Despite competition from chain stores, discounters, and e-tailers, however, some indies have managed to hang on and even thrive.

We asked two staff members at the Flintridge Bookstore and Coffeehouse for some inside information on what it takes to run a successful independent bookstore. Catherine Linka is the store’s Children’s Book Buyer. Sandy Willardson is in charge of Marketing, Advertising, and Author-related events.

Catherine Linka is pictured below, left; Sandy Willardson is pictured below, right

What are the rewards and challenges of running an independent bookstore?

Sandy: The rewards: The direction you want to follow isn’t dictated by a corporation. You can become much more ‘intimate’ with your customers – you can anticipate books they might like, events they might enjoy. And, you can take on a much larger role in the community/schools.

The challenges? Getting information out that you exist, without access to the kinds of promotional materials the chain stores have (posters, signage, etc.) You have smaller budgets to work with. You also want to make sure that your books are relevant to the community you serve.

Catherine: The best part of my job is when a parent comes in and says, “My child loved the book you helped us pick out.” Connecting readers with books is a joy.

How do you compete with the behemoths like Amazon and Barnes & Noble? What do you offer readers that the mega-stores can’t?

Sandy: Our strength is in our service …. we call it “hand selling” …. we come out from behind the counter and help you find the book that suits your needs. If we don’t have the book in stock, we make every effort to get it for the customer within one or two days.

Catherine: Independents can’t compete on price. We don’t get the same deals from publishers that the big boys do. I’m not even sure the big boys can compete on price. Borders is a mess right now.

What independents offer is a personal relationship. A living human being will help you navigate, throw out ideas for a gift, connect you to an author you would otherwise never know about. Great independents become part of the community.

This month I took a new author to meet fifth and sixth graders at Crestview Elementary, put on a Mother Daughter Book Party where the partygoers met seven authors, brought a picture book writer to an evening storytime at Paradise Canyon School, brought together book club members to hear about favorite book picks from the sales rep for Norton, led 25 elementary school children in our Junior Advisory Board and 25 teens in our Teen Advisory Board, sold Roald Dahl books at the Willy Wonka fundraiser at La Canada Preparatory, and oversaw the judging of over 200 entries in our Imagination Contest.

Independents also have a point of view. We get to choose books that interest us, not just the books that a central office got a good deal on or ones it thinks will be a blockbuster. We’ll try a couple copies of something new.

What impact on your business do you foresee from e-books?

Sandy: We don’t think that e-books will have a huge impact. The impact will be minimal because (1) people don’t want to stare at a little screen, or for that matter a computer, for long periods of time; and (2) it’s hard to snuggle up by a fire or climb in bed with an e-book. They are just not warm and cozy!

Catherine: E-books are an interesting question. We heard a lot of different opinions about them at the ABA Winter Institute last month. There’s no doubt that e-books will capture a segment of the market, but most likely the segment that consists of people who read 12+ books a year. But even these readers show “hybrid usage” –they read some things on a reader, but others in what they refer to as p-books (printed books).

One thing that publishers acknowledge is that bookstores offer browsing and preview in a way that e-books don’t. People do judge books by their covers and people do respond to the physical qualities of a book. The most interesting research is the stuff that says that we respond differently at a neurological level to reading on a screen–we don’t go as deeply into the dream/trance; instead we skim the way we do as we read text on a computer.

How do you decide what books to carry? Do certain categories sell best? What other criteria do you use? Do local writers ever get special consideration?

Sandy: Catherine has done a fabulous job working with the schools to ensure that we carry the core books that are needed for the La Cañada Unified School District – not an easy task. We have a good give-back program and have already given the LCUSD over $5000.

Naturally, you carry all of the best sellers, you carry books that have been requested by different book groups, you carry all of the classics, you also try to carry books that pertain to your community – not just the histories of your community but also their interests: travel, art, architecture, history, and of course my favorite – cookbooks, etc. Catherine has also put together an incredible children’s and young adult section. The children’s section probably is the biggest earner in the store.

We really enjoy helping local authors …. we’ll carry their books (if they’re good!), host their signings and encourage people to read them.

Catherine: Deciding what books to carry is part science, part art. I look at daily sales reports to see what has and has not sold. Every category is reviewed semiannually to see if it is worth having. It’s always a balancing act, because you need to have a variety of books for all different kinds of readers…not just the top ten best-sellers. Fiction that ranges from romance to mystery to thriller to fine literature is key. New non-fiction, especially memoir or books about human behavior and quirks, do very well. Cookbooks sell all year round.

Local writers get special consideration in that we often plan events to help promote their books if we feel the title will do well in our town. We’re so lucky in having so many amazing writers in L.A.

Are you able to generate revenue beyond book sales – i.e., does the publisher/author typically provide an incentive to carry their books?

Sandy: Publishers will do what is called “co-op” where they will give you a credit if you showcase some of their books – they would like you to high-light them on your website/newsletter, have displays and have their titles “face out” so that they’re more recognizable.

Lots of bookstores make additional money selling what are called “side-lines” – toys, stationery, jewelry, journals, etc. We’re working on that … it takes time to develop the market.

Catherine: Publishers sometimes provide incentives in the form of discounts or co-op money. Bookstores struggle to be profitable, because it is a labor-intensive business and because having all that inventory is expensive. Selling gift items can really benefit the bottom line. No matter how big an independent is, I promise you the store is looking at alternative sources of income, whether it’s operating a coffeebar or offering classes or selling art on consignment.

How did you get in the book business?

Sandy: I’ve been doing events/marketing for the last 20 years. I was in an in-between spot when this opportunity presented itself to help market the store/books/events. It was a natural for me, and I’ve enjoyed the challenge of taking an unknown quantity and helping build it into a successful business. For me, I find the mix of interesting authors, fabulous books and planning events a terrific spot to be in!

Catherine: I had a background in marketing, but I’d just finished an MFA in Writing for Children. I was driving down the street and saw the “Help Wanted” sign. I’d never worked in a bookstore, but I must have shown Peter and Lenora [the store’s owners] I knew how to sell, because they hired me to set up the children’s area.

And last, is there anything you wish we’d asked that we didn’t, anything else you’d like readers to know about you and/or Flintridge Books?

Sandy: The big thing on the horizon is the new store, which will have 1000 more square feet and an Espresso Book Machine – that’s big! …. it will print a book of 300 pages in about 4 minutes and put a cover on it! It will be great for print on demand. The future is looking good! [Note: the new store will be constructed right down the block, on the southeast corner of Foothill Blvd. and Angeles Crest Highway]

Catherine: I just want to add that independents are the best friend of a debut author. Independents can choose what they want to carry. We love to discover a new author and give them a chance. Indies have their own bestseller list that differs from the NYTimes and we get an email update weekly. A debut author can get attention from indies when the big boys are obsessed with what’s going to sell 150,000 copies+.

Flintridge Bookstore & Coffeehouse is located at 964 Foothill Blvd. in La Cañada Flintridge, CA 91011. Phone: (818) 790-0717

Visit their web site for more information and event schedules.

Brainstorming Plot

WinR MK Johnston talks about brainstorming plots.

Two-thirds of Writers in Residence met last Wednesday to try something new – a brainstorming session to help one of us clarify plot points in a new novel. The one was me. I’d been struggling with the outline for the sequel to my first novel, A Petal In The Wind. I knew where to start and end the book, but I had too many ideas and not enough clarity to get me there.

Since it was the first time we tried to brainstorm, we free-formed the meeting. I’d been to brainstorming groups that had limited effectiveness, but the Wednesday session was extremely helpful to me. When I returned home, I thought about how it progressed, what worked and what didn’t, and why this was more successful than past efforts. I’ll share my thoughts with you.

I don’t believe brainstorming is the most effective way to stretch a germ of an idea into a full blown story. It can work, but when you ask people to take aim at a problem, it’s much easier to hit a specific target than scatter shots at the sky and hope something falls to earth. If a writer has the basic story fleshed out but is having trouble with some aspect of it – weak ending, sagging middle, critical scene – the chances of success are more likely than if the writer is vague about the premise or the problem.

If you’re in a critique group and would like to hold a brainstorming session, begin by having the writer clarify what she hopes to achieve. If she doesn’t understand where and why her story needs help, no one else will.

Open the discussion with a free exchange of ideas. Anything goes. Sometimes you have to get past the obvious, trite and just plain bad to get the creative juices running. The writer should listen and take notes; but shouldn’t interrupt the flow if she hears something she doesn’t like unless that thread is picked up by the others. Then she can simply say, “I don’t want to take my story in that direction”. That will alert the others to drop the idea and move on.

Allow around 20 but no more than 30 minutes for this part to avoid straying too far off-topic. The writer should have enough to work with by now, so take a brief break and let her digest what’s been said. She must settle on which ideas worked best for her vision of the story.

Once she’s decided, focus the brainstorming along that narrow path. Let her direct the conversation so she can get what she needs. If anyone has ideas outside the box, no matter how brilliant, hold them until the end or email them to her later.

If the writer can’t determine a direction by now, the session wasn’t successful. It could be that she wasn’t clear about what she wanted or needed, either in her own mind or in expressing it to the group. You might be able to salvage the session by having her explain why she rejected all of the suggestions, or if there were any ideas that might hold promise with further exploration.

Ultimately the key to successful brainstorming lies in the writer. She has to have some idea of a direction. Otherwise the best suggestions won’t help. It’s one thing to ask someone to dig up a potato from your garden. It’s another to plant a seed and expect others to grow it for you.

Interview with Journalist, Editor, and Author David Vizard

Dave Vizard is the former editor of True North Magazine. Vizard has been a journalist for more than 35 years, winning more than 100 professional awards as a newspaper editor, columnist, editorial writer and reporter. He is now a free-lance editor and magazine writer. He is also working on two murder mysteries involving the health-care industry.

Welcome, Dave!

Could you give us some background on what an editor does and if there are differences in editing for newspapers versus magazines?

For both newspapers and magazines, editors work with reporters or writers to craft articles for publication. The story can be assigned by the editor or result from a suggestion by the writer. Often times, the idea for the story is brainstormed by the reporter and the editor together. But that’s pretty much where the similarities between newspaper and magazine writing end. Traditonal American newspaper writing, even when considering larger, more expansive examples of feature writing, is usually much tighter and more heavily structured than magazine writing. Magazine editors and writers typically have much more flexibility when it come to deciding the best way to tell a story. They also can do more in terms of weaving color, descriptive detail and background into the story. I had a lot more fun editing a magazine than I did editing for newspapers.

As a magazine editor, what did you look for in writers?

Three things: Creativity. Creativity. And more creativity. I always encouraged writers to come up with new and interesting ways to engage readers. I wanted reading my magazine to be a thoroughly enjoyable and satisfying experience, not a challenge to get through it. I wanted reading it to be thought-provoking, friendly, funny, and, most of all, interesting.

We first met at Love is Murder a few years ago. (Has it been that long?) You had decided to take the plunge into mystery writing. What lead you to write fiction?

Several things, really. First off, I grew up reading great fiction, but never had the chance to practice it as a journalist (making shit up for newspaper articles is generally frowned upon). As I got older, I developed an affinity for mysteries, so I started reading everything I could get my hands on. Some of it was not very good, and, as I walked away from bad books, I started telling myself that I could write better than what I’d just put down. Soon, it became a personal challenge: Craft a good novel and make the story work and flow from beginning to end. I soon found out that it was not nearly as easy as I had envisioned. Then it became even more of a challenge.

Did the writing conference help you in your transition, and if so, how?

The LIM conferences, and other writing workshops I have attended, have been great for two reasons. Learning and encouragement. If you attend as many conference sessions as you can fit into the day’s schedule, you can’t help but learn from experienced, dedicated writers. The ideas and tips and trial-and-error stories about writing are terrific. Novices are encouraged at every turn. In some ways, conferences are kind of like pep rallies. You walk away ready to tackle the world. You also find that writers are willing to share everything, including their bar bills.

I read an early draft of your book, and it’s got the key elements of a fantastic read—deliciously sinister plot, flawed hero, a touch of romance, and a wonderful sense of humor. Is it too early to share what your first book is about?

No. Maybe talking about it will be the spark I need to finish it. My story is about an aging, drunken newspaper reporter being kicked to the curb by 20-somethings in the office. But his experience and instincts help him discover and solve the health-care mystery surrounding a plot to kill three prominent educators in a mid-sized Midwest city. In the end, he saves a life, pulls his career and reputation out of the gutter, and gets the girl while thumbing his nose at the 20-somethings. I had a blast writing the first two drafts of the story, but the final re-write – trying to make it just right – has been painstaking, with lots of stops and starts. Did I tell too much? Gosh, I hope not.

Why start a second novel before your first one is finished?

I knew you were going to ask that. Good question, and the best way I can answer it is this way. The idea for it just came to me and I had to start writing it while it was percolating. That’s also thrown me off track a bit with finishing the first novel, but I did not want to suppress the new story idea.. I think it’s going to be really good, maybe better than my first attempt. We’ll see.

I noticed that you put together a writing critique group. What did you look for from members and how did you reach out to them?

What did I look for in members? I wanted people who could sit up straight in their chairs without drooling while they snored through the readings and critique sessions. Just kidding.

An author friend of mine, Dennis Collins (who is also an LIM alum and has published two novels), kept bringing up the idea of starting a writers group. The more we talked about it, the more interest we found among others in our rural, small-town area of Michigan. Finally, I suggested that we see if the folks running the local district library would host our group. They embraced us enthusiastically. I wrote news releases about Dennis and I forming the group. The releases were published by local newspapers and aired on local radio. About 15 people showed up for our first meeting, and the group continues to grow.

We recently wrote 1,000-word pieces of fiction from a prompt similar to the ones used in Writers Digest. The stories turned out to be much better than we’d ever envisioned. Now, we’re talking about creating a blog or Web site to publish the best of our offerings online. We’re also talking about traveling together across the Bluewater Bridge to a writers conference in Canada. We bring in authors to talk about writing and getting published. Plenty of other ideas in the works. I had no idea forming a writers group would turn out this well, but it’s been a lot of fun.

Do you have any final thoughts you would like to share with your fellow scribes?

The same thing I used to tell my journalism students. If you want to become a better writer, then practice your craft as often as you possibly can. Read and write something every day that you breathe. And don’t give up. If you’ve got a story to tell, find a way write it, re-write it, and then re-write it again.

Edits, Rewrites, And Selling Your Soul

Author G.B. Pool has plenty of experience editing her work, and with one novel and a list of anthologies under her belt, her methods must work!

Every “How to Write” book has a chapter on “Editing and Rewriting.” Whatever you write can always be improved by a careful edit, and thoughtful look-over, and a final rewrite to tweak those areas that don’t sound right. You could spend the rest of your life rewriting if you aren’t careful. Hopefully you have a friend who tells you to stop before you rewrite the life out of your work.

Over-writing is a problem we can all have when we are looking for the perfect word or phrase. Maybe you should try looking for the best word, and not worry about perfection. Perfection is stuffy. Walk away from your work, literally, go into another room, and think about what you want to say in that section. The words that come into your head, off the cuff, will be truer than the ones you agonized over. Spontaneity is always fresher. Write it down and then leave it alone.

As for basic editing like grammar, spelling, and punctuation, have someone else do it for you. Just like parents who never see flaws in their children, even the two-headed ones or the ones who wind up in jail, you will miss errors in your own work.

Join a writers’ group, ask a teacher, or pay a professional to go over your work. Even if your Aunt Mabel is a professional editor, too often a friend or relative will be too kind. (They will overlook the two-headed kid, too.) An agent or publisher won’t be kind. They will toss your error-laden manuscript in the trash and remember you the next time as the person who can’t submit a professional piece of work.

Make sure that writers’ group you join isn’t afraid to point out mistakes, holes, or continuity problems. A good teacher will know how to get out the red pencil and correct grammatical errors. And a professional editor has seen it all before and will know how to spot obvious errors. It’s worth the money.

So you rewrite, edit, polish and submit. And an agent likes your work. Hoorah! Your characters are memorable. The plot is appealing. The agent handles that genre. They know a few publishers in that genre. Everything is wonderful…but…

It’s the “but” that will have you asking yourself, “How much of my story will I change to get it published?” If the change doesn’t amount to much, I’d rewrite it in a heartbeat.

But what if your agent loves everything except one of the key points in the story around which everything revolves. Should you tell her she should really read the entire book to see how it fits together, or do you try to adjust the part she doesn’t like to suit her?

A screenwriter will tell you once you submit your script, a thousand hands will rework it, reshape it, and in the end you won’t recognize anything but the title…if they keep the title. Screenplays aren’t novels.

How much of your book are you willing to change for someone else? Granted the agent has the contacts, the clout, the name recognition that could get you published. But what will you be giving up? Your name goes on the cover. You are the one who will be explaining why the plot missed the mark…for eternity. You have to make that decision.

My advice: First, find a way to explain to the agent/publisher exactly why you can’t change that major plot point. Thank them for pointing out the fact you didn’t write that part clear enough and say that you will tweak that section. If that doesn’t work, ask yourself: What do I value most?

And remember: Your agent might be wrong.