- Apex Publications Acquires Shock Totem Book Line
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 8
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 7
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 6
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 5
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 4
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 3
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 2
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 1
- Splatterpunk #7
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Tag Archives: Writing Advice
A Texas Senator and his wife go missing… On the same day, their son is slaughtered by an enigmatic killer on the lawn of ex-Governor Edward Wood’s residence. Sammy, Wood’s drug dealing son, suspects his father of the crime. After all, his old man snapped once before and crippled his wife with a lead pipe. But there’s something more to these events…something deeper and festering just beneath the surface…
In direct opposition to Homicide Detective Jim Thompson, Sammy begins an investigation of his own, searching for the truth in a labyrinth of lies, deception, depravity and violence that drags him deeper into darkness and mayhem with each step. And in doing so, brings them all into the sights of an elusive and horrifying killer who may not be what he seems.
A brutal killer on a rampage of carnage…a hardened detective on the brink…an antihero from the shadows…a terrifying mystery that could destroy them all…
Welcome to Lee Thompson’s A Beautiful Madness blog tour!
This stop is a special one since I love Shock Totem magazine and the people who have made it such a monumental success, which strangely enough is what this post is about. They’re beautiful people over at ST, and so are the stories they publish, and the covers that grace their issues.
Since I’ve been in two issues, in addition to one person winning a paperback copy of my novel, I’ll also be giving away two copies of Shock Totem! Issue #4, which featured my story “Beneath the Weeping Willow,” and issue #6, where I have a story called “The River” and was interviewed by K. Allen Wood (the publisher and sexy beast). Very neat, yes? To win, make sure you leave a comment and share the link on Shock Totem’s website, lovelies.
(Note: We will also be adding a hardcover copy (19 of 150) of Lee’s limited edition Delirium Books novella Down Here in the Dark.)
Ways to Measure Your Success (Expect and Accept Change)
There’s not much worse than for five years to go by and for you to look back over those years and feel that nothing has changed. Especially since it’s our responsibility to learn, adapt, and change things. No one else makes our choices for us once we’re an adult. But did you know what you wanted back then? Did you have a clear, specific goal? Did you have steps to carry yourself to that goal, or did you keep doing the things you were doing and expect to conjure such success from thin air?
If so, you’re not alone. But where have you succeeded? There has to be some area, doesn’t there? Look deep, look back, be objective. If you haven’t made strides, it might be time to start from scratch and rethink the way you’re approaching your writing career. You’re going to have to change for the better.
Expecting to succeed—to sell your first novel or first pro short story, or to get interviewed in the paper, or whatever—without studying the craft and just winging it, is like a guy swinging a golf club and expecting to be a pro golfer in five years. He can be doing a dozen things wrong in his swing and practice those wrong techniques ten thousand times, but only hurting himself.
A great way to measure your success is to pay a pro for feedback. (Tom Piccirilli offers an editing service.) Look at their feedback and go through it one point at a time, through your whole book, looking for the places they’ve marked as red flags and learn to understand why those things hurt your story instead of help it.
You can measure your success by comparing yourself to your peers. But it’s a trap filled with frustration. They can only write what they write and you can only write what you write. You might be a better networker but they might write better stories, or vice versa. They might be getting what appears constant praise while you can barely get someone to review your first novel. They might be single like me and have very few distractions while you might have a job and a family to dole out time and energy. There are too many variables, and comparing yourself to your peers isn’t very healthy. If you find yourself in this trap, it wouldn’t hurt to slap some sense into yourself.
You can measure your success by reviews. Reviewers read a lot of books so they can usually spot big flaws and what doesn’t work for them pretty quickly. They’re also passionate about the genre they’re reviewing. I like measuring my success this way. If someone loves reading they’re going to offer something useful I can use to improve.
You can measure your success by word count. I’ve never worried about this, but it seems to be a popular thing among writers. It seems a double-edged sword, though, telling yourself you have to hit a certain number, shifting, at least in the back of your mind, from writing a quality story to worrying about how many individual words you finished today. And then there is a lot of guilt in this approach too. I’ve seen tons of writers cry and beat themselves up because they fell behind on their word count that day or week or month. It’s a distraction, if you ask me, that doesn’t have many benefits. If you ignore the word count altogether and just write the story with as much passion and skill as you can, it will end up whatever length it needs to be.
You can measure your success by the project. Each novel you write will be different in critical ways. I like to experiment and break rules. When I began brainstorming A Beautiful Madness I knew I was going to break one of the big rules, and I did it, and knew it would and did work. The challenge each novel creates is fun to face. If you’re testing yourself on each individual story, to try new characters, new storylines, new ways to manage the POV shifts, and searching your heart for the little details that make the story familiar but fresh, there is a lot of satisfaction in that.
You can measure success by hitting deadlines. I like to set myself a deadline and have been doing so for years. (You’ll have to start doing that to be a professional writer, so why not start now?) I usually take a week to brainstorm the characters and the major beats of the novel and then write down the date I want to finish the first draft. Normally I have two deadlines. I set a high goal of six weeks. And then I set a more relaxed deadline of three months. Usually I hit somewhere around two months for a first draft but have finished some novels in two weeks. They’re all different.
You can measure success by copies sold. I’m setting a goal of moving 10,000 copies of A Beautiful Madness in the first year of its release, mostly because I want to gain a hefty new fan base and secure myself a position as a Crime writer to go to for a certain type of story.
With three years of publishing history, I can tell you that book sales spike and plummet if you have a small audience (there will be more on this in another guest post). Since there are such peaks and valleys, I’m shooting for the yearly goal of copies moved instead of a monthly one. If I’m six months into it and have only sold a quarter of what I want to get out there in readers’ hands, then I will have to get creative and up my game to hit my goal. It’s nice motivation. I think it’s doable too, with the publisher I have, and the fans I’ve gained over the last three years. And since A Beautiful Madness is my first Crime novel, it will always have a special place in my heart no matter how it’s received.
You can measure success by reader feedback. I’ve got awesome fans. They’re so warm and intelligent and funny. I wouldn’t move any copies if it wasn’t for them and my publisher because I’d rather be writing and reading than spending time online trying to pimp myself. A lot of them have become friends over the last three years too, although at one time they were complete strangers, opening one of my novels or novellas for the first time. It’s pretty cool. I measure my success in this way a lot, because it’s tangible, and if you ever feel down there are always people there shooting you an email saying they just finished your book and loved it and recommended it to their friends. They thank you, which is weird, but I get it because every time I read a great book I want to thank the author for taking the time to write it too.
You can measure success by professional feedback. I was fortunate the last four years to receive feedback from professional editors and agents and writers. I think it was important for me to have those people tell me I had talent and imagination and energy, but needed to work on characterization. Listening to them is what helped me start selling fiction.
You can adapt an attitude of I-don’t-give-a-fuck. Readers, editors, reviewers, some will love your work, some will hate it, some will never be more than lukewarm about it. You can just write for yourself if you want, like you probably did when you first started and you were thrilled by simply writing and finishing something. There’s no pressure in that. And it’s your life. Do what you want, what you feel is right, for you and your work.
How do you measure your success?
Buy A Beautiful Madness (Kindle): http://amzn.com/B00K36ITGS
Buy A Beautiful Madness (Paperback): http://amzn.com/1940544297
Lee Thompson is the author of the Suspense novels A Beautiful Madness (August 2014), It’s Only Death (January 2015), and With Fury in Hand (May 2015). The dominating threads weaved throughout his work are love, loss, and learning how to live again. A firm believer in the enduring power of the human spirit, Lee believes that stories, no matter their format, set us on the path of transformation. He is represented by the extraordinary Chip MacGregor of MacGregor Literary.
Visit Lee’s website to discover more.
There will also be a grand prize at the end of the tour where one winner will receive A Beautiful Madness and four other DarkFuse novels in Kindle format! Simply leave a comment on this blog and share the link.
Thanks to those who participate.
I became a fan of Chuck Wendig after reading his book 500 Ways to Be a Better Writer. He has built a following online for having biting, hard-hitting advice on writing and the publishing industry. It is a tradition of mine to read the first book of anyone I take writing advice from, and then read a newer work to see how they improve over time. After reading Blackbirds, I’m very excited to tear into the copy of Under the Empyrean Sky that I purchased this Fall.
There are few antagonists who get to me like Miriam Black, the namesake of the series that starts with Blackbirds and continues on with Mockingbird and the newly released The Cormorant. Miriam is a complete kick in the balls—a foul mouthed, cigarette-smoking, booze-guzzling hitchhiker that is just looking for the next unfortunate person that will die and leave behind their cash and credit cards. I love her.
Don’t be mistaken, Miriam isn’t a murderer. She can see the time and circumstance of a person’s death, as long as she makes skin-to-skin contact. When she meets Louis Darling, she sees that within a month he will die while saying her name. Miriam might be tough as nails, but her soft spot for Louis will take her right in the path of his killers and, possibly, lead to her own death.
Blackbirds is on the shorter side and very quickly paced. If you’re looking for a long, sprawling narrative and complicated plot-points, this is not the right book for you. The action is not the focus of the book, but rather Miriam herself takes center stage, her growth and discovery the most engrossing conflict. Admittedly, the sequences where Miriam is interviewed are my least favorite, but are well written, and give Wendig the chance to really let Miriam show who she is and where she came from.
Wendig is an excellent writer, and that skill makes the prose a joy to read. His use of language and imagery is masterful and his characters breathe on the page, brought to life by humorously placed flashbacks, descriptions, and some of the best dialogue I’ve ever read. I can’t wait to dive into some more of his work, and there is a lot as he’s quite a prolific penmonkey.
The Miriam Black novels are available through Angry Robot. For more of Chuck Wendig’s work, some free short fiction, his advice on writing, and a kick-ass recipe for Pho, please visit terribleminds.com.
As a reader, the first time I came across a new edition of a backlist book was Diane Duane’s Young Wizards series. First published in 1983, it was full of wonderfully outdated references that, as an 80s child, I felt right at home with. In 2003, Duane re-released the series under a “New Millenium Edition,” complete with bonus material and updated technology like cell phones. I didn’t understand it, so I dismissed it as a marketing gimmick.
My second exposure to the subject of backlist books was as a writer this past July at Necon. I attended a panel moderated by Lynne Hansen, where she, Christopher Golden, Lori Perkins, Heather Graham, and John Douglas discussed the act of “resurrecting” the backlist and general marketing advice for one’s writing. The panel not only interested me as a writer, but also as a reader. Established authors dusting off their “old” novels creates a library of undiscovered stories released either before I was old enough to read them, like Young Wizards, or that just escaped my attention.
Lynne Hansen, owner at Lynne Hansen Designs, specializes in “book covers that tell a story” and helping authors resurrect their backlist titles. Her clients include Christopher Golden, Amber Benson, James A. Moore, Owl Goingback, Jeff Strand, and Rick Hautala. When I asked Lynne about the top benefit for an author to look at their backlist, her answer echoed my own excitement as a reader: “When a fan discovers you for the first time, you hope that they’ll love your work so much that they’ll want to read your other books. The more books you have in print, the more they’ll have to love.”
In the past few years, many veteran authors are discovering that they are sitting on a gold mine of backlist material. Of course, the reason for books to go out of print is that bookstores can’t carry new releases, classics, and backlist titles in brick-and-mortar stores. However, with the emergence of e-books and the Amazon marketplace, space is no longer an obstacle. Many midlist authors are hoping to again have the luxury of cultivating a fan base without the insane pressure to either hit decent sales numbers or see their books out of print.
Throwing books out of print after a short sales period is a publishing practice that pushed veteran authors like Holly Lisle over the edge in favor of self-publishing their work. On her site, Lisle echoes the sentiments of many authors. “Now,” she says, “frontlist is all that matters, backlist dies, and writing fiction for a living has become not building a career but playing the lottery.”
However, Amazon has kept up with it’s reputation for driving change in the industry and has become the best place to find “new” backlist titles. “I don’t think readers look for re-released titles the same way they look for discount e-books,” said Hansen. Sites like Amazon ensure that multiple editions, “paperback, hardcover, audiobook, etc., are all linked together,” which has been a benefit to authors and a convenience to consumers.
Hansen is passionate about her work, not just for her clients but for readers who “say they’ve wanted to read a book for years but could never find it, and they just downloaded the e-book. And I’ve heard folks say they’re re-reading a book, or even an entire series, now that it’s available electronically. That’s a nice bonus.” As a reader, I appreciate Hansen’s dedication. Nothing makes me happier than finding a new author that has a vast catalog that can be ordered with the click of a button.
Of course, one of the largest benefits to authors using a print-on-demand (POD) service like Amazon and Createspace is “you don’t have to print 10,000 books and store them in your garage just to get an affordable per-copy rate. Companies like Smashwords make it easy for you to upload a single Microsoft Word document and get your e-book distributed to a gazillion different retailers.” As Hansen also mentioned, it isn’t so much the format of the e-book that has made maintaining a backlist possible again, but rather the affordability of the process and the accessibility of those titles to readers.
I’ve heard varied arguments for or against self-publishing. There is an impression that “indie pub” has created a market flooded with unedited first drafts, thrown up for public consumption by amateur writers that are not doing their homework, which is making good writers look bad. Hansen has a much different view: “People like to think that self-publishing is The Great Leveler, but it’s not. Good books still rise to the top and bad books still (generally) fall into obscurity. Sure, there are more opportunities, but there are also a lot more challenges, especially when you’re faced with the prospect of having to do all the production work yourself.”
Fortunately for readers, there is a level of professionalism and dedication that an established author possesses to do it right. The writer seeking to resurrect their backlist has intense work ahead of them in order to re-launch and market their title, which is where Hansen comes in. “If your car breaks, you don’t pop the hood and start checking wires unless you have those skills.” Authors are great at writing books, but a lot more goes into releasing a backlist title for a new market. Obtaining the needed components to resurrect a backlist title take time and energy. This energy is better spent doing the most important task to a writer—actually writing.
“That being said, reissuing a book isn’t as simple as pulling up the Microsoft Word document and adding a copyright page,” said Hansen. “You need to make certain you have the final, edited version of the manuscript and have incorporated any line edits that came from the original publisher. You need the dedication, introduction, acknowledgments, afterword, bio, and links to your online presences.”
Hansen also suggests hiring a cover artist. “You want your name and title crisp and readable, and an image that is striking when it’s small. Most importantly, your book cover needs to resonate with the readers of your genre. If it’s a thriller, it needs to look like a thriller, not like a horror novel. You need a designer who understands marketing, because ultimately, your book cover and blurb are the best marketing tools in your arsenal.”
One difficulty Hansen has faced with marketing her client’s backlist books is “they’re not new books. They’ve already been reviewed and promoted and odds are that your die-hard fans have already read them.” Even authors with an established platform would still need to promote their backlist to a new audience. This might be as easy as appealing to a new generation of fans or hitting the market with the right book at the right time, such as Christopher Golden and Rick Hautala’s Body of Evidence thriller series, featuring young protagonist Jenna Blake.
“In today’s marketplace, the Jenna Blake books would be categorized as ‘new adult’ and is much more likely to be read by adults than by teens. It’s a category that didn’t even exist when the books were being written. For the re-issues, I designed covers that were more familiar to thriller readers than to young adult readers, and we tweaked marketing descriptions to reflect the new focus. It’s really helped the entire series reach many more readers.”
One way that authors can promote their backlist titles might seem obvious: “Backlist books are the gravy, not the meat,” said Hansen. “The best way to promote an old book is to write new ones.”
Personally, I’ve snapped up quite a few backlist titles that were released on Amazon in the past year, including Strangewood by Christopher Golden and The Wicked by James Newman, the latter released by Shock Totem in May of 2012. I was also excited to find Closed Circle Publications, a site created by award-winning sci-fi and fantasy authors C.J. Cherryh, Lynn Abbey, and Jane Fancher to market their backlist titles.
Keep an eye out for the above authors and their amazing, high-quality re-releases coming to an Internet near you. I personally will continue to forgo the trip to Barnes & Noble (which I’ve never been a fan of, honestly) in favor of staying at home with a beer, or a coffee if it’s early enough, and scouring Amazon and Google in search of new backlist titles from veteran authors. So far, my purchases have been more than worth it and have exposed me to stories that would have otherwise gone unexplored.
Here are a handful of goodies from around the Internet that we found interesting this past week:
First, let’s kick out the jams!
If you dig heavy metal and horror, check out Prowler, a three-piece metal band from South Carolina that pays homage to classic horror.
Spiders just got creepier…and learned how to dance.
Moving right along, quickly. (Did you see that thing? Christ!) There always seems to be some author out there making a big, ill-advised stink about being rejected by some publisher or another. Never a wise thing, of course. But if you’re looking for some possibly helpful tips (I personally think a few of them are bullshit, but you may think they’re writer’s gold), check out 25 Things Writers Should Know About Rejection.
And finally, we host a prompted flash fiction contest every two months, the latest of which began on July 1. The prompt this go-round was an article from 2008 concerning a century-old Swiss watch discovered in a Ming Dynasty-era tomb that’s been sealed for four centuries.
Here’s a handful of links from around the Internet that we found interesting this past week.
First, over at Liberty Conspiracy, Gard Goldsmith has posted two podcasts featuring over an hour’s worth of interviews and commentary recorded at this year’s World Horror Convention in Austin, Texas. You can listen to part one here and part two here. Great stuff!
On the writing front, here’s something for the struggling writer: Thirteen tips to help you get some writing done. And this would probably fall under the category of Struggling Writer, but specifically, here’s a little something for the depressed writer. But maybe you’re neither struggling nor depressed, so how about a Writer Reality Check? Can’t hurt.
And with that, I’ll leave you with these amazing images.
Here are a handful of links from around the Internet that we found interesting this past week.
First up, some stuff on writing. Shane Staley of Delirium Books posted an interesting essay on the current state of small-press horror. A more upbeat piece comes from Adrienne Crezo, where she tells us that the “Big Debate” doesn’t matter.
Here are a couple tips on handling rejection: Jacqueline Howett responds to a review of her book, The Greek Seaman. Read the comments, then always do the opposite. Though a bit one-sided, presented as it is, over at Crossed Genres we were shown yet another example of a not-so-recommended rejection response.
Now, how about some fun and cuddly arachnids? A man in Dortmund, Germany is killed and then eaten by his creepy-crawly pets. And in flood-ravaged Pakistan, spiders have taken to the trees in what can only be described as something out of a nightmarish fantasy.
[ Photo by Russell Watkins ]
Scares the hell outta me, anyway!
Note: This post does not reflect how things are handled at Shock Totem.
So you just finished a 5,000-word story. Read on…
Have you ever heard an editor say a story needs to grab him—or her—within the first few pages? Have you ever thought about what that means for you, as a writer? What it really means?
In the business of reading slush, where hundreds of stories pour in weekly, those first couple pages can mean the difference between rejection and acceptance. Some editors say a story needs to grab hold from the opening line, and while some authors pull this off with ease, others take a slower approach. Some authors start with explosions, while others light small fires that grow and grow…
Because some stories beg for the explosive intro, and others require a slow build. It all depends on the tale (excluding flash fiction, which has no excuse not getting right down to business). But how often is a great story overlooked because an editor—and there are plenty who subscribe to this school of thought—thinks a story needs that WHIZBANGPOW! opening?
I recently finished a 5,300-word story. In standard submission format—12pt Courier font, double-spaced—it’s 29 pages long. Now let’s discuss exactly what that translates to: Changing the format to Times New Roman, single-spaced, the story shrinks from 29 pages down to 11. What was once the first three pages an editor sees is now barely a quarter of the way down page two, and the story starts halfway down page one! So we’re talking a mere 483 words.
Frightening. But it’s worth thinking about.
We, the writers, must impress within the first few pages, right? We’re told this over and over again. But depending on the publication that standard may be an illusion, because in standard submission format, those pages represent but a handful of words—not pages. And that’s just to keep the door from closing, let alone getting your story across the threshold! And beyond that there’s a whole new set of obstacles.
Less than 500 words…