More behind the scenes at a publishing house

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Oct 232014
 

Yesterday and today we held the sales conferences here at Llewellyn Worldwide. Midnight Ink and Flux, our mystery and young adult imprints went yesterday. Today was the Llewellyn line and the companies we distribute for. But what happens at sales conference?

Sales conf power point

First we all gather in the conference room. Attending departments - sales, publicity, marketing, acquisitions, production, and art. Aren't we an attractive bunch? I stunned them into silence by telling them to shut it (my boys have rubbed off on me...)

Sales conf photo

Sales conference is basically me giving everyone else a sales pitch. Each editor has his or her own style. My style comes straight from being a bookseller. I give a short synopsis, but almost never any spoilers, and then some interesting facts about the author, the series, or the plot. Then the fun begins... anyone in the room can then chime in or ask me any random question connected to the author or the book. And let me tell you, the questions are often off the wall. I can talk about the Midnight Ink books or authors all day long - but the question time is the most nerve-wracking since I may, gasp, not know the answer!

Ok, that rarely happens. Mostly because I over prepare so I am not in that position. The week leading up to sales conference, I create, with the help of Kelly (who does our contracts and a million other things we need to keep the machine running), a one-sheet. The one-sheet is all the information the sales department needs to sell the book:

  • physical description of the book (page count, trim size, price)
  • rights we have retained
  • synopsis
  • author bio
  • setting or location
  • comparable titles (complete with ISBNs and bookscan numbers)
  • audience
  • silver bullet (one line that sums up the plot)
  • series status (book 2 of three contracted, for example)

Usually while I am creating the one-sheets, I also create my powerpoint presentation. The powerpoint focuses mainly on the book cover, as well as key critical reviews or endorsements.

No rest for me though. I have six more launch meetings - three on Monday and three on Tuesday - and then the Fall 2016 catalog will be closed. Of course I still need to acquire a few titles for Winter 2016. Better get on that soon.

Tomorrow is one of the best things I get to do as an acquiring editor. I am road tripping down to Madison, WI with one of my authors for a signing. What makes this extra special - it's at the mystery bookstore I used to own. I haven't been there since I sold it and moved up to Minnesota. It has changed hands and names since I sold it, but nevertheless I am very excited. The following week is Halloween at Llewellyn, and let me tell you, that is a big deal! More on that next week. After Halloween I am heading down to Milwaukee for a little Murder and Mayhem with the Jordans (Crimespree magazine, frequent Bouchercon organizers and all around fabulous people). Bouchercon is just around the corner as well. Yep, this editor has a pretty full dance card. Just the way it is supposed to be.

Have a great week y'all! Happy reading.

Oct 232014
 
The Marksman #10: Open Contract, by Frank Scarpetta March, 1974  Belmont Tower Books The previous volume of The Marksman ended with Philip Magellan on the French Riviera, where he was planning to continue waging his war against the Mafia in France. So then it only makes sense that this volume opens with Magellan in Houston, Texas, with absolutely no mention of the events of the preceding two
Oct 232014
 
Singapore is the place today in our further adventures of Traveling the Globe. Singapore is also called the Republic of Singapore and is a sovereign city state in Southeast Asia. And it lies off the southern tip of the Malay Peninsula.
 

Singapore Downbeat 
by Mark Corrigan


Corrigan and Tucker are in Singapore where they each have an assignment. He must look into the activities of a Mr. Sin, a man deeply involved in the smuggling of synthetic gold. She has to check out an event with a poisoned pen. Somehow they must find a way to help each other.
 
Two Died in Singapore
by John Sherwood 
 

Charles Blessington was tired of being in Singapore and wanted to go home from his temporary assignment. Then someone he knows is murdered and suddenly he determined to stay.

The Singapore Exile Murders
by F Van Wyck Mason
 

The area is Southeast Asia for this assignment which has Hugh North going against agents from a good assortment of nations, all vying for control of formula for greatly improved steel used in military armor. North gets promoted to Major in this adventure.

Suddenly At Singapore
by Gavin Black


The sudden, violent death of his brother and partner, Jeff, sends Paul Harris into action as he is determined to learn who was being the murder. Since the two brothers had for some time been involved in smuggling guns to rebels fighting in Malaysia, it seemed a sure bet the cause lay there.
 Posted by at 7:30 am

Craft Tip #4 – Dialogue

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Oct 232014
 

The key to writing good dialogue is putting yourself into the character’s shoes and becoming them when they’re talking. The secret to writing better dialogue is to be a ruthless editor who uses common sense rather than some set of arbitrary rules developed for academic or journalistic writing.

As an example, people often repeat the same word when they’re talking. Listen to any conversation. They also say things like um, and uh, and you know, and kind of, and like, all the rest of the “sloppy” catalog of things you’re advised to excise from your writing. The problem is that if you follow that counsel you’ll wind up with dialogue that sounds nothing like the way people talk. So you need to own your characters and pay attention to how people actually speak in the real world, which is easier than it sounds.

Stephen King is a master of dialogue, in that his characters immediately sound genuine when we meet them. They’re fully formed and consistent. There’s no pretension. They sound like people do. That should be your benchmark.

When you’re done with a dialogue-heavy scene, read it aloud. Act it out. Be the characters. How do they sound? Like some bad version of a Mamet play, or like real people? If they sound anything but genuine and natural get out your red pen, because your job ain’t over. You gave birth to these people. You’re responsible for them being believable.

And of course, when you write dialogue, you should apply the same question you do with everything else: What’s the point? If you know the reason you have dialogue in a scene, whether to move the plot along or to offer the reader insights into some aspect of the characters’ inner workings via that verbal window, understand the objective before you write the dialogue. It’ll go way better for you and the reader if you do.

There are countless books available on how to write decent dialogue. I’d advise you to read some of them, but if you don’t, I just basically told you what’s in them.

The only other thing I’ll add is that less is more in dialogue. If you can communicate things non-verbally, such as state of mind or attitude, do so. If a guy walks onto a crowded bus and seems like he’s about ready to explode with rage, how would we know it in real life? There would be nonverbal tells. Clues. We’d see things. Maybe his coloring. Maybe the way he looks at people. Maybe his expression. Maybe he sighs, barely controlling his anger. Maybe he’s breathing differently, or grinding his teeth, or his eyes are narrowed, his nostrils flaring, jaw muscle pulsing, lips thinning, whatever. There are dozens of ways to convey his state of mind so that when he does say something, we instantly know this man’s pissed, and his words are only a small part of the powder keg that is his temperament at the moment.

Dialogue is as much about what’s said as what isn’t. If you view every bit of it as an important opportunity to inform the reader of important clues about the characters, you’ll wind up with far more interesting scenes. And if you pare the dialogue down to what’s essential to getting the point across, you’ll be ahead of the game.

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10 for 10

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Oct 232014
 
I made the mistake of checking in on Facebook today, only to discover that there’s a new meme going around. The challenge, as Brian Lindenmuth of Spinetingler Magazine presented it to me, is to name your “top 10 favorite crime books from 2004-2013. Ten only. No cheating by squeezing more titles in.” I immediately went to my annual tallies of the works I’ve read and tried to cull out one per year … which immediately turned into two or three a year … which ultimately left me with 25 titles, rather than 10. I whittled away from that point, finally coming up with this imperfect list, in alphabetical order:

The Blackhouse, by Peter May
Bye Bye, Baby, by Max Allan Collins
City of Dragons, by Kelli Stanley
House of the Hunted, by Mark Mills
Little Green, by Walter Mosley
Peeler, by Kevin McCarthy
A Quiet Flame, by Philip Kerr
Rosa, by Jonathan Rabb
The Song Is You, by Megan Abbott
Wolves Eat Dogs, by Martin Cruz Smith

I’m not going to tag anyone with the responsibility of following me in this daunting venture. But if you wish to submit your own choices, please do so under the Comments tab below.
Oct 222014
 


What movies do you hate that everyone else loves?


Doesn't it make you crazy when there’s a movie out that’s real popular and all your friends love it but you don’t? It’s like you're totally out of step with pop culture – and is there a worse fate than that? I’ve listed some movies that were boxoffice dandies and zeitgeist zeniths but just didn’t do it for me. You’re going to look at this list and be outraged over a couple. But that’s the whole idea. I KNOW you and most everyone in the world likes these movie but for whatever reason I hate 'em.   Sorry.  I do.   I’ve also left out films from genres I just don’t care for, so it’s unfair to dump on SAW III. And I won’t go to see a Katherine Heigl or Nancy Meyer romcom. Just loathe ‘em.  I know what I’m going to get. And I’m never not being disappointed in being disappointed.

So this is my partial list. I’d be curious. What’s yours? And I’ll make you a deal. If you don’t rip me for not liking LINCOLN I won’t attack you for not liking AMERICAN BEAUTY (although, seriously, what’s wrong with you?).

ENGLISH PATIENT
Last Batman movie
Last Superman movie
CRASH
MATCH POINT
NO COUNTRY FOR OLD MEN
NEIGHBORS
LORD OF THE RINGS
LINCOLN
THE NATURAL
NEBRASKA
THE DESCENDENTS
MY BIG FAT GREEK WEDDING
LES MISERABLES
YOU’VE GOT MAIL
MOULIN ROUGE
LUCY
IT’S A WONDERFUL LIFE


Oct 222014
 

Lynne Patrick

My house is full of books. I sometimes think I should put signs up, like a bookshop: crime section along the outside wall downstairs; general fiction and travel upstairs; plays, poetry and non-fiction between dining room and kitchen; various assorted children’s books up in the loft. Not that I need to draw attention to the books, exactly. They’re pretty much the first things people see. Which is exactly as it should be.

I can’t recall a time when I wasn’t a book person. At infants’ school I ached to be allowed to progress faster through the reading scheme which was meant to enrich our vocabulary and teach us pronunciation, and get on to the real books. Later, my friends pushed doll’s prams or played football with the boys, while I curled up in a chair with Heidi. I joined the adult library when I was twelve, having exhausted the kids’ section’s stock of boarding school tales and science fiction.

These days, a day without reading time is a bleak one, and if I reach for a book and there isn’t one there, my hands don’t quite know what to do. During our recent three-day visit to my Welsh homeland, I misjudged: I packed the book I was reading at the time, finished it on the first night and had to go in search of a replacement the following day. Not that buying a book causes me any distress or difficulty – rather the opposite. But since my to-be-read pile already had nine chunky volumes in it and was about to be expanded by a further four, words like overkill and excessive come to mind. Though not for long. It’s not possible to have too many books. Ever.

Given the above, it’s hardly surprising that the freelance life I’ve built for myself revolves around the printed word. If I’m not writing it, I’m editing it, and when I’m doing neither I’m reading it, sometimes for review, sometimes purely for pleasure. Take this week. It’s only Wednesday, and already I have:

- researched and written two 300-word features for a local newspaper;
- researched a third feature, to be written later today;
- started to give a book I’m editing its final read-through, a task I’ll probably complete tomorrow;
- reviewed the book I finished that first night in Wales;
- read the first of the four new additions to the pile, which were in Monday morning’s post, ready for
- reviewing it, which will probably happen tomorrow, along with the editing.

After that, doubtless other book- or print-related tasks will appear in my in-box. If they don’t, there’s a novel in manuscript which a friend has asked me to give an opinion on; I made it to halfway last week, before the paid and deadlined work kicked in again.

All this and the Sunday papers and general knowledge crossword too...

But then words are essential. They’re part of the warp and weft of life. They’re the way we humans communicate. Stating the obvious, maybe, but since there is a manifest determination to devalue what writers do by cutting book prices to the bone and putting publishers in the position of paring their costs likewise, I think it’s an obvious that needs to be stated now and again. That way, writers maybe feel a little more valued and their very real skills are properly appreciated.

And if I’ve done my bit to make that happen, my work for today is done.

Oct 222014
 




Scenes from last night’s event with David Shafer and Lev Grossman at Community Bookstore in Brooklyn. The conversation was so insightful; I learned something new about both authors’ novels. 

Curious about where David will be next? Check out the dates on his Whiskey Tango Foxtrot book tour.