Lately I've been thinking about ways I can earn an income from my writing, besides the obvious, which is selling Diary of Bedlam. This morning I decided to scan Craigslist for freelance writing jobs. Here's a sampling of what I found:

URBENZ Magazine
URBENZ is a startup online magazine as is lloking (sic) for people, who are interested in trying something different instead of the typical 9-5. I'm not going to wirte (sic) what sort of skills you need to have. I want you to show me what you have to offer. Everyone has something to offer, and while some corporate gigs expect you to fit some box I don't expect that because people weren't born from a box and the only people that live in boxes are usually dead.

Holly's note: While I don't live in a box exactly, it is entirely possible that I am just too old to appreciate what this person is looking for. I can live with that, in a box or not.

Dating Consultant
Currently hiring consultants to help our male clientele. We keep a low profile and are a small firm specializing on the more risque end of the online dating spectrum. We are looking for consultants to help with creating profiles targeting our individual male client's goals. A few examples:

1) A younger man seeking a discreet relationship with an older female
2) An older man seeking a fling with a younger female
3) A young professional male seeking to simply casually date women of the most attractive caliber possible
4) A man who likes to be sexually dominant seeking a complimentary submissive female

Holly's note: Ghost writer for guys who want to cheat on their wives? Sign me up!

Minx Society (looking for unpaid interns to write blog posts)
Minx Society isn’t a company, it’s a lifestyle. Our mantra? Just because you aren’t famous doesn’t mean you can’t live like a celebrity! Minx Society specializes in trend consulting, personal styling, public relations, and event promoting.

Our website serves as a vessel for all minxes around the world – an online collection featuring the hippest of the hip. The definition of a Minx is elusive. But that is the very essence of a Minx; she doesn’t fit into any mold. She is enigmatic, iconic, independent, imaginative, and intelligent. Nothing fazes her; she’s calm and collected. She’s mastered the art of getting whatever she wants. Minxes can be any age in any profession; they simply have one unifying quality: they stand out.

Holly's note: I've never been hip. Not even close. I'm not even hippy in the physical sense–my assets tend toward the upper part of the body if you know what I mean. Besides the words "imagninative and intelligent," this description is pretty much the exact opposite of me, so I guess I'll cross this gig off the list.

I do have to admit that the above jobs seem slightly more interesting than the "Medical Transcription" and "Computer Tech Writer" positions on Craigslist (neither of which I'm remotely qualified for either). And now that I've had a chance to think about it, that Dating Consultant gig could be good fun–seriously, sign me up.

There are a couple of workshops for writers coming up that I thought I'd point out. Both are being conducted by real pros in the business: Sue Ann Jaffarian and James Scott Bell. I have a great deal of respect for both of these authors and have no doubt both workshops are well worth it.

May 14, 2011:

TURNING AGENT WOES INTO AGENT WOWS with Sue Ann Jaffarian

From the event description:

Often the first impression is the only chance you will get when pitching your work to agents. In this Sisters In Crime/Los Angeles sponsored workshop, Sue Ann Jaffarian, best-selling author of three mystery series, will show you how to put your best foot forward when approaching agents, whether in person or by query.   

Sue Ann will take you from the very beginning of setting up your manuscript with proper formatting to what to say and what not say to grab the attention of agents.

Click here for more information.

June 4-5, 2011

Selling Your Novel and Screenplay Intensive with James Scott Bell

Some of the things you'll learn in this seminar:

  • The single most important secret to selling your work to Hollywood or big publishers
  • The one plot element that most writers miss, dooming their chances of selling
  • How a misunderstanding of "character arc" might actually be hurting your story, and what you can do about it.

There's much more, of course. Check out the event description for more details and information on how to attend.

Spring Warren is the author of Turpentine and most recently, The Quarter-Acre Farm: How I Kept the Patio, Lost the Lawn, and Fed my Family for a Year. Today, she stops by my blog to tell the story of her path to publication.

Turpentine I spent a couple of years after graduate school not only writing a novel, but also writing query letters trying to interest some publisher, some agent, some anybody in my work. I’d send out half a dozen letters, then over the next months watch the form letters dribble in, all of which said sorry but they weren’t taking any new clients/reading any new work/interested in what I was doing. 

I didn’t care much for this process. Not only did I feel like I was constantly volunteering my chest for the plunging sword of rejection, but the combination of investigating editors, agents, publishers and then crafting the letters to them, made for days and days of tedium that felt, increasingly, like wasted effort.

To make matters worse, the few houses that did respond to my queries and which then read my novel all said pretty much the same thing  – the writing was good but that it was almost impossible to sell “quiet character novels” written by unknown authors.   

I read “quiet” to mean boring.

I started another novel and I swore no one would call it quiet. I put big characters in it who got blown up, shot at, trampled by buffalo, hanged, drowned, and who fell disastrously in love.

I also stopped sending query letters to presses. I decided that I would focus on finding an agent.  If I got an agent, I reasoned, not only would this agent provide me with a better chance of being published, but the agent would also be in charge of the query work (and hopefully be much, much, much better at it than I was) and I would be free to spend my time writing fiction. QuarterAcre-newvines png

I’m not so sure that was such a good plan, as I had no publications. No short stories or essays in print  doesn’t exactly inspire confidence among those who print things. Luckily, about the time I’d decided to curtail my query writing I won the inaugural Maurice Prize, an award for the “best unpublished novel by a UC Davis alum.” I was then able to contact agents with this feather in my cap. Two of those agents were willing to represent me. After speaking to both of them I chose the agent who was sharp and funny and sounded like Julie Andrews (I had visions of her as Mary Poppins pulling my novels out of her carpet bag in front of gawping New York editors).

My agent was all I dreamed of. She busily prepared to send out my Maurice winning novel about the time I finished my “unquiet” novel, Turpentine. When my agent read Turpentine she put the prize-winner aside and began sending out the new (and unquiet) work.

Within a couple of months my agent had two houses that wanted to buy Turpentine. They each offered the same amount of money. Then they each went up a smidge – the same smidge – to the penny. I talked to both editors on the phone. I liked both editors. This should have been delightful. 

I was miserable. There was no easy choice. There wasn’t even a charming accent to consider. I was afraid I would certainly make a big mistake when deciding between the two houses. 

The best advice I got was from the novelist John Lescroart, who said the worst thing that can happen to a book is for the editor to leave the publishing house and “orphan” your book. He recommended I choose the house where this is least likely to happen. I did just that, and Turpentine was published by Grove Atlantic Books where it was edited by Morgan Entrekin – who also owned the company. The other editor did indeed take a job at another house within the year, by the way.

Two years later I sold my second book. I’d heard that it is harder to get the second book published than the first, but my agent, once again, did most of the hard work. Not the worrying, however, which I am so good at it would be a crime to delegate. I was growing most of my food in my suburban yard that year and my husband had doubted I could do so. I was talking to my agent at some point about it and telling her that in spite of all my errors and ignorance about farming and my husband’s nay-saying I was quite sure I was going to be able to finish the year not only feeding myself, but the family as well.  My agent was intrigued with the story and then said she thought it could be a great book, and that I should write up a proposal.  It took a few months to sell the book, but The Quarter Acre Farm; how I kept the patio, lost the lawn, and fed my family for a year is out with Seal Press now.

I am surprised at how easy it sounds. I got published twice in only a dozen or so paragraphs! It didn’t seem so easy when I was going through it, however; not the first time nor the second. I suspect trying to get published the third time won’t be a cakewalk either. My best bet in dealing with the process is to sidestep the feelings of rejection and doubt while hoping for the happy phone call that a book has been sold by not waiting.  Instead, I start another book. When I am immersed in the new project, the book that is making the rounds ceases to feel so consuming and I can remember the part of being a writer that I really like – the writing.

I've been thinking about book promotion lately. Not sure why–probably because Left Coast Crime 2011 just finished up and a lot of my friends went. It made me ask the question:

These days writers have to do quite a bit of their own promotion to spread the word about their books. How much time do you spend "on the road" each year promoting your books? (This could mean conferences, book tours, local events, etc).

Final_cover_long_knives Rebecca Cantrell:

More time than I'd like! For A NIGHT OF LONG KNIVES, I did a 10 city tour that took a month (but I took several days off at the beginning and the end to just hang out in San Francisco and New York with my family). Plus Bourchercon and LCC (4 days each).

For A GAME OF LIES, I'm packing it into a 1 week tour, 4 days for Tuscon Festival of Books, 4 days for LCC, 3 days for the Hawaii Island Book and Music Festival. Still haven't decided on Bouchercon.

Holly's note: You'd better go to Bouchercon, Rebecca!

Eric Beetner:

Not much time at all 'on the road'. Most of that is due to two things for me: money and interest. Not 94212919 interest from me, I feel like I'd go anywhere, but interest from stores or any other place that does author events. I'm actually finding it surprisingly difficult to get anyone to have me. I discovered that the treatment I got at The Mystery Bookstore spoiled me and now I can't even get an email returned from any number of indie stores where I've sent books (at my expense for the purchase of the book and postage).

I know they are busy and are inundated with requests all day long but the lack of response has been a shock.

I've done two LCC's now and B-Con last year. I have every intention of doing B-Con again in St. Louis but that may change. Conferences for me are all about networking and meeting other authors, not book sales. Last B-Con I didn't sell a single book. Still had blast though so totally worth it.

Rebecca Cantrell is the author of the award-winning Hannah Vogel series and iDrakula (writing as Bekka Black).

Eric Beetner is the co-author of ONE TOO MANY BLOWS TO THE HEAD and BORROWED TROUBLE, and author of numerous award-winning short stories.

I hesitate to post this on April Fool's Day, because really, I ain't fooling! Lately it seems I can't pick up a book that I don't end up loving. I am on a reading roll, I tell ya!

So what books have I recently read that I can't shut up about? Here they are:

1) THE LOCK ARTIST by Steve Hamilton
Michael might be mute, but he is also a genius–at safe-cracking. This novel intertwines his tragic history and his evolution as a lock artist, able to open even the toughest safe. Sure, he can't talk, but Michael is one of the most compelling voices I've read in a long time, and his story is even more compelling.

2) A FIELD OF DARKNESS by Cornelia Read
Talk about compelling voices. I can't get enough of Madeleine Dare, Cornelia Read's protagonist. Her take on life is unique, given her family history. As Madeleine says, "our money is so old it ran out." In this novel, Madeleine learns a chilling family secret and sets out to find the truth.

3) THE CRAZY SCHOOL by Cornelia Read
This is the second Madeleine Dare novel, and it's even better than the first. Madeleine really shines in this story as she takes a job as a teacher in a school for kids with mental illness. Turns out, the whole damned school, administration and all, could use a shrink.

4) THE COLD KISS by John Rector (in progress)
I swear, I cannot read this book fast enough. The setting is familiar, almost has a Bates Motel feel to it. But the characters are as unique and creepy as they come. I am truly loving this book.

If you're looking for something good to read, you can't go wrong with any of these four books.

 

At least that's what author Darrell James said to me on Facebook today. I believe him.

The first of which I speak is sending out my first agent query for DIARY OF BEDLAM. I did that yesterday, and I've sent two more today. I guess I'm gonna keep doing that until one of them falls at my feet and begs to represent me.

Wait, wha…? I'm sorry, I dozed off there for a second. I must've been dreaming. Hope I didn't say anything foolish while I was out.

It feels wonderful to finally send DIARY OF BEDLAM (well, at this point, just a synopsis of it) out into the real world. For so many months, or years, actually, I struggled for it all to come together. Then one weekend *poof*–the novel was finished. Now it's not just finished, it's polished.

And you know what? I AM SO PROUD OF IT.

I know it's rude to use all caps–it's considered shouting. But if I had a taller ladder I'd climb up to my roof top and shout this to the world:

FASTEN YOUR SEAT BELTS, READERS, BECAUSE BEDLAM IS ABOUT TO BE UNLEASHED.

Or something like that.

Since I don't have a taller ladder, I'll probably just sit here hitting the refresh button on my email and checking my spam folder until I get a response from an agent.

 

One of my goals in 2011 is to write more short stories. So when Chuck Wendig at Terrible Minds issued the Irregular Creatures Flash Fiction Challenge, I figured I'd give it a shot.

Here it is, 993 words.

AN IRREGULAR PROWL

Jimmy Ward noticed the police cruiser’s flashing lights in his rear view mirror before he heard the siren. He reached for the item on the passenger seat and shoved it underneath without taking his eyes off the road, then dutifully pulled off to the side. He lowered the car window, rested his elbow on the sill and attempted to appear calm, despite the adrenalin that had been running through his veins since the night before.

The cop took his time making his way to Jimmy’s car. When he bent forward and peered through the window, Jimmy noticed an angry purplish scar running down the left side of his face, stretching from temple to mouth. His nametag read “BRADLEY.”

“License, registration, and insurance, please,” Bradley said.

Jimmy removed his sunglasses and looked the cop in the eye, but said nothing.

From a young age, Jimmy knew he was special. All it took was a look in the mirror to see that. His otherwise ordinary face featured one dark brown eye and one translucent blue eye. His mother called him her ‘irregular creature,’ and while the nickname seemed rather unkind for a boy of six, he embraced it.

His gaze took adults and children aback and he’d learned to use their discomfort to his advantage. He’d spent a lifetime getting over on people; coaxing girls to sleep with him, getting out of tickets, convincing teachers to give him better grades than he deserved. Once, he even talked his way out of an arrest when he was caught stealing a bike from a rack near the beach. His talents had improved since then, but he still relied on his strange looks to keep as many steps ahead of others as he could.

Now, as Bradley stared at him with small, squinty eyes, Jimmy waited for the slight hesitation that always happened when someone saw him for the first time. But Bradley’s pause lasted longer than most; so long that Jimmy’s confidence waned. He thought about the item under the seat and squirmed.

“Is there a problem, Officer?” Jimmy asked.

“You neglected to stop for pedestrians at the crosswalk,” Bradley said.

Pedestrians, Jimmy thought. What pedestrians? He hadn’t seen them, but even so, it seemed like a dickish reason to pull someone over. He felt for his wallet in his back pocket, but it wasn’t there.

After a moment of panic, he remembered he’d put in his backpack when he’d left home the night before. Relieved, He turned and reached toward the back seat.

Officer Bradley stiffened and moved his hand to his holster.

“What are you doing?”

“It’s in my backpack,” Jimmy said. Bradley watched as Jimmy felt around for the backpack, but the back seat was empty.

Where the fuck was it? He realized what must’ve happened, and felt the blood drain from his face. He must’ve forgotten the backpack at the scene last night. Fuck, fuck, fuck.

“I left the backpack at home,” he said. “My license is in it.”

Bradley scowled. “Registration?”

Jimmy opened the glove compartment and picked through it. He knew the document was also in his wallet, but thought the search would buy him time to think about what to do.

Jimmy’s penchant for manipulation had evolved over the years into a career as a small time con man. When times were lean, he resorted to hot prowling, enjoying the rush he got when he entered houses he knew to be occupied better than breaking into empty residences. Armed with an eye for small, valuable items he could easily transport in his backpack, he got in and out quickly, never leaving a trace. He could make a lot of quick cash, but knowing the increased danger of arrest, he’d been careful not to make it a habit.

But last night, everything had fallen apart.

He’d prowled a neighborhood unencumbered by pesky streetlights. He peeked into rear windows, searching for just the right place. In one house, a young woman stood in a bedroom with her back to the window, perusing a bookshelf. She selected a book and left, and Jimmy took his chance. He opened the unlocked window and dropped his backpack on the floor. He climbed in himself just as the woman re-entered the room.

She grabbed a perfume bottle from the bedside table and hurled it at him. He raised a hand to block it and ran toward her, catching her by the arm as she tried to run away. A moment later, she stumbled down the hall screaming while he remained in the same place, holding a piece of flesh-colored plastic.

Jimmy had a direct view of the front door, and he saw the woman as she skidded toward it, one arm waving wildly in the air while her stump just hung there. She opened the door and ran, yelling, into the street. With no time to spare, Jimmy escaped through the window and sprinted through the neighbor’s backyard. He ran to relative safety, still gripping the plastic arm.

With Officer Bradley growing impatient, Jimmy knew he had to act fast. If the police had his backpack, they knew his identity. He closed the glove compartment and shrugged.

“Must be in my backpack too.”

“Step out of the car, sir,” Bradley said.

Jimmy sighed and made like he was about to do as he was told. Instead, he started the car and pulled out onto the busy street, knocking Bradley over and grazing an oncoming car. Breaks squealed and horns honked, but Jimmy just stepped on the gas and drove.

Hours later, a near-empty gas tank forced him to stop on a lonely stretch of highway leading to a town he’d never heard of. He felt under the passenger seat and pulled out the prosthetic arm. He examined it, wondering if he could sell it and make some cash.

Nah. He lowered the window, heaved it out into the darkness, and left to find a gas station.

Yesterday, whilst revising the end of DIARY OF BEDLAM, I realized I’m not profiscient in writing fight scenes. Actually, it wasn’t the first time I realized it. When Mick read an early draft of the mansuscript one of his first comments was how bad one of my fight scenes was. That one has since been re-written and now it works, but there is still polishing to do on the final scene.

What is it about writing a fight scene that’s difficult? I can’t get the choreography straight in my mind. I’m not able to visualize them the way I visualize other types of scenes. Maria Alexander, my friend and also a writer, advised me A) to learn to fight and B) watch a lot of fight scenes to get a feel for it.

So that’s what I’m doing this morning. Watching and studying fight scenes. And although I probably won’t use the moves seen here in my own scenes, here are a few of my favorites:

 

 

 

 

Questionmark Since I'm in the process of plotting my second novel, the question of outlining (or not) is on my mind. I asked my friend Kelli Stanley, author of 2010 LA Times Book Prize finalist CITY OF DRAGONS, whether she is an outliner:

KS: Do I outline? Yes and no. It's complicated. 🙂

I use a rough outline to break down the story into acts or parts. CITY OF DRAGONS–and all the Miranda books–are constructed on a five act play structure. A contemporary thriller I'm working on is built on three acts.

Certain things need to happen at certain points along the way, and the division helps me make sure they do. I then break down the acts into chapters, and set a page limit for the chapters themselves.

As I write, I narrow the focus, so the outline becomes more detailed. But I never get too specific, Curse-Maker-3D-199x300 particularly at the beginning, because one of the primary joys in writing–for me–is the process of discovery. I like the freedom of letting characters develop themselves, steal scenes, and I love the thrill of the unexpected–I like to be surprised as much as a reader would. At the same time, crime fiction demands a certain pace, which itself constricts and expands depending on the scene, your goals, and the stage you are in the plot. Writing an outline keeps me focused on those elements–it reminds me of what's next, and acts as the spine of the novel–which I can then flesh out with much more freedom, knowing that key plot elements are planned ahead.


Kelli Stanley is the award-winning author of NOX DORMIENDA, CITY OF DRAGONS, and most recently, THE CURSE-MAKER.

So yeah. You may have heard I finished DIARY OF BEDLAM. After giving it a good read-through, I can confirm that I love it. It is everything I wanted it to be.

Sure, it still needs some polishing. I have my own notes, and now I'm waiting on feedback from my beta readers to see what they think. But the key word here is "waiting." I don't want to touch the manuscript again until I get their comments. When I do, I will re-emerse myself in it so I can start shopping that puppy ASAP.

But waiting means I have a little time on my hands to plot my next novel. Initially I thought I'd jump right into the sequel to DIARY OF BEDLAM. But I also want to write a stand alone and a short story. Sure, a more disciplined person could do both, but in case you haven't been reading this blog over the years, I AM NOT THAT PERSON. I'm a one-project-at-a-time girl.

There's a novel I've wanted to write for at least ten years which takes place in contemporary Santa Monica. After spending so much time in 17th century London, I kind of think it might be time to put that old adage "write what you know" into practice. Then again, it has a male protagonist. What do I know about being a dude? Still, it explores a theme I'm interested in: what happens when you accidentally kill another human being? What does that feel like? How do you live with yourself?

But truth be told, I'm reluctant to leave Isabel Wilde (DOB's protagonist) and her world for any length of time. I'd really like to get a jump on the sequel by the time I'm looking for an agent.

Not that I'm complaining. Life is damned good right now, and it's nice to have choices.

(Okay, so after thinking about it, I'm 99% sure I'm going to start on the sequel to DOB. Stay tuned).