Interview: Spencer Ellsworth

SPENCER ELLSWORTH’s short fiction has previously appeared in Lightspeed MagazineThe Magazine of Fantasy & Science Fiction, and Tor.com. He is the author of the Starfire Trilogy, which begins with Starfire: A Red Peace. He lives in the Pacific Northwest with his wife and three children and works as a teacher/administrator at a small tribal college on a Native American reservation.

Did you have a playlist for Starfire: A Red Peace?

I am one of those awful superfans who has an insane backlog of Radiohead bootlegs. (2006 Bonnaroo, amiright, Head Heads?) There’s something about the layers, the flirtation with epic proggy bits, and especially the trancelike quality of Radiohead’s music that makes it perfect for writing space opera.

What’s your writing process like?

It really depends on the project. When I conceive of a project, I generate ideas in all sorts of ways — sometimes by blocking it out with action figures (Star Wars when available. Calico Critters work too). Sometimes I start by handwriting, and sometimes by writing the scenes that pop into mind first.

Generally I’ll draft something readable in Scrivener, and when I reread the first draft, I know that certain parts lag, or just land with a thud. Sometimes I’ll just have long sections represented by a bracketed words, a la [ACTION SEQUENCE HERE]. So I’ll write whatever new bits I need either in a separate document, or just handwrite them. Then I’ll go through the book and “stitch” the new material into the old.

For me, the key part of any writing is this: keep the inner editor & the inner writer separate. Even when you’re drafting new material, draft it cold. While the inner writer drafts, send the editor off for a (mental) drink. While the editor stitches things together and trims them, let the writer go for a (mental) walk. They cannot work in the same (mental) room together.

Red Peace is the first volume of a trilogy. How do you keep track of reoccurring characters and back story?

This trilogy is short — each book is about 200-300 pages total — which is the first step to keeping track. I don’t have as many moving parts as Tolkien did. I made a list of new words and new names (and missed some; thank goodness for the style sheets my publisher sent)! Once I got a paper copy of the first book, I could stick Post-Its on particular scenes to cross-reference. (Not dog-ear, for that is the way of the heathen.)

I try not to kill too many trees, but there is something about print. It sticks in your head. The brain remembers the solidity!

There are a number of different religions depicted in Red Peace. What inspired you to use religion as an instigating influence?

I love this question! For some reason, even though religion is a motivating factor in 95% of major human interactions, a lot of people leave it out of their science fictional/fantasy worlds. And even when it’s there, it’s so often played for fundamentalist villains.

The galaxy in the Starfire trilogy is . . .  a rough place. Giant space spiders live in the Dark Zone and will eat your suns and planets, so the intergalactic government constantly need an army to fight said space spiders. The army is made up of “crosses,” genetically engineered soldiers. The government’s line is that the crosses are not sentient. The crosses disagree.

This would cause serious cognitive dissonance with people who genuinely believe in a God who creates sentient life. Did God not create the crosses? Why, then, do the crosses think and feel and demand recognition as sentient life? I knew that various religions would take various positions on this one. The main characters, cross and human, all take various positions informed by their faith.

And of course, there’s a death cult with a giant zombie wasp.1)

One must have a zombie wasp these days (Spencer Ellsworth).

Any advice about how to plot?

Character creates plot, and plot creates character. Once you have a person in your head, and you know how they need to change, and what will force them out of their comfort zone, the plot is just a method of taking us through their journey.

You want to avoid contrivance, but you also want to avoid scenes and activities that don’t change the character. If it has to happen for the sake of the plot, but it doesn’t do anything to advance the character, it’s the wrong scene.

What’s your writing environment like (your work area and tools of choice)?

I have a standing desk I put together from surplus shelving and 2x4s I got when my neighbor disassembled his carport. I have a ton of books, piled on a shelf, on top of each other on the shelf, and on the floor. And way too many Transformers on display.2) Did I mention I like toys (Spencer Ellsworth)?

You work as a teacher, and you’ve got a young children. What advice do you have for parents who want to write regarding time management?

Pick your writing time, and show up. As long as I can write from 5:30 to 7 every morning, projects get done. Also, have a supportive partner — and take care of them. It’s just as important to make sure you’re making dinner, cleaning up, & taking the kids if applicable.

What have you read lately (in the last year or so) that you really liked?

I really loved Michael Livingston’s Roman fantistoricals The Shards of Heaven and its sequel The Gates of Hell. The writing is just absolute crystal clear, and brilliantly powerful and the action sequences OH DUDE THE ACTION SEQUENCES. I love Nicky Drayden’s first novel The Prey of Gods, which is a super-gonzo wild explosion of fantasy and SF ideas, set in near-future South Africa.

Do you have any particular favorite books about writing?

I think every writer only really needs one book about writing. There is a time when you are really ready to learn from one book, and as long as you find a good book, it’ll open up the process.

For me, it’s always been How To Write A Damn Good Novel by James N. Frey, AKA “no, not that James Frey.” It’s got a really clear breakdown of how to map out characters’ journeys and use dramatic tension, clear prose and powerful dialogue to raise the stakes.

You’ve attended several different writing workshops. What advice would you give writers trying to decide if a workshop will be helpful (any workshop)?

I’ve attended several — and been rejected from many more! Shortlisted even, but never got in. Always your bridesmaid, Clarion.

Be aware of two things: most working writers went to some kind of workshop, but they didn’t all go to the cool shiny big-ticket one. A workshop is what you get from it. I attended Orson Scott Card’s Literary Boot Camp in 2005 and I’m ashamed to say I really did not get much out of it because I didn’t put much in.

I got a lot more out of Viable Paradise 2010 because I went there hungry and ready to step up.

Is there a question that you’ve never been asked that you’d really like to answer?

I want to know why drywall isn’t reusable. Doesn’t that seem incredibly wasteful?

Okay, seriously, I’d love to be asked about my “low culture” influences. My favorite writers of all time are Octavia Butler & Shakespeare, but I’ve also read every Transformers comic that came out in English since 1984.

What’s your favorite charity?

It’s not strictly a charity, but if anyone wants to help me & my friends and students out, please, please consider a recurring donation to the American Indian College Fund. I work at a tribal college, and we are a favorite target for budget cutters. A lot of students depend on AICF to get their degrees.

Spencer Ellsworth has a Website. Spencer is also on Twitter. You can find his short story “When Stars Are Scattered” at Tor.com.

References   [ + ]

1.

One must have a zombie wasp these days (Spencer Ellsworth).

2. Did I mention I like toys (Spencer Ellsworth)?

Interview: Agent Mark Gottlieb of Trident Media

Literary agent Mark Gottlieb of Trident Media kindly subjected himself to an interview. Here’s an abbreviated bio derived from Mark Gottlieb’s profile at Trident:

After graduating with a degree in writing, literature and publishing, Mark began his career with the Vice  President of Berkley Books (Penguin), working with leading editors. His first position at the Trident Media Group literary agency was in foreign rights, selling the books of clients around the world. He’s worked as thee Executive Assistant to Robert Gottlieb, Chairman of Trident, and as Trident’s audio rights agent. Mark is currently building his own client list of writers. He is actively seeking submissions in all categories and genres.

Did you always want to be an agent or were you tempted by other careers in publishing?

While at Emerson College in Boston, it wasn’t until my senior year studying Writing, Literature and Publishing while in my Book Editing class, that I realized I wanted to be a literary agent. Before then I had always thought I might like the track of a book editor. We were reading A. Scott Berg’s Maxwell Perkins: Editor Of Genius. When I read stories about the famed editor who edited the likes of Ernest Hemingway, F. Scott Fitzgerald and Thomas Wolf, I realized that Perkins sounded more like a literary agent than he did a book editor, at least by today’s standards. Passionately advocating for authors the way that Perkins did is what appeals to me the most. I realized literary agents operate on the ground level as some of the first hands to touch the manuscript in the book publishing process.

You’ve got a family connection to agenting via your father, the founder of Trident. How much did that determine your eventual career choices?

I always knew I wanted to work with books in some capacity, having grown up with books all my life. Mentioned above, it was a role as a book editor that initially drew me to book publishing but I soon realized that literary agents work much more closely with authors than book editors.

If someone wants to be an agent, how important is the undergraduate major? What advice would you give would-be agents?

A literary agent should have some real business acumen, rather than merely a degree in the humanities. That’s why I specifically sought out an undergraduate degree in book publishing and was a founding member, then later president, of Emerson College’s Undergraduate Students for Publishing club where I started a small press called Wilde Press, which is still operational and producing four chapbooks/year.

Who / what books do you represent?

My client list is available for viewing on our website at this link to my profile page. I represent a mixture of fiction, nonfiction, children’s books and graphic novels.

I notice that you’ve placed several books with Month9. Are you aware of the widely-reported problems at Month9, as described by SFWA’s Writer Beware  and as well as here on this Absolute Write Bewares and Recommendations thread  about Month9 ?

I’m aware that Month9Books has caused problems for authors who were unrepresented, whereas I have not had problems with Month9Books. The publishing house had to cancel contracts on unrepresented authors due to health and financial problems the publisher was having, since that would have a direct impact with the publisher being a small outfit, like many smaller independent publishers. We have not had the same problems with Month9Books due to the quality of our representation and relationship with the publisher.

What kinds of books are you interested in representing currently? Anything you’d especially love to see?

In addition to the types of books I already work with, I would like to build more of the upmarket fiction aspect of my list, as well as fold in some nonfiction from authors with very big platforms, and perhaps do some more children’s books in the YA and MG categories.

Can you offer any advice regarding constructing a query?

I think a good query letter simply upfront in one to three sentences what a book is about in hook sort of fashion where the most salient of information is listed and two or three comparative/competitive bestselling titles may be listed. That’s followed by two body paragraphs, detailing the plot/some of the synopsis without too many spoilers. The last paragraph is best reserved as something of a short author bio, listing relevant writing experience and credentials. It should all fit on one page.

What single piece of advice do you wish writers would pay attention to in terms of submitting to you?

Authors should not be querying literary agents for a fiction manuscript unless the manuscript is fully-written, since fiction can only be sold to publishers on a full manuscript. Fiction is all about the quality of the writing and the author becoming a household name by extension. Nonfiction is different in that it is idea-driven and can therefore be sold on a proposal accompanied by at least three to five sample chapters.

What books can we look forward to from Trident represented authors in the next few months?

This is a short list of some of the books by clients of mine publishing soon:

New York Times bestselling author Kate Moretti’s The Blackbird Season, in which after an accusation of statutory rape, a couple find themselves at the center of a homicide case where the police have one suspect: the husband, and the key to his exoneration lies within diary pages-words of a troubled girl from beyond the grave, which may or may not be the truth (Atria Books, September 26, 2017)

Social media sensation James Breakwell’s Only Dead On The Inside: A Parent’s Guide For Surviving Zombies, styled in the tradition of Max Brooks’s The Zombie Survival Guide and The Worst-Case Scenario Survival Handbook, providing practical advice on how to raise happy, healthy children in the midst of the zombie apocalypse, by joining the genres of parenting advice books and undead survival manuals in an unholy union that is both ill-advised and long overdue—the narrator, an inept father of four young daughters, uses twisted logic, graphs with dubious data, and web comics that look like they were drawn by a toddler to teach families how to survive undead hordes (BenBella Books, October 10, 2017)

TEDx speaker, The Feminist on Amy Poehler’s Smart Girls at the Party, Mashable journalist, MOTH Slam winner, comic and host of the monthly Hello Giggles show at UCB, Ruby Karp’s Earth Hates Me: True Confessions From A Teenage Girl, pitched as the handy Lean In for the Rookie generation, on what it’s like to be inside a teen’s mind, how social media impacts a teenager and what all their “angst” is really about, from an actual teenager offering life lessons (Running Press Kids & Teen, October 3, 2017)

What have you read lately by someone who isn’t one of your authors that you really liked?

I’m currently reading Paul Beatty’s The Sellout and rather enjoying it. The novel was recommended to me since I’m a fan of Ralph Ellison’s Invisible Man.

What question would you really like to answer that hasn’t been asked?

Where do you see the future of publishing going?

I’m sure that many people coming of age in World War II thought that the world was coming to an end, and yet they found a way to go on. I’m sure they never would have foreseen the Pax Americana, directly following the war in 1945. Similarly, book publishing, like many other industries and forms of media, has always been obsessed with predicting its own demise, and yet we’re still here today. I’m sure that when independent bookstores were being eaten up by places like Barnes & Noble and Borders, everyone in book publishing must’ve been thinking that it was all coming to an end. Then when bigger fishes, like Costco and Sam’s Club, ate big book retailers, again, professionals in the industry must’ve though with much doom and gloom. Well now we’re in the age of Amazon and a bigger fish such as the Chinese e-commerce group Alibaba, will one day come along to eat them, I’m sure as it has happened before and history has a tendency to repeat itself.

You can find Mark Gottlieb and Trident at the Trident Media Group Website, on Twitter and on Facebook. You can find Trident Media’s submission page here and Trident Media’s  ebook submissions page here.

Interview: Melinda Snodgrass

Melinda Snodgrass is the author of many SF novels, including the Circuit and Edge series. She also writes for and is the co-editor with George R. R. Martin of the Wild Cards series. She served as the story editor for Star Trek: The Next Generation, and wrote several episodes for ST:NG and other shows. An expert equestrian, Melinda Snodgrass splits her time between New Mexico and California. In Evil Times (July 2017) is the second book in her Imperials series, preceded by The High Ground and followed by The Hidden World (2018). Melinda Snodgrass has a Website as well as a blog, and you can find her on Twitter and Facebook.

Did you have a playlist for In Evil Times?

I have been listening to a lot of Mozart piano concertos and Beethoven cello sonatas and Saint-Saens Piano concertos. I was classically trained singer so I tend to favor classical music though I am beginning to enjoy more pop music now.

What’s your writing process like?

I get up each morning. I look at my outline and I know what is up next to write. I try to write every day, but writers are always writing. Dialog is spinning through our heads, we’re eavesdropping on diners at neighboring tables, etc. The other thing I do is each morning I reread the previous days work, and edit and rewrite. That means I’m fixing as I go and putting myself back in the space where that novel and its characters live. I also can’t jump ahead and write a scene that I know is coming. I have to experience it in real time with my characters.

How different is it from your perspective to write for TV vs writing for print?

I actually write my books using a lot of the tricks from screenwriting. In fact I believe my time in Hollywood has made me a much better novelist. For example, I will cut from a line of dialog and have that line finish in the next scene spoken by another character. I try to have every scene and every chapter hand off to the next one like a relay runner. I almost always start in the middle of a scene rather than do all that — knock, knock, come in, thank you for seeing me captain, etc. And my books are very dialog heavy. I have to remind myself to fill in all that boring description. (fill in gif of irony here)

In your Imperials Saga, you’ve got a society with an aristocracy and lines of inheritance and family inter relationships. How do you keep track of reoccurring characters and back story?

I use Scrivener which is a wonderful program that keeps things beautifully organized. They have sections for characters, places, research. With every book I keep track of any new characters, adding them to the list, and I update the status of returning characters. Okay, so Delia is married and her two kids are now this age and one’s at The High Ground. That sort of thing. Every phrase that is unique to the books ends up in the research section. All the planets, descriptions of them, capital cities are listed in places.

In addition to the human culture of the Solar League, you also have a number of non-human species with their own cultures and history. How do you manage world building? That is, did you work out the world building concepts, for instance the cultures and aliens first, or as you went?

I had a pretty strong idea of the traits of the various aliens. I knew the Cara’ot were master traders, and genetic engineers. I knew the Isanjo were functionally high steel workers, the Flutes are highly skilled in mathematics. Truthfully I cheated a bit though I’m going to have to address this in book four since I have an alien view point character. Because the aliens are a conquered people their own religions, cultural norms, etc. have been suppressed by their human rulers. Most of them claim to worship human gods, particularly the Christian god, they don’t have to accept the limits female participation in business because they are considered less than, but in most ways they try to ape their conquerors. It’s just safer that way.

Although I’ve only read the first two books of the five-book series, it’s pretty clear you have a plan for the journey and a destination. Any advice about how to plot?

Plotting is my favorite thing to do. And yes, all five books are worked out and the final scene of the series is already laid out. I start with a cork board and 3×5 or 4×6 cards and multi-colored pens. (You can also use a white board, that’s what we used on Star Trek but it’s hard to make changes or move scenes. I prefer the cards.) Anyway I put up cards detailing Teaser, and generally 3 acts though some longer books can be 4 or 5 acts. I then assign a color to each major character. I then put down the final scene of the book. Because if I don’t know where I’m going I can’t get there. I then generally put in the teaser. The hook that convinces someone to buy the book. I then put in the final scenes of each act. The exciting revelation that puts the heroes deeper in a well or changes up the game, etc. I then fill in the big scenes that get me to those act outs and the climax. The reason I use different colored pens is so I have a visual cue that I’m losing track of a character or another character needs to be cut back. Sometimes you discover in the early plotting stages that you don’t even need a character because you can’t keep them on the board. For a screenplay I would have every scene blocked out. For a novel I can’t do that, but I lay out all the major scenes or what I call tent pole scenes.

[Editor’s note: Melinda Snodgrass has an excellent post about “the teaser, the hook, the opening scene of a book” on her blog.]

What’s your writing environment like (your work area and tools of choice)?

I hate clutter so my space is very orderly. I love writing from my home in NM because I have a breathtaking view out my window. In L.A. I’m in a cubby hole and I really hate it, but right now my life is lived in two places. I generally have music playing, but not vocal music because I was trained as a singer and I start listening to the lyrics rather than writing. I keep a cup of coffee or tea at my elbow and sometimes a small sweet. More because it gives me something to do with my hands when I’m thinking about a sentence or a scene.

What have you read lately (in the last year or so) that you really liked?

I adore Emma Newman’s Split Worlds series; Django Wexler’s Shadow Campaign series, Paul Cornell’s London Falling books. I have to read a lot of Wild Card stories from our writers who I help edit so I don’t get as much time to just read for pleasure as I would like. I also find myself sick of words by the end of the day so I often play a video game rather than read. Or watch TV because that is homework for me.

Do you have any particular favorite books about writing?

I actually don’t because I sort of stumbled into this. Adventures in the Screen Trade by William Goldman is good. I liked Steven King’s book On Writing, but I don’t agree with him about just feeling your way through a book. I think plotting — being an architect as my friend George R.R, Martin puts it — is essential if you have to write on deadline, and especially in Hollywood.

What’s your favorite charity?

I have a number of them. I donate to Planned Parenthood, I’m an investor making micro loans with Kiva, I donate to Heifer International. I sponsor girls through Child Reach, I’m an ACLU member, The Horse Shelter in Santa Fe. I have a page on my Website called Doing Good. If a reader makes a $25 or more donation to any of the listed charities and sends me proof of the donation I will send them any book of their choice autographed. I pay the postage too.

 

Interview: Alice Loweecey

Baker of brownies and tormenter of characters, Alice Loweecey recently
celebrated her thirtieth year outside the convent. She grew up watching Hammer horror films and Scooby-Doo mysteries, which explains a whole lot. When she’s not creating trouble for her sleuth Giulia Driscoll or inspiring nightmares as her alter-ego Kate Morgan, she can be found growing her own vegetables (in summer) and cooking with them (the rest of the year). Her fourth Giulia Driscoll Mystery The Clock Strikes Nun will be released on May 30. You can preorder now at Amazon or B & N.

Did you have a playlist for The Clock Strikes Nun?

For The Clock Strikes Nun, I discovered white noise on YouTube. Those sleep recordings that mask outside noises. Did you know there are more than a dozen haunted house white noise recordings? They have crackling fire, thunderstorms, ghost sounds, howling wind. They’re great atmosphere. Plus they really do mask things like rugby on the TV. I like sports as a kind of white noise, but haunted houses were perfect for this book.

How did you become interested in fascinators?

Alice Loweecy with fascinator

I’ve always liked vintage fashion and jewelry and I’m fortunate to be able to wear hats. Except baseball caps. I look awful in those. When I turned 50 I decided I wanted to try a fascinator. I spent a week or so on the black hole that is Etsy and found my first one. I was going to wear it as a confidence booster for my first-ever Bouchercon panel (9 am) and take it off afterwards. But everyone started recognizing me in it and I loved wearing it. Thus a style was born. I have five now. Chiki Bird Hat Studio is amazing! I tell her the theme of my current book and she creates a hat for me.

Do you start out knowing “who did it,” or do you discover it as you write?

I write gigantic anal-retentive outlines, so I usually know who did it, but characters are ornery creatures and sometimes they take over the story. For The Clock Strikes Nun I knew who did it from the start. For the next book in the series, I wrestled with the outline for at least a week longer than usual until I realized I was trying to make the wrong person the villain. Once I let that go, the story fell into place.

What’s your writing process like?

Every single free minute is either at my keyboard or at my trusty three-ring binder. I work full-time and deadlines don’t care if you’re tired or want to watch a Saturday night horror movie. Even fifteen minutes is enough to write a few paragraphs or edit a page. I learned this years ago when I was shuttling my kids to soccer games and band practices.

How do you keep track of reoccurring characters and back story?

Excel spreadsheets are my life. Each book has a giant spreadsheet with multiple tabs. Character charts, research, backstory, outline. I also use Scrivener for its corkboard and web page cache features.

Any advice about how to plot?

I’m a tactile writer. I work best with pen on paper or fingers on a keyboard. I always start with a character. My first step is to open a blank spreadsheet and brainstorm. There’s no pressure this way, and my characters reveal all kinds of personal information as I type, especially the villains. They love to talk. Doing this in a Word doc is probably easier, but I started out this way and it frees my mind because my fingers go into auto-pilot.

While I firmly believe the best way to plot is the way you’re most comfortable with, I’ve recommended my method to several new writers as a jumping off point.

What’s your writing environment like (your work area and tools of choice)?

It depends on the season. We have a small koi pond in our back yard. In the summer I sit out there as much as possible with a three-ring binder and a fountain pen. When Buffalo weather does its thing, I plant myself on the couch with either the binder or my laptop. If the words aren’t flowing, I switch from one to the other.

Enquiring minds want to know; whats in your binder?

In the front of my binder is a hard copy of my outline. Then 30–40 blank pieces of paper. At the back are hard copies of all the character charts and any backstory. Everything I need for an extended stay in the sun.

What have you read lately (in the last year or so) that you really liked?

A Line in the Sand (Jesse James Dawson #5) by K.A. Stewart. I’ve devoured every one of these in a single sitting and am salivating for book 6.

When Falcons Fall by C.S. Harris. Another terrific series, with a riveting antihero.

There’s also manga, which I read for relaxation. The current series I’m reading are Bungo Stray Dogs and The Ancient Magus’ Bride. So much fun!

Do you have any particular favorite books about writing?

Save the Cat! (Blake Snyder)
Self-Editing for Fiction Writers (Browne & King)
Zen in the Art of Writing (Bradbury)
Writing the Breakout Novel (Maass)
Eats, Shoots & Leaves (Lynne Truss)
The First Five Pages (Lukeman)

Save the Cat! is a screenplay book, but it made me look at characterization in a whole new way. When I read Maass, my takeaway was his advice to think of the worst thing you can do to your MC, and then do it to them. I applied that to my then-unpublished horror novel which had piled up an Eiffel Tower of rejections. It changed the MC’s motivation and made her darker and more obsessed. The book sold.

What’s your most memorable fan mail?
Fan mail is the best, but this one stood out because I could practically hear its tone of voice. It began, “I want you to know I don’t like to read! I finished all three of your books in one weekend. When’s the next one coming out?”

I replied “Sorry not sorry” and named a character after this fan in the next book. I smile every time I tell this story.

What’s your favorite charity?

A local organization, Buffalo City Mission. They’ve been helping the homeless for years. They also have a women’s shelter.

Alice Loweecey has a Website. You can also read more about her books on Facebook and Goodreads. Sometimes, she Tweets

 

Interview: Marko Kloos

Marko Kloos is the author of the Frontlines series of military Science Fiction and a member of George R.R. Martin’s Wild Cards consortium.

Born and raised in Germany, Marko now lives in New Hampshire with his wife and two children. Their compound, Castle Frostbite, is patrolled by a roving pack of dachshunds. Marko Kloos has a website. His latest novel Fields of Fire (Frontlines Book 5) is due February 28, 2017 from 47North. 

Why did you self-publish initially?

I used to be dead set against self-publishing, but when I finally went that route with Terms of Enlistment, it was sort of a measure of last resort. I had pinged every agent and publisher on my list, and run out of places to send the manuscript. At that point, I was tired of the submission/query treadmill and figured that if I don’t put it out there myself, nobody would ever read it. So I published the novel through Amazon’s Kindle Direct Publishing. I figured I’d see how it would go, and move on to other projects in the meantime.

Did you handle the book production yourself when you self-pubbed?

Yes, but it wasn’t very difficult. I bought a commercial license for cover art I wanted to use and uploaded the ebook to KDP and iBooks. My writing software, Scrivener, can compile ebook formats, but in KDP’s case, it wasn’t even needed because you can upload the book as a Word document and let the Amazon software handle the conversion. (I did compile the book in all current ebook formats to have on hand for direct sales.)

Did you plan to involve the Lankies (aliens) at the start or was that something that occurred to you later?

I didn’t have the idea for the Lankies until I was in the middle of writing Terms of Enlistment. But once I knew I needed aliens to fuel a conflict for more than one novel, I wanted to subvert the “bug war” trope and make humanity the bugs, so I knew I would need unusual and formidable aliens, vastly bigger and stronger than individual humans. Everything else just came out of that requirement.

How do you track the back story data (i.e. weaponry and station names, etc.)?

I keep a whiteboard in my office with data for the current novel in progress. I also have notebooks for all the ancillary data that comes with writing novels in a military SF environment: ship classes, hull numbers, lists of names for key unit members, and so on. And I still contradict myself and list the same ship in different books with two different hull numbers. (It has only happened once, and the copyeditor caught it, but it was definitely a “d’oh!” moment. Keep detailed lists and refer to them often, kids.)

Did you have a playlist for Fields of Fire?

I did! I have a playlist for every book. For Fields Of Fire, it was a lot of video game soundtracks, particularly the Halo series, and the soundtrack for Mad Max: Fury Road. (Terms of Enlistment and Lines of Departure were written to the Battlestar Galactica soundtracks from the first few seasons. Angles of Attack was written to the M83 soundtrack for Oblivion and other assorted electronica.)

I know you’re going to be writing for George R. R. Martin’s Wild Card consortium. Can you tell us a little about that?

George asked me to join the consortium in late 2015, and I was both elated and terrified at the same time to be invited into such an experienced and talented group of writers. My apprentice piece, if you will, was a novella called Stripes, which will be part of a Wild Cards novel called Low Chicago, out next year from Tor Books. Since then, I’ve played with more ideas for characters and storylines, and I’ll be contributing more stories to the Wild Cards universe in future books. Wild Cards is out of my usual wheelhouse, but it’s a really fun world to play in, and having to work with the constraints of someone else’s sandbox is a great creative challenge.

What’s your writing environment like (your work area and tools of choice)?

I have an office in the back of the house, between my kids’ bedrooms. It has just enough space for a chair, a big desk that can be turned into a standing desk with a button push, a bookshelf, and some whiteboards, brag trophies, and movie props on the walls. (I rented an office in town for a year, but it didn’t work out as well as I thought it would, so I moved back into my home office last year. It’s much easier to get up and running in the morning if you don’t have a 40-minute commute.)

I wrote the first two Frontlines books in longhand with a fountain pen, but the current publication schedule means that I only write longhand occasionally now—a chapter here and there, just to mix things up. But most of the time, I write directly into Scrivener on the laptop. For the longest time, I used a Macbook Pro, but the latest iteration had me underwhelmed. The current laptop is a Surface Book, which has a detachable screen that serves as a tablet in a pinch. For software, however, it’s always Scrivener, whether I write on the PC or the Mac. It’s an indispensable tool for me when it comes to structuring a novel and keeping track of the flow and beats of the story.

I know you used to have full-time munchkin wrangling duties; any suggestions about time management for writing parents?

Writing while parenting full-time is rough. To be able to be productive in that sort of setting, you need to let go of ritual and forget about writing when you’re “in a creative mood.” Kiddo goes down for a nap, you have an hour or two to crank out as many words as you can, even if you feel like taking a nap yourself. No special setups or circumstances allowed—it takes too long to get your special writing tea and fill your special writing pen with your special writing ink. I’ve written hundreds of pages on playground benches while the kid was running around and playing on the swings. Get a notebook and a pen, something that doesn’t need a charged battery or a power cord, something you can stuff into the diaper bag on the way out of the house. Writing while parenting will teach you how to make the absolute most of your limited time, and you will learn to be able to write anywhere with any tool at hand.

Why dachshunds?

Because they are a lot of dog in a low-slung package. Smart, stubborn, tenacious, ferocious little killers, admirable in their single-minded pursuit of small prey and kitchen scraps. Of all the dog breeds I’ve ever owned, dachshunds have the most distinctive individual personalities.

What have you read lately (in the last year or so) that you really liked?

The two novels that stick out in my head immediately are N.K. Jemisin’s The Broken Earth books—The Obelisk Gate. It’s a fiercely inventive fantasy/SF mix with terrific world building and believable character and social dynamics.

I’ve also been on a bit of a YA binge. I read Lauren Oliver’s Before I Fall and then tackled her entire backlist. And Paul Kingsnorth’s The Wake blew my socks off—it’s an apocalyptic narrative taking place during the Norman invasion of England in 1066, and it’s written in a sort of “shadow tongue” that mimics Old English. The first few pages will seem bewildering, but then you get into it, and it’s a mind-bender. (The audiobook is considerably easier to get into, because the narrator already parses the spelling for you.)

Do you have any particular favorite books about writing?

My favorite books about writing aren’t so much about technique and nuts-and-bolts stuff as they are about general mindset. Stephen King’s On Writing is great, of course. But the best “How To” writing books I’ve read are Lawrence Block’s Telling Lies for Fun and Profit, and Spider, Spin Me A Web.

Is there a question that you’ve never been asked that you’d really like to answer?

“Which dessert is best?”, to which I would have to answer, “Crème Brulee. Always Crème Brulee. It’s the perfect union of texture and flavor.” (Although a good tiramisu is a close second.)

What’s your favorite charity?

I have a lot of fans who are in the military or not too long out of it, so the charity I’ve picked for my own fundraising efforts in the past is called the Semper Fi Fund. It assists wounded, critically ill, and injured service members and their families. They do much-needed work, their administrative expenses are low, and their accountability and transparency ratings are very high.

As of this posting, Marko Kloos first four Frontlines books are on sale for Kindle in anticipation of the Fields of Fire release. I read the entire series over the course of a week, and enjoyed them for their characterization as much as for the story. 

Interview: Joe M. McDermott

Joe M. McDermott is the author of seven novels and two short story collections. His latest novel, Fortress at the End of Time, comes out on January 17, 2017, from Tor.com. He holds a BA in Creative Writing from the University of Houston, and an MFA in Popular Fiction from the Stonecoast Program of the University of Southern Maine

What made you think of using a monastic system in a universe with clones and an ansible in The Fortress at the End of Time ?

I think too many of the futures that I read about create a strange sense that everyone’s soul is going to the same place when they die, and theological controversies only exist in that they help the plot along or not. Spirituality is such a wild and wooly field of human energy, and I hoped to try and capture a sense that faith and organized religion and atheism and agnosticism will all still be rattling around people’s heads even when we’ve extended our reach into the Sagittarius Cluster.

Did you have a playlist for The Fortress at the End of Time?

I wrote much of the book’s first draft longhand while working at a bookstore. We played, mostly, the local public classical radio station. I recall a lot of Edvard Grieg, Bach, Tchaikovsky, Mozart, and Beethoven

What was it like attending the Stonecoast Program MFA program and working too?

It was interesting. I think that a low-residency program is a much better approximation of what a writer’s life is going to be like upon matriculation than the traditional dedicated, full-time program. As a writer, we have to be masters of time management to keep our lives functioning while we are also running these odd side careers in the corners of the day.

Any advice for other writers about time management and juggling life, work, and writing?

White boards are very useful when you’re trying to keep organized. Also, technology can help a lot. I find Google Docs really useful, because I can access any file anywhere I happen to be, so I can be working a little if I’m sitting in a waiting area, or sitting in my office. Anywhere with Web access becomes the place I write my next thing.

I notice you regularly write sonnets and post them to your blog. Why sonnets?

Sonnets only pretend to be poems. They’re paragraphs, really, but prettier.

Who is your second favorite sonnet poet (after yourself)?

e.e. cummings.

What’s your writing environment like (your work area and tools of choice)?

I’m restless. My work environment will be whatever room or coffee shop or library I’ve set up in at the moment. Getting stagnant happens if I linger too much in one spot. I’m in a room that we’re calling my office, for now, but it’s more like a giant pile of books and art supplies next to a desk that happens to have the computer on it, today.

What have you read lately (in the last year or so) that you really liked?

I just finished Jerusalem by Alan Moore and it’s a breathtaking masterpiece that ought to win some awards, if folks are brave enough to soldier through it. It’s gorgeous, and wildly inventive, and tries to rewire what a narrative is and does, and I love that. It’s full of unforgettable lines, scenes, and ideas, like a massive feast of setting and theme.

Do you have any particular favorite books about writing?

I’ve read a few that I thought were okay, but only one stands out above the rest: Wonderbook by Jeff VanderMeer is the best of the bunch. It’s the textbook for the class you wish colleges offered. The inclusion of the visuals really enhances the text in surprising ways, and helps shift the notes of the text around in unexpected ways. Vandermeer is a modern master, and his erudition and cohesion and constant doubting on the subject of writing is immense.

What’s your favorite charity?

I often donate to the SFWA Emergency Medical Fund, because I am uniquely aware of how precarious American healthcare is, at the moment, for artists. I also regularly donate to the Catholic Church’s refugee work, and a local no-kill animal shelter, where I got my own wonderful pup who had been rescued and nursed to health off the local shelter’s kill list by this very charity: San Antonio Pets Alive!

Interview with Scott Hawkins author of The Library at Mount Char

Scott Hawkins is forty-five and works as a computer programmer.  He’s been a member of AbsoluteWrite since 2006.  He lives in the Atlanta suburbs with his wife and seven dogs. The Library at Mount Char is his first novel. Scott has also been instrumental in keeping Absolute Write’s server running for close to ten years now.

What was different about writing and publishing a novel versus writing and publishing a technical book?

Just about everything was different. For me, writing the technical books was very much like writing a couple dozen research papers back-to-back. That can be satisfying in its own way, but it’s not really the sort of thing I’d do for fun.

cover of Scott Hawkins The Library At Mount Char
Scott Hawkins. The Library at Mount Char

When fiction writing is going well I think it’s the best thing ever. I wrote the bulk of The Library at Mount Char over a period of maybe three months, in the summer of 2012. It was all I could think about. I was burning vacation days. On weekends I’d get up at two or three in the morning and write until six at night. In that period it was like the floor dropped out from under me—I was totally immersed, and I couldn’t type fast enough to keep up.

That said, there was a pretty long preparation period leading up to those three months. That part had a lot in common with technical writing. It was very much a “drink coffee and stare at the screen until drops of blood form on your forehead” process.

What’s your writing environment like ? (Where do you write? What tools ?)

I just moved into a new place with a semi-finished room in the basement. That’s where my office is.  I work on a Windows 7 PC. I can’t really type on a tablet or laptop—my hands are too big.

Scott Hawkins' writing space

Mount Char was done with MS-Word, a spreadsheet, and a bunch of Miquel Rius spiral bound notebooks. Miquel Rius makes great stuff—the only place I know to get them is Amazon, but they have plastic covers and color coded graph paper. I use Uniden micro-fine rollerball pens (black ink) and/or Pentel 0.5 mm mechanical pencils with HB lead for handwriting notes.

Lately I’ve been experimenting with Scrivener. It’s got some neat features, but I’m not completely sold on it yet. Probably this is just inertia because I’ve been using MS-Word for so long.

What’s your writing process like? Are you an outliner, a pantser, do you keep notes on characters . . .

I generally start by trying to make up random scenes without worrying too much about how it all fits together. I don’t work in order. With Mount Char, the first couple scenes I came up with were a guy going out for a jog, and a neighborhood picnic that went bad. Those ended up pretty much dead center and near the end, respectively. I also do little character sketches, or notes on setting, stuff like that. When I’ve got around forty thousand words of scenes that feel like they have a pulse, I lay them out and try to arrange them into some sort of narrative.

Then it’s a question of adding connective tissue to hold the scenes together, and polishing.  Does each character want at least two things, preferably conflicting things?  Do they sound distinct from each other?  I try to make sure that no one likes anyone else—remember how in Empire Strikes Back every time two characters came on screen they’d hug, or whatever?  I hated that. I thought the first Star Wars where they all hated each other was a much stronger script.

I also try to be absolutely ruthless about cutting stuff that doesn’t work. The slush pile does not give a crap how much time you spent trying. The only thing that matters is whether it works. I have literally 70,000 words of different versions of the first chapter of Mount Char.  That’s not an exaggeration. I worked on nothing else but that one chapter for something like six months.

The last thing I did before submitting Mount Char was cut.  The completed draft came in at something like 155,000 words. I read somewhere that the upper limit for a first novel is 110,000 words.  That turns out to be misinformation, but the exercise of cutting helped the book a lot. I eventually got it down to 125,000ish, and it was much, much stronger. Going forward, I’m going to make a point of cutting every first draft by twenty percent.

Does it feel different to you to write code versus writing story?

Oh yeah, totally different.  They’re complementary skill sets, I think—I can get done with a long day of programming and be totally rested and ready for some fiction work. The reverse is true as well—I’ve been a full-time writer for the last few months, and I’ve noticed an itch to do Javascript on the weekends.

What do you wish you had known before you wrote The Library at Mount Char that you know now?

I’m surprised by how strongly the advance readers have reacted to the violent scenes. That was a blind spot on my part. Violent scenes just don’t bother me at all, not in movies and certainly not in fiction. To me they’re sort of like Christmas decorations—they help set the stage, but they’re pretty much emotionally neutral. The evidence indicates that that is not in line with majority opinion.

My agent had me tone down a couple of scenes before we submitted it to editors, and my editor had me tone down a couple of others. I figured that if they both agreed the violence was a problem I should probably listen, but I was privately a little worried that the end product would be hurt by being too watered down. That was a miscalculation on my part.

I think the ability to write viscerally horrifying stuff is a useful tool to have in the chest.  I’d argue that violent scenes tend to focus the reader’s attention in a way that few other things can. But going forward I’m going to make an effort to be more aware of the likely effect a scene is having in an average reader. Stuff that I think of as a 5 or 6 out of 10 might seem more like an 8 or 9.

That said, even knowing what I know now, I probably wouldn’t have toned the violence in Mount Char down much more. Not all books need to be PG-13. There’s plenty of PG-13 entertainment available, and I may well write some of it myself in the future. But this was a violent story. If I hadn’t alienated a few people in the telling, I think I’d be doing it wrong.

What kind of background reading or research did you do for The Library at Mount Char?

Well, in the early stages I watched a lot of femme fatale movies—Malice, The Last Seduction, Body Heat. You can kind of see that influence in the first couple of chapters, but it didn’t really play out the way I was initially expecting. It never does, honestly. For me research mostly just confirms that the brilliant idea I thought I had was in fact kind of dumb

But it is fun.

Is there a soundtrack or playlist for The Library at Mount Char?

As a matter of fact, yes.  You’re the first person to ask that.  I’m really not a very music-oriented guy, but I have seven dogs, all of them big.  A lot of times when I’m writing I like to put on something to drown out the ongoing squirrel alerts.

I have exactly one song per chapter, and I listen to it on continuous repeat—usually for several hours at a time. I like it loud. My wife has asked that I do this with headphones on.

The chapter where you meet the librarians was Tusk, by Fleetwood Mac. The chapter where the burglar gets introduced was Sing, Sing, Sing by Benny Goodman. The big fight between the protagonist and the antagonist was Dead Man’s Party, which I’m pretty sure I’ve heard more times than Danny Elfman at this point. Crazy on You by Heart—the live version—got a whole lot of play. Towards the end I made an MP3 that had just the first 45 seconds or so, and listened to that on repeat.

And just because I really want to know, is Petey OK?

As it happens, I’m working on a short story for my Website that answers that very question.  SPOILER ALERT.

Petey’s fine.  He ended up with a lady in Detroit who’s taking good care of him.

Any particular books about writing that you’ve found helpful?

Dozens. I’ll buy any on-writing book that I see.  Some are better than others, but I always learn at least a little something.

Far and away the very best one I’ve found is Writing the Breakout Novel by Donald Maass. If you want to write commercial fiction I can’t recommend it strongly enough. Maass is himself a successful literary agent, and he puts out a lot of writing books.  They’re all good.

A couple of my other favorites are the Art of Fiction by John Gardner, and Dynamic Characters by Nancy Kress.

I also think it’s important to learn about the business side of things—that’s what brought me to Absolute Write in the first place. Janet Reid’s blog and QueryShark are both excellent for getting a feel about how the business works.

What have you read in the last year or so that you were impressed by?

For fun I read a lot of nonfiction, business books and biographies. There’s one about the collapse of Enron called The Smartest Guys in the Room that I really liked. Michael Lewis’ latest, Flash Boys, was interesting. Regardless of whether you’re a Mike Tyson fan, I think everyone will agree he had an interesting ride. His biography Undisputed Truth was a good read.

As far as fiction, The Girl With All the Gifts had an interesting take on zombie stories. There was a novella written by Stephen King and Joe Hill together called “In the Tall Grass” that was as good as anything I’ve seen from either of them—they were not screwing around with that one. That is a horror story.

Last year I picked up one called The Orphan Master’s Son at the airport, of all places. It’s kind of a fable about modern life in North Korea. It won the Pulitzer Prize. My God that book is amazing—it’s like getting hit by a sledgehammer every twenty minutes. It’s absolutely pitch black dark, but everyone who aspires to put words in a row for a living should read it. That is how it is done.

What do you wish someone would ask you that they haven’t?

“So, Scott, can you tell us a bit more about your wife’s role in the process?”

Thanks for asking! My wife Heather truly is a key player in this, and I rarely get a chance to give her props. She’s not a writer herself, but she reads a ton, probably more than I do, and she can point out the exact paragraph where something stops working. That by itself is ridiculously valuable, but it’s also true that she isn’t one to mince words. I’m one of those people who if you say something like “this is good, but” I often don’t hear anything after the ‘but.’ So having someone with a good eye who’s prepared to be, ahem, candid, is a gift from the angels.

When she and I first started dating I had a first-draft-ish version of my third novel. I kind of weaseled her into reading it. She made it maybe twenty pages in, then it set it down. Eventually I asked her what the problem was and she said “well, the first bit was okay, but right about here—” points to a particular page “—it started to suck.”  That’s more or less a direct quote.

I said “hmm.”

Then she said “fix it and I’ll take another look.” We went back and forth for a while about what, exactly, was sucking, then I took another pass. Eventually it got to a point where that book got a bit of love from agents—not quite enough to take me on as a client, but I did have a couple of “send me what you come up with next” golden tickets.

I gave her the draft of Mount Char on Labor Day a couple of years ago.  When she said it was good, I knew she meant it.  And when she said the third act sucked, and I needed to fix it, I knew she meant that too.

What’s your favorite charity?

My guest dogs come from We Are Rescue. We Are Rescue is a no-kill animal rescue organization

You can read more about The Library at Mount Char at Boing Boing, and Kirkus Reviews. And here’s Scott Hawkins at Whatever.

Interview with P. N. Elrod

Cover of P. N. Elrod's The Hanged Man. Tor Books. May 19, 2015.Accomplished writer and editor P.N. “Pat” Elrod is the author of 24 commercially-published novels, more than 20 short stories, and the editor and co-editor of several collections. In her copious spare time, she freelance edits and critiques.

What is that editors do and don’t do?

That depends on the editor and the kind of editing involved. I have worked as an acquisitions editor—reading the slush pile—as well as what I call regular editing—working on a manuscript—and in developmental editing: throwing ideas at writers to see if they can think  how to fix a problem.

Acquisitions is a rough job. They don’t call it slush without good reason. I have to pace myself and not read too much or I get depressed. I don’t like rejecting stuff, knowing all too well what that feels like, but it’s binary: the story is publishable or it is not. It’s the kind of stuff we publish or it is not.

I’m thrilled when I find something I can pass upstream. It might not get past the next editor, but it makes my job worth it. Editors WANT to find something they love and can share with others.

For me, regular editing requires concentration on details. I am relentless on my own writing; I take pride turning in a clean manuscript to the publisher. When it’s as clean as you can make it, then the real errors are easier to spot.

Developmental editing is essentially feedback that leads to rewrites if the writer is inclined to accept suggestions.

You don’t find as much of that going on now, only for certain books. I see it mentioned in Publishers Weekly, but never had it happen to any of my books. Gone are the days when a writer turned in multiple drafts and a supportive editor offered feedback and suggestions over the course of several months or even years to bring it up to speed. The books need to take off and fly from page one, especially in genre fiction.

Editors want a book that’s strong enough as-is to sell to the Suits upstairs. A nascent work needing rewrites won’t impress that bunch. They want a book that will make money for the company. A book that uses up an editor’s time in repeated rewrites is not cost effective.

This is general stuff and may not hold true for a small presses. They don’t publish as many books and may have more time to groom a work, but don’t count on it. Always strive to send your best stuff. It’s not enough to be the best in your writing group, you have to be as good or better than your favorite writers who have books in the stores.

Back when paper submissions were the norm a writer might get a scribbled note with “Almost there, keep writing” and vague as that is, would fall down sobbing in gratitude. With e-submissions you don’t get that. The publisher whose slush I read said to not send feedback. Too many writers shoot back an email anxiously asking for more comment, more detail, but the editor above me said, “We don’t have time to open a dialog.”

She’s right. I’m on their clock and have to get through dozens of submissions. In the time it takes me to review six stories another twelve have appeared in the IN box. On one especially busy night it was fifty new stories.

How do you know when your book is ready for an editor?

You probably don’t.

Many writers think that the harder they’ve worked on a book the more ready it must be, but publishers don’t give extra credit for effort. They look only at what’s sent. They don’t care if you opened a vein over the keyboard, the bottom line is, “Can these words make us money?”

The best course for any writer is get as much feedback as possible from as many people as possible before sending anything out or shopping for a freelance editor.

It’s preferable to get feedback from writers. Friends and family (who may not be writers) love you and don’t want to hurt your feelings, but another writer will tell you the truth.

“Don’t tell me how much you like it, tell me what’s wrong with the damn thing so I can FIX it!” I said a dozen times over on my first novel. Thankfully a few very brave friends offered things I could use. I didn’t like what I heard, but it turned out they were right. I fixed things. The book sold.

Even now, I’m tetchy about feedback, but it’s a necessary evil. You put on your game face and take it. Writing ain’t for wimps.

What can writers do to make the editing process smoother?

Turn in a clean, proofed manuscript. This is Writing 101 and part of the job. You turn on the spell checker and leave it on, those little zigzag lines under a word are your friends.

You learn correct grammar and punctuation. It’s not rocket science. Get and read The Elements of Style. I got a used Chicago Manual of Style some years back, and I use Google. But you need to learn this stuff or you won’t know when you’ve made an error.

The less work you give an editor the better. You want her focused on your story and characters, not your sloppy spelling and worse grammar.

The editor is not your enemy. She has the same goal as you: making a good book better. You’re two strangers working together, and most of the time you’re on the same page.

A good editor/writer team is one where both are able to listen to each other. I’ve been very fortunate. I find the best professionals on both sides are those who listen and don’t arbitrarily discount an idea. A not so good idea can lead to something brilliant, so long as it’s not instantly shot down.

Don’t be a writing diva, but don’t be a pushover. Many times I had editorial suggestions that were wholly wrong, but I learned to make a note and find my own way to fix a problem.

If the writer reaches an impasse with an editor, then it’s time to call your agent. It’s good to have someone in your corner who has your back.

The rules are different when dealing with a freelance editor hired for a job, the writer is running the show, not the publisher. However, if the editor spots a problem, then it’s wise to hear them out. That problem could be the tree the writer missed because of the surrounding forest.

What are good questions to ask a potential editor?

One thing not to ask is if the editor likes your book. That’s right up there with, “Do these pants make me look fat?”

Don’t put your editor on the spot. If they like your book you’ll pick up on it. If they don’t, allow that you’re not the only star in their sky and don’t take it personally. Stick to the job. If they spontaneously gush, be happy, and don’t let it go to your head.

A writer with a commercial house is assigned an editor who may or may not be the one who bought the book. Let them know how you prefer to work, ask when is a good day for phone calls, and confirm their correct email address. Ask them if there are things that drive them crazy and take notes. Make sure you are clear on deadlines. Ask their procedures. The usual thing is turn in a final draft, it’s copy-edited and sent back for approval, and you put in any changes. The next time you see the MS it’s in galley form.

I had a bad time with one house, assumed I’d get one more look on a book after the copy-edit, same as at other houses, but the next time I saw it was in galley form. I freaked, since there was little chance to do a rewrite on trouble spots. But that was a work-for-hire situation and may not reflect the rest of the industry.

At another place I never saw galleys. It was a small press and the MS went straight to formatting. The next time I saw that story was in the finished book and they had the wrong title on it. Stuff happens.

When I’m dealing with a new editor at a commercial house I warn her on what a pain in the butt I am as a writer and how to “handle” me. (I know my shortcomings!) I ask them to point out a problem and trust me to fix it, don’t rewrite it themselves. If they spot a really bad problem and have a solution, make me think it’s my own idea. Seriously, I fall for that one every time!

I do the same thing as an editor when I’m meeting writers over the phone. I tell the writer I’ll just point out a problem and leave it to them to fix it. Most are hugely relieved. So am I. It’s less work for me!

A writer seeking to hire a freelance editor has to get as much information as possible.

If the editor familiar with the genre? What books has she edited? Contact the writers of books she’s edited and ask them about their experience. Is she a member of recognized editing organizations? Is she willing to do a couple sample pages?

Just because someone has a degree in English doesn’t mean they know squat about editing.

I see plenty of sites where that degree is the only thing on their resume. Maybe that person can do a decisive analysis of Jane Austen, but not how to build a scene, end a chapter, or spot word reps.

Having a solid background in publishing is a necessity and it better not be from working in the mail room. You should be able to call a publisher and ask if that person was in their employ as an editor and what they did there. The freelancer is on a job interview. Don’t trust what’s on the website—verify. There are a lot of sharks in the pool. A true professional won’t mind your curiosity and will encourage it.

Check the websites. Spelling and grammar errors are a red flag. Check them on Absolute Write, Writer Beware, and Predators and Editors.

It works both ways, a freelance editor should have questions for the writer. I want to know if they’ve sold anything and where, if this is to be indie-published or if they’re planning to submit it to a commercial house. If the latter, I tell them to learn to self-edit and get feedback, they don’t need me.

I’m not an editor who can suck it up, work on a badly written book, and collect payment. If a piece of writing isn’t ready, I turn down the job. It’s terrible for my bank account, but I can sleep at night.

I look at the MS and at anything the writer has previously published. If the stuff isn’t ready, it’s a given that the writer is not going to get my best effort. I will say no.

In one case, and only one, I didn’t check things as carefully as as I should have, accepted the job, and it ended badly. I was 10K words into the edit and realized I could not finish it in good conscience. The book was too seriously flawed. The writer just wasn’t ready to publish, and yet he’d done so several times over with his indie books. This was one of a series, so the flaws were all through it like an infection.

I gave him five pages of comments on the flaws—hey, he could always take those books down and rewrite—charged him only for the work done and sent the file back. He paid for the work, but I’m sure he was pissed about it.

Since then I’ve been more careful. I recently edited a pretty good, though flawed book for an indie writer. She had some plot holes and a few bad habits, and I pointed them out in a summation feedback when she got the edited MS. It was a mini-lesson in writing. I didn’t have to do that, but I thought it might help for future books.

She had the option to tell me to go to Halifax and instead thanked me. Seems she didn’t know about those problems and was happy to sort them out. I hope she comes back. I’d like to see how she’s improved.


Do you have a favorite book about writing?

I have several, starting with Lawrence Block’s Writing the Novel: From Plot to Print. I was in a bad dry patch, unable to write, and this was the only book that got me out of it.

I also like Save The Cat, by Blake Snyder. It’s about script writing, but good for novelists, asking the same questions any writer needs to answer: What’s the book about? What’s the hook?

It comes with software which I found useful for plotting a steampunk Tor is releasing this summer. I have the devil’s own time plotting, so I like a road map of the story before starting it. I don’t always stick to the map, but it gives a starting point.

But the best books on writing are often those of other writers. When I hit a dry patch it’s time to dive into the library and feed words into my starved brain. I’ll pick old favorites and enjoy those again. They’re usually the books that inspired me from the start. Most retain that magic or have gotten better with age.

Interview: Screenwriter Madeline DiMaggio

Follow Your Dream: An Interview with Madeline DiMaggio
By Christina Hamlett

(Excerpted from “ScreenTEENwriters”)

Former actress and published author Ms. Madeline DiMaggio is a successful author and television screenwriter whose trademark wit and imagination have been stamped on such shows as Bob Newhart, Kojak, Three’s Company, as well as documentaries, soaps, animation and movies of the week. Her work as a creative consultant and story editor for Paramount Studios and NBC has given her insight on virtually every aspect of writing for the industry. Back when she was in high school, though, her plan for her life was much different.

So what was the dream when you were 17?

DiMaggio_how_to_write_for_televisionWell, I was a drama major and saw myself as an actress. I was starring in all the school plays, I did summer stock, I went to New York, I got my degree in Drama. It was an incredible major for writing because the strength of my writing has always been my dialogue. But had I known that I would one day become a writer, I would have learned how to type. And how to spell! I never studied writing but every time I was in a three-act play, I was actually studying structure and character development and how people talked. A lot of actors end up being very good writers just for that reason. It was a good background to come from.

Suppose you attend a rural high school that doesn’t offer theater or film classes for learning the creative side of the craft.

Well, the first thing I’d do is to take a class at a college or even a weekend workshop where someone such as myself or Michael Hauge will come in and teach a seminar. High school students, by the way, get an incredible break in the cost of these workshops. These kinds of things are really good for an introductory, crash course in the basics. It also doesn’t cost them a dime to go on the Internet and download screenplays just to get a sense of structure and dialogue and what the formatting looks like.

Speaking of the Internet, do you think it has helped or hurt the newcomers’ accessibility to Hollywood?

It has helped terrifically! It has changed the face of the industry, which I think really needs to be changed. There are young filmmakers, for instance, who are already getting deals as a result of 15-minute movies they’re making. It’s an incredible way to market yourself because people now have access to your work who normally wouldn’t.

So what’s this going to do long-term to the careers of Hollywood agents? After all, if you can access script sites and get yourself known electronically, are you going to need a rep?

The fact is that if you’re recognized on the Internet and you get a movie deal as a result, the first thing you’ll need is an agent. You may not need an agent to sell but you do need one to have a career. And as far as getting an agent, it’s just not something that happens overnight. Agents today only want to represent screenplays that they think they can sell very fast. It used to be that they’d take on a new screenwriter because they thought they were very good and that they could build a long relationship together. What they do now is take on a project that they can sell.

Do you need a degree in film to have a film career? Or is it better to major in something that will pay the bills?

That’s a hard one to call. For one thing, film school is incredibly hard to get into, but what’s marvelous about film school is that you’re meeting all the future filmmakers of Hollywood . . . and the world! What you’re making is a bunch of incredible contacts, plus part of the curriculum is that they put you at the studios where you can make even more contacts and get a nuts-and-bolts, hands-on internship in the very business you want to work in. If you’re absolutely, definitely, passionately certain that you want to do this for a living, then you really do need to make it your focus in college. If you aren’t 100% certain, I think that you should take some classes but also find something that you can make money at while you’re pursuing writing as your second job. It just depends on how focused you are and how confident you are about what you want to do with your life.

What about books? There’s certainly no shortage of them on today’s market. How do you decide which ones to add to your bookshelf?

That’s a very personal thing and as subjective as going to movies themselves. For instance, I can be emotionally struck by a movie that’s may not be great and may not affect someone else at all. The important thing is that there was something about it that really stayed with me. What you do in the case of looking for a book to teach you about screenwriting is find someone whose tone and style and message you resonate with, the one who says it to you in a way that you can really grasp. Personally, I think the best book and the best self-taught instruction you can get is a screenplay written by a writer who has sold. That’s because the greatest teacher a student will ever have comes from reading actual scripts and seeing the writer’s vision in its most pure form, minus all the visuals and the Horner score and how good Brad Pitt looks on a horse . . .

How about screenwriting contests?

Unequivocably, there is not one single thing I know of that gives better access or bigger breaks to new screenwriters than screenwriting competitions and fellowships. The people who are reading the entries are people who are in the industry and will be reviewing your work if you get into the finals. I have an agent, for instance, who once agreed to be a judge in a contest only because it meant a trip to Hawaii and being put up in the Hilton Hawaiian Village for a week. “I’m not going to sign up any new clients,” she insisted. On the way back, she told me on the airplane that from the ten scripts she had judged, she was signing one of the writers. She may not have been looking but she certainly knew what she wanted as soon as she found it.

With all the contests to choose from, though, how do you know which ones are legitimate and which ones are just a scam to make money?

The first thing is that you need to do your homework. Find out what writers have won the contest before, what the parameters are, how many people usually enter, who the judges are. Don’t be afraid to just call up and ask questions. I also don’t think any of them should have excessively expensive fees to enter. The Nicholls, for instance, isn’t that expensive but attracts a lot of attention. The Monterey Film Competition, the Disney, the Columbus Discovery Awards—these are all very legitimate and provide tremendous exposure.

Well, let’s say that someone likes my script and I get invited to a pitch session. Once I get there, though, they seem to have changed their minds. Should I try to convince them that they’re wrong?

No. If you see them not responding—or responding negatively to what you have to say—what you do is move on to another idea. Trust me—they get really mad if you try to change their minds! You need to remember that the whole point of a pitch session isn’t that you’re going in to sell anything; it’s that you’re going in there to get information. That’s what’s absolutely crucial about pitching. It’s most likely that they won’t take anything that you originally went in with but that you’ll come away with a better understanding of what they are looking for. You then use that information as an opportunity to come back with an idea that fits in with their agenda.

What’s the best advice anyone ever gave you about writing?

The best advice I think they give anyone in Hollywood is what William Goldman said, and that’s “No one knows anything.” For me personally, one that stands out in my mind—and because I write a lot of comedy—was that you should never try to be funny. Hearing that from two well known producers when I was doing Bob Newhart took this incredible weight off my shoulders and I’ve been writing comedy ever since!

You recently co-wrote a script called If the Shoe FIts with Pam Wallace (Witness). Any plug you’d like to give for it?

No. It’s a terrible movie.

What?

It’s a horrible film but a wonderful script. And that’s a good lesson for everyone to learn because it’s an amazing lesson about what can happen between a script and a movie. Sometimes it can be improved and other times—like this—it can just be the worst thing you’ve ever seen! The fact is that Pam and I were paid, we got the money, we got the credit, the movie was made in France on a very low budget, and everything that we spent an incredible amount of time in writing was all taken out. If you read the script and then rent The Stroke of Midnight, which they renamed it, you wouldn’t recognize it.

So you have no control over it once you sell?

That’s true. It’s the luck of the draw—who gets cast, what’s the budget, who directs it, a lot of different factors that can make it better or make it worse. But the end result is that we still got work as a result of that script.

Even if it was a bad film?

Exactly. The point is that in Hollywood, when you sell a film, they don’t ask to see the video; they ask to read the script. Bottom line is that having a bad movie made is better than having no movie made. It doesn’t matter how it turns out as long as the writer gets the money, gets the credit, and can move on to something else. What happens is that you’re marketed on the merit that you sold a script, which they all know is no easy feat to begin with.

What if you just go with a pseudonym for the ones that look like they’re going south

A lot of people do that.

Was that an option for you and Pam?

We actually had the choice of taking our names off of If the Shoe Fits and we chose not to do that. The credits were more important to us.

What do you think is the most valuable thing that the next generation of screenwriters needs to know to be successful?

You have to detach your ego from your material and recognize that the goal is to make that material better. You may not agree with what people are telling you but you still have to listen to it and try to apply what fits the situation. The other thing is that if you’re really passionate, it usually takes about seven scripts before you finally sell something. Consequently, the earlier you start writing, the better. Starting at 17 or 18 puts you right in the ballpark, given the emphasis on youth in Hollywood.

If you were 17 again, what would you do differently, knowing what you know now about this business?

I would have paid more attention in school!

Interview: Aaron Krach

By Alex Shapiro

Aaron Krach is a writer and artist presently living on Manhattan’s Lower East Side. He graduated from the University of California, San Diego, with a B.A. in Visual Arts and continued his studies at the University of Copenhagen. A former editor at Empire magazine and Gay City News, he is currently a senior editor at CARGO magazine and columnist at A&U Magazine. Half-Life is his first novel, published by Alyson Publications.

You’re a writer, an artist and an editor. Which comes first? Do you favor one over the other?

Financially, being an editor because it pays my rent. Then writer and artist equally below that depending on what project I’m working on. When I was finishing the book, it was all Half-Life all-the-time. Now that my book is out in the world, I’m taking a lot of pictures again and working on a couple of exhibitions planned over the next year. But inside my head: I’d say writer and artist fight each other for supremacy. I’ve been told by so many people to focus on one thing or the other. Really, since high school I can remember a teacher pulling me aside and telling me that I could go from a B+ student to an A student if I’d only settle down. It was very frustrating advice to hear because I was happiest doing as many things as possible. And I still am. So I try to block out that advice (which keeps coming from bosses, agents, fans, boyfriends, family) and just do whatever I want. As long as the work gets done, and it gets done well, then all is well in the world, I think.

You are a young artist, yet you have quite a career: from editor, to columnist, senior editor and first time author, not to mention your national and international photo shows. When was the first time you realized you wanted to become an artist? What triggered this decision?

I had this bizarre experience as a child where I didn’t know what I wanted to be when I grew up, but I knew that I wanted to be cutting edge. I wanted to be doing whatever was the newest. For a while this meant being an astronaut because I thought they were dealing with the most advanced science, not to mention true adventure and discovery. Then this translated into becoming a radio disc jockey because that was “right now”; their work was in the immediate present tense. This was all before I knew what I was talking or thinking about. Really, probably before I was 12. Then during my high school years, it started to come together as art, writing, publishing, exhibiting. These were the things that were most up-to-the-minute because you/me/the artist chooses to make them the newest, most current item/idea/experience.

How did your studies abroad (international experience) influence your work as an editor and as a writer? Would you recommend it to other writers or artists?

Beyond question. The world would be a completely different place if everyone had traveled around the world. My experience in Copenhagen was scary and exciting and so illuminating. Denmark isn’t very exotic, but it got me to Europe where I could travel more easily to Turkey, Italy, France, Morocco, Holland, Poland and Spain. I didn’t know it at the time, but the classes I took were secondary. It was the experience of being “foreign” and being a “traveler” not a “tourist” that changed my outlook and my life. When President Bush was “elected” and admitted to never having been to Europe, I was sick to my stomach. Really, you can probably trace his ignorance of the world to every bad decision the man has made in regards to foreign policy. I was chastised by friends for judging him harshly.

“Not everyone is a fortunate as you,” they said. “Forget it!” I replied. It is not about money. It is about opportunity and everyone has the chance to be open to the world. They just have to open their mind.

What comes first: editing or writing? How do you wear the two “hats” successfully and what is your advice for others who may want to follow in your steps?

First comes reading. I can’t say enough about reading. I am in a constant state of shock when I read or talk to other writers and editors and they are not voracious readers. Newspapers, magazines and books (both fiction and nonfiction) should be a staple of the writer/editor’s life. There is no excuse. “I don’t have time to read the paper every day” is not acceptable. Make time. You can only learn how to write by reading. And you can only learn to edit by knowing how to write. Editing is rewriting. Plain and simple. I wrote my book in five years from start to finish. I “wrote” the first draft in 3 months. I spent 4 years and 9 months rewriting/editing. Obviously you can see what was more important.

There is nothing worse than overwriting something. I wish desperately I could go back to my novel and rewrite it now. I am such a better writer/editor today and I would cut about 40 pages of excess.

As an editor you work with writers on a regular basis. What do you expect from potential writers? Can you share with us a few dos and don’ts of breaking into a magazine and “catching” the editor’s attention?

First, meet the editor. In person or on the phone. You have to connect personally. I realize this is difficult. It’s practically impossible, actually. But the best writers that I go back to again and again as an editor are people I trust to hand in what I need. So, send in clips and pitches, email and snail mail. Then call. But do not become a pest. If the editor shows little interest, don’t take it personally. It probably has nothing to do with you. Really. He could just be having a bad period in his life. So drop your pestering for a few months and come back to him later. You only get one chance, usually. Become a pest now and you’ll never work with that editor again.

Getting the editor’s attention is great, but not enough. Writers need to keep the editor interested in their ideas. What do you think is the secret to a successful relationship with the editor?

Once you get a foot in the door, say, once you get a first assignment: Kick butt! I mean, do it so well, so thoroughly and so creatively that you knock the editor’s socks off and make a great impression. There are just too many writers out there who want your job. So . . . Never ask for an extension; in fact, hand it in early. Tardiness is evil. If you have to hand something in late, you better have cancer or a death in your immediate family. Really. Once you have a relationship, then you can get flexible and ask for more. But before that, don’t even think about it. And, most importantly, and this is something I’ve told every intern/friend/beginner: Never say “No.” Always say yes to every single assignment. Flexibility is so attractive in a writer. Unless you’re a superstar and can afford to say no, just don’t.

What are the main mistakes that freelance writers make and how can they be avoided? What makes a good/bad query?

First, find out exactly what the editor wants and needs. For example, right now I’m a senior editor at CARGO magazine. It’s a very unique publication about shopping. We don’t have many traditional articles, but we have a lot of short newsy items and a lot of in-depth reporting that gets translated into short service articles. So I need very specific pitches about products. Before a writer contacts me, they should . . .

  1. Know CARGO inside and out, and know what sections I’m in charge of;
  2. Target their queries to something I cover and write them in a format that matches CARGO style.

Everything else is useless to me. I think this is appropriate to any editor. You wouldn’t write an editor at The New Yorker and ask to review a book. They already have a high-power book critic. But you might write them a query about a big story on the invention of the VCR, something just quirky and yet timely enough to be of interest to The New Yorker.

Always ask editors exactly what they mean. In fact, ask all the questions you can think of because you don’t want any misunderstandings. For me, if someone asks if they can send me pitches, I say yes. If I like one, I’ll contact them or call them and discuss moving forward. If the pitches are on the right track, but not right for me today, then I’ll email them back and say “Thanks, but not thanks right now.” And then, unfortunately, if the queries are completely out of left field and inappropriate for my publication, or they are too long, and poorly explained, I’ll just delete the email.

Your novel, Half-Life, was published in May of this year. Why a novel and why at this time?

Nonfiction journalism is highly creative and challenging, but a novel is so completely different and fantastic (and fanciful). It is a pleasure for me to write under no restriction or guidelines. Writing a novel let me do whatever I wanted. Because remember, everyone has a boss. As an editor, I’m the writer’s boss. But I have an editor in chief who is my boss. And even he has the owner of the company judging him. Life is strange that way, but it works. And my key to keeping my wits about me is to have a creative outlet like novels and photographs to help me focus.

How did your editorial experience help you write your own book? Did it influence your marketing and promotion strategies?

Yes, yes and yes. Being an editor I knew how bad my first draft was. And it helped me spend five years rewriting. Marketing and promotion was intense because I knew exactly what to do and what not to do. I knew what kinds of letters the publisher should send out. I knew what kind of press release I wanted sent because I know what I want to receive as an editor. Short, sweet, timely.

And it cannot go unsaid that being in the media helps because you can pull in favors with friends. I could make calls to editors at papers and magazines and ask them “when” not “if” they were going to cover my book. This really helped. Because I couldn’t have written the best book in the world (which I didn’t) and if I didn’t know a few people to help me get press, then nothing would ever have happened with the book.

Half-Life is a captivating read, with fully developed characters and an intriguing yet, realistic plot, I’d say. Tell us about your sources of inspiration and how you managed to write and publish a novel while still working as an editor full-time.

Thank you. I’d say that keeping Half-Life fully human and subsequently “believable” were two very important goals. I’m not interested in science fiction or fantasy. I like stories about real people with real feelings.

Half-Life was very much imagined by taking a “What if?” approach to my own life. My mother is clinically depressed and has attempted suicide. What if she succeeded? I grew up gay in Los Angeles in the early 90s before it was very cool to be gay. But what if I had grown up in 1999 when it’s a lot easier (in big cities) to be openly gay? And what if I had those perfect, cool friends that every high school kid dreams about? This is how I wrote the book. Took my life and made it a hell of a lot more interesting. (I hope!)

As to how I finished it while holding down a day job: simple. I got up and wrote for two hours every day before work. I was so resistant to the whole discipline thing for so long that I tried writing when I got home from work at 7 or 8 o’clock at night. I can tell you what happened. I would begin working and it would take about 30 minutes to begin to focus, to let go of the dramas of my day and get inside Half-Life. Then I would write for about 30 minutes and get so tired I would crawl the few feet from my desk to my bed and fall asleep. It was pretty funny, actually.

Then one day, I don’t know what changed my mind. I got up and tried writing in the morning. No radio, no TV, no newspaper. I wouldn’t look at anything that might distract me. I made good coffee and sat down so fresh and sleepy and my mind entered Angelito (the fictional town in Los Angeles where Half-Life is set) and I would have to pull myself away in order to get to work. They became the happiest two hours of my day.

What are your plans for the future? Are you working on a new book?

Yeah, I’ve started another one. This time about New York City, or at least set in New York City, although the setting always becomes a character to me. The book tour and promotion have kept my mind buzzing and unfocused, but hopefully soon I can settle into the new book and get it done. I know one thing: I don’t want to wait five years before publishing again!

You can find Aaron Krach’s Web site here. You can buy Aaron Krach’s Half-Life: A Novel from Amazon, as well as Aaron Krach’s other books on Aaron Krach’s Amazon page.

Alex Shapiro (a.k.a. Alina Oswald) is a freelance writer and author of “Poetry of the Soul” collection. To learn more about her work, check out Alex Shapiro’s Web site.