Posts Tagged: authors

In my writing career I have been published in mass market paperback by a few publishers, then kicked out after a book or two. I’d come back, and get a better deal…and then get kicked out again. There were reasons for this. For one thing, the book biz as it was before Amazon, relied on book sales throughout the country. If you have a small print run, then maybe one book of yours goes out to the Barnes & Noble in, say, Tucson, Arizona. And that book is spine out on a shelf among many other books.
publishing distribution chain
The publishers send these books out all over the country, but all is contingent on “sell-through,” which means selling a good number of these books. (And face it, it’s hard to notice a book spine-out in the mystery section of a bookstore when you’re really looking for Lee Child’s latest). Books cost money, so who’s going to take a chance on a paperback by an unknown? Or a hardcover, for that matter? For the reader, how do they find more good books to read?

The writing process

Now authors have more power and control over the writing and publishing process

Every time I was dropped by a publisher it spurred me to take my time and write the best book I could. I learned from the best in the business, by reading the best and marking up their books–writing notes, drawing arrows, and circling passages. And that was how I got better and better as a writer. I always thought of my readers who are always looking for more good books to read. I went through the revolving door at the publishers four times. I did not come out smelling like a rose. I have to mention here that there are many many savvy authors who did manage to make this Rube Goldberg machine work. Many who built viable and even stellar careers.

And then:

Ebooks came along. The digital tsunami that transformed the music industry swept over book publishing.
Ebooks leveled the playing field for many authors who were busy building their craft and getting bought by the New York publishers before getting kicked out again. And good writers can come from anywhere. They just have to develop their craft, and many writers did just that.

Now the marketplace is more open–at least distribution is more accessible. A smart author (many of whom have been going through the revolving door of New York publishing for years) can go out on their own and be their own shopkeeper. Thanks to the ebook etailer platforms, authors can easily look at dozens of books in their genre and that will help them determine cover art and cover copy.

All in all, it’s a great time to be an author. You just have to have some publishing and marketing skills, work with good people on cover art, copy editing and other aspects, and above all–write, write, write. And with digital, you now have the chance to reach many more readers and offer them more good books to read.

Categories: The Writing Life

Back in Michelangelo’s day, artists were apprenticed to the masters. They spent years copying the paintings of the great artists.

By doing so, they learned. They learned where to put which kind of detail, they learned color, brushstrokes, composition, perspective. They absorbed it all by doing—until it came naturally. They developed a sure hand.

The best teachers are the finest writers in your genre—the ones who resonate with you. In my case, they are bestselling thriller authors. You can learn from them for the price of a hardcover or even a paperback book. The only other thing you need is a pen.
LA requiem book notes
I would buy the hardcover books of the great authors in my genre—the four or five I could relate to, and then I would dissect their books, looking for the signposts of their craft, and marking up the pages of their print editions. I didn’t want to sound like any one of them, I just wanted to learn what they did and how they did it. What I learned was the rhythm of the type of book I most wanted to write.

A book covers a lot of ground. There’s a beginning, a middle, and an end, with many other points in between. You read and study enough great writers in your genre, and you start to catch on to that rhythm: what goes where, when. You absorb it so that it comes naturally. And you learn to give little gifts to your reader along the way.

My teachers have been numerous. Michael Connelly, Jeffery Deaver, Robert Crais, James W. Hall, T. Jefferson Parker, Stephen King, John Lescroart, and C.J. Box. All different from one another, but great teachers, and all bestselling thriller authors.
The Shop by J. Carson Black
My advice to you: buy the books written by the masters in your genre. Get out your pen, write in the margins (sorry, Mom!), and figure out what they’re doing and why. When I was preparing to write The Shop, I knew I really had to step up my game, and I leaned on these masters to glean what I could to hone my craft.

Teach yourself. Learn from the very best, and who knows? You could join the ranks of bestselling thriller authors.

It only costs the price of a book and a pen.

Categories: Writing

Laura Cardinal is a criminal investigator with the Arizona Department of Public Safety. Her job- to investigate and bring justice to murder victims and their killers in small towns with limited resources. J. Carson Black reveals answers on the plot and character development of the Laura Cardinal Series.

Q: Where did your inspiration for Laura’s character come from?

A: I have always been intrigued by people whose lives change, usually through tragedy. I’m fascinated by those whose lives become bigger than they were before. John Walsh is a perfect example of this. His son is murdered, and his whole life changes. He has been responsible for the capture of hundreds of criminals, and in the process, become larger than himself. I grew up with a friend whose life was altered by tragedy. Like Laura, she was middle-class, went to college, and she was artistic. But after the tragedy (a result of gun violence) she became something else: a black-belt, multiple-Rottweiler-owning, gun-toting cop. Perhaps this person always resided inside her, but the transformation was incredible and complete. She has become an urban legend among the cops at TPD; some of them think she uses her hallway for a shooting range. I’ve been in her hallway, and there’s no way.

Q: Why did you decide to go the route of a series as opposed to stand-alone type novels?

A: I think of a series as building equity. With every book you write, whoever comes late to the party realizes you have a book before that and a book before that, and they buy those, too, which is good for your backlist. So many stand-alone books are just plain lost. Now, with amazon, if someone really wants to buy your first three or four books in a series, they usually can. But the main thing for me is continuity. I want someone I can depend on and grow with.

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Q: Where do you get your plot ideas?

A: From everywhere and anywhere. I’ll be honest and tell you I had a leg up on the first book in the series. Cops, again. Two of them approached me and asked if I had a premise for the first book in my series. They were seriously worried about internet predation on children and wanted to get the message out to parents. They thought fiction was a good way to do it. They even had a scenario which impressed the heck out of me. (These guys could have been screenwriters!) The premise was open-ended and could lead anywhere: what would happen if cops in a small town took things in their own hands and lured a sexual predator to their town—and it all went bad? And so I wrote DARKNESS ON THE EDGE OF TOWN. The second book, DARK SIDE OF THE MOON, started with one idea (the dark side of love) but I realized that it needed another component. I read something on the truckloads of nuclear waste traversing our highways, going through the heart of two major cities: Flagstaff and Albuquerque. I wondered what would happen if someone got control of one of those trucks.

DARK SIDE OF THE MOON, at its heart, is about how we see ourselves, and how we want other people to see us. It’s about what happens when that image of self breaks down.

THE DEVIL’S HOUR is about a sociopath. I don’t want to give away the story line, but this, too, was inspired by an undercover detective who told me about that strangest case he had ever been involved with. (Another cop. Are you beginning to see a theme here?) And then one day I was sitting at a light and there was a purple PT Cruiser behind me. The man driving it was somewhere between forty and fifty, and he had a salt-and-pepper beard, wire-rimmed glasses, and hair parted in the middle that fell to his shoulders. Later that week I was finishing the last rewrite of DARK SIDE OF THE MOON in a cabin in the woods, throwing pages of hardcopy on the floor when I was done with them, when I suddenly thought of this guy. Now he had a name, a real white-bread monicker: Steve Lawson. And he had a dog, a black Labrador named Jake. The next morning I awoke at four in the morning and wrote what would happen to Steve Lawson and why. And what his connection to Laura Cardinal was.

Q: Do you usually know where your book is going and where it will all end when you start, or are you the type who makes it up as you go along?

A: With police procedural/thrillers, I think it’s good to know who the killer is. Although I’m sure there are some writers who don’t even know that. I try to outline some, and I try to just write my way in, too. It’s different with every book. I just sort of muddle through. Although with DARK SIDE OF THE MOON, I was asked for a detailed synopsis halfway through. If I didn’t deliver it, I wouldn’t get my next paycheck. So I ended up writing about 20 pages of outline, which is pretty detailed. I followed it, too, although there were plenty of differences. I believe the real changes and the real writing come in the second draft. The first draft–for me, anyway–is just somehow getting it down, even if it’s complete and utter crap

Q: Does any of your own personal background go into Laura’s stories? If so, how about some examples.

A: Laura grew up where I grew up, in the El Fuerte area of Tucson, Arizona. El Fuerte means “fort”. Fort Lowell was a cavalry fort outside Tucson in the late 1800s, and a neighborhood later grew up around the ruins. When I was growing up, there were lots of farms and ranches along the riverbed. And a little desert cemetery that gave me nightmares. j-carson-black-arizona

The orange and white 1955 Chevy Bel Air that was used in the murder of Julie Marr was the same car that chased me when I was fourteen. I had been walking down a road after getting into a fight with my friends and splitting up with them. Recently, I found a three-page description I wrote of the chase for English class. It was over-written; heavy on the heart-pounding, throat-closing, knees-shaking, but a nice effort nonetheless.

Laura had a horse, and so did I. When I was seventeen years old, I spent a goodly number of nights sitting on the ground waiting for a mare to foal; she never did—not until I had gone home to sleep. So I used this for an important event in DARKNESS ON THE EDGE OF TOWN.

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Categories: Laura Cardinal


Don’t pick just one mystery thriller author

I once heard an editor say that her author “channeled” a famous writer. I thought, how sad. The only thing any of us has over anybody else is ourselves. That’s the one thing that makes us special. We are our own instrument.

I love to watch the top comedians on the comedy channel, because the really good ones use themselves—their world view, their own quirks, everything that has been poured into their lives so far. So—like other authors–you’ve got a guy playing piano. You have a bunch of guys who look like meth heads. You have people with props. You have people who are dirty, and you have people who are clean.

Reading a book by a mystery thriller author

Those are all common things. But the best mystery thriller authors don’t copy anyone else. I don’t want to channel thriller and mystery writer John Grisham. There’s already a John Grisham, so anything I could do would be only warmed-over, second-best John Grisham.

But don’t be a copycat

So how do you avoid channeling John Grisham? If he’s your taste, look for other top mystery authors like him, like you. And read them all. Mix it up. Don’t read two of one author’s books in a row. There are some writers who have such strong voices that when I read them, I have to leaven them with another strong writer from another direction.

If I’m reading Sue Grafton (for fun, and because she’s one of the best), I have to find someone who will neutralize her before I start to write, like James Lee Burke. I’m a born mimic, and I have to fight that tendency—and that combination will confuse the hell out of anyone.

Choose the mystery or thriller authors who speak to you

If you choose, say, five to fifteen thriller authors you love, if you can see your work in that mold, in that grouping, you will do well to trust them. I have four writers, I call them “my boys,” and whenever I start to freak out in my writing I go to one of them, read one of his books, and it helps me to realize I can write, too.

I know I’m on the right track, that I do many more things right than I do wrong, because I’ve been over this trail a few times and each time I do the trail becomes more pronounced (They don’t know, by the way, that they’re “my boys.” If they did know, they might think I’m a crackpot and go out and hire extra security).

Categories: The Writing Life