NaNoWriMo Day 19 - On Crap

So far this month I've written 26,000 words.

Unfortunately, only 10k of them have been the novel.

The other 16k have been a magazine article and two novellas for upcoming anthologies. I also managed to sneak in a few online interviews.

Am I worried I'll have to shave my curly locks?

A little. Assuming I won't get much done on Thanksgiving, that means I have ten days to write 40k words. That's 16 pages a day. It's doable, but won't be easy.

Which makes this pretty exciting. I'm guessing it will come down to the wire.

Setting goals and challenging yourself, both artistically and with deadlines, is part of being a writer. I think it's a fun part.

The book itself is going well. It's coming together nicely, albeit slowly. I just wrote my first ever sex scene for the series (which is on the kinky side--I think Barry Eisler will approve) and the plot is shaping up to be the most fun of all the Jack books.

Which brings me to the topic of this blog entry: Writing Crap.

It's important to give yourself permission to write crap. Writers write. They get words on the page. Spend too much time thinking, questioning, judging, dismissing, and second-guessing, and you'll never get anything finished.

However, you should NEVER settle for crap.

Though Cherry Bomb is my 6th Jack Daniels book, it's actually my 17th novel. I can say, with some certainty, that my first six novels were crap. Everything since then has, in my opinion, worked. And each book I write seems to come a little easier, involve a little less rewriting, to get it to the point where it works.

So what makes a book work?

It's hard to pinpoint why some novels work better than others. It's even harder to judge your own writing objectively. Obviously, there are craft issues you can be aware of, like narrative structure, rising action, character realism, linear progression, and pacing, among many others, but being aware of them and knowing if they're working in you book are two different things.

However, I believe there's something instinctive, something perhaps even intrinsic to the novel, which can tell the writer if it actually works.

We all have moments when the writing is flowing, the loose ends are all coming together, and we feel that this collection of words and sentences and scenes is coming together as a pleasing, cohesive whole.

Sometimes we're wrong. What works for us actually doesn't work for readers. But sometimes--and I think experience plays a part--we're right, and we can actually feel the process working instead of worrying if its working.

Now there have been intelligent, thoughtful posts all over the Internet this month, about the number of awful manuscripts that NaNoWriMo is going to unleash upon the world.

My friend Marcus Sakey, who is as meticulous with his writing craft as he is talented (which could be a knock, but in his case it's high praise) recently wrote this on The Outfit blog:

Look at it this way: would you participate in National House Building Month if you had to live in the result? Of course not, because a house takes care to build.

I agree. But I also believe if you've been building houses for years, and know what it takes to build a good house, that each one you built can be done better and faster.

Here's the thing though: You don't have to build a house in a month.

Maybe you just build the frame. Or the foundation. Or the living room. Or maybe you do build the house, but it is pretty shoddy. There is no law that says what you build you have to keep. You can change the house, fix it, add it it, make it better, before you move in.

My first six houses were lousy. Uninhabitable. But I learned from them. So when I built the seventh, I got an agent. And when I built the tenth, I got a book deal.

Don't spend your time worrying that your writing sucks. The writing will tell you that later. Or the world will.

You just have to get the words on the page, and trust yourself.

It gets easier the longer you do it.

And it should go without saying that when you do finish that book, don't assume it's ready to submit. Get feedback. Rewrite. Put it away for a month and attack it with fresh eyes.

Your first house may not sell. Your tenth might not either. But you will get better. And in this crazy business, that's all you have control over.

Keep at it. Set goals and reach them. Don't let anyone tell you otherwise.

Now if you'll excuse me, I'm going to turn off the Internet, take a handful of amphetamines, and bust my ass.

Happy Thanksgiving.

NaNoWriMo Day 13 - On Speed

As expected, I've gotten very little writing done because I've been travelling. My three day trip last week went into five days because of car trouble. So here I am, at Day 13, with 3400 words.

I've got some catching up to do.

The most I've ever written in a day is 9,000 words, and I've had two day totals of about 15,000, so I know I can still reach the 50,000 goal and save my lovely curly locks from the trimmer.

I've always been able to write fast, and stay focused for long period of time. But I never stopped to ponder why. I certainly don't think I'm more talented, creative, inspired, or dedicated than any of my peers, pro or newbie. But I haven't met many writers who can crank out the words as quickly.

So before I get started on my novel this morning, I thought I'd write a few words about speed, endurance, and staying focused.

1. Sit Your Ass In The Chair

The first step is to actually sit at your desk, your Word Processing program open on your computer. Now be a good dog and STAY, getting up only to eat, hit the john, and attend to any bleeding children.

2. Limit Distractions

The biggest attention temptation for a writer is the Internet. Besides email, chat, and games, there's also the dreaded research, which begins at Google or Wikipedia and then, an hour later, devolves into you reading about something entirely unrelated to your book.

Phone calls, nonessential communication with family members, stretching your legs, or doing anything "to get the muse started" is time that should be spent writing.

3. Write

You shouldn't worry if it's crap. Give yourself permission to write crap. The goal is to get words on the page. Write them, even if they suck. Inspiration is bullshit. Writing is a job. How often does your 9 to 5 job inspire you? Yet you do it anyway. When working, the motivation is the paycheck. With Nanowrimo, the motivation is getting to 50k. Get there, even if you think you're producing garbage. You can always edit in December.

If you are stuck, staring at a blinking cursor and pulling out your hair, here are some tricks:

• Read what you wrote the day before. That can give you a launching point for getting into the next scene.
  
• Spice it up. Usually, being unable to decide what happens next means you don't have enough action or conflict. Give your hero more problems to deal with. I don't care what kind of book you're writing, you can always introduce more characters and plotlines to make things harder for your protagonist. When God gets bored with earth, he sends in a tsunami.
  
• Skip around. Much of getting stuck happens when you're pushing for something to happen, but you can't seem to get there. You know what I mean; the big scene that came to you fully-formed, but you haven't gotten to the point in the story yet. Who says you need to write in order? Do the scene you're itching to do--you can connect it to the rest of the book later.
  
• Free yourself. Often you get mired down in outlines, plans, details, and expectations, which can bring your story to a dead end with no hope of moving forward. Allow yourself to change your original plans. Narratives often go in places we didn't expect, and may not even like. Roll with it. Change things. Go in different directions, even if that means your book becomes something different.

4. Fight Fear With Action

Fifty thousand words in a month is a scary thing. It's easy to obsess about word count, worry that everything you've written is garbage, and spend so much time questioning your ability to finish that you're wasting valuable writing time. The best way to combat fear is with action. Every time you feel the need to doubt yourself, or check your word count, force yourself to finish the page. The doubts usually go away for a while. When the come back, be aware of them, and finish that page.

In short, less thinking, more writing.

Now if you'll excuse me, I have 46,600 words to write in 18 days, so I'm getting started...

NaNoWriMo Day 6 - On Plotting

Okay, I'm a wee bit behind.

Because I was at the Delaware Book Festival from the 1st to the 4th, I didn't get started on the new Jack book until yesterday morning.

So far, I've got about 3200 words done---about 13 pages. Not bad, but I'll need to step it up if I want to reach my 50k quota. Especially since I promised two author friends I'd read their current manuscripts, and next week I'll be in Wisconsin and Tennessee for four days, and I still have a 10k novella due, along with a short story collaboration that I'm working on with F. Paul Wilson, which has always been a dream of mine since I've been reading him since 1982 and I think he's a God so I don't want to screw it up.

It's going to be a busy month.

That said, in my free time I've been thinking a lot about the new novel, and even though I don't have an outline for it I've already got a pretty good idea of what I want it to be about. Which begs the question: What is plotting and how is it done?

I've talked with many authors, both newbie and pro, who have difficulties with plotting. Personally, I think it's the easiest part of writing. I believe the main goal of plotting is to make the reader want to know what happens next. To do that, there are some pretty simple tricks that anyone can master.


1. Give your character a goal. All narratives require a quest of some sort. It could be a quest to catch a killer, or get a boyfriend, or find self awareness, but in every case the story begins with the hero deciding upon the goal and beginning the quest.

2. Don't let your character reach her goal. The plot then comes down to making it difficult for the character, throwing obstacles in her way. Other characters with opposing goals, the environment, and turns of events can all conspire to make reaching the goal more difficult.

3. Use what you've got. If you're stuck, reread what you've already written. Chances are, your subconscious has already planted something in the manuscript that you can build upon. The car trouble alluded to in chapter 3 can become a huge problem in chapter 8. The sneeze in chapter 1 can become the flu in chapter 11. The argument in chapter 4 can become divorce papers in chapter 9.

4. Think about the worst thing that can happen. After you've written a character for a few dozen or hundred pages, and have gotten to know her like a family member, you're going to better understand her goals, fears, and motivations. Think about the most horrible thing that can happen to her, then make it happen.

5. Overcome the obstacles and reach the goal. That's it. You've written a narrative. Congrats.

If you're struggling to write what happens next, or you're stuck in the boring middle section of the book, go back and seed it with more goals and obstacles and foreshadowing. And try to avoid being obvious or overt. While all stories follow the narrative structure, good writers make the structure invisible.

Happy writing!

NaNoWriMo

Since you're a writer, you probably know that November is National Novel Writing Month, where thousands of authors, both newbie and pro, sign up at www.nanowrimo.org to try and write 50k words in 30 days.

Those familiar with me, or with this blog, know that I write pretty fast. In fact, I've written two books this year. The first, AFRAID, is a horror novel that will be coming out in January 2009 (more on that soon.) The second, FUZZY NAVEL, is book #5 in the Jack Daniels series, coming out in June 2008.

November is pretty busy for me. I've got to go to Delaware for a book festival, Wisconsin for Murder in Muskego, and Indiana for an ILF meeting. I also have two novellas due for anthologies that invited me, and one of them is 10k words.

So, naturally, I signed up for NaNoWriMo.

I have a specific reason for doing this. My contract with my publisher is complete when I turn in Jack #6 in March 2008. I'd like to also have Jack #7 done by that time. That way, if I don't get the offer I'm looking for, I'll have a complete manuscript to shop around. I believe a finished book is a better bargaining chip than a proposal or an outline.

Being between contracts is a scary time for a writer, and it can often last weeks or even months. So I'm going to write Jack #7, set it aside, and then in February write Jack #6, which my publisher is expecting.

I figure I have 24 free days to get 50,000 words done. I don't have an outline for this book, but I do have a pretty solid idea that should be fun to write.

And just to make it interesting, if I don't make my quota, I'll shave my head and post a video of it on YouTube.

Who says writing isn't exciting?

Watch this blog for bi-weekly progress reports.

The Art of the Soft Sell

Writers suck at selling.

It's understandable. Most writers are better at expressing themselves on paper than in person. They tend to be shy, or introverted, or lacking confidence, or even lacking basic social skills.

Put a writer in a situation where he is forced to sell the books he spent so many hours creating, and many conflicting emotions boil to the surface.

I've seen writers at booksignings, and conventions, and fairs, sitting behind stacks of their novels, and I can read their thoughts:

• I don't want to be here.


• Why won't anyone buy anything?


• This is humiliating.


• This isn't why I became a writer.


• Doesn't anyone know I'm here?


• The organizers really screwed this event up.


• Don't I have fans?


• It's the publisher's job to sell books, not mine.


• I'm bored.


• I stink at this.


• Why do people keep saying no?


• I hate pimping myself.


• It's the booksellers job to sell books, not mine.


• I can't sell a book to save my life.


• I'm petrified.


• No one likes me.


• I'm exhausted.


• I'm not a salesman, I'm an artist.


• I hate being pushy.


• Why is everyone ignoring me?


• If I get asked where the bathroom is one more time, I'm leaving.

So these writers avoid doing events where they're forced to sell books. They believe they aren't good at it, and it's much easier to give up than to learn a new skill set which will help them succeed.

The fact is, pretty much anyone can handsell books. Booksignings don't have to be traumatic failures. I've blogged extensively about this before HERE, so I'm not going to repeat myself. Instead, I'm going to offer some suggestions based on things that I've learned about human nature.

Selling is Flirting

Going up to a stranger in a bar and saying, "Wanna fuck?" isn't the best strategy for success. It might work occasionally, but you'll annoy more people than you entice.

The secret to getting anyone interested in you, whether it is as a date or as a purchase, is pretty straightforward.

1. Make eye contact and smile.

The way you look and act will give people a silent signal that you're friendly and approachable. If you're well groomed and dressed, and your body language shows you're relaxed, non-threatening, and interested, then you're already halfway there.

2. Ask questions to develop a common ground.

If someone is in a bookstore, or at a writing conference, chances are they're there because they like books. There are a hundred questions you could ask, from "Enjoying the conference?" to "Do you like thrillers?" Keep asking questions until you get more than monosyllabic answers. The secret to drawing a person out is finding what they truly want to talk about. And everyone has something they want to talk about.

3. Sugarcoat your pitch.

The secret to selling is to make it seem like you aren't selling. No one likes being sold. Luckily, you aren't there to sell books. You're there to meet people who are actively looking for the types of books that you write. The key is to find out what they like, and make them aware your books fit the bill.

4. Make physical contact.

The easiest way to do this is to hand them a copy of the book, or hand them a flyer or bookmark. A handshake is usually welcome too. The impact of physical touch is powerful, and connects us as human beings more than anything else does.

5. Make it personal for them, but not for you.

During those seconds or minutes you're with a potential buyer, they should feel like they're the center of your universe. But because more people say no than yes, you can't actually let them be the center of your universe, because the constant rejection will tear you apart. If someone has no interest in you or your book, you can't take it personally. You also can't take it personally if someone really gets a huge thrill out of talking to you. This is a vicarious relationship, no emotional investment required or desired.

6. Learn to recognize interest.

Some (most) people don't want to be bothered with you, or your book. This doesn't mean they're horrible people, and it doesn't mean you suck. Almost every person has developed defenses to ward off annoying sales pitches. Avoiding eye contact, ignoring you, offering clipped or rude replies, sneering---these are all consumer equivalents to a rattlesnake shaking his tail. Let them pass and seek out someone more receptive. You're not there to waste time, yours or theirs. You're there to meet people who will love your writing. After you've shaken off the fear and tried this for a few hours, you can get pretty good at sizing up who is will give your books a shot.

How does this work in real life? Here are some pastiches drawn from the thousands of times I've done this. Each of these is 100% true.

Example #1 - The Browser

Our hero (me) is standing next to a huge pile of his books, by the front entrance of the bookstore. A man walks in, ignores me (most people do), and walks straight to the New Releases where he picks up James Patterson's latest. I walk up to him, arms at my sides, holding my newest novel.

ME: Patterson fan?

MAN: Hmm? Oh, yeah.

ME: I love the Alex Cross series. Do you have a favorite?

MAN: No, I pretty much read everything he writes.

ME: Do you like other thriller writers?

MAN: I like Tom Clancy, Clive Cussler, Lee Child.

ME: (smiling) I love Lee Child. He blurbed my second book.

MAN: You're a writer?

ME: (holding up my book) Yep. This is me. My books are a lot like Patterson's, with the action of Child. They're about a Chicago cop named Jack Daniels. Fast reads, a lot of dialog, a lot of suspense. (hands the book to the man)

MAN: Which one is the best?

ME: The latest one is the best. But it's a series, and a lot of people like to start at the beginning. It goes Whiskey Sour, Bloody Mary, Rusty Nail, Dirty Martini. You're sensing the theme.

MAN: I used to drink Rusty Nails in college.

ME: Where'd you go to school?

MAN: U of I.

ME: I used to party down at that campus, in the 90's.

MAN: (walks over tot he table, picks up Whiskey Sour) This is your first?

ME: That's it. If you're interested, I'd love to sign a copy for you.

MAN: Let's do it. (hands me the book.)

ME: Can I make it out to you?

MAN: Me. My name is Ryan.

ME: Hi, Ryan. I'm JA. (shake his hand, then sign his book "Ryan, Don't Read and Drive, JA") Thanks, Ryan. You'll like it. I promise. And since I have a character named Jack Daniels (I sign a coaster and hand it to him) it's a law that I have to give out drink coasters.

MAN: Thanks. (goes to register to buy my book, the new James Patterson forgotten)

Example #2 - The Interested Party

Our hero (me again) is at a multi-author event where we're all lined up at a table, waiting for people to approach us. Some folks do, but the majority of the customers are at the bookseller tables, or wandering the room.

I get up and walk around, introducing myself and passing out signed coasters. Then I head for the bookseller table and see a woman staring at one of my novels.

ME: I've heard that guy sucks.

WOMAN: (looks at me, then my nametag, then smiles) You're the author.

ME: (holding out hand) JA Konrath, nice to meet you. (shakes) What's your name?

WOMAN: Mary.

ME: Do you like thrillers, Mary?

WOMAN: I read a little bit of everything.

ME: Then you'll love me. My books are funny, like Janet Evanovich or Carl Hiaasen, but they also have some scary parts, like James Patterson when he wrote his own books. Who do you read?

WOMAN: I love Evanovich. My whole family loves her.

ME: Me too. I haven't read Thirteen yet, but I read the other twelve. Is it worth picking up?

WOMAN: I liked it. I laughed a lot.

ME: Does she finally choose between Ranger and Morelli?

WOMAN: No. That drives me nuts.

ME: I agree. But would you recommend it?

WOMAN: It's not as funny as some of her earlier books, but it's worth reading.

ME: My books are funnier than Janet's.

WOMAN: Really?

ME: (handing her a book) It's about a female cop named Jack Daniels. Her personal life's a train wreck, but she's really good at her job. Lot's of humor. If this book doesn't make you laugh, you can mail it back to me and I'll send you a check for seventeen thousand dollars.

WOMAN: (laughing) You sold me.

ME: Great! Can I sign a copy to Mary, or is this for someone in your family?

Example #3 - The Reluctant Fan

Our hero (moi) has just finished speaking at some event, and it went well. People laughed in the right places, and several people approach me afterward.

FAN: I love your books.

ME: Thanks!

FAN: I get them at the library.

ME: I love libraries.

FAN: I do too. But sometimes there's a waiting list. I hate waiting. When is the new one coming out in paperback?

ME: In about eleven months.

FAN: I'm a huge fan. Can you just give me a copy?

ME: I wish I could. But these books don't belong to me. Does anyone in your family like to read?

FAN: Everyone does. My mom loves your books.

ME: You could always buy the copy for her, then you can read it beforehand. Does she have a birthday coming up?

FAN: Yes. Next month.

ME: (hands over a hardcover) A personalized book makes a great gift. And you can always tell her you spent six hours in line to see me, and got the last one.

FAN: (smiling) Okay, you sold me. Her name is Andrea.

ME: With an "A"?

Example #4 - The Gawker

Our hero is in the middle of pitch, and a few folks have stopped to watch what's going on. First, I step back, inviting them into the circle. I hand each person a coaster, making eye contact without pausing in the spiel. The spiel is something along the lines of:

"I'm an author, and I write thrillers about a cop named Jack Daniels."

If the gawkers are mostly women, I mention that Jack is short for Jacqueline. If they're mostly men, I leave that part out.

"The books are laugh outloud funny. If you're drinking something while reading, it will come out your nose. But they're also scary--they'll make you lock your doors and windows. Similar to James Patterson, but with more jokes than Janet Evanovich."

I pick up some of my titles and hold them up.

"They're all named after drinks. There are four in the series so far, and a fifth is coming out next year. I'd love to sign some copies for you. They make great gifts, and great investments. After you get a signature it will sell for triple on eBay."

I hand out some books so people can take a look. A few of them ask me to sign them immediately.

Now let's see if I can anticipate the backlash to this article by placing myself in the shoes of skeptics using a whiny Q & A format.

Q: I'd never do this. I'm a writer, not a huckster like you.

A: I believe that people will enjoy my books. In order for them to do so, they first have to read them. I'm the most qualified person to make people aware of this. I also have the most vested interest in this happening.

Q: I hate sales. Salesmen are pushy, slick liars who want to take your money by preying on your insecurities and weaknesses.

A: Don't think of it as sales. Think of it as finding new fans. Which you'll do. You'll also impress the booksellers, and maybe even your publisher. And, for the record, try not to let your publisher hear your views on selling. Personally, I think sales people are the coolest folks on the planet, and I fully appreciate my reps.

Q: I couldn't do what you do.

A: Yes you could. You simply don't want to, and have made up excuses for yourself instead of trying.

Q: I've tried, and I'm no good at it.

A: Try harder. Being lazy, afraid, or embarassed isn't a good reason to quit. Failure is a learning experience. Figure out what went wrong, then try to do better next time.

Q: Maybe you should write better books, and then they'd sell without you having to do this.

A: The best written book in the world will always sell more copies if the author promotes it.

Q: How often does this work?

A: It's possible to sell dozens of books to strangers during your visit, depending on foot-traffic and length of stay. I average one book sold for every eight people I approach.

Q: That doesn't seem worth my time.

A: Since 2004, I've handsold several thousand books. Every single time you sell a book to someone who wouldn't have otherwise discovered it, it's worth your time.

Q: Selling isn't my job. Writing is my job.

A: Being self-employed is like being the CEO of your own company. It's a really lousy CEO who focuses on production with total disgrard for who is buying the product. A better approach is to study every aspect of what your company does, and implement ways to improve things wherever possible.

Q: I know a lot of authors who sell a lot more books than you do, and they don't do any of this crap.

A: People win the lottery every day. That doesn't mean it's wise to invest your retirement savings in scratch-off tickets.

Q: How am I supposed to handsell books when I have a fulltime job/family/sick cat/hang nail/grandiose sense of entitlement/fear of public speaking/sweating disorder?

A: I don't know of any goal worth pursuing that doesn't involve hard work, sacrifice, and commitment. Becoming a writer isn't easy. Staying a writer is even harder. How hard you work at it tells a lot about how important it is to you.

Charging

Last year I was on the road for more than ten weeks, promoting my books.

It wasn't easy on me, or my family. Much of that time, I was touring. But a good amount of it was spent speaking at events, giving lectures, teaching classes and seminars--things not directly related to selling my books.

Sure, my books were usually available for sale after these events, and I usually moved a few copies. But I wasn't there to talk about my series. I was there to talk about agents, and editors, and publishing. This wasn't book promotion. It was teaching.

I liked doing this. Even if I wasn't paid. Even if I didn't sell a single book after the event.

I still enjoy it, but my wife laid down the law and told me that I couldn't do any more events unless I was monetarily compensated for my time.

I could understand her reasoning. While I still feel that helping new authors is something all writers should do, she pointed out that I spend a lot of time and money driving around and lecturing. So I decided to begin charging for most of my appearances.

I expected that this would limit the amount of events I did. But, strangely, I still wound up doing a lot of traveling. A lot of organizations and libraries have budgets for these things, and were happy to get me.

It made me rethink my prior attitude.

I once believed I owed the world a karma debt, and had to help everyone I could. When someone asked me to speak, I was flattered. Money wasn't important.

But then I realized that money was important. I'm a professional writer, and I get paid for doing that. If I'm being approached as an expert on the publishing world, and headlining events where I speak for two, three, or four hours, what's the difference between me and a professional speaker? And don't professional speakers get paid, just like professional writers do?

I certainly wouldn't write a book and let someone publish it for free. Yet I'll drive hundreds of miles, and speak to crowds of people at paying events, for free.

It made no sense. So now I charge.

I'm still grateful to be published, and still flattered to be asked to speak at events, but I'm no longer going to spend an evening driving to some remote location, lecturing my heart out, all for the opportunity of selling three paperbacks.

My time, and my lectures, have value.

It only took me four years to realize it.

Keeping Up

There isn't enough time in the day.

Strange as it sounds, the longer I'm in this business, the more I realize the importance of time management.

Way back in the 90's, when I was working 40 hours a week in a restaurant and trying to balance that with a family, leisure time, and writing, I longed for the day when I sold a book and could quit my job and spend my days in front of my keyboard, pounding out stories without having to cram it into my schedule.

But things haven't really changed. Life is still a balancing act, and even though I now prioritize writing I still have to find time to do it, even though it's my main source of income. October is almost halfway over, and I'm looking at my upcoming appearance schedule, with four out-of-state trips in the upcoming weeks, and am wondering when I'm going to have time to write three novellas and a novel by March, do line edits on two other novels, and get a head start on one more novel before my current contract is up.

I wish I could say I've discovered some time-budgeting secret which allows me to get things done, but I'm actually terrible at scheduling, awful at planning, and subscribe to the "don't sleep until it's finished" school of commitments. Those who know me are aware that I write down upcoming deadlines and events on a cheap picture calender, and I often don't know what I'm doing on any given day until I wake up and look at said calender.

So rather than offer answers with today's blog, I'm asking a question:

How do you budget your time and stay on schedule?

I'd love to hear your thoughts.

That said, here's a bunch of stuff that I've been meaning to mention but haven't had the time to:

Friday Oct. 12, at Buddy Guy's Legends in Chicago from 5pm-8pm, I'll be hanging out with a bunch of other authors at the booklaunch party for CHICAGO BLUES, a collection of noir short stories that all take place in the Windy City.

If you're a Midwesterner, try to be there. It's going to be a lot of fun. If you're not from the area, you should still pick up a copy of CHICAGO BLUES. It's edited by the incomparable Libby Fischer Hellmann, and features some of the biggest names in thriller writing, including Sara Paretsky, Stuart Kaminsky, Barbara D'Amato, as well as talentless hacks like Marcus Sakey, Sean Chercover, Brian Pinkerton, Kevin Guilfoile, and yours truly, who contributed a brand new Jack Daniels short called OVERPROOF.

While you have your credit card handy, I also suggest picking up the sci-fi horror anthology GRATIA PLACENTI, which features a short story by me that is just plain wrong. Seriously, this is a warped, twisted, gross tale that I may someday regret, so get it now before I retract it. This book was edited by Jason Sizemore, who runs Apex Digest, which is a magazine you should be reading.

For you newbie writers who need a dose of inspiration, grab a copy of HOW I GOT PUBLISHED edited by Ray White and Duane Lindsay. This terrific collection contains essays by over 90 published offers (including me), explaining how they got their lucky breaks. Learn about the starts of Christopher Moore, John Lescroart, Stuart Woods, JA Jance, Chris Grabenstein, Thomas Perry, Dave Barry, CJ Box, and friends of mine like Barry Eisler, David Morrell, F. Paul Wilson, Lee Goldberg, Mario Acevedo, Raymond Benson, Steve Alten, Troy Cook, Jeremiah Healy, Sandra Balzo, Zoe Sharp, Laura Bradford, Michael A. Black, Jeff Shelby, Simon Wood, William Kent Krueger, and MJ Rose, among others.

Speaking of MJ, her Buzz Your Book class is coming up. If you're a new author, check it out. You can even ask your publisher if they'll cover the cost; many have.

Buzz your Book - the online marketing course- will be given only one time only in 2008. January 8 through February 7th. This isn't a theoretical class. M.J. Rose works one-on-one and online via email with each student on a marketing plan that includes an hour of brainstorming time. Again this year, Matt Baldacci---VP Marketing & Publishing Operations from ST. Martin's Press---will be the special guest lecturer and available via email for a whole week for Qs & As.

Sign up is very limited and open now and they're starting to fill up. If you are interested, please visit http://www.writersweekly.com/wwu/courses/marketing.html.

If you aren't published yet, there's a great opportunity to meet agents and editors this November in New York.

Looking for an agent? Want to meet dozens face-to-face?

With only agents on the program, the Backspace Agent-Author Seminars (November 6 & 7, Radisson Martinique, NYC) http://allagents.bksp.org/index.htm are a terrific opportunity to network, ask questions, talk about your work, and listen and learn from the people who make their living selling books.

Tuesday, November 6:

Emmanuelle Alspaugh, Rachel Vater, Paul Cirone, Scott Hoffman, Michael Bourret, Jennifer DeChiara, Jennie Dunham, Jessica Faust, Michelle Brower, and Liza Dawson with Daniela Rapp (editor, St. Martin’s)

Wednesday, November 7:

Laney Katz Becker, Janet Reid, Stephany Evens, Caren Johnson, Alex Glass, Lucienne Diver, Jennifer Unter, Miriam Goderich, Kate Epstein, Joe Veltre, Elisabeth Weed, Deborah Grosvenor, Paige Wheeler, Miriam Kriss, and Jeff Kleinman with Brenda Copeland (editor, Hyperion)

There's still time to register, for one day or both. Attendance limited to 150. And trust me when I say the best way to get published is to meet agents in person. This is well worth the time and cost of flying to NY...