Literary Spotlight

By Carlotta G. Holton

Evan Marshall is an independent literary agent specializing in fiction. Previously, he was a book editor at Houghton Mifflin, New American Library, Everest House and Dodd, Mead. He is the author of The Marshall Plan® writing guides, recently released in software form, as well as a nonfiction book about nonverbal communication.

Q: When considering a manuscript for representation what specific qualities do you look for? In your experience what is that extra “wow” factor that makes a book more marketable?

A: The most important thing for me is a fresh idea. So much of what we receive is derivative of what’s already out there. The wow factor would be a concept that is new and intriguing and also fits a specific genre.

Q: You may have heard the “Catch 22” dilemma: "you can't get published without an agent, and you can't get an agent unless you've been published." Is this the rule and if so are there exceptions? Explain.

A: I hear this a lot, but it’s not really true. Agents take on unpublished writers all the time and make that first sale. The key is simply to write the best possible book and find the right agent for it. In the meantime, placing stories with magazines can increase a writer’s chances of being taken on by an agent.

Q: What is the best way for a writer to find a literary agent? What specific credentials should a literary agent have? E.g., Association of Authors’ Representatives, etc.

A: A good agent doesn’t necessarily have to belong to the Association of Authors’ Representatives, though membership does indicate that an agent is legitimate and follows a strict code of ethics. The organization’s website is a great place to start looking because it lists agents’ areas of interest. Writers can also meet agents at writers conferences and conventions.

A good place to find out which agents not to approach is a website called Preditors and Editors™, at http://www.anotherealm.com/prededitors/pubagent.htm.

Credentials are simply a track record of selling books in a writer’s given genre. A writer should never pay an agent a fee of any kind (reading fee, handling fee and so on) other than a commission and sometimes expenses such as international postage or photocopying agreed upon in advance.

Q: How important is it to check on an agent’s track record of sales? It’s been said that a respectable figure is 10 sales within 18 months. Would you agree or disagree and why or why not?

A: It’s important to check an agent’s track record because you want to know that agent has the contacts and expertise necessary to place your book. However, I don’t think it makes sense to set a certain number of books within a certain amount of time. All agents work differently, and a “boutique” agency that places only a few books a year can be just as effective as one that places hundreds.

Q: What questions should the writer ask of the agent before signing on for representation?

A: Who are some of your other clients? What are some of your recently placed projects? Will I be working with you, or with one of your associates, or both? Will you send me copies of editors’ letters regarding my projects? How quickly do you turn money around? Do you object to having the publisher split payments? How do you like to work with an author in terms of communication? Talking when necessary? Periodic check-ins? What’s your preferred method(s) of communication? Are you interested in handling just this project, or in my career on an ongoing basis?

Q: Talk about literary agents that charge a “reading fee” of hundreds or even thousands of dollars to edit a manuscript before they agree to represent the writer.

A: As I mentioned above, no legitimate agent charges fees other than commissions and sometimes expenses over and above the normal course of doing business; but these fees are never paid up front. If an “agent” asks for any kind of fee in advance, a writer should run in the opposite direction.

Q: What are the hottest genres being bought by publishers? Are trends cyclical? Any predictions for future trends?

A: Publishers are still hungry for paranormal fiction—every variation on vampires, werewolves, shape-shifters, demons and other creatures. Paranormal is very big in romance right now. Some other hot genres are urban fantasy, erotic historical romance, erotica, domestic thrillers, international thrillers, historical fiction, and women’s fiction.

Q: What is the average time it takes an agent to place a book with a publisher? What happens if after a year, the agent cannot sell the book? What options are open to the author? To the agent?

A: There’s really no average time. I have placed books in a week and others in a year. To me, it’s not about how much time I’ve spent trying to sell a book, but whether I still have publishers in mind to try. If an agent gives up on a project, the author can either give the agent something else to submit (if the agent’s willing) or find representation elsewhere. When I take on a writer, I’m interested in his or her career, not just a single book; so if I don’t place a project, I’m likely to ask what other projects the writer has for me to try.

Q: What, if any, is the relationship of a literary agent and a publicist? Do they ever work together?

A: I often cooperate with an author’s publicist, whether that person works for the publisher or is independent, to help promote my authors. Some new authors expect an agent to also play the role of publicist, but that isn’t what agents do. The author, agent, editor, and publicist should work together as a team.

Carlotta Holton is the author of Salem Pact, Touching The Dead and Vampire Resurrection, and is a member of the National Federation of Press Women and an affiliate member of the Horror Writers Association.

By Carlotta G. Holton
Shobhan Bantwal is an award-winning author of The Dowry Bride and The Forbidden Daughter. Her third novel, The Sari Shop Widow was released this fall. Her articles have appeared in India Abroad, Little India, and India Currents. And her short stories have won honors and awards in fiction contests sponsored by Writer's Digest, New York Stories, and New Woman magazine.

Q: You have acknowledged that you are a "late bloomer" when it comes to writing, having started at 50. What message does this send to other women who have considered trying their hand at writing but are afraid it's too late?

A: One of the lessons I have learned after living in an emancipated and open society like America is that it is never too late to take up any kind of hobby. Writing happens to be an excellent form of mental exercise as well as pleasantly productive. It appealed to me as a way of occupying my evenings when I was alone on weekdays as my husband used to travel out of state for his job. What started as a pastime gradually evolved into a second career. Becoming a published author, despite the trials and tribulations involved, has been a most unexpected and delightful journey for me. I believe my personal story sends an optimistic message to women of any age, women who perhaps always wanted to try their hand at writing, but were afraid to take the plunge.

Q: You call your writing "Bollywood in a book." Please explain.

A: Bollywood is the whimsical term for Bombay Hollywood. The Indian movie industry churns out hundreds of movies a year, even more than Hollywood. Indian movies are full of drama, high emotion, colorful characters, romance, and intrigue. They are the ultimate escape from daily drudgery for the Indian masses. Many, if not all the above-mentioned elements are in my books. Any one of my novels could be adapted to a screenplay for a Bollywood movie. For that reason I call my writing “Bollywood in a Book.”

Q; In your short career you have written a play that you also directed and acted in at an Indian-American Konkani convention in Chicago, and published short stories and novels. How does writing in such different formats affect your writing in general? How does it help you grow as a writer in terms of flexibility? Is any one format more enjoyable for you than the others? Should writers who have become established in a particular genre stick to that format or try branching out to other areas of interest? Why or why not?

A: Writing the play and acting in it was something I did on a whim some years ago. When the organizers of an Indian-American convention in Chicago complained that they had very few plays for their variety entertainment show, I took that as a challenge. After I finished writing my skit however, I had a difficult time locating amateur actors for the roles. So I decided to play the lead myself and sweet-talked my husband and some close friends into taking on the other parts. The play turned out to be not only a fun project but was highly appreciated and got a great response from the audience. It was my first taste of creative writing, and I was hooked. It encouraged me to try my hand at writing seriously and gradually explore short and full-length fiction. Although I can switch from one format to another fairly easily, I prefer writing short stories and novels. I honestly don’t think I would make a good screenplay writer. I believe it is a good idea to become established in one genre before dabbling in another, mostly because branding is difficult to achieve in today’s saturated fiction market. To get noticed in the fiction arena one needs to have a unique hook. Once a writer manages to nail that down, he or she can probably delve into other genres. However, I have seen some writers make the switch between genres in a very short period of time with amazing success.

Q : You have said that you felt compelled - even destined - to write The Dowry Bride and The Forbidden Daughter and that you believe in fate, karma, Kismet, whatever the name is. Can you elaborate on this connection to writing?

A: Although Indian writers abound in the realm of fiction, very few write commercial fiction like I do. And the ones that do have not tackled certain hot-button social issues like India’s notorious dowry system and the practice of gender-based abortions. Those subjects have been dealt with mostly in non-fiction academic books. Despite my late entry into writing, those topics had somehow been waiting out there, begging to be written about. It seems I came along at the right time, plucked them out of a ripe bunch of controversial themes, and made them my own. I consider that karma or fate, just like I believe everything and everyone happens for a reason.

Q: Your novels present social themes entailing romance and intrigue, yet do not read like a manual on Indian culture. How are you able to convey the unique aspects of Indian culture to non-Indian readers so effectively?

A: As a student of sociology, I always loved discussing controversial social issues. That interest combined with fiction writing made for a great combination. Writing about social themes allows me to bring awareness to American and other readers without writing dry non-fiction essays filled with facts and figures. It is so much more fun to take a social theme and spin it into an interesting Bollywood-type story that captures readers’ imaginations. That way I can entertain and inform my readers a little at the same time.

Q: You and I recently spoke on a panel together at a symposium sponsored by Sisters in Crime. How do such occasions present good networking opportunities for writers?

A: Symposiums and conferences are valuable venues for networking opportunities for writers. It is especially interesting for me to meet authors of other genres than mine. The symposium you mention was an eye-opener for me, because I came across so many writers of crime fiction right here in my state, something I was not aware of. It was particularly intriguing to meet such a large number of women who write mysteries and thrillers. One never knows whom one will meet, or sit next to, or chat with at a conference. A good example is right here. You and I met at the symposium, and we began talking about our respective writing, promotion, and marketing. Now you are interviewing me for a wonderful publication, giving me lots of exposure. Many a career is made as a result of networking at conventions and special events.

Q: The Forbidden Daughter takes the reader into a world where gender-selective abortion still thrives and female children are disappearing. What kind of reactions have you had from readers about such a controversial topic?

A: Practically all of the reactions and feedback have been very positive. Readers are most appreciative of the awareness I have brought to this particular subject without making it a scholarly treatise. Naturally they are shocked that such things occur in this day and age in a seemingly modern society, but they also appear to enjoy reading an intriguing story built around this sensitive issue. I am often asked if there will be a sequel. Most of my readers are eager to read my next book. I consider that a blessing, and a sure sign that the subject matter is interesting to many.

Carlotta Holton is the author of Salem Pact, Touching The Dead and Vampire Resurrection, and is a member of the National Federation of Press Women and an affiliate member of the Horror Writers Association.

Wil Radcliffe is the author of Noggle Stones, a young adult fantasy novel named one of the Best Young Adult Titles of 2008 by Midpoint Trade Books. Radcliffe won the David Letterman Telecommunications Scholarship for a script and storyboards featuring his original character, the mad goblin scholar, Bugbear.

Q: What inspired you to write young adult fantasy?

A: Young adult fantasy was what I read growing up; J.R.R. Tolkien, C.S. Lewis, T.H. White and other British authors with initials for first names. I was also heavily influenced by comic books and television shows like Doctor Who, Dark Shadows and Kolchack: The Night Stalker. When I grew older I started getting into Douglas Adams, Terry Prachett and Monty Python. So humor was a big influence on my writing as well.

Q: You have said that you wrote the book as an answer to the many violent-soaked fantasy novels aimed at young readers. Can you elaborate on this? In what way can parents become involved with their children through your book?

A: It isn’t so much that I find other young adult fantasy novels violent or offensive. It’s more the kind of “might makes right” mentality we see overall in our society that I find a bit disturbing. I’m really hesitant to criticize too much, because, as I said earlier , I grew upon comic books, which are filled with all kinds of jaw-breaking violence. I love The Incredible Hulk and let’s face it, that dude is all about violence! But even though I don’t have any real problem with limited violence in young adult material, in order to stand out and be unique, I wanted my protagonists to be thinkers rather than brawlers. There is violence in Noggle Stones, but it’s typically seen as regrettable and unavoidable, rather than something glorious and fun.

Q: Which came first the characters or the book idea? Who draws the characters? What is your relationship with the artist?

A: The characters definitely came first. I created Bugbear when I was in Junior High. He’s changed a lot since then. He started out as a kind of mutated science experiment! But eventually he evolved into the goblin scholar we all know and love. And Manchester who started out as the scientist who created Bugbear, became a failed stage magician. The other characters kind of grew around those two… a love interest for Manchester, a comic foil for Bugbear, and a spunky kid to keep them all together. A variety of artists have drawn the characters over the years.

I drew them myself at first. But as I became more serious about proper marketing, I began contacting professional artists. Ernie Colon is probably the most recognizable, having been the primary artist on the /Richie Rich/ comic book for years. Theo Bain, Fabio Laguna, Eliseu Gouveia, and Ben Glendenning also provided some excellent promotional artwork for Noggle Stones. And recently George Broderick Jr. drew a great ashcan comic that we gave away at Book Expo America. And of course, Darrin Stephens did the outstanding cover for Noggle Stones. I've gotten tons of compliments about the cover.

Q: You are employed as the Creative Specialist at 3RiversArchery.com, the world's largest traditional archery supplier, where you are helping to develop a line of Noggle Stones youth archery products. Discuss how this aspect of marketing helps promote your book.

A: 3Rivers Archery has been very supportive of Noggle Stones. Not only did they produce the archery line, but they financed the production of a Noggle Stones board game, which we’ve been giving out a t book signings throughout the Midwest and in New York at BookExpo of America. When you get the world’s largest archery supplier backing a product line, you get noticed. It’s definitely helped with sales and with securing book signings and interviews.

Q: You recently signed with Alberta- based licensing firm, Cyclone Studios, to develop toys, action figures, and games based upon the novel. How did this happen? When will these toys hit the stores?

A: I actually approached Clayton Brown, head of Cyclone Studios, after reading a post of his on a message board for vintage action figures. Clayton has a lot of connections in the toy industry, so I thought he might be able to help me get a line of Noggle Stones toys started. He read Noggle Stones and immediately signed on as a licensing agent. However, the toy line isn’t going to be out for a while. We have had interest from several toy companies, but we want to make certain we make the right choice. NO rights have been sold as of yet.

Q: You signed copies of your book at the BookExpo of America in New York City this past May. How important is it for writers to engage in such events?

A: EXTREMELY important. Writing a book is really just the beginning of the process. A writer is constantly selling. Not just his book, but him or herself. Whether you’re trying to convince an agent or publisher to take a chance with you, or get a book signing line up. Or secure a licensing deal, it’s always about marketing, branding and selling. Book ExpoAmerica turned to be a great opportunity for me to meet representatives from libraries, schools, bookstores and the media. And that leas to the best kind of marketing possible – word of mouth.

Carlotta Holton is the author of Salem Pact, Touching The Dead and Vampire Resurrection, and is a member of the National Federation of Press Women and an affiliate member of the Horror Writers Association.

Steve Rigolosi is the director of market research and development for W.H. Freeman & Co. a scientific publisher and the author of Tales from the Back Page series. His first novel, Who Gets the Apartment? won Deadly Ink’s Award for Best Mystery of 2006. His second book in the series, Circle of Assassins followed in 2007. Androgynous Murder House Party was released in June.

Q: How has being in marketing influenced the ways in which you market your books? Any tips for other writers?

A: I think one thing the job has taught me is that all marketing messages have to be clear, direct, and simple. Subtlety gets us nowhere! The most important thing about marketing a book is being able to describe it in two sentences that grab a person's attention. I find that the people who are most interested in my books are the ones who ask questions after I tell them a little about the series. If the conversation ends after my oft-rehearsed synopsis, I usually take it as a sign that I haven't landed a new reader! I also think it's important to talk about the tone of your books. So, for example, if someone asks me, "Which of your books should I read?" I usually ask, "Do you prefer something light or serious?" If they say "serious," I recommend Circle of Assassins. If they say "fun," I recommend Androgynous Murder House Party.

Q: Androgynous sleuth-narrator Robin Anders moves along the story of your new book, Androgynous Murder House Party. You have said that “you not only have to guess who the murderer is, you have to guess if he’s a man or a woman. In fact, you have to guess the gender of ever main character in the story.” How is this mystery -within –a- mystery a way to create a unique niche within the genre?

A: On one level, I think it plays with the most basic facet of human existence--whether a person is male or female, and how communication styles differ among the genders. So it's a suspense technique to keep people reading to the end of the book, because they have to figure out not only whodunit, but also the gender of all the characters. At another level, though, the whole idea is to grab people's interest in a market where it's really difficult to gain any attention because the competition is so intense. I'm hoping that readers find the idea provocative enough that they're willing to try reading AMHP instead of, say, the latest Janet Evanovich or James Patterson.

Q: Considering the stiff competition in the mystery market, how important is it to find such a unique twist to attract readers?

A: I think it's extremely important, but it's so hard to answer this question in the abstract. I think so many professional mystery writers actively try to appeal to their audiences, but there are so many ways to do it. The hook can be extremely simple or extremely complicated. At the simplest level, you can try to appeal to people who love cats or dogs, and you'll have a built-in audience. At the more complicated level, you can try playing with narrative structure, the timeline, or character development. I like to try new things that will keep the readers guessing, or give them a reading experience that they haven't had before.

Q: When asked, you described your writing as “quirky.” Explain.

A: I think it's "quirky" in that I haven't tied myself down to one series character, and each of my three books has a different style and tone. So I think it's quite possible that someone who loves Androgynous Murder House Party (and God willing there will be some) might go to Circle of Assassins expecting something equally outrageous and satirical, only to be disappointed because Circle is much more of an intensely psychological book.

Q: Many well known authors tout the advantages of signing with a big publishing house. What are some of the advantages of having your book published with an independent publisher like Ransom Note Press?

A: My editor and publicist have been hugely supportive of my work and have encouraged me to try new things and not to worry about sticking to a formula. Having that kind of support is extremely helpful when you're trying to juggle a lot of other responsibilities, including a full-time job and a long commute. I also feel very grateful to Ransom Note Press for being willing to take a chance on a new novelist at a time when it's harder and harder to get published or find a dedicated agent. My editor is a wizard with words and has improved each and every one of my books, and my publicist comes up with great tag lines. He's the one who came up with "Can the mysteries of gender and sexuality be solved?" for Androgynous Murder House Party. I love it and wouldn't mind seeing it on bumper stickers!

Carlotta Holton is the author of Salem Pact, Touching The Dead and Vampire Resurrection, and is a member of the National Federation of Press Women and an affiliate member of the Horror Writers Association.

Kate Jacobs is the New York Times-bestselling author of Comfort Food, Knit Two, and The Friday Night Knitting Club, which has over 1 million copies in print. A former journalist, she was also a freelance editor at Lifetime Television’s website.

Q: You’ve worked in lots of mediums – magazines, Lifetime Television’s website, and novels. What would you say is the common denominator that peaks an editor’s curiosity and prompts them to accept a manuscript? Which takes precedence: character or plot? Why?

A: It's about voice, I think, and writing style. You can teach someone how to find out the facts for an article but it's more of a challenge to help them relax and write naturally in a way that shows their personality. Not so much that it overtakes the story, but just enough to add some flavor. When I write my fiction, I tend to use a very conversational tone, not just in dialogue but throughout the narrative. I invent people and places but I retain my sensibilities and the way I view the world. So, in the new paperback Comfort Food, I wrote a story about a woman dealing with a milestone 50th birthday and growing to understand that age is just a number. About daughters who want their mother to realize they are no longer little girls – as daughters we all strive for that respect – and about a mother asserting her need to be understood as an individual outside of her role as parent. Essentially a lighthearted story about women and our complicated personal and professional relationships. All set against the backdrop of a reality cooking show so I could write often about food!

Q: How did you happen to hit upon the particular niche of a knitting theme in your novels? Would you say it’s easier to hook into an established niche or create one’s own? Why or why not?

A: It's simply about what makes sense for the story being told. Knitting is in the zeitgeist; it's contemporary. You see, I begin all of my novels, including Comfort Food, in the same manner: I brainstorm. I chat out loud with friends, tossing out ideas and being open to feedback and suggestions. This is my gathering phase. Then I sit down and prepare for the long hours/days/weeks/months of solitary writing. The stretches of time where I learn who the characters really are by meeting them on the page, and figuring out by myself --sentence after sentence -- what is truly the story I'm trying to tell. Some things are pure fictions and other moments I draw upon my experiences. I knit, and I can draw upon my memories of my knitting grandmother, just as in Comfort Food I drew upon being a daughter as well as my love of cooking and baking and watching food television.

Q: You’ve said that you like exploring the richness of women’s’ relationships. Why? What does the reader have to learn? What are your thoughts about the label, “chick lit?”

A: I'm not so big into labels, but we all seem to love shorthand. Think of how we're combining celeb couples into the ubiquitous one-word moniker. It's easy, it's fun, and it rolls off the tongue. Some folks avoid the term "chick lit" because it can seem dismissive; others find it captures what they seek in fun fiction that deals realistically with issues of interest to women. I prefer to think of my books as stories. Pure and simple. No label. My focus is always to present a multigenerational, multiracial cast of characters that treats women's friendships as worthy of exploration. Having strong female support networks adds a richness and depth to our lives that cannot be underestimated. And it's not such much about learning as it is about celebrating. Readers come to my stories because they make sense to them. They know these women, they are these women, and they have the same struggles with career, with family, with love, with striving to achieve their own goals and ambitions.

Q: On your website you tell readers to invite you to do a telephone interview with their book club. What has that been like? Do you get many clubs taking you up on this suggestion? How has this impacted/broadened your fan base?

A: I call about 40 clubs a month on average, so often more than one a day, and it's great fun! Many times, I'll do one novel with a club and then they'll get back in touch to schedule when I have a new book; that's happening often with the new paperback of Comfort Food and I'm excited to catch up with these clubs in the coming months! Inviting me is easy -- just send an email via my website at katejacobs.com -- and it's simply a Q&A-style chat about the plot and characters and pretty much anything. I once had a reader ask if I charge -- I certainly do not! It's free -- and all a book club needs is a speaker phone so everyone can take part. Calling book clubs began for me when a group emailed and asked if I would telephone their club and, since then, I've spoken to hundreds of book clubs. It's a wonderful way to connect with readers, and thank them personally for being so supportive of my novels. Because such a focus of my stories is about creating community, and it's a privilege to be invited to spend time with all of these different communities of readers. Making time to talk directly with readers is important to me and that’s why I tuck call-ins around trips to the grocery store and writing chapters.

Carlotta Holton is the author of Salem Pact, Touching The Dead and Vampire Resurrection, and is a member of the National Federation of Press Women and an affiliate member of the Horror Writers Association.

Brad Meltzer is the author of several New York Times best-selling suspense-mystery books, as well as a comic book writer. He was the co-creator of the television series, Jack & Bobby which ran for one season on the WB television network.

Q: Your latest book, The Book of Lies has a companion soundtrack that features a mix of classical and contemporary hits as well as the newly recorded song, "The Book of Lies." No one has tried this before. Do you think this might be a new way to enhance the reading experience for the public and that it may pave the way for companion recordings in the future?

A: That's certainly the goal. Music is just so beautifully manipulative in film and TV. But when you read, I thought it'd be nice to let you feel -- and hear -- the song/mood that's playing in my head. Wow, that makes me sound crazy!

Q: On the video trailer featured on your website you say that you write in complete silence but there is no question there is a soundtrack playing inside your mind. How does your new soundtrack compete with a version of a recorded book read on CD in terms of conveying the emotions of the story?

A: I can try to make you feel a particular emotion. But I may fail. Spoken words may fail. With a song, I get the benefit of a crutch. Songs totally manipulate you. That's all I'm trying to do: to give you that feeling you get from a great score -- to help make you feel and see and experience what may not be there.

Q: You have said regarding the concept of a companion soundtrack that you thought, “Wouldn’t it be cool if we could do this?” Do you believe that questioning - this anticipatory thinking process - is the germ of creative writing and if so why or why not?

A: The only things worth working on are the stuff you don't think you can do. If it's easy, it'll be easy. And boring. But when you challenge yourself? That's how we each find our greatness.

Q: In addition to having a writing background, you have a law degree. How has that knowledge aided your novels?

A: If I went to medical school, I'd probably write medical thrillers. But in law, I found a beautiful world. It gave me a world to write about. Plus, I'm neurotic, like most lawyers, so it gave me a PhD in neurotic lawyer characters.

Q: In 2006 you participated in a work group along with the CIA, FBI and Department of Homeland Security intelligence staff to brainstorm new ways that terrorists might attack the U.S. What was that like and how did you come to be a part of the meeting?

A: It was one of the scariest, most exciting and rewarding things I've ever done. We'd destroy whole cities in an hour. And that doesn't make you feel good. It terrifies you. But if picking my brain makes them feel that we'll somehow be safer, well, pick away.

Q: If you were to give an inspirational presentation to a group of neophyte writers hoping for that big break, what advice would you give them?

A: Never ever ever ever ever let anyone tell you "No." All it takes is one person to say yes. You just have to find that person.

Carlotta Holton is the author of Salem Pact, Touching The Dead and Vampire Resurrection, and is a member of the National Federation of Press Women and an affiliate member of the Horror Writers Association.

Orania Papazolou has written over 20 mysteries under the penname and is a regular contributor to magazines such as Ladies Home Journal, Family Circle, and Parents. She is best known for her series of books featuring Gregor Demarkian, a former FBI agent.

Q: Which writers have inspired you? Why?

A: Oh, ack. Lots of them, really. And they change as I get older. When I was very young, I liked Nancy Drew and Agatha Christie--I've always liked puzzle mysteries. I like the way they make your brain work, but with Christie I also liked the idea that you could get inside the motives of the suspects and make a book about that.

When I was a teen-ager, I like Hemingway, any Hemingway, also almost any book that took place far away from the small Connecticut town where I grew up.

When I started writing mysteries as an adult, up to now, my favorite author is definitely P.D. James, because she proved that a mystery could be a real novel, with all that implies.

Q: You have been the featured writer on St. Martin’s Press’ “Moments in Crime” blog. What is that like?

A: Well, I liked it enough so that I started a blog of my own. You can get to it at http://blog.janehaddam.com

And I'm going to be blogging at SMP again at the beginning of May. I like the ability to just talk about writing, and reading, and teaching writing and reading, and all of that. It's a very natural flow.

Q: Regarding character development you’ve been quoted as saying, “You've either got to find a way to make your continuing characters interesting without making them maudlin or overwrought, or you've got to put more emphasis on the suspects.” Can you elaborate for authors considering using a continuing character in a series? How does this apply to writing in genres other than mystery/crime?

A: Most series die because everybody, including the writer, gets sick of the detective. You sit there and go--oh, no, not another marital crisis/break up with the boyfriend/cancer scare; whatever.
There just isn't that much to say about any character, no matter how complex. You can't make it interesting for thirty books. You really can't.

That's why I like to have only a little about the detective and his circle in each book, with the major concentration being on the characters who make up the suspects. They change from book to book, so you're always looking at something new.

Q: You have taught composition in college and note that writers need to learn to listen to advice. You’ve said, “You don't know how many writers’ conferences I've taught at where at least half the audience fights all the conventions of the field.” Please elaborate.

A: Oh, well--it isn't even writing advice I was thinking of. You stand in front of the room at some of these conferences and say, "okay, NEVER send the entire book, send a letter and a synopsis" and there are people who just won't listen--no, they HAVE to send the whole book because otherwise the agent or editor won't know how marvelous it is. In reality, if you send the whole book, the agent or editor won't even read it. She'll just send it back untouched, because she'll assume that you're an amateur. After all, you're not following the rules.

Publishing is a business. Like any business, it has protocols. Everybody follows them, unless they get as big as a Stephen King or a J.K. Rowling, and can get away with anything.

You wouldn't wear a dirty t-shirt to a job interview at a law firm--why package your submissions in the equivalent of that dirty t-shirt for an editor?

Q: What has been the best writing advice you ever received and who was it from? In what way did it help?

A: It was from Warren Murphy, who wrote the Destroyer series, among other things. It was right after I'd had my first baby and was having trouble getting a book started. The book was contracted for, there was a deadline, and I was going nowhere. He said, "stop thinking and just write and write and write. Make yourself, no matter how bad it feels. You're a professional. When you go back and read it over, it really won't be half bad."

And it wasn't. That was the end of writer's block for me.

Q: Magazine articles allow you to move out of the mystery/crime genre for a time. Have you ever thought of writing a novel in a different genre and if so what would it be?

A: I don't think about writing novels so much, but I do sometimes think about writing nonfiction. I envy Asimov for being able to write book after book on all sorts of topics, Asimov on Shakespeare, Asimov on The Bible. I wish I could do something like that.

Carlotta Holton is the author of Salem Pact, Touching The Dead and Vampire Resurrection, and is a member of the National Federation of Press Women and an affiliate member of the Horror Writers Association.

Carla Neggers has written more than 50 novels – a dozen of them New York Times bestsellers. Her books blend chilling suspense and daring romance. Her romantic thriller The Angel, due out in paperback in June, is a finalist for a RITA – romance publishing’s Oscar.

Q: How do you respond to the charge that romance novels are “chick lit?” Have you seen an increase in the number of men who write romance? Any personal favorites?

A When I climbed a tree with a pad and pen as a kid, I just wanted to write the story that was in my head. That’s as true for me today as it was then. I love a mix of romance, suspense, action, adventure, but I try not to get bogged down in genre definitions and instead focus on the story. I’ve always known men who write romance, and men who include a strong romantic element in their books. Are there more today? Honestly, I don’t know, but I wish them well.

Q: You have said that “you never know what sparks an idea,” and have cited trips as one source. Can you give a couple of other examples (places, events, people, etc.) that have inspired you to write a book?

A: It’s actually rare that I can trace a story back to the original spark. I guess I’m more likely to remember the spark that happened while standing in a windswept Irish ruin than on a trip to the grocery store! In the case of the ruin, it was being there, captivated by my surroundings, that started The Angel, and later The Mist (due out in July) simmering. In the cast of the grocery store … well, it’s just a good place to let my mind wander.

Q: How important is “what if?” thinking when it comes to exploring/brainstorming ideas/possible scenarios for a book? How important is studying other writers in the genre in which one writes?

A: “What if” is a great way to push back all the “dos and don’ts” and “shoulds and shouldn’ts” and turn loose our creative minds. Doubts and constraints fall away. It’s also fun, because you’re not locking yourself into anything. You’re just asking, “Okay, what if …?” As for “studying” other writers – I love to read, and most writers I’ve met do, too. I prefer to turn off the writer in me and just enjoy the story as a reader.

Q: You’ve written so many books. Which is your favorite and why?

A: No fair! Truly, I can’t name a favorite. I just know that I did my best at the time with every book I’ve written. I’ve been fortunate to have started publishing at a young age and stayed at it - and I’m as excited about he books I’m writing today as I was when I first climbed a tree as a kid, dreaming of being a published author. Every book is an adventure. I loved diving into the story that became The Mist, which is due out this summer, and Cold River, which I’m finishing now. Writing for me is as fun, challenging and engaging as ever – I couldn’t’ ask for more than that!

Q: Some writers maintain the most important aspect of writing a saleable novel is character development. Do you agree or disagree? Why or why not? Any hints for new writers looking to flesh out their characters?

A: A story doesn’t take off for me until the characters are “there.” I don’t think of myself constructing characters so much as figuring out ways to get them to reveal themselves to me. I usually have to throw them into scenes and let them talk, do things, before I can even attempt anything as left-brained as a character sketch. For new writers looking for solid advice on this subject, I highly recommend Elizabeth George’s Write Away, especially the sections on how she approaches characterization. She’s a gifted teacher as well as a gifted writer.

Q: The Internet is moving more into the realm of publishing with Kindle, etc. What is your vision for the future of the printed novel?

A: That’s not up to me – I just focus on writing! I’m thrilled that readers will be able to download The Widow on Amazon for free from June 8 to 12, 2009. The Widow is the first book in my Boston-Maine-Ireland series. I love having books available in a variety of formats … hard, soft, e-book, large print, audio … it’s amazing.

Carlotta Holton is the author of Salem Pact, Touching The Dead and Vampire Resurrection, and is a member of the National Federation of Press Women and an affiliate member of the Horror Writers Association.

Gillian Roberts (the pseudonym of Judith Greber) is the author of the Anthony-award winning Amanda Pepper mystery series that features a Philadelphia high school English teacher and her significant other, C. K. Mackenzie. She has also written two books in a second series, featuring the pair of private detectives, Emma Howe and Billie August.

Q: You are a former English teacher as is your fictional character, Amanda Pepper. Are you an example of the old adage: write what you know? How does she differ from your teaching persona? How can writers develop a character from their chosen profession without it being too close for comfort?

A: I have honestly never found a murdered woman in my living room, or in the schools where I taught, and I have never solved a crime—except on paper. So I’m not writing “what I know” except for my protagonist’s profession, and that began almost by accident. My first draft of what became Caught Dead in Philadelphia had a housewife-protagonist, but she kept winding up at the school: PTA meetings, teacher-conferences, etc., etc. Only then did it dawn on me that my story was determined to be in school, and I turned Amanda into a teacher. After a while, I happily realized that a school was a wonderful setting because it’s a microcosm of the world, with all the passions, politics—and population—to provide Amanda with lots of mysteries to solve.
One of my pet peeves in fiction is a character who supposedly has a job but never needs to work at it. What we do all day seems central to our lives, and so I think it’s terrific to use an occupation you know—or do some serious research. The writer needs to know the obligations, frustrations, joys and restrictions that job would put upon her character. Toss all of that into the mix, and you’ve got a richer, more interesting book.

Q: Sir Arthur Conan Doyle faced tough criticism when he attempted to kill off Sherlock Holmes. You have recently ended the Amanda Pepper mysteries. What is that like for you and for your fans?

A: First, it’s quite exciting to be in the same question with Sir Arthur Conan Doyle! Amanda’s move to New Orleans with C. K. hasn’t caused quite the same stir as did Holmes’ going over Reisenbach Falls. But then, she’s quite alive and involved in new adventures. However, I have gotten hundreds of the most wonderful letters from readers saying they’ll miss her. None of the “tough criticism” Doyle faced. My readers are obviously nicer than his. Parting, after twenty years and fourteen books, was and still is bittersweet. I do miss her, but we’ve both moved on to new adventures before, I hope, the old ones became stale.

Q: Why did you decide to write the nonfiction, “You Can Write a Mystery”? Have you had any feedback from readers who have tried out your theories?

A: I was actually asked to write the book by Writer’s Digest Publications. I’ve been teaching writing for a few decades and had copious notes and a sense of how I like approaching the topic, so I was happy to do it. I’ve been delighted to receive many letters over the years from writers saying the book helped them.

Q: Some say that certain genres such as romance and mystery amount to “formula writing” with only the names, places and times changed. What is your response?

A: I once had a workshop instructor who pointed out that the only difference between Anna Karenina and a soap opera script is the writing. They’re both about an illicit love affair and its repercussions, so was Tolstoy writing formula?
There are good, mediocre and downright bad novel writers. There are also lazy writers who hit upon a winning pattern and repeat it book after book. But in actuality, a mystery has few requirements—it needs a crime, a resolution, and in between, an author playing fair with the reader. I don’t think that can be called a formula. I certainly tried to never repeat myself even though I had the same protagonist in those fourteen books. I consciously worked at making the situation, the ideas or issues, the structure and as many characters as possible fresh and new. Otherwise, if I were working from the same pattern year after year, I would have bored myself silly long before I bored my readers.

Q: Various authors offer mixed messages to would-be authors regarding the importance of a consistent point of view. What are your thoughts?

A: If we’re talking about point of view, and third person narrative, I’m all for staying in one point of view in any given scene or chapter, and for letting the reader know when you switch into another point of view. I have no problems with multiple points of view and in fact, I’ve written six books so far using them (four non-mysteries, two mysteries) and I’m working on a seventh. It’s fun—but I don’t like it when the point of view changes within a scene because it pulls me out of the story. I want to stay with a character—be that character and live in his head—for a scene, even if next chapter I’m going to live inside somebody else’s head.
And having said that, I have to also say I’ve read some dazzling books (Russell Banks comes to mind right away) where the author uses an omniscient voice and goes into any mind or place he likes, and makes it work brilliantly. Any “rule” is breakable if you can make it work.

Carlotta Holton is the author of Salem Pact, Touching The Dead and Vampire Resurrection, and is a member of the National Federation of Press Women and an affiliate member of the Horror Writers Association.

Thomas Pierce is the author of the non-fiction book, The Last Rose. He has been a computer programmer, consultant and speaker.

Q: Other than being cathartic, what was it like sharing such a personal story of the loss of your wife and daughter with the public? What kind of response has it received from readers?

A: The Last Rose is a book that I never intended to write. I just started telling friends and relatives about the strange, yet wonderful, things that were happening in my life and they all kept telling me to write the stories down so I would not forget them. I wrote them for myself and my granddaughters, and it was very therapeutic. When I started telling people my stories I almost felt like they would think that I was ready for a straight jacket, however, every time someone heard them they always told me to put them in a book. I printed copies and put them in loose leaf binders for friends and family. They in turn started letting other people read it and I began receiving beautiful e-mails from people I did not know telling me how much the book helped them with something in their lives. It became very obvious to me that I had to get the book published so it could help more people.

I expected that the target audience for my book would be older women, but I have received beautiful emails from 19- year- old service men to 65- year- old men and everyone n between. They all found at least one thing in my book that relates to them and each one has been totally different.

The book is not really about the accident, but many have told me that after reading it they felt like they were right there with us in that water and on the rescue boat.

Q: A reporter said that the book is “a story of survival and true love and how it prevails.” Can you elaborate on this hopeful theme?

The book covers the year of my life after I lost both my wife and daughter in a Baltimore water taxi accident, but it really starts before the accident. It talks about how both JoAnn and Lisa realized something was going to happen and did things to prepare me and them for it. It then talks about all the rainbows and the extraordinary number of times the number 13 has appeared to me and my family. It is totally beyond logic and defies explanation. The fifth anniversary of the accident is almost here and these things continue to appear to us on very specific dates and times. JoAnn and I were married for 37 ½ years and we were never unhappy. I truly believe that love never dies and that they continue to watch over us. I can no longer doubt that there is an afterlife and that life and love lives on past our time on this earth. Chapter ten is about my session with a medium that served to deepen my faith in eternal life. I have always approached everything in my life with a positive attitude and it became obvious that my wife and daughter were helping me go on with my life in that positive way and to help others approach problems in their lives in the same way.

Q: Why did you decide to go the route of self-publishing? What have been the advantages/disadvantages?

As more and more people requested the loose leaf copies of the book I decided to have 500 printed by a local printer. I had to do this three times to keep up with the local demand and decided it was time to find a publisher and make the book available nationwide. I thought that because the accident received world wide publicity that I would have a better shot at attracting an agent and a publisher. This did not happen, so I finally self-published the book. This made it available worldwide. My publishing package included media training and a media campaign that got me started doing radio interviews. It also allowed me to go to Book Expo America and have a book signing there. I found that getting worldwide publicity is much harder than getting local publicity. It requires a constant effort to let people know about the book.

Q: You are not by training nor vocation a professional writer. How did you go about telling your tale?

Writing the book was the easy part. I felt like the book was being dictated to me from above. I found four people to edit the original work. They did a fantastic job. The local newspaper and independent book store and radio stations were a big help in getting the ball rolling.

Q: Without the benefit of a publicist or large publishing house marketing department, how have you marketed your book?

The first thing I did after getting my book published was create a website. Mine is www.thelastrose.com. If you are advertising, doing media interviews, or just talking to people you need to direct everyone to your site to learn more and to purchase the book. You need to constantly find new ways to attract attention to your book. It is never easy but it can be a lot of fun.

Carlotta Holton is the author of Salem Pact, Touching The Dead and Vampire Resurrection, and is a member of the National Federation of Press Women and an affiliate member of the Horror Writers Association.