5 QUESTIONS FOR AUTHOR/DIRECTOR STEPHEN CARPENTER

Stephen Carpenter's resume is impressive.  He's a graduate of the UCLA Film School and has written and directed several films, including "Soul Survivors" with Luke Wilson and Casey Affleck. He's also written screenplays for "The Man" starring Samuel Jackson and Eugene Levy and oh yeah, the screenplay for Ocean's 11, starring everyone in Hollywood.  Now you can add bestselling author to the list.  At the time of this post, his first novel "Killer" is #35 on Amazon's Kindle Bestseller list.  It's #1 in Occult, Police Procedurals, and Hard-Boiled. Impressed?  I am. What's this experience been like? He explains below:

1- How does it feel to have an actor like George Cloony reciting your words on the big screen? Do you mostly cringe or smile?

All smiles. It's one of the best things about screenwriting, especially after working on a script for months and only hearing the dialogue in your head. With Clooney it was always better than I had imagined. All actors
are different--some improvise more, etc. But with actors like Clooney and Sam Jackson, they tend to stick to the script, more or less. And whenever they do stray from the written words, they make it their own, and that makes it better. Actors of that caliber can take my worst stuff and make it sound good.

2- The plot for Killer is unique. Crime novelist Jack Rhodes discovers a series of murders which mirror the plots of his novels. Only the murders take place before he'd even written the books, making him suspect numero uno. Nice twist. Was that technically hard to pull off?

Very hard. The book changed a lot as I was writing it. The hardest part was making the judgment call about how much to give away and how much to hold back from the reader. I wanted to lead them in a certain direction without making it seem like I was cheating when the final twist was revealed. It was one of the hardest things about writing the book--that and the change of tenses and point-of-view.

3- Are you surprised by the success of Killer?

I'm stunned. Especially since it is my first novel. I was satisfied with the final version of the book, but not at all sure that readers would respond. When the numbers from Amazon started coming in it was like opening night--I didn't sleep much. As the weeks have passed I have just been in a kind of state of shock at the response. I really credit Amazon for their internal promotion process, in the way they target readers who might like the book.

4- Which do you enjoy more, directing a story you've written, or writing the story itself?

Each job has its challenges. Writing can be very isolating, as you know, and sometimes the problem-solving gets a little overwhelming to take on by yourself. Directing is a completely different ballgame. It's physically demanding, the hours are brutal, and you have to answer to the studio about cast, budgets, everything imaginable. Directing is not something I'd like to do all of the time, although it can be very rewarding. I'm much more suited to the writing process. It's nice to only have to worry about the story and the characters. I prefer it to getting up at 5 every morning and worrying about schedules and studio notes and constant rewrites and working 18 to 20 hour days for months on end.

5- What's your take on this entire digital publishing revolution? Freeing, or frightening?

I think it's an incredible step forward for authors and readers alike. I read a columnist the other day who likened the development of the e-reader to the Gutenberg press, in terms of progressing the written word. That's obviously an overstatement, but I think it's great that so many people have access to so many books inexpensively--and that so many authors can publish without going through traditional channels. I still buy paper books, and I always will. I just bought Keith Richards' autobiography and I chose the hardcover edition for the quality of the photographs, among other things. But I read a lot, and when I get on a plane I'd much rather take my Kindle than lug around ten pounds of books, I can promise you.

Here's the link to Stephen's novel on Amazon. Download it. I just did.

http://www.amazon.com/KILLER-ebook/dp/B003TZLM3M/ref=pd_rhf_p_img_1

GUEST POST FROM L.J. SELLERS

I must admit I first took notice of L.J Sellers when her novel "The Sex Club," kept showing up ahead of mine in the Police Procedural category on the Kindle bestseller list.  Then I read some of her blog posts and realized she had a tremendous story to tell.  I'll list her credentials below this post, but just know she's an award-winning journalist and author of bestselling Detective Jackson mystery/suspense series.  She's also a great sport to give her time to Strong Scenes with a guest post on a very timely subject:

Still Holding Out

                                     L.J. Sellers

I hear from authors everyday—Facebook friends, writers who read my blogs or novels, people I meet at conferences. They often ask about my e-book publishing experience, then many close the exchange by saying, “But I’m still holding out for a traditional publisher.” I politely make no comment.

On one level, I understand this. A publishing contract is a writer’s dream and it’s hard to let go of. But as the industry goes through a major upheaval, writers need to ask themselves: What is more important? Having a traditional publisher or making money? Being one of the chosen or having thousands of people read your book? Some authors seem to have it all, but most midlist writers are already facing these choices.

Just how long should you hold out for a publisher?

After twenty years of having major publishers (and film producers) say “I love this story, but I’m not going to buy it,” I finally self-published my first novel, a police procedural called The Sex Club. I released it in a traditional way and many people, including reviewers, never knew it was self-published. After the book gained traction, I found a small press to pick up the series. That was late 2008 and I still thought I needed a publisher for respectability. I soon came to realize that having a small publisher was more of a liability than an asset.                                                                                        

Why?

1.) There is nothing a small publisher can or will do for writers that they can’t do better for themselves. I don’t mean literally do each thing yourself, but authors can contract for production services as well as a publisher can. Small presses are often run by a few dedicated, but overworked individuals, who typically contract out most services and pay bottom dollar. As an author, you can shop around and find the best editor/graphic designer/e-book formatter that you can afford.

2.) A small publisher will not have a sales staff and or a distribution network (no bookstores) and is not likely to spend any money promoting your book. What a small publisher will do is keep most of the profit of the few hundred books you manage to sell on your own.

There may still be some advantages to signing with a large press. An advance can buy time to write another book, and the Big 6 can get your novel into bookstores. But as the author, you have to sell the book no matter who publishes it. Meanwhile, chain bookstores are closing and Borders is going bankrupt, so the distribution network is crumbling. So that advantage won’t mean much in a few years, especially since e-books are capturing more and more of the market.

What’s left for the author is the label of being traditionally published and the convenience of having someone else contract the production work. Giving up most of the profit for those small advantages is a crappy bargain I finally decided I was done with.

Early last year after being laid off my job, I realized something had to change and I took a hard look at my own situation. No matter which way I looked at it, I kept coming back to the idea that self-publishing e-books was the only way to save my career and my house.

So I left my publisher and released all of my completed stories as e-books. In January, I had one book on Kindle and sold 31 copies. In December, I had six books on Kindle and sold more than 10,000. I also worked like a maniac at production and promotion for eight months to make it happen. I had set a goal of making a living from e-books by mid 2011, and I got there considerably faster than I dreamed.

So far, the numbers and the reviews keep getting better. In April, I’ll release my fifth Detective Jackson novel, and for the first time, thousands of readers are eagerly waiting for it. For me, that is significantly more rewarding than industry approval.

L.J. Sellers is an award-winning journalist and the author of the bestselling Detective Jackson mystery/suspense series: The Sex Club, Secrets to Die For, Thrilled to Death, Passions of the Dead, and Dying for Justice. Her novels have been highly praised by Mystery Scene and Spinetingler magazines, and all four are on Amazon Kindle’s bestselling police procedural list. L.J. also has two standalone thrillers: The Baby Thief and The Suicide Effect. When not plotting murders, she enjoys performing standup comedy, cycling, social networking, and attending mystery conferences. She’s also been known to jump out of airplanes.

5 QUESTIONS FOR AUTHOR DEAN DELUKE

Besides writing medical thrillers, Dean DeLuke is a practicing oral and maxillofacial surgeon and an active volunteer.  He's served on the boards of the St. Clare's Hospital Foundation, the Kidney Foundation of Northeast New York, and the Albany Academy for Girls.  On a separate note, I once volunteered to do the dishes, but didn't know where the coffee cups went so I gave up. 

Anyway, back to Dean.  As if that wasn't enough, Dean has a long history of involvement with thoroughbred horses--from farm hand back in the '70s to current partner with Dogwood Stable.  His new thriller "Shedrow," has been dubbed a cross between Dick Francis and Robin Cook.  He obviously has a busy schedule, but was way too nice to turn down an invitation to play 5 questions with me. 

1- Your novel is a medical thriller involving the sport of horse racing. I realize you're a medical doctor, but have you ever been much of a handicapper when it came to betting the ponies?

I used to be a pretty fair handicapper, but recently I just don’t have the time to devote to it. What I enjoy most about the sport currently is mornings on the backside, watching the horses work and just taking in that whole scene. It’s a unique culture and a world unto itself on the backstretch, and that world is also an important part of the story in Shedrow.

2- Since the anatomy of a horse is different from a human's, did you rely on any help from veterinarian friends to help with some of the medical scenes?

You raise a really important point with that question in terms of authenticity in writing fiction. I wrote about two worlds that I know rather intimately—the medical world and the world of thoroughbred racing. But there are always certain areas that need to be researched in one way or another. Much of the research can be done via the internet, but I never hesitated to check with an insider whenever a technical issue arose that I needed help with. So yes, I did in fact speak with a veterinarian about certain aspects of equine medicine.

3- Do you see the Shedrow thriller as a series?

There is a bit of a “Twilight Zone” ending to Shedrow—one that most readers don’t see coming, and also one that begs for a sequel. I do have an outline and a start on a sequel.

4- What made you decide to write fiction--that seems like such a creative departure from Oral Surgery?

It is a huge leap. I had published a fair amount of work related to my profession, but I set my mind to a work of fiction after meeting novelists Robert Dugoni, Michael Palmer and Tess Gerritsen. Palmer and Gerritsen, both best-selling authors, also had careers as physicians, and Dugoni was a practicing attorney for many years before he published his first best-seller. I learned a great deal from each of them.

5- With the entire publishing world scrambling to get ahead of this digital thing, where do you see most of your readers finding your work 5 years from now?

That is a great question, and a loaded one! Obviously, the whole publishing world is in a state of flux. eBooks now outsell hardcovers, a majority all novels are self-published or come from small independent presses, and the traditional publishing houses are feeling the pressure. Look at the number of Kindle offerings on Amazon for under $3.00. And not all of those are unknowns—look at well-known thriller author J.A. Konrath for one, who appears to have changed his business model, and seems to be thriving. Some are releasing their eBooks in advance of paperbacks. And many novels released only as eBooks—including yours, I might add—become huge bestsellers.

Having said that, I still cherish my library and still read the majority of my books as hardcover or paperback offerings. But as to your original question, I think that in 5 years, the likelihood is that eBooks will not only outsell hardcovers, but may catch up to paperback sales as well. In terms of sales on Amazon alone, that tipping point is already approaching and will come much sooner.

You can read excerpts and reviews, view a book trailer and more at http://www.shedrow1.com/.

WHAT EXACTLY IS A THRILLER?

Lately I've been reading a lot of books labeled as thrillers and I'm beginning to wonder what exactly a thriller is?  I mean some authors are no-brainers: Vince Flynn, Nelson Demille, Tess Gerritsen.  These writers all create carefully crafted thrillers.  Each chapter is suspenseful in their own way.  But recently I've read a couple of books which were slow on the suspense.  In particular I'm speaking of The Girl with the Dragon Tattoo.  Now, I realize this is taboo to suggest this novel is anything but a remarkable feat of literature, but I'm 120 pages into this thing and so far I got nothing.  I mean nothing.

Will it get better?  Of course it will.  The entire world can't be duped into reading garbage.  I guess I'm under the assumption a thriller is supposed to capture you from the first page and maintain the suspense throughout the novel.  The above authors know how to accomplish that.  You don't have to go any farther than this month's winner of the strongest opening contest, Luke Romyn.  His novel The Dark Path not only opens strong, but remains tense throughout the book.

The lines are getting blurrier, however, because of the cross-pollination from political thrillers to medical thrillers to legal thrillers, but if it has the word thriller anywhere near the description of the book, please, please, get to the thrilling part.  I guess if it's supposed to be a literary book, then I read it with a different frame of mind.  I think we all read Catcher in the Rye with different expectations than we do Moby Dick.  Just don't label something a thriller unless you mean it.  I realize it sounds more titillating, but don't get our engines all revved up ,then spend a hundred pages telling us about the financial system in Sweden.  Sorry Stieg, I know you're looking down on me shaking your head, but this is not your fault.  
Am I wrong about this trend?  I don't know.  I think I'll pick up a Donovan Creed novel and get on the rollercoaster.  

5 QUESTIONS FOR AUTHOR JOHN LOCKE

In Donovan Creed, author John Locke has created a character you'd love to sit down with and share a drink--unless you bring your hot girlfriend.  Creed is an ex-CIA agent who moonlights as a hit man and loves the women.  If you like succinct, fast-moving thrillers with violent plot twists and razor sharp dialogue, then John Locke is the author for you.  He has three Donovan Creed novels out and is working on a fourth.  As of this post his latest thriller, Saving Rachel, is currently #15 on the Kindle Bestseller List.  That's an amazing feat for a guy who used be an insurance salesman, a rock & roll singer and a private investor.  Really, I'm not making this up.  In his spare time he's working on a formula to turn ocean water into draft beer. Okay that I made up.  I want to thank John for taking the time to play 5 questions with me.

1.      You're a successful businessman, who's owned an insurance company and became a private investor, yet you've been a Rock-n-Roll singer and a successful fiction writer.  How do you go from such a dry business career to flourishing as an artist?  And how did you contain all those creative juices for so long?

I love stories. Love reading them, love telling them, and always wanted to write some. But I’m one of those guys who “never got around” to writing a novel because I was too busy building my insurance company. I wasn’t frustrated creatively in the insurance business because I taught training and marketing seminars, wrote and gave speeches, self-published numerous marketing manuals, and two non-fiction books of the “How To” nature. After selling the company, I had more free time and NO creative outlet, a combination that generated the motive force for my becoming a novelist.

2.      If you had to choose between one of these careers, which would you want to do the rest of your life?

It would depend on which one I was best at. I mean, who wouldn’t want to be a successful Rock-n-Roll singer? Haha.

3.      Good point.   What percentage of your workday is dedicated to writing?

None.

      And a lot.

 Sometimes I go six months without writing a word. Other times, like this past Thursday and Friday, I wrote for eight and fourteen hours, respectively. In other words, I never sit down at my computer with the thought, “I’m going to write 500 words today.” That might be a smarter way to write, but for me, it would remove the element of fun. Instead, I write scenes, and/or transitions between scenes. I write the entire scene or the transition, or both—but it never comes down to a daily commitment. When the scene is in my head, completely worked out, I park it there until I have to put it on paper. Usually if a scene makes me laugh out loud, or gnaws at me in some other way, it’s ready to write.

       4. Where did you come up with the idea for your Donovan Creed character?

Creed was easy! He’s the man every guy wants to be, and every woman wants to fix. Everything beyond that premise is situational, but reinforces what each gender wants from him. For example, Creed is tough (guy) but has a tender side (woman). He’s irreverent (guy) with redeeming qualities that pop up when you least expect them (woman). He has relationships with hookers (guy) but he’s unfulfilled, and yearning for something he can’t quite put his finger on (woman).  Above all, Creed is unpredictable. If I do my job right as an author, you’re not sure how he’s going to react to a given situation, or what he’s going to say—but after he does or says it, you think “Ah, of course!"

5.      With the changes digital technology has had on the publishing industry, where do you think the majority of readers will be finding your novels in 5 years?

I’m a 100% believer in the electronic book medium. It offers more than a level playing field for self-published authors—it gives us a game that is actually stacked in our favor! Readers are just starting to learn that ebooks can be created and sold at a profit for 99 cents. And this is going to make them re-think their buying options, and their attitudes toward value. If you and I can electronically publish a book for 99 cents and still make a profit, and the giants in the business like James Patterson, John Grisham, Stephen King and Dean Koontz have to charge $9.95 for their ebooks, the onus is no longer on Gary Ponzo and John Locke to prove our books are just as good as theirs. It’s on them to prove their books are TEN TIMES better than ours! And Gary, in a game like that, I like our chances!

OPENING SCENES FROM 3 TERRIFIC NOVELS

By now we all know how important it is to draw the reader in from the very first line.  Below are the openings to three different novels which do just that.  All three have a thriller undertone to their storyline and move at a rapid pace.  If you're not familiar with these writers, you should be.  They're part of a growing number of writers who understand how to keep up the pace.

Readers can vote on their favorite opening scene to the right side of the page and at the end of the voting I'll be sending one of my followers a free copy of the winning novel.  Enjoy.


A-  SHAKEN, by J.A. Konrath 

This guy isn’t a killer, Dalton thinks. He’s a butcher.

Dalton isn’t repulsed by the spectacle, or even disturbed. He stays detached and professional, even as he snaps a picture of Brotsky tearing at the prostitute’s body with some kind of three-pronged garden tool.

There’s a lot of blood.

Dalton wonders if he should have brought color film. But there’s something classic, something pure, about shooting in black and white. It makes real life even more realistic.

Dalton opens the f-stop on the lens, adjusting for the setting sun. He’s standing in the backyard of Brotsky’s house, and his subject had been kind enough to leave the blinds open. From his spot on the lawn, Dalton has a clear view into Brotsky’s living room, where the carnage is taking place. Though Brotsky has a high fence and plenty of foliage on his property, he’s still taking a big risk. There are neighbors on either side, and the back gate leading to the alley is unlocked. Anyone could walk by.

It’s not a smart way to conduct a murder.

Dalton has watched Brotsky kill two hookers in this fashion, and surely there have been others. Yet the Chicago Police Department hasn’t come knocking on Brotsky’s door yet. Brotsky has been incredibly lucky so far.

But luck runs out.

At least Brotsky has the sense to put a tarp down, Dalton thinks.

He snaps another photo. Brotsky’s naked barrel chest is slick with gore, and the look on his unshaven face is somewhere between frenzy and ecstasy as he works the garden tool. He’s not a tall man, but he’s thick, with big muscles under a layer of hard fat. Brotsky sweats a lot, and his balding head gives off a glare which Dalton offsets by using a filter on his lens.

Brotsky sets down the garden tool and picks up a cleaver.

Yeah, this guys is nuts.


B- THE DARK PATH, by Luke Romyn

Antoni knew he had failed. This knowledge burned bitterly through his mind, but he refused to admit defeat. The child had no one else, and Antoni wouldn't turn his back on her. Blood oozed down his left arm, leaving a grisly trail behind him as he shuffled slowly down the tunnel carved out beneath the mountain.

The flow had slowed now, but Antoni knew his loss of blood had rendered him nearly useless. The Four had proven invulnerable, while he had only his mortality to challenge them with.

He had cast aside his armor along with his equally ineffective weapons, after barely escaping from the battle into this tunnel. The only thing he retained was the package wrapped and hidden securely within his clothing.

Blurred images flowed before him; he tried to refocus, but found it no use. Despair coursed through Antoni for the hundredth time, and he paused against the wall, hoping to regain some strength. Never before had the knight failed. Throughout his many battles during the Crusades, at times facing impossible odds, he always managed to prevail.

This time was different.

He was dead; his body simply hadn't realized it.


C- VIGILANTE, by Claude Bouchard 

The old man was drunk again. That usually meant trouble.

The boy backed away into the recesses of the attic, his secret place, as he called it. There, he would be safe as long as he remained quiet because the bastard turned violent when he got drunk.

The youngster worried about his sister though, who had arrived ten minutes before their stepfather had. He had heard, then seen her through the ventilation grill set in the ceiling of her room but she didn’t know he was there. Nobody knew about his secret place. They never used the attic.

“Where the f**k is everybody!” the old man hollered angrily as he plodded up the stairs.

The boy could hear the stupid drunk bounce off one wall, then the other as he stumbled upwards. Laying flat on his stomach, the youth quietly started inching back towards the ventilation grill. Doors could be heard slamming open and closed in the upstairs hallway. He reached the grill and peered down through it at his older sister, wishing that there was some way he could magically beam her up to him, like they did in Star Trek.

She was seated on the bed with knees gripped under her chin, huddled in the corner and trembling with intense fear as she stared at the door. She visibly stiffened as the footsteps approached, causing a nauseous wave to wash over her brother as he secretly but helplessly watched on. The footsteps stopped on the other side of the door and silent seconds went by, serving only to increase each sibling’s private terror.

‘Please go away! Leave her alone!’ the boy pleaded in his mind, biting his knuckles to keep from screaming.

At that moment, door crashed open, causing his sister to jump with fright.

“Howya doin, girly?” their stepfather snarled with a leering smile. “Didn’t ya hear me callin?”

5 QUESTIONS FOR AUTHOR SUZANNE CORSO

Suzanne Corso is an author, a playwrite, a film producer and has written two feature film screenplays.  Her debut novel, "Brooklyn Story," is an autobiographical tale about a fifteen-year-old girl with the desire to leave her abusive boyfriend and dysfuntional family behind and cross that bridge.  She's received wonderful praise from places like USA Today and San Francisco Book Review.  She also took some time out of her busy schedule to play 5 questions with me.

1- In "Brooklyn Story" your protagonist, Sam, has a Jewish grandmother, a Catholic mother and an abusive mob boyfriend. All of these happen to mirror your own real life story. Because it's so autobiographical, how concerned were you about the consequences of your candor?

I did nothing wrong just lived the life that I was handed, and dealt with it in stride and integrity. The entire time I just wanted to get out and make a better life for myself which I finally did and got over the bridge.


2- Do you think you would have been a writer had you not come from such a dysfunctional family?

What a fabulous question. Possibly not. The writing came to me since I had no therapy to get me out of my dysfunction, so the writing became therapeutic for me. The greatest thing I ever mastered. It made me so secure with the woman I became and the little naive girl I left behind.


3- Looking back at your teenage years, how much did you yourself long to cross the Brooklyn Bridge for Manhattan?

One hundred percent of myself wanted to leave. It wasn't Brooklyn. I loved it. It was those few people who were so stifling, I wanted and needed out. I created my character Samantha as an escape.

4- If you had to choose between producing films full time or writing novels, which would you prefer?

Wow! I love to write and I love to produce. The producing is more a colaboration, a team effort. Several great creative minds at work on one project. Its amazing and so rewarding for me. Writing is more isolating, but fulfills the soul. So, my answer is that I'm not choosing one. I want both!

5-Best of luck with Brooklyn Story. What's on the horizon for you?

Thanks.  I'm currently writing the sequel for Brooklyn Story and trying to sell the screenplay. Olympia Dukakis, Lorraine Bracco and Armand Assante are already involved with the project.

WHY WE WRITE, VERSION 2011

There's an old saying in the business world, "Nothing happens until someone sells something."  That's really true. Until someone sells that new beer, you don't need factory workers, administrators, etc.  The same can be said for writing.  When you're listening to that catchy tune on your iPod, remember someone wrote those lyrics.  The last time you saw a really good movie try to remember why it was so good.  Was it the special effects?  The beautiful setting?  Or was it the dialogue?  My money is on the dialogue.  Someone wrote those words which came out of that gorgeous actress's mouth.  Probably some balding, pot-bellied writer who knew what words would resonate in the confines of that particular scene.  The same type of guy who who wrote half of Brittany Spears songs.  What, you thought she wrote, "Hit Me Baby One More Time?"  Sorry to ruin it for you.

Any this isn't just restricted to guys.  Some of our best movies are written by women.  At the 2008 Academy Awards, four of the five nominees for original screenplay were women.  Including the winner, Diablo Cody.

So as we sit in front of our keyboards, we imagine our words making an impact on the minds of our readers.  Maybe even sticking there for years.  I'll never forget Raymond Chandler's description of a beautiful blonde lounge singer: "She had a voice like an angel and a body that would make a bishop kick a hole through a stained-glass window." And I read that over 30 years ago.

So what does this mean?  It means even in the digital age, we're swinging for the fences.  As writers, we're searching for that one true story, or that one line which will resonate in the reader's mind for decades.  The bond between writer and reader is stronger than ever and that's why we write.  Because it's our desire to make our mark in the world of fiction.  And if you don't believe me, well, "You can't handle the truth."

5 QUESTIONS FOR AUTHOR JANET EVANOVICH

Janet Evanovich is a literary treasure. Not only has she sold more than 75 million books worldwide, but her last 11 novels have made their debut at number 1 on the N.Y. Times bestseller list.  Her first Stephanie Plum novel is becoming a movie in 2011 starring Katherine Heigl as Stephanie Plum.  She's funny, self-deprecating and allows her fans to choose the name of her upcoming novels.  She was also reckless enough to stop by and play 5 questions with me.

1- Your 1993 novel, "One for the Money," is finally becoming a film. Is this a big deal to you, or do you feel it's a bigger deal to your fans?

I think it's great and from the mail we get, I think my readers are looking forward to it, too.

2- Is there something precarious about Stephanie Plum becoming a visual image on a large screen rather than the unique image in each particular reader's mind?

I suppose that's always a risk. However, most people know that a book is a book and a movie is a movie and they are very different. People still read James Patterson's Alex Cross series, Robert B. Parker's Spencer and Robert Ludlum's Bourne books despite the fact that well known actors played them in the movies and on TV. In the long run, I don't think much damage is done.

3-What percentage of Stephanie Plum is your alter ego?

In terms of klutziness, it's about 100% With regard to being able to come up with snappy rejoinders off the cuff and having the energy of a 30-year-old, the similarities diminish.

4- Do you always feel your latest book is your best or do you have favorites?

I usually think my latest is my best. I'm currently at work on the next Plum -- Smokin' Seventeen -- which will be out in June. I really like it. I should also say that I'm really excited about the new series featuring the character Diesel. The first of that series, Wicked Appetite, was published this past September and I can't wait to get to the next book.

5- With the emergence of the digital age, how do you see the publishing world looking in ten years?

Good question. I don't have a crystal ball, but I'd say that e-books are going to continue to grow and become a big factor in publishing. Maybe I'm a Pollyanna, but I don't think traditional books will disappear. While a number of my readers come to my book signings and ask me to sign their e-reader covers, most folks who wait patiently in line say they love paper and ink and don't have plans to convert anytime soon.

AND NOW FOR SOMETHING DIFFERENT

Have you ever been to a bookstore and rummaged through a bunch of books, reading the first paragraph or two until you found one you liked? Of course, we all have.  Well I'm hoping to cut down on your time by doing some of the legwork for you.

Since I began this blog I've offered a monthly writing contest to showcase talented new writers who wanted a new platform for their work to be seen.  I know of at least three literary agents and a couple of publishers who routinely check the results of the contest.  It's always rewarding to see people get noticed.

Now for the different part.  I'm going to attempt to highlight some lesser known or Indie authors work.  These will be writers who have either an e-book or print book for sale.  I will work with the authors to offer free books to some of our readers.  The details aren't finalized, but will be soon.

Stay tuned.  As a reader you should discover some talented new authors to follow.  As a writer you should find new eyes for your work.  I'll continue to post interviews and insights from the industries best and brightest, but I began this blog to help fellow writers get noticed and that commitment will not change.

GUEST POST BY CRIMINOLOGIST/AUTHOR--JENNIFER CHASE

Below is the guest post by Jennifer Chase. Jennifer holds a bachelors degree in police forensics and a masters degree in criminology. She's a freelance writer, a criminologist and award-winning author of the very succesful Emily Stone series.  She took time out of her busy schedule to post a blog about criminal profiling. Who better to speak to that subject than a bonafide criminologist.

What’s the Real Deal on Criminal Profiling? 

Criminal profiling is not a type of psychic or intuitive paranormal ability. It is a behavioral analysis used as a practical scientific resource in criminal investigations. Criminal profiles should never offer quick estimates, guesswork, or academic statistics. That technique is not a “real” criminal profile and doesn’t have any value in an investigation. That’s the cold, hard facts of the matter.

The goal of the criminal profiling process is to objectively analyze and infer traits of an individual through scientific behavioral and physical evidence. It helps to identify an individual(s) who have committed a specific crime or set of crimes in order to narrow the suspect list and to move the investigation process forward. This is an important investigative tool and it is especially important during the deductive profiling phase of behavioral evidence analysis.

Deductive profiling entails a criminal profile or investigative report that reviews and describes relevant physical and behavioral evidence patterns within a crime or related crimes. A profiler must possess “absolute objectivity” in searching for “facts” and be able to interpret the findings in preparing a complete criminal profile.

There are two types of effective profiles used: threshold assessment and complete criminal profile.

A criminal profile shouldn’t take the place of solid investigative work; however, it should be one of the pieces available in the criminal investigation arsenal. No two crime scenes occur in the same way, or are ever exactly alike. This is where it’s important for the investigator/profiler to use his or her analytical and deductive reasoning skills in an objective manner.

According to criminal profiler and forensic scientist, Brent Turvey, a “threshold assessment” refers to a document that reviews the initial evidence of crime behavior analysis, victimology, and crime scene characteristics of a particular case or a series of cases. This scientific procedure is the evaluation of what is understood to be fact about a particular case or series of cases, and does not render the conclusions or opinions of a full criminal profile report.

A “threshold assessment” should include the following:

1. Overview of established facts of the case.
2. Overview of established facts relevant to the victimology (thorough study of the victim).
3. Overview of established facts relevant to the crime scene.
4. Initial hypothesis of motivational behaviors.
5. Initial hypothesis of offender characteristics.
6. Suggestions of further facts needed to be determined or analyzed.
7. Suggestions of further facts needed through victimology.
8. Suggestions and potential strategies for suspect development.

All of this information is helpful in creating a full, complete criminal profile.

A complete criminal profile refers to a “court-worthy” document that incorporates all of the physical and behavioral evidence relating to the known victimology and crime scene characteristics of the offender responsible for the crime or series of crimes. This document concludes with the opinions and conclusion of the profiler of the most logical suspect for the case or series of cases.

Criminal profiling shouldn’t be limited to just homicide investigations; it can used for burglary, rape, and arson investigations as well. In fact, unsolved burglary and rape cases would absolutely benefit from criminal profiles in order to close more cases.


Below is the link to Jennifer's latest novel, "Silent Partner."
http://www.amazon.com/Silent-Partner-Jennifer-Chase/dp/0982953607/ref=sr_1_1?

NOVEMBER 2010 WINNER--DEREK J. CANYON

Congratulations to Derek J. Canyon for winning November's contest.  When the poll closed last night Derek was tied with Robb Grinderstaff for the lead, so I extended the contest another 15 hours to determine the winner.  It was a tough battle, though. Robb is a terrific writer and it's obvious he's got the talent to compete on any level of competition.  Did I just sound like a football analyst?  Sorry. Congrats to Robb and Derek for the fun ride.

NOVEMBER 2010 FINALISTS

Below are the four finalists for November's contest.  All four were diverse, yet powerful in their imagery.  I'll be switching it up next month by posting scenes from Indie or lesser-known authors who have books available to purchase.
Now take your time to read these strong scenes and vote for your favorite on the poll to the right.  The winner will receive a $25.00 Amazon Gift Card and jealous glares from their fellow writers.

A- Robb Grindstaff

I took the baby from Daniel. She was red and smelled like smoke, but she was crying full throttle so she could breathe okay. At the end of the long gravel driveway, boys and girls from age five to twelve cried and huddled together. We had to go to them.


Flames danced out all the windows on the top floor. The loft was engulfed. The roof over the master bedroom end of the house buckled and the fire poked skyward. I reached for Daniel’s hand.

“I tried,” Daniel sobbed. “I couldn’t get to them. I got the baby, but Ma and Pa wouldn’t wake up and I had to get out. I tried to go back but I couldn’t. I just couldn’t.”

I pulled him with me to the end of the drive. We had to do a head count. Including Daniel, the baby and me, thirteen of us waited for the fire trucks and the police and the neighbors.

Thirteen of us waited for official word that our foster parents didn’t make it out. Thirteen of us waited for Child Protective Services to take us somewhere else.

B- Shannon Lee

She reached under the table and brought out a rusted pipe. The movement was so fast, Janet plunged the pipe into the man’s chest. She shattered ribs and tore through his lung. Never had I heard such a pitch escape the lips of a mortal man. And yet, I couldn’t bring myself to turn away. Janet withdrew the pipe and blew through the clean end of it, forcing out the organ and tissue that was lodged. She was quick to place it back into the mortal’s chest. The blood began to flow out as Janet led the mortal to the table. Anchored into it’s sides was a hallowed out meat grinder, a forceful shove brought the metal pipe into the grinder’s entrance. I was ill to see blood and chunks of flesh gush, until an even flow of blood began. Mugs were placed, under the grinder to catch the drippings.


His hands were the first to lose strength, as they turned pale, his face slowly drained of color as his pleading eyes begged me to help him. I nearly did, until he stopped breathing. His corpse remained on the table as drinks were placed. Janet took hold of hers and drank. “Sorry about the pulp”

C- Derek J. Canyon

Thring bends down and snarls at me. I see his rotten teeth, sticking out

like tombstones in his mouth. Apparently, the genetic engineers who
designed him cut some corners on dental. He licks his lips.

"I'm talkin' to you, pissbag."

It's time to put this guy in his place. I'm the resident psycho and
ice-cold killer in this bin, and I don't want anyone else getting their
noses into my routine.

"You're blocking my sun, boy," I say softly.

Despite his technological ancestry, the racial slight has the desired
effect. His face contorts in anger as he grabs my shirt and lifts me with
ease to a standing position, the muscles on his arms rippling in barely
controlled tension.

"I'm gonna kill you!" This guy's real original. His breath is stale and
musty, like a puff of air escaping from a just-opened coffin.

I look around. The other cons watch closely, waiting to see what will
happen. Well, I won't keep them in suspense. As the psycho, there is only
one thing for me to do.

D- Joyce Yarrow
The walls, covered with graffiti, scream in undecipherable defiance. The window gate is open, and I climb onto the fire escape, gulping in fresh air, clutching the railing. Below me, treetops in the back yard sway in the slight breeze, oblivious to the violence perpetrated above them. On the platform, a canvas beach chair and a towel hint at better days. A glint of metal in the corner catches my eye. Pulling a pencil from my purse, I use it to retrieve the chain, which is attached to a miniature replica of the Empire State Building and a small key. I insert the key into the padlock on the outside of the window gate and it turns with a smooth click. I know I should leave this evidence where it is, but on impulse, I place the key chain in my pocket. How easily years of training can go down the drain.


I force myself to re-enter the bedroom, knowing I have only this one chance to investigate before the police secure the scene. I'm calmer than I'd expect, but all my experiences tracking deadbeat dads and scam artists haven't prepared me for the ugliness of violent death. This is my first murder victim, my first corpse.





 

THE MAFIA AND ME--A TRUE STORY

I was recently interviewed for David Wisehart's blog, Kindle Author, and he questioned me about the research I'd done for my novel, "A Touch of Deceit."  In the book a Sicilian FBI agent recruits his Mafia cousin to help him track a terrorist.  Well of course I mentioned how I interviewed FBI agents and local law enforcement to get a good idea of how the bureau worked.  But for the Mafia part I had to think--what research had I really done?

Then it occurred to me.  I'm Sicilian.  My father was Sicilian.  He also owned a candy store in Brooklyn where the Mafia would run numbers.  It was more like a Luncheonette with a counter for soda and sandwiches.  When I was sixteen I began working weekends by myself.  Well, of course, I was young, so my dad's Sicilian friends offered to keep an eye on me while I was working alone.  Guys with names like Max and Tony would stop in frequently during the shift and make small talk.  We became very friendly.  We talked baseball, their kids, everything.  They would buy coffee and overtip me.  Eventually we set up a signal with the bar across the street where the Mafia guys would hang out.  If I turned off the neon ice cream sign in the window it meant someone suspicious was in the store.

Late one night just before closing a kid around twenty-one came in, sat at the counter and ordered a Cherry Cola.  He sat there sipping it like it was hot tea.  Then he looked around and asked me questions like ‘where’s my help’ and ‘how much money does a place like this keep in the register?’ So I clicked off the ice cream sign and within two minutes five Sicilians came in and surrounded the kid. They never touched him, but he practically ran out the door and I never saw him again. These guys were very loyal people and treated me like royalty.

I told that story in my interview with David Wisehart and when I finished, I asked, "Does that count as research?"  Something tells me I learned more from my youth with the Mafia then I ever did over the phone with an FBI agent.

A WRITER'S MIND IS ON-CALL 24/7

There are times when a writer, like me, will have those far away eyes. You know what I mean, one minute you’re having a conversation with a writer, then they seem to check out for a few minutes. Where do they go? I’ll tell you. They’re tying up that latest plot twist. They’re trying to remember what you call that ramp you walk down to enter a plane. They’re figuring out how their protaganist is going to get out of the latest jam they put him in. It’s always in the back of a writer’s mind. It’s all part of the process. You could spend a lifetime trying to explain it. If you’re a close friend or family member this will happen more frequently. Why? Because they feel more comfortable doing it with you than an acquaintance which could cause some uncomfortable moments.

Be understanding when this happens. The writer can’t help it, their brain is wired to manufacture scenes in their mind before it reaches their keyboard and if they wait until they're sitting in front of the computer to get it done, it’ll take a decade to finish a chapter. So they wander. They take that excess time we have each day to unwind and turn it into a productive business meeting. Consider it a conference call for the imagination.

So the next time you’re driving in a car with a writer and notice them staring out the window. Don’t be surprised when you ask them what they’re doing and they turn to you and say, “I’m working.”

OCTOBER 2010 WINNER--NICOLE SCHELLER

Congratulation to Nicole Scheller for winning October's contest.  Her scene was scene A in the post below this.  The readers voted her the best scene and she's a deserving winner.  Even though she had to cut this scene down to make it fit into the parameters of the contest, the writing was powerful and dare I say---Strong.

OCTOBER 2010 FINALISTS

Below are the three finalists for October's contest.  A real diverse group of genres.  Use the poll on the right to vote for your favorite scene.  The winner will receive a $25.00 Amazon Gift Card, plus at least one literary agent will read the winning submission.  Good luck and vote.


A- Nicole Scheller

As if she feels your stare, she lifts her head. In the dimmed light you can't make out the title, but the fact that she sits here alone on a Friday night, holding a book, makes her attractive enough.

She smiles at you. Her far too perfect lips reveal a set of white teeth. You know it's rude, but you can't hold her gaze. Ashamed, you look away, into your glass. When you take a sip, you sense her eyes scanning each inch of your body.

Another sip. It feels warm, comfortably warm. Slow, but confident footsteps on the wooden floor. You listen carefully, your grip tightens. Five, six, seven, eight. Then, they stop. The scent of flowery, expensive perfume penetrates your nostrils.

'You are waiting for someone?' she asks. Her voice surprises. It is nothing like you thought it would be. Much deeper – not displeasing, though. A faint accent gives away she is not a native. It sounds inviting. You shake your head in response to her question.

'Would you mind me sitting here?' Without waiting for an answer she lays down her book and takes a seat. Its author is no-one foreign to you.

B- Wayne C. Rogers

I’m going to die, he thought.
Then, everything changed as Freeman heard the most wonderful sound in his entire life.
It was Betty’s loud, ferocious bark.

She’d somehow managed to get her leash untied from the post and had come racing to his rescue.
God, he loved that dog.

The stranger in the overcoat heard her bark, too, but reacted too late as the dog leaped into the air, knocking it off her master’s back with the sheer force of her weight.

Freeman heard a shrill cry.

The dog was tearing into the creature, going for any part of the body she could sink her teeth into.

Pushing himself up to a sitting position, Freeman lifted the .45 with his good hand and took aim. That was when he saw the creature grip Betty’s snarling mouth with both of its hands. In an unbelievable feat of strength, the stranger tore the lower jaw from the dog’s mouth and then bit into her throat, tearing at the flesh like a starving animal, shaking its head wildly from side to side.

Blood flew everywhere.

“No!” Freeman shouted.

C- Kirsty Logan

Painted and smiling, I balance on my trapeze. Luka is poised ten
metres away, his muscles shining under the lights. The ringmaster, his
moustache oiled to needle-sharp points, announces glory and wonder. I
pull sawdusty air into my lungs and start to swing. As I build up my
momentum, I smile down at the crowd stacked up in the tent: blinded by
the lights, all I see is a mass of teeth and eyes and restless limbs.
From the corner of my eye I see Luka, hanging from his knees, patting
his hands together so the talc can absorb the sweat of his palms. I
wait for the twitch of his thumbs that lets me know he’s ready.
I curl my toes around the painted bar, spread my arms like wings, and let go.
For two seconds I’m weightless, as helpless as a newborn with its cord cut.
Then Luka’s hands are on my wrists, calloused and hot, swinging me
round. Below me the crowd gasps, claps, cheers. I look at the world
below us: the restless crowd, the glare of lights, the motes of
sawdust in the air.

Then I let go.

5 QUESTIONS FOR NY TIMES BESTSELLING AUTHOR DAVID MORRELL

There are only a handful of fictional characters which are universally known by a single name--Frankentstein, Tarzan and of course Rambo.  When David Morrell created the Rambo character in his novel, "First Blood," back in 1972 he was an English Professor at the University of Iowa.  Now he is considered the originator of the modern action thriller and one of the most prolific authors of the past thirty years. He has currently agreed to publish 9 of his backlisted novels exclusively on Amazon as a Kindle E-book, as well as a new novel, "The Naked Edge."  He was very gracious with his time and very thoughtful with his answers.  Thank you David.

1-     What runs through your mind when you're introduced as the man who created Rambo?

In my writing book, THE SUCCESSFUL NOVELIST, I mention that one of the hardest tasks for an author is to have a subject matter or an approach or a character recognizable to readers.  At a party or a similar event, when people learn that someone is an author, almost the first thing they say is (note the negative), “I don’t suppose you’ve written anything that I’ve read.”   When they say this, they almost always shake their heads from side to side.  In my case, even if they haven’t read FIRST BLOOD or seen the film based on it, they’ve heard of the character.  There are only about 5 action characters that are recognized pretty much anywhere around the world—Sherlock Holmes, Tarzan, James Bond, Rambo, and Harry Potter.  It’s a strange feeling to have created a character who is in that group.  At the same time, whenever Rambo is mentioned in the media or wherever (which is almost every day), it always takes me a moment to remember that I’m the creator of the character—he became so much a part of world culture that he’s like a son who grew up and out of the control of his father.  In fact, I sometimes autograph books as Rambo’s father.

2-     Rambo was a violent, guilt-ridden character--were you happy with the way Sylvester Stallone handled the complexities of your character on the big screen?

The film FIRST BLOOD went through 5 studios and 26 scripts before Carolco finally produced it with Sylvester Stallone in 1982.  Some of the reasons are due to miscasting.  While it sounds like a great idea to have Steve McQueen as Rambo, the director who was assigned to that possible production, Sydney Pollack, told me that it took them 3 months of preparation before they realized the fatal flaw—that Steve McQueen was in his mid 40s.  In 1975, there weren’t any 45-year-old Vietnam veterans. Other possible productions emphasized the violence of my novel as well as Rambo’s anger, and that caused producers to be hesitant—they wanted to soften the character. Finally the Carolco script by William Sackheim, Michael Kozoll, and Sylvester inserted the scene at the beginning where Rambo speaks to the woman whose son was in Rambo’s Vietnam unit and who died from Agent Orange. The intent was to make Rambo a victim, which is a different interpretation of the character but an effective one for film purposes.  Many years later, when Sylvester was preparing the fourth Rambo film, he phoned me and said that he didn’t think any of the previous films truly captured the character as I wrote him and that the fourth film would have more of the angry tone of the original novel. As for Sylvester as Rambo, Richard Crenna told me that in his long career, only two actors really knew what to do in front of a camera, with regard to their eyes and their use of props—they were Steve McQueen and Sylvester Stallone.

3- What made you decide to publish The Naked Edge and 9 other backlisted novels as Kindle books?

Amazon came to my agent, Jane Dystel, and asked if I’d be interested in offering a lot of my backlist in exclusive Kindle e-book editions. As it happens, I’d been thinking a lot about e-books and the current broken state of publishing.  Printed books currently have a shelf life of 6 weeks. The hardback is given 18 months in a warehouse before the copies are remaindered. The paperback lasts a little longer.  But an e-book doesn’t go out of print, and in the Amazon Kindle model, it can be available within a minute almost anywhere in the world.  Australia, Japan, Germany, France, on and on.  It’s mind spinning to think of how quick and easy it is for a reader to have access to an e-book—and I repeat, the access is global, not dependent on creaky warehouse procedures or smoke-spewing delivery trucks. I’m not turning my back on printed books. Not at all. I collect books by certain authors and want signed copies of each one.  I love to give books as gifts. I prize the books that are on my shelves. But as an author, I need to realize that it is sometimes difficult for readers to buy physical books.  To give one example, I once had a novel for which a warehouse screw-up caused the books to arrive in stores 3 weeks after the publication date, long after my publicity tour and the expense of the print ads and 40 radio interviews that each averaged 20 minutes in length. Then almost immediately the books were shipped back to the warehouse. So much waste. Many other authors have similar stories. To draw attention to the e-books of my backlist, I decided to go all the way with the experiment and add a brand-new, never-before-published novel, THE NAKED EDGE. No established author ever did that before. Then I decided to experiment with the e-book format and add 18 color photographs of fine-art knives that are mentioned in THE NAKED EDGE. These include the most expensive knife in the world, Buster Warenski’s solid-gold replica of King Tut’s dagger. In a printed book, the 18 color photographs would have pushed the price to $50.  But in an e-book, that sort of extra material can be added easily and with no extra cost.  Similarly, my novel THE TOTEM exists in two drastically different versions. For the e-book, we put both versions together. A printed volume that contained both versions would have been huge and costly.  But not the e-book.

4- Amidst all the great reviews on Amazon for The Naked Edge, I noticed one disparaging remark from someone in the print industry who clearly never read the book but used this platform to remark how the digital world is destroying jobs for hard-working individuals.  Have you received any flack from people within the industry about your decision--or was this simply a matter of an individual Horse and Buggy driver shaking his fist at a Model T?

Some readers said they were old-fashioned and would always stick with printed books.  We’ll see.  Current predictions are that e-books will amount to 50% of book sales within the next five years.  I personally think it’ll be closer to 60% for e-books and that it’ll happen sooner.  When was the last time your readers bought a music CD as opposed to downloading something?  On my FACEBOOK page, I did a survey, and the vast majority hadn’t bought a CD in years. Tower Records went out of business.  Best Buy and Sam’s Club and the chain sores reduced the space they devote to CDs.  The music business is the model I think publishing will follow. I’m not saying this is good or bad. I’m saying it’s reality. As for the one-star review on Amazon, it came from someone who readily admitted that he hadn’t read the book.  He said he was in the print industry and that the e-book trend would put him out of a job and that it was un-American. I understood his frustration. In my many years, I’ve never seen cultural changes happening this fast. But I wish he hadn’t condemned a book that he’d never read.  That didn’t seem right to me.

5- Your best guess--what does the publishing industry look like in ten years?

Barnes & Noble told mall developers that it was going to reduce the size and number of its physical stores.  The model they envision is a kiosk store that emphasizes their Nook e-reader.  As the chains downsize, I think we’ll also see more independent bookstores close (some of this is due to atrophy as owners age and retire).  After that, I believe that the surviving independent bookstores will do well—because they can offer signed copies of printed books to a dedicated clientele.  Audio books will be almost entirely in a download form. E-books will dominate the general market.  In that form, distribution will be global even more than it is now.  I recently heard from a U.S. soldier in the Persian Gulf.  He has a Kindle, on which he can store a thousand books—and he can get those books the day they are published, even those he’s on a remote military base.  That’s what he did with THE NAKED DGE.  Wow.

WHY E-READERS MIGHT JUST SAVE THE WORLD

Books have been around in virtually the same form for thousands of years. It’s old school. Very old school. So when someone from the younger generation mentions something about reading a book, believe it or not, it’s met with scrutiny more than envy. Bottom line–it’s not cool to read books. I’ll never forget a few years back my then 14-year-old daughter was setting up a profile for some social webpage and when the profile’s question was “Which books have you read recently?” My daughter’s comment was, “Very funny.” Go ahead and frown, I did. I’m a writer. She was too embarrased to even admit she might have read a book because it’s uncool. Book-readers are nerds, right?


Enter the Kindle and iPad. The epitomy of cool. I think the iPad even comes with a pair of shades. Because these new digital devices are so cool the kids are gobbling them up. Now they can discuss what they’ve read recently because it wasn’t done on an archaic, dusty piece of brown paper, but their new digital thing which they can hear music on or surf the web. But what they’re really doing with a lot of these devices is reading. Even if it’s a webpage or a text–it’s still reading. And we all know what reading texts leads to–reading books. Okay I made that up, sort of like smoking pot leads to heroin addiction. But maybe, just maybe, if owning an E-reader is such a cool thing, possibly it may just lead to reading. And we all know reading leads to eternal happiness–or an addiction to morphine, I forget how that works.

SEPTEMBER 2010 WINNER--ROSS CAVINS

Congratulations to September's winner Ross Cavins.  Out of 189 votes he received 120.  I felt he had tough competition and yet still received over 60 % of the vote.  Robb and Suzanne have nothing to be ashamed of, their scenes were terrific.  You just never know which genre will capture the interest of the readers that month.  Thanks for another successful contest.  Good luck in October.

I'm also including a link to Ross's book page for those interested in seeing more of his work.

http://www.facebook.com/l/7594dMN9jfefDZ6Z0IbSbV71FCg;money.rosscavins.com

SEPTEMBER 2010 FINALISTS

Here are the finalists for September's Strong Scene Contest.  Please vote to the right for your favorite Scene.  The winner will receive a $25.00 Amazon Gift Card.  Congrats to all the finalists.

A- Ross Cavins

Bobby counted off a hundred, then four more hundred, and made a show out of sliding the chips into the pot. One of two things would happen now. Either it would spook Blue or embolden the man to dig in.


The two players stared at each other, reading faces, trying to pick up the slightest hint what was going on in each of their minds.

"Well?" Bobby said, looking Blue hard in the eyes. He kept his face blank, raising his left eyebrow a hair, daring Blue to do something, playing to the man's ego. "Shit or get off the pot." It was his best poker joke.

Blue counted out four hundred and pushed it in the middle, then shoved in another four hundred right behind it, staring at Bobby the whole time. "Four more to you," Blue said.

Bobby pursed his lips together, narrowed his eyes, and bent the edge of his cards up so he could see them again, pretending he was considering what to do next. It was all part of the game. He slid a thousand in chips out, saying, "I'll raise."

Blue's mustache twitched and he gave Bobby the hardest look of the night. It was coming. Bobby could sense it; he could feel it on his head, like peppermint ants were having a family picnic up there, all of them scurrying around to make sure everybody got some food.

"What you got over there?" Blue said.

"It'll cost you to see."

B- Robb Grindstaff 

Getting through security took longer than Glenda expected. Sure, lots of former blonde beauty queens pushing two infants were terrorists. The carry-on, the briefcase, and diaper bag. Double-wide stroller which security scanned and patted down for hidden compartments. The screening by the TSA lady behind the curtain.


“What’s this?” TSA lady lifted a small, hand-held device with a suction cup on one end.

“It’s my breast pump.”

TSA lady crinkled her nose and put it back.
“These liquids are more than three ounces.”

“They’re milk for the babies. The sign says I can bring more than three ounces of milk for the babies.”

“Ma’am, the sign also says the milk has to be in the original containers.”

The stress of the past two days, getting the babies and her packed for an overseas flight, traffic snarls on the way to the airport, and now this. The stupidest woman on the planet delaying her further while her flight called for boarding.

Glenda began unbuttoning her blouse.

“What’re you doing, ma’am?”

“Showing you the original containers.” With a flourish, Glenda ripped the blouse open, letting the last two buttons fly, and dropped the flaps in the front of the nursing bra.

C- Suzanne Senden

Clara stood in the desolate field as the chilly December wind whipped about her. The fields were barren now. Broken corn stalks, once so full of potential lay scattered the wind tossing them about as it played in the ruins of the harvest.


She felt that the land was a metaphor for her life.

She sighed, her frosty breath enveloping her for a moment before it faded.

A light snow began to fall.

She loved the smell of snow, a cold dryness that tickled her nose. Usually the frigid fragrances of winter wafted on the wind long before the snow began to fall. She looked up as the flakes fell from a flat, leaden sky. She had heard someone call it Winter’s Communion if you put your tongue out to catch the flakes.

She could hear the chunky flakes as they plashed into the earth, landed on her shoulders and nestled into the hair.

Snow began to accumulate in the rutted furrows, transforming the land covering the broken stalks, making them over into something fairy tale wondrous. Soon the bleak land would be covered in a beautiful mantle of white, transforming everything.

If only her life could transform as easily.

Elmore Leonard's "Freaky Deaky"-- A Strong Scene

Below is the last part of Chapter 1 from Elmore Leonard's
"Freaky Deaky." To me this is a strong scene because
of the finish.  Leonard delivers the ultimate ending
to this scene.
Two bomb experts, Jerry and Chris get called
to a gangster's house to remove a bomb from
under a chair cushion which the gangster is sitting on.
If the gangster tries to get up, the bomb explodes. See how
Leonard crafts this scene so naturally:


"I couldn't get in the Jacuze quick enough, huh?"

"I doubt it."

"His feet might stay on the floor," Jerry said,
"remain in the house."

Chris agreed, nodding. "Yeah, but his ass'd be
sailing over Ohio."

Jerry moved from behind the chair to the French
doors. "We better talk about it some more."

Booker's head turned to follow Chris. "Where
you going? Hey, motherfucker, I'm talking to you!"

Chris stepped out and closed the door. He moved
with Jerry to the far edge of the slate patio before
looking back at the French doors in the afternoon
sunlight. They could hear Booker in there, faintly.

They crossed the yard, Jerry offering Chris a cigarette.

He took one and Jerry gave him a light once
they reached the driveway and were standing by
the three-car garage, alone in the backyard. Jerry
looked up at the elm trees. He said, "Well, they're
finally starting to bud. I thought winter was gonna
run through May."

Chris said, "That's my favorite kind of house.

Sort of an English Tudor, before Booker got hold
of it."

Jerry said, "Why don't you and Phyllis buy
one?"

"She likes apartments. Goes with her career image."

"She must be jumping up and down, finally got
her way."

Chris didn't say anything.

"I'm talking about your leaving the squad."

"I know what you meant. I haven't told her yet.
I'm waiting till I get reassigned."

"Maybe Homicide, huh?"

"I wouldn't mind it."

"Yeah, but would Phyllis?"

Chris didn't answer. They smoked their cigarettes
and could hear fire equipment arriving. Jerry
said, "Hey, I was kidding. Don't be so serious."

"I know what you're saying," Chris said. "Phyllis
is the kind of person that speaks out. Something
bothers her, she tells you about it."

"I know," Jerry said.

"There's nothing wrong with that, is there?"

"I'm not saying anything against her."

"What it is, Phyllis says things even some guys
would like to but don't have the nerve."

"Yeah, 'cause she's a woman," Jerry said, "she
doesn't have to worry about getting hit in the
mouth."

Chris shook his head. "I don't mean putting
anybody down or being insulting. Like we're at a
restaurant, one of those trendy places the waiter
introduces himself? This twinkie comes up to the
table, he goes, 'Hi, I'm Wally, I'm gonna be your
waitperson this evening. Can I get you a cocktail?'
Phyllis goes, 'Wally, when we've finished dinner,
you gonna take us out and introduce us to the
dishwasher?' She goes, 'We really don't care what
your name is as long as you're here when we want
something.'"

Jerry grinned, adjusting his Tiger baseball cap.

"That's good, I can appreciate that. Those guys kill
me."

They drew on their cigarettes. Chris looked at
his, about to say something, working the butt between
his thumb and second finger to flick it away,
and the French doors and some of the windows on
this side of the house exploded out in a billow of
gray smoke tinged yellow. They stood looking at
the shattered doorway, at the smoke and dust thinning,
settling over glass and wood fragments,
shreds of blackened green-and-white debris on the
patio, silence ringing in their ears now. After a few
moments they started down the drive, let the people
waiting in front know they were okay.

Chris said, "Yeah, the twink comes up to the
table, says he's gonna be our waitperson. But you
have to understand, Phyllis wasn't trying to be
funny, she was serious. That's the way she is."

The Good, the Bad and the Internet (Guest post by Claude Bouchard)

I first met Claude Bouchard through Twitter. He was a fellow writer and seemed socially nimble, able to speak fluent writer's language, yet have a prankster mentality all at the same time. I decided one day to read his very first novel "Vigilante," and boy am I glad I did.  It's a terrific read.  He's now an experienced author of four Barry/McCall novels which began with "Vigilante."  Claude has been in the publishing trenches for many years, so when he has something on his mind, it's only right to give him a forum for his views.
He currently lives in Montreal, Canada with his wife Joanne and their two cats, Krystalle and Midnight.  Claude is represented by Tribe Literary Agency.

The Good, the Bad and the Internet:

When I started writing in 1995, any required research was done using reference books, encyclopaedias, maps, etc, as well as onsite visits if one hoped to write with accuracy. When it came time to query agents, the process was done by snail mail, with SASEs included, hopefully for a request for a partial or full manuscript but more often than not, a ‘thanks but no thanks’ letter sent with the stamp I paid for.


Then cometh the Internet; Slow at first, hardly user-friendly navigation on most sites and without necessarily a wealth of information. However, time does fly and we found ourselves nearing the year 2010, then beyond, with today’s Internet. Millions upon millions of users, sites, blogs, references, dictionaries, modes of communication, digital photos, videos, satellite maps and more, a researching writer’s dream. With works I’ve written in recent years, no longer was I required to head downtown to scope settings for exactitude, nor did I have to drive around North America or fly abroad to ensure that locations were as I described. Rare has it been that I couldn’t find that bit of information that I absolutely needed to make something just right. With finished works, the Internet allowed me to self-publish and make my novels available to the masses. It also allowed me to tell the masses, through social media platforms and other advertising, that my books were there for them. Thanks to the Internet, I even found my amazing agent without having to buy one stamp. Others whom I’ve met have had similar experiences and have produced wonderful works of literature as well. This is all good.

Because of the Internet and, more specifically self-publishing service providers, anyone can now call themselves a writer and I do, unfortunately, mean anyone. In the last year or two, I have come to realize that many of these ‘writers’ do not know what a writer, or a novel for that matter, actually is. Self-publication does not and must not mean that one can simply have stuff written, printed and bound in a book format. Yet, this is what many people do. Improper formatting, horrendous grammar, typos, poor or no research, spotty or lacking storylines all contribute to giving self-publication a bad reputation which it doesn’t deserve. I’ve read such books and given my opinion, with examples, to such writers to be told that, “That’s the best that I can do, I’m not a professional, I have no one to help me, I can’t afford an editor…” The list goes on. Writing is an art form and if one doesn’t have the talent to do so, one should not call oneself an artist, nor have the gall to expect the masses to pay for substandard work. When one does, this is all bad.

The Internet and the abundance of possibilities it offers are amazing resources but should be used as additional benefits and tools without letting established publishing standards slide.