Ask the Authors 2022: WordCrafter Writing Reference series

The following interview responses and essays contain both American and British spellings, in accordance with individual author’s country of origin.

Introduction

By Kaye Lynne Booth

I’ve been a writer for almost a quarter of a century. It’s true. I sold my first poem for $5 in 1996. My writer’s journey has been a slow one, but I’ve discovered a few things along the way, the most important being that most authors are good people, and they are a tight-knit group who are usually willing to help their fellow authors by sharing their own experiences and advice. I can’t tell you how much talking to and learning from other authors has helped me along the way.

In 2018, I had an idea to run a blog series where a group of authors shared their writing, publishing and marketing advice in a Q&A format on my authors’ blog, Writing to be Read. The series ran for twelve weeks, with each week covering a different topic. It was popular enough, that I ran a second round later in the year. The series was called Ask the Authors, and in 2019, I compiled and published those blog segments into a writing reference of the same title. It featured 17 authors, in various stages of their writing careers, and it contained some awesome writing advice.

In 2021, I found myself going back over the information and advice included in Ask the Authors, and I realized that while much of the advice on craft was evergreen and remained valid today, digital technology has changed so rapidly, a lot of the information was no longer valid or was at least in need of updating, especially in the publishing and marketing realms. In 2018, audiobooks were relatively new, while now many authors have delved into that realm with their work, and they are a common topic of conversation. To publish an audio version, or not to publish an audio version of your book? That is the question!

Of course, this isn’t the only technological advance that has changed the publishing industry. Artificial Intelligence (AI) technology is now a common fixture on many of our devices, and if you listen to The Creative Penn podcast, Joanna Penn talks about its place in creating audio books, and other digital advancements in publishing, like  NFTs, (and I have no idea what the acronym stands for), which are hard to get my mind around. From what I can gather, they are like digital hardbacks; collector editions in digital format which can be purchased with crypto currency.

My point is that things have changed a lot since I first ran the blog series in 2018, not even five years ago. Indie authors, like Hugh Howey, are being looked to and respected as industry leaders, right along with the traditional Big 5, which have recently merged into the Big 3. Traditional publishing is still struggling to adapt and change to meet the new market, while indie authors lead the way by embracing this digital era and adapting publishing and marketing practices. It is because of all these vast changes, some of the information and advice contained in that original reference book has changed.

So, I decided to do it again, and Ask the Authors 2022 is the result. This time I’ve requested that each author include an essay, offering writing tips and advice, in addition to the Q&A. Beside myself, we have Chris Barili, one of the authors who participated in the original project. In addition, we bring you eight other authors, offering relevant advice – sometimes agreeing, and sometimes differing from one another. And that’s okay, because there is no right or wrong when it comes to writing. Every author is different, and what works for one author, may or may not work for the next. For that matter, what works for one book may not work for the next.

The authors you will meet in Ask the Authors 2022 include: Kaye Lynne Booth (that’s me), Christopher Barili, L. Jagi Lamplighter Wright, Bobby Nash, Mark Leslie Lafebvre, Roberta Eaton Cheadle (also published as Robbie Cheadle), Nancy Oswald, Mario Acevedo, Paul Kane, and Jeff Bowles. Kevin Killiany was also a contributor, but due to circumstances in this crazy pandemic era, he was unable to contribute an essay, although he did participate in some of the Q & A. They are a great bunch of authors, most of whom I’ve worked with before on one project or another. And I love that I can hear their voices in the essays provided here, which makes every time I come here to reference their advice feel like turning to old (& new) friends.

The idea is to offer you an author’s toolbox, filled with an assortment of different tools that authors can use to improve their craft, or publish and sell their writing. It’s a great reference that offers the opportunity to learn from authors who are making it work. Not everything suggested will work for you, but I’m sure you will find some of it that fits. I hope you find it helpful.

That being said, it’s time to Ask the Authors.

Bobby Nash

Bobby Nash is not a man of action, a detective, or a hero, but he loves writing about characters who are all of those things and more. Bobby is an award-winning author of novels, comic books, short stories, screenplays, and more. He is a member of the International Association of Media Tie-in Writers and International Thriller Writers. On occasion, he acts, appearing in movies and TV shows, usually standing behind or beside your favorite actor. From time to time, he puts pen to paper and doodles. For more information on Bobby Nash and his work, please visit him at www.bobbynash.com, www.ben-books.com, and across social media.

JUGGLING ACT

Bobby Nash

Juggling is an integral skill for writers.

I always get strange looks when I tell people this, but it’s true if writing is your career. Part of being a writer is writing. Getting the story down and polished is absolutely important, but as a professional writer, I have had to juggle not only projects, but also juggle steps in the process.

In a perfect world, we would write a novel, edit, go through production, create a cover, upload, print, promote, and then move on to the next project.

As a working writer, I don’t have that luxury. I write for multiple publishers, and I also run my own indie press. That means deadlines that sometimes stack atop one another. I usually work on multiple projects simultaneously, writing them toward deadlines. That’s where the juggling begins. In addition to the stories in process, I also write serialized novels for my Patreon page, so those chapters get juggled into the schedule each week. Four balls in the air already.

While writing on current projects, previously completed projects come back to me from the editor. Edits generally have a limited amount of time to be done and turned back in. That means stopping work on the current writing project to do the edits. Another ball in the air. Once those are sent off, I dive back into the work.

Other balls that get thrown into the air while writing are additional rounds of edits, galley proofs (the final once over before a book goes to press), cover proofs, and other production questions that might pop up. All of them are important and necessary, but they also interrupt the flow of writing.

One of the big parts of being a professional writer is handling promotion. There is a lot of back and forth on marketing and promotion. There are probably a few chapters in this book about these topics. I know a lot of writers say they don’t like it, but promotion is a huge part of the writing career. Part of my juggling act is spending time daily doing promotion work. This includes posting to social media, doing interviews, podcasts, virtual panels, and the like. I also do outreach with book news and review sites, setting up book signings and convention appearances.

Being able to keep so many aspects of the writing business in the air can be a challenge at times, but it is also a necessary part of my business. Juggling is a great skill to learn as a writer.

Ironically, I can’t juggle for real, only in my writing. Go figure.

Writing Life & Pre-Writing Rituals

What works for one author, does not necessarily work for the next. Heck, what works one genre, or for one book, doesn’t necessarily work for the next. Some writers hold onto their day jobs, and only write part time to stay afloat, while others write full time and edit, or teach writing courses to supplement their incomes. I that paid writers on a full-time basis and making a living at it are in the minority, but they are out there, and if you can find them, you can learn a lot from them.

In these first two sections, we’re going to let our authors weigh in the subject. But, as you’ll see, the strategies and preferences used differ from author to author, and the bottom line is – do what works for you – but don’t throw away the rest, because things change, and what you don’t use now, may come in handy at a different time or circumstance, down the road in your own author career.

Q & A: Writing Life

Please tell us your top 5 rules for writing success.

Mario Acevedo: I’ll give you one. From W Somerset Maugham: There are three rules for writing a novel. Unfortunately, no one knows what they are.

Paul Kane: I only really have three, and it boils down to the three P’s which I used to teach in my Creative Writing classes when I still did them. Patience, Persistence, Perspiration. Patience, because basically if you’re going to be a writer you need to be in it for the long haul. Some people are lucky, they get success really early on in their careers, but most have to work at it for a long time, winning little battles as they go.

This of course feeds into the second and third P’s, in that you’ll need to be prepared for knockbacks and rejections. You’re going to have to pick yourself up when you get a no, dust yourself off and get back on the horse. I’ve had countless rejections from publishers and editors in the past, but you just have to keep going, and remember that it’s all subjective. What one person hates another might love. Take on board any advice or feedback that makes sense to you, but don’t change anything you’ve written if it doesn’t because it’s your writing ultimately. Only you can write like you, with your background and experience and voice. If the advice you’re getting messes with that too much, then don’t do it.

And finally, Perspiration, because you’re not going to get anywhere unless you work for it. You should always strive to be better, even if you’ve been writing all your life. You’re never too long in the tooth to learn new things, to try new writing techniques or whatever, and the only way to be a good writer is to write, write and write. Oh, and to read a lot too. 

Chris Barili:

Write.

Keep writing.

Write more.

Write daily.

And write whenever you can.

Bobby Nash: I wish I had a list of rules to share here. I have never thought of it in those kinds of terms. Certainly, treating it like a job has been invaluable in keeping on track. Writing daily is probably good advice. Learning to market your work is also a good one.

Robbie Cheadle:

Write as much as possible given your personal circumstances.

Seize opportunities to participate in writing and poetry challenges.

Seize opportunities to participate in writing competitions and anthologies.

Take advice that is given to you by more experienced writers, and I mean really embrace it and incorporate it into your writing going forward.

Enjoy your writing.

Nancy Oswald: Sit down, write, rinse, and repeat.

Kevin Killiany: I don’t have 5 writing rules, but I do have one reading rule: read as much as your write; some weeks read more. And I highly recommend these guidelines to your reading:

A. Whenever possible read authors who will stretch your horizons. By that I mean authors who have histories, ethnicities, worldviews, cultures, gender identities, etc., different from your own. This is particularly important for white, cis-male, American writers such as myself, because we’ve been programmed from birth to see our culture as universal. [A codicil for writers who are of colors other than beige or whose identities otherwise differ from my own: read strong writers who share your identity or heritage in addition to (and maybe even before) seeking out others who could expand your perceptions.]

B. Do NOT read like a writer as some guides suggest, with a highlighter and notebook at your elbow and underlining important passages. Read like a reader. Enjoy the story, lose yourself, don’t think about the writing. If, and only if, six months later you find yourself being haunted by a passage you can’t forget (scene, setting, dialog, etc.) go back and deconstruct how the writer pulled that off. Look for how the writer prepared the reader for the scene, the structure of the scene itself, etc.—learn how the writer did it so you can give your readers the same experience.

C. Don’t read books you don’t like. If the story isn’t working for you—if the characters don’t work, the story doesn’t interest you, if the writing is dull—you are not going to learn anything. Time spent finishing a poorly written book is time wasted. [HOWEVER: If you hate the book because the writing is so powerful and evocative, it may well be worth reading. An example from my past: I hate The Bluest Eye. The hopelessness is so deep that every time I read it, I want to slit my wrists. But I’ve read it more than once because it is a master class in characterization and worldbuilding.]

Which of your books would you like to see turned into a movie? Who do you see playing the lead? Why?

Paul Kane: I’m lucky in that a few of my stories have been turned into TV episodes, short films and even a feature in 2021 called Sacrifice, starring Re-Animator’s Barbara Crampton. So that’s sort of happened for me anyway... There was talk a while back of turning my post-apocalyptic Robin Hood novels – gathered together in Hooded Man – into a movie, and we were hoping to interest someone like Michael Fassbender or Dominic West. But I’m not sure that’ll happen anyway now because the jumping off point is that 90% of the world’s population dies from a deadly disease. Of the books that haven’t been adapted yet, I’d love to see Before as an American Gods type TV streaming show for somewhere like Amazon, Netflix or Apple. I think the scope of that one, dealing as it does with past lives, is so massive it would be hard to fit it all into a movie. Arcana would make a great film, though, because of the mix of magic and crime; action and adventure. Leads for that one? I think someone like Charlie Hunnam and Emily Blunt as Callum and Ferne. The one people always ask me about is Sherlock Holmes and the Servants of Hell, which pitted Hellraiser’s Cenobites against the world’s greatest detective. That would be a rights nightmare film-wise, plus would take a budget in excess of most of the Marvel movies, so I wouldn’t hold your breath folks. That being said, never say never, and stranger things have happened.

Chris Barili: Guilty, with Frank Butcher played by either clint Eastwood or John Wayne (in their primes).

Bobby Nash: I think Evil Ways, Deadly Games! or Suicide Bomb would make great movies. Snow and Sheriff Myers respective series would work better as a TV series, I think. As for who would play who, I don’t know. I try not to play that game because if it happens, I don’t want to be disappointed if the actor I had my heart set on is unavailable.

Robbie Cheadle: I think my Sir Chocolate stories would make a lovely TV series for small children. There could be a baking element to the show, where children learn how to make one of the recipes.

Nancy Oswald: I’d like to see the Ruby and Maude Adventures made into a movie.  I’d like my donkey, Daisy, to play Maude. 

Kevin Killiany: I have a young adult science fiction series, Dirt and Stars, that I would love to see become a TV series. The stories are set in an alternate history where most of the gee-whiz predictions Golden Age sci-fi of the 30s and 40s made about America in the year 2000 came true—fusion rockets, giant space stations, colonies on the moon, etc.—but the US is fiercely isolationist, cut off from the rest of the world. With the 21st century came the Civil Rights movement and the growing realization that America cannot sustain its monopoly on space. The Dirt and Stars series is set in the 2020s and follows several young people (15-18) coming of age even as the world around them is reinventing itself. Down to Dirt introduces Mara, a spacer—born and raised on Tombaugh Station—who’s been conditioned from birth to believe dirt (Earth) is little more than a prison for the diseased, criminal, unstable, or otherwise unfit for life in space; Beth, Mara’s Earth-born cousin, who believes in the fundamental goodness of everyone and is horrified by Mara’s racist elitism; and Jael, Beth’s best friend, grimly determined to be the first Black person to break the Space Service’s color barrier. Life on Dirt continues their stories and introduces Lije, first generation Ukrainian American whose father is spearheading a legal battle to break America’s control of access to space; and Fatima, a spacer of exceptional intelligence struggling to overcome a social communication disorder that makes interacting with others difficult, confusing, and sometimes painful. Rise from Dirt follows all five of them but focuses on Jael’s fight to qualify for the Space Service training program. Book four (a work in progress that has gone through a few working titles) will introduce two new high school age spacers—one on Brahe Station, the other on Luna—as they deal with the unimaginable addition of earthers to their world.

(Who do you see playing the lead? Why?)

Talented young actors that no one knows about. For every TV/movie star there are dozens of equally talented people who weren’t in the right place at the right time. I’d really like to play some small part in helping some of those young actors get their shot.

Is there anything unique or unusual about your writing process?

Paul Kane: Personally, I don’t think there is. I don’t have to sacrifice a chicken or something before I start or write upside down or anything; it’s all pretty normal stuff. I think that comes from my previous career as a journalist, just sitting at a desk getting the words down. I also had to do that for my BA and MA when I was writing essays, so all that was a good training ground for penning fiction too. It makes you disciplined about the craft. I am quite a superstitious person, so I suppose I do have little rituals I’ve developed over the years. I