I have been asked how my recent three day jaunt on Amazon went.
The one where I made my thriller The Geronimo Breach free for three days.
I think I’d accurately compare it to being sixteen, and handed the keys to dad’s Porsche while discovering that I have the house to myself for three days…and the liquor cabinet’s open. It’s that kind of “Wow” moment.
First, to the numbers. Over the three days. roughly 10,400 people downloaded the book. That’s a lot of people. How many will actually read it is probably a fraction of that – maybe 20%, maybe 30%. I’m using highly scientific proprietary algorithms to come up with those number, by the way, incorporating numerology and magnetism (available in my upcoming releases Attraction, Repulsion, Alignment and Of Course He Tricked You, Douchebrain).
MORE ACCOLADES: Fatal Exchange was the favorite book of 2011 for Kate Farrel at The Kindle Book Review.
INTERVIEW: I was interviewed about writing and craft by @WritingTips101. Worth a look, & please Stumbleupon it at the bottom using the little green button.
NEW INTERVIEW: I was interviewed by South African blogger Nadine Maritz, and the result can be seen here.
IMPORTANT! Night of the Assassin just went FREE on Barnes and Noble. Please help me out here. Go to the Amazon page for Night here, and scroll down below the rating, where it says “Tell Us About A Cheaper Price.” Then click that, and enter the link to B&N, which I post below, and enter 0.00 as their price. I would appreciate the help in having them price match it. Thanks so much. Here’s the B&N link.
Those are big numbers. And oddly, downloads increased roughly 20% per day over each prior day. Extended out over time, that’s an exponential curve that will have more people on earth with a copy of The Geronimo Breach within a few months than have spent days with Girl Who Kicked The Hornet’s Nest reading about shopping trips to Ikea and frozen pizza. Which is why I put a stop to it. Shut it down. Promo nomo. I didn’t want to tip the poles or cause a cosmic imbalance due to all the kindles filled with my work. Not for free, anyway.
Why would I give my book away for free – a book that’s garnered rave reviews, and has been described as unique in most of the 23 four and five star reviews? Obviously, because I hope to get something.
My bet is that if, say, 2000 of those fine, discriminating folks actually read the book, most will become repeat customers of my other titles. That would translate into a nice sales bump. Additionally, it would increase my visibility as an author, which should translate into a long term net positive both in brand recognition, as well as sales. So it’s really a loss leader. Like a dope dealer. First time’s for free.
I fully expect some of the one star drive-by reviews to happen, as I’ve seen that as a regrettable by-product of free book distribution. Some might say miserable pr#cks with no lives who delight in trashing things for no good reason are drawn to free books, and that these lowlife f#ckwads, who are easily recognizable due to their never having reviewed a book before, are basically vandals who delight in tearing down the work of others, good or bad, for the thrill of any attention it might bring, and should be dragged behind a garbage truck through rusty nails and broken glass while splattered with battery acid and bleach in any kind of just world. I take a more charitable stance, and view them as mentally ill – the not too bright angry cousins who would be torturing animals if they weren’t busy prowling the net expressing their disturbances in a more benign way. I’m all about tolerance here, and when I say my critics can bite me, I mean it respectfully, of course. Let’s be clear about that.
I believe the vast majority of readers will vote with their wallets. If they think the work is redeeming, they’ll buy more of it. If not, they’ll shut the kindle off after a few minutes and move to the next one. That’s what I do. Life’s too short to read crappy books.
If my belief is correct, and if Geronimo is actually as good as everyone has said (and as of this writing, it has 21 five star and 2 four star reviews on Amazon), people will read it, hopefully like it, and then buy another of my titles.
I shall keep everyone informed of how that works out. I’d hope to see a 20%-30% increase in sales in January, and a sustained increase thereafter. We shall see.
To everyone who downloaded it, thank you, and enjoy. Let me know what you think. It’s one of my favorites – Al was a fun character to write, and it was a delight to do so. I hope you enjoy reading about his exploits as much as I enjoyed creating him.
If you like this blog, hit the green “Stumbleupon” button at the bottom and recommend it to others. Spread the word. Oh, and vote for me for a shorty award so you can watch me annoy legitimate talents with my inappropriate antics at the presentation ceremony. I understand drinking may be involved. Wink.
I’ve had numerous folks ask me who my cover artist is. E-mail me through this site and I’ll give you the skinny. Good, fast and cheap.
BREAKING NEWS: My first interview with Patricia de Hemricourt at ePublishABook.com, just came out and can be viewed here. It’s a good one, and goes into some detail on my process and general thinking, including some insightful questions on Gazillions. John Locke, and my writing and editing times.
NEW BOOK REVIEW: An extremely positive review for The Geronimo Breach at the blog of J. Landon Cocks can be seen here.
FEATURED BOOK: Fatal Exchange is the featured book at The Kindle Book Review. Check it out.
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Many of my Twitter followers are authors, and of those most are self-published. As we’ve all seen and heard, self-publishing can be a thankless and barren road, and money can be tight, or even non-existent.
The ease with which the self-publishing platforms now enable aspiring writers to upload their work is mind-boggling. The only thing standing between you and being on Amazon are a few mouse clicks. Gone is virtually the entire delivery system that defined the traditional publishing business for generations. Trees don’t need to be sawed down, trucks don’t need to go to and from warehouses filled with freshly printed books, stores don’t need to occupy valuable space that could house another Starbucks or fast food joint. It’s a brave new world we’re writing in; the old rules are dead and the sky’s the limit.
But is it really different this time?
Look, I’m no fan of inefficiency. I don’t particularly like a system that is the most usurious model I can imagine, aside from the record business. Authors see pennies on the dollar under that old model, with the retailer and the publisher pocketing the lion’s share of the product’s revenues. The actual creator of the work sees a sliver in that scheme, just as musicians see nominal bucks while the record companies pocket gazillions.
But is it all bad? Is the entire model worth throwing out?
As with most things in life, the answer is maybe.
It really depends upon the discipline of the writer.
What do I mean by that?
In the old model, there was a presumption that the literary agent had culled through thousands of manuscripts to find the most deserving to represent. Deserving generally equated to well-written and interesting, although in many cases deserving actually meant generated by someone whose name would ensure sales, even if they couldn’t spell their book title. Be that as it may (and don’t start me down the Snooki path), presumably the literary agents were gatekeepers of quality, who then passed their clients’ wares to publishers, who further thinned the herd, resulting in a clumsy industry algorithm that spat out books at the opposite end of the sausage machine – and the presumption was those books were competently written, would be of interest to someone, and were executed in a superior fashion; professional cover designers drew up art, professional editors checked grammar and punctuation and spelling, etc.
Now none of that applies. You can have your dim nephew kluge together some sort of botched abortion for a cover, and can generate books as quickly as monkeys can type.
That’s both good and bad. Because it demands that the writer be disciplined, even to the point where he/she must invest in quality control, in addition to investing the time into writing and then marketing.
From my standpoint, two essential elements I won’t sacrifice on are cover art and editing. I recently wrote a guest blog on my thinking about cover art, which can be viewed here, so this exercise is devoted to singing the praises of editing. Professional editing by a qualified, experienced editor, not a friend who substitute-teaches English as a second language and who has no real expertise or germane education.
A good editor can play an accretive part in the writing process, helping to not only catch errors and correct grammar, but also to take a larger role in ensuring the author’s voice is compelling, and that the story being told is done so in as masterful a manner possible given the writer’s skill level. A good editor adds to the quality of the work, and demands more out of the author, perhaps by asking leading questions or introducing commentary, or in some cases more overtly influencing the process: suggesting areas that need to be rewritten; pointing out gaps in story or plot; checking to ensure continuity and coherence; offering counsel on overall flow and pacing.
A good editor has the luxury of picking work he/she can improve, and will drive to create a superior product. A bad one will spell check and ensure punctuation is at least marginally competent. Or worse, will actually hurt the work, introducing more problems than they fix.
I believe that it’s almost as important to find a conscientious editor who shares a similar vision, as it is to sit down and write. I believe this because I’ve been on both sides of the editing table, and it’s a thankless job in the end, and it pays modestly, at best, and demands excruciating attention to detail and a love of the game of writing, as well as use of language. A good editor suggests alternative word choices, and catches echoes, and calls a spade a spade, and shares the writer’s enthusiasm over turning a phrase in a satisfying manner.
As writers, you owe it to yourselves to spend time interviewing editors, learning about their qualifications and the roster of authors they’ve worked with, and in the end, investing in a quality job. You need to pay for a pro to do the work correctly.
I’ve blogged a lot about why I write. I’m not a marketing wiz, nor do I claim some literary high ground. But I do know a bit about starting businesses. I’ve done more than my share of start-ups, and one thing I know is that you have to invest in your business before you can expect to see income, much less profits. So when you’re done writing your masterpiece, sit down and jot out a rough business plan – a budget, if you will, that captures product development (cover, pagination), quality control (editing), and marketing. Note that few if any business plans have zero committed to quality control, and zero for marketing, and zero for product development. None I’ve ever seen that were successful, at any rate. So what are you committing to your business, in terms of time, and money? How much are you planning to invest, and what do you hope to earn, net of those expenses? In what time frame? And what if things don’t go as planned? How long and how much are you willing to commit to seeing your business through until it is successful?
Being a writer requires intellectual discipline and honesty, if your writing is going to be compelling. I’d liken it to being on a never-ending quest. But once you’re done writing, you’re now a publisher. And being a publisher also requires discipline and honesty – at least with yourself. You need to commit resources to your self-publishing business, or it will fail. That seems elemental, and obvious.
Editing isn’t an optional part of this game. It’s a requisite. You need to expect to pay for a quality job, just as you would expect to pay for any other quality job in any other discipline. I’m very fortunate, as I have a gem of an editor who shares similar tastes and literary aesthetic. If you’d like his info, I’ll be happy to give it to you – just e-mail me via the “Contact” button. He’s the right man for my jobs, but may not be ideal for yours. You’ll need to determine that. But I can tell you that my work is the better for his involvement, and that he’s the best I’ve found. And I looked. I’ve been through four now. This is the fourth and final one.
The takeaway on this is that you need to look at your publishing gig as a business, into which you need to put sufficient resources to have a decent shot at success. Most start-ups fail due to flawed research, failed execution, or insufficient funding. All three of these are avoidable if you do the work and go in with your eyes wide open. So do yourself a favor. Get a good book cover to represent your product to the public. Get a good editor to keep you on track and help you polish your work to as exacting a standard as is possible. Plan a marketing approach, commit time and money and energy to it, and modify your approach if it isn’t working. Develop a habit of discipline – commit X hours per week to social media, Y to blogging and interviews, Z to finding reviewers to sample your wares, and A to writing your next work. Invest time in your product descriptions. Listen to what your readers think of your work. Seek out the counsel of those whose opinions you respect, even if their opinions might seem harsh to you on first blush.
And be disciplined in developing your product, which is the sum of the writing, the editing, and the representation (cover, your blog, your persona).
Is this easy? Nope. Will it work if you do all the above? No guarantee, just as there’s no guarantee of any other start-up business succeeding. But your odds increase the more disciplined you are. I’ve seen plenty of undisciplined talent with oodles of money and energy go nowhere due to lack of discipline. And I’ve seen marginal talents with a good work ethic and persistence, and reasonable commitments of resources, do well.
I’ll leave you with this. The harder I work, the luckier I seem to get, in every business I’ve ever started or operated. I bet this one is much the same. So my advice is hire a good editor to work with you, ensuring your product is as good as it can be, and you’ll be far ahead of many of your peers. Again, it’s not an elective or an option. It’s a requirement for success.
BREAKING NEWS: I wrote a guest blog for author Benjamin Wallace on my thinking about book covers. It’s a good one, and you might want to check it out and introduce yourself to Ben, who is a talent. It can be viewed here.
BREAKING BREAKING NEWS: Fatal Exchange is the featured book at The Kindle Book Review.
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A few weeks ago I wrote a blog about writing. Specifically, about why I write, and positing that there are two general camps of authors — those who write for their love of the craft, and those who write to create a commercially-viable product. Put another way, those who would write if there was no money in it, and those who wouldn’t write unless they could get paid, or thought they could.
The response was unprecedented, with 113 comments at last count
In this new blog, I’d like to examine the opposite side of the coin I flipped the last time, namely effective book promotions. The overwhelming consensus of the last blog was that most write as members of Camp B (if you don’t know what that means, read the frigging blog), but once they’ve written something, the question that arises is, how to best promote it?
To start off, I’ll share a few promotions I have going on, or will have within a week. Some of these were a bit unorthodox, as I’m leery of the efficacy of things like contests, trailers, blog tours, and the like. That’s not to say they don’t work, but merely to admit that I don’t know how well they work, when they work at all. I’m hoping I’ll find out more by the time this blog has run its course. That will of course depend on the feedback I get.
The first promotion is a cross promotion in all my thrillers with NY Times featured author David Lender, whose work I’m a big fan of and who’s been very supportive of my efforts.
The way this works is that each copy of Fatal Exchange, The Geronimo Breach and (when I release them within the next 7-10 days) the Zero Sum trilogy, has an excerpt summary page right after the copyright notice in the front featuring samples of my three thrillers, and then an excerpt summary page featuring David Lender’s three thrillers. The actual excerpts are at the back of the book – three samples of my work, and then three of David’s, from The Gravy Train, Trojan Horse and Bull Street.
We figured our audiences would enjoy each others’ books, so have put this into place to see what kind of cross-traction we can get. We’re betting that if someone likes my new Wall Street thriller trilogy, they’ll like his Wall Street thrillers, and vice versa.
This is not uncommon with traditionally published authors under the same publishing house, but I haven’t heard of a lot of self-published/indie authors doing it. If it’s successful, I’ll keep everyone posted on how well it worked, and how long it took to do so.
Another promotion I’m getting ready to launch is with the way the Zero Sum trilogy will be marketed.
I’m going to make the first book in the trilogy free. Then the second and third book will be for sale, with a bundle of book two and three at a special discounted price.
My reasoning is that once a reader has had five or six hours of familiarity with the first book, they’ll be convinced enough to buy the rest of the serial, as well as possibly try my other thrillers. I believe this is a good premise, because the hardest part about breaking to new readers is to convince them that not only can you write, but you are worth an investment of their limited time. In short, you need to get the reader to trust you as an author. But they can’t learn to trust you if they’ve never read you, so my solution is to reduce the barrier to entry to zero.
Free is a pretty low hurdle, and one could look at it as a loss leader, or as an investment — the reader’s willing to invest their time in the book, so I’m willing to invest my cost to create it. My writing time, the cover and the editing.
And third, I’m lowering the price of all my books to .99 for two weeks. For the rest of the month. Again, on the theory that familiarity might breed something besides contempt.
I have no idea how well this will work, but my hunch is that it will work better than nothing, or sending out 100 tweets per day telling you to buy my crap, or a blog attempting to capitalize on a topical figure.
So I’d like to hear from other authors out there. What’s worked for you? What marketing or promotional efforts have yielded results for you, or perhaps as importantly, what hasn’t worked for you? What was ineffective that you’d never do again?
I’m open to being taught new tricks, and I believe that encouraging a constructive discussion can benefit everyone, so I’ve just tossed out my two best ideas for marketing over the next few months.
What’s your input? Don’t be shy; let’s get a discussion going so we know how to save our valuable time and money.
I have received a number of questions via comments and e-mail since posting a blog several weeks ago asking for interview questions, and because I’m a considerate, kind example of humanity, I thought I’d respond to the more interesting ones. Unlike my invented, humorous “interviews.” I (mostly) answer these sincerely. Most are writing process related, which doesn’t surprise me since most of my Twitter followers are writers. So, in no particular order, here they are.
Question: Why do you have such graphic torture scenes in Fatal Exchange, and yet in Geronimo Breach you have no graphic violence?
Me: I was trying a number of different things in both books. In Fatal, I wanted to craft a book that worked like a season of “24” – a series of short, percussive scenes with high impact and a racing plot, with two distinctly different story lines – that of the foreign government counterfeiting US banknotes and sending a hit team to silence the leaks, and that of the serial killer who is stalking the bike messengers. Part of my experiment was to see if graphic scenes could shock the reader’s system at desired beat points, compelling them to stay engaged. Another major experiment was to see if I could write a convincing female protag that worked for both sexes. Some love the graphic shock, some not so much. Mostly positive, though.
On Geronimo Breach, I wanted to do a different experiment – write the most offensive protagonist on the planet and see if I could make him engaging so readers root for him even though he’s a despicable sh#tgrub of a human. And I also wanted to see if I could sustain an element of suspense over the underlying conspiracy plot till the final two or three pages. For that I didn’t require violence – it’s a different approach to the thriller genre than Fatal, so I wrote what I needed to in order to successfully accomplish what I’d hoped to achieve. Both have gotten rave reviews, but Geronimo’s have been particularly good, so I think both approaches are valid depending upon what you want to achieve. My instinct is that future books won’t have much graphic sex of violence, as it’s proved unnecessary to moving the story along or making it more compelling.
Question: Have you sold a Gazillion books yet?
Me: As described in my book, How To Sell A Gazillion eBooks In No Time (even if drunk, high or incarcerated), I am on an exponential curve to sell a Gazillion shortly. An understanding of math and physics will tell you why I’m confident. Critical acclaim has been overwhelmingly generous, and sales are on track with expectations.
Question: How do you incorporate layering into your books? What is your reasoning for doing so?
Me: I try to make the books work on a number of levels. At the obvious level, and then at a deeper philosophical level, and finally at an experimental technique level, for authors. I do it using proprietary approaches only Goldman Sachs and I have access to. I do it because I bore easily, and I enjoy when I can reread a book and get an entirely different experience out of it the second or third time around. And also so I can take an intellectually superior tone with anyone foolish enough to cross me.
Question: What’s next for you? Are you going to serialize a character as John Lock advises? Write a heartfelt blog about someone topical?
Me: If I thought I could write a blog about someone newsworthy and insert myself into the discourse to broaden awareness of my work, I’d do it in a heartbeat. But I don’t believe that will ever work again, presuming it ever did, claims notwithstanding. The reason is one of efficient market theory: once all facts are known, and a technique is broadly understood, it by definition loses its effectiveness. Unfortunately, while Locke’s book is filled with interesting advice and techniques, I have yet to see them work for anyone but him, thus I find it interesting as a post hoc reasoning piece and a historical analysis of why he thinks he hit when he did, but not particularly helpful as a moving-forward guide. Perhaps I’m an A-hole, and others are having miraculous success with his approach, but I have yet to see it. If you are aware of anyone, speak up. We would all love to know the secret sauce and see it validated via reproducibility. Because that’s the test of any hypothesis – can you repeat the experiment, in a vacuum, and achieve the same result? So far, not so much, as far as I’m aware.
As to serializing a character, I want to see how my next trilogy does. Zero Sum is a trio of Wall Street thrillers, which follow the trials and tribulations of Dr. Steven Cross as he battles a powerful financier adversary in a biotech pump and dump scheme. I don’t have any particular drive to serialize any character thus far, but I’m open to it. If I do so it will because I feel that character has more to say, or is appropriate for another story – not because it appears to be a favorable marketing strategy. Ludlum had a pretty good run of it without serializing until he did the Bourne trio, and Grisham and King and many others have done nicely without serializing, so in the end I think it’s a function of what you want to write – what interests you. If Zero Sum does well and acclaim is uniform, I’m thinking of using Dr. Cross as the protagonist in one of my next novels.
As far as other characters go, I love Al from Geronimo. He’s was one of my favorite characters to write, ever. But I’m not sure he has another adventure that requires telling. Tess, from Fatal Exchange, is another compelling character, in my own admittedly not-so-humble opinion, but I’m not sure she’s going to ever appear again.
I’m not that calculating in my process. Generally, I get an idea, generally a “What if X was true, and as a result Y happened” and then I scribble an outline. Sometimes it goes into a drawer, and I add to it over time, and sometimes I’m compelled to sit down then and there and write the bloody thing. I have no control over it. With Gazillions, it started out as an idea for a 1200 word blog, and manifested into a book. With Geronimo, it began with conceptualizing Al, and a burst of insight over a possible conspiracy that would be world-changing in significance. With Fatal, it was the idea of doing a dual plot book in a post-“24”-sensibility manner. I wish I had more control over it, but I don’t. I just get an idea, and sometimes it sucks and I kill it, and sometimes it has legs.
Question: How long does it take you to write a book? Fiction and non-fiction?
Me: Depends. Generally speaking, however, non-fiction is much faster than fiction. Gazillions was written from July 2 to the 7th. 12 hours a day writing it. Laughing aloud much of the time, to the alarm of my dogs. Fiction, depending upon length, for a first draft,takes me between 140 and 200 hours for an 80K to 110K word novel. Also 12 hour days; generally contiguous days with no distractions. I find it far easier to immerse myself in the fictional world and scenario and remain there until done. But I usually have an outline of the plot on fiction before I start, so that speeds the process as I have a rough roadmap of where I want to go before I start.
On Geronimo, and Fatal, I did a chapter by chapter summary, two to three sentences, of what’s going to happen and who’s going to do what to whom. That makes it fast to write once I sit down and start. On Zero Sum, I tried it with no outline or chapter summaries. It took longer, but not that much longer, so I’m unsure how I’ll write in the future. Probably with outlines and chapter summaries, as I think it makes for a more coherent, and more complex, plot. It’s easier to keep 3 to 5 story lines running simultaneously with that approach, and I think it enforces intellectual discipline for the writer. You have to really think through all the pieces before you start, which enables you to ask yourself questions like, “Is it a good idea for the reader to know X at this point, or does it work better if he discovers X far later, and then realizes X was important earlier in the narrative?”
Question: Do you use any organizational tools, like Scrivner?
Me: Nope. I use MS word, and index cards. The glamor of technology hasn’t really had any appeal for me, mainly because I can’t maintain attention to figure out how to make the SW work. So far so good.
Question: You Tweet a lot. How as social media changed your approach, if at all?
Me: I do tweet a lot, but it runs in waves. If I’m working on a book, the tweeting will drop off to nothing. If sitting around, bored, I’ll tweet a bunch. I try to keep it random, and interesting, and funny, and not just a bunch of “Buy my book” clogging crap. I hate that, as it smacks of desperation and flop sweat, and ignores the obvious – it ain’t working. Again, if there are authors who have found twitter to have increased their sales significantly, I’d love to hear about it. But I don’t see it as a big contributor in the long run. Same with Facebook. I have a page, but I rarely update it. It’s just a timesuck. Most of the social media stuff seems to be.
Having said that, I’ve made some great friends on Twitter and Facebook, so from that aspect it’s been valuable. But overall, I don’t think most writers buy other writers’ work, so tweeting to a bunch of followers who are mostly writers, in an effort to get them to buy your work, seems low impact to me. We writers are usually a self-involved bunch, focusing on our own projects, so the work of others is not a priority. Or again, maybe that’s just me. But if I get to one book a month of my fellow writers, I’m doing well. Next on my list is David Lender’s Bull Street, and then Steve’s The Jakarta Pandemic.
Well, that’s the lot of them. I did get a few that asked some personal questions, but I’d prefer to keep some parts of my life private, so those won’t be seeing the light of day. No offense to anyone who sent one. But some things are none of anyone’s business but mine. You’ll note I actually tried to answer everything sincerely, and without my usual mockery and derision. That’s probably a rare exception, so don’t get too used to it. If I haven’t answered something here that you are curious about, as always, e-mail me or leave a comment, and I’ll add it to the next round of these.
A status update. Well, first off, acclaimed Aussie novelist Kath McDicken has devoted a marvelous new blog to reviewing several noteworthy authors’ work, not the least of which is John Locke, and the complete works of Russell Blake. She’s a fabulously entertaining writer with a style all her own, and I think her blog is one of the best I’ve read. It can be viewed here.
Next, I was invited to write a guest blog on the ins and outs of being a book whore, or more specifically, on being a book pimp, at John Mierau’s blog. John’s loose topic idea was “Book Pimping,” and what resulted was my first guest blog at his site, titled, “The Art of Pimping.” John’s a talent in his own right, and I have no idea why he’d sully his reputation by allowing my ramblings on his site, but it’s too late for him now — the blog is live. You can check it out here.
And finally, lest it gets lost, a few days ago author Steve Konkoly wrote a glowing review of The Geronimo Breach, which can be viewed here.
I’m hard at work editing my new Wall Street financial thriller trilogy, Zero Sum, which will be available, er, shortly. Please take out a moment to check out the above, and if you’d be kind enough to tweet about this blog, I’d owe you big time.
It’s rare that I blush. Generally speaking, at least several bottles of good Shiraz or Malbec are involved. OK, maybe not all that good, but several. In any event, as all authors know, it’s hard to tell how your fellow writers are going to react to your work. The reasons are legion. They’re tough critics because they’ve had to forge their talents by having a zero tolerance policy in their own work for slop or grammatical error. They know the theory of story, they understand character arcs, and they’re jaded – they usually read a lot, and are picky as hell. So surprising a good author with something in their own genre is a tough task. Really. I know I read an awful lot of work from established names where I’m groaning aloud halfway through, wishing for death, or at least regretting the hours of my time I wasted on a substandard offering. It sucks. I hate it. So should you.
It is with considerable surprise and no small amount of joy that I read author Steven Konkoly’s review of my latest thriller, just out in the last few weeks: The Geronimo Breach. This is a man of no small literary talent of his own, who is as positive as I think it’s possible to be about my book. But what makes the review significant in my mind, as you read it, is that it’s clear that he has a grasp on all the elements of story, language, grammar, character development, etc.
I won’t belabor the review. I think it’s worth reading it for yourself. And then I think that you should take me up on my offer – if you don’t agree that The Geronimo Breach is the best thriller of the year from a new author set in Panama, I’ll gladly refund your money. Seriously, though, if you like thrillers, take Steve’s words to heart. He’s not just blowing smoke. The review is honest. Probably more so than I am. That being said, thank you Steven for the review.
And thank you Lawrence Block for your positive review of How To Sell A Gazillion eBooks In No Time (even if drunk, high or incarcerated). And John Lescroart, and David Lender, for your kind reviews of it as well.
I understand this seems shamelessly self-promoting, and perhaps it is, but there is also a sincere part of me that really wants you to read Geronimo, just to hear the reaction. It has nothing to do with money. If you’re a writer, you know what I mean. If you’re a reader, you know the joy of discovering something new and exciting. I’m hopeful Geronimo Breach gives everyone something to cheer about.
Till next time…
First, an update. Fatal Exchange has 18 rave reviews on Amazon to date. Geronimo Breach, just released a week or so ago, already has 4. And How to Sell A Gazillion eBooks In No Time (even if drunk, high or incarcerated) has 11, plus some wildly flattering reviews from literary luminaries like Lawrence Block, John Lescroart and David Lender.
Now, to the point of this blog. I need your advice. Sincerely. No gimmicks.
I’m working on a host of projects right now, and I’m sort of at a crossroads in terms of what to write, when. I’ve talked to all my usual suspects, and everybody has a different opinion. So I figured I’d ask you, the reader, your opinion.
Here’s what I have in the pipeline:
Zero Sum – a Wall Street financial thriller trilogy, in edit.
Project B – International intrigue thriller tentatively titled The Delphi Chronicle
Project C – treasure hunt type thriller tentatively titled The Manuscript Cipher
Project D – Satire/humor book on why men are the way we are
Project E – True story of the best dog in the world and his trials and tribulations
Project F – International conspiracy thriller
So the question is, which would you rather see next? Of all the above? Actually, you’ll see the Zero Sum trilogy next, as that’s in editing, but of projects B through F, which would you most want for Christmas? I’m working on all, and have anywhere from 20K words to 30K words completed on many, so it’s more an issue of, what would most interest you? You want another Gazillions style book on being a man? An international chase? A heart-wrenching story of the canine love of my life? A Raider’s of the Lost Ark type thriller/adventure novel?
Tell me. Assume all will be executed as well as it’s possible for me to write them.
Then the second question is, should I do some genres under a pen name, to avoid confusing fans? I mean, it’s bad enough already with me being a thriller writer, who also writes snarky parodies on all things grammar and writing related. Will it dilute my brand to throw some of these even odder genres into the mix? Dog book? Dick-lit? And if so, should I be thinking up a new moniker for those genres?
Tough questions. But then again, I’ve got some of the smartest readers on the internet, so I’m interested in hearing your thoughts. Leave them as comments with an OK to publish and I’ll approve them, or of you have something more confidential, mark secret and only I will ever see it.
I’m dead serious about this. I have 4 months left. I can turn out a non-fiction ready for editing in a couple weeks, and a novel in a month or less. So what do you want your next couple books from me to look like by Xmas?
Appreciate the feedback. As always. But please, no more adverts on how to make $5K from home in my spare time – I already tried the pedophilia server-hosting thing, and collections are an issue they don’t tell you about. So I know you’re lying. Stop lying.
Please leave the suggestions as comments. Much appreciate it.