Steaming up summer with romance novels

The heat is on this summer as National Public Radio takes on one of the steamier segments of the publishing industry.

Jennifer Crusie Bet MeNPR Books is focusing on romance novels. And their recommendations are not so-called “bodice rippers” or historical romances—they’re contemporary stories that straddle the categories of fiction.

The works blend the genres of romance and mystery or romance and humor to create contemporary novels that can appeal to a wide range of readers, not just those raised on Barbara Cartland or Janet Dailey. (Who hasn’t read at least one of the books in the Calder series? OK, don’t answer that.)

The NPR project features a more contemporary group of works like Bet Me by Jennifer Crusie, Match Me If You Can by Susan Elizabeth Phillips and Something About You by Julie James, a murder mystery involving an attorney and an FBI agent.

No mention of Janet Evanovich’s Stephanie Plum series. How would you categorize them, as romantic suspense?

You can listen to the series on the NPR website.

Changing the view of black and blue

A police officer shoots an unarmed civilian. A criminal assassinates a deputy. People march, riot, while others call for peace. Across a widening divide, battle lines form. Black Lives Matter. Blue Lives Matter. In the middle, a sheriff suggests that all lives matter.

America is coming apart. America is coming together. The people we hire to protect us attack and are themselves attacked. Support erodes. Doubts replace trust. In an increasingly hostile environment, what can law enforcement do to help society regain its balance?

It can show the public how policing works, the dangers, the challenges, the limitations officers face. Two agencies in Sarasota County do that, the Sarasota Sheriff’s Office through its Citizens Law Enforcement Academy and the Sarasota Police Department through its Citizens’ Academy. I’ve attended both, riding with officers, conducting mock investigations, standing in the use-of-force simulator with a gun,  a TASER and the feeling that life has spun out of control.

It’s an issue all of America faces, one that prompted me to write a book about the experience. The book is called Riding with the Blues, Behind the Badge with the Sarasota Police Department. It’s an attempt to find out what law enforcement does when the cameras aren’t rolling. Here’s the first chapter:

Chapter 1: Simulated Fear
My partner and I sweep into the office building, weapons held in firing position, stomachs bouncing like trampolines. There’s an active shooter in the building. People move in and out of the frame, a jumble of corridors and desks, the wounded lying on the floor, workers, police officers, some calling for help. We have no time.

Riding with the BluesA tall man with shoulders rounding a white polo shirt crosses between several desks and turns into an office. He raises his arm and fires. We edge closer. As the man backs out of the office he spots us and, half-turned, starts to raise his pistol. My partner and I yell “Police! Drop the weapon!” but he doesn’t and we fire, hitting him several times. As he goes down, silence crowds the air, and as we inch forward, a dark figure climbs from behind a desk.

Is he a shooter, a victim, a hostage? Is he armed? We’ve been briefed about the law, how shooting unarmed civilians can land us in jail, how hesitating may get us killed. As the man rises, we have a nanosecond to make a decision.

We freeze. He’s too far away to see his eyes but he’s got something in his hand, and we’re in the open, nothing between us but raw space. Crawling around the side of the desk, crouching in the corridor, the man raises a handgun and starts shooting. We return fire until he collapses. I have no idea if we’re hit, just that he’s not moving.

The officer behind the computer freezes the frame. On a screen larger than the biggest home theater, crosshairs dot the shooter’s chest, marking the places where we’ve landed rounds. As the adrenalin cools, we come back to a different reality.

In the dim light, everything looks gray, the walls, the carpet, even the screen. We’re standing in a classroom on the third floor of the Sarasota Police Department (SPD) in Sarasota, Florida, experiencing the use-of-force simulator as dozens of rookie officers have over the years. Only we’re not recruits. We are civilians enrolled in the SPD’s Citizens’ Academy, a twelve-week program designed to reveal the realities of police work and the people who live in the often closed world behind the badge.

The simulator is a humbling experience. It pinpoints our lack of training and resolve. It highlights the violence of our culture, and the risks that officers and civilians face in any encounter. This is the dark half of policing, the part we see in movies and on TV, always from the spectator side of the camera, the focus on how the situation looks, not how it feels. As we turn in our weapons and return to class, I recall the shooting of civilians by police in Ferguson, Baltimore, South Carolina. I think back to the first session of the Citizens’ Academy and the chief’s talk about community policing, the part about cooperation and understanding, about winning the hearts and minds of the citizens, and I wonder how the two halves fit.

Scouting for talent with Kindle

In another effort to challenge traditional publishers, Amazon has announced a program to test and market e-books before they’re published.

Called Kindle Scout, the program allows authors to place their unpublished work before a focus group of readers. If they like your book, Amazon may offer an advance and royalties through a five-year contract.

It’s crowd-sourcing for the unpublished author. And the key word here is unpublished. Only e-books that have not seen publication in any form except blog posts are eligible for Kindle Scout.

Authors thinking about selling their e-books through competing channels such as iBooks and Barnes & Noble’s NOOK should read the fine print. Kindle Press acquires worldwide publication rights for e-book and audio formats in all languages. The e-book is automatically enrolled in Kindle Unlimited and the Kindle Owners’ Lending Library.

On the plus side, giving away a previously unpublished e-book enrolls the author in Amazon’s marketing program.

Amazon is looking for e-books in these categories: Romance, Mystery & Thriller, Science Fiction & Fantasy, and Literature & Fiction. Action & Adventure, Contemporary Fiction, and Historical Fiction will be accepted within the Literature & Fiction category. To apply for the program, the author must be 18 or older with a valid U.S. bank account and a U.S. Social Security number or tax identification number.

Should you jump in? Only with eyes open. You can review the Kindle Scout guidelines here.

Kindle Scout

Stonewalled . . . and a glimmer of hope

When I pitched a review of Peak Season to Bill Kline, he respectfully declined. Lehigh Valley Business, the journal in Bethlehem (Pennsylvania) he edits, doesn’t deal in fiction. But if I could find an except from the novel with a commercial theme, he’d run it.

And he did. (Always a stickler for readability, the subheads are his.) You can view the excerpt as a PDF and, in three weeks, the original online.

Bill and I go back. I worked with him when he served as copy chief of the Pocono Record in Stroudsburg, Pa. He created the paper’s first Sunday edition and made it a showcase. His content and design pushed the conservative newspaper into the modern world. During the early 2000, we both worked in the Valley. He served as a sports and Sunday editor at Allentown’s Morning Call  while I worked in public relations for an agency in Bethlehem.

LVB and I also go back. I wrote numerous articles for the publication when it was known as the Eastern Pennsylvania Business Journal. It’s now a diverse and colorful journal, online and off, led by an editor who isn’t afraid to stretch.

 

Peak Season excerpt LVB 8-17-15

Summing up summaries

Writing the book was easy. Writing the synopsis was a bear.

You’d think that, after investing the better part of a year in my characters, I could crank out a summary as easily as ordering at McDonald’s. Not so for Peak Season, the first in a series of crime novels featuring the former cop turned pacifist Candace McCoy, known to her friends as CW.

Peak Season 3D cover 375x548Even after writing headlines at a daily newspaper for 14 years, I couldn’t distill the essence of the book. Should I focus the synopsis on the plot? On the characters? What if the plot arcs like a roller coaster, and the characters reject their labels? Fanciful but not helpful. Agents want to read a clear, concise summary of the book. They won’t appreciate digression.

I went at it draft after draft, pulling a few characters and themes from the wreckage. Eventually the copy wound up on the back cover of the novel. Here’s the synopsis. I’d be interested in hearing what you think. You can reach me through the comments section or the email link on the bottom of the website’s homepage.

Peak Season synopsis
Life at the beach can be murder.

Forced to shoot a fellow police officer, CW McCoy surrenders her gun and her badge to take refuge in the wealthy tourist mecca of Spanish Point, Florida. There she pedals luxury real estate, cares for her ailing grandfather Pap and tries to escape her past.

But even in paradise during peak tourist season, violence finds her like a divining rod.

Declared dead by the courts, Bobby Lee Darby bursts into CW’s office to demand the family friend clear his name in a scheme to bilk millions from investors. When CW refuses, the fugitive financier kidnaps Pap to ensure her cooperation, triggering a chain of burglary, assault and murder that convinces local police that the former cop has gone rogue.

Racing to find Darby, CW must confront her violent past, risky affairs and love-hate relationship with Southwest Florida before those personal demons turn her new-found paradise into hell on earth.

With ‘Five Stories,’ less is more

In “Dudley’s Sacrifice,” Eric Sheridan Wyatt tackles the absurdities of corporate life like Jane Goodall attacking fleas in a short piece by T.C. Boyle. One of five short stories in Wyatt’s first collection of published fiction, Five Stories, “Dudley’s Sacrifice” opens with a regional manager contemplating layoffs at a company whose owner has scraped the marrow from the bone.

Five Stories coverOne by one the narrator weeds a list of potential layoffs until the owner takes the decision out of his hands. Wyatt follows cost-cutting and downsizing to its logically absurd conclusion with an irony that characterizes much of his work here.

More rewards follow, from the snarky narrative voice of “Cop-Cop Cop,” a loopy love story set on a planet that has outlawed coffee, to the tender, wistful “Solomon’s Ditch,” a standout about a tobacco farmer, a runaway girl and a dog.

Wyatt excels at capturing character, setting and mood in a small space, using language that enhances without distraction, as in the final story, where a child discovers a dead robin with eyes that are “dimpled like tiny raisins.”

In Five Stories, Wyatt writes with a quick wit and a wry voice. It’s one that deserves a wider audience . . . and a bigger collection.

The luckiest people in the world

Writers who need writers are the luckiest people in the world.

We build on the work of other writers. We draw inspiration from their creations, and their success. We’re usually too busy building our own careers to notice.

It’s time to notice.

Women-Writers-FrontYou don’t know me but I would like to thank you for helping to create the character of CW McCoy in Peak Season, a series I hope someday will approach the benchmark you’ve set. You didn’t just paste male characteristics onto women or use violence to attract attention. You were the trailblazers, the authors who turned the noir subgenre on its head and ushered in a generation of smart, tough, proficient female investigators.

That said, here is my list of writers whose female characters have traded cookies for cojones:

  • Sara Paretsky, for creating V.I. Warshawski, a character whose toughness serves her sense of justice
  • S.J. Rozan, for her evocative sense of place in the Lydia Chin outings
  • Lee Goldberg, for the deft portrayal of a secondary character, Natalie Teeger, in his series of Adrian Monk novels
  • Julia Spencer-Fleming, for Rev. Claire Fergusson’s moral compass
  • Laurie R. King, for the daring intelligence of Mary Russell
  • Sue Grafton, for revealing the conflicted love life of Kinsey Millhone
  • Janet Evanovich, for the push and pull of drama and humor in the Stephanie Plum novels
  • Marcia Muller, for Sharon McCone’s allegiance to family and friends
  • And Jennifer Crusie, for giving her leads a heartbeat and not just a pulse.

Writers who need writers are the luckiest writers in the world. Thanks to you, I’m one of them.

For indie authors, publish or perish

There’s a saying in the academic world—publish or perish. It means that if you want a tenured position, you must publish your research, or your dream of advancement will perish.

Writers who want to share their work face the same dilemma.

Years ago, people wrote books and sent them to editors who hired others to read through the pile of manuscripts in the hope of finding the next Updike or Jong. When editors ceded that job to agents, they followed the same procedure, acting as editorial screens to deliver works with literary or commercial potential. It was a respectable system.

Self-publishing wasn’t. People viewed indie authors with the same credibility afforded Donald Trump. Even the name of printers who handled the work, vanity presses, spoke volumes about DIY status. And for good reason. If a professional, an agent or editor, didn’t vet your work, you could bet the writing would look as amateurish as the cover design.

Joanna PennToday, indie publishing—uploading your work to e-book brokers and print-on-demand houses like Smashwords and Amazon—has gained a small measure of respect. Some proponents, Joanna Penn of the Creative Penn among them, count the followers of their blogs and podcasts in the thousands. Some writers like Bob Mayer, the former Green Beret and Area 51 series author, sell tens of thousands of units.

Self-publishing is not that onerous, they say. Gone are the days of loading up the station wagon with cartons of books and flogging them to libraries and stores. POD services print and deliver books as readers order them. Yes, with indie publishing, you won’t get the marketing, distribution or stamp of credibility offered by a traditional publisher. But if you’ve queried hundreds of agents with no takers, you need another option.

swiftwaterbigThrough the end of the eighties, that wasn’t necessary. When I last pitched a novel, I landed a series of agents who did the heavy lifting. A decade later, when I wrote my first non-fiction book, the Spirit of Swiftwater, I took the manuscript directly to the publisher, an academic press that wanted to start a business imprint. For the second book, the publisher called me.

Those were the days.

For Peak Season, my debut crime-fiction novel, I queried seventy-six agents and editors. Nada. For Mr. Mayhem, the first of the Brinker novels, due out this fall, I queried seventy-five. Zip. So I declared independence.

That proved simple but not easy.

Publishing is no longer a question of DIY vs. traditional. Today we choose between sharing our work and giving up. That means authors must not only learn how to write, we need to develop skills in editing, proofing, design, social media, marketing and distribution. Add persistence to the mix and we have the ingredients for a new system that, like the old, offers satisfaction but doesn’t guarantee success.

From a gatekeepers’ perspective, the traditional system makes sense. In this name-brand culture, editors and agents look for a sure thing. Paid on commission, agents don’t need to take a chance on the unknown. New authors present too much risk with too little guarantee of reward.

My advice to emerging writers is to ignore the stigma of indie publishing. If you want someone to take a chance on your work, there’s only one place to look . . . in the mirror.

Judging a book by its cover

I remember the day it it finally arrived . . . the cover for the Kindle version of Peak Season, the first in the CW McCoy series of crime novels. With its palm-tree sunset and police motif, the artwork reflected the setting and theme of the book—the fictional city of Spanish Point and the dilemma narrator CW (Candace) McCoy faces in her new life: how to live in peace while surrounded by violence.

Pageflex Persona [document: PRS0000038_00064]Here she is, working in a resort town in Florida, selling beach homes to the uber-rich, sailing with a former police commander and kayaking with a hunk who manages more money than the Philadelphia Mint. Paradise by most standards. If it weren’t so dangerous, she’d find the situation ironic.

That’s a lot to ask a designer to convey. Even more taxing is translating emotional nuance into something people can see.

I know, I’ve tried. Back when I made my living as an art director as well as a writer, I designed the cover and interior of my first published work of nonfiction, the Spirit of Swiftwater. It proved challenging but fun. I selected objects that embodied the theme, hired a terrific photographer (David Coulter), designed the cover in Quark and handed the whole thing to the printer.

Fast forward a dozen years to a technology that has outrun my ability to comprehend it. The applications are new and utterly complex. I tried designing a cover for Peak Season in Photoshop and cringed. Time to get professional help.

I found Rick Smith’s how-to book CreateSpace and Kindle Self-Publishing Masterclass on Amazon and followed it to a site called Fiverr. There I found a person in Bulgaria who created a design that’s provocative, attractive and professional.

But it’s your opinion that counts. Can you judge a book by its cover? Has a cover ever made you want to read a book?

‘Peak Season’ goes video

It’s the latest rage: just as movies have trailers, books do, too. Here’s the video with voice-over for Peak Season, the first of the CW McCoy crime novels. Is it under the bar, over the top or does it hit the Goldilocks spot . . . just right?

Watch it here or visit my site on YouTube.

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