Writing Fiction: Seeking the Light Bulb Moments

By Libby Hellmann

You’ve undoubtedly heard those annoying TV commercials where the little girl says somewhat arrogantly, “Wow… you guys have it easy. Back in my day, we didn’t have…”  and proceeds to talk about how wonderful the product is.

The same can be said for publishing. Back in my day—alas, only ten years ago—publishing was static. There were publishers, authors, and agents. Everyone knew their place, and while you didn’t have to like it, you had to play by the rules.

Things change.

What we have now is chaos. Revolution. The Wild West. Roles and rules evolve on a daily basis. Authors become entrepreneurs. Agents become publishers. Publishers hang on to whatever they can.

Thankfully, though, one thing has not changed, and I hope it never does.  That is the craft of writing.

Notice I call it a craft, not an art. Writing fiction can be taught. I know. I had to learn. It took me four years and four manuscripts before my first thriller, AN EYE FOR MURDER, was published. And while I’m still not sure why I was stubborn enough to persist, I’m glad I did. I look back on those “practice” manuscripts now, and I am appalled by what I didn’t know. Or thought I could pass off— the “well, they’ll know what I mean” school of writing.  (Btw, they don’t know what you mean.)

So I understand where you’re at. I wish I could make it easier for you; I wish you could wake up one morning and know not to put in too much backstory… or how point of view works… or how to build suspense… but each writer has to learn on their own. Some of you will learn quickly; for others it will take time.

I do remember a few “light-bulb” moments, however, and most of them came from listening to other authors talk about how they approached their writing. Which is why I started teaching. And probably why ITW is offering a series of blogs devoted to craft. I applaud them for their foresight, wisdom, and willingness to offer you a light-bulb moment or two. Because if you don’t know how to craft a great thriller, the rest of it doesn’t matter. Story trumps everything in today’s publishing world.

My video series, WRITING LITE, is my way of providing some light-bulb moments.  They’re not long, certainly not intense, but you just might learn something that you can apply to your writing.  At least I hope so.  My plan is to have a new installment every week or ten days, so check back whenever you have the chance.

Good luck. I hope to see you on the Best Seller Lists soon.

BIO:

Libby Fischer Hellmann writes Compulsively Readable Thrillers. Her 10th novel, HAVANA LOST, a stand-alone literary thriller and love story set in Cuba will be released in September, 2013. A BITTER VEIL, another stand-alone thriller, is set in revolutionary Iran during the late ’70s and was released in 2012.

SET THE NIGHT ON FIRE (2010), a stand-alone thriller, goes back, in part, to the late Sixties in Chicago. She also writes two crime fiction series:  
EASY INNOCENCE(2008), DOUBLEBACK (2009), which was selected as a Great Lakes Booksellers’ Association “2009 Great Read,” and TOXICITY (2011), a police procedural thriller, all feature Chicago P.I. Georgia Davis. In addition, there are four novels in the Ellie Foreman series, which Libby describes as a cross between “Desperate Housewives” and “24.”

Libby has also published over 15 short stories in NICE GIRL DOES NOIR and edited the acclaimed crime fiction anthologyCHICAGO BLUES. Originally from Washington D.C., she has lived in Chicago for 30 years and claims they’ll take her out of there feet first.

HAVANA LOST coming September 2013:
On the eve of the Cuban Revolution, headstrong 18-year-old Francesca Pacelli flees from her ruthless Mafia-boss father in Havana to the arms of her lover, a rebel fighting with Fidel Castro. Her father, desperate to send her to safety in the US, resorts to torture and blackmail as he searches the island for her. So begins the first part of a spellbinding saga that spans three generations of the same family. Decades later, the family is lured back to Cuba by the promise of untold riches. But pursuing those riches brings danger as well as opportunity, and ultimately, Francesca's family must confront the lethal consequences of their choices. From the troubled streets of Havana to the mean streets of Chicago, HAVANA LOST reveals the true cost of chasing power instead of love.

Secret Agents: How I Solved the Mystery of Representation

By Erec Stebbins

Sometimes, it can feel like Mission Impossible.

My book was formatted on CreateSpace, and my Smashwords formatting was done.  I even had a hokey cover I put together with Photoshop.  

But I felt crushed.  The novel I had believed in and completed remained unread and unloved in the unbridgeable void between the lands of Literary Agents and Debut Authors.  One of the few to respond to my queries actually flamed me, going so far as to disparage the morals of my characters!  I took minimal solace in that I would at least get copies to my friends and family.  

This was two years ago, before the Great Ebook Explosion (GEE!) of 2012. Before Amanda Hocking. Before fifty lamp-shades of soft-porn. No agent meant No Hope. The nascent technology meant at least I didn't have to pay a vanity press.

Getting an agent these days may be debated more than it once was, but as in any complicated business, it is the rare bird that has the skills and time, the connections and savvy, to do it all by his or her one-sies. The ebook revolution is in fact leading to a diversification and proliferation of agents.  So, assuming you want one, what should you do?

I can only give you a single datum, my own aggressive, nerdy, and ultimately successful journey. I was totally green. I had zero connection to writers, publishers, or agents. I didn't know of ITW or AgentFest. I didn't know to look for them.  

I had begun this journey by following the antiquated protocols in guide-books for writers: look up agents that share your interests, follow their submission procedures to a "T" (not a "U" or a "V"), and mail them what they wanted with a SASE ("self addressed stamped envelope" for you of the digital-only generation: it's like email during high net traffic, only slower).  It felt like getting an audience with the Pope.  Petition, young padawan, then wait.

And wait.

And wait some more.

When those petitions are either not returned or returned negative, rethink, retry, expand.  The guides were less clear at this stage what to do.  But the process recommended could be measured in geologic time.

After a year of this, I had had enough.  It wasn't working for me, and I'm someone who seeks to make things happen for him, not wait for them to happen to him (which can be good and bad).  

So, I decided to take the fight, or rather, the book, to the agents.  I wrote some scripts to grab emails from agency websites, online agent database webpages, writer message boards, etc. and compile them into a long list.  I got hundreds.  Soon, thousands.  

Many would have no interest or experience with my genre - I didn't care.  If 90% of the agents couldn't bother to respond to my query (that's a fact, ma'am), then I wouldn't bother to limit my queries.

I worked up the best letter I could, included sample chapters pasted at the end (whether they wanted that or not).  I sent thousands of emails out querying my global thriller to children's book agents, romance agents, non-fiction agents, cookbook author reps, you name it.  I even sent some to mystery-thriller agents!  It was a high-information-content, polite and polished carpet-bombing.

And it worked.

Over the course of the next year, several agencies asked for the manuscript.  One agency I likely would not have contacted via the Slow Tortoise Approach was especially keen on the book.  So, a big shout out to Sara and Stephen Camilli for believing as much as I did in The Ragnarök Conspiracy.

What's the moral of the story?  I have no idea.  I'm a scientist by day, and I know anecdotes are the stuff of pseudoscience.  I broke most of the rules and perhaps got lucky despite that. Adopt and adapt my ways at your own risk!

Or perhaps, the rules would have killed my embryonic writing career.  Perhaps, in the cold war like atmosphere of unknown authorhood, spying out the territory, employing the gadgets that you have, can lead to an espionage adventure where you can find those operatives that can open the doors that you need opened.

I actually believe that the moral is persistence, the route less important.  As Churchill emphasized, "Never give in — never, never, never, never!" 

If you hold to that, you'll find your path, and that secret agent.

Author bio

Erec Stebbins is a biomedical researcher in New York who writes political and international thrillers. His debut novel, The Ragnarök Conspiracy, was born of intense feelings and the conflicts engendered by the attacks of September 11. He is in the process of writing a series of thrillers that explore our uneasy bargain between security and liberty. 

Book synopsis of The Ragnarök Conspiracy

The Ragnarök Conspiracy a 2012 thriller by Erec Stebbins about a Western terrorist organization bent on instigating a global war to further its political goals.  A group of FBI and CIA agents work together to uncover and stop their plot.  The novel "turns the traditional terrorist thriller on its head" (Allan Leverone) and has been compared to "a Michael Bay movie written by Aaron Sorkin" (Chris Brookmyre).  The Library Journal encouraged readers to "Fortify your shelf of Armageddon thrillers with this promising newcomer."

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How to Make Digital Books Work for You by Agent Kevan Lyon

I am always in awe of authors and agents who seem to easily write thought provoking or inspiring blogs, and the few times that I give it a go I seem to struggle to come up with something nearly as interesting as what is out there! But, that said I will give it a go and talk about something that is foremost on everyone’s minds these days in the agent/author world – e-publishing and self publishing and what it all means for each of us?

I have always thought that the introduction and adaptation of e-books was a positive thing for authors, giving them more opportunities to bring their work to readers and to make their “author-brand” more widely known. In the early days I thought e-books represented incremental sales to the traditional retail market. Now, with the loss of retail bookstores and the amazing ease of use and power of the many reading devices, there seems to be no doubt e-books are replacing some traditional print books sales.

For authors, digital books represent a real alternative to get their work published for the first time, or maybe even more importantly, e-books can become part of an overall strategy to reach new and existing readers and draw them to their work, both in print and e-book formats. For debut authors stepping into the world of e-publishing on their own, I think it is an amazing opportunity, but proceed with care. There will be so much content available that rising above the fray and getting your work noticed by readers will be an ever greater challenge. Be sure that what you are publishing is your best work, it will always be out there – and may bring you a nice royalty check, or painful reviews that may haunt you for some time to come. Consider investing in editing and a well designed cover. The world of self-publishing may begin to look like a giant agent slush pile of reading, and to be honest reading through that can be painful at times. But in the end readers will ultimately dictate what is sold, read and reviewed, and early indications seem to point towards established authors topping the e-book bestseller lists, although there are those lovely surprises that can be found out there. Yes, there are the few self-publishing mavericks we have all read about that are making zillions of dollars, but don’t expect this when you put your book up for the first time and you can just enjoy the “ride” and you just may be pleasantly surprised with the results.

Should this deter a new author from stepping into this world? Absolutely not. For new authors who have tried to sell to traditional NY publishers this may be your chance to prove them all wrong – you can be the next runaway bestseller. Or, if you are just stepping into the publishing fray you may want to approach your writing career strategically with e-publishing as just one of the many approaches you plan to take to reach your readers. I encourage my clients to explore including digital-only stories in their writing plan. If you are working with a traditional publisher you may be able to publish a short story that introduces characters in your upcoming book, or provides a transition between books in a series. Some publishers are introducing a writers’ backlist at value prices, digitally - to introduce that author to new readers just before their new release. Keep existing readers engaged with your writing, by providing them more, or tempt new readers into your series with that well priced novella you just published in a digital first format. If you are lucky enough to have options, coming up with a creative combined print and digital strategy will be your best bet.

In this very exciting time in publishing – and I do see it that way – I think authors have the chance to connect with readers in a way that they never have before, and it all points towards a very interesting future for this business that we all love.

*.*.*

Marsal Lyon Literary Agency – Kevan Lyon

With over 20 years in the publishing business, including 5 years as a Literary Agent with the Dijkstra Agency and 17+ years on the wholesale, retail and distribution side of the business, Kevan Lyon brings an informed and unique perspective to her work with clients. Her background on the buying and retail side of publishing affords her helpful insight into what types of books will sell and how to market them. Kevan holds an MBA from the Anderson School of Management at UCLA.

Kevan handles women’s fiction, with an emphasis on commercial women’s fiction, young adult fiction and all genres of romance. Her particular interest is historical fiction of all types. She is particularly drawn to stories that draw the reader in and loves a sweeping, complex story with strong female characters. Her authors in women’s fiction span a broad range of genres from more literary, commercial projects to all genres of romance including historical, contemporary, suspense and paranormal. She loves to be surprised by a unique plot or characters and is always looking for a new, fresh voice or approach. A few of Kevan’s recent and soon to be published books include UNFORGETTABLE, by Laura Griffin (Pocket Books); SCOUNDREL by Zoe Archer (Kensington); LEGACY by Cayla Kluver (Harlequin Teen); CATFISH ALLEY by Lynne Bryant (NAL), THE GENTLEMAN POET by Kathryn Johnson (Morrow); THE LAST TIME I SAW PARIS by Lynn Sheene; THE GUARDIAN by Margaret Mallory (Grand Central Publishing) and EARL OF DARKNESS by Alix Rickloff (Pocket Books).

She is also interested in non-fiction, representing authors in the areas of current events, narrative, memoir, environment, parenting and pets/animals. With non-fiction projects she looks for topics that she is passionate about or that speak to issues of particular concern to women and families.

For more information visit the agency web site at www.MarsalLyonLiteraryAgency.com, visit their Facebook page, or follow Kevan on Twitter!

How Did You Get Your Agent? by Allison Leotta

When I got engaged to the man who’s now my husband, the first question friends asked was: “How did he propose?” Now that I have a book in bookstores, the first question folks ask is: “How did you get your agent?” My story is one of incredible good luck and unexpected tragedy.

The most important thing I did was refine my manuscript until it was in the best possible shape I could manage. That took a while. I’m a federal sex-crimes prosecutor in D.C., so my day job is pretty intense. I wrote in the mornings before work and the evenings after work. I edited on weekends and during my kids’ naptimes. After two years of writing (and re-writing), I was satisfied that Law of Attraction was a compelling story of love and violence in the nation’s capital.


At that point, I knew I needed an agent. One how-to book suggested contacting everyone in the publishing industry with whom you have the slightest connection. I understood I’d probably send out 1000 query letters and get 999 rejections. I prepared. I bought reams of paper. I created a spreadsheet for rejections. I had several bottles of booze ready.

Then I thought about any personal connections and networks I had. I knew some folks in theater and children’s books; I sought their advice. I made a mental list of people I didn’t actually know, but with whom I had something in common. In that vein, I’d recently read a charming novel called The Opposite of Love, by Julie Buxbaum. Julie had graduated from Harvard Law School a few years after I did, although we’d never met. I shot her an email, and she ended up calling me. Julie was kind and generous with her time. She said her agent might be interested in Law of Attraction.

Julie’s agent, Elaine Koster, was something of a legend in the publishing industry, credited with “discovering” Stephen King and pulling The Kite Runner out of a slush pile. I sent Elaine my manuscript, glad that it was truly ready to be judged. A week later, Elaine called. She said she loved Law of Attraction and wanted to represent me. It was one of the happiest moments of my life.

Elaine and her colleague, Stephanie Lehmann, suggested some changes to Law of Attraction. It was amazing to have professional hands help craft the story. Then Elaine sold my book to Simon & Schuster. I was over the moon.

That was one of the last deals Elaine ever made. She died this summer, after a decades-long, secret battle with breast cancer.

I was devastated. Elaine was an advocate, teacher and friend. After her memorial service, I went home and cracked open one of the bottles of booze I hadn’t needed to use for rejection letters, and used it, instead, to give a solitary toast to the agent who launched my career but didn’t get to see my novel hit the bookshelves.

After Elaine died, I was at sea. I called an author whose novels I’d loved since I was in college. Earlier that year, Barbara Delinsky had given me some heartfelt advice about balancing writing, mommying and working. Now I asked her what to do in this situation. Barbara offered to put me in touch with her agent, Amy Berkower, the renowned president of Writers House. When Amy eventually offered to represent me, I felt like someone who’d been paddling in a life raft, suddenly pulled aboard the Queen Elizabeth and handed a winning lottery ticket.

Law of Attraction was published this October. So far, so good! I’ve been gratified to receive many wonderful reviews. I’ve also had a great time on my blog, where I critique what Law & Order: SVU gets right and wrong, from my perspective as a real-life prosecutor. And, in December, I signed a deal with Simon & Schuster to write two sequels to Law of Attraction.

I hope that in some cozy, book-lined office in the sky, Elaine Koster is smiling approvingly at the numbers on BookScan.

How did you get your agent?


Allison Leotta is a federal sex-crimes prosecutor in Washington, D.C. She has been a federal prosecutor for ten years. Like her heroine in Law of Attraction, Allison started out in the U.S. Attorney’s Office prosecuting misdemeanor domestic violence cases. She now handles the most serious sex crimes in D.C. Allison is a graduate of Michigan State University and Harvard Law School. She lives with her husband (who is also a federal prosecutor) and their two sons in Takoma Park, Maryland. "Law of Attraction" is her first novel. http://www.allisonleotta.com/

Write What You Know by Allan Leverone

It’s July, 2008, and I’m in a hotel conference room in Manhattan pitching a manuscript—a paranormal thriller—to a high-powered literary agent. Agentfest is in full swing, and if you’re unfamiliar with it, that is the annual three-hour pressure-cooker of an opportunity offered up by the International Thriller Writers in which unsigned authors can pitch their manuscripts in three-minute intervals to dozens of top-flight agents.

Tables are lined up around the outside of the big room as well as in clumps throughout the interior. Behind each one sits an agent and in front of each one sits a prospective author, each doing his or her best to convince the agent this book is worth representing. It’s hot in the room and getting hotter, and you can feel the nervousness and determination of the authors. It’s like a physical presence.

And I’m pitching an agent. And the agent isn’t the least bit interested in my manuscript.

I get maybe thirty to forty-five seconds into my brilliant dissertation and he shakes his head and smiles. “It’s not for me,” he says, and suddenly I’m thankful the pitches are limited to three minutes. To make conversation until the speed-dating bell rings, he asks me about myself. “So, what do you do for a living in the real world?”

I tell him I’m an air traffic controller, working traffic into and out of Boston’s Logan International Airport. He gives me a strange look. It reminds me of Tom Cruise looking at Dustin Hoffman in Rain Man, you know, like awe and pity are fighting for control of his face and pity is winning. All I can think of is the old commercial with the guy smacking his head and saying, “I could have had a V-8!”

But he doesn’t smack his head. Instead, he looks like he wants to smack mine. He says, “Duh. Why don’t you write an air traffic control thriller?” like it’s the most obvious thing in the world.

Okay, that part’s a lie. He didn’t say, “Duh.” But I know he was thinking it.

He goes on to explain that publishers love “experts.” It’s one reason why you see spy thrillers authored by former CIA operatives, cop novels written by ex-and-sometimes-current cops, PI mysteries from writers with investigative experience. He explains it patiently, like maybe he’s not dealing with the brightest guy in the room. He’s right about that.

So I take his advice. I go home and write an air traffic control thriller. The thriller genre is not overly populated with aviation-related books and most of the ones out there are written from the pilot’s perspective, the most obvious example being the many outstanding books written by John Nance, commercial airline pilot and aviation expert. There aren’t that many thrillers written from an air traffic controller’s perspective.

And damned if the agent isn’t right! Fast-forward a little less than a year-and-a-half, and I’m signing the contract with Medallion Press for publication of my first novel, an aviation thriller written from an air traffic controller’s perspective titled FINAL VECTOR.

I’m forever indebted to that agent, who wasn’t interested in the book I was pitching but still took the time to chat with me and offer some valuable advice. Of course, he was sort of a captive audience, but still.

I’d love to thank him in person, but there’s one problem. I pitched my manuscript to eighteen agents that day, and for the life of me I can’t remember which one out of those eighteen gave me that sage (not to mention free) advice.

So if you’re a literary agent and you’re reading this right now and you remember talking to a really clueless guy about being an air traffic controller and telling him to get off his dumb ass and write an air traffic control thriller, thank you from the bottom of my heart.

By the way, I still don’t have an agent. Interested?

* * *

Allan Leverone is a twenty-nine year veteran of the aviation industry whose debut thriller features an air traffic controller much braver, younger and better-looking than he. FINAL VECTOR will be available tomorrow from Medallion Press. Allan lives in Londonderry, New Hampshire with his unbelievably supportive wife Sue, three children, one beautiful granddaughter and a cat who has used up eight lives. Learn more at www.allanleverone.com.