June 2012 Debut Releases

Happy June and Happy Thrilling Thursday. The first of every month we will feature members of our Debut Authors Program. We are excited to announce that five members have books being released in June 2012. Please take a look and let’s celebrate their success!

Carter Wilson
FINAL CROSSING (Vantage Point)
June 2012
Rudiger has committed atrocities even he cannot explain. God has told him he must crucify The One to bring about the Final Judgment. Thus sets off Rudiger's horrifying journey across continents in hopes bringing an end to the world, one crucifixion after another.


Gary Lawrence
Q: AWAKENING (Variance)
June 2012
Q: Awakening is the provocative tale of the lost Christian gospel called Q--for the German word "quelle" (the source)--and the brilliant but damaged scholar Declan Stewart, whose destiny is inextricably intertwined with it. From the stormy coasts of New Zealand to the deserts of the Sinai, from the cobbled streets of Zurich to the desolate mountains of Syria, Declan Stewart must locate the scattered clues to solve a 2,000-year-old puzzle in a race against hostile forces that would turn Q to their own dark ends.


Eyre Price
BLUES HIGHWAY BLUES (Thomas & Mercer)
June 2012

Music promoter Daniel Erickson has the blues. There’s a Russian mobster wearing his finger on a necklace, two hitmen hot on his trail, an FBI agent obsessed with his capture and a rogue motorcycle gang hunting him down as he desperately races cross-country following the musical clues he hopes will lead him to the stolen million dollars that might not be enough to save him. Or his son. His only hope for saving them both is to find the spirit of the blues.


Matthew Quirk
THE 500 (Little, Brown)
June 2012
A year ago, fresh out of Harvard Law School, Mike Ford landed his dream job at the Davies Group, Washington's most powerful consulting firm. Now, he's staring down the barrel of a gun, pursued by two of the world's most dangerous men. To get out, he'll have to do all the things he thought he'd never do again: lie, cheat, steal-and this time, maybe even kill.

Robin Gainey
JACK OF HEARTS (Untreed Reads)
June 2012
JACK OF HEARTS is a novel of literary fiction told from the point of view of a small, aristocratic dog named Shimoni.  This imaginative first novel explores themes of fidelity and honor and offers a fresh perspective of Italian culture and amore.

Thrilling Midwives

 

by Samuel Thomas

When you picture your typical protagonist for a thriller, a few professions come to mind. You have your detectives, police officers, lawyers, and spies, of course. Occasionally you’ll get a doctor, or a reporter thrown in there, but there is a “type.” Historically speaking they’re usually men, and they are usually in the business of figuring things out. Problems arise when a nefarious person, government agency, or criminal organization (did I repeat myself?), wants to keep them from figuring it out.

In light of this, my decision to write thrillers about a midwife seems brilliantly iconoclastic, right? What less likely protagonist could there be, except a nun? (Shout out to ITW member Nancy Bilyeau, whose recent thriller The Crown is about a nun. It’s excellent and you should read it.) In truth, I started with the midwife, and found myself writing a thriller as if it were the most natural thing in the world. How did this happen?

To answer this question, you have to think a bit more about midwives. Thrillers are about secrets, and who has more intimate knowledge of their clients’ secrets than midwives? (You could say, “Lawyers, detectives, and doctors!” but you’ll also notice that they made it onto the list of “usual” professions.) Added to this is that I write about a midwife during England’s Civil Wars, which stretched roughly from 1642-49, and culminated in the execution of King Charles I.

At this time midwives didn’t just deliver babies. They were part and parcel of the criminal justice system. If an infant died under suspicious circumstances, you called a midwife to lead the investigation. Looking for a witch? You’ll have to find a midwife first, because she will be the one to search the suspect’s body for the witch’s mark, where Satan’s familiar sucked her blood. Midwives also worked with women who’d been condemned to death, questioned women accused of bearing illegitimate children (which was a crime), and investigated rape accusations. In short, if a woman ran into trouble with the law – either as victim or perpetrator – a midwife would be there to track down the bad guy and see him (or her) to the gallows.

So the next time you run into your neighborhood midwife, show a little respect. She could be on her way to deliver a child, but she also may be unraveling a series of brutal murders, or trying to keep you safe from Satan’s machinations. It’s a busy job, but someone’s got to do it.

Samuel Thomas is the author of The Midwife’s Tale: A Mystery (Minotaur/St. Martins, 2013). He can be found on line at: http://www.samuelthomasbooks.com/ or

http://twitter.com/SamThomasBooks

The Editing Process: Interview of a Freelance Editor

Are you thinking of using a freelance editor to go through your novel manuscript before sending it off to an agent or publisher or publishing it yourself? Smart move! I asked our regular guest blogger, Jodie Renner, who is a freelance fiction editor, to give us some ideas of what to expect when seeking out and working with a freelance editor.

MP: How do writers go about finding a freelance editor?

JR: They can just Google words like editing, fiction editor, editing services, freelance editor, copyediting, copy editor, copyediting services. Or go to the websites of editors’ associations like The Editorial Freelancers Association, http://www.the-efa.org/about.php or the Editors’ Association of Canada, http://www.editors.ca/ .

MP: How do I choose from several possible freelance editors for my novel?

JR: First, be sure they not only edit fiction, but also read and edit your genre. Visit their websites and check out their credentials and experience, and read about their process and editorial services offered. Ask the editors for references from former or current clients or check the testimonials on their website and consider contacting some of the authors who have written reviews there.
Also, it’s important to get a sample edit from several different editors. Many editors offer a 5- or 10-page free sample edit, or will edit several pages or your first chapter for a small fee. I would get at least 5 pages of your work edited as a sample. Be sure to send them all the same chapter— and your original, not one another editor has already gone through! This way you can see how each editor would handle your work. Also, if your spelling and grammar skills are a little rusty, get that aspect of the sample edit checked over by someone you know who’s good at that.

MP: What would you like potential clients include in an initial email to you?

JR: I often get this kind of email: “What are your rates for editing an 80,000-word manuscript?” There’s no way I can answer that without seeing at least 10 pages of the writing. In fact, before I can give potential clients a fee rate for their manuscript, I ask them to email me the genre, total (or projected) word count, a brief synopsis, a brief description of each of the main characters, the first 20 pages of the novel (double-spaced), and another 10 pages from somewhere in the middle. If the manuscript looks ready for copyediting and I have time to work on it soon, I do a free sample edit of the first 10 pages and send that back to the author, along with any other advice that may occur to me as I’m reading.

MP: What can writers expect from an editor and an editing process?

JR: Most freelance editors these days edit on-screen and online, using Microsoft Word Track Changes, so all of their changes are visible in red (or another color), and they add comments, suggestions and questions in boxes in the margin. You can accept or reject their changes and respond to the comments with another one of your own. At the end, you turn off the Track Changes function and delete the comments, and that becomes your final version – you don’t cut and paste it to another document, which could create new problems. Documents/Files are sent back and forth by email, as attachments.
But good editors will first assess the level of editing the manuscript needs to bring it up to current industry standards, which is almost always more than the writer realizes. Some manuscripts even need a major overhaul, starting with developmental editing; others need fairly heavy content editing for “big-picture” issues; others need stylistic help to smooth out the writing and make it clearer and more powerful; and some just need a final polish, to check for typos, grammatical error, and punctuation.
Often aspiring authors will contact me asking for a light final copyedit or proofread, when their manuscript really needs much more than that. It may be lacking in so many important ways that I can’t in good conscience take their money to just proofread it for grammar and spelling. In that case, I usually give the potential client some free recommendations of good books to read on the craft of fiction, as well as links to my articles on specific topics, such as opening, point of view, characterization, dialogue, scene structure, showing instead of telling, etc.

MP: What are the different levels of editing a novel manuscript could go through with freelance editing?

JR: These lines are fuzzy and vary within editing associations, and each editor has her/his own take on them, but here’s a general description of the various levels of freelance fiction editing in the order that they are carried out, from most extensive and expensive to final polishing touches. These levels are often carried out by different people. Developmental editors rarely do copyediting or final proofreading, and vice-versa.

1. Developmental Editing or a Manuscript Evaluation / Critique / Analysis
Developmental editors look at the big picture and the whole structure of your novel, including whether chapters and scenes should be moved, condensed, or even deleted. A developmental edit or critique / analysis will give general advice on premise, plot, structure, point of view, characterization, character arc, pacing, style, etc., as well as specific fiction techniques such as showing rather than telling, avoiding head-hopping and info dumps, etc.
Some editors like me offer an “initial critique” of the first 10, 20 or 30 pages, which is much easier on the wallet than an evaluation of the whole book, and will catch most weaknesses, such as problems with your opening, point of view, characterization, and dialogue, or recurring style issues.

2. Heavy Copyediting or Stylistic Editing
For fiction, this should include “big-picture” advice on the opening, point of view, characterization, plot holes, dialogue, pacing, and fiction techniques like showing instead of telling, avoiding “info dumps” and style gaffes, etc. May also offer suggestions to improve paragraphing, sentences, and words; cut down on wordiness; smooth awkward phrasing and transitions; comment on discrepancies and inconsistencies; and help with tone and mood—all while striving to keep the author's voice.

3. Medium Copyediting or Line Editing
Generally making the manuscript more readable. A line edit looks at the sentence structure, word choices, continuity and consistency. Often fixes awkward phrasing, smooths out rough or unclear writing, and decreases wordiness to make the writing tighter and more powerful.

4. Light Copyediting / Proofreading
For freelance editing, refers to final editing for grammar, spelling, punctuation, capitalization, and other mechanics of style. Puts the final polish on a very well-written story or a manuscript for which all issues have already been addressed and solved.

MP: Editors seem to have different fee structures and methods of charging for their services. What are some ways we can expect?

JR: Many freelance editors charge by the page, which normally means double-spaced, 12-point, so about 250 words per page. Others charge by the hour. I charge by the word, as to me, a page can end after a paragraph, or have graphics that don’t need to be edited, etc. Be sure to ask whether their rate includes a final proofreading, or whether that’s a separate process with an additional fee.

MP: How much do editors charge for editing a fiction manuscript?

JR: Rates for editing usually depend on the amount of time and work a manuscript needs, which can vary hugely. No reputable editor will give you a blanket rate for editing 80,000 words, for example, or 300 pages or whatever, without asking to see at least a chapter or two of the manuscript first. Some manuscripts can easily take ten times the amount of work as others, in order to bring them up to current industry standards. Experienced editors know this, so they won’t give you a set rate, sight-unseen. Rates also vary depending on the experience of the editor / copy editor / proofreader. Just as in any kind of services, be wary of rates that are too low.

Generally, a final proofread or light copyedit is much cheaper than content editing, but there’s no point in paying for a final proofread if your manuscript needs bigger issues solved first, before it gets to that stage.

Authors and aspiring authors – Do you have any other questions about the freelance editing process that you’d like clarified? Please ask them in the comments below and Jodie will attempt to answer them all. Also, see Jodie’s interview of another freelance editor, Robb Grindstaff, on Jodie’s blog at  http://jodierennerediting.blogspot.ca/2012/05/interview-with-robb-grindstaff.html

THE REVIEW DILEMMA

The Review Dilemma

By Donna Galanti

It’s a funny thing once your book is published. People you don’t know are reading it and reviewing it. Some reviews will be good. Some will be conflicting. Some may be bad. Here’s my take on what new writers should do with reviews.

Conflicting Reviews

You may wonder how two people can find such differences in your book. Easy. It’s all subjective and your readers will vary. Just as your book is unique, so is everyone’s opinion of it based on their collective life experiences. In the same week a reviewer for my book noted “absolutely no grammar errors were noticed which proves that good editing is out there!” and another noted “Good plot, but a lot of typos.” Recommendation? Laugh over them and then ignore them.

Bad Review

Unfortunately, you may receive them. Are bad reviews all bad? Not necessarily. If people are talking about your book passionately, it's more likely to reach some readers who'll like it but would never have found it otherwise. A bad mention can be better than no mention at all, particularly for those readers who are skeptical of too many glowing reviews. It can lend more credibility to the book. What not to do about a bad review? Respond. All authors receive them. Even the NY Times bestselling authors. Why a bad review? The reader might not normally read your genre, or was misled by the cover. The writing style might not be one they normally connect with. Have you read a book and wondered how people could praise it? A bad review can even lead to self-awareness of your writing and improvement. And remember, they are reviewing books – not the writer.

Finding Best Fit Reviewers

Can you increase your chances of finding positive reviewers? Yes. Research book review bloggers in your genre. Review their website and see what kind of books they have reviewed in the past. See if your book falls within the guidelines of what they want to read. Places to find book reviewers? Use Google Alerts. Type in key words like "romance stories" or "action novels" and then in what medium you want them to appear (as they appear in blogs, the news, etc.). Google will then send you a list every day of all the hits according to your search specifications. Click on the links recommended.  If the blogger looks like he offers reviews, send him a request for review.

Book Blogger Directory is resourceful: http://bookbloggerdirectory.wordpress.com/

Two forums I have found success with are Book Blogs http://bookblogs.ning.com/

And Kindle Boards http://www.kindleboards.com/index.php/topic,20049.0.html

Also, search Facebook book groups. They can have corresponding blogs that offer book reviews. Lastly, doing a GoodReads giveaway can generate positive reviews. Readers who read your genre can enter to win a copy of your book if it peaks their interest. I always send a handwritten thank you note with the book, my business card, and politely ask that they write a review if they enjoy it. Best of luck with your reviews!

Donna Galanti is the author of the paranormal suspense novel A Human Element (Echelon Press). Donna has a B.A. in English and a background in marketing. She is a member of International Thriller Writers, The Greater Lehigh Valley Writers Group, and Pennwriters. She lives with her family in an old farmhouse in PA with lots of nooks, fireplaces, and stinkbugs. Connect with Donna here:

Twitter: https://twitter.com/#!/DonnaGalanti

Facebook: http://www.facebook.com/DonnaGalantiAuthor

Blog: http://blog.donnagalanti.com/wp/

HOW TO ROCK A BOOK CONVENTION

CAN'T I JUST CHASE TERRORISTS WITH THERMONUCLEAR PLAUGE?

James R. Tuck

There are literally millions of words written about how to write a novel and get published.

But what do you do after that?

In today's market there's a huge push for you to get readers to notice your book. You have to get up, get out, and get some for your book. You have to Make-It-Work. You have to make your book stick in the minds of readers and make sure they seek it out.

And that brings me to conventions.

You go to them. You love them. You get to sit in the same room as the author that you look up to and listen to them talk. If you're brave you might even get to ask a question. Then you have an actual conversation with one of the people who inspired you.

And it is freaking awesome.

Now you can be that for someone else.

Conventions are easier to get in than you think. Here's a secret: conventions are run by people. More importantly, conventions are run by FANS. You wrote a book? Great. Now find a convention you like and write an email. Introduce yourself, provide a link to your work, and offer to be a panelist.

Follow up in a week if you don't hear from them.

Now this is the part where you have to believe in yourself. Don't act like you're Lee Child and James Patterson wrapped in a layer of Stephen King, but don't sell yourself short either. Tell it like it is in a favorable manner.

Express to the coordinator that you're willing to work, including taking last minute panels as a replacement if they wind up in a bind. You'd be surprised how often someone drops out on a panel. This attitude landed me the biggest panel I was on at Dragoncon last year. Near 200 new fans and on stage with bestselling authors in my genre.

While at the convention, talk. DON'T GET INTIMIDATED AND JUST SIT QUIETLY. The folks attending are there to see you, even if they don't know who you are. Sharpen your best stories and be ready to give lightning quick summary of your work and contact info.

If you meet an author you admire feel free to tell them, and then relax. Be cool. You're in the same game as them. Most authors are nice folks and they'll treat you as such.

Ask for contact information. FROM EVERYONE. You'll be shocked at what author has a contact you can use, what blogger will write the review of your work that goes viral. Believe me, networking is the key to future success.

When it's over take the information you gathered and send polite, genuine follow-up emails. Follow the people you met on their social media services. You'll forge contacts that can help you for the rest of your career.

Conventions rock. I know that's the unprofessional way to put it, but they do. Trust me.

James R. Tuck writes dark and scary stories for adults. His Deacon Chalk: Occult Bounty Hunter series has debuted to much praise from readers, reviewers, and other authors. Book one, BLOOD AND BULLETS will be available everywhere on February 7, 2012 and will be preceded by the e-novella THAT THING AT THE ZOO on January 27, 2012. His short, twisted, zombie love story "He Stopped Loving Her Today" is being considered for adaptation into film.

James is a former bouncer and has been a professional tattoo artist for over 15 years. His tattoo work has been published in national tattoo magazines and he owns Family Tradition Tattoo in Marietta, Ga. He lives near there with a wonderful wife, three wonderful children, and six dogs of varying degrees of wonderfulness. To learn more about James and  BLOOD AND BULLETS visit  www.jamesrtuck.com

May 2012 Debut Book Releases

Happy May and Happy Thrilling Thursday. The first of every month we will feature members of our Debut Authors Program. We are excited to announce that four members have books being released in May 2012. Please take a look and let’s celebrate their success!



Chuck Greaves HUSH MONEY (St. Martin's Minotaur) May 2012


Julia Heaberlin PLAYING DEAD


Jeremy Bates WHITE LIES


Daniel Friedman DON’T EVER GET OLD


*note. this post disappeared for some odd reason. I will upload the book synopsis for these titles by the weekend

Every Scene Needs Conflict and a Change

by Jodie Renner, freelance editor

Do you have a scene in your novel where nothing much really happens? Where there’s not a lot of tension and no major developments or setbacks? If so, rewrite that scene or take it out, with any essential bits from it inserted somewhere else. If you leave it as is, that could well be the scene where your readers decide the story is lagging and they put it down — and don’t pick it up again. Today’s readers are much more impatient than readers of the past. Every scene needs to grab them with lots of tension and intrigue. Whatever happens needs to be “shown,” not “told” (for the most part), and the events and dialogue need to move the plot along and result in a significant change in the characters and their situation.

Every scene needs tension.

As James Scott Bell says, “Every scene in your novel should have tension, whether that comes from outright conflict or the inner turmoil of character emotions.” How do you create that needed conflict? According to Bell, “You create outer tension by [first] giving the POV character a scene objective. What does he want, and why? It has to matter to him, or it won’t to us.

“Next, what keeps him from the goal? It may be the opposing action of another character, or a circumstance in which he finds himself.

“Finally, make most scenes come out with the character suffering a setback. This ratchets up the tension for the scenes to follow.”

Of course, not every scene is going to have a fight or a screaming match. Depending on your genre, some scenes may be quieter than others. But even in those scenes, it’s important to show the inner tension of your viewpoint character — worry, concern, irritability, anxiety, doubt, indecision. Also show the tension of other characters by their words, tone of voice, body language, etc.

Each scene needs significant change.

As Hallie Ephron says, “In the course of each scene, some change should occur to move your story forward. It’s not enough for a scene to just introduce a character or convey lots of fascinating information about the setting. In every scene, something has to change. This means that something has to happen that changes the situation, or a character’s perception of it, and that change propels the story forward.”

The change that occurs in a scene can be a shift in either a character’s emotional state, their relationship with others, or their situation — usually for the worst. And the change needs to result in character growth or plot change.

Write tight, compelling scenes:

Besides making sure every scene has conflict and change, and events are “shown,” not described or “told,” another tip for keeping your readers turning the pages is to start each scene as late as possible. In other words, don’t spend a lot of time with description and scene setup – start just as things are getting rolling. However, it’s important to remember that, as Ephron counsels, “Even though you want to start late, don’t forget to orient the reader at the start of each scene by establishing, right away, when and where the action is taking place, and who is present.” This can be done in a sentence or two, or even a phrase.

Also, as Ephron notes, “Where to end a scene is also an important choice. A good rule of thumb: End as early as possible. In other words, don’t let the scene dribble off. End it at a strong moment and leave out any unnecessary final bits.”

A blueprint for writing strong scenes:

Jack M. Bickham gives us some specific advice for writing powerful scenes: According to him, any time you start to write a scene, you should go through the following process (reworded slightly for brevity, and my italics):

1. Decide specifically what the main character’s immediate goal is.
2. Get this written down clearly in the copy.
3. On a separate note to yourself, write down, clearly and briefly, what the scene question is. Word it so it can be answered by “yes” or “no.”
4. In your story, after the goal has been shown, bring in another character who now states, just as clearly, his opposition.
5. Plan all the maneuvers and steps in the conflict between the two characters you have set up.
6. Write the scene moment-by-moment; no summary.
7. Devise a disastrous ending of the scene – a turning of the tables or surprise that answers the scene question badly.” [ends badly for the protagonist]

Bickham concludes, “Please note, however, that none of this can happen – nothing can work – if the scene does not grab your readers and intensely involve them. To accomplish that, the scene must be lifelike. And the greatest danger to this verisimilitude is summary [as in telling instead of showing]. Fix it by playing out that part of the scene in detail. Nothing less will do.”

What about you? Do you have any good tips to share for writing compelling scenes?

Resources:

James Scott Bell, Revision and Self-Editing

Jack M. Bickham, The 38 Most Common Fiction Writing Mistakes (And How to Avoid Them)

Hallie Ephron, The Everything Guide to Writing Your First Novel

Jodie Renner is a freelance editor, specializing in suspense/thrillers, mysteries, and other crime fiction, as well as YA and historical fiction. Jodie’s craft-of-fiction articles appear regularly here and on five other blogs. www.JodieRennerEditing.com.

The Blockbuster Ending

by Ian Walkley

I recently read an enjoyable thriller by a NY Times Best Selling writer, but felt let down by the ending. If this can happen to those guys, imagine what it would do to a debut author in terms of future readership.

Most writers I’ve spoken to say they spend most time making sure the beginning of their novel is sufficiently honed to hook the reader. But it’s also important that time be spent ensuring the ending is strong. Which raises the question: what function does the ending of a novel perform? And what can writers do to ensure readers are not disappointed?

Don Maass, in his wonderful resource The Breakout Novelist, states that the main function of the ending is to satisfactorily resolve both the inner conflicts of the main character(s) and the outer, plot-driven conflicts. Sometimes, he says, authors rush the ending because of story fatigue or a looming deadline, perhaps both.

Preferably, Maass suggests, a story should be structured to make the inner and outer conflicts converge at the climax. No mean feat, given the numerous subplots to resolve, the main storyline to bring to a climax, character arcs to keep track of, and outcomes to tie back to the storyline in order to wrap things up for the reader.

Al Zuckerman (Writing the Blockbuster Novel) believes that the key element to the climax is an obligatory scene of great emotional power. In his book Fiction Writer’s Brainstormer James Smith suggests the following elements for a story ending:

• · A final, titanic, climactic struggle, with the climax the most powerful scene;
• · An element of surprise, even if minor;
• · Resolution that offers redemption to the hero;
• · Recognition that every element in the story pointed to the end (even better if you can plant a clue to the ending in the first one thousand words);
• · Lessons learned, for both characters and readers.

Excluding edits, I changed the ending to my novel, No Remorse, five times. To keep the action and suspense going right to the end I included several plot twists and a small surprise in the wrap-up chapter. To create scope for the sequel I had the readers realize that some evil forces were still out there, while keeping the protagonist sufficiently heroic and resolving the main threads. Feedback has been positive, with one reader writing that it was one of the best ending twists she has read.

Here are my ideas for ramping up the volume of your ending:

• · Write the last few scenes early on, rather than waiting until the end. You’ll change the scenes later, but at least you’ve got some material to work with and a destination to journey towards;
• · Write two or three alternative endings;
• · Write an ending from another character’s POV (even a non-POV character);
• · Write an ending as though you are setting up a sequel;
• · Rather than doing yet another edit from the beginning, review only the climax and resolution. Are they exciting enough? Do they plausibly resolve the storyline? How can tension be held right to the end?
• · Try an unintended consequence, like killing off a character you hadn’t, or letting one survive you had killed off. (Even if you don’t use this, it might give inspiration to change something else);
• · “Do a Donald Maass”––reverse the obvious, or reorder priorities or motivations;
• · Use index cards with descriptions of actions, conflicts and character emotions to brainstorm a new mini-climax;
• · Write your own checklist, like the one above from James Smith, and vet the ending against it. Does it tick all the boxes?

If none of the above give you a satisfied feeling, it might be a good idea to put the manuscript in the drawer for a few weeks, and come back to it with fresh eyes. I would also strongly recommend the use of a professional editor, even before you’ve even submitted your manuscript to a publisher. A pair of experienced editor eyes is invaluable.

Hopefully, you’ll have your Jack Reacher type character walking off down another lonely road, without a reviewer complaining that you didn’t explain what happened to the dog.

Ian Walkley switched to thriller writing after a career as a social and consumer researcher and marketing consultant. He is a published travel writer and has previously authored and edited two books on small business. Ian's debut conspiracy thriller, No Remorse, is the first in a series, and he is currently working on a crime thriller set in Australia. Visit Ian at http://www.ianwalkley.com

A thin line between Crime and Horror Fiction

by Richard Godwin

I was invited to share my thoughts with you about the line between crime and horror fiction. Many purists argue that they are two distinct forms. I disagree. My own writing has often been described as a blend of crime and horror fiction, and I want to look at what the connections are.
What do we mean when we talk about horror? What is it that horrifies us?
The genre evokes a painful or intense fear, dread or dismay. Douglas Winter said it is an emotion. It is also connected to the irrational.
As a writer I believe people are often motivated by irrational urges they seek to understand. Some of those urges may be criminal. Extreme criminality involves psychopathology.
I explore these areas in my novels. Mr. Glamour, my second novel, published in paperback this week by Black Jackal Books, is about a wealthy and beautiful group of people targeted by a killer who is watching everyone. These people have irrational habits that threaten their security. And they can buy anything, except safety as the killer strikes.
Horror undermines our certainties, inasmuch as crime threatens our securities. There is recognition and alienation wrapped up inside horror. Extreme crime evokes a horror that is more real than something a reader knows does not exist. More horrors exist in the history of the atrocities committed by the Nazis than in any novel.
I believe Thomas Harris is another author who mixes the genres to great effect.
Stephen King observed that in horror there is a tension between the Apollonian and Dionysian. This stems from Nietzsche’s “The Birth Of Tragedy”, where he examined art in terms of a dialectic between Apollo, seen as light and structured, and Dionysus, seen as dark and chthonic.
In crime fiction, on a simplistic level, we have the struggle between crime and law. The narrative thrust is towards restoring order. To that extent the genre is conservative. And arguably in its resolutions it is unrealistic.
My novel Apostle Rising is about a serial killer crucifying politicians. The narrative takes you deep you into the killer’s mind and the final revelation about his identity is a shock. It is a shock because it subverts identity. It leaves you questioning. It changes the lives of the people who came into contact with the killer’s acts, especially the police, and it leaves them altered.
Obsessions drive men and women to dark places, places where horror breeds.
Mr. Glamour is a crime novel with elements of horror in it. The killer has unusual powers. He steps inside the minds of the investigators. He changes their lives and they engage in acts that may be deemed questionable for police officers. They lead double lives and it is in their double lives that they find something they lost, some aspect of their beings their notions of identity precluded.
I hope it conveys what it is intended to, a great story, and one which shows that people may not know themselves as well as they believe they do.
My debut novel Apostle Rising did well last year, got great reviews, and sold foreign rights in Europe. I hope Mr. Glamour does as well. It’s about a glamorous world of designer goods, beautiful women and wealthy men and a killer who is watching everyone. It was released last week by Black Jackal Books and is already picking up great reviews.
You can find out more about me here .

April 2012 Debut Authors

Happy April and Happy Thrilling Thursday. The first of every month we will feature members of our Debut Authors Program. We are excited to announce that three members have books being released in April 2012. Please take a look and let’s celebrate their success!

Brian Andrews
THE CALYPSO DIRECTIVE (Arcade)
April 2012

For 115 days, Will Foster has been locked in medical quarantine without his consent. The doctors claim he is infected with a deadly virus, but this is a devious lie. Encoded in Foster's DNA is an unprecedented mutation, the source code for immunity against a disease that Vyrogen Pharmaceuticals will stop at nothing to commercialize.

Against all odds, Foster pulls off a heart-stopping escape from his laboratory prison carrying a vial of bubonic plague along with him. But Vyrogen will never stop hunting him and Foster is chased across Prague and Vienna by Vyrogen’s mercenaries, hell-bent on capturing him before he can spill his secrets to the world. In desperation, Foster contacts the only person in the world he can trust—an ex-girlfriend who works for Vyrogen.

Linda Rodriguez
EVERY LAST SECRET (St. Martin's/Thomas Dunne)
April 2012

Half-Cherokee Marquitta “Skeet” Bannion thought she was leaving her troubles behind when she fled the stress of being the highest-ranking woman in the Kansas City Police Department, a jealous cop ex-husband, and a disgraced alcoholic ex-cop father. Moving to a small town to be chief of a college’s campus police force, she builds a life outside of her work. She might even begin a new relationship with the amiable Brewster police chief.

All of this is threatened when the student editor of the school newspaper is found murdered on campus. Skeet must track down the killer, following trails that lead to some of the most powerful people in the university. In the midst of her investigation, Skeet assumes responsibility for a vulnerable teenager when her ex-husband and seriously ailing father wind up back on her hands. Time is running out and college administrators demand she conceal all college involvement in the murder, but Skeet will not stop until she’s unraveled every last secret.

James M. Tabor
THE DEEP ZONE (Ballantine Books)
April 2012

In this gripping debut thriller from James M. Tabor, a brilliant and beautiful scientist and a mysterious special ops soldier must lead a team deep into the Earth on a desperate hunt for the cure to a deadly epidemic.
When she was unjustly fired from a clandestine government laboratory, microbiologist Hallie Leland swore she would never look back. But she can’t ignore an urgent summons from the White House to reenter the realm of cutting-edge science and dangerous secrets.

“Potentially the worst threat since Pearl Harbor” is how the president describes a mysterious epidemic killing American soldiers  in Afghanistan—and now poised for outbreak in the States and beyond. Millions will die unless Hallie and a hastily mobilized team can recover the ultrarare organism needed to create a new antibiotic. The good news is that Hallie knows more about the organism than anyone else on the planet. The bad news is that it can be found only at the bottom of Earth’s deepest cave.
Hallie’s team is capable—especially the mysterious Wil Bowman, who knows as much about high-tech weaponry as he does about microbiology—but the challenge appears insurmountable. Before even reaching the supercave, they must traverse a forbidding Mexican jungle populated by warring cartels, Federales, and murderous locals. Only then can they confront the cave’s flooded tunnels, lakes of acid, bottomless chasms, and mind-warping blackness. But the deadliest enemies are hiding in plain sight: a powerful traitor high in the Washington ranks and a cunning assassin deep underground, determined to turn Hallie’s mission into a journey of no return.