Last year, after several years of being asked to consult with other authors and indie publishers, I finally formalized this part of my marketing business into a consultancy called The Indie Navigator. Since then, I’ve been pretty busy making appearances in that incarnation, helping my fellow writers become authors and indie publishers, and helping those indie publishers become better at the business of publishing.
But I haven’t forgotten the whole reason we’re all doing this: Because we love to write, and want to get our work into the hands of as many readers as possible. So one of the things I made up my mind to do this year is learn more about the technical craft of writing for myself, while I help my fellow authors with marketing, promotion and self-publishing.
To make that happen, I’ve been busy the first part of this New Year scheduling appearances as the Indie Navigator in venues where I can do both of these at once. I’m excited to announce that I’ll have the chance to do just that coming up in March, when I’ll be teaching two seminars at The Write Stuff annual conference, hosted by the Greater Lehigh Valley Writers Group.
I first spoke at this conference back in 2009, and was so impressed by how professional and well-run it was, I joined the writer’s group that hosted it. I’ve been a proud member ever since. GLVWG (pronounced “GLIV-wig”) is a friendly, very active group, large enough to support many helpful and enjoyable activities and resources for its membership, but not so large you feel lost or insignificant. I strongly recommend joining for anyone in the Lehigh Valley area who may be struggling with living the writing life and needs some support. It’s a truly warm, welcoming organization wholly supportive of its members success, whether that be as a part-time amateur poet or a full-time professional author…and anything in between.
On Friday, March 21, I’ll be teaching a four-hour seminar from 1:00-5:00 pm, titled “Indie Publishing Intensive: A Quick-Start Guide to Self-Publishing.” The first half will be the “what-to” part – an expansion of my popular seminar, “Identity Crisis: What Is A Publisher, and Should I Become One?” It’s an overview of the book publishing industry, including a brief history of traditional publishing and how that background has shaped our current world of indie publishing. This helps potential indie publishers understand why things evolved the way they have (when so much of it seems not to make sense otherwise). Then it delves deeply into
What it really means to BE a book publisher vs. an author
Why it’s important to perform a reality-based “gut check” to determine if you have what it takes to be a long-term book publisher
The processes and paperwork you need to complete and for the appropriate agencies who can authorize you as legally recognized book publisher in the United States
Moving from manuscript to printed, bound book and ebook
Getting your book listed with the major online retailers, onto store shelves and into readers’ hands
The all-important promotional component
The second half of the session will be the “how-to” element. This seminar, titled “Switching Hats: Moving From Author to Indie Publisher,” gets to the gist of how to go about all the “what-tos” covered in the first half. It’ll cover all the nitty-gritty that’s possible in a single session, supported by a generous Q&A session during which attendees can ask anything they want about the whole indie publishing process.
I’ll also be offering on-the-spot critiques of first pages during the Page Cuts session on Friday evening. Then on Saturday, I’ll be leading a session titled “Narrative Nonfiction: Finding Freedom in Form and Function.” This session will cover the nuts-and-bolts of researching and writing true-life stories with a blend of journalism using fiction techniques in a format popularized by author Sebastian Junger. It’ll be a fast-moving, info-packed seminar on this increasingly popular writing style, now employed across nearly every genre you can imagine.
Okay, y’all (stop it, I’m allowed! My interview subject is a Texan!) – I’m very excited to be sharing with you the first half of an info-packed interview I recently did with an author whose work I admire, and who just happens to be one of the funniest, most interesting and truly sweetest people I know. Oh, and she also happens to be a bestselling author, did I mention that?
Amy Shojai is a certified animal behavior consultant, and the award-winning author of 24 bestselling pet books that cover furry babies to old-fogies, first aid to natural healing, and behavior/training to Chicken Soup-icity. I met her at my first conference with the Cat Writers Association, which she founded and still supports with gusto. (Come to think of it, there ain’t much Amy DOESN’T do with gusto!) You can learn more about Amy at her website, where you’ll also find her blog, Bling, Bitches & Blood. She’ll explain the title when you get there.
For now, I asked her a few questions about her newest book, Lost and Found, which is her first foray into fiction. But to be honest, I got to read an excerpt, and you’ll never know Amy’s not a veteran master at the thriller genre.
WOW! I can’t WAIT to read the rest of this great debut novel when it comes out in eBook on the 20th of this month (print fans, you’ll need to wait another week, but hang in there…)! She skillfully blends her background as an animal behavior consultant with her storytelling abilities, to weave a tale you’ll have a hard time putting down. But in the interests of “show, don’t tell,” I’m gonna stop here and let the interview speak for itself:
Me: We know it’s not your first author rodeo, with all your terrific nonfiction books out there enlightening the world, but Lost and Found is your first novel, right? Why a novel at this point in your career?
Amy: Yes, this is my debut fiction and I’m “thrilled” to be launched as a thriller author. The dirty li’l secret is that I first started out wanting to write fiction, and I couldn’t get published. Yes, I have five complete novels, plus one partial, under the virtual bed that will never see the light of day! Meanwhile, as I tried to write and publish fiction and submitted to agents, my nonfiction articles – and then a couple of books – were published. One of the agents I pitched for a novel said, “No thanks…but show me your nonfiction.” After that, I became so busy paying bills with the nonfiction (no complaints there!) that the fiction writing sat on the back burner, literally, for years.
Today, though – as you know – publishing has changed. It has especially affected the nonfiction, prescriptive types of pet books that I write. So I’ve needed to find new ways to get the furry message out there, and fiction seemed a fun and innovative way to do this.
Me: And why the thriller genre? Those of us who know you think of your Southern charm, your bright, bubbly personality – not necessarily the kind of brooding writer you’d expect to produce a thriller. What was your intent as an author in using this approach and format? Or perhaps it’s more correct to ask why you felt this format best served your story’s needs?
Amy: What a great question – and I’m flattered. You’ve a hefty dose of charm yourownself. <smile> Maybe I’m a twisted personality. Those other under-the-bed novels were horror, or probably more accurately, psychological thrillers. That’s what I read, that’s what I enjoy, so that’s what I write.
A novel must pose a question, and challenge the characters to answer that question. How that’s done somewhat defines the genre. A mystery presents a body at the beginning of the book, and asks, “Who dunnit?” A thriller may do that, but often shows the dirty deed, so readers know “who dunnit” and the question becomes “why dunnit?”
While I’m not a fan of being scared in real life, or the blood-and-gore school of storytelling, a rollercoaster ride via a great plot and characters I can root for offers all the vicarious spills and chills without the risk.
Me: I LOVE the fact that the excerpt from your book is written from Shadow’s point of view. Is the rest of the book written that way? How did you decide which POV to use?
Amy: Thank you! My early readers have without exception noted that Shadow’s chapters are their favorites. He’s a nine-month-old German shepherd pup, and a service dog (in training) to an autistic child. Part of the reason for the dog point of view was that I hadn’t a clue how to write the point of view of an autistic child and didn’t feel comfortable trying. So any time the little boy is “on stage” in the book with the dog, it’s from Shadow’s viewpoint. There also are chapters in dog viewpoint to offer insights into the story that the human characters couldn’t possibley know – through scent, for example.
I’ve always “imagined” what my dog and cat might be thinking, and there’s nobody to tell me I’m wrong. <grin> I think most pet lovers do that to some extent. I could also do this from the background of my pet behavior expertise and debunk some common misconceptions, while shining a light on other pet realities. I very much wanted to include animal companions in the story, in part because it’s a way to “edu-tain” readers about dog (and cat) behavior and care, without a dry lecture.
And yes, there’s also a hero cat in the story, although this book doesn’t feature a cat viewpoint. Maybe that will happen in future books. But in this story, the cat is a trained kitty and figures prominently in kicking bad-guy-assets at the end of the book.
LOST AND FOUND is very much Shadow’s story, probably as much as anyone’s. His viewpoint is featured in one-third or more of the book. I consciously alternated viewpoint characters between the humans and the dog. Just as the human characters have a story “goal” and character arc, so does Shadow. He wants to belong and be loved, he wants to be a “good-dog” more than life itself, and being a good-dog means obeying and following the rules of the people he adores. But what if that gets in the way? What if the people are wrong – in his estimate? What’s a good-dog to do?
Me: Yeah, that’s a fantastic point of conflict to propel the story forward! And the whole concept of Lost and Found makes it such a groundbreaking book in several ways: Your first thriller, a dog’s POV without it being a humorous approach, and one of the main characters an autistic child. Where did the idea for this novel come from?
Amy: LOST AND FOUND was more than three years in the making. I wanted the main character to be an animal behaviorist or trainer, and to include a dog and/or a cat. But the main character, September (yes, that’s her name!) needed to train more than puppy manners. I’ve interviewed trainers of service animals, and my own dog’s breeder has placed autistic service dogs. Once one notion came to mind, the others followed. Also, the most interesting characters to me are damaged, too, which means they must overcome internal and/or external obstacles to succeed. September suffers from Post-Traumatic Stress, and hates the thought of leaving her safe, secure home but goes out in the blizzard anyway to find her lost nephew.
Me: As you know, in my own book Almost Perfect: Disabled Pets and The People Who Love Them, we strive to build awareness that special needs pets can lead whole, happy lives even though they may not have the same abilities as most animals. I get the feeling from the excerpt that with Lost and Found, you had to deal with that on two levels: It seems you had to straddle the line concerning how people perceive both canine cognitive abilities and how they misunderstand the cognitive dissonance that may be occurring in the minds and senses of those living with autism. In researching your novel, what most surprised you about your own understanding of autism, and as a writer, how did you leverage what your animal behaviorist self knows about the way dogs interact with and respond to their humans in service to the story?
Amy: Wow. Let me think on that. I’m not sure that I’m able to fully understand how autistic people feel or think, but I am able to observe behaviors. The child character, Steven, is reported pretty much as observation – by the dog, Shadow. So I pretty much avoided – or tried to, anyway – making my own assumptions about what might or might not be happening regarding Steven. Instead, the story has the dog interpreting (correctly or in error, from his own canine perspective) what Steven’s actions and reactions mean. Therefore, when Steven claps his hands over his ears, Shadow can relate because he also wishes hands could cover his own ears to muffle too-loud noises.
What most surprised me was that one of my beta readers told me that I nailed the autistic child and adult Asperger character, as far as behavior and dialogue. Wow. This is a teacher who works with autistic children and also lives with a daughter partnered with a service dog.
END OF PART I
Isn’t this a fascinating interview? I’m learning a lot about novel craft as an author working on her own first novel! I hope you’re getting as much out of our conversation with Amy Shojai, and hope you’ll be back to join us here for Part II of this engaging interview!
For quite some time now, I’ve been putting off working on a novel – Lonely Cottage Road – that I really, really want to be writing. There always seems to be something more immediately pressing, most pointedly making a living. But these days, snippets of dialogue between my characters comes to me unbidden, and I find myself thinking about them at the oddest times. I think the book is done gestating and is trying desperately to be born.
One thing that’s constantly going on somewhere back in the deep recesses of my mind is the consideration of my characters’ motivations. What do they most want? What makes them want it? And – most importantly of all, for it will be the juice that moves the story forward – to what lengths are they willing to go to get it?
Then, that musing leads to the characters’ basic emotional landscapes: Who are they? What are their worldviews? What made them like that?
And, finally, all this must, of course, at some point lead to an examination of those very questions about myself and those around me.
I’ve become convinced that much of writing is simply authors trying to work out their own issues, or karma, or whatever you want to call it. We navel-gaze in public. Some think this is egotistical. Perhaps, but I think it’s useful in that it somehow allows others who read the work — and even some who don’t — to maybe let down their guard a little and take a look at their own stuff. And I’m convinced this is a good thing. Maybe if Germany hadn’t been so rigid and oppressive, Adolf Hitler could have read something that rocked his world, forced him to look into his own soul, and stood firm in forging ahead with his artistic endeavors instead of that expression being warped into the grand evil it became?
Who knows, really, but a little self-examination never hurt anybody. It may have damaged their false-fronted contentment for a bit or jolted them out of apathetic complacency. That can’t be a bad thing.
Hmmm…guess it really is time to get started on my novel again.
I just read a most interesting post over at The Creative Penn blog about mind-mapping your novel scene by scene. I encourage you to visit this well-written and idea-filled blog, regardless your writing experience. None of us has ever been at it long enough that we can’t learn something of value from someone else.
You really need to check out this awesome writing blog.
For those of you not familiar with mind-mapping, it’s a cool idea. Not entirely sure where it originated, but I’m guessing it was a business thing. At any rate, mind maps are visual or graphic representations of concepts associated in one’s mind with a particular project or idea. By presenting ideas in a radial, graphical, non-linear manner, mind maps encourage a brainstorming approach to planning and organizational tasks. Here’s a more comprehensive definition from Wikipedia.
I suppose I’ve done “mind mapping” for my current novel, Lonely Cottage Road, though it was more linear than lateral. This format sprang not from a desire to prioritize scenes, but because I was struggling with development of timelines that all fit together logically and rationally. I’m writing a historical drama in which my fictional characters and their lives intertwine with actual historical events, and there are a few parts where the two meld — kind of starting with reality, then making up stuff to advance the plotline. I’ve read novels like this and I love it when I can barely tell the difference between what actually happened and what might have but who knows?
This linear map I made was actually a spontaneous thing. I wrote in v-e-r-y small letters with a purple pen on a long, narrow strip of left-over drawing paper that I couldn’t bring myself to throw away even though it was too odd-shaped to do much with, because it cost $8 a sheet. So the timeline runs in two layers on both sides of the sheet. It was not just a good exercise in scene clarification, it was a sensual pleasure because that paper was so soft and thick, it was just awesome to write on. Anyone who knows about me and my paper and pen obsession will understand this.
And here’s something I learned that may be helpful to other writers: Purple ink is NOT permanent. Though the pigments are beautiful, they are fugitive and will fade over time, even when not exposed to light. Trust me on this. Thank God I looked at them when I did, because over a few years, they’d already faded so badly that I had to go over them again so I wouldn’t lose all that info…this time in black ink!
So, have you ever done this kind of graphical interpretation of your plotline, or any other elements of your story? Has it worked for you? why or why not?