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I don’t correct folk on their grammar – I make enough mistakes of my own, and I am not exactly quoting any individual – but one of a number I have heard or talked with,  rather than a specific person; but – and you had to see this but hanging out a mile away – the point was, we were talking about one word in particular. I tend not to use it and won’t use it here. However I think I can let you know just what word it is by replacing it in the following paragraph with the the words “fire truck”:

Fire truck! The fire trucking fire truck at the fire trucking movies said the fire trucking show was fire trucking sold out, so we fire trucking have to fire trucking find something to fire trucking do for a fire trucking couple of fire trucking hours.  Fire truck! Let’s fire trucking go to the fire trucking Mcfire truckingD’s for a fire trucking burger while we fire trucking eat. I’m fire trucking starved. Fire truck!

That paragraph wasn’t said in anger. Just  conversation, one friend to their peers. If you haven’t figured it out, “fire truck” actually contains the word in question and I am not talking about “fire” or “truck” but it does end in “ck” and start with “f”

The paragraph translates into more standard English as:

The woman at the movies said the show was sold out, so we have to find something to do for a couple of hours. Let’s go to the McD’s for a burger while we eat. I’m starved.

I guess I can agree that they are only words, but I wonder that they don’t mean anything? What I am meaning is, what is the point of saying them if they don’t mean anything? If the point was to shock – say an offensive word too often and it stops having shock value. If the point was to mark yourself as an individual –  too many people use that word, you are one of the crowd.

So, perhaps it is to mark yourself as one of the crowd and someone who just wants to fit in. It is extra work to type as you can tell by the extra length to the paragraph and you could equate it to the illumination the monks added to the hand calligraphed books of bygone ages – except that it is the same design mouth punched into the sentences. It is more like dotting all the “i”s with hearts or sticking stars on the paper – they all look the same.

Getting back to it though… if, as was said, it doesn’t mean anything. If the swearing is so unimportant, then why can’t they “not swear” at certain times? I am meaning in respect to people for whom it might have meaning to?

If it is so unimportant that I should not complain about it – why is is so very important that it has to be done?

What you do say does mean something. It might not mean what you think. “Fire truck” no longer shocks, it no longer makes you look cool or trendy, it no longer really adds any emphasis. nearly any word used now doesn’t because nearly any word used becomes so quickly overused and abused.

In some places you “need” the Internet to keep up with what the current word is. You might as well fire trucking make up your own and even that won’t work long because it is fire trucking how you end up using it that marks it fire trucking out. Why not just use words and English to say what you want? Shakespeare did use foul language in his works, but he also created it and was creative about it. Tell someone they are a ray of dung shine and be dung with it!

I don’t correct folk on their grammar – I make enough mistakes of my own, and I am not exactly quoting any individual – but one of a number I have heard or talked with,  rather than a specific person; but – and you had to see this but hanging out a mile away – the point was, we were talking about one word in particular. I tend not to use it and won’t use it here. However I think I can let you know just what word it is by replacing it in the following paragraph with the the words “fire truck”:

Fire truck! The fire trucking fire truck at the fire trucking movies said the fire trucking show was fire trucking sold out, so we fire trucking have to fire trucking find something to fire trucking do for a fire trucking couple of fire trucking hours.  Fire truck! Let’s fire trucking go to the fire trucking Mcfire truckingD’s for a fire trucking burger while we fire trucking eat. I’m fire trucking starved. Fire truck!

That paragraph wasn’t said in anger. Just  conversation, one friend to their peers. If you haven’t figured it out, “fire truck” actually contains the word in question and I am not talking about “fire” or “truck” but it does end in “ck” and start with “f”

The paragraph translates into more standard English as:

The woman at the movies said the show was sold out, so we have to find something to do for a couple of hours. Let’s go to the McD’s for a burger while we eat. I’m starved.

I guess I can agree that they are only words, but I wonder that they don’t mean anything? What I am meaning is, what is the point of saying them if they don’t mean anything? If the point was to shock – say an offensive word too often and it stops having shock value. If the point was to mark yourself as an individual –  too many people use that word, you are one of the crowd.

So, perhaps it is to mark yourself as one of the crowd and someone who just wants to fit in. It is extra work to type as you can tell by the extra length to the paragraph and you could equate it to the illumination the monks added to the hand calligraphed books of bygone ages – except that it is the same design mouth punched into the sentences. It is more like dotting all the “i”s with hearts or sticking stars on the paper – they all look the same.

Getting back to it though… if, as was said, it doesn’t mean anything. If the swearing is so unimportant, then why can’t they “not swear” at certain times? I am meaning in respect to people for whom it might have meaning to?

If it is so unimportant that I should not complain about it – why is is so very important that it has to be done?

What you do say does mean something. It might not mean what you think. “Fire truck” no longer shocks, it no longer makes you look cool or trendy, it no longer really adds any emphasis. nearly any word used now doesn’t because nearly any word used becomes so quickly overused and abused.

In some places you “need” the Internet to keep up with what the current word is. You might as well fire trucking make up your own and even that won’t work long because it is fire trucking how you end up using it that marks it fire trucking out. Why not just use words and English to say what you want? Shakespeare did use foul language in his works, but he also created it and was creative about it. Tell someone they are a ray of dung shine and be dung with it!

Hey all! Still recovering from the flu (2 weeks and I can't seem to shake it). Work is grooving along as usual and I am truly learning the extent of my patience. They say having a child teaches one patience (and, yes, it does), but being an agent really tests your skills lol.

Tiny bit bummed. I was invited to an open house for Abrams/Amulet Books, but had to graciously pass. I do hope everyone going has a splendid time!

Let's talk thrillers, my little beasties. I know much is covered out there on writing queries and how to pitch your work to an agent, so I thought I'd start to focus more on some actual writing tips.

So, thrillers. Of course, you have to have a great storyline. Read what's out there, then write about something that hasn't been done before. Not to say you shouldn't have a burned out cop or serial killer in your story, but try to come at it with a different angle.

Some things that shouldn't be different than what's out there--

1. A great lead character. Some editors tell me they want a lead like Harry Bosch (Michael Connelly), some say they want an Alex Cross (James Patterson). One thing I've never heard an editor say is they want a lead character that's nothing like a Cross or Bosch (or Scarpetta or Reacher).

So, what do all of these characters have in common? They are all simple characters with flaws (just like us). Readers remember these characters, relate to these characters.

2. Pacing. The perfect example (at least for me) is James Patterson. Ever notice his chapters run 3-5 pages?

Know why? Because keeping shorter chapters helps increase pacing. Think about it. Each chapter starts with an issue, builds suspense, then leaves you hanging. If the reader is turning the page to find out what happens next every 3-5 pages, chances are they aren't going to be able to put it down.

Other great suspense/thriller writers do the same thing with extra spacing between sections within a chapter.

3. Hook, hook, hook. Two things to cover here. First, you have to start off with a hook. Don't focus on giving too much back story away in the first chapter of the book. In fact, it's better to weave in the back story later, a bit at a time. Don't have your main character walking down the street, window shopping, before you get to the main action. Start with your character right in the middle of the main action.

This one's more me, but I like a book that does all the set up within the first 50 pages. By page 50 I wanna know exactly what the main storyline's going to be, but with enough of a connection to the story and characters to care what happens to them.

Most of that is my flu-medicated opinion, but something to think about if this is your genre.

Stay literate;)

Interview: Silvia Foti

Silvia Foti, is a freelancer and mystery novelist. Her first mystery novel, Skullduggery, became available as an e-book with Echelon Press in 2006. Her second mystery novel, The Diva's Fool, will be published by Echelon Press in 2007. She serves as president of Love Is Murder, an annual multi-genre conference for writers and readers held in Chicago. In the anti-competitive ladder of volunteer writing organizations, she was also voted president of Sisters in Crime in Chicago, a local group of mystery writers for the year 2006.

MC: Welcome, Silvia. You had a very interesting and diverse childhood, growing up as the child of Lithuanian political exiles. How has this experience shaped your writing?

SF: It had a profound influence, I always felt as an "other" as a child, living in two worlds, Lithuanian and American. My mind was always on Lithuania, as my parents thought they'd return some day. They never did, even when the country became free, but that longing for it still remains. I turned to books a lot and still do, and an avid reader probably thinks about writing some day. My protagonist is Lithuanian, so I bring much of myself into her.

MC: You have very broad experience in writing manuals on compliance for health journals, designing brochures, freelancing in Argentina for two newspapers and the Polo Magazine. When did your interest turn to mystery stories?

SF: I've always been reading mysteries, even as a child. I loved the suspense and thrill, the spying around. Growing up Lithuanian, my generation felt called to save the country, and in some small way, I always felt like a child-spy in America, looking for ways to free Lithuania from here. It's silly, but at the time I believed it.

MC: How does your business experience and your company, Lotus Ink help in promoting your own fiction writing career?

SF: I have the discipline to accomplish tasks I set out for myself. If something doesn't work as anticipated, I just try something else, and keep doing so without getting bogged down too much.

MC: Skullduggery and the upcoming Diva's Fool are set in Chicago. Are any of your characters or scenarios based on true life?

SF: The protagonist is a journalist on the Southwest Side of Chicago and is Lithuanian. This much is based on my own true life. The rest is imagined, particularly her skill with Tarot cards. For her, they really work.

MC: What is next? Another Chicago mystery?

SF: This is a series of twenty-two, based on the twenty-two Greater Secrets cards. The next will be based on The Magician card. This one begins in Bergamo, Italy, and ends in New York City.

MC: Can you share something funny about yourself for your readers and fans?

SF: I had a huge fear of public speaking. On a whim I answered an ad to teach public speaking at St. Xavier, my alma mater, believing that if God wanted me to improve as a public speaker, I'd get the job. I always put God in the picture with these sorts of things. To my shock, three days before classes began, I received a call to teach the class. The one they really wanted had gotten a better job, and a former professor of mine recommended me. They were desperate. The first day I was so nervous standing in front of the students speaking publicly about improving their own speech. After that experience, I knew I could do anything.

Thanks, so much, Silvia. Your personal story is as fascinating as your mystery books.

The Diva's Fool is available for purchase through Amazon.com. Skullduggery is available for purchase through Amazon or the publisher, Echelon

Read more about Silvia Foti on her website.

Tonight I'm headed out to Film Forum to watch a 60-year-old movie (Phantom Lady) written by my favorite pulp fiction novelist. Seeing this film will do more to help my writing than an entire semester of literary theory. 

Reading pulp fiction as a novelist is like reading Shakespeare to write a better contemporary play. Writers should always know and emulate the early masters of their form. 

Cornell Woolrich was the godfather of the noir fiction, and his paranoid, twisty prose inspired masterpieces like Hitchcock’s Rear Window. While his hardboiled characters lived out adventures, Woolrich lived in hotel suites with his mother for 30 years.

Over the course of a rocky career, this guy wrote the template for the modern thriller--a road map for all writers on writing suspenseful, gripping plots. If you need more help, Sarah Weinman has a beautiful collection of film noir dialogue, all of it handpicked by contemporary crime writers--earn your Ph.D in pulp fiction.

The text is lifted straight from USA Today, my thoughts in brackets.

•Stalin's Ghost _By Martin Cruz Smith (Simon & Schuster, $26.95, in stores)_Thrill factor: * * * * (out of five) Why it's hot: Its dead-on portrayal of life in the new Russia, nostalgia for the Cold War era and the unarmed Renko's dogged determination to solve several murders despite attempts on his life. [Thought: Martin Cruz Smith had never even been to Russia when he wrote Gorky Park.]
•Hooked _By Matt Richtel (Twelve, $24.99, in stores)_ Thrill factor: * * * * The story: A note dropped on Idle's table in an Internet cafe tells him to leave immediately. He does so just seconds before the cafe explodes. Could the message have come from his lover who died four years before? Why it's hot: Everyone has secrets and nothing is what it appears to be. Our growing addiction to the Internet and e-mail takes on horrifying proportions. [Thoughts: Hm, sounds like someone has been taking lessons from Harlan Coben. And Hooked has already been used at least twice for a thriller title.]
•Dead Connection_By Alafair Burke (Henry Holt, $19.95, July 10)_Thrill factor: * * * * Why it's hot: Burke taps into a cultural hot-button issue: the increasing popularity of online dating sites and the very real possibility that the person you are connecting with is lying about who he/she is. [Thought: she’s James Lee Burke’s daughter – you know that doesn’t hurt. Again, the title is the same as a very well received YA thriller by Charlie Price.]
•The Secret Servant _By Daniel Silva (Putnam, $25.95, July 24)_Thrill factor: * * * * * The story: Allon is called into action when fundamentalist extremists kidnap the daughter of the American ambassador to Great Britain — who also is the goddaughter of the U.S. president. Why it's hot: Allon is Israel's Jack Bauer. In true Bauer fashion, shootouts, kidnappings and international terror plots follow him wherever he goes. [Thought: can you say “high-concept,” boys and girls?]
•Beyond Reach _By Karin Slaughter (Dell, $25, July 31)_Thrill factor: * * * * * The story: A murder investigation involving Lena Adams, a maverick Grant County detective, uncovers deep layers of corruption, greed and violence in a rural county. [Thought: I remember when she was at the Malice Domestic fan conference in 2000, before her first book, and the rumors were she had just signed a million dollar book deal. Not that I was jealous or anything.]





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Thrillers of the world, unite!

Led by the fearless M.J. Rose (a Five Easy Questions graduate), the International Thriller Writers collective (the ThrillerFest organizers) will soon be launching serialized audiobook thrillers for adrenaline-seeking readers. Galleycat has the scoop.

The Book Ninja looks at the "normal" people who don't like books as much as we do. They are a coveted demographic right now--their purchasing power could save the print industry. Check it out:

"Apparently there’s a morlock-like sub-species out there, called “book-likers” — strange tanned creatures who get exercise and callouses on their hands from something called 'work' ... These strange creatures, says the Chicago Tribune, are the wave of the future."

Finally, Pete from PeteLit will be reading in Chicago in July, part of a RAGAD literary zine meeting at MoJoe's HotHouse. While most of the readings I mention are centered in New York, I'm happy to include readings for our Midwestern buddies as well--we need friends wherever we can find them. Check out the details at this link.

Publishing Spotted collects the best of what's around on writing blogs on any given day. Feel free to send tips and suggestions to your fearless editor: jason [at] thepublishingspot.com.