Research

I'm not sure how other authors handle the requirements for research when developing their novels.  I find myself focusing on different elements of the story at different times in the development process.

In the first development phase where I'm laying out the story, I typically find myself doing research on technologies.  For the design of "Outsourced," for example, I found myself researching Unmanned Ariel Vehicles or UAVs (a.k.a. drones).

During the first draft of a book, I tend to focus my research on two things -- locations, and to a lesser degree, weapons.  To reduce the amount of digging around on the internet, I  like to place scenes of my novels in places I've actually been.  "Outsourced" has a long chase scene at the Forbidden City in Beijing.  Later there is a scene at the famous "Long Bar" in the Shanghai Club along the Bund.  I've been to both of these places.  While I still find myself looking up some facts on the internet, having been there in the flesh gives me the "feel" of the location.

In later edits of the book, I tend to fill out place descriptions and do a lot of fact-checking.  Research at that stage typically involves spot-checking certain items on the web.

Many of my novels have an international element, as well, which often results in foreign words finding their way into the dialog.  I typically take a first cut at these using Google Translate, and then have them reviewed by a native speaker.  In most cases, the reader doesn't actually have to understand the words, anyway, just grasp their general meaning.  I like them, however, to be perfect.

Research is an integral part of writing.  Having access to information at my fingertips sure makes developing a novel a lot easier.  I can't imagine how challenging this was in the "old days."

The New Cards are here. Now I'm Somebody!

Paraphrasing one of my favorite lines from the film "The Jerk."

Cards.jpg

I have often found it awkward to describe what I do, so this week I finally broke down and ordered some business cards.  The cards have my logo, my email, and my website address on the front, and the cover images of my current list of novels on the back (okay, I cheated a little and put EMPOWERED back there, even though it isn't out yet.)

Here is a picture of front and back of the card.

In the grand scheme of things, this is a very small marketing tool, but I do really appreciate having it available.

 

Pursuing Other Opportunities is available!

Big news today!  As of late last night, PURSUING OTHER OPPORTUNITIES is available for sale on Amazon (Kindle and Paperback) and CreateSpace (Paperback).

PURSUING is my fifth novel, and the sequel to my first, LEVERAGE.

This story is set in the wilds of British Columbia, and involves a kidnapping that occurs during a corporate retreat.  For those folks that have been on corporate retreats or wondered about them... this isn't your mother's retreat.  Nor are the executives of Redhouse Consulting your typical executives, although they are all exaggerations of real people I've known and worked with over the years.

LEVERAGE has been my most popular novel to date, and I'm confident that PURSUING OTHER OPPORTUNITIES will be entertaining to its fans.  The book can easily be read before LEVERAGE, and doesn't contain too many spoilers.

A third novel in the series -- OUTSOURCED -- is currently in development.

Pursuing Other Opportunities

After several months of delay, I will shortly be publishing my latest Novel, PURSUING OTHER OPPORTUNITIES.  The book, the first of two sequels to my popular first novel LEVERAGE, should appeal to a broad range of readers.  The second sequel, titled OUTSOURCED, is currently in the first draft process.  The story for PURSUING OTHER OPPORTUNITIES is set in British Columbia at the site of one of those high-end corporate retreat destinations, and features several memorable (although uniformly unlovable) typical corporate ladder-climbers.  As it typical with my novels, there will be a few unexpected twists and turns.

My proofreader should be sending me the final corrections today or tomorrow, and I will put them into the manuscript as fast as is humanly possible.

Ideally, I hope to submit to CreateSpace by Monday, and with luck the paperback version will be out by next Friday.

Writing this book was fairly easy, but getting through the final stages has taken much longer than I anticipated.  I'm excited to get this project off my list and into the hands of readers (and reviewers.  If you'd be interested in reviewing the book, please drop me an email at tspears62@gmail.com)

Research

I've often times thought about the way authors used to do research.  When I read a novel that was written prior to 1990, I realize that pretty much every element would have been researched differently than the way I do it today.  Writing a thriller set in the present day would have taken hours of library investigations, site visits, personal contacts, and other laborious research.

Today, it generally requires three elements -- possibly a technical expert (I had a Navy SEAL review several of the action sequences in INCENTIVIZE, specifically to examine the plausibility of the scenarios and the procedures/lingo), a translator (In my novel SYNERGY, I have a significant amount of dialog that takes place in Portuguese, and will need someone that is fluent in that language look it over -- after I've drafted it using Google Translate), and my most important research tool, the internet.

I develop the finer strokes of plot with a browser window open, researching all kinds of subjects.  For the first draft I'm presently working on -- OUTSOURCED -- a tale that takes place in China, I recently researched the following subjects:

  • Chinese Tea Ceremonies
  • Chinese Opera
  • Chinese Theater Museum
  • Bullet trains from Beijing to Shanghai
  • Layout of the Forbidden City
  • Expat housing in Beijing
  • Various roads and routes in Beijing
  • Chinese spy organizations
  • Military structure
  • Chinese rocket and missile programs

These are just the ones that made it into the novel.  I've looked at various other possible plot developments that I've discarded.  Every day when working on a first draft, I research anywhere from two to four subjects for possible inclusion in the novel.

Thank goodness the internet is readily available to perform this work.  I can't imagine the amount of time I would have spent doing all of this at a library!

First Drafts

This week I started working on "Outsourced," the third book in the Carson/Lively/Eichmann trilogy.

In general, I enjoy developing first drafts more than any other activity in the writing process.  What I like about it most is the way the story begins from a detailed outline and takes on a life of its own.  No matter how good of a job I do with character and plot development, I have plenty of "ah-ha" moments when I'm doing the first draft.

For example, Aunt Min goes from a befuddled relative to an ardent communist who wouldn't hesitate to turn in a family member to the government.  A chase scene through Beijing's Forbidden City becomes a heartstopping search for an escape route in the confusing maze of hundreds of structures and miles of paths.

The story just comes alive.  Almost as if it happens by itself.

This book will be the last in the series, and I hope it will contain plenty of the twists and turns my readers have come to enjoy in my novels.

I think the ending will knock their socks off!

Unique Characters

This week I've been working on the design of a new novel called:  "Change Agent."  This go around, I've run into what is, for me, a new challenge.

In my other novels, I've never had any trouble developing unique characters.  I've simply selected traits from among the many personality types I've seen in corporations, exaggerating them a bit, and then tossed them together in sometimes unlikely combinations.  For the first time, I'm beginning to feel that this source may not be endless.

I've enjoyed the work of many other authors over the years, but sometimes tire of their work as I read more and more of their books.  One of the biggest problems is that the characters seem to blend together.  I noticed this for the first time when I read the Alexander Kent's seafaring adventure series featuring Richard Bolitho.  It seemed like all the supporting characters were the same going from one book to the next.

In fact, the plots also seemed quite similar, as did some of the descriptive phrases -- how many times can "blood run down the scuppers?"

Since the experience with Kent's work, I've noticed this problem with other writers, as well.

I'm endeavoring to avoid this phenomena with my novels, this despite the fact that several of them are now organized into (short) series.

Unfortunately, I'm going to have to look elsewhere (other than my work experience) if I want to keep coming up with unique characters.  Currently searching for inspiration....

Murder by the Numbers

I was doing some research on murder in the United States, focusing primarily on the sex of the killer.  Below was the data I was able to uncover.

Murder Data.jpg

I'm not sure why the murder data on Florida was excluded from the Wall Street Journal Murder Database.  Perhaps they wouldn't share the information.  I suspect that it would add significantly to the total number of murders, but probably wouldn't substantially change the mix of murders by men versus by women.

So here are some thoughts on the subject:

  1. The states, via capital punishment, kill very few people.  98% of those on death row are men, undoubtedly owing to the fact that the most heinous and violent crimes are committed primarily by men.
  2. Women commit about 10% of the murders, men commit 90%.  For writing purposes, although it is sometimes interesting to create female killers, they are relatively uncommon in the real world.
  3. Men are four times more likely to take their own lives than women.  This was something I didn't realize.

I then checked one final statistic -- the number of abortions in 2010 according to the CDC.  The total was a staggering 765,651!

If you consider abortion murder, which I do, it turns all the above data upside down.  Not only is abortion, by an order of magnitude, the largest source of killing in the United States (owing, undoubtedly, to the fact that it is legal and readily available), but it is committed exclusively by the supposedly "less violent" sex -- women.  Note: I didn't find any statistics on abortions by the sex of the medical practitioner carrying out the "procedure," although that would also be interesting.

All sobering information, and good data for both contemplation as well as source material for writing.

Dual Track Editing

I've generally tried to keep my writing/editing work to a single title at a time.

The way I typically work is to rotate projects.  For example, I'll write the first draft of a project (let's say Supply Chain, which I finished in February), then work on a proposal (Right-sized, for example, which is the next on up), and after that complete the third draft of yet another novel (Synergy, which I just completed today).  During each of these cycles, I have only one project on the table at any point in time.  Just one project on my mind.  One set of characters.  One plot line.  One theme.  One series of locations.

This method works extremely well because it allows both variety -- moving from one project to another -- as well as encouraging extreme focus by working a particular project-cycle all the way through from beginning to end.

The downside has been that it sometimes takes a long time before a book is completed.  Years in most cases.

This year, I knew I needed to do something different if I was to achieve my goal of publishing three books (one, incidentally, is already out but is written under a pseudonym).  So during this latest cycle (third draft of Synergy), I began working on the final proofreading edits for Pursuing Other Opportunities.

I worried that mixing the two projects together on a daily basis might cause confusion.

But it really didn't.  In fact, it reduced writer's fatigue (my term for the point that comes along most days where I just want to put the project away for the night) by giving me something else productive to turn to when I needed a break.

Of course, final proofreading edits probably require less involvement in the project than writing a first draft.  But now I'm intrigued.  I'll have to try some additional combinations and see how the work!

Free ebook Promotion

A friend of mine recently published a book -- "Lessons Learned the Hard Way" by John Samuels.  Against my advice, he is giving away copies on Amazon on March 14 & 15th, and asked me to let people know.

The Amazon page URL is here:  LESSONS LEARNED THE HARD WAY.

I've personally not had very good luck with these "free" promotions.  You give away a lot of books and do very little to build an audience.  But he's not listening, and his loss is your gain.  Mark your calendars and get your free copy starting next Friday.

Talking to Young Authors

I spent some time this afternoon at the local elementary school talking to twenty one "young authors" about writing in general, novel writing in particular, and my approach to producing a book.

Each of the children were classroom winners in a school-wide writing contest.  The principal mentioned to me that they had 100% participation, which is pretty astounding when you think about it.  Each winner was the best in his or her classroom.

After my presentation, the kids had celebratory pizza, cookies and juice.  Then the principal and the teacher-sponsor revealed the "building" champions -- one for K - 1st, one for 2nd - 3rd, and one for 4th - 5th grades.

We ended the event by breaking into small groups and listening to a few of the kids read their stories, which were quite impressive, I must say.

A good time was had by all.

Editing a Bound Copy

With my first novel, LEVERAGE, (which had more editing passes than any of my other books) I edited using paper copies printed on 8.5 x 11 letter-sized paper.  I was going to Post and Package, in fact, and using their copier to print the book, because I decided it was cheaper than printing on my home inkjet printer (ink cartridge cost driven).

When I published LEVERAGE,  however, all that changed.

That novel, and all my subsequent books, have had published paper copies that are produced by CreateSpace, a print-on-demand book supplier (they were purchased by Amazon, but started as an independent company).  It didn't take me long to realize that I could format my documents for CreateSpace from the beginning, and print a proof of the book, having it delivered to my door for around $10.  That was a quarter of what I was paying to print on standard printer paper.

In addition to the lower cost, editing from these proof pushed me to work on the front and back cover concepts, book front matter, author profile, etc., much sooner than I would have done if I was doing things the old way.

Today, my editing cycle includes a read-through of the book's proof accompanied by the many notes and corrections I put in the margins as I go.  I also make a list of major issues or concerns on the inside cover.  Then I start actually changing things in the computer file, starting with big picture corrections from the inside cover list.  Next, I input my corrections from the proof's margins one scene at a time, and finish this off by reading the finished scene out loud (this helps me a lot with the missing/extra word problems that seems to multiply during editing like rabbits).

When I finish going through the entire book like this, I review the "major issues" list to make sure I feel they were adequately addressed.

I normally complete this editing process three times before I send the book off to an editor.  On the first pass, I tend to focus on major plot issues and character motivation.  In the second pass, I focus on character and character development and also try to make sure descriptions of people and places are adequate (an area where I tend to skimp).  The third pass usually focuses on descriptions, transitions, and flow.

Since each round of editing actually includes two sets of reading and making changes, I am actually going through the material 6 times before the editor gets it.  After editing (which includes a similar pass of corrections and reading aloud), I ask a proofreader to look for errors and correct them.  Counting the first pass, I go through the material 9 times.

Which takes a long time.

I often wonder how other writers handle the same processes.

Trips -- Write or ?

This week I'm traveling (a glorious mid-winter trip to Hawaii.  Jealous?)  In the past, I've always been hesitant to take my computer on trips like this.  Not because I'm worried about a computer breakdown, or anything -- I just don't like lugging the beast around with me.  This time, however, I brought it.  So here are a few random thoughts on the benefits and drawbacks of writing while traveling.

On one flight segment, I had an open seat next to me.  On the other, I was smashed into the middle seat.  During the first segment, it was easy to write.  In the second one, merely opening the computer made me feel downright claustrophobic.  I got nothing done on segment number two.

If you can keep the plane's video system turned off, and not talk to your neighbors, there is no better place to concentrate than on an airplane.  It was good for writing a first draft, but would have been even better for a fast editing read-through of an existing manuscript.  Doing concept work for a new novel typically requires access to the internet (for ongoing research), and would not work well on the plane.

Writing while at the vacation resort works only in the early early morning, during the period of time where I'm up before everyone else.  Otherwise, there is so much going on, I'm unable to concentrate on the story line.  Why is that important?  Because I tend to turn the story over and over in my head during odd moments of the day.  That's what gives me mental fuel to write the next scene.  Without the contemplation, the story becomes linear and dull.

Trips are also a great time to read.  For me, this means reading a primer on "Surviving the Apocalypse," a diet book, and a thriller in roughly the same space where I write.  The Survival book has already given me an idea for a novel (just need the corporate tie-in).

So, while I won't have the raw word output I would achieve at home, I will still manage to make some progress on my latest book while having lots of fun.

Resting on my Laurels

After six weeks of hard work, I finished the first draft of Supply Chain today.

This novel revolves around a character from my second novel, Incentivize, named John Carson (JC) "Disco" Martin.  In Incentivize, Martin is the CPO of a Navy SEAL squad that raids a Somali warlord's compound, facilitating the escape of main character Julia McCoy.

In Supply Chain, JC Martin is retired from the military and hard at work in the purchasing department of a "socially responsible" clothing company named Dam Yankee Fashions.  Sent to audit a supplier in Honduras, Martin discovers the supplier utilizing child labor to allow it to price below Asian competitors.  This discovery takes Martin on a wild adventure through Honduras, Mexico and Texas, as he follows the "Supply Chain" of trafficked children.

My intention with this novel was to spin an eye-opening adventure that puts a spotlight on the global problem of trafficked children, and how the actions of corporations -- knowing, and unknowing -- end up supporting the problems.

While most of my novels require significant editing after completing a first draft (this one being no exception), I felt good that the theme was completely intact and the plot line was fast paced.  I look forward to taking the next steps on this project.

Glossy versus Matte

In the big scheme of things, this is just one tiny decision among many.  But it is the exact type of decision I struggle with when it comes to writing.

It seems that in recent months, my Print-On-Demand supplier, CreateSpace, has started to offer a matte cover finish.  When all my covers were created, a glossy finish was the only option available.  Now, however, I've got a decision to make.

Below are the covers of my various books.  All the books are in a Trade Paperback size, rather than mass market.  In mass market books I don't ever recall seeing matte finishes, but in trades, it seems to be used about half the time.

New Montage 4.png

So what to do?  Keep them all Glossy, or convert them all to Matte.  Or use a mix -- please offer your opinions.

Single Thread or Multiple Simultaneous Projects?

I've often wondered if I manage novel development differently than most authors.

I write multiple novels at that same time, usually having a variety of books at various stages of development at any moment.  When I'm thinking about development, I usually break down the novel-writing process into the following steps:  Concept development, first draft, second draft, third draft, fourth draft (when needed), outside editing, proofreading, and publication.

Currently I have six novels that fall somewhere in these steps.  Specifically, two are in the proofreading stage, one is ready for a fourth draft, one is ready for a second draft, I'm working on a first draft right now, and one other novel awaiting first draft.  Typically I'll try to move the ball forward by a single stage on a project before letting it sit for a while as I'm working on other jobs.  For example, I'm writing the first draft of "Supply Chain" right now.  Next, I will work through the proofreading corrections on "Pursuing Other Opportunities," and then probably write the second draft of "Synergy."  Eventually, I'll come back to "Supply Chain" for a second draft, but it could be a good six months before that happens.

I developed this method on my own, and like it primarily because of what I call the "fermentation" factor.  By this, I mean that as the project sits in idle mode, I come back to think about it often, pondering character, plot, and scene elements of the story.  When I do pick the book up again to work on the next phase, it is usually with a fist full of ideas for story improvement.

Also, it keeps me from getting tired of the book.  Each time I pick up the novel, I start with excitement and enthusiasm, rather than feeling worn down by the number of times I must read and edit the project.

The biggest downside is the amount of chronological time it takes to go from start to finish.  With six projects in process at once, it can take several years.  And projects tend to clump.  Last year I definitely put more writing work in on the various projects than my single published work would imply.  This year, I expect to have three come out, and then the next year -- who knows?  It might be back to one again.

So how to other authors handle multiple projects?  Do they take one project from cradle to grave before moving to the next one, or do they use parallel paths like I do?

Where do Ideas Come From?

I'm sure most authors find inspiration from multiple sources.  I know I do.  The inspirations for my novels have come from three distinct places, and I'm always on the lookout for a fourth source of story ideas.  The three sources are:

  1. A personal experience.  These story ideas tend to be extrapolations of something I participated in during my business career.  It is typically something that surprised me, shook me, or got me thinking about just how far the situation might go.  Then I "amp up" the core idea, trying to take it to its logical extremes.  My novels LEVERAGE, HEIR APPARENT, and the soon to be released PURSUING OTHER OPPORTUNITIES all come from this source of inspiration.
  2. Something I've seen in the media.  This typically takes the form of some strange or particularly heinous business scheme that I've read about, although in one case a television program inspired one of my upcoming novels.  At a minimum, these tales are substantially transformed to provide the settings, characters, and circumstances that are more in line with my preferences.  For example, the inspiration for DELIVERABLES occurred in the UK, and involved Russian businesses and an Accounting firm.  EMPOWERED, which should be released late in 2014 is a twist on the television series "Undercover boss."  SYNERGY was inspired by an apparently successful businessman's suicide in the wake of an impending scandal.
  3. The desire to highlight an issue.  This is my least common source of inspiration, and definitely the most difficult to turn in to a novel.  In INCENTIVIZE, I set out to profile the physical and human beauty in the country of Ethiopia, and the African struggle against corrupt institutions and poverty.  In the novel I'm currently working on, SUPPLY CHAIN, I wanted to expose people to the indirect impact businesses can have on the horrible circumstances involved in human trafficking.

Initial inspirations, however, don't always make it through unscathed to the final product.  LEVERAGE, for instance, was inspired by the way false accusation can ruin a career, which almost became a footnote in the overall story.  The final twist in DELIVERABLES came to me late in development of the story, and set some of the original inspiration on its ear.  Ethiopia might have been portrayed as darker and more dangerous that it really is in order to suit the story line for INCENTIVIZE.

I consider these things as a part of normal story evolution, and as long as they contribute to a more enjoyable reader experience, I don't mind deviating from my original concepts -- sometimes significantly.

Daily Goals

I confess, I'm a goal junkie.

I set daily goals for almost everything I'm working on, particularly writing.  And once they're set, I have a tough time backing down, or modifying them (other than to further raise them).  If I fail to get there, it makes me feel bad.  Guilty.  Useless.

I know such self-imposed rigor might be considered a bit weird.  It all started back in College with a very disciplined study regime that help my grades considerably, and then it carried over into my work life.  I've been setting daily goals of some sort for a good thirty years, and while it sometimes seems like a road leading to nowhere, I almost can't imagine life without the process.  Even when I intentionally try to drop it, after a short time I find it right back in my routine.

For example, right now I've arbitrarily decided that I need to write a chapter a day on the first draft of "Supply Side," my latest novel.  Why a chapter a day?  It's a nice, round amount -- approximately ten pages, or 2,500 words.

I could pick another, smaller amount.  I could take a day off, but when I know a busy day is coming, I find myself trying to "make up for it" by writing more on the less busy days, thus maintaining my daily quota.

And while I greatly enjoy hitting the goals, I must admit it sometimes makes what is generally enjoyable into a bit of a chore.

It also leaves me wondering if I'm typical (or "normal"), or is there something odd going on here???

Blogging as a Promotional Tool

I became very busy in November-December (kids activities, weddings, trips, holiday stuff), and one of the casualties of the time crunch was my blog.

Not this blog on writing tips and travails, which has never been very active.  Instead, it was my key blog on Corporate Politics, the one that reinforces my expertise on all things Corporate, and helps to legitimize my expertise in the "Corporate Thriller" genre.

I started this blog more than three years ago under the assumption that I could draw potential audiences to my website with interesting advice and observations about corporate life.  It was my hope that a fraction of those readers would be interested in purchasing my books.  I'd never bothered to test this theory, and since I enjoyed putting the blog posts together, I just kept at it.

Now, years later, with a couple hundred posts out there in cyberspace, you'd think I'd have enough content to sustain pretty steady traffic on the site.  That was my plan when I decided I would weather a couple of months of inactivity.

That's not how it worked out.

As the blog posts started to slow down, I noticed substantial peaks in site activity coming immediately after a new post went live, and then a rapid falloff to an alarmingly low level in a couple of days.  As the gaps lengthened, the number of hits per week on the site dropped first in half, and then to a quarter of where it had been trending.

The same thing almost immediately happened to book sales.  While I can't attributed all of the decline in sales to reduced site traffic -- I also reduced the amount of other promotion I was doing, and I haven't released a new title since March of 2013 -- the correlation certainly isn't coincidence.

So starting with the new year, I've re-committed to writing the blog, my goal being to get two posts out a week until my backlog of ideas is exhausted.

That should take the entire year, and then some.

After just two posts, I'm already seeing both trends reversing.  I just hope the momentum continues!