The Road Goes On Forever

By David Corbett

In my last post, I mentioned the need for near perpetual publicity in this day and age of publishing meltdown and online promotion.

A little over two weeks after my book release, I feel like I understated the matter considerably. I need seven more hours a day, five more days a week, and a bottomless bowl of Wheaties to tackle everything.

As for sleep…

There are the events and readings I’m doing in the Bay Area and Los Angeles—please come out if you’re nearby—including a wonderful panel I did with Ellen Sussman this past weekend at the San Francisco Writer’s Conference (they sold out of my book!).

There are the workshops I’m conducting—again in the Bay Area and Los Angeles, and also at Left Coast Crime in Colorado Springs, where I’ll be serving as toastmaster, and then in various northern California locales, at the DFW Conference in Dallas (where I’ll be co-keynote speaker with the lovely and charming and gifted Deborah Crombie), and finally, Memorial Day weekend, at the High Sierra Writers Conference in Reno.

There’s the various blogs I’ve posted for—call it Bombing the Blogs—including:

1. A book giveaway on Goodreads. I’m giving away five copies of The Art of Character, to be followed by a week-long Author Chat March 4-8.
2. An interview with the writing community at Scribophile, with an extra forum for additional Q&A at the Scribophile Forum. (The interview is open to the public; the forum requires a free signup to join the community, which is much like Goodreads, but more writer oriented.) Scribophile will also soon be sponsoring a contest with free books and a free critique session as prizes: Stay tuned.
3. I’ve posted various items with bloggers Kristi Belcamino (a Murderati regular), Vince Keenan, and Jungle Red Writers, with one planned with another Murderati regular, Erik Arneson, and more on the way.
4. I’ve posted excerpts from The Art of Character at Narrative, Zyzzyva, and We Wanted To Be Writers.
5. And I’ve even touted what I keep nearby for pleasure reading at Books By The Bed.

Then there’s just keeping my News page on my website current, with updates such as:

1. The Art of Character was chosen one of the 13 Top Picks for Writing Guides for 2013 by The Writer Magazine.
2. My article, "Push Your Characters to the Limit," appeared in the January 2013 edition of Writer's Digest.

I’m pitching an article I wrote called “The Politics of Plot” to the Huffington Post, and one titled "Secrets & Contradictions" for the New York Times' The Opinionator/Drafts column.

And then there’s the constant drafting of event invites on Facebook, keeping up with the ever-changing world of Amazon, communicating with everyone who responds to the book giveaway on Goodreads (and inviting others I know), answering comments on the Scribophile blog, updating what I’ve already done, building my Twitter base (hey guys, over here, follow me, follow me, no me, over here, I said here, hey guys?) …

Plus I have my online course through UCLA Extension -- incredibly wonderful, hard-woring students from around the world -- a new one I’m pitching to LitReactor, three manuscripts to review and edit, a novel to finish (close, I’m very close)...

I've yet to inload any financial date into Quickbooks for my 2012 taxes, I’m refinancing my house (don’t get me started), my car needed new tires and a new radiator before I headed south to LA, my computer keyboard has developed a new glitch where -- only in Word -- the forward cursor moves backwards and no one at Microsoft has a clue…

Then there’s the happier end of Things to Prepare For: My other half, Mette, is driving cross-country next month with Hamley, the Wonder Dog, and moving in with me.

(I’ll be traveling to Norway and Turkey this summer to meet Mette's extended family. Yes, she’s descended from Vikings and Turks. This is not lost on me.)

So, let’s just say I’m keeping busy. Or busier. Make that busiest.

Every now and then, I get to read a book—which reminds me: Cara Black’s latest, Murder Below Montparnasse, is coming out on March 5th, and you can win a trip to Paris with Cara if you pre-order now. (I'll be interviewing Cara about the new book on Wildcard Tuesday, March 26th.)

Oh, and lest I forget, you can buy copies of The Art of Character here.

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So, Murderateros—what’s keeping you up these nights?

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Jukebox Hero of the Week: Robert Earl Keen, Jr., one of the great Texas singer/songwriter/storytellers, with one of my favorite tunes ever, and something of an anthem for my life right now, thus the title of today's post: 

Ain’t Too Proud to Beg (or: The Art of Promotion)

By David Corbett

In August last year, Alexandra had a post titled Wanna Be a Writer? Learn to Love Promotion. In no-nonsense terms, Alex laid out the cold hard truth: In today’s publishing world, you’ve got to be willing to put yourself out there or risk getting lost in the numbers game.

In the opposite corner, both Gar and I are on the record concerning our uneasiness with self-promotion. For me it smacks of begging. If the book’s good, it’ll sell itself, right? (I know, how dumb can you get?)

Something about self-promotion makes me feel like the guy who always needs to be the center of attention, making sure the limelight never strays far from where he's standing. 

But I’ve got a book out and it doesn’t matter how uncomfortable I am, I need to get off my duff and make the thing a success. The fact it’s not a novel but a book on writing changes little except points of emphasis.

As anyone with a mainstream publisher knows, if you’re not a top name, you’re not getting the love from the marketing or publicity departments. Everyone’s perfectly nice, they just don’t have the funds or the time for your book. They’ll do all they can within the confines of their virtually non-existent budget.

Which means you’re largely on your own. And it’s a very crowded marketplace.

But how to turn around that reticence, that squeamishness, that fear of becoming the yammering nitwit bellowing: Look at me!

 Here’s what I’ve come up with:

1.         I believe in the book, and wrote it with an almost passionate intensity. I need to bring that same belief and passion to making sure potential readers know about it, want it, buy it.

2.         I didn’t write the book for myself, I wrote it for writers and students of writing hoping to expand and deepen their understanding and command of the craft of characterization. The book is for them. Try to find them, reach them.

3.         If I ground my PR efforts in that belief, that passion, and that concern for readers who might truly benefit from the book, I’ll come from a place that balances pride with humility, and that will eliminate some of the sense that I’m being a pushy shmuck.

4.         Go back and reread the book and remember all the valuable things it has to offer. Promote them. Find a way for people to hear about them so they can make up their own minds if they want the book.

I know this must sound hopelessly fundamental and obvious. I mean, after four books, you’d think I’d get this. But I still sometimes need to remind myself of these simple things. I need to get comfortable with the idea of promoting me, David Corbett, and my work.

I think most writers are prone to a profound self-doubt, salted with guarded optimism and talent and pride. Something about self-promotion begs us to deny that self-doubt. Think positive, if you don't believe in yourself, no one else will, etc.

I realized I need instead to embrace my misgivings, accept the ways in which the book may fall short of what I wanted it to be, and make that acceptance part of the package, so my genuine pride in the book doesn’t get mucked up with phoniness. I know the book's not perfect. But the perfect is the enemy of the good, and the book really is quite good.

If I don’t find a way to get comfortable with the salesmanship side of writing, the book will die a slow, steady death. And it deserves better. The students who could benefit from the book deserve better. And yes, even solitary, self-doubting me -- I deserve better.

So: Please check out the book and see if it’s something you or someone you know might enjoy or benefit from. Frankly, I think if you start reading it, you’ll love it.

You can read excerpts here and here, and blog discussions here and here. And you can find a variety of places to buy it in both physical and digital format here.

If you’ve read the book and have something to say, I’d love it if you’d write an Amazon review.

Thank you.

(BTW: In one of those scheduling things that happen from time to time here on Murderati, I'll also be up tomorrow for my regularly scheduled post. Try not to weary of me.)

* * * * *

So, Murderateros—what aspect of promotion do you find most daunting? Most annoying?

What strategy have you devised to overcome that?

Has a writer’s PR effort ever turned you off to his or her book?

Any great anecdotes about PR efforts that went arwy—whether your own or someone else’s?

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Jukebox Heroes of the Week: Who else? (With a stunning remix of the original.)

The Art of Character

By David Corbett

It’s a bit of two-for-one day here at Casa de Corbett—I’m posting not just here but with Deborah Crombie over at Jungle Red, where we’re giving away a free copy of The Art of Character.

Why am I defying laws of physics by appearing in two places at once?

Because we’re a week away from the pub date for The Art of Character, and in between popping open the Dom Perignon and soliciting celebrity piggyback rides, we’re trying to amp up the volume on the book’s release.

If you want to know the story of how the book came about—Deborah’s preoccupation—trundle on over to Jungle Red.

Here I just want to speak briefly about why I think the book is helpful, and maybe even important.

Some of the best books on writing in recent years have emphasized structure—specifically Robert McKee’s Story and John Truby’s The Anatomy of Story. And though both books deal with character, Truby’s in somewhat more depth, I found there was something lacking in both that needed addressing.

Though both books and a few others deal brilliantly with the function of character, and discuss how the character is a crucial element in the story matrix, they leave largely unaddressed the trickier, subtler, more difficult, and thus most interesting parts of characterization—giving the character recognizable feelings and desires, contradictions and secrets, letting her think and feel and behave like a real and complex human being, not a plot puppet.

As I emphasize in the book, it’s important to think of the character not as just a cog in the story, but as a real individual, with a life “outside the narrative,” to whom the events of the story happen.

And it’s not enough to “take dictation from imaginary beings.” A great many clichéd characters sprang fully formed in their creator’s imagination precisely becaue they were derivative—vaguely concealed duplicates of other characters.

There’s no short cut. To create great characters you have to spend time. You have to feel deeply and imagine wisely. You have to ask a hundred questions and answer them not with your mind but with your heart and your intuition—and characters aren’t always quick or straightforward with their answers. Patience and attention are required.

The books I did find that dealt with this aspect of characterization didn’t take it far enough, in my opinion, or didn’t deal with it sytematically and comprehensively. On top of that, they were written in a style I found leaden, contaminated by “how-to.”

A character can’t be fashioned from ideas, or stitched together from parts, no matter how clever the tropes. You end up with a Frankenstein, not a Frank Galvin, or a Frank Pierce, or even a Frank Chambers.

But few if any of the books on writing I reviewed, even the ones I admired, offered any real guidance on how to conjure that organically whole yet emotionally complex hobgoblin we think of as a fully realized character.

I took only the mininum number of English classes in college and never took a creative writing course. I learned most of what I know about writing from trial and error—plenty of the latter—and breaking down scenes in acting school, where the importance of a physical and intuitive connection to the character was hammered into my over-analytical brain.

Writers lack the physical presence of the actor, and can’t rely on it. We have only words. How is it done?

I wanted to help writers figure that out by helping them move through each of the stages of characterization, from conceiving the character—and being wary of characters derived from the story, the finishing school for plot puppets—to developing the character, to understanding that character’s role in the story, to techniques for rendering her on the page.

I emphasize the importance of scenes, not information, in not just portraying your character but conceiving and developing her.

And I stress the need to plumb one’s own experience, emotions, and memory to create the intuitive facility you need to perceive your characters like figures in a dream, not pieces on a chess board—or the product of a checklist.

Last, I wanted to write the book in such a way the reader would feel not just informed but inspired. I wanted readers to feel compelled to put down the book and return to their desks and forge ahead with whatever they were writing.

From the response the book has garnered so far, I think I’ve been largely successful. Now the book needs to find its target audience: writers, whether just starting out or perfecting their craft.

If you’d like to try for a free copy, go to today’s posting on Jungle Red.

If you’d like to read an excerpt (“Serving and Defying the Tyranny of Motive”), check out this post on Zyzzyva. (Another excerpt will appear a week from today on Narrative Magazine's Tumblr page.)

And if you’d like to pre-order the book, you’re only two clicks away, beginning with this one here.

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What are the easiest and most difficult aspects of characterization for you?

Who is the most interesting character you’ve come across in a book, play, film, or TV program lately?

Among the characters you yourself have created, which one’s your favorite? Which one was hardest to create or get right? Which one was easiest?

* * * * *

Jukebox Hero of the Week: One of the points I make in The Art of Character is that a writer who writes for himself is "scribbling to a ghost." We write for readers, because the reader makes us honest.

But it's often important to personify the reader we're trying to reach, and envision that reader as someone who expects our very best.

The actor Joseph Chaikin wrote that he never went onstage without imagining Martin Luther King, Jr., in the audience. Since we celebrated Dr. King's birthday Monday, I thought it might be appropriate to choose this tribute to him from the late great Solomon Burke. It's a beautiful song about persevering despite the gnawing doubts that plague even great men and women, and the humility that comes with true courage:

Cover Quotes – Credible Praise or Irredeemable Corruption?

By David Corbett

First, some business to square away – I’m teaching a couple of courses I’d like everyone to know about. If you or someone you know would like to register, follow the links I provide below.

The first is an in-person weekend class and workshop at Book Passage in Corte Madera on December 1^st & 2^nd. The class is titled Character Spines and Story Lines, and will focus on how to integrate character with story to create focused, compelling, character-driven plots.

The second is a ten-week online course, beginning January 16^th, offered through the UCLA Extension Writers’ Program. It’s titled The Outer Limits of Inner Life: Building Consistent but Surprising Characters, and covers the art of characterization from conception of the character through development and execution on the page.

Also, Open Road Media and Mysterious Press have re-issued my third and fourth novels -- Blood of Paradise and Do They Know I'm Running, respectively -- in ebook format with, imho, killer new covers:

They've also created a swift little video for the rollout, in which I characteristically talk far too quickly about nothing much:

Follow the links to purchase the titles, and remember there are two days left of the special November promotion in which The Devil's Redhead (and 99 other stellar titles) are all available for $3.99 or less (TDR is a lean, mean $2.99).

* * * * *

Now, to our regularly schedule programming:

I had a lot to be grateful for this Thanksgiving. I got to meet my girlfriend Mette’s parents for the first time – they spend much of the year abroad, living for several months in Bergen, Norway, another several in Izmir, Turkey – and spent several restful days at a lakeside cottage in the Putnam Valley (not far from Sleepy Hollow), eating sumptuous meals, hiking in the woods, and listening to vinyl on our host’s knockout stereo (his record collection ranged from Bowie to Herbie Hancock to Fela to Sonny Boy Williamson to, well, you get the picture).

I also received from my editor at Penguin, Tara Singh, a jpeg for the finalized cover up my upcoming book, The Art of Character:

Oops. My apologies. I tried to post the cover, but I only have a pdf file,

and apparently I need a jpeg or similar file. I'm going to try something here -- let's see if it works. If not, sorry.

 

The cover was completed after I was able to scrabble together some blurbs from assorted friends, colleagues, comrades in arms. Given the rather ragged path to publication this poor little book has endured – I’m on my third editor, for example – I was given a very narrow time window (two weeks) to gather these quotes, which all but guaranteed that we’d come up short-handed.

All the writers I know are super-busy, and asking for a quote in such a short time frame was almost embarrassing. Many of the writers I asked simply couldn’t oblige, but luckily there were a significant, generous few who were able to take the time and respond.

As you know, this past year there was a rather heated debate over the use of “sock puppets” to praise one’s own work and, in extreme cases, attack the work of others. Alexandra and Martyn both posted blogs here on the topic. And the resulting discussion all around the web brought into high relief the entire issue of garnering favorable opinion for one’s work – whether in the form of friends writing Amazon reviews, writing reviews oneself under pseudonyms, or good old-fashioned, genuine third-party praise.

Barry Eisler, in addressing the sock puppet phenomenon, put it in the context of acquiring blurbs, a system he considers “irredeemably corrupt.” I’m not quite as jaundiced as Barry, but I’m no fool. I realize that many cover quotes are written as personal favors or as a kind of quid pro quo for kindnesses or acts of generosity provided elsewhere. I also know they don't always reflect a genuine knowledge of the work. As Robert B. Parker famously remarked: "I'll blurb the book or read it, not both." (I'm paraphrasing.)

I think most people understand all this. Readers don’t take cover quotes as gospel any more than they read Yelp reviews without a certain reasonable skepticism. Ultimately, we evaluate several reviews and/or blurbs, "weigh the source," glimpse at the book ourselves, and form our own opinion.

That said, I was absolutely overwhelmed with the generosity, kindness, and respect my fellow writers showed my humble little book. My editor was frankly stunned – and ecstatic. Here’s a sample:

"David Corbett has written a wise, inspiring love letter to all the imaginary creatures inside our minds—so we might conjure them whole on the page. I predict that massively underscored copies of The Art of Character will rest close at hand on writers’ desks for many years to come."  —Cheryl Strayed, Best Selling Author of Wild

“I once made the mistake of writing a story with David Corbett. The man smoked me. He can delineate the character and personality of an accordion in three strokes. I didn't even know accordions had character. This act of generosity and wisdom from a very good writer will help anyone who is staring at a blank page, any day, any time. Highly recommended.”  —Luis Alberto Urrea, Pulitzer Finalist and Bestselling Author of The Hummingbird’s Daughter

“Corbett’s The Art of Character is no "how to" book or "writing by numbers" manual.  It is a writer’s bible that will lead to your character’s soul.”  —Elizabeth Brundage, Best Selling Author of A Stranger Like You

Indispensable. Few are the writer’s guides that are written as beautifully, cogently, and intelligently as a well-wrought novel. This is one of those books.”  —Megan Abbott, Edgar-Winning author of The End of Everything

"David Corbett's The Art of Character belongs on every writer's shelf beside Elizabeth George's Write Away and Stephen King's On Writing. An invaluable resource for both the novice and the experienced hand, it's as much fun to read as a great novel."  —Deborah Crombie, New York Times best-selling author of Water Like a Stone

"The topic of character development begins and ends with David Corbett’s The Art of Character. This is the book on the subject, destined to stand among the writings of John Gardner, Joseph Campbell, and the others of that select few whose work is fundamental to understanding the craft of storytelling."  —Craig Clevenger, author of The Contortionist’s Handbook and Dermaphoria

"David Corbett's The Art of Character offers a deep inquiry into the creation of character for the novice writer, with valuable nuggets of wisdom for the seasoned storyteller. If you are a writer, it should be on your desk."  —Jacqueline Winspear, National Best Selling Author of A Lesson in Secrets

“Clear-headed and confident, David Corbett takes us through the steps of characterization in a manner that resists formula while at the same time demystifying a process that has likely daunted every writer since Homer. “  —Robin Hemley, Award-Winning Author of Turning Life into Fiction

“David Corbett has combined his unique talents as a gifted writer and an extraordinary teacher to create a superb resource on character development. Deftly crafted and impeccably researched, The Art of Character is a thoughtful and insightful book that is immensely readable and practical.”  —Sheldon Siegel. New York Times Best Selling Author of Perfect Alibi

 "It is rare to find the deep philosophical questions of literature (and life) met with such straight-forward and inspiring instruction. But David Corbett is that writer, and The Art of Character is that book."  -—Robert Mailer Anderson, author "Boonville"

“This fine book is about as thorough an examination of character and what it means in all sorts of imaginative writing as you're likely to find anywhere.”  —Robert Bausch, Prize-Winning Author of Out of Season

Yes, they all could be lying, or exaggerating, or simply doing me a good turn. But I think, when readers look inside the cover, they’ll be able to determine for themselves whether the praise was warranted or not. In the meantime, I’m basking in the glow – and feeling very fortunate indeed.

So, Muderateros – how do you appraise the value of cover quotes on a book you’re thinking of buying? Do you agree with Barry Eisler that the system is so ridden with underhandedness as to be worthless? Or does the opinion of a writer you admire still carry weight?

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Jukebox Hero of the Week: I mentioned that I got to listen to Fela this weekend at my lakeside hideaway. For those of you unacquainted with this African megastar-hero’s work, this is an excellent introduction – “Zombie,” from 1976: