Storytelling

When My Best Friend Didn’t Want to Be Friends Anymore

Amy and I were as close as friends could be.

As a kid, I had a close friend, the kind you send BFF messages to on cheap gray school paper when you’re supposed to be listening to the math lesson. We’ll call her Amy since that was her name. Amy and I attended a small elementary school, with only one class per grade, so we were together every year. She was more of a tomboy than I was—good at athletics, never wearing dresses or skirts, her hair styled short like a boy’s might be. We shared a love of scary movies, junk food, and imagination games. She was my only competition when it came to academics. We were the smart kids, constantly measuring ourselves against each other to see which one might be better. If there was any kind of school-related competition that required more brain than brawn, like ‘who can read the most books in one month’ or ‘who can spell the hardest word,’ either Amy or I would take home the title.

 

Pictures of us back then show two girls with their arms around each other, dressed up in homemade costumes for Halloween. Or the pair of us running into the distance, preparing to roll down some enormous hill. We spent every minute we could together, right up until we didn’t.

 

The change started when we were eleven and entered middle school, which was filled with older, tougher kids. Amy decided to overhaul her image. She permed her hair and started wearing short skirts and heels. She downplayed how smart she was. I didn’t recognize her anymore, and increasingly, it seemed she no longer recognized me either. We didn’t sit together at lunch. We no longer talked on the phone. Still, I considered her my friend and hoped we might rekindle our relationship. I invited her to my twelfth birthday party. To my wonderment and delight, she said yes.

 

I felt the old thrill when she agreed to come. It would be like the old days, the two of us making stupid jokes and stuffing ourselves with cake and candy. I’d been wrong to read her chilliness at school as anything personal. She still saw me. She still cared.

 

The party was a small affair, just a few friends and a cake at my house. The minutes ticked by and Amy didn’t show. Maybe she forgot, I told myself. Maybe she got sick. I would have to call her afterward to make sure she was okay.

 

Then more than an hour into the party, our doorbell rang. I ran to answer it with hope in my heart, the rest of my party guests hot on my heels. Sure enough, there was Amy on the other side. But she wasn’t alone. She’d brought along a couple of her new friends, popular girls with teased hair and thick makeup. I’m convinced they didn’t even know I was alive until that very moment.

 

Awkward and stammering, I invited them all in for cake. They didn’t move past the entryway.

 

“Here’s your present,” Amy said, thrusting a drug store bag at me. “I can’t stay.” She may have even said sorry. I can’t remember. What I do recall with searing clarity is how humiliated and awful I felt in that moment, how stupid I’d been to misjudge our relationship. Amy wasn’t my friend anymore. She hadn’t been for some time. I’d just failed to realize it.

 

I got the message that day. My mumbled thank-you to her as she and her new crowd departed from my mother’s kitchen were the last words I spoke to Amy, or she to me. True to her new identity, she no longer took classes with the smart kids, not even when we got to high school and there were lots of us—some of whom were even popular and cool.

 

I wonder about that moment at my party and what Amy’s point-of-view might have been. Had she felt pressured to say yes to my face when she didn’t ever want to come? Had she wanted to come at first but then her new friends convinced it her would be uncool? Did she just feel sorry for me, this person she was leaving behind on her fast-track to middle-school stardom? My guess is that Amy doesn’t have any memory of this party. Maybe she has some alternate moment of truth about our shattered friendship that I’ve completely forgotten because it was not significant to me. Perhaps she glimpsed a ragged stuffed animal in my locker. Maybe she sized up my hopelessly unfashionable clothes. She would have seen that I didn’t have the tools or vocabulary to be the kind of person she was becoming; indeed, I never would.

 

I think about turning points like this in relationships, and how momentous shifts can sometimes be one-sided. Amy wasn’t trying to be the villain in my story. She just wanted to survive sixth grade. I think about people’s attempts to reinvent themselves and whether that’s entirely possible. Was the Amy I had known and loved still in there somewhere, or did she have to be killed off for Amy to transform? I think about these moments of sudden clarity, how dizzying they can be. How they leave a brand on your memory that feels hot to the touch after decades have passed. I think about how they make for great storytelling, and how we as authors search for these moments to bring our characters to life.

 

I think about Amy.

Writing, Writing Advice

The Best Writing Advice

If all else fails, get yourself a magic laptop like this woman has, where the letters just fly in all by themselves.

Now that we’ve covered the worst writing advice that I’ve seen, here is the flip side: best writing advice I can share. It’s not nearly all the useful tips that you can find, but so much of writing advice is idiosyncratic. Outlines work for some authors but not others. Some writers succeed by writing every day. Others write prolifically in one-month bursts with long breaks “off” in between. As a writer, you have to try out different strategies to find what works for you. However, there are a few pieces of advice that are applicable to just about everyone:

 

  1. Read widely and with attention. Definitely read the kind of pieces you want to produce, whether that’s poetry, thrillers, romance or memoirs. Study the ones that are popular and/or critically acclaimed and ask yourself: what are the audiences responding to? How did the author successfully tell her tale? What structure did he use? Read outside your area as well to get ideas that will help keep your writing fresh.
  2. Follow the “because” and “but” rule. If you find your story has scenes that are strung together with “and then,” it’s probably not a story. It’s a series of events. To build a narrative arc, the scenes must be linked in meaning, not just chronology. Example: a detective at a murder scene believes the woman who called in the emergency is the killer so he decides to take her downtown for questioning, BUT then a second body turns up two miles away, killed in the same fashion. Or: He takes the woman downtown for questioning, and she confesses BECAUSE he tricks her into revealing her shameful secret past as a unicorn juggler.
  3. Get outside eyes on your work. Ideally, you want someone with editorial experience to critique your work before you trot it out in public. It can also be valuable to have feedback from a few readers who love the genre you are writing in. The editor will hone your prose and spot the plot holes. Readers will tell you whether they are dying to turn the page to find out what happens next.
  4. Pay as much attention to your last sentence as you do your first. It’s imperative to hook your reader on those early pages, but the last pages are what will linger with them after they have finished your story. A successful ending means that your readers are more likely to pick up your next one.
  5. Join a professional writers’ association. If you are interested in publishing, it’s vital to make connections with others in the business. These are people who once stood where you are, and they can offer advice to help you succeed. They’ll point out pitfalls and sand traps and help you figure out what path is most useful to you. Soak in their knowledge, put it to good use, and when the time comes, you can return the favor to another newbie starting out.
Writing, Writing Advice

The Worst Writing Advice

If you’re an aspiring writer, or even an established one, you run into reams of advice on how to improve your craft, sell more books, hook an agent, etc. Lots of this advice is valuable. Some of it isn’t. Here, I present to you some of the worst writing advice you will find in the industry.

Woman looks at her type writer in frustration.
This is me too often, glaring at the page. Why make it even harder than it needs to be?
  1. Write What You Know. This is a hoary chestnut from days of yore, but it still gets repeated often and everywhere. It’s ridiculous. Writers invent stories about realms that don’t exist and tales of adventure from the year 1066 when none of us was there to bear witness. I write about serial killers, and please believe me when I assure that you I’ve never even committed one murder, let alone multiples. This piece of writing advice is backward, you see. It should be: Know What You Write. You don’t need to write about your personal experiences. In fact, if you’re as boring as I am, you probably shouldn’t. But you do need to do your homework. If you’re inventing a new universe, you need to take the time to establish the rules of that world and understand how it works so that you can bring it to life for readers. If you are writing about a historical era, then you have to research that time in detail before you can put your story there.
  2. Don’t Use Adverbs. This piece of advice often gets traced to Elmore Leonard and Stephen King, and it’s just crap. For one thing, both Leonard and King use adverbs in their work. You know why? Because adverbs are an entirely useful part of speech. They add flavor and pizazz. You know who uses copious adverbs? JK Rowling. She seems to be doing okay for herself, writing-wise. Sure, like all words you put in a story, deploy your adverbs with intention, with care. If they don’t enhance the sentence, by all means, cut them out. But don’t toss them out entirely because that’s just silly.
  3. Focus on Building Your “Platform.” The caveat with this one is that for non-fiction authors, a platform is highly valuable. This is because the subject of your book and the subject of your platform are tightly entwined in non-fiction. (Example: mommy blogger puts out a book on parenting tips, or a recipe blogger publishes a cookbook.) But for fiction, your platform just isn’t as important. Your job on social media is to be a person, not a constant shill for your books. As such, social media itself doesn’t move many novels. Having a large audience doesn’t guarantee they will buy your books. A writer I know is friends with a famous comedienne, and he wrote a fairly funny crime novel. She hyped it to her TWELVE MILLION followers multiple times, but the book still tanked. So, don’t worry about amassing likes on Facebook or followers on Twitter. Go to the places where your people hang out and focus on being a person. This won’t get you necessarily build your “likes” but it will make you for-real liked, and it will slowly gain you valuable connections in the industry.
  4. Don’t Publish Until You Have a Bestseller Idea. Oh, that we could all be sure when we had a bestseller idea. The truth is you don’t know. And even if you have the idea, and even write the wonderful book, it doesn’t mean your book will turn into a bestseller. There is alchemy that goes into bestseller books, parts that not even the publisher or author control, and landing one is a little like getting hit by lightning. The best you can do is to go out with your pole in a rainstorm. Your book is your pole. If you keep them hoarded under your bed and never put them out there, then you lose all your chances. Besides, you learn something from every book, knowledge that is rolled into the next one, so if you sit around waiting at the idea stage, you’ll never get that deep knowledge that might transform you into a bestseller one day.

 

So there you have it. Writing is tough enough without having to worry about any of this stuff. What should you worry about? Stay tuned, and I’ll reveal that part tomorrow.

Family Life, Writing

Trippin’

My family is setting out on a cross-country road trip that takes us almost as far as you can go in the continental United States, from Massachusetts to Southern California. We have a bunch of stops staked out along the way to see sights and spend time with friends, but we don’t have a lot of “must do” on the agenda. I realized as I was planning this trip that it is very similar to how I approach writing a novel.

 

Our tentative map across the USA, with a few definitive stops marked along the way.

 

 

I know the beginning point, the endpoint, and a few “stops” in between. But the precise path I will take to get to these places and the characters I will encounter along the way are a mystery when I start writing. I’ve found that if I know too much about the journey ahead of time, I lose interest in taking it.

 

Some writers fly almost entirely by the seat of their pants, and they are aptly named “pantsers.” They start with a premise and begin writing with no idea of how the story will turn out. They wait for the characters to tell them the ending. I am in awe of these writers because this whole enterprise sounds terrifying to me. What if the characters never reveal their secret? My book would have no ending!

 

Other writers are “plotters” who map out every twist and turn before they begin the tale. They take satisfaction in having the bones of the story in place so that they know it will have good structure. They may do full character bios so that they understand their people deeply before writing about them. I admire these folks completely and often wish I could be more like them because the whole business sounds so reassuring. The story is all right there in the outline! All you have to do is hang some words on it! Writers who pen stories rapidly often swear by this method. There is no hem-hawing over a blank page in the morning. The outline tells you exactly what scenes are in front of you that day.

 

I am, alas, a hybrid of these two groups. The optimist would say I get the best of both worlds, whereas the pessimist would say I get the worst. I say it depends on which day you ask me. I can’t imagine setting out on a long journey, whether that’s a 3000-mile road trip or a 300-page novel, with no sense at all of where I’m headed. I need a destination. I have to know whodunit and why. Likewise, I can’t bear the tedium of having every road mapped out in advance. Where are the surprises? The unexpected stops or character developments you never saw coming? So I am left with my approach, which is to do a rough sketch with a clear beginning, a definitive ending, and a mostly murky middle.

 

Today we prepare to set out from Boston, and in September, we’ll be in Los Angeles. What happens in between is anybody’s guess! As long as no one is murdered at any point in this story, we’ll count it as a success.

Family Life, Writing Advice

Lessons on Writing from the Piano Man

Friday night, we took our nine-year-old daughter to see Billy Joel perform at Fenway Park. He’s her favorite, you see, because she was born in the wrong decade. The concert shook the baseball stadium as hard as any Red Sox playoff game, and The Piano Man can still tickle those ivories at age sixty-nine. Joel was in a reflective mood as he took us through the songs that made up his career, and I came away feeling inspired as an artist. Here are some of my takeaways from Joel’s wisdom:

Billy Joel performs on stage at Fenway Park.

 

  1. Not every piece you produce will be a hit, and that’s okay. After opening with a couple of chart-toppers, Joel down shifted into several of his lesser-known songs. At the third one in a row that he introduced by saying, “This one…was also not a hit,” the audience chuckled. Joel protested. “Hey, I spent just as much time writing the non-hits as I did the hits!” It’s hard to know when you produce a story or a movie or a song whether it will resonate with your audience. The best you can do is keep on creating.
  2. How you feel about your work right now may not predict how you feel about it later. Joel performed “The Entertainer,” which he says he wrote during his “cynical period.” The song details all the downsides of being a hit singer—the constant travel, the pressure to conform to a certain popular aesthetic, the sense that you’ve lost control of your art. Decades later, Joel is amazed and grateful that he can still pack a stadium with thousands of fans. “Thanks,” he said sincerely, “for showing up.”
  3. The best way to have a great idea is to generate lots of ideas in the first place. As Joel noted, he’s had more non-hits than hits. But he didn’t give up or go away angry at the first song that failed to make the charts. He kept writing and eventually he created more hits that are still in the rotation on pop stations today. This is a hoary chestnut from the writing world but it remains true: you are only a failed writer if you stop writing.
  4. You never know where you may find your biggest fans. Most of the people at the concert were solidly in Joel’s demo—my age and older. We’re the people who grew up with his music. But we were there because my nine-year-old loves his songs, these pieces written decades before she was born. Once you put your art out there, it can go places you’d never expect, and touch people you’ve never met.

    My daughter, rapt, watches Bill Joel perform her favorite songs.
  5. Once you put your art out there, it’s not quite yours anymore. It belongs to the people. “The Entertainer” deals with the frustrating aspects of this truism, but Joel is now in his closing act and he is thinking more of his legacy. The songs aren’t his to keep forever. They are inherited by the fans who will carry them forward.

 

“Piano Man” is beloved almost to the point of cliché among those of us at a certain age, but one of the reasons it persists is that there are so many places in the song to see yourself. Are you the waitress just trying to do your job while getting hit on by the guys? Maybe you’re the real estate agent who prized career over family, potentially to your regret. Or maybe you’re the bartender, someone could really make a mark if you “could just get out of this place.”

 

We’re sharing a drink we call loneliness because we’re all lonely at one time or another. No one was lonely at Fenway on Friday, though, when the band cut out and the crowd sang the “Piano Man” chorus in a thundering, unified roar. Joel sat on the stage and took it in, the emotion pouring out at him from these masses who had adopted his song and made a home for it in their hearts.

Writing, Writing Advice

The Monster at the End of This Book

One of my favorite childhood reads was “Grover and the Monster at the End of This Book.” In the story, Grover the Muppet begs the reader not to turn the pages because he’s heard there is a monster at the end and he’s afraid. The shocking twist is that lovable old Grover is himself the monster at the end! I was thinking of this kids’ classic the other day while reading advice on how to craft a memorable villain. Your book’s monster, according to this advice, should be a reflection of the hero. But what does this mean?

Grover despairs that there is a frightening monster at the end of the book he is in.

 

Sometimes, it means that your protagonist and your antagonist share the same flaw, especially at the beginning of the story. Maybe they are both stubbornly independent and believe themselves to be uniquely gifted. The villain, however, ends up using his or her powers for evil, whereas the hero overcomes this flaw to band together with others to defeat the villain.

 

It also means that your villain should have roughly the same power as your hero. There’s a reason Sherlock Holmes goes up against Moriarty, a cunning antagonist who is a worthy foe for someone as brilliant as our iconic detective. It’s also the reason you so often see superheroes fighting some ‘bad’ version of themselves in comic action movies. If you’re a Hulk, then it’s not interesting to see you fight a bunch of little guys. Instead, you get to tango with a tricked-out, mean-tempered version of yourself.

 

This doesn’t mean that every protagonist/antagonist needs to have literal super-human powers. It just means their skillsets should be evenly matched, whether that’s an actual army or the ability to spread gossip through a small town.

 

A memorable antagonist should also bring out a unique side of the hero. In the Hulk example, the Hulk is both a villain-fighting hero and a kind of antagonist for Bruce Banner. He forces Banner to wrestle with relatable human problems like controlling one’s temper but also keeps Banner from living the normal existence he often craves.

 

Another strategy is to give your villain and your hero the same goal or dream, which puts them in natural competition. In Lolita, Humbert Humbert has two primary antagonists—Quilty, who also wants Lolita, and Lolita herself, who wants to get away from Humbert. Giving your hero and villain a shared goal can be a way to flesh out your story as the reader may be forced to question whether the villain or hero’s strategy is the best one. For example, you could argue that Danny Kaffee and Colonel Jessup in A Few Good Men have a shared goal of protecting U.S. troops, but they have very different ideas about what that protection looks like.

 

All of this is to say that, unlike Grover, your hero won’t find himself literally at the end of the book. But he or she should find a part of themselves, a new understanding that the villain is uniquely designed to precipitate.

Perfectly Dead

If you, like me, spend any amount of time watching true crime shows, then you will notice a pattern among the victims. They are all perfect. They lit up every room they entered. They had the winning-est smiles but no shirts on their backs because they’d already given them to the nearest person in need. Even if, as the story progresses, we find out that the deceased experienced some trouble in their lives (an affair, a drug or alcohol addiction, a termination from work), we are told that they were just in the process of getting their life back on track when they were cruelly cut down by murder. Cynical viewers comment that the producers must think we won’t care about justice for a flawed dead person.

 

Having been a TV producer for a time, I know why we get these glowing testimonials from the victim’s loved ones: they are to humanize the deceased, to try to bring them to life and give them a voice in a program that is otherwise focused on their role as a dead body. I get it. I do. There’s a sameness to the reports, though, that serves to undermine their purpose. The victim loved life. Loved her family. No one would ever want to hurt him.

 

 

Except, of course, someone did.

 

An ad for See No Evil shows a murder victim being followed in a department store shortly before her abduction.
An ad for See No Evil shows a murder victim being followed in a department store shortly before her abduction.

 

One of my current favorite programs is See No Evil, which uses CC footage to piece together events after a murder or other heinous crime. There is minimal lionizing of the victim, perhaps because we get to see them for ourselves on the grainy footage. They visit ATMs, feed the parking meter, pay for gas.

 

 

 

A recent episode featured Edward Lowry, a man found savagely beaten and stabbed to death on a street in South Dakota. Ed’s friends and family offered up the usual backstory of what an amazing guy he was—how helpful, friendly and outgoing. Then the cameras traced Ed’s actions leading up to his death. He’d received a promotion at work, we’re told, and he went out to celebrate. He visits a couple of bars, drinks a beer or two. In between, we follow his distinctive, robot-like walk through town as he’s caught on security footage from banks, pawn shops and the like. By the end, you feel like you would know his figure anywhere.

 

The cops talk to the bartender at one of the places Ed may have visited. She says he wasn’t in. The cameras show he was there, bellied right up to her bar for a good long time. She served him but didn’t remember him. At the time she’d talked to Ed, he was no one special.

 

Ed sets out again past midnight, loping toward home. We know he doesn’t get there. A group of young men happen across Ed and decide to jump him and rob him. We see them fall in behind him, stalking him, and we want to yell out for Ed to run. Change course before it’s too late.

 

The three thugs took Ed’s life for just $200. Afterward, they’re shown celebrating with treats at a gas station convenience store. The cops close in for their own kind of score.

 

I’m left with other questions at the end. Why, if Ed was so surrounded by loved ones, was he out celebrating alone? Maybe they were all just busy that night. After all, they couldn’t know. They didn’t know it was the last time Ed Lowry would stride through town with his leather jacket and bandana and unusual walk.

 

All of us are walking that same path that Ed Lowry did. Something is out there, waiting to jump us, we know not when or where. See No Evil shows us a glimpse of those last minutes, lets us see the person going about their mundane lives at the Kwik-Mart and the bank, and that’s when we know the truth: murder victims aren’t perfect. They’re just regular.

 

We just happen to be watching when they walk off camera one last time.

book recs, The Vanishing Season

Must-Have Debut Mysteries of 2017

This week, The Vanishing Season launched into the wide world, and I am profoundly grateful for all of the support I’ve had along the way. I am especially grateful this morning for readers who are willing to take a chance on a new author. There are so many books to choose from, and time is precious, so we newbies are unspeakably delighted whenever someone gives us a read. In that spirit, here are three 2017 crime novel debuts that are a treat for your eyeballs:

The Dry, Jane Harper

If you haven’t yet picked up this winning debut by Australian author Jane Harper, then run right out to do so. It’s the story of Federal Agent Aaron Falk who returns to his hometown after a long absence to attend the funeral of his once-close friend, Luke. Amid the worst drought in a century, Falk investigates Luke’s death and reluctantly addresses the buried secrets that bound him to his friend. Atmospheric and compelling.

 

 

 

 

See What I Have Done, by Sarah Schmidt

Sarah Schmidt’s debut novel is a reimagining of the Borden murders of 1892, which captured public imagination when their daughter Lizzie was accused of the crime. The book is told by four people: Lizzie, her older sister Emma, the maid Bridget, and an inscrutable stranger named Benjamin. Lizzie’s guilt or innocence continues to be a source of debate years on, and Schmidt uses that uncertainty to clever advantage in bringing to life one of history’s most famous unreliable narrators.

 

 

 

My Sister’s Bones, by Nuala Ellwood

Kate is an investigative journalist working in war-torn areas like Iraq and Syria. She returns home for her mother’s funeral and must deal with her sister Sally, who has developed a problem with alcohol. The first night home, Kate is awakened by a terrible scream… This book packs a wallop as it explores multiple kinds of trauma, from the kind born of a rough childhood to the PTSD that results from covering wartime atrocities. The survivors here are doing the best they can to make it through the day, even as several of them harbor dark secrets. 

The Vanishing Season

Launch Day!

He was almost too cute to eat!

Whew! Last week I enjoyed an amazing whirlwind of activities surrounding the launch of The Vanishing Season. I have to stop myself from screeching in joy whenever I see the book on the shelves now. The Brookline Booksmith was kind enough to host opening night, where a good crowd showed up to see if I would make a fool of myself babbling in front of an audience. I managed not to say anything too embarrassing and we all got to enjoy cupcakes in Speed Bump’s honor. All credit to Dessert Works in Norwood, MA for these beauties, which tasted as good as they looked!

 

The whole week was just a blur of excitement and I wanted to share some highlights with you before I lose the details in a Christmas haze.

 

 

As much as I enjoyed Bump’s cupcake cameo, I was even more thrilled that Shannon Kirk, Elisabeth Elo, and Hank Phillippi Ryan took time from their busy schedules to come to the launch. These three talented writers are some of the loveliest people to know. They have been amazingly generous to me with their time and wisdom. Not only do I get to enjoy their terrific books, I now get to call them friends as well. How lucky am I?

From left to right: Shannon, Elisabeth, and Hank, with me in the front. They are all talented and wonderful people!

 

 

 

 

 

Jill and Robbie came a long way to be at my launch, for which I am incredibly grateful. Yay, friends!

 

 

 

 

 

 

 

 

My favorite part of launch week was all the friends who came to visit! My longtime friend and editor Amanda Wilde zipped down from Toronto to hang out for the full week. We don’t see each other in person very often so this was a rare treat indeed. My other friend Jill came all the way from Minnesota, and it was so great to see her, too. I talk online to these ladies all the time but it’s not the same as seeing them in the flesh. Michelle Kiefer drove up from Connecticut to hang out with us, and it was like an old-fashioned slumber party, only you talk about books instead of boys. But the biggest surprise was my friend Robbie McGraw who came all the way from Los Angeles and didn’t tell me she was coming. Everyone else knew but me! It was the greatest surprise!

Night two saw us at the Canton Library, where I talked about some of the research into serial killers that I had read about for my book. Criminologists, psychologists, and neuroscientists have studied serial murderers for decades. Unfortunately, much of what they have learned has not translated into better ways to catch these guys. It’s great to know that serial killers are more likely to have wet the bed as a kid, but when you suspect you have a serial murderer loose in your community, you can’t exactly round up all the childhood bed wetters. It’s a definite conundrum!

On night three, I went to New England Mobile Book Fair to attend the 6th Annual Mystery Gala night along with about 40 other writers. The inimitable Tess Gerritsen received the Robert B. Parker Award for her astounding ability to craft wonderful characters and intricate plots. She also played the violin for us because she is just that talented. I got to catch up with some

Me with the lovely and talented Lisa Gardner at New England Mobile Book Fair.

mystery writer friends and to make some new ones. Somewhere in there I managed to convince the lovely and talented Lisa Gardner to buy my book! She is funny and wise and I enjoyed talking with her more than I can say. Many thanks to New England Mobile Book Fair owner Tom Lyon for hosting this terrific event!

Now I am recovering from all these terrific events and working away on book two. And shopping. Must get to that Christmas shopping…

Writing

How to Support Your Writer Friend

One question I get asked a lot by my super supportive friends and family is how best they can help me in this new mystery-writing endeavor I’ve got going on. Maybe you, too, have an author in your life whom you would like to support! If so, please read on for these top tips.

  1. Buy the book. Purchasing a copy of the book is always the best way to help out because sales are what publishers consider when weighing whether to give the author another chance to publish. If you don’t happen to like the topic or concept of the book, perhaps buy it for a friend or relative who would enjoy it.
  2. Where should you buy it? Does it matter? You should buy the book wherever it is easiest for you to do so. If you have lots of options, consider buying from your nearest indie store. Indie booksellers do a lot to support local authors, and we like to give back any way we can. If you’re buying online, Amazon is the best way to go because they are a giant in the bookselling industry, and higher sales mean greater visibility on the Amazon platform. This means other readers are more likely to discover your author friend’s book!

    This is how I feel sometimes, like the book is enormous and I am tiny in comparison.
  3. What if I can’t buy the book right now? That’s perfectly okay! There are still many ways you can support your author friend. You can ask about their book at your local library. Librarians take note when customers inquire about titles. You could also recommend the book to your book club or post about it on your social media, if you feel so inclined. Most people find their next reads through recommendations from friends, so anything you can do to “pass it on” would be much appreciated by your friendly author.
  4. Attend a local book signing with your friend. The most common number of attendees at book signing events is around four. Your author would love it if you showed up to a signing because they will be desperate for a friendly face!
  5. Wait, should I leave a review? Where should I leave it? Asking for reviews from friends and family can be tricky. If you honestly really enjoyed the book, then yes, it would be lovely for you to leave a review. The most helpful place to review is probably Goodreads because it maximizes the chances your comments will be seen by other readers. Amazon reviews are helpful too, but Amazon frowns on friends-and-family reviews and will sometimes strip reviews from a book if they detect a relationship between the author and the reviewer.
  6. Finally, please humor us as we prattle on about our books and how excited we are. We sometimes get carried away like parents of a newborn. Smile and nod, mentally update your grocery list as we fret over galleys and covers and deadlines. We promise we’ll shut up eventually…at least until the next book comes out.