Keep It Spare and Lean: An Interview with Chris Grabenstein

Note: Chris Grabenstein will be one of the Guests of Honor at Sleuthfest, March 1 - 3, 2012. He's the author of the John Ceepak series, for which he won the Anthony Award for "Best First Mystery."

JCS:  Chris, I know that unlike most authors, you didn’t just get a wild idea and start writing. Before you started your Cepak series, you studied James Patterson’s success. What sorts of decisions did you make? How have they worked for you? (I recall you talking about the titles that were all of the same ilk.)

CG: Well, sometimes, I just get a wild idea and start writing. However, when I first contemplated writing a mystery, I did approach the task the same way we used to go after a new campaign in advertising. What could I do that would be different in a world cluttered with seemingly millions of sleuths? How could I make a character stand out? This was the same exercise we always went through when developing a new TV spot -- how do I break through the clutter? How do I make someone not click the remote and zap my commercial?

Having worked with James Patterson at J. Walter Thompson advertising, I remembered his breakthrough coming with the creation of Alex Cross and a series of books titled after lines from nursery rhymes. ("Kiss The Girls," "Along Came A Spider," etc.) I set out to attempt to do the same thing. I had the title TILT A WHIRL before I had anything else. I knew the second book could be called MAD MOUSE or MIND SCRAMBLER. The books would all be named after amusement park rides...and the title rides would act as metaphors for what happened in the stories. To avoid the Cabot Cove syndrome ("Murder She Wrote") I set my series in a tourist town that could easily have a transient population and a new cast of victims and killers every week of the summer.

Then I needed to create a sleuth unlike any the world had seen. That's when I came up with the notion of an overgrown Eagle Boy Scout who will not lie, cheat or steal nor tolerate those who do. He seemed to be the polar opposite of the boozing, depressed, divorced, no-code-but-my-own, noirish heroes populating so many mystery stories -- the dark knights I still love. I created John Ceepak to be different.


JCS: How did you come up with the name “Cepak”?

CG: I came up with Ceepak after going to a wedding where one of the groomsmen, a former soldier, was named Ceepak. And all of his buddies called him by his last name. If you hang with a group of guys, there is usually one who doesn't seem to have a first name. I was always "Grabber" in high school; never "Hey, Chris," always "Hey, Grabber." You'll notice that very few characters in the stories ever call John Ceepak "John." And Danny Boyle is always "Danny." It wasn't until the third book that someone pointed out to me that Ceepak's initials were "J.C." Cue the Twilight Zone music...


JCS: Your books are a bit unusual because like the Sherlock Holmes stories, they are told in first person by a secondary character who admires the protagonist. How’s this working for you? Why did you choose to do this? What are the drawbacks and the strengths of this approach?

CG: I tell the stories in Danny's voice for the same reason I think Doyle tells the Holmes stories in Watson's voice: First person narration by our sleuths would have readers throwing the books against the wall in anger. Can you imagine a tale told by the arrogant, conceited, but brilliant Holmes? His brain would move far too swiftly to fill us in on all the little details he'd already deciphered and moved on from. The same with Ceepak. His by the book, just the facts, code-following ways may smack of a goody-two-shoes and Dudley Do-Right if he did the narration. So, I gave the story telling chores to a 24 year old part time cop who, like Watson, admires the master sleuth he is working with. Danny is also a lot funnier than Ceepak...although Ceepak is attempting to develop a sense of humor as the books progress.

I think the device works for this particular pairing -- because of the "lead" sleuth's personality.

The stories are also told in first person present tense...which drives some people batty. I think the present tense helps the action clip along and is how cops tell stories. "We go into a bar. There's this guy with a gun who has his paws all over a waitress. We pull out our service revolvers..."

JCS: Your background is in advertising. What did you learn from advertising that you apply to your work in novels? Your writing is very spare, with no wasted words or overlong descriptions. Has the art of brevity, which is key to advertising, ever been a problem when working on books?

CG: Yes. Right. We ad folks write tight. They used to tell us to keep a copy of a Hemingway book in our desks. Keep it spare and lean and don't waste time on the stuff nobody wants to read anyway, to paraphrase Elmore Leonard who, I think, also has a background in advertising. The biggest thing I learned in advertising came from James Patterson, who was my creative director: Hit 'em with a pie in the face and once you have their attention say something smart. Remember, nobody wants to watch TV commercials or stop listening to music on the radio to hear your ad or quit flipping through Kardashian Wedding updates in People magazine to gaze upon your glorious print ad. We learned to give readers/viewers a reward for their attention. Interestingly, when I was published by Carroll & Graf, the publisher told me, "I like advertising writers. You don't waste people's time." I guess that's because we only had thirty seconds (70 words max) to grab someone's attention and then convince them to go buy whatever Whopper we were selling that month.

Has it ever been a problem? I hope not. But, I try to write the kind of books I love to read: page turners that can make a transcontinental flight seem like it lasted three minutes instead of six hours.

JCS: Your plots hustle right along. What’s your process? Are you an outliner?

CG: I'll talk more about this at Sleuthfest on the plotting panel. I am a hybrid, I think. I stake out four key plot points, as if I were scripting a two hour, two-act movie. I then know where I have to be at a certain word count and work toward that goal. It help keeps things focused...but I make up what happens in between the plot points on a day-to-day basis. I also overwrite like crazy. My 75,000 word Ceepak novels tend to have first drafts that are 90,000 words long. Then I go back and chop and prune.

JCS: You’ve had such a successful career as a writer. What sort of advice could you share with others just getting started?

CG: First of all, that's very kind of you to say. My advice is probably the same as everyone else's: Read a lot. Write every day. I heard somewhere that it takes 20 minutes to drift off into that "awake dreaming" zone where the real magic starts happening. So, try to sit down for an hour everyday and get 40 minutes of dream time in. Also, and I learned this writing 500 TV commercials for every one that ever got produced, I think you have to LOVE the writing. Not the riches (well, there aren't any of those anyhow), fame, acclaim, awards, snazzy author photo, or cocktail parties with publishers (do they still have those? If so, how come I'm never invited?). The only part of this business you have control over is the words and the process of writing. I absolutely love sitting down every day and getting lost in whatever story I am weaving. I always have, I think. No one can take that feeling away. Everything else? It may never come or it might all disappear. Love the writing...not being "a writer."

JCS: You learned a technique in improv classes that you use with your writing. Would you share it?

CG: Yes, I will. In fact, my afternoon talk on Craftfest Thursday will be an improvisational workshop where I will teach everybody the "Yes, and..." rule of improv. It is a rule I use every day and will help writers get beyond the blank page and into places they never could've dreamed they'd be going. (Okay, that was a thirty second ad for Craftfest. Once an adman, always an adman...)

JCS: You live in New York City. Make us all jealous. Tell us if that has been a boon or a bane to your career.

CG: I think New York is a great place to live as a writer. If I need a crazy character, I go out and walk around the block. I found a major character for my new middle grades caper series on a bus ride uptown one morning. It is nice to be able to go to an MWA meeting in New York and rub elbows with superstars like Lee Child. However, I think writers can live anywhere.

I really think having an agent in New York has been a boon to my career. They go to cocktail parties. They schmooze with editors. They do a lot of lunches. That's how we got the idea to turn THE CROSSROADS from a 120,000 word adult ghost story into a 50,000 word middle grade mystery. My agent bumped into an editor at a party who was looking for ghost stories for middle grade readers!

JCS: Anything you want to tell me?

CG: I'm looking forward to Sleuthfest. I've always heard it's the best "writers" conference. And I can thank Charlaine in person for making me a New York Times best seller (because she and Toni Kellner asked me to do a short story in DEATH'S EXCELLENT VACATION which made the top ten..and not because MY name was on the book cover!)

Visit Chris at http://www.chrisgrabenstein.com/

The Winner of the 2010 Fla-MAN-go Award Is Barry Eisler

Some of the nicest people I know...kill people...on paper.

Barry Eisler is one of those nice people. He's unfailingly gracious. He doesn't take himself too seriously. He's smart as a whip. He's a heck of a businessman. He's a good sport.

At SleuthFest this past weekend, he again proved why he's one of everyone's favorite authors. On Saturday, Barry was awarded the "Fla-MAN-go," an honor with a dubious past. Seems that one SleuthFest years ago, the women attendees discovered that the men attendees were discussing which of the women were "hot." In retaliation, the ladies decided to have their own award ceremony. But to add to the drama, the contest results would be public. All the male contestants are called to a podium. The winner, when announced, is awarded a trophy and a pink boa.

Yeah, you read that right...a pink feather boa.

On Saturday, Barry won the coveted "Fla-MAN-go" Award. After they draped the fuzzy pink stuff around his neck, Barry graciously strolled through the ballroom of the hotel on his "squawk of shame." When asked about this, his newest honor, Barry said, "This represents the pinnacle of my career as an author."

In a world full of people who take themselves too seriously, Barry Eisler is a great reminder that nice people finish first, always.

Gee, I've never had my photo taken with a Fla-MAN-go before. Pretty cool beans! (I really was smiling, honest! I thought I had a cold all weekend. Turned out, I'm incredibly allergic to tree pollen, and Florida was chock-a-block full of it. ARGH. Nothing like having red eyes and a drippy nose when you are standing next to a handsome guy, huh? Does wonders for your confidence!)

Mourning the Passing of Stuart Kaminsky

I was so sad to hear of the passing of Stuart Kaminsky. He had written many, many mystery books and was honored numerous times by the Mystery Writers of America. He was a gentleman, a brilliant writer, and a generous colleague to all in our profession.

We met at Sleuthfest, oh, three years ago? He stepped in to fill a short story class after Elaine Viets had her stroke. I asked him after the session what he thought about outlines. He told me that he could never have been so prolific if he didn't outline first. I took that to heart.

He also mentioned that he regularly writes letters to his granddaughter, as a matter of course, and as an ongoing part of their relationship. So, in his own way, Stuart was a scrapbooker of the highest order!

His wife Enid is a lovely and gracious woman, and a delightful person in her own right. I very much enjoyed meeting her at the conference. She was kind enough to remember me the next time we met, and that means a lot.

My condolences to his entire family.

Here is a link of his obit from the Sarasota Herald-Tribune in Florida where he had lived for more than twenty years before moving to St. Louis earlier this year while hoping for a life-saving liver transplant.

http://www.heraldtribune.com/article/20091011/ARTICLE/910111085/0/article

Thanks,
Rev. Mike

Guest Blogger Neil Plakcy

Please welcome my friend, Neil Plakcy--

1. Tell us about yourself. I know you teach, Neil. What do you teach and where? How does that work with your career as an author? What sort of impact has this had on your writing schedule? What have you learned through teaching that you apply to your work?

Though back in 1988 I signed up for the new Master of Fine Arts program in creative writing at Florida International University just to learn to write better, I can see that my classes also taught me how to teach writing. Taking workshops with great writers like Les Standiford, James W. Hall and Lynne Barrett forced me to write and rewrite. I also learned how to take a more analytical approach to writing as I came to understand the basics of character, dialogue, scene, plotting and so on.

Today I teach writing at Broward College, #3 in the country in the number of associate’s degrees granted. (My campus is halfway between Miami and Ft. Lauderdale, with a very multi-cultural student body that ranges in age from teenagers to mid-life career changers.) Over 60% of our students enter lacking basic writing skills, so I teach two levels of developmental writing—sentence to paragraph and paragraph to essay. I created my own approach to freshman composition, using writing about food to build skills in narration, description, and research. I’ve also taught writing about literature and creative writing.

My favorite is a literature course on mystery fiction, where we read academic essays about the mystery as well as short stories and novels in three genres: amateur sleuth, private eye, and police procedural. The students love the chance to read great contemporary stories, and I enjoy exposing them to the mystery and hearing what they have to say about it.
Teaching is a great gig for a writer. Three of my courses are fully online, so my schedule is very flexible, and I can carve out writing time every day. And guiding students to write better has impacted my own writing—I hear that “teacher voice” in my head saying things like “Wait—you’re changing point of view!” or “This paragraph is awful long.”

2. Tell us about your new book--the characters, the setting and a bit about the plot. How does it fit in with your other works?

The elevator pitch for my first mystery, Mahu, was “gay cop gets dragged out of the closet while investigating a dangerous case.” Once I’d finished that book, though, my hero, Honolulu homicide detective Kimo Kanapa’aka, told me that his journey had just begun. I came to see “coming out” as a process, rather than a single event, and looked for cases Kimo could investigate that would challenge him and move him forward.

In subsequent books, Kimo has traveled paths common to many gay men, particularly those who come out in their 30s, as he does. In Mahu Surfer, when he went undercover to discover who had been killing surfers, he began by making gay friends and getting more comfortable with himself. In Mahu Fire, he met fire inspector Mike Riccardi while investigating a bombing, and fell in love.

In Mahu Vice, the newest in the series, he’s discovering that the path to true love has more than a few twists and turns. Called to an arson homicide at a shopping center built by his father, he is forced to work with Mike again, nearly a year after they broke up. Tension rises as the case gets more complex and he and Mike rekindle their attraction.

But will the same things that drove them apart a year before doom this renewed relationship? What was going on at the acupuncture clinic where the victim, a teenaged Chinese illegal immigrant, was working?

Prostitution, gambling and immigration are all hot-button issues in Hawaii, as in many places, but the isolation, multicultural community, and tropical heat in Hawaii conspire to raise the tension level for Kimo and Mike as they figure out not only whodunit, but where their relationship can go.

3. Your books feature gay characters. In the beginning, did this make it harder to get a publisher? Or was it easier because you had a niche market? Has this influenced your marketing attempts, and if so, how? Does this ever pose any challenges at signings?

I didn’t realize I was writing for a niche when I started. I didn’t even know that the niche existed! Like many beginning writers, I was woefully undereducated about the business side of publishing. But I learned. When I approached agents at first, many thought that the idea of a gay detective was too radical. So I had to do my research, and discovered a thriving niche. (There were 18 nominations last year for the Lambda Literary Award for best gay men’s mystery, for example. Mahu Fire was a top-five finalist for that award.)

My first agent targeted all the publishers she thought would be interested, and every one of them turned me down. When I’d just about given up, I met an editor at the Miami Book Fair who told me his press was expanding their gay genre fiction line (mystery, romance, horror, etc.) and encouraged me to send the manuscript to him directly. That’s why I say my career has benefited from both hard work and luck. And of course, the harder I work, the luckier I get!

Booksellers tend to have an idea, even if it’s narrow, of the audience they can bring in for signings. For example, I’ve tried without success to convince a chain bookstore that I know a lot of older gay men who read who live in a neighborhood south of Miami. But they say gay books don’t sell at that store, so they won’t offer me a reading.

Maybe the books aren’t selling because they aren’t bringing in authors and marketing to that community. Or maybe they’re right, and I’m wrong.

It was much harder to set readings up with my first publisher, a small press; one independent bookstore owner told me “You’re one step above self-published,” even though that press published 200 books a year, had a big marketing department, and offered co-op advertising. Now that I am lucky enough to be published by the biggest GLBT press in the country, Alyson Books, I get great distribution and booksellers know my titles.

Interestingly enough, I got much more negative reaction when I was in graduate school writing about Jewish characters than I’ve ever gotten writing about gay ones. When I wrote humorous stories about dumb Jews (I have a lot in my own family, so I’ve got lots of material) people were really offended.

4. You have a robust online presence. Tell us about that. How do you compare the online community with other writing communities?

I started coming out myself just as the Internet began to boom, so the ability to seek out GLBT people, news, and online communities has been important to me for years. While I love volunteering with the Florida chapter of Mystery Writers of America, and attending mystery conferences like Bouchercon, Sleuthfest, and Left Coast Crime, the ability to stay in contact with other writers more than once or twice a year, or even once a month, is very important. I belong to a local critique group, but I also email stories and chapters to more far-flung colleagues, and I enjoy being part of their lives through Twitter and Facebook, too.

I think there’s also a degree of intimacy you can develop with an online friend that harder to duplicate face to face. Even with my closest writing friends in Florida, we might meet only at events or exchange the occasional email or phone call, because we all have busy lives. I can spill my heart out over a rejection to an online friend, though, and get commiseration back right away, as well as suggestions on where to market next.

5. You recently won a "Lefty." Tell us what that's meant to you and your career.

I was absolutely thrilled to win the Hawaii Five-O award for best police procedural at the 2009 Left Coast Crime festival. I grew up watching that show, and it still influences my writing. It was fun to receive the award in Hawaii, because my books are set there, but the best part was that the voters were fans rather than critics. My publisher donated copies for the book bags, and throughout the conference I had people come up to me and say, “I just started reading your book and I love it!”

As far as my career goes, I don’t think it means much. If it had been an Edgar…. though now I can be introduced as “Award-Winning Author Neil Plakcy!”

6. You've been very involved with SleuthFest. How has that benefited you? What would you say to someone considering coming to the conference?

Any writer’s conference is a great chance to network, learn, and be energized, and I think Sleuthfest does a great job on all those fronts. Inspiration is a funny thing; it often comes when you’re not expecting it. I’ve gone to seminars and workshops just out of a sense of duty or obligation, and walked out with fresh ideas and a desire to get back to my computer as fast as possible. I’ve also loved meeting the writers, published and unpublished, who attend, and swapping stories about writing. So personally and professionally, Sleuthfest has been a great event for me.

Sleuthfest has a terrific core of volunteers, so just walking in the door you know you’re going to be welcomed into a wonderful group of writers. And how can you beat South Florida in February?

**

About Neil Plakcy...

Neil Plakcy is the author of Mahu, Mahu Surfer, Mahu Fire and Mahu Vice, mystery novels set in Hawaii, as well as the romance novel GayLife.com. He edited Paws & Reflect: A Special Bond Between Man and Dog and the gay erotic anthologies Hard Hats and Surfer Boys. Plakcy is a journalist and book reviewer as well as an assistant professorof English at Broward College's south campus in Pembroke Pines. He is vice president of the Florida chapter of Mystery Writers of America, and afrequent contributor to gay anthologies.

When Do You Need an Agent? Part II

Last weekend, a book buyer surprised me with this question: "Did your agent come find you? Or did you find your agent?"

I had this quickie mental image of my agent, Liz, going door-to-door in the neighborhood and asking, "Any writers in the house?"

But I bit back a chuckle. I suppose someday an agent might "come find" me or one of my friends. But right now, most of the authors I know actively sought out an agent.

When do you need an agent?

Well, it's sort of like, when do you need a real estate agent?

When you have a house.

For most of us--and remember, there's always an exception--until we have something to sell, we don't "need" an agent. So I pitched Liz at SleuthFest on representing me AFTER I'd finished writing what became Paper, Scissors, Death. Oh, yeah, it would be nice to have someone to help you decide what to write. Or someone to discuss this crazy business with us. But...until you have a manuscript to sell, you have little or nothing to show an agent. And agents get approached all the time (at least, this is what I've seen at conferences) by folks who have an idea for a book, but do NOT have a manuscript, much less a finished product.

Jordan Dane has some great thoughts on retaining an agent. Check it out at

http://www.jordandane.com/writers.php