Interview #3 With James Scott Bell

[Note: This is the third in a series of interviews with award winning suspense author and #1 best selling writng coach, James Scott Bell.]

James Scott Bell on the Craft of Writing and Writing Craft Books
by Donna Brennan

In addition to writing great suspense novels, James Scott Bell is a popular conference speaker and author of several Writer's Digest books designed to help writers sharpen their skill and improve their works in progress.

Donna Brennan: So many writers I know have at least one of your acclaimed books on the craft of writing: Plot and Structure, Revision & Self-Editing, and The Art of War for Writers. And you've just come out with a fourth, Conflict and Suspense. Did Writer's Digest Books come up to you and ask you to write them, or did you suggest these books to Writer's Digest after being a columnist with their magazine for a number of years?

James Scot Bell: WD was getting ready to launch the Write Great Fiction line again and talked to me about possibly doing a title. I told them Plot & Structure was right in my wheelehouse, so they said go for it. When the book took off, they wondered if I might do one on Revision, and I was ready for that. The Art of War for Writers was an idea I had. I'd long wanted to do something in that format, a sort of field manual for writers on a number of topics, modeled after Sun Tzu's classic. Short aphorisms, followed by my commentary.

When WD Books started planning the new Elements of Fiction line, they approached me about doing something on Conflict and Suspense. Again, wheelehouse.

The books have all been a joy to write, and the reception of the works by appreciative writers is the most gratifying thing of all.

D: Which of these books on writing was the most fun to write? Were any of them fun to write? Which one generated the most reader mail?

J: All of them were fun, but also hard work. I strive to make my books on writing as stuffed as possible with helpful techniques that work.

I suppose Plot & Structure is the book I hear about most. I guess it's become something of a standard work over the years. Sometimes people send me pictures of their copy, with sticky notes and highlights all over it. I like that. It shows me it's doing its job.

D: Could you provide one or two of your favorite tips from each of these books?

J: From Plot & Structure: Make sure the first "doorway of no return" is an event that virtually forces your Lead character into Act II. This may be the single most important structural element of all.

From Revision & Self-Editing: Cool off at least three weeks before your first read through. Do it off a hard copy (or e-reader) and take minimal notes. Try to replicate the feeling of being a reader with a new book.

From The Art of War for Writers: A great novel will have at least three truly memorable scenes, and no weak ones.

From Conflict & Suspense: Remember the stakes of a novel must involve death: physical, professional or psychological.

D: In Plot and Structure, you assert that anyone can learn to craft a good plot. This flies against those who claim that "either you got it, or you don't" when it comes to writing. Why do you believe that anyone can learn these skills?

J: I call the "have it or don't" canard the Big Lie, because that's what it is. I bought it for years. Then I went out and learned how to write novels, many of which became bestsellers. And I've taught innumerable writers over the years who have gone on to be published. So I believe the craft can be taught because it's demonstrably and experimentally true.

What you can't teach is talent and heart. So the writer brings those things to the table. But I think talent is overrated. There are countless people with raw artistic talent who aren't disciplined enough to learn craft, and languish in a sea of self-pity because no one recognizes their genius.

And there are countless artists who, with a smaller reservoir of talent, have nevertheless succeeded because they worked hard and checked their ego at the door in order to learn from others.

D: In Revision and Self-Editing, you break everything down into easy-to-read-and-digest sections. For a long time now, I've been planning to read the section on overcoming obstacles like procrastination, but I keep putting it off. I do the same thing sometimes with my writing or editing. What advice can you offer someone like me?

J: Ha ha. Listen, there are three ways to overcome procrastination:

1.

D: Your latest book, Conflict and Suspense, was just released in January. Besides the fact that you are a master at conflict and suspense, why should I buy this one if I have the other three already mentioned? How does this book differ in its treatment in some of the topics (like the Big Lie and the LOCK method) covered in your other books?

J: There is a slight overlap in a few chapters because you can't talk about conflict and suspense without going over plot and structure.

But I've made sure to filter all the topics through the conflict/suspense lens. Those chapters will be useful for readers of Plot & Structure because a) it's always good to review; and b) it's always good to get a new perspective on previous knowledge.

And there is much that is new in terms of techniques and exercises to apply.

D: You recently self-published two ebooks, both containing a novella and a few other stories. Why would a well-known, multi-published author, like you, go that route?

J: First, because I love to write. Second, there is now a market for short stories and novellas like never before. And third, it's money in the bank. There's no reason NOT to self-publish.

D: The fact that you are already an established author with a large following probably makes it a lot easier for you to sell your self-published books than if you were just starting out. What advice do you have for authors who have tried to pitch their books to ten or more agents or editors with no success?

J: The submission and rejection process is what all writers go through, and if handled right makes them stronger. It's not wasted effort if you're fighting to get better as you go.

At some point, self-publishing may become an attractive option. These days self-publishing does not close the door on getting a traditional deal.

But one needs to realize indie publishing is not an easy way to massive profit. To be successful at it you have to produce volume, and quality, consistently. But that's what a true writer will do anyway.

I would advise the writer who wants to self-publish to systematize the process. Set up quality controls, especially with the writing itself (e.g., freelance editors and/or beta readers and critique partners). Think like a business, because that's what you're going to be.

D: What/who are some of your favorite books/authors?

Raymond Chandler, especially The Long Goodbye.

Michael Connelly, especially Last Light.

Robert Crais, especially Hostage.

Lawrence Block, especially Eight Million Ways to Die.

Stephen King, just about all his work.

Dean Koontz, ditto.

Harlan Coben, likewise.

Fyodor Dostoevsky, especially The Brothers Karamazov.

Mark Twain, especially The Innocents Abroad.

Charles Dickens, anything he wrote.

David Wilk on publishing, continued

This post concludes Conference Chair Kathryn Craft’s interview (click here for Part One) with publishing guru David Wilk, who owns and operates Creative Management Partners, a business providing authors a full suite of publishing services. Note: David's individual appointments for The Write Stuff conference are now full.

Kathryn: What kind of author is the most successful at self-publishing? Is self-publishing a viable option for fiction authors? What services do you provide to authors choosing to self-publish?

David: There are as many different types of self-publishing tools as authors using them so there is no single answer to this question. But one characteristic applies to all, I think, and that is commitment to the process of publishing, which not all authors can achieve. Self publishing is difficult to do successfully for any type of book. It's easier to sell nonfiction, but in the current publishing climate, fiction writers are going to need to self publish, or be willing to participate in the publishing process on a regular basis, as fiction is commercially challenged. Services I offer include advice and consultation on every aspect of the publishing process, guidance in which path to follow, how an author can operate as a business, and if appropriate, I can provide any or all of the actual publishing elements an author will need to be a publisher (developmental editing, copy editing, proofreading, book design, type and composition, distribution, sales and marketing, and business administration).

K: Your bio says you have "been involved with publishing hundreds of books, including a number of best sellers." Pick one or two of the bestsellers, tell us your role in its production, and tell us why you think it sold so well.

D: SECRETS OF THE CODE was a New York Times Bestseller for 16 weeks and in various editions has sold over a million copies worldwide. I was the publisher of the original hardcover edition of the book and later managed the marketing of the paperback. It was a very erudite and intelligent companion to Dan Brown's DaVinci Code. We did a full on best seller marketing program for the original edition, worked hard to get important support from the retailers, and of course it was a great book published at the right time, with sales minded editors and many brilliant contributors who all helped make the book a success (and though we were riding the coattails of the most successful novel of our time, ours was by far the best selling companion guide for all the reasons given here).

For more about David Wilk, check out these links to his ongoing projects:

booktrix.com (book marketing and consulting), livewriters.com (video sharing for authors and books), writerscast.com (author and book industry interview podcast), chptr1.com (book browsing), readiac.com (curating enthusiastic book reviews) and rvive.com (republishing lost American classics). He writes about book industry matters regularly, and is the Director of Marketing for Good Business International (good-b.com).

Write Stuff registration is now open! Days to Early Bird Deadline for extra registration savings: 27!

David Wilk on his favorite topic: Publishing

If you are an author serious about selling your work in today’s ever-changing market, mark these two Write Stuff conference sessions by David Wilk as “must see”: “The Writer as Entrepreneur” and “The New Rules for Writers Who Want to Master New Media Tools and Online Marketing.”

From his home base in southern Connecticut, David operates Creative Management Partners, which provides authors with a full suite of publishing services, from editorial to sales and marketing. His role morphs according to his client’s needs: one day he might help a client develop a marketing or self-publishing strategy, and the next he might execute that client’s plans for him/her, all or in part.

Simply put, David is a publisher who has functioned under many different guises. He has owned or operated at least six different publishing imprints at various times in his life, as well as managed imprints for companies for whom he worked. He has been closely involved in the publishing of hundreds of titles as distributor, sales or marketing manager, or publishing consultant, including a number of best sellers. Print, electronic publishing, digital marketing strategies—David has done it all. Working with writers and publishers to help them connect with readers is his primary work. Writing and editing words in any media remains his primary passion.

What follows is an interview Conference Chair Kathryn Craft conducted with David.

Kathryn: Writers attend The Write Stuff to learn more about craft, to network, and to beef up their publishing industry IQ. Let’s start with a definition. With so much of the industry in flux, how would you define “publishing”?

David: Publishing is the interface between the writer and the reader, whatever that looks like in practice. I’m coming to The Write Stuff conference to help writers understand how the business of publishing works now and what they need to do if they want to make their way in the latest and still evolving ecosystem of books and readers.

K: How did you educate yourself in so many areas of the publishing industry?

D: Learning by doing. I have been involved in writing, editing, publishing, book wholesaling, distribution, sales, marketing, and online business going back to 1970. I am deeply interested in every aspect of the business of books and its meaning and impact on our culture.

K: Are you a writer? If so, what is/are your area(s) of interest?

D: I have always been most interested in writing poetry and experimental prose and continue to write sporadically. These days my writing tends more toward the expository—explorations of culture, technology and change, as well as political involvement with issues relating to ecology and climate change.

More from David, including his involvement with a New York Times bestseller, in next week’s blog.

Readers: do you have questions about how your own project fits into today’s publishing industry? Do you wonder how the future will affect writers, e-publishing, e-reading, royalties, the role of agents? Do you want help developing a strategy for marketing or self-promotion? Do you wonder whether self-publishing would work for you? Then you’ll want to talk to David. As a Write Stuff conferee, this opportunity is available—for FREE! While he doesn’t want to talk about specifics of writing, he will give opinions on subjects, concepts, and marketability for the first five conferees to sign up for a ten-minute consultation with him. So don’t delay—make sure your Write Stuff registration is postmarked January 15!

And watch for an announcement—the conference website will soon go live!