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.

Interview #2 With James Scott Bell

[Note: This is the second in a series of interviews with author and writing coach, James Scott Bell.]

James Scott Bell on Conflict, Gritty Suspense, Legal Thrillers, and Zombies

 by Donna Brennan

Jim Bell is an award winning suspense author and the creator of the Zombie Legal Thriller genre. But where does he get his ideas?

Donna Brennan: You were a successful lawyer in L.A, even owned your own practice. Did any of your story ideas come from your experiences as a trial lawyer?

James Scott Bell: Some of my early books employed actual experiences. But I think the great benefit was that the law and courtrooms are such natural arenas of conflict. It was great training in the recognition of story material.

D: So many writers dream of quitting their day job and writing full time. Was it hard for you to leave a lucrative law practice for the uncertain world of writing fiction? How many novels did you have published before you decided to take that giant step?

J: I didn't just quit. I transitioned, and as the fiction area grew for me, I gave up more of the law practice. I am not a big advocate of quitting a day job without having a foundation for the future. I think a writer should have some royalty income and a contract in hand. Or, in these new times, a year or two of proven self publishing income. A day job keeps you from writing “desperate.”

D: All of your suspense novels and thrillers take place in L.A. What is it about that city that seems to draw you, and your characters, to it?

J: If I was smart, I would've set my stories in Hawaii and taken a tax deduction for research travel. Seriously, Los Angeles is such a fabulous noir city. It's not just one vibe. It's a collection of incredible neighborhoods and people and hopes and dreams and scams and restaurants and cultures. On and on. It's where I grew up and it just calls to me. You can never exhaust the story possibilities in a Los Angeles setting.

D: In your suspenseful whodunit series with L.A. attorney, Ty Buchanan, you successfully manage to show the gritty nature of the world Ty is thrust into after his fiancee's "accident" (or was it a murder?) without using bad language or extreme violence. Is there a secret to how this is done?

J: Some of the best crime novels ever written were done in the 30s and 40s. Movies too. Did they use offensive language? Overt violence? I think they were the better for not using those. They created pictures in the reader's mind.  I mean Double Indemnity has so much sexual tension you can cut it with a knife, and you don't need to show every detail. I just don't see the need for it.

D: Is Ty Buchanan based on any particular lawyer you know? Is he a composite of different lawyers you've worked with or squared off against in a courtroom? Are there elements of your own personality in there?

J: He's mostly me, or the me I would like to think I would've been in that situation. When I was an actor, I learned the great secret of acting from reading about Spencer Tracy. He said the secret was to be himself in whatever role he was playing. He would be Spencer Tracy as a priest, or Spencer Tracy as a fisherman, or Spencer Tracy as a father of a bride. He was so natural, so convincing. In a way, Ty Buchanan allows me to “act” in a certain way, and that's one of the fun things about writing fiction. Or acting, for that matter.

D: From Inspirational to gritty suspense to zombies. Is there no end to your writing interests? And what was the motivation to publish your Mallory Caine zombie thriller series under the pen name of K. Bennett.

J: I don't want there to be any end to my writing interests. I love being able to explore whatever canyon or cave I happen to stumble upon. That's what art is all about, or should be. If you just repeat yourself it gets boring.

The main reason I chose to do the zombie series under a pseudonym was to distinguish it for the benefit of the readers. I don't hide behind a pseudonym, I'm very open about it, but it's just a simple way to alert people that this is a different kind of book.

In reality, I think readers of all my work will see similarities in theme and style. But mainly I'm having so much fun with it. I bust out laughing a lot.

D: Okay. Is the character, Mallory Caine, Zombie at Law, based on any particular lawyer you know? And, be honest, are there aspects of you in that character?

J: I think Mallory Caine is sort of a picture of my ideal lawyer. In point of fact, she is probably modeled more on my dad than on me. My dad was a great Los Angeles lawyer who represented poor people a lot, and that's what Mallory does with the oddballs who come to see her. She believes passionately in the Constitution and the presumption of innocence, and my dad did, too. He passed that passion along to me and in many ways that seems to be the theme of most of my novels. 

James Scott Bell will be the Keynote speaker at the Write Stuff conference. He will also be teaching a 1-1/2 day pre-conference workshop: "Novel and Screenwriting Intensive."

Interview With James Scott Bell

(Note: This is the first of several interviews with James Scott Bell that will appear on this blog. This one deals with Jim's experience with the inspirational market. Other interviews will address his suspense/thrillers and his books on the craft of writing.)

James Scott Bell on The Inspirational Market
by Kathy Ruff

James Scott Bell is the author of the #1 bestseller for writers, Plot & Structure, and numerous thrillers, including Deceived, Try Dying, Try Darkness, Try Fear, One More Lie and Watch Your Back. He is a winner of the Christy Award for Excellence (suspense category) and has been a finalist three times. He served as the fiction columnist for Writer's Digest magazine and has written highly popular craft books for Writers Digest Books, including: Revision & Self-Editing, The Art of War for Writers and Conflict & Suspense. Jim taught writing at Pepperdine University and at numerous writers’ conferences in the United States, Canada and Great Britain.

Mr. Bell will speak at the Greater Lehigh Valley Writers’ Group The Write Stuff Conference held March 16 & 17 at the Four Points Sheraton, Allentown, PA.

We asked the author for a few comments to share with readers of our blog. Here goes:

Question: How do you define “inspirational” writing?

Bell: The inspirational, or faith-based category, has faith playing a significant role in the story. Usually it is by way of a character's inner struggle even as an outer struggle is going on.

Question: If a writer has ideas about writing inspirational works, what guidance could you provide to help him/her to clarify those ideas?

Bell: There is no one answer to this. Sometimes a writer knows the theme before beginning. Other writers like to work this out as the story goes along. I think the key is to make sure the lead character is clearly defined for you, is complex, has inner conflict. In the struggle of the story, the ideas will become clearer. The writer might even discover new ways of approaching these matters, which is not a bad thing.

Question: What do’s and don’ts can you offer to those interested in entering the inspirational realm?

Bell: Well, it's the same for any novelist. You have to be able to tell a good story. Just because you feel passionately about some issue does not mean you are ready for the market. You have to learn the craft and also know that a story is not a sermon between two covers. It has to be a living, breathing thing.

Question: How can writers find markets to pitch their inspirational works?

Bell: There are two ways. First, go to a good Christian writers’ conference. This is invaluable, as you will meet so many people and that's always to be preferred.

The second way is to get a copy of the Christian Writers' Market Guide by Sally Stuart, which is updated every year.

Question: Please offer any other words of wisdom you feel may inspire other inspirational writers to pursue their passion.

Bell: Passion is good, but it must be tempered by commitment to the craft.

There are many tales of writers coming to conferences thinking they have a story given to them almost by divine inspiration, and they are burning to tell it. But they don't yet have the tools to do so. But when you patiently learn how to write better stories, you will feel empowered and confident. That doesn't mean you're spared the struggles of finding a publisher or a market, but it does take you a step further along the road. Try to enjoy the journey.

2012 Write Stuff Conference

March 15 – 17, 2012

Welcome to the 2012 Write Stuff Conference Blog! This is the place to get the latest information on our upcoming conference and to read interviews with presenters, agents, and editors.

The 2012 Write Stuff Conference is packed full of exciting and informative sessions taught by a very talented list of presenters. We also offer two pre-conference workshops designed to help you attain the next level in your writing.

Keynote:

Our keynote speaker this year will be award-winning suspense writer James Scott Bell. Jim, a former columnist for Writer’s Digest, has written more than 30 books, many of them bestsellers. His information-packed books on the craft of writing—Plot and Structure; Revision and Self-Editing; and The Art of War for Writers—are well-used resources on the bookshelves of many writers.

Pre-Conference Workshops:

Our first pre-conference workshop will be taught by James Scott Bell. A Los Angeles native, Jim draws on his skills as a former trial lawyer, adjunct writing professor, and actor to teach his Novel and Screenwriting Intensive. This day-and-a-half workshop, designed for the serious writer, uses analysis of film clips, hands-on exercises, and other techniques that enable you to improve your work-in-progress right in the seminar. Jim will teach you what works, why it works, and how to make it work for you.

Our second workshop is taught by Gayle Roper, an award-winning author of more than 40 books. She is a popular speaker at conferences and events around the country. Gayle put together a special workshop just for us. It’s called Ten Crucial Questions to Ask Yourself About Your Novel. Gayle will help us to scrutinize our own novels, looking for areas to improve, making our novels rise from merely “okay” to truly “publication-worthy”.

Registration:

Registration opens January 15 to the general public (January 10 for GLVWG members). Registration forms are available online or in our brochures.

You can access our conference website through a link on GLVWG’s home page, www.glvwg.org. Brochures are being mailed out to GLVWG members and those who attended the 2011 conference.

Be sure to stop by this blog often for any updates and to read interviews of our presenters, agents, and editors.

If you have any questions you can contact me, Donna Brennan, conference chair, at writestuffchair@glvwg.org.

Hope to see you there.