I don't know how other writers are. I've only been myself, and so I can only know how I approach a page. It's rarely the same way twice, whether it is fiction or non-fiction. It is usually some spark in me pushing an idea out there, whether it is fiction or non-fiction. The first draft is usually an unholy mess centered around one seriously vivid scene. And that scene may contain the seed of the story, a whole character, it may just be a point of ignition or the climax, or might end up happening off the page, after all is said and done. Usually there's enough oomph left from that spark to get through the first scene to boost me to the next stage, and the next. (It helps me to have a list of beats through to the end, just so I know where I'm going next, even if it changes.) Maybe this is not a good way to write, or the right way, but it usually works for me, at least in the sense of getting through a draft. So when I came across this book, Hit Lit: Cracking the Code of the Twentieth Century's Biggest Bestsellers there's a big part of me that balked. There should not be a code. Writing is art. It's not paint by numbers. Statistics have nothing to do with it. Art is art. It creates itself. By definition, art defies definition. So what's the nerve of this guy James Hall thinking he's got some kind of geiger counter that can turn the art of a best-seller into a code.

For me, even the book's title is, by itself, throwing down the gauntlet. Makes me want to put my fists up and get into some kind of aggressive posture to duke it out, because he can't tell me what works. But then...I started thinking. When you join a group of writers who know what they're doing, whether it is the Science Fiction and Fantasy Writers of America, or Romance Writers of America or Horror Writers Association, they all tell you read every hot book you can in your specific genre. You do this to learn what works for your target audience and target publisher. Chapter length. Conventions. Voice. All the details that work. Learn the mechanics. Then you come from your reading with a set of tools fully fledged, and can approach your own stories with an eye to how they can be successfully presented. You understand the box--the form-the container that will house your story. It's good advice. It's also the thought process behind what Jack Hall did when putting together his Hit Lit book, but he's asking bigger questions. His research doesn't confine itself to genre; he looks at bestsellers just as most writers look at genre. To see what makes it tick.

And here's the thing--as soon as I picked up the book, I was hooked. The gloves went down, and I was more than ready to read. This isn't a list of do's and don'ts by the annoying guy in the back of the conference who keeps asking the panel of your romance-writing peers when they are going to write "real books." You can tell, as James Hall takes us through his journey into books, that he loves the written word. He lures his reader in through the context of his life, his own reader/writer journey from when he was a boy in a 50's library "frightened out of my skin that I would be spotted by my friends in such a place" to the moment he shared a conspiratorial look with a librarian, "that floats into my mind whenever I am feeling isolated from the human race." He knows firsthand that weird communion of book lovers. James Hall gets it: that books grant you membership into the club of readers who understand that inside each book is a universe.

James Hall condenses his answer into twelve features which he discusses in twelve chapters. He suggests a list of bestsellers to read, and even though they're all books I have read before, I found myself stopping what I was doing at the time to read them again, so I could nod, and agree with the points he makes, as he generalizes across the field. To get the most out of this book, you should do the same. This is the book of someone who gets it, and he gets it from multiple points of view. He gets what is so great about books from being a reader. He gets it as a writer, and he gets it as a teacher of writers. If you're like me, this will be one of those books you have trouble finishing, because you keep going back and re-reading certain parts, and you don't really want it to be over. In fact, I just picked it up as I was writing this review, and I think I'm going to give Hit Lit: Cracking the Code of the Twentieth Century's Biggest Bestsellers another read...

There may be other writers who are happy with their craft, who believe like Dorothy (movie version), one should look no farther then ones own back yard, but I am not one of them. Not that Dorothy was referring to reading, or even flying around in wooden houses--she was looking for happiness. I am looking for something much easier to find—the next good book. I am always reading in and out of genres, various forms of fiction and non-fiction, categories ranging across the board. Who knows where inspiration may next reveal its quirky head? Plus I have a stack of "how to" books on writing. Okay, not a stack, rooms of bookcases packed with of pre-kindle books on writing. I never know when the right word or phrase from one of them will send me to the keyboard with a new vision. What brought me to this particular book is that I've been working on a procedural, and my beats have been misbehaving. (I was years into writing my odd semi-pantser-method before I found out there's a name for what I do, which is to write a list of scenes that have to happen, and then churn through writing them, one by one. I call them "beats" but they may or may not be what others call beats. Because they are not cast in stone, it is a great way to keep track of changes and see the light farther down the tunnel, plus know what I'm writing tomorrow and the day after. If something crucial changes, I can change it in the text, then also in the beats. It helps me see how the change affects everything.) I could go on longer about this, but I didn't set out to write about writing. I set out to review a book about writing, Plotting and Writing Suspense Fiction by Patricia HighSmith.

Patricia HighSmith is a well known author of suspense fiction. Before her death in 1995, she wrote some short stories, and more than twenty books, some of which were made into movies like The Talented Mr. Ripley and also, she wrote this book on writing suspense fiction. She clearly had a mode and a method of writing which attracted the interest of story authorities like Alfred Hitchcock. If you're looking for the flavor of Highsmith's voice, you will find it in this writing book—this is not the academic tome I was looking for, but more of a reverie, glancing over certain elements, but also meandering through her works and plucking examples here and there.

When thinking of good references on writing, I cannot help but refer back to William Zinsser, Dwight Swain and John Gardner as stellar examples of books which approach writing in a systematic way, which are easy to understand, adopt, and organized in a functional way, designed to easily return to when need comes up. Sure, the creativity and eloquence of the writer is there, but these books also show the bones of the writing, the structure, the skeleton, the logic behind story. That is what I was expecting between the covers of Plotting and Writing Suspense Fiction, but that is not what I found. For example, the chapter on the first draft does not give a cut and dried recipe, or even a philosophy of writing. Instead, she talks about some of her own first drafts almost like a memoir or remembering an old friend. She pulls out examples from her own books much in the way we see writers here on Novelspot sneak hooks and synopses, and blurbs into their columns (guerilla marketing) and refers to other authors' books as well. She has a chapter on snags, where she mentions a couple of the problems writers wrestle with, like which point of view to take, and the question of what happens next. To me, her best advice is that the writer "should sense when something is wrong, as quickly as a mechanic hears a wrong noise in an engine, and he should correct it before it becomes worse," something I should recall the next time before I find myself with 60 single-spaced pages of backstory. But this example is like much of her advice--from a creative perspective, but metaphysical and conceptual rather than providing a practical solution. She also touches something which I put on my to do list— writing a sympathetic antagonist, which she calls the "likeable criminal."

Another factor that comes to light and which I read with horror is that she had to write with carbon paper and a typewriter. I am aghast at the obstacles and limitations of pre-computer drafting and editing. As a perspective on the writing life a mere fifteen years ago, there are tantalizing glimpses of how a writers life may have been in her heyday. But on the whole, Plotting and Writing Suspense Fiction is framed more as a book written for fans of Highsmith with a casual interest in the genre than as a reference book for writers. While providing a glimpse into the mindset of this particular author and the way she approached the page, and handled the issues that crop up, one can see why she earned so many writing awards, but not how.

This all started in an offhanded way. I had a situation with my computer. Between you and me, I have to admit, I'm pretty good at finding computery solutions by myself and usually I don't have "situations." But this time I brought my problem to an online list. The very first answer came promptly from this guy, Geoff Hart, and what's more important is that he solved the problem. This successful solution was followed by a barrage of well-meant suggestions from a random selection of other helpers--none of whose helpful assistance would have actually been helpful. Some would have made the problem worse. This led to my paying more attention to the list. I saw Geoff Hart's name frequently, and always tied to the kind of extremely useful information that an earlier me would have written on a note card and put away for later. It was a while before the sluggish hamsters in my brain came to the conclusion that this useful guy was the author of a book I'd been hearing about, Effective onscreen editing: New tools for an old profession. Well, duh. No wonder he knew what he was talking about. I aimed the full force of my "Ben Steinian-like" long-windedness at him (which, I might add, he deflected with his delete key.) But before I put him to sleep in a monotone-induced coma, he flung his manuscript at me, after I promised not to make my fortune on his trade secrets, at his expense. (I completely understand, Geoff. I had my own set of young'uns to raise.)

So here I am, about to give away the whole shebang. The entire 743 pages. (Sorry Geoff. Your secret's out, bare-naked and exposed in this half-page review.)

I knew I was looking at something different as soon as I opened the first page. It was the right size and fit perfectly on my screen. How rare is that? Every time I read something on my computer, I have to monkey around to zoom to page width or otherwise try to get ebook pages into some semblance of readability. So as far as I'm concerned, Geoff's orderly presentation is no mean feat. This is just the kind of subtle feature that shows me he knows whereof he speaks. So let's make this Feature #1: Looks pretty on the page. Even the skittle green and yellow elements were just the right visual relief. Plus they made me want to lick the page, they were so refreshing.

Feature #2: Great Table of Contents, and while we're at it, great index. This seriously ups the usability factor. What good is advice when you can't find it? Face it, how many times do you do a search in a non-fiction book or a reference, and have to go thru three hundred and forty-seven wrong selections before you get to the one you want? The TOC and index have all the content laid out right there on the page. Plus they're clickable. And the topics are items I need. From basic editor questions about how to approach your pay rate--something at which I fail miserably--to tips and tricks of editing online. In fact, chapter 11 explores new territory for me--creating macros. I thought I knew everything about Word, but I have avoided macros as if they were contagious. (Probably because at one time in earlier incarnations of Word, they were. But I digress...)

Feature #3: Timely information. I won't tell you about how I save as text and then have to add in all the code back by hand. Talk about inefficient. No, I'll just tell you that in addition to all the standard editing stuff, Geoff discusses a sheer genius method of editing text content of HTML pages in word, with tracking enabled while retaining the tags. Well, it is genius in MY book.

I know there are more authors reading this review than editors. But I would suggest to all of you to get this book. After you've finished your manuscript and somewhere between your seventh and tenth drafts, apply some of these tips and tricks to your own editing passes. It will make life easier. And when your own editor or your publisher gets their hands on your manuscript, they'll appreciate it.

And for all of you English teachers/author/editors who are trying to make a go of editing during the summer or as a sideline, even if you don't sit down and read all 700+pages from cover to cover--it's a serious reference book that should be in every online editor's library or on their bookshelf. This guide is chock full of useful complexities that I have to deal with every day, and I hate to admit it, but with better solutions than I currently have, too.

Reviewed by Allie
© April 2009

Marcela Landres lives on a celestial tier as far as we writers are concerned. She speaks from that elevated perspective of an editor at Simon & Schuster, and, as the first ten or so pages of her book tell us, she goes around the country giving workshops and lectures enlightening writers with key advice about getting published. I do have to admit the topic is a crucial one. As soon as I heard the title--even though I have done my time as an editor--my first thought was "I have to get my hands on that book." Every writer wants to know the answer to How Editors Think: The Real Reason They Rejected You, especially writers with unpublished books looking for editors who are looking for books to publish. In fact, in my email to the author, I mentioned how some acquisition editors (who shall remain nameless) should be punished by having to edit the books they selected for publication.

Let me say right off the bat, the book is short. It resides on a slightly less celestial tier than its author- because I really do like my books to have substance. Though I am sitting here with a dozen books on my desk, most of which are over 200 pages, on one level, it is hard for me to think that a manuscript of only 33 pages is a drawback. I could churn my way through something longer, plow through extra prose put in there just for the page count but I certainly don't mind someone who gets to the point. Only there actually is a surprising amount of filler in something this short.

And what is the point? The point is a series of a few revelations that make a whole lot of sense. Some of these revelations I already knew but didn't know I knew, and feel rather gratified to find out that what I suspected is now documented to be correct. This review has been particularly difficult to write, because I have been trying not to summarize the main points of the book--which I could do in one sentence. If you've been around a while, you may recognize some of these points. In fact, your publisher has been telling you to do these things, in one form or another, though probably not quite so convincingly. If you're a new author or wannabe author, this is a line or two of advice here that you should definitely pay attention to.

Now, if you get this book, (and even if you don't) it will point out how editors think. I admit that I was hoping for a bit more meat. I mean, I paid $9 for my copy of John Gardner's On Becoming a Novelist and I could spend a month reading Gardner non-stop and there would still be more there to chew on. This ultimate point of this book, however, will direct you not to a conclusion but to another .pdf that gives you some suggestions about developing your "platform."

Ms Landres does use this book as part of her strategy to develop her client list (a situation which I can relate to, as I am also editing freelance these days), so expect to find some questions that lead you back to her website where she can possibly develop an editor-client relationship with you. But do pay attention to what she says--if it's the same thing your publisher said, well, they're trying to tell you something.

Reviewed by Allie
© April 2009

I first “met” Lee Lofland through an online email group, Crimescenewriters. His comments and answers to questions others asked, to create realistic plots and characters, gave me tons of material I can use some day. After hearing he was a writer, too, I had to know more.

Lofland brings his experience as a veteran police investigator, who worked his way from an officer in Virginia's prison system, then a sheriff's deputy, a patrol officer, and a detective to his book Police Procedure and Investigation, A Guide for Writers. According to his web site, Lofland solved cases dealing with narcotics, homicide, rape, murder-for-hire, robbery, and ritualistic and occult crimes. He was an undercover officer and even a narcotics K-9 handler. He’s certified in the U.S. Department of Justice, Virginia State Police Academy, and the DEA, as well as continuing to be certified in Crime Scene Management and Crime Scene Investigations.

One major thing Lofland lets readers know is not everything shown on TV and in the movies is correct or accurate. Much is completely wrong. The material in this book, including photographs and illustrations and detailed information, gives a firm basis for mystery/suspense/detective writers to incorporate reality in their stories and books.

Chapters include “Law Enforcement in America,” with a breakdown of local, county, state, and federal law enforcement agencies; “The Police Academy,” with information about the training and courses found in different jurisdictions; “Police Officers: Their Duties and Equipment,” including job descriptions and equipment used.

Personally, I found the chapters “Detectives” and “Tell it to the Judge: Courts and the Legal Process” to the most helpful for me in my writing career at this point, but most of the information is useful and enlightening. An index at the back of the book and appendixes helps readers find itemized material.

Lofland presents information in such a way that almost everyone can easily understand what he writes. He shares his mass experiences and research so that readers can know reality and authors can make their writing more interesting, believable, and realistic.

The material on the back of the book states, “Police Procedure & Investigation is the next best thing to having a police detective personally assigned to your book,” and I wholeheartedly agree.

I advise that anyone interested in procedure and investigations find, and keep on hand, a copy of this book. Police Procedure and Investigation, A Guide for Writers by Lee Lofland is one of the best written and most usable reference books for readers and writers interested in crime, mystery, police, and law enforcement.

Reviewed by Vivian Zabel
© March 2008

Nowadays, so many books are written for writers that this makes it difficult for a young author like me to choose one. However, Carolyn Howard-Johnson's book, The Frugal Book Promoter: How To Do What Your Publisher Won't, stands out from the crowd. Not only is she an instructor at UCLA's Writers' Program, but you can come across her name almost everywhere, which clearly shows her expertise in marketing and self-promotion. This is no coincidence. She has many years of experience both as a publicist and as an author, promoting her own books, This Is The Place and Harkening, which became award-winning best-sellers.

The Frugal Book Promoter has a lot to offer for both new authors and those more experienced. It includes vital information on many tasks, practical advice and many fascinating anecdotes from the publishing world. The book includes advice on how to approach editors, what to include at your website, and how to get reviews for your book. It also gives the reader an insightful introduction to branding.

The Frugal Book Promoter tells you how to prepare for an interview with regards to the different sort of media, and how to get those interviews in the first place. She also tells you how to tackle your fears and gives practical advice on how to do readings, book signings and other appearances. She explains to authors what to include in a media release or a media announcement and how. One of the most interesting topics she deals with is building your media kit and the way to use it.

From this highly informative book, you can become familiar with the many aspects of the publishing process, including ebook publishing, blurbs, cover design, and many others.

The Frugal Book Promoter is packed with useful tips for would-be and practicing self-promoters. It contains useful addresses, for example, of review and press release sites. There are sites for further research on the topics included and an appendix with samples.

The Frugal Book Promoter is the winner of USA Book News' "Best Professional Book 2004", and this is not without a reason. Highly recommended for all authors.

Reviewed By Ilona Hegedus
© September 2005

New Cover/ New Amazon purchase link