Joe R. Lansdale’s Act of Kindness

The generosity of some writers never fails to amaze me. Yesterday I posted a bloggery called “Is Genre Writing an Endangered Species?” I quoted Andrew Vachss’s words from the foreward of the 1995 edition of Joe R. Lansdale’s novel, Act of Love, and today I found the following comment on my blog. I’m presuming it’s partly due to the wonders of Google Alerts, but it’s mostly due to Joe R. Lansdale. An act of kindness. Or an act of promotion. Either way, it impressed me. Joe Lansdale wrote:

Interesting to see Andrew’s kind words again. I have no idea who invented the serial killer novel, but my book has been cited by many as being the beginning of the type of novels that have become such a mainstay. I will also agree that it isn’t a great book. I was young when I wrote it, and I hope you’ll be kind enough to try some of the others, THE BOTTOMS, MUCHO MOJO, LEATHER MAIDEN, etc. But the bottom line is I think it blended a lot of things that are now thought of as the serial killer novel’s back bone. Actually, when I finished that book, I moved on. I’ve written about serial killers since, but never in that way, and never in any way as the heroes of a piece. Genre writing and mainstream writing are welding together, and sometimes in good and interesting ways. But the old fashioned genre writing is disappearing. Maybe it should. All things mutate. LONESOME DOVE was a Western, and a great one. SILENCE OF THE LAMBS is bestselling genre, and so on. It’s there. It won’t die, but it will mutate. As for ACT OF LOVE, I think there may be a thirty year anniversary volume, 2011, and then I retire it. The reason it doesn’t have the impact it had then is now so many people have done what I did, and better than when I did it. But it’s also dated, and probably, at this juncture, my worst novel. But man, I’m glad I wrote it. I’ve been amazed over the years at how many writers have told me it influenced them. Surprising. I was just trying to learn how to write a novel and have a good time at it and maybe discuss a few social issues, if in a superficial way. Anyway, Thanks for the space. Joe Lansdale

Thank you for commenting, Joe. I will definitely check out your other books.

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Is Genre Writing an Endangered Species?

I’m sure you’re all getting sick of me and my comments about the publishing industry, so today I thought I’d let someone else write about it. Andrew Vachss is guest blogging here blog today, though “ghost blogging” would probably be a better word for it. He doesn’t know he’s a guest and might not be happy if he finds out, so don’t be surprised if this post disappears.

I found this bit by Vachss in the foreword of Act of Love by Joe R. Lansdale, which might be the book that started the serial killer genre. (I always thought Thomas Harris started it, but this book predates his by several years.) I wasn’t impressed by the book (sorry Joe and Andrew) but I did find Vachss’s words interesting. He wrote:

Genre writing is an endangered species . . . for all the reasons any species starts to run out of road. Overpopulation, in-breeding, lack of natural predators, limited food supply. Words don’t work as stand-alones; they gather their power from juxtaposition . . . from context, from precision placement. But, in our game, words have become de-valued currency-you can’t count on them anymore. Our field is overdosed with flab: take some gratuitous, implausible violence, throw in some unrealistic sex, splatter some guts and hair on the nearest wall, sprinkle in a touch of mystical reference . . . and you’re walking on the “dark” side.

Sure.

The genres . . . horror, crime, fantasy, whatever . . . all have their built-in places to hide. Write something stupid, it’s a metaphor. Write something mean-spirited and small, it’s satire.

Getting published is pretty easy today. And that’s good. I’m all for an open admissions policy. But the sorting-out phase, the natural, organic process by which the strongest survive . . . that’s not happening. What we have instead is favor-trading, networking, and other sordid forms of insulation from the culling edge of the evolutionary razor. When the awards outnumber the candidates, we’re heading for the Wall. With no breaks and the steering locked.

Remember I told you that the genre market was in trouble? A dragon’s coming soon . . .coming down hard. It’s going to walk through the jungle, clearing out the dead vines with its breath, stomping on those that can’t get out of the way. A hard, cleansing wind is going to blow.

***

Pat Bertram is the author of the suspense novels UnfinishedMadame ZeeZee’s Nightmare, Light BringerMore Deaths Than OneA Spark of Heavenly Fireand Daughter Am IBertram is also the author of Grief: The Great Yearning, “an exquisite book, wrenching to read, and at the same time full of profound truths.” Connect with Pat on Google+. Like Pat on Facebook.

De-Was-Ing a Manuscript and Other Editing Woes

I’ve spent the past ten days de-was-ing my third manuscript. It’s quite humbling. I think I’m finally getting the hang of writing, then I take on an editing chore like that and discover I still have much to learn.

First, I never knew there was anything wrong with “was.” (See? Wases proliferate when you aren’t paying attention. And what is the plural of was? Wases or wasses?)

Second, I have a hard time finding replacements. Some wases are easy to remove — change from passive to active voice. For example, this “was” was easy to fix: The gun was aimed at the old men. I merely switched to active voice: He aimed the gun at the old men. Eureka! One sentence de-was-ed. Sounds simple? Perhaps. Unless there are a thousand wases. I’ve found as many as a dozen on a single page, though to be fair, I’ve also found a page or two without any wases.

How many wases are acceptable? There is a philosophy of writing/speaking/thinking called E-prime (for English-prime) that says all form of the verb “to be” should be abolished. Nothing exists “out there” independent of a viewer, and all things are in a state of flux. To say the apple was red eliminates the witness, and not all witnesses see the apple as red. Does a color-blind person? Does a cat? Does a bee? Also, to say the apple was red ignores the stages of growth when the apple was green (unripe) or brown (rotten). But to say the apple looked red or some such makes a person/character sound uncertain about their ability to tell the color of the apple.

I’m not going to bore you with a discussion of E-prime (though if you understand E-prime, feel free to bore me; I’d like to understand it better). I just mentioned E-prime as one of the problems of de-was-ing a manuscript. Eliminating all wases seems impossible, yet which to keep? And how do you eliminate was in a sentence such as: He was a lawyer? You can change it to: He worked as a lawyer but that makes him sound as if perhaps he wasn’t really a lawyer. And how do you say: “When I was young, I liked to ride my bike”? Perhaps: “In my youth, I liked to ride my bike.” But few people talk like that, and it makes dialogue seem stilted and unreal.

So, I gradually de-was my manuscript the best way I know how, and hope that the remaining wases don’t detract from the story.

How do you deal with your wases?
What are your editing woes?

The group No Whine, Just Champagne will be discussing was and woes during our Live Chat on Thursday, March 12th at 9:00 p.m. ET. Hope to see you there! If you can’t make it, feel free to discuss them here.

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Today I am a Published Author. I think.

A couple of days ago I noticed that Second Wind Publishing, the company that will be releasing my books, has More Deaths Than One listed for sale as a download on their ebook page. How long had it been there? Did its availability mean that I was a published author?

My books still aren’t available in print form. I know publishing delays are nothing out of the ordinary, but I feel a bit foolish for having frequently announced the imminent publication of More Deaths Than One and A Spark of Heavenly Fire. It seems as if they are always two weeks away from being published. When they are finally released, I am going  throw a huge online “Hallelujah!” party. (You are all invited, of course.)

Which brings me back to the point of this bloggery. I wasn’t sure if having a book available as a download qualified as being published. And if it does, how odd that I didn’t know. Shouldn’t it have been a momentous occasion? Shouldn’t such a milestone have caused a ripple in my life, a change? But no. Here I sat, doggedly de-was-ing another manuscript, not knowing I’d been elevated to published status.

Well, I can now truly say that I am a published author –an online friend bought the ebook.  I received an email from her today. She wrote: “I got the prize! The first Ebook! I want the first book in print too! So see to it that someone sends me one first!”

So, not only am I a published author with one sale to my credit, I received my first fan letter.

Now this is a momentous occasion. I can already feels the ripples.

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The 600-Pound Gorilla in the Publishing Industry

When it comes to small presses today, there is a 600-pound gorilla sitting in the middle of the room, and everyone is trying to ignore it. They point to the pretty pictures on the wall and to the bright new books on the shelves, but there the gorilla sits, filling the place with its heavy breathing and strong animal scent.

What is this gorilla? POD. Print-on-demand. A technology for printing a single book at a time in a matter of minutes. Because of this new printing process, small presses with vision and little capital are able to publish good books that otherwise would never reach a readership. Just a few years ago, a small press would only be able to publish a book or two. They would have to print a thousand or five thousand copies and hope to break even somehow. And of course, they would have to find a place to store them. Now, with new technologies, they can publish many books and have them printed up as needed.

Traditional publishers who still print books the old way — in offset print runs of 5,000 or 20,000 for debut authors — have no advantage over the new presses, except, of course, when it comes to promotion and publicity. They can reach vast numbers of readers. Still, in the end, 25% of all books published this way end up as pulp, so it makes one wonder if they really know what they are doing. The publisher will save a few copies of each, of course, because that way they can keep the rights to the book indefinitely, even after they stop promoting it.

To me, print-on-demand is something to be embraced, not ignored. Small presses should brag that they print as demand requires. As long as the publisher and author agree, the book can be available to the public indefinitely, with no exorbitant upfront printing costs, no storage costs, no unsold books to be pulped.

If one mentions book burning, people get indignant. Books are sacred! One cannot burn books! But who besides me (and the traditional publishers’ accountants) cares about the books that are pulped? No one — it’s an acceptable part of the business, though it shouldn’t be. It’s wasteful and shameful. So you’d think small presses would brag about printing on demand. Instead, they try to hide it.

And there sits the 600-pound gorilla. You can ignore it, but you can’t hide it. The size of the book — trade paperback — is one giveaway. The cost is another. A POD book is more expensive than a traditional paperback (though not much more expensive than other trade paperbacks). That it’s not available in most bookstores is another tell.

A POD book is special — perhaps a book that only a few thousand would love, perhaps a regional story that no one in New York cares about, perhaps a book whose time has not yet come. And every single one of them has been filtered through the publisher’s submissions department, and every single one of them has been accepted on its merits. They are chosen.

Print books are not going to disappear any time soon, but how they are printed will change. POD will become the norm rather than the exception — it’s a much better way to conduct business.

So why the reluctance to admit small presses are POD? Because of the other POD — publish on demand. These POD people will publish anything — for a price. (Some POD companies and vanity presses are owned by the major publishers. A nice scam. But a lucrative one. Why not prey on the millions of authors who want to be published at any cost?) Since I don’t want to incur the wrath of all the self-published authors out there who are doing a good job, I’m going to stop here.

Except to say one more thing.

If one cannot hide the gorilla, change its name.

Since there are two distinct meanings to POD, I suggest calling publish-on-demand PLOD and print-on-demand PROD. That way no one will ever get them confused.

(March is Small Press Month. So, this month, let us pay tribute to all the PROD publishers out there.)

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Help Me Plan My Big Book Bash

One of these days soon, perhaps next week, my novel A Spark of Heavenly Fire will be released.

Finally.

After years of sending out query letters, after enduring hundreds of rejections, after surviving three worthless agents, I found a publisher who loves my books. Mike at Second Wind Publishing recently told a group of romance writers:  “If you haven’t, you all need to read Pat’s novels — especially A Spark of Heavenly Fire. It’s loaded with multiple love stories, triangles, lost love, romantic character development, unrequited love, and even a little happily-ever-after. Thank God she’s not a romance writer — we’d all be out of business!”

Now that deserves a celebration, so . . .
 
I am going to throw a virtual launch party when the book is published, a big book bash here on Bertram’s Blog. Most such “parties” come across more as announcements than celebrations, but I would like mine to seem like a real party, a real celebration. Do you have any suggestions on how to make an online blog party fun and festive?  How do you get people to hang around for a while, not just stop by and leave a comment? Is there such a thing as an eparty favor or an eprize or a way of simulating party games?
 
Any and all help would be appreciated.

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Deception Detection: The Truth About Lie Detectors

I am proud to welcome Dr. Katherine Ramsland as a guest on my blog. Dr. Ramsland has published 33 books and teaches forensic psychology and criminal justice at DeSales University, where she chairs the Social Sciences Department.  Among her books are Inside the Minds of Serial Killers, The Human Predator (a history of serial murder), The Criminal Mind, and The Unknown Darkness, with former FBI profiler Gregg McCrary.  In April, she will published The Devil’s Dozen: How Cutting Edge Forensics Took Down 12 Notorious Serial Killers.  She has also written a series of books to clarify facts about investigations, notably The Forensic Science of CSI, the Science of Cold Case Files, The CSI Effect, and True Stories of CSI.  Later this year, she offers The Life of a Forensic Scientist, with Dr. Henry Lee and The Forensic Psychology of Criminal Minds. Dr. Ramsland writes:

The New York Times ran a commentary recently that noted the use of psychological evidence in serial procedurals.  “The Mentalist” is one of the most popular shows on TV now, and “Lie to Me” has an intriguing premise about rare people who are “naturals” at spotting liars.  Yet research indicates that there’s no simple formula for catching a liar.  Even many people with repeated exposure to deception perform no better than chance when judging deception, but they can slightly improve their skills with solid observation and sophisticated techniques.             

A popular notion is that lying requires more effort than truth-telling, so it produces such physiological signals as a heightened pulse rate, dilated pupils, twitches, and certain facial expressions – especially when the stakes are high.  However, truthful but anxious people may also display such symptoms, while lying psychopaths may not.

Accuracy lies in questioning persons of interest long enough to observe their default behaviors.  People who feel anxious usually either freeze or defend themselves, thus displaying behaviors of discomfort.  While there are no hard-and-fast rules, the types of behaviors that can signal discomfort, and thus potential deception, include:

overgeneralizations, deflections, and increased vocal pitch

speech hesitations and pauses, a lack of spontaneity

an increase in number of shrugs, blinking, and nervous habits

changes in the eye pupil

venting the body, like pulling a shirt or collar away

feet pointed toward an exit

blanching, flushing, sighing

reduced use of hand gestures

These behaviors occur more often in those with motivation to deceive–possibly because they are trying to plan and control what they say.

Statement analysis is a common tool for interrogations.  An investigator asks an open-ended question, “What happened?” and leaves the person to fill in all the blanks.  The subject picks the starting and ending point.  Statement analysis focuses on several things: what’s said about events leading up to a crime, the crime itself, and what’s said about the aftermath.  Investigators watch for the distribution of detail in each area, and note whether subjects provided more information than requested or skipped something crucial. Also, a change in tone or speed of delivery can reveal their comfort (or not) with what they’re saying. 

A similar method called Criteria-based Content Analysis closely examines how an incident is retold, comparing it against the typical method of recall in a truthful session vs. fabricating a supposed recollection. 

Computer software known as Linguistic Inquiry and Word Count (LIWC) analyzes written content, derived from the statement analysis approach, and looks for three markers: fewer first-person pronouns, more words that convey negative emotion, and fewer exclusionary words (except, but).  The software has been more effective than human judges, but the accuracy rate is still only about 67 percent. 

The polygraph in use today is a compact portable device that measures three or four key involuntary physiological responses to questioning: skin conductivity, abdominal and chest respiration, blood pressure, and heart rate.  Some questions are designed to establish baseline responses, some are neutral, and others attempt to register “guilty knowledge,” or at least a sense that the person knows something that confirms him or her as a suspect.  However, despite claims by examiners, the accuracy rate by disinterested evaluators is not high enough for admissibility.

Even less accurate is the Psychological Stress Evaluator (PSE), sometimes referred to as a Voice Stress Evaluator.   Supposedly, during a lie, the voice reaches a higher pitch than when someone is telling the truth.  While the PSE does measure variations in emotional stress, that’s not necessarily indicative of deception. 

Psychiatrist Lawrence Farwell developed the Brain Fingerprinting process, based on the notion that all experiences, including a crime, are stored in the brain. The electrical activity of a suspect’s brain is monitored with sensors on a headband attached to a computer, while the subject is exposed to words or images that are both relevant (“probes”) and irrelevant to the crime. Certain information would be meaningful only to the actual perpetrator and would include such items as what was done to a victim, where the victim was taken, items that were removed from the victim, and items that might have been left at a scene. The subject would not see this list until the test itself was performed.  Irrelevant stimuli might include a different type of weapon, the wrong landscape, a different MO, or acts not performed during the commission of the crime.  

Probes are known only to the investigators, the test-maker, and the perpetrator.  If the brain activity shows recognition of relevant stimuli-a distinct spike called a MERMER (memory and encoding related multifaceted electroencephalographic response) – then the subject has a record of the crime stored in his or her brain.  Innocent people will display no such response to crime-relevant stimuli.  To strengthen the results, Farwell might test the suspect’s alibi for the time of the crime, by devising a scenario to test to see if the brain has a record.

At the University of Texas Southwestern Medical Center, fMRI scans are used to detect differences in neural activity between lying and truth-telling.  In the experiments, subjects were paid to perform a “theft” of one of two items (either a ring or a watch) and conceal information from the researchers.  First, each was asked neutral questions while being scanned, as well as questions about minor wrongful deeds commonly committed.  This way, the researchers could identify typical neurological patterns during truthful responses.  Then each subject responded to questions in a way that was truthful about an object he or she did not steal, but deceptive about the stolen object.  The rate of accuracy for the fMRI was around ninety percent.  Apparently, the trick lies in scanning brain regions that activate to suppress information and resolve internal conflicts; these regions are quiet when the person is telling the truth.   

There is as yet no “one size fits all” signal in the neurocircuitry that a person is lying, but it does appear that brain scans are better at revealing “tells” than is watching someone fidget and sweat under questioning.  Identifying the right combination of brain signals for a high rate of accuracy when a person lies or hides the truth is still in the future, but possibly not far away.  

Some researchers believe that certain people with high levels of emotional intelligence have a knack for spotting a liar; in fact, they can see certain signals that others cannot.  Dr. Paul Ekman and Dr. Maureen O’Sullivan float the notion that a few rare people are “naturals,” i.e., are highly accurate at knowing when someone is trying to deceive them.  (In fact, these researchers consult for Lie to Me.)  Often, these lie-detectors have jobs where it’s an important skill, such as law enforcement or psychotherapy.  When the stakes are high, such as with a violent crime or a threat assessment, they’re even better at it, because they’re more vigilant.  Ekman believes the best cues are found in the voice and face for deception about feelings, and find the best “hot spots” in gestures and words when a person lies about beliefs and actions.  Extremely slight gestures can “leak” emotional states that a person is trying to hide, providing a “tell” to a skilled and observant detector. 

However, other research contradicts the notion that certain select people are human diving rods.  Psychologists Charles Bond, Jr. and Bella DePaulo ran a large-scale study and found that lie detection is not about the observer but the observee.  A person’s perceived credibility plays a strong role in whether someone judges him or her to be deceptive.  That’s not necessarily because a person is honest; it’s because they comport themselves in a credible manner.  Participants in the study more often believed liars with high credibility ratings than truth-tellers who were perceived as low in credibility.  When Bond and DePaul evaluated numerous other studies about deception, they realized that individual differences among judges of deception hovered near the same rate as chance (50%).  No one appeared to have an innate advantage.  No “naturals” stood out.

In the real world rather than a lab, lies are often identified in context, when compared over a period of time to other behaviors or narratives.  The judgment generally involves a number of factors taken together, not just a person’s response to some questions at the time a lie is told, or their pupil contractions or fidgeting.

See also: Serial Killers and the Writers Who Love Them: Facts about Popular Myths by Dr. Katherine Ramsland

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Final Proof of A Spark of Heavenly Fire?

Will you keep your fingers crossed for me? I just received what might be the final proof copy of A Spark of Heavenly Fire. If it’s okay, by this time next week, I will be a published author. If it’s not okay, I’m going to shoot myself.

(Just a glancing blow on a toe, perhaps. What? You thought I meant in the head? I need my head . . . where else would I put my hats?)

Seriously, though, this book has been through several proofing sessions in my effort to make it as perfect as possible. I realize perfect does not have degrees — perfect is perfect — but you know what I mean. No matter how good a job one does, there is always, always something that slips by.

Remember that Persian carpet legend and how the carpet makers purposely put a flaw in their carpets because only God is perfect? It sounds arrogant to me, as if they thought they were so perfect that they had to fake imperfection to prove . . . whatever. Still, if you happen to find a flaw in my book, just remember that it’s there on purpose. (Wink, wink.)

Publication has been a long time in coming. Years, in fact. It took a year to write A Spark of Heavenly Fire, another few months to edit, years of querying and rejections — I queried almost two hundred agents and editors. I did find an agent about three years ago, but she was worthless; she sent the book to publishers who did not carry my genre (whatever that might be). When the contract expired, I started querying other agents and editors. Still no takers.

Odd, but through it all, I believed in this book. I have doubts about my other books for some reason, but never about A Spark of Heavenly Fire. It’s spooky thinking that soon I will know if all the rejecters are right, or if I am.

At least my publisher likes the book. He said, “I was told by some other small publishers with whom I had done research that I was going to get mountains of unacceptable crap for every worthy thing I received. So when I got Pat’s manuscript for A Spark of Heavenly Fire, which was like the first submission to Second Wind, I thought, ‘OMG, is this possible?!’ I knew in the first 20 pages that she was the real thing. Then, as we corresponded, I realized where I knew that name: she and I were neck and neck throughout the FCC contest on Gather.com. I remember reading her first chapter of More Deaths Than One and thinking, ‘Oh, man. I hope her second chapter is messed up! I can’t beat this.’ Well, it just goes to show, if you can’t beat ’em, publish ’em!”

So, I’m off to proof the book again. Here’s hoping . . .

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Did I Really Write a Feel-Good Book?

It will be interesting to see what people say about my books; I’m beginning to think I have no idea what I wrote. For example, A Spark of Heavenly Fire is the story of four ordinary people who become extraordinary while struggling to survive quarantine and martial law in Colorado. It was supposed to be a hard-hitting novel with an edge, but my proofreader told me, “You might do well. I think people are ready for a feel-good book.”

A feel-good book? Where is the edge? The horror? The feeling of doom? According to said proofreader, “Those elements are in the background, but the characters are the story. And they are heartbreakingly real.” Oh.

I thought I couldn’t write good characters. Most books on writing (and many authors) say that a writer has to feel what her characters feel or else the reader won’t feel the characters’ emotions. If you don’t cry, neither will your reader. But I don’t feel what my characters feel. Writing erases emotion, takes me to a place of serenity. And serenity is not generally where you want to take a reader. But I am deliberate in my choice of words and in the details I include. Perhaps those elements combine to help overcome my lack of emotion.

Of course, I generally don’t feel the emotion in the books I read, either. Often, despite the blurbs and reviews that extol the great characters, the characters seem to be only props on which the author hung the story, and a banal story at that.

Perhaps, after all, I won’t mind if I haven’t written a book with an edge. There are plenty of those out there. But I do like my proofreader’s description of my book. He wasn’t the first to use the phrase “heartbreakingly real” about my characters, and with any luck, he won’t be the last.

I can live with that.

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Blog Exchange

Aaron Paul Lazar, the author of LeGarde Mysteries and Moore Mysteries, is blogging at one of my other blogs — Book Marketing Floozy. (I split the promotion aspect of writing off of Bertram’s Blog and set it up on a separate blog with an index so the articles will always be easily accessible.) Aaron’s  blog post is Writing Columns and Branding. Stop by and say hi. I’m sure he’ll appreciate it.

I will be blogging at Murder by 4 today, talking about becoming my own genre. The article was written half-tongue-in-cheek, half seriously, but in the end, one cannot be their own genre. Where on a bookstore shelf would the book be placed? Of course, mine will only be available online for a while, so the bookstore placement is not an issue. I do wonder, though, if people who expect A Spark of Heavenly Fire to be a mystery will be disappointed. The mystery is only a small part of the story, though it is a thread that runs through it.

Either way, publication date is drawing closer. I should get another proof copy in about a week, and if there are no mistakes (keeping my fingers crossed even though it does make typing a bit rough),  it will be available on Amazon a couple of days after that. (It is available for pre-order from Second Wind Publishing.) And then I will be a published author. I wonder if I will feel any different? Well, you will be the first to know.

(And don’t forget to enter my contest so you can win the first autographed copy of More Deaths Than One.)

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