BookHuntersBlog.com

BookHuntersBlog.com: Did you study the craft of writing or dive right into it?Andrew Peterson: I dived right into it. I started in 1990 with an ambitious first novel. It took me two years to complete and ended up being 165,000 words. It was a horror novel, and it was atrocious. Just awful. Burning it would’ve been an insult to fire!

BHB: What do you think about the future of books with all the new technology coming out (like Kindle and foldable screens)?

AP: New technology is coming. The publishing industry needs to get on board or be left behind. I’m not opposed to “electronic books.” They’re not for me; I prefer the look, feel, and smell of the printed page, but if Kindle appeals to people who wouldn’t otherwise read, I’m all for it. On a similar note, I’m a huge audiobook fan. I love listening to books read by good narrators, like Dick Hill.

BHB: How difficult was the publishing process for you?

AP: Very. There were many moments when I felt it was hopeless, that I was never going to be published. It’s almost a “last man standing” type of deal. You have to outlast everyone else. I didn’t get serious until 2005 when I attended my first writers conference and discovered all the things I was doing wrong. Having Ridley Pearson as my instructor on the Maui Writers Alaskan Cruise was the pivotal moment in my writing career.

BHB: How much of your own promotion do you do?

AP: Ninety-five percent. Most publishing houses don’t have large budgets for promoting their authors, especially new authors. Think of yourself like an independent contractor. You’re selling your product to a buyer. The more you self promote that product, the better it will sell. You’ve seen this concept in action at your local grocery store — the person at the table offering free samples of a new chili, or a new type of cheese. You may have created a great book, but you have to tell people about it.

BHB: Do you have any tips for aspiring authors?

AP: Yes: don’t submit your work prematurely. Too many authors are impatient and feel the need to announce themselves to the world before they’ve refined their craft. I’ll give you an example of what I’m talking about. Let’s say an art instructor gives his class of 30 students a weekend assignment to paint a watercolor landscape. That’s all he says about it. On Monday morning the students hang their work on the classroom wall. I guarantee that within one minute the art instructor is going to zero in on one particular student’s work and recognize it as the effort of someone who has worked hard to refine his craft. It just stands out from all the others.

Literary agents and editors are like that art instructor. Within the first minute of reading, he or she will recognize a polished and refined manuscript and want to keep reading. You need to be that author. Bottom line? I can’t emphasize the importance of having your manuscript professionally edited for both prose and plot. I work with two freelance editors who are extremely talented and knowledgeable. I don’t submit anything until both of them are 100% satisfied.

BHB: What are your future plans?

AP: I’m hooked on being an author. It’s incredibly tedious and solitary work, but I can’t see myself doing anything else. I’m currently writing the next Nathan McBride adventure.

BHB: How do you juggle writing with the rest of your life?

AP: For me, this is hands down, the most difficult aspect of being a writer. Before I sold my book, my life was uncomplicated. To be honest, I haven’t figured it out yet. I’m constantly distracted by dozens of forces all needing my attention. One of my freelance editors, Laura Taylor, says I have to learn to be more protective of my time, and I agree with her. Thing is, I have a hard time saying no to people who ask for my help. I’ve been there, and it wasn’t that long ago. The key is learning to be more efficient with my time, but I’m definitely struggling with it.

BHB: Do you have any methods or rituals to your writing?

AP: Not really. I try to write in the mornings when I’m freshest. By the end of the day, I’ve got too much bubbling around in my head — like, where did my day go. I find it difficult to write late at night because I’m usually spent by 10 or 11 p.m. If you’re working full time, and/or have a family to care for, it’s especially difficult. Set a goal to carve out one hour a day for yourself and try to get one page written in that hour. It doesn’t sound like much, but for many of us, it’s an accomplishment!

BHB: How do you find inspiration?

AP: Webster’s Third New International Dictionary (a dictionary I highly recommend) defines inspiration as “the drawing of air into the lungs.” Oops, wrong definition, sorry. Ah, here we go: “The act or power of moving the intellect or emotions.” In all seriousness, I’d like to believe that ability is in all of us. Ideas often come to me when I least expect them, so I always keep a small pad and pen with me. While driving, I’ve actually pulled over to the side of the road to jot down an idea or a phrase that comes to me. Inspiration comes from the world around you. Authors are inherently good observers.

BHB: Was there one certain event or happening that made you want to write a book?

AP: I’d have to say no, at least not in the sense that I was a victim of a traumatic event or had an amazing survival experience. I’ve always enjoyed reading, ever since I was a kid. I loved “R is for Rocket” by Ray Bradbury. I probably read it a dozen times.

BHB: What do you do against writer’s block?

AP: For me, writer’s block manifests itself through distractions. The more I’m distracted, the harder it is for me to be creative, so I try to insulate myself as much as possible. I get my best work done in large chunks of time. So here’s my routine. When I first sit down at my desk, I start reading what I’ve previously written and do a rough edit. I’m initially looking at what I call “the big four.” POV: VOICE: SCENE: and STORY. For (POV), I’ll verify the reader is grounded in a particular character in the scene. (VOICE) I’ll change a word here and there to reflect my character’s mood and make sure my character’s mood is translated into the narrative tone. (SCENE) I’ll restructure a sentence, add some sound, color, smell, and texture. And for (STORY) I’ll verify that what I’ve written moves the story forward or enhances a character’s arc. If it doesn’t, it goes on the chopping block. Generally, I’m enriching what I’ve hacked out the day before because it’s pretty rough. By the time I’ve been editing for half an hour, I’m ready to write new material.

BHB: Do you use an outline when writing? Do you stay linear or do you skip in time?

AP: A lot of authors fear outlines and the mere mention of them makes them weak-kneed, nauseous, and on the verge of passing out. Personally, I can’t begin to imagine how an author can write a complex fiction novel with twists, turns, character arcs, and irony without having — at a minimum — some kind of written road map. A single line on a piece of paper with events/scenes along that line. Maybe the line is a circle, the protagonist ends up right back where he started. That’s okay, but it’s NOT okay to aimlessly ramble in your story. I have a very strong opinion on this, so those of you who don’t believe in outlines at any cost, consider this. At a minimum, an outline will you keep you focused on the central story line of your novel. Authors (me included) are notorious for going off on all kinds of tangents that have nothing to do with moving the story forward. Worse yet, that tangent can lead to another, and another, etc…

My outlines are in paragraph form with each paragraph stating what I want to accomplish in a particular scene. Here’s a example: “Nathan contacts Harvey and together they fly out to DC to meet with Senator McBride (Nathan’s father.) General Hawthorne (Nathan’s former commanding officer) is at the meeting and Nathan’s radar goes up.” From that paragraph, I’ve got all kinds of material to write. I’ll write it in Nathan’s POV and the reader will get a good picture of the dynamic interaction taking place between these key characters in the story. For me, an outline doesn’t have to be detailed at all; in fact, I prefer not putting much detail in them.

There’s another advantage to using an outline which answers the second part of the question. If I get stuck writing a particular scene, I can always jump forward in time and write a future scene. There are no absolutes. My outline for FIRST TO KILL evolved as the story was written, but for the most part, it followed the central story line and kept me on track. I had a clear understanding of the chain of events needed to make the story work. Remember, a small change toward the beginning has the potential to be a huge change by the end. For me, an outline saves time and energy

BHB: How difficult was it to get an agent?

AP: Don’t hate me, okay? I signed with the first agent I queried, Trident Media Group. I’ve since switched agencies, but the most important thing to remember when approaching an agent? Don’t do it prematurely. It’s the same answer I gave in the “tips for aspiring authors.” Make sure your presentation looks professional, from the query letter to the manuscript itself. I don’t recommend submitting anything to an agent without having it professionally edited, or at a minimum, proof read by someone you really trust. Personally, I think the best way to find an agent is through a referral or by meeting them at writers conferences. My freelance editor, Ed Stackler, knew someone at Trident and made a pitch for me. Because Ed Stackler works with bestselling authors, his pitch carried considerable weight and ultimately opened the door to my agency. Even so, I made sure my query, synopsis, and follow-up manuscript submissions were tight and professional. I’m currently represented by Jake Elwell of Harold Ober Associates in NYC and I couldn’t be happier.

BHB: How important is a good website and do you utilize blogging?

AP: With today’s electronic world, I think a good solid website will enhance your image as a professional. I can’t say if it really helps sales because my site is unproven, as my book hasn’t launched yet. I’ve had several people (friends) tell me they’d buy a book just because they loved my website so much. Of course you have take that comment in the spirit it’s given. I think a good website is one part of the bigger self-promoting package, so I’d say it’s 7 out of 10 on the importance scale.

Blogging is something I’m fairly new to, so I’m not the best person to evaluate it. My gut instinct says blog away! Anytime you get your name out there in the public realm, the better. A word of caution though. Blogging can chew up your writing time, so keep an eye on how much time you spend on the internet versus writing your (next) book.

BHB: What do you prefer and why: Mass-market paperback or hard cover for your debut novel?

AP: My ego says hardcover, but the businessman in me says mass market paperback. Fortunately for me, the decision is already made. FIRST TO KILL will debut in mass market paperback. I’m an unknown author. Period. There’s no sugar-coating it. It’s a whole lot easier on the buyer’s pocketbook to shell out eight dollars on an unknown author than twenty-eight dollars. Plus, as a mass market paperback debut, it’s a much larger print run. I think Dorchester is planning on 35,000-50,000 copies on the first print run. If FIRST TO KILL debuted in hardcover, I could probably expect to see a first print run of around 7,500 copies. Truth be told, I’m pleased to be published in either form.

BHB: What are the most difficult and rewarding aspects of being a published writer?

AP: The most difficult? I’d have to say the time crunch. I’m really struggling with finding enough time to get the next Nathan McBride book written. I’m making progress, but it’s not at the pace I’d like. Although I have no concrete deadline, I’m putting a lot of pressure on myself to finish by November ‘08. Hopefully sooner than that.

The most rewarding? Hands down, it’s the sheer feeling of accomplishment of finishing, and ideally selling the novel and having it nationally distributed in bookstores. Ever since I started writing back 1990, I’ve had this silly fantasy. I imagine myself walking through an airport terminal and seeing a guy sitting there reading my book. The question then becomes, will I have the courage to walk up and introduce myself? I hope the answer is yes.

Thank you very much for this opportunity and good luck with your career!

Andrew Peterson Profile

First to Kill by Andrew Peterson can be found at AndrewPeterson.com.