KN Magazine: Articles
If They'd Mentioned This in The Beginning…
A candid look back at two cops-turned-authors sharing coffee, early dreams, and the long road from writing craft to traditional publishing—complete with hard lessons, heartfelt reflections, and a touch of gallows humor.
Wayyyy back in the day and often around four or five in the morning, Paul and I would 69 our patrol cars and talk. Yak, prattle, blabber, and natter. . .gab, gossip, banter, and jabber. After all, it was the middle of the night, and if the city wasn't behaving badly, we had the time.
Often, we'd take up behind a Shell station on our beat, and drink thermoses of coffee and share our experiences during the shift, hopes of things to come and dreams yet unrealized, but usually well into development.
Very often, we'd talk about writing. The little tidbits we'd authored for our friends or—more often—just for ourselves. We didn't know it then, but we were on our way.
If someone had told us that writing a book wasn't more than just tippy-tap-typing away in our favorite club chair, mid-shelf scotch on the armrest, and a cozy, flickering flame gently warming a walnut-paneled study, well, we wouldn't have believed it. Hell, we just assumed we had Wambaugh skills, or when we got really up in ourselves, Hemingway was in our sights. After more than a few years seriously devoted to this exercise, apparently 'learning the craft' turns out to be a real thing.
We've come a long way, since those days on Beat 1 and are more dedicated than ever to getting it right. Still...it would've been sobering to know the following:
Embarking on the path from learning the craft of writing to publishing with a traditional publisher is no simple feat. It's a winding road filled with twists and turns, but for most of us, the promise of seeing your work in print and sharing it with a wider audience makes the journey worth the effort.
Let's dive into the experience step by step:
Learning the Craft
Every author's adventure kicks off with taking a crack at mastering the art of storytelling. This phase is like the foundation of a grand building, essential and ever evolving.
Reading Extensively: Most writers start by devouring books in their genre and beyond. It's like a crash course in different writing styles and narrative techniques.
Formal Education: Some authors opt for formal education in creative writing, but it's not a must. MFA programs and writing workshops are just one way to sharpen those skills.
Practice and Experimentation: Writers hone their craft through years of practice. That's right, years of practice. From short stories to novel drafts, it's all about flexing those creative muscles.
Studying Writing Techniques: Many authors dive into books on writing craft, attend workshops, and join writing groups to level up their skills.
Writing the Manuscript
Once confidence blooms, or some version of that, authors often find themselves diving headfirst into crafting their manuscript. For most, it becomes a labor of love in the making.
Drafting: Writing that first draft can be a marathon. Months or years may pass, depending on the complexity of the tale.
Revising: Countless rounds of revisions follow the initial draft. Plot tweaks, character arcs, and prose polishing are all part of the process.
Self-Editing: Before seeking outside help, authors need to fine-tune their work through self-editing.
Taking a Break: Stepping away from the manuscript for a breather allows for fresh eyes during the editing phase. We've found this little step really helpful in many ways.
Multiple Passes: Self-editing involves various rounds focusing on different aspects like plot, sentence structure, and proofreading. Some get caught in an endless loop, finding it difficult to ever find their manuscript worthy of the next steps. Just another hurdle to conquer.
Professional Editing
Many authors choose to work with professional editors to further refine their manuscript. Not cheap, but in our view, absolutely necessary. And, for what it's worth, defining the editing steps below is not an absolute. Authors will find a wide range of definitions, but in the grand scheme, this is close.
Developmental Editing: This focuses on the big-picture elements of the story, such as plot, character development, and pacing.
Line Editing: This involves a detailed examination of the manuscript's language, focusing on style, clarity, and flow.
Copyediting: This stage addresses grammar, spelling, punctuation, and consistency issues.
Proofreading: The final stage of editing, which catches any remaining errors.
Querying Agents
With a polished manuscript in hand, authors venture into the world of querying literary agents, a nerve-wracking, usually lengthy, but necessary series of steps.
Research: Finding agents who champion their genre is key. A well-crafted query letter showcasing the book and the author's prowess is essential. Sounds simple—it is not. Paul and I recall an agent, apparently giddy with himself, telling us, he likes to "see how many queries I can reject while waiting for the light to change." Luckily, in our experience, that's not routinely the case.
Submission: Following agent guidelines, authors send out query letters (sounds simple—it is not) and requested materials, bracing for the waiting game.
Waiting and Responding: Rejections may, no wait...will come, but authors can often use feedback to fine-tune their pitch and manuscript for the next round.
Acquiring an Agent
If an agent shows interest, the manuscript gets a closer look. If representation is offered, a new chapter in the author's journey begins.
Negotiation: Terms are discussed, and agreements are signed, marking the start of a professional partnership.
Manuscript Revisions: Further tweaks may be suggested to make the manuscript shine even brighter.
Submission to Publishers
The agent then takes the helm, submitting the manuscript to potential publishers, hoping to find the perfect match.
Preparing Submission Package: Crafting a compelling pitch, synopsis, and author bio is crucial for catching the eye of publishers.
Submission: The agent sends out the package to targeted editors, aiming for that coveted book deal.
Auctions: In some cases, multiple publishers vying for the manuscript can lead to an auction, ensuring the best outcome for the author. Never been an author that wasn't praying for this situation!
Publishing Process
Once a publisher bites, the publishing journey truly begins, from contract negotiations to the book's grand release.
Contract Negotiation: The nitty-gritty details of the publishing contract are ironed out by the agent.
Editorial Process: Collaborating with the publisher's editors, the author refines the manuscript further. Yep, that's right. More edits.
Production: From cover design to proofreading, the book undergoes various production stages.
Marketing and Publicity: The publisher crafts marketing strategies, if you're lucky, with the author's input, to promote the book.
Release: Finally, the book sees the light of day, typically a year or more after the contract signing. Did, someone mention this is a journey?
This is a marathon, not a sprint, demanding grit, patience, and a hunger for growth. While every author's tale is unique, these steps paint a broad picture of the traditional publishing process. So, here's to all the aspiring authors out there—may your journey be filled with words, wonder, and a touch of magic!
Chris Berg and Paul James Smith began their careers as beat partners in California's Bay Area, quickly advancing to detective roles. Chris excelled in vice and intelligence, finding his niche as an undercover narcotics detective. He thrived in the world of hand-to-hand drug ‘buys,’ clandestine lab investigations, and the requisite counterfeit personas. Later, he became a narco field training officer and a court-certified expert witness in narcotics investigations.
Paul brings 31 years of law enforcement experience, serving as a field training officer, federal agent, Special Response Team member, sniper/instructor, National Tactical Team leader, and Organized Crime Drug Enforcement Task Force program manager.
Lifelong friends and writing partners for nearly a decade, Chris and Paul craft thrillers inspired by true events. Their diverse backgrounds enrich both their writing and storytelling. They are Claymore Award winners and Pageturner Award finalists. Together, they write The Night Police novels and currently have three manuscripts in development: Blood Brothers, Twilight at Wolfie's, and Blood in the Water.
Editors- You DO Need Them
Editors aren’t optional—they’re essential. Whether you're self-publishing or submitting to a publisher, investing in the right kind of editing at the right time is crucial to your success as a writer. Here's what you need to know.
Editors are essential to improving your work and aiding your success. Most writers are blind to the faults in their own writing, despite being sharp about discovering them in every other printed work. I’m no exception, and though I’m paid to evaluate and edit other manuscripts, I still pay another good editor to help make my manuscripts better. However, when I send my manuscript to my editor, I’ve done a great deal of cleanup beforehand, to give her less work to do. Note that some editors charge by the page, which is a crap system. Something that needs a lot of cleanup takes far more time than a very clean page, so go for editors who work hourly, to save yourself money. And get honest ones- my editor thought the latter half of a novel needed rewriting, so sent it back for revisions before spending hours editing something that would be significantly changed.
There are different types of editors and editing, and disagreement about which is which, as some of these terms are variable. Some combine more than one of these in their inclusive editing. Know up front what you’re getting and paying for.
Manuscript evaluation/appraisal— This high-level check is for the essential quality of your manuscript. Does it work as a book? Does it have commercial viability? Does it have the elements it needs for publication, or are there major problems which must be corrected first?
Developmental or Story editing— This is a check that the structural story works as it is, or may need chapters/characters moved around, added/deleted, or simply further detail in certain areas. Completed story arcs?
Line editing— This check is for content and flow, things like consistency of voice, point-of-view, tone, and clarity, and slack writing which may sag or need some punching up.
Copy editing— This type drills down to the precision bits on a word-for-word basis, usually working to a style type or sheet. Different copyeditors work using different standards, though, so make sure you agree with yours.
Proofreading— Checking for any and every error, in text, layout, numbering, placement, etc.
Fact checking— If you have a manuscript with a lot of facts in it, you may need one of these editors for verification of the information you’ve included.
Because most Indie writers don’t have a lot of surplus income, they blanch when told they MUST have a good editor for their work, before it goes out to the buying public. Since good editing runs $50 or more per hour, they despair at not having hundreds of dollars to make their work better. Especially when they hear that there are different levels of editing, and the work might need more than one editing pass. Ouch! When you’re talking about a thousand dollars or more for each book, that’s real money to most writers.
And if the writer is expecting an editor to wear all those hats and correct all the errors in a manuscript in one pass, and to do it cheaply, well, that’s like looking for unicorns. So the money-impaired writer is tempted to skip the process altogether, or to assume a publisher (if they go that route) will take care of that. Skipping (or even skimping) on editing is a bad business decision that will adversely affect a writing career. As a reader, when I encounter a poorly-edited book, I seldom read that author again. If their story wasn’t even worth an editing pass, then it’s not worth wasting my time to read it, or anything else by them. So what’s a poor writer to do?
It’s never too early to start your search for a good editor, to get them lined up for when you’ve got a work ready for their red pen. Know what type of editing you’ll be getting for the money and get some samples up front. Many writers got burned paying for poor levels of edits they didn’t want or need. You’ll need to do some careful research for this one, to find someone you’re comfortable working with, who can be trusted to work in a timely fashion, and who provides quality for the price. You can start an editing fund right away, even if it’s a few bucks a week. Forego the pricey coffee, young hipster, and bank those four dollars so your work will be better. Your stories are worth it, aren’t they?
Here are some ways to get your manuscript in shape BEFORE you send it to the editor. The less work the well-paid editor does, the less you pay. You’ll see that each method described here will do some of the work of different editors. It’ll catch a lot of simple stuff, but it’s extra work that takes an editor more time to point out and mark up.
Study about feedback, using beta readers, writing groups, and workshops. Get advance feedback for your work through the methods described there. Story edits for flaws can cause massive rewrites, driving up the cost of your editing, and taking a lot of extra time. When your story passes muster with all your free feedback sources, then send it on to a pro.
Our brains play tricks when scanning text, gliding over mistakes, so copy the text into a different type of file, and change the font, and the size, and print it out. You’ll catch a lot of things you didn’t see before.
Get a helper, someone to listen, and read through your work- slowly. Do this in stages, so you don’t overdo it. Mistakes will sound like dull clunks in many cases. You’ll wince when hearing some of the stuff you wrote that looked okay on paper. Mark it all and fix that stuff!
Some people recommend reading it backwards. If that floats your boat, go for it. Haven’t tried that one yet.
Check with the editor in advance when you know you’ll soon have a manuscript for them. They might be busy for weeks with the work of someone else, and you don’t want to have your manuscript sitting around. Once you’ve put in all the free feedback, and had other eyes on the text, NOW you’re ready for a proven, paid set of eyes for your work. You’ll swear up and down your manuscript is perfect, but you’ll be shocked to discover what you missed when you get it back.
On the path to success, quality is necessary to establish a trusted “brand”- with clean, well-told stories, your audience will grow. Having a lot of mistakes in your manuscript will get you dinged in reviews, and may convince some to not buy or read it. Lay the groundwork for a long-term writing career you can be proud of.
Dale T. Phillips has published novels, story collections, non-fiction, and over 80 short stories. Stephen King was Dale's college writing teacher, and since then, Dale has found time to appear on stage, television, radio, in an independent feature film, and compete on Jeopardy (losing in a spectacular fashion). He's a member of the Mystery Writers of America and the Sisters in Crime.
Punctuation is Power - Part 5: Are you in business or in hobby?
In this article, the difference between approaching writing as a hobby versus a business is explored, emphasizing the importance of professionalism, editing, and the realities of the book industry in today’s market.
Across the board in creative endeavors something interesting is happening. Folks are getting to be about 55 or so, thinking of or are retiring, and getting back into the thing they loved before the kids came along and the bills piled up and their time was not their own in that thing we call Life.
Whether it is music, writing, sculpture, painting, pottery, dance, and more, you will find many “of an age” mingling with young folks just getting into that creative endeavor. For some, writing a book or two is just a hobby. They don’t really intend to make it a business. Thinking about the bygone golden years of publishing when authors became stars. They dream of their book being:
rep’d by an agent,
sold to one of the Big 4,
making the best seller lists,
selling like crazy domestically,
translated into multiple languages and selling internationally to wild acclaim,
made into a movie or two or three.
Bring on the mailbox money! From your mouth to God’s ears, right?
Well, firstly, the business was never exactly like that. As we learned from the recent Hemingway documentary, his lavish lifestyle was mostly due to having a series of rich wives. Secondly, the old saying “make hay while the sun is shining” applies in this business. Much marketing of personalities went into the making of the myths. Hemingway used his marketing myth to get money for product endorsements. Nothing much has changed there.
Still, much hard work by many people went into the writing, editing, printing, marketing, distribution, tracking of inventory, and sales of most books. Starting in the late 1980s, though, the book business began to change. Tired of being shut out and stolen from, the age of the Indie Author and Indie Publisher began and has not abated. Technology has made the publishing of a work easy; distribution via print-on-demand methods has made it within the affordable reach of millions. (Marketing of a book is a whole other subject. It is a bugaboo, a thorn in our paws, a never-ending challenge.)
Unfortunately, too many authors, having written a work, tire out and don’t do the necessary boring work of thorough and multiple edits and rewrites. Not only that, they are also unwilling to pay for it, too. Many will not take any advice when it comes to punctuation, sentence structure, flow of the material, etcetera. They see any question as an assault on their baby.
I want to scream when I hear “Well, I [or my spouse, significant other, best friend, or sibling] have a degree in English and have already edited the book.” Or “My wife edited my book. She has a degree in English. She’ll get her feelings hurt if I let anybody else edit it.”
Then these authors are not in business. They are in hobby. True, there are some creative outputs that are simply for making the creator happy. Enjoy the process! It is wonderful to have a hobby one enjoys.
The business of book publishing, though, requires another mindset. Sorry to say, but one may still not see a profit from all that hard work. All business endeavors are a crapshoot.
I have always had an allegiance to words in whatever form they take. I hate advertising language that reeks of the weasel. Since it has always been a moving target, I detest rigid rules of punctuation for rules’ sake. [See Part 1 of this series].
As a writer in many categories (business, children, non-fiction, memoir, humor, and fiction), my goal is to teach and/or entertain but always challenge the reader and tell it well.
As an editor my goal is to make a book the best it can be. One that, when a grandchild finds it on a shelf and reads Grandma’s or Grandpa’s book they will be proud of how good it is, not embarrassed about it.
As a small publisher it is to bring to life high-quality books the Big 4 will not touch. Blue Room Books has published history, music business memoir, fiction, and more, some not easily categorized. We may or may not make a profit on these, but damn it all, when they go into the world they will be equal to or better than offerings from the big houses.
So, as asked in Part 4, I ask again:
Why do you write?
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