BookEnds Talks to Peter Brandvold

Peter Brandvold, a.k.a. Frank Leslie
Book: The Lonely Breed
Publisher: Signet
Pub date: March 2007
Agent: Kim Lionetti



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Peter Brandvold has written over thirty western novels for Berkley and Tor/Forge under his own name. He’s starting the Yakima Henry series of novels under the name Frank Leslie for Signet. He’s also reviving the old western pulp hero Bat Lash for DC Comics. He lives in Colorado with his wife and three dogs.

Awards: Runner-up for Western Writers of America Spur Award, 2003, for Staring Down the Devil (Berkley).

Author Web site: www.peterbrandvold.com

BookEnds: Describe your book in 50 words or less.
Peter: A rousing western adventure novel about a half-breed drifter, Yakima Henry, who finds himself on the run from a savage bounty hunter with a beautiful prostitute named Faith.

BookEnds: What do you think distinguishes your work from that of other authors of this genre?
Peter: What distinguishes my novels from other westerns is a gritty realism coupled with sex, a wry sense of humor, and fast narrative pace.

BookEnds: What is your writing process like?
Peter: I try to write 500 words over my first cup of coffee in the morning. That usually primes the pump. I try to write another 500 after my morning run up Horsetooth Mountain west of Fort Collins with my three dogs. I then try to get in another thousand words in the afternoon. I break up the day any way I can—hauling trash, grocery shopping, taking out my mountain bike—to keep myself generated and to give myself time to think through whatever section of book I’m working on. When I can see the section like a movie in my head—and it looks and feels right—I’m ready to write. The actual writing usually doesn’t take very long after I have the images situated in my head. Hard physical exercise is key. If I can’t get exercise in, the writing doesn’t usually go well.

BookEnds: Why have you chosen to write in the genre in which you write?
Peter: I’ve loved westerns ever since I was a kid growing up in little towns in North Dakota. I watched all the old '60s and '70s western series, and then I’d go out in the fields or woods and pretend to be Matt Dillon or Little Joe Cartwright myself, making up the adventures as I went. My dad took me to all the Spaghettis and the John Wayne movies that came out during that time. That really built my imagination, and I think it helped that I grew up in a remote and culturally sterile place. I had to entertain myself, make up my own stories. I started to read western novels when I was about twelve and one of my uncles sent me down to the drugstore for a couple of westerns, one for me and one for him. That first novel was Fort Starvation by Frank Gruber, and I was hooked! I got my English degree at the University of North Dakota and my MFA from the University of Arizona, and of course genre fiction was taboo. At that time I wanted to be the next great Hemingway, but after college I was hit by the western bug again—the genre was just ground into me, I guess—so I forgot everything the literary sophisticates taught me (if I learned anything from them at all, which I doubt) and began pounding out my first novel, Once a Marshal. It’s still my favorite genre, and I love reading old westerns by long-dead pulpsters and watching the western movies of the old, great directors like Anthony Mann and Budd Boetticher.

BookEnds: What’s your next book? When and where should we look for it?
Peter: The next book is part of my Rogue Lawman series from Berkley. It will be out in April, and it’s called Cold Corpse, Hot Trail, my wildest and woolliest tale yet!

BookEnds: What advice would you give aspiring writers?
Peter: When I was sixteen and in love with the work of the novelist Jim Harrison, I wrote him a fan letter. I also asked him for advice. He wrote me back what I’ve found to be the best advice I’ve ever been given. I lost the letter a long time ago, but memorized the whole thing, including: “You must be willing to fall on your face all by yourself countless times. To be persistent, meticulous, and energetic might work after what to you will have seemed like an unreasonable amount of time.”

BookEnds: What do you see as some of the biggest mistakes beginning writers make?
Peter: Writing for themselves instead of an audience.

BookEnds: What are you reading now?
Peter: I read everything, and I mean everything. I’m currently reading the old sports articles by Jimmy Cannon, Ring Lardner, a book about Stanley’s exploration of Africa, comic books (The Swamp Thing), and a collection of poems by Ted Kooser.

To learn more about Peter Brandvold, see Our Books at www.BookEnds-Inc.com.

What I'm Reading

I’m always asked whether I still read for pleasure and the answer is yes . . . and no. I do still love to read, but almost everything I read now, even if it’s for pleasure, is also research. I’m always trying to keep an eye on what’s out there and put into perspective what I’m looking for. So to keep you updated on what I’m reading outside of work, and to keep tabs on my New Year’s resolution to read more published books, here’s the list of some of the most recent books I’ve read:

Running with Scissors by Augusten Burroughs
Jacky has raved about this book and finally I got the chance to read it. (By the way, I hate when the movie comes out before I’ve read the book. It make me look like a follower.) I don’t think I enjoyed it nearly as much as Jacky did, but it certainly is a fascinating read.

In the Thrill of the Night by Candice Hern
I actually took the recommendation to read this book from a blog reader, and want to thank you. I do need to get in the habit of reading more historical romance and I love her hook and thought this was fun.

Dreams from My Father: A Story of Race and Inheritance by Barak Obama
I’ve been interested in this book for quite some time, and now that Barak Obama is in the news so much I thought it was time to check it out. This was a really interesting look at race and his writing is beautiful.

Rain Fall by Barry Eisler
Another recommendation from a blog reader and another great hook. A hit man who is also the hero. A quick, fast-paced thriller.

So, what are you reading these days and what would you recommend?

—Jessica

Reader Questions: Web Sites for the Unpublished

At what point do you recommend a career-focused but not-yet-published author set up a website? Last year I snapped up my domain name and set up a very simple, inexpensive site, but I’m not doing much with it. Hmmm . . . should I be?

I’ve done a number of posts on Web sites and publicity, including this piece on PR for the Unpublished Writer , but this question is a little more specific. When do I recommend you set up your Web site? Yesterday. I don’t think I have to tell you that Web sites are an amazing resource and we all use them. If I get a proposal or query I’m interested in and find out the author has a Web site, I will most definitely check it out. In fact, a number of authors in Karen Tabke’s first-line contest have links to their Web sites, and you bet I checked those out while reading the entries. The smartest authors posted the first chapter or so of their books, and if I continued to read and liked what I was reading, I would most definitely drop that author an e-mail requesting material.

My suggestion for unpublished authors is to include the first chapter or chapters of any books you are submitting as well as a bio about you and your writing. Make sure the site looks professional and reflects the tone of what you’re writing. If you’re writing cozy mysteries, for example, you don’t want the site to look dark and scary.

What I can tell you not to do is use the Web site as your query. In other words, don’t e-mail agents with a link to your site and nothing more. Your site should be considered another home for you and should be listed with your address, phone, and e-mail. It’s simply more contact information, it’s not your submission.

I haven’t been surfing any sites recently, but if anyone can recommend good Web sites by unpublished authors, please do.

—Jessica

Reader Questions: Foreign Settings

I'm working on a novel set in London (where I've lived for a while) and wondering how British I can make my own writing and the dialog before it'll be considered too much.

Not very. I can’t give you specific guidelines as to how much you can use dialect or phrasing, but there’s a common refrain in publishing, “This is too British,” and you obviously are looking to avoid that. My suggestion: read other books set in London, Scotland, Ireland, and Wales to truly see how much is too much.

And ask the readers; when you have to stop to translate a phrase or conversation, it’s hard to restart again.

—Jessica

Blog Updates

Some of you may have noticed minor changes to the blog's appearance. Following the comments of one of our readers, we've made the switch to the new version of Google Blogger, which we hope will make reading the blog and accessing older blog posts easier than ever. All of our posts are now archived under "Blog Archive," and clicking on the little triangle to the left of any month or year will expand or collapse a list of all the posts from that period. Additional changes are ahead, and while we hope the transition is smooth, bear with us as we learn our way around the new version. As always, any suggestions for improvements or new elements you'd like to see are welcome. We are always looking to improve both the blog and our Web site and believe that comments from those who benefit from them most are what can make a difference.

Reader Questions: Editing Help

A lot of writers seeking publication have asked me what to do about editing their finished manuscripts. Sure, they've handed it over to good friends who tell them it's the best thing since pepperoni pizza, but where can they turn for real editing? Could you give some advice on where aspiring writers can turn for editing help, so that when they do approach an agent, their work is the dazzling and polished piece of prose that it was destined to become.

I think rather than turning to friends and family, you are better off passing your manuscript off to other writers. A good, honest critique group can offer a lot more than friends or family will ever give you. A critique group will and should be brutally honest.

As for making sure your work is dazzling, I know a lot of authors will seek out freelance editors they can hire to make sure their work is polished, and while that’s not necessarily a bad idea, I don’t think it’s required. If you know that you can’t tell the difference between “your” and “you’re,” you need an editor. If you misplace a comma here and there (and only here and there) or have a typo here and there, you’re fine. Don’t stress about it. We don’t expect perfection, we only expect solid, clean writing, a font we can read, and double-spaced pages (with page numbers). That’s not too much to ask.

If, however, you do feel that you’re the type who needs to hire an editor, there are a lot of terrific people out there, former publishing professionals and published authors who can not only help shape and copyedit your book, but can also give honest feedback on the plotting and characterization. Just keep in mind that if you really use an editor to shape your manuscript, you might need to be prepared to call that person in on your next book.

I’m sure a number of you have used editors, or considered it, and might be able to share your experiences or even recommend a few.

—Jessica

BookEnds Talks to Sandra Beckwith

Sandra Beckwith
Book: Publicity for Nonprofits
Publisher: Kaplan Business
Pub date: June 2006
Agent: Jacky Sach



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BookEnds: What do you think distinguishes your work from other similar books?
Sandra: Publicity for Nonprofits: Generating Media Exposure That Leads to Awareness, Growth, and Contributions provides more hands-on, "here's how to do it" information than any other publicity book on the market. It is tailor-made to the needs of the nonprofit organization, where the person charged with generating publicity probably also has many other responsibilities and wants to know less about the theories behind public relations topics and more about how to create and execute a successful campaign.

BookEnds: What is your favorite thing about this book?
Sandra: I like the detailed level of instruction, the sample forms and tools, and the mini case studies sprinkled throughout the book. They do a good job of bringing the content to life. I was so grateful that nonprofit organizations coast to coast were willing to share their best practices with other nonprofits through this book.

BookEnds: If readers only take away one thing from your book, what would you like it to be?
Sandra: You don't need fairy dust to generate good publicity. You just need to understand a few basic concepts and which tools will take you the farthest fastest.

BookEnds: Why did you write this book?
Sandra: I know a lot about publicity that will help others. I've shared much of it in a book for small business owners, Streetwise Complete Publicity Plans: How to Create Publicity That Will Spark Media Exposure and Excitement, and I wanted to keep sharing it with other market segments. Nonprofits were the logical choice because they need this information perhaps more than any other type of business. I’m now sharing it with authors, too.

BookEnds: What else are you working on?
Sandra: I'm speaking at a writers' conference in Madison, Wisconsin, about book publicity (www.dcs.wisc.edu/LSA/writing/awi/friday.htm) and I'm teaching a four-week online book publicity course for authors in June (www.buildbookbuzz.com/book-publicity.htm) and publishing a free book publicity e-zine for authors (www.buildbookbuzz.com). The goal of the class is to help authors discover how easy it is to get media attention for their books, whether those books are brand-new or have been out for years. I find that authors tend to think only in terms of book reviews when it comes to publicity, and while reviews are important, there is so much more to book publicity that is equally important. Authors need to see and position themselves as topic experts and reach out to the media in an organized way on an ongoing basis. I help them discover the tools and methods for this. There’s also a lot of chatter back and forth among the students in this class that benefits everyone.

To learn more about Sandra Beckwith, see Our Books at www.BookEnds-Inc.com.

Dress for the Job You Want

Cynthia Shapiro is a client of mine and the author of Corporate Confidential, a book I recommend to anyone working in the corporate world. Not only is her book a fascinating read, but it contains invaluable information that could save your job. It could also save your writing career.

Recently I was reviewing Corporate Confidential and Cynthia’s soon-to-be-published next book (still untitled), and I was amazed at how much of her information could pertain to my clients and authors in general. Information on cover letters could be used for query letters, job interviews are just like pitch sessions, and how to relate to upper management is very similar to working with an editor.

While I’m sure I could do an entire series of posts on how Cynthia’s books can relate to a publishing career, there's one secret that has stuck with me: Dress for the job you want, not the job you have. This isn’t a new concept, and for anyone who has ever read a job book you’ve probably heard it before, but how does this pertain to authors? Well, it certainly doesn’t mean you have to dress in a suit to write your book. No, pajamas are still acceptable writing attire. What it does mean is if you want to be a bestselling author, then you need to dress like one. Whenever you’re out promoting yourself as Author (at conferences, signings, or meetings with your agent and editor), you need to be dressing for that part you want, and dressing the part goes way beyond just the clothes you wear. It’s the way you talk, your book covers, your publicity material, your query letter, and your Web site. It’s anything that represents you and your brand.

So who do you want to be? Whose career are you comparing yours to and who would you like to emulate? Think big, I know I do. You can be a bestselling author or you can make people think you’re going to be. Dressing the part makes people believe that you’re an author they would regret missing out on. Who would you be more impressed by, the author in jeans and a T-shirt or the author wearing a striking suit? When I meet someone, whether it’s in person, through my Web site (because truthfully that is how people first meet these days), or from a letter I send, I want their first impression of me to be, “Wow, I need to get to know this person.” For authors, the first impression you make needs to be, “Wow, I’m really missing out by not having read this person’s books.” And trust me, this works with agents and editors too.

The truth is that we do judge a book by its cover, it’s why book covers are so important. So make sure your cover is always at its best. It should be clean, professional, well pressed, and impressive. Take a look at those Web sites, book covers, and clothes and see how you can do your best to dress for the job you want and not the one you currently have, or even worse, the one you had previously.

—Jessica

Give Me Conflict

As many of you know, when you write a query letter—whether it’s e-mail, snail mail, or a cover letter attached to a proposal, heck, even a cover letter attached to a requested manuscript—you have three seconds to grab an agent’s attention. Think of that, three seconds to convince me that I want to drop everything on my to-do list and read your material immediately.

So what is one of the biggest problems I see in query letters? Lack of conflict. And for those of you who are published or have an agent and think this post isn’t for you, think again. The same blurb you used to pitch your agent is the same type of blurb you should be writing to pitch your editor a new book idea, give cover art and text suggestions, or grab a reader through your Web site or advertising.

We all know how difficult writing that query letter is, but we also know how important it is. When it comes to grabbing an agent’s attention, it’s the packaging for your product. I don’t care about the envelope, or whether or not you wrote requested material, I only care about the material itself and how exciting it sounds when I open it. That’s the packaging. So here’s what’s not going to excite me: the type of relationship the characters have, the themes your novel explores, or the type of person your protagonist is. This isn’t what will get me to buy the book when I find it in the store and it isn’t what’s going to get me to offer representation now. What hooks people in is the conflict. Is the heroine racing against time to prove her innocence before the police catch up with her? Is the hero a vampire fighting his own demons while battling to save the only person who can save him? Don’t say things like, “These characters find themselves in increasingly dangerous situations. . . .” Yawn. What are those situations?

Think about it, folks. Do you buy a book because the back cover says it explores themes of religion and the afterlife? That it takes a look at the themes the author has fought to understand his whole life? I doubt it. I suspect you buy a book because you’re either hooked by the protagonist’s hobby and the idea that she was wrongly convicted of a crime or because she’s fallen in love with the guy who is so totally wrong for her.

So here’s what I want to know about your book in the cover letter. I want to know what makes it different from every other romance, mystery, fantasy, or women’s fiction novel I see and I want to know how the conflict makes it exciting and thrilling. That doesn’t mean I want you to say, “this book is different from . . .” No, I want you to weave it through your letter. I want it to say something like:

“Althea Yates is a vampire hunter, skilled with the crossbow and the stake. But she knows nothing of a man’s touch—or how to control the unladylike dreams that haunt her sleep. That is when they come, two men of unearthly beauty who ravish her in sweet carnal games, taking her to the precipice of exquisite desire and unimaginable erotic pleasure. It is scandalous. Forbidden. Unholy. For her lovers are not men, but vampires—the very beasts she and her father have sworn to destroy.” —taken from the back cover of Blood Red by Sharon Page.

Do you see how that works? In one paragraph I get conflict and I get a hook. It’s short, it’s sweet, and it works to make me want to read more.

—Jessica

Page Numbers

Do you know what's worse than dropping an entire manuscript all over your floor? Going to pick it up, only to discover that the author didn't put page numbers on it. It's a weird and little-discussed phenomena, but editors and agents hate to receive manuscripts, proposals, synopsis, anything without page numbers. It just makes our lives harder.

So please, always remember to number your pages, especially if you are emailing anything.

—Jessica