Want to learn the ropes of the writing/ publishing business? Want to work from home? Then you need this! Top Selling Mystery author Lauren Carr is going to be teaching all this and more in historic Harpers Ferry, outside Washington, D. C., in March 2015.
Here’s an excerpt from her e-mail!
BIG NEWS: I have just scheduled to conduct a SIX HOUR workshop in
March at the church called: AUTHORS IN BATHROBE. I am still working out the details, but this workshop will break book promotion down into an understandable format for writers. Even if your book is not out yet,
then this will include things that you can do now to get the ball
rolling for sales when you book is released.
Focused completely on using the internet to promote your book and your
writing career, the workshop will include no less than an hour on
Twitter and an hour Facebook. (My own sales drop 10-20 percent on days I don’t tweet!) It will discuss the importance of a website and how to set
one up without breaking your budget. What is a blog? What goes into a
blog post. Virtual book tours. It will even cover the basics of an
author bio and what makes a good profile pic.
It will be 9 to 4 on Saturday, March 21. Lunch will be included. Price
is still being determined.
You are the first to hear this, so spread the word.
That’s right. I am warning you. Otherwise, you could find yourself washed up with the first book. Or, in the case of Herman Melville, the sixth book.
Writer Lucas Reilly tells the story at mentalfloss.com.
Herman Melville had everything a young author could dream of. By the age of 30, he’d traveled the world and written five books, including two bestsellers. He’d married the daughter of a prominent judge, and he owned a beautiful farmhouse. He hobnobbed with the literati. Strangers asked for autographs.
Then he wrote Moby-Dick and ruined everything.
Today, the book is often hailed as the Great American Novel, an epic D. H. Lawrence called “one of the strangest and most wonderful books in the world.” But in Melville’s time, it was a total flop. Readers couldn’t comprehend the difficult narrative. Critics dismissed it as the ravings of a madman. When Melville tried to mend his image with a follow-up, titled Pierre, the reviews were equally brutal, and the work cemented his reputation as a lunatic. At just 33, Melville was finished.
When sudden stroke or paralysis knocks a person off the track of life, it takes time and rehabilitation to re-order things. One starts walking again one baby step at a time.
In my recovery from my writing paralysis, it is similar. Time helps. Writing therapy (exercises) does, too. Finally, I reach the point where I decide I am going to finish a story I started two years ago, and I do. It feels good. A friend of mine, an avid reader, looks at it and says it works. That feels good, too. I like the story. That feels best.
Final editing and getting the story formatted for publication comes next. Baby steps. Each step gets me closer to my goal of professional author.
Author Lauren Carr just helped me solve a dilemma. I’ll explain.
In a story I am working on, there are bigoted characters–as there are bigoted people in real life. There are bad guys–as in real life. And a few of the scoundrels look and behave differently than me.
Nevertheless, as a new novelist, I wondered what the reading public would think about my story, especially if their own family heritage were the same as the despicable characters in my book. When I wrote the story, I never gave the cultural or sexual orientation or race issues a thought. I simply told a story.
Once the story was essentially complete, it dawned me that several of my friends were going to find ugly characters in my story that resembled them in some way. Would they feel differently about me because I cast a negative character with their ethnicity or sexual persuasion?
Apparently mystery writer Lauren Carr had similar concerns because she included the following disclaimer in the press release for her new book:
Best-selling mystery author Lauren Carr takes fans of past Mac Faraday and Lovers in Crime mysteries down a different path in her latest whodunit. “Don’t worry,” she says. “We have plenty of dead bodies and lots of mystery-as well as intrigue, suspense, and page turning twists.”
Every Monday morning I have a date to write. For fear of jinxing it–for we creative types tend to be superstitious types–I am scared to say I am writing again.
Saying it is like making a promise. If I say I am writing, someone is going to hold me to it. The good part is I tend to do what I promise. The bad part is, for eighteen months, I have been incapable of keeping the promise.
Nevertheless, I will say it. Hallelujah. I am writing again. I hope for keeps this time.
The one difference between now and the other attempts is I am enjoying the writing this time. Earlier, my heart wasn’t in it. That change alone buoys me.
So the writing lessons resume for me, and then I will share them with you. As I draw in a deep breath, lift my head, lock my eyes on the sunrise, I will say it again.
I am writing.
Every executive will tell you that in order to grab their attention in a pitch or a script, you need to have a great original hook. Your hook is that special THING that defines what the new, original and commercial angle is on your concept. It’s the element of your story or storytelling that will make your script stand out and make the exec say, “I get it.”
Your hook can come from numerous places. It could be conceptual, it could be plot-based, it could be your location, your type of characters, your backdrop, your time period or setting or world, your theme, the characters’ goal, the consequences or stakes of the action in the story, etc. Truly elevated projects often combine two different hooks to make the story more dynamic or have a hook with an intellectual or emotional depth to it that takes the story to another level.
But these days, writers often get confused between a hook and a gimmick. And the two are not the same thing.
A hook is usually story-based. It is something ingrained and exploited in the plot and/or premise of your script. A gimmick is a cheap trick used as a selling tool to make an audience think there’s something different about the style or experience of the project but usually has very little to do with the substance of the story.
The hook of Twilight is that the teen love story was set against the backdrop of an ancient war between vampires and werewolves. The hook of Non-Stop is that it’s a mystery heist film and a hijacking action film set 35,000 feet up in the air. The hook of the Oscar-Winning Her is that it’s a love story between a man and his operating system set in the near future.
Creating the hook of a story is the screenwriter’s job. Creating or exploiting the story’s gimmick is usually the job of a marketing department. Very often a project’s gimmick may come from its hook but a great gimmick will NEVER mask or excuse a poor story.
The films that do the best these days within the studio system are ones that have a strong story and hook AND a strong connected gimmick that can be used to sell it to its target demographic.
Gravity did well based on the gimmick of how it was shot and how the technical aspects come across in gorgeous 3-D surround sound theaters but also how that gimmick was used to enhance the emotion and hook of the story – one woman, trapped alone in space, fighting to survive.
Pixar’s Wall-E had a wonderful hook of a lowly love struck robot that must save his crush and the world. But the gimmick of Wall-E, and what many were talking about, was how half the film had no dialogue and was also a message movie about consumerism and a cautionary environmental tale.
The 1985 cult classic Clue had a great story gimmick in that its whole third act is 3 different alternate endings with different possible killers confessing until the truth is revealed. Tonally, it worked great with the rest of the story and added more twists and turns to the climax of the film.
But when the story is poor, gimmicks usually don’t work and often backfire.
Perhaps the best example of this is Movie 43, one of the worst abortions to ever happen on screen which currently sits at 4% on rotten tomatoes and won big at this year’s Razzies. It was a series of disturbing short films directed by big names and starring even bigger names that were connected by an insanely flimsy set up. The gimmick was basically – look at all these huge name stars we got together, it MUST be good, right? But alas, it was not.
From Justin to Kelly (I’m sorry Kelly, I still love you) was a project born out of gimmick rather than story. The studio wanted to capitalize on the popularity and possible real-life romantic relationship between its two biggest reality stars at the time and Kelly’s growing musical following. I’m guessing the writers spent exactly 4 days on the script.
Battlefield Earth had a not-so-secret gimmick in that it was obviously connected to Scientology and it put this gimmick above story. And any time you put gimmick above story in the concept and development stage, your movie is doomed.
Bad Grandpa used the proven gimmick of the Jackass-style gags and physical pranks to lure people to the theater thinking that’s all it was, but it was actually an attempt at a narrative feature that just happened to have a half dozen of those hilarious pranks in it. But the gimmick was stronger than the story and was the only thing promoted in the trailers. Did it do really well at the box office? Yes, it did. I’m not saying a gimmick CAN’T work – only that it usually doesn’t if the story isn’t equally strong if not stronger.
I recently had a client whose story was a pretty straightforward spy/comedy with some decent story twists but then the third act was basically a Choose Your Own Adventure gimmick where he thought audiences would be able (collectively) to choose which version of the ending they wanted to see. Obviously this gimmick wouldn’t work in theaters for 1000 logistic and financial reasons. But it didn’t work on the page either because it made the writer’s vision for the story unclear and unresolved. It made the whole resolution of the story confusing and unsatisfying.
I had another client who wrote the same script twice – once as a comedy, once as a drama – and thought that studios would make both versions for both audiences. The only major difference was that the comedy had about 10 more decently funny lines in it. There are concepts that could potentially work in two different genres, but you need to know which is stronger and which you feel more comfortable writing. The gimmick of having written two versions of the same plot was what he thought would entice agents instead of the story itself, which was incorrect.
A handful of years ago, I had a pitch session at a conference where the writer donned a large rubber butt as a hat and pitched the sales gimmick of his concept instead of the story. Even if the story and pitch were brilliant it wouldn’t have mattered cause all I was staring at was a large rubber anus like it was a third eye. I can guarantee that pitch would have gone better without the gimmick. In fact a general rule I always give new writers pitching is leave the gimmicks at home – they never help and usually make you look all the more amateurish. And I feel the same about writers who employ gimmicks on the page instead of really crafting a compelling story.
There is a difference between a marketing or production gimmick and a writing gimmick. The former is something the writer has very little say about. Studios will very often turn an otherwise perfectly fine 2-D film into a 3-D extravaganza because the ticket prices are higher and they think the 3-D gimmick brings people to the theaters. Dolby Digital 3-D Surround Sound, Smell-O-Vision, 4-D, not to mention Marvel and Disney’s gimmick of incorporating many of their Avengers characters into all their different films so that audiences think they need to see ALL of them in order to follow the stories. These would be more production and marketing gimmicks.
Brilliant marketing gimmicks included those created for Blair Witch Project and Paranormal Activity, both of which used the angle that they may or may not be true stories and it used its gimmick of casting utter unknowns to play into that. Paranormal’s marketing campaign also included the creepy, grainy “night-goggle” footage of people reacting and screaming in fear while watching the film. Very effective. They took what was different about the hook and story and translated that into a masterful marketing gimmick. But the gimmick did not damage or derail the story.
Sometimes the gimmick of a project is in its casting and that’s also something the writer usually has no control over. The Expendables, Escape Plan, Righteous Kill, Grudge Match, Scream, and romantic comedies that reteam beloved duos like the upcoming Adam Sandler/Drew Barrymore film Blended are all films whose gimmick was the casting and not the story. In some of these cases, the story or action was strong enough to compliment the gimmick. In others, not so much.
But this is why it’s so important for writers to create a hook and story that can overcome bad casting or bad production or marketing gimmicks and sell on its own merit. You need to know what is special and sellable about your concept and hook, and the answer to that needs to lie organically within the pages of your story. If it doesn’t, then you’re not writing smart enough and you’re relying on others to figure out what is great about your script.