Using an Open Mind to Motivate Characters

I can’t count the number of times I’ve been watching a movie with my wife when a character does something that doesn’t make sense and she’ll say, “Why did he do that?”

Since I’m a wise guy, I’ll usually respond with something like, “Because it's in the script.” But what I’m really saying is, “I agree—the writer really didn’t set up that character’s motivation very well.”

But what exactly is motivation, and how do you use it as a writer?

Motivation is the internal force that drives a character to action. Steven Levitt, economist and co-author of the book Freakonomics, said, “If you can figure out what people’s incentives are, there’s a good chance you can figure out how they’re going to behave.”

Sometimes it's easy to understand someone's motivations. We've spent our whole lives watching other people, and consciously or not, we've picked up quite a bit of insights into the motivations of others. As a result, we usually know when a character's behavior is consistent with their motivation.

Sometimes, though, it takes effort to understand what’s motivating someone else. How often do we say or think the words, “I just don’t understand how anyone could possibly…” and then fill in the blank?

It's not always easy putting yourself in the mind of someone who is very different from yourself. But if you can do it, the rewards are tremendous.

There is a technique used by actors called Method Acting that can provide some help in this area. From Wikipedia:

“In [Method Acting] the actor analyzes deeply the motivations and emotions of the character in order to personify him or her with psychological realism and emotional authenticity.” Here are those words again—realism and authenticity. You’ve got to understand your character; in a way, let a small part of yourself become that character, so that their motivations and emotions ring true as you write them.

“Using the Method, the actor also recalls emotions or reactions from his or her own life and uses them to identify with the character being portrayed.”

This is easy to do when our characters are like us. In Bumpy Landings, Jordan MacDonald needs to confront his insecurities and stand up for himself, an experience that I shared and understand very well.

But what about characters who do things we haven’t—who do things we don’t believe we could ever do? The man who robs a liquor store; the woman who fakes a terminal illness; the teen who murders his parents—how do we begin to understand their motivation?

Let’s take the first one. Have you ever been so worried about finances that you did something you later regretted? Maybe nothing as big as robbing a store; maybe it was simply taking out a payday loan or selling a treasured family heirloom. But something that at the time seemed like a good idea, and in hindsight turned out to be a mistake.

That’s the kind of experience you can draw on. Plant it in your mind, nourish it with your imagination, and let it grow into an understanding of how someone might make a bigger mistake; an understanding of what it would take for a person to reach that life-altering decision.

In a recent interview, actress Thandie Newton said, “One of the special things about the creative world is that you can turn your discomfort into empathy. You explore the lives of other people and different modes of thinking, and that opens you up.”

For me, this open-minded empathy is one of the greatest joys brought about by writing.

Becoming a Student of Human Nature

This May, I have the opportunity to present a class on character development at the LDStorymakers Conference. The class will be called Culture, Motivation, Flaws, and a Cat: Four things every great character needs.

As I've worked on preparing for this class, I realized that I've always been curious about other people, and what makes them think and act and behave so very differently from each other.

This is not to say that I've always been able to understand everyone, however. In fact for most of my life I found it nearly impossible to understand what others were really thinking and feeling, especially since most people seemed to think so differently from me. This is probably why I spent so much time and effort trying to figure out why others act the way they do. And why I enjoy exploring the actions and motivations of the characters in my writing -- my "imaginary friends," if you will.

Now that I have a bit more experience at life, I find it is much easier to understand those around me. I recently read a quote by actress Thandie Newton that I think explains the reason perfectly. She said, "One of the special things about the creative world is that you can turn your discomfort into empathy. You explore the lives of other people and different modes of thinking, and that opens you up."

As writers, it is essential that we seek to understand and have empathy for the people around us, including (dare I say especially) those with whom we disagree. The ability to put ourselves in another's shoes, to understand their thoughts and feelings and motivations, is critical to us understanding and writing characters that will resonate and connect with our readers.

We all need to become students of human nature.

The All-Girl Boy Scout Troop

It’s not uncommon for me to be one of the few guys in a group full of girls. I am the only brother to four sisters. I have only daughters. In nearly every writing-related group, the women outnumber the men by roughly ten to one.

And now I’m one of the token men in an all-girl Boy Scout troop.

Venturing is a fairly new program in the Boy Scouts, and allows for all-boy, co-ed, and all-girl crews. Last summer my oldest daughter joined a community-sponsored crew, comprised primarily of young women from our ward. I was asked to be an assistant advisor.

The primary goal of this all-girl Venturing Crew is to participate in a trek at the Philmont Scout Ranch this summer. That means we’ve been doing some camping lately. Lots and lots of camping.

In the last three weeks, we’ve had two separate camping trips in sub-freezing temperatures—one in (marginal) teepees of our own (amateur) construction, and the other in a primitive state park campsite where campfires were not allowed. Cue the heavy coats.

Even though I’m an Eagle Scout, sleeping on the hard ground was never a favorite activity of mine. Add in a few decades of bodily wear, and combine that with the above-mentioned cold (I earned my camping badges in the jungles of Hawaii), and these trips have been a bit lacking in sleep.

However, it’s a challenge that has been more than adequately rewarded. These young women are amazing, and I am honored to associate with them.

Just prior to the New Year, we participated in a Mountain Man Rendezvous with some two-dozen other local scouting groups. There were a couple of co-ed Venture Crews in attendance, but ours was the only group comprised entirely of girls.

And they made an impression.

Part of that impression, of course, was simply because they were girls. But a bigger part was how the girls worked together, encouraging and supporting each other in ways that many of the outpost leaders had never seen before. So although their skills and abilities were often limited, they still managed to sweep a full third of the awards based on attitude and determination alone.

As a writer, I consider myself a student of human nature. That part of me has loved watching the interaction between these girls as they’ve worked through personal challenges and interpersonal conflict. Seeing the growth of these girls as individuals and as a crew has been well worth every cold night spent on the hard ground.

These scouting activities have wreaked havoc on my writing schedule, but in return my writer’s brain has been crammed full experiences and examples that I hope to draw inspiration from for many years to come. It’s proof to me that real life provides the best inspiration of all.

Sharing the Gift of Words

My very first publishing credit came in 2009 when a short story I'd written a couple of years before was included in Stolen Christmas and Other Stories of the Season, a compilation put together by the mysterious and insightful LDS Publisher.

The story, called Believe, Mr. Thomas, was my attempt at allowing Santa Clause to be 'real' while staying consistent with the the typical adult view of reality. (Anyone who's been up until 2:00 am on December 25th using special wrapping paper and trying to disguise their handwriting will understand what I mean.)

I was very proud to have my story in print, and bought copies of the book for everyone in my family. (After all, anyone related to an author knows what gift to expect for Christmas. But I digress.)

Since that time, my excitement at having a 1,500 word story published has been eclipsed by the release of Bumpy Landings, and I'd all but forgotten about Mr. Thomas.

Fortunately, my sister remembered. She teaches a section on writing and literacy at her elementary school, and each December she reads my story of Mr. Thomas to her class as an example of creative writing.

A couple of weeks ago, I was visiting Utah for business and stopped by this sister's house to pick something up on my way to work. As we chatted, she got a funny look on her face and said, "I just realized I'm going to be doing your story in class today. If we move that section to first thing this morning, would you like to stay and read it to the kids?"

I hmmed and hahed, not really sure. It'd been a long time since I'd read the story, and to be honest I wasn't sure presenting it to the class would be the best use of my time. But I had some flexibility in my morning schedule, so I agreed to think about it. She handed me her copy of Stolen Christmas, and I read through my story while she finished getting ready.

Would it be too boastful to admit that after reading the story again, I found that I still loved it? Too bad, because I did.

I agreed to share the story, and had an absolutely wonderful time reading it aloud to a receptive and appreciative audience of fifth graders. My first public reading! And as my sister led the class in discussion, she pointed out little bits of technique and symbolism that even I hadn't realized were there.

I spent the rest of the morning with that warm glow that only comes when we share our talents with others, and I realized how truly blessed I am to have an active imagination and a smidgen of writing ability to turn my ideas into stories that can entertain and inspire.

My muse is loud and demanding, but hers is not the loudest nor the most insistent voice in my life. (Lately she's having trouble cracking the top five.) But those few brief moments of joy that I felt reading to a group of kids reminded me of just how important writing has become to me in my life. It's a wonderful gift, well worth the extra effort it takes to carve out some writing time from a crowded, hectic schedule.

Now if you'll excuse me, I have a story that needs some attention.

(You can read Believe, Mr. Thomas as it originally appeared on the LDS Publisher's blog. If you like it, pick up Stolen Christmas and enjoy the other great stories inside.)

A November of Miracles

I'm not doing so well with the newer November traditions.

My first November fail comes courtesy of the new "Mo"vember movement, which asks guys around the world to grow a "Mo", or mustache, for prostate cancer awareness. Instead of playing along, for the first time in 23 years I spent November with a clean upper lip.

My second fail has to do with NaNoWriMo. My version has almost been "National Non-Writing Month." I have been writing, and with any luck I'll have another chapter or two done by the time December starts. But that pales in comparison to the tens of thousands of words being cranked out by many of my awesome online friends.

The one November tradition that I am doing--and doing well--is expressing thanks for my many blessings. I'll spare you the laundry list of gratitude, but I want to share a true miracle that has taken place in my life this month.

Yesterday, I sat by my wife at church.

Those of you who know about our long, difficult battle with Lyme disease will understand how amazing this is. And while my wife still has a long way to go, the fact that she has recovered enough to join our family at church--not just once, but four times in the past five weeks--is a miracle truly worth giving thanks for.

LDS Fiction: The Minor Leagues?

A few short decades ago, I was serving as a missionary in southern Illinois with three other elders. On one particular P-day (excuse me--PREPARATION day) we were cleaning our apartment and listening to some music.

Our mission rules allowed us to listen to "church music" on Sundays and P-days, and while some guys I knew interpreted that to mean "music by anyone rumored to have talked to a missionary," we stuck to the more traditional groups like Afterglow and the Tabernacle Choir.

I don't remember which contemporary (ca 1988) musician we were listening to that day, but the new elder in our group soon got a little irritated and said, "Can we please turn that garbage off?"

"What's wrong with it?" I asked.

"Oh, please. I can't stand any of those guys. It bothers me that they're just trying to make a buck off of the church, and the only reason they're singing LDS songs is they're not good enough to make it in the real music industry."

The rest of us didn't agree, but to preserve peace we switched to some classics by the Mormon Youth Symphony, since Beethoven's "real music industry" success is pretty much indisputable.

Fast forward to the 21st century, and my foray into LDS literature. While I have never agreed with this missionary's opinions, those thoughts were always in the back of my mind as I worked on the early drafts of "Bumpy Landings." Am I just trying to make a buck off of the church? Am I not good enough for the national market?

Lately, I've seen a similar discussion questioning whether or not the LDS literary market is some kind of "Minor League", which implies that those who write LDS fiction somehow aren't good enough to make it in the real literary industry.

I've thought about this question a lot: Is LDS fiction the minor leagues of writing? I've decided that the answer is no. And maybe.

The reason there are two answers to this question is that what we call the "LDS Market" is in fact two different markets, both closely related and serviced by the same few publishers.

The "traditional" LDS market--books where being (or becoming) LDS is central to the story--are very popular within the church but have no real interest in the broader market. LDS fiction is a niche, and as such fills a need ignored by the national market.

As for whether or not they are any good, LDS books, just like their national counterparts, fall along a broad spectrum of quality, with the best of LDS fiction easily in the top tier. And the books are getting better and better every year, thanks to an excellent LDS writing community that supports, educates, and motivates its members through conferences and awards for excellence.

In addition to traditional LDS-themed fiction, LDS publishers also sell works that have little or no connection to Mormon life. These titles are considered "regional," rather than "niche." Where a niche publisher focuses on an audience that has specific religious/cultural/recreational interests, a regional publisher focuses on an audience in a specific geographical region.

These regional publishers are often willing to take a chance on unknown writers. Combining this fact with their smaller size, limited marketing budget, and more modest sales numbers, it's easy to understand why regional publishers are often referred to as the Minor League of publishing.

All around the country, there are local authors writing and publishing books with local flavor through these regional publishers. The same is true for the Intermountain West, only here the regional publishers are the same companies that publish for the LDS niche.

This is why LDS publishing is sometimes seen as a stepping stone for authors looking to break in nationally. Recent years have seen a number of high-profile writers make this transition: Ally Condie, James Dashner, Rob Wells, and Jeff Savage, just to name a few. Even the LDS publishers are looking to grow nationally, with the Shadow Mountain imprint at Deseret Book, and CFI calling for more national-market submissions.

This is an exciting transition, and it's fun to see local friends and authors make good on the national scene.

But don't assume that since some authors have honed their skills by writing LDS fiction and then moved on nationally, that this is the purpose of the LDS market, or the goal of all LDS writers.

Many authors I know write LDS fiction because that is what they love. They would enjoy a national market-sized royalties check, and have the knowledge and skills they would need to break if that's what they wanted. But they love writing LDS fiction, and they are free to write the books they want in the way they want, because their values line up so well with those of their readers. They write LDS fiction because they can.

LDS fiction is kind to beginners, and provides a great place to learn and develop excellent writing skills. But it also provides a valuable product to hundreds of thousands of readers, and those who make LDS fiction their permanent career can be every bit as satisfied with their success as those who publish nationally.

Perhaps maybe even a little bit more.

Help From the Buddy System

Our neighbor has a big green van that is critical to the business his wife runs. With his plumbing work suffering in the current economy, that business has become their primary source of income.

So having the van throw an engine rod a week or so ago was a very bad thing. Without the van, the business simply doesn't function.

The van had just been paid off, and replacing it--even with a used vehicle--was out of the question. Having a shop replace the engine would cost even more than replacing the van. Renting a van to keep the business operating was going to cost over a thousand dollars a week.

It's safe to say that he was in a bit of a pickle.

Fortunately, our neighbor has a network. He's been in the area for a while, and has been active in a number of organizations. It's a rare evening when there aren't a couple of extra Harleys parked out front, and I've lost count of the conversations we've had that he starts by saying, "I was over helpin' my buddy..."

In fact, more than once our neighbor has helped my family with a problem, many times when I was out of town.

So it was no surprise when a small army of capable-looking men appeared and began assessing the situation with the engine. (Okay, they actually looked like a motorcycle gang, but capable nonetheless.) Soon large tools arrived and parts began coming off the van. I noticed that different people seemed to be in charge at different times, each sharing their expertise.

For my part, I donated the use of our sunshade--an important addition even late in the Texas summer.

It took nearly a week of hard work, but by Saturday the old engine had been removed and a rebuilt motor installed in its place. The van was reassembled, and is now running as good as new. All for significantly less money than I would have thought possible.

I was impressed by the way people rallied around our neighbor in his time of need, giving of themselves to do what he couldn't do by himself.

I thought how great it would be if I had a network like that, too. And then I realized that I do.

I am part of an excellent critique group. Recently I have gotten some great feedback on Into The Wind, my sequel to Bumpy Landings. Feedback that will help me take a good story and make it great. Each member has a different perspective; a different area of expertise that they can draw on to help make my writing better.

I'll admit that there are occasions when it's hard for me to use my limited writing time to read through someone else's work. Yet I'm always glad when I do, as I can't help but learn from their work, and there is no doubt that both critiquing and being critiqued has made my writing better.

Crafting a superior story may not be as physically challenging as dropping a big-block Ford V-8, but it's every bit as complicated. And while my critique partners are somewhat lacking in leather and tattoos, they are all extremely capable writers.

I am grateful for the help that I get from my writing buddies. Having a support network can make all of the difference in the world.

Mr. Fixit Learns The System

Here at my house, things tend to break down. A lot.

This is due primarily to the fact that much of our stuff is old and currently without hope of replacement. Yes, there is a financial component to this situation, but the truth is even if we could afford to replace this stuff, there are other factors at work.

Which is why there has been a new dishwasher sitting unused in our garage for two years while the old one rattles and leaks its way through every load. But that's another story for another blog post.

So with equipment in constant need of repair and limited funds to hire out the work, I have been required to call up my handyman genes and figure out the secret workings of washers and dryers and aerobic septic systems. But this hasn't always been easy.

Back in my grandparents' era, equipment was built with access and repair in mind. The workings were generally laid out in a way that invited understanding and tinkering.

These days, equipment is presented to the user as a "black box," where the inner mechanics are hidden behind a sleek exterior, often without screws, bolts, or any other obvious points of access. Things are just supposed to work, and when they don't you throw them away and buy a new one.

Fortunately, these days also present us with a treasure trove of information, and if one is willing to do a little research and put in some effort, the hidden clasps and secret access points can be discovered, and even someone like me can replace a washing machine snubber or repair a compressor motor. The information is all there--we simply need to access it.

One thing I have learned is that no matter how complicated or intricate a machine or device is, there is a system to the way it works. It's rare that I get step-by-step instructions for the exact project I'm working on, so I have to use my knowledge of the system to create my own repair plan. Understanding that system demystifies the process, and allows me the confidence to move forward with the repair. Usually all it takes is a few hours, some band-aids, and two bars of soap (one for washing off the grease, and the other for washing out the mouth).

The same has been true with writing and publishing. There is a system to this process, and the secret to success is in the understanding of it. And yet, within the system there are so many variables that it's impossible to follow a preset course. The best any one of us can hope to do is learn enough about the system--the mechanics of story structure; the quality of voice; the tricks of dialog and characterization; the quirks and idiosyncrasies of publishing and selling--and then push forward with a plan of attack custom made for our own unique projects.

Fortunately, the information is all readily available on blogs, websites, twitter chats, and at writing conferences. We live in a day and age where the publishing world is much more complicated than ever before. And yet the information we have at our disposal is the best it has ever been.

Study, learn, and understand the system. Then bring out your band-aids and your soap, and get to work.

Team Book Tour: 4 Authors on the Road

Four debut authors. Three book signings. Three states. Twenty-four hours. What a trip!

This past weekend I had an excellent opportunity to take Bumpy Landings on a summer book tour with Tamara Heiner (Perilous), Lynn Parsons (disAbilities in the Gospel), and Cheri Chesley (Peasant Queen).

Tamara and Cheri came to Dallas on Friday, where Lynn and I met them for an evening signing at Moon's LDS Bookstore. Then, bright and early Saturday morning, we drove to Hastings in Duncan, Oklahoma, where Cheri is visiting family. After our morning signing there, we zipped across the state to Springdale, Arkansas and Beehive Mercantile, which is Tamara's hometown bookstore.

The tour was fun and extremely valuable, although maybe not financially profitable. Was a trip this size worth the time, cost, and effort? I think so, if only because of the people met and lessons learned.

As we sat down to breakfast yesterday, we talked about what worked, what didn't, and what advice we would give to someone else planning a similar tour. Here are some of the things we came up with:

• Two of our stores had several months to prepare, although only one actually put together an "event". This was a much better signing.
• One of the stores was a last-minute replacement, with only a week of preparation time. This signing was good, but could have been so much better with a month or more to prepare and promote.
• Signing with other authors is awesome! When the signing is slow, there is good conversation to be had. Travel time conversations are great, and it's nice to split the gas costs.
  
• Two to four authors is a good number. It's not so many that it intimidates customers, and "unknown" authors still get some attention (unlike, perhaps, mega-signings with dozens of other writers).
• Summer is a convenient time for authors to travel, but may not be the most optimum time for bringing in customers. Check with the bookstores to find out when their busy times are.
• Traveling to multiple locations in a day is fun and would seem to be an efficient way to work. However, it forces compromise on the schedule. Our morning Oklahoma signing would have been much better in the early afternoon, but then we would not have had time to make it to the signing in Arkansas.
• This kind of signing is like a business trip, and the planning and coordination need to be professional.
  
• This kind of signing is like a vacation (or writing conference), in that (especially for 4 debut authors) the only thing you can really count on is meeting new people and getting to know the other authors really well. Most vacations don't turn a financial profit, either. The real value is time spent with others, learning and growing.
• Get the word out! Relying on walk-in traffic is courting failure. The most valuable customers are the ones the authors bring in themselves. Also, this kind of book event is an opportunity for you to crow about something. The publicity the tour itself generates may be the most valuable return you get.

Have you done a big multi-store, multi-author tour? What have you seen that works (or didn't work) and what things have you learned from taking your book on the road?

I Believe The Children Are Our Future

This past weekend, I had the great privilege of taking my daughter and two other young people to The Teen Writers Conference at Weber State University in Ogden. This is the third year of the conference, and the second time my daughter has attended. It's sponsored by Precision Editing Group, and they put on a great conference.

Listening to these young people talk about their writing dreams, and seeing this kind of first-rate educational opportunity, I truly believe the future of literature is in good hands. If I could have had this kind of training, it may not have taken me well into my 40s to have a publishable manuscript.

On the drive back, I asked each of the three kids in the car what their favorite part of the conference was. Their answers were great, but rather than try and remember exactly what was said, I decided to ask my daughter to share a few of her thoughts here in this post.

Hi! My name is Anna, and this really is a privilege. ^.^ I just want to let you know that the conference, both years that I have attended, has simply been wonderful. You really learn a lot! Each class is an hour long, but you're never bored. It keeps moving and you laugh as you learn. There were 5 workshops and 2 classes to choose from for each hour block. They had lessons for everyone, such as giving characters emotion, writing suspenseful chapters, getting a story started, hooking your audience, writing dialogue, and much more. I just loved the pick-and-choose option--it made everyone happy!

I think what I loved most about the conference itself, though, was simply getting to know other people. I find that a lot of authors are similar in certain ways (or at least authors my age), and in certain pieces of their personality. Examples of this would be an open, creative mind (of course :D ), a thirst for adventure (in some way or another), and, often times, an open heart. So if you sit down and start talking with another random attendee, you're probably going to get along--just because you're authors. You'll at least be able to talk about your writing, if only that. But it was really fun to say hi to so many different teens, and have some really fun and reliable friends by the end of the day. I have 7 new friends and all their emails, and we hope to put together a critique or at least a chatting group. I would say that's the best part; new friends!

My dad is really fond of writing, and of all the authors he knows. I am beginning to come to know this love, and it's wonderful. Thank you, 2011 Teen Writer's Conference!!!

The Pickup Artist and A Captive Audience

I was never particularly good at using pickup lines as young man. I thought they were corny and transparent, so I rarely ventured much past "Hi" -- a deficiency sadly reflected in my weak social calendar .

Now, some twenty years after (successfully)(mercifully) leaving the dating scene, I find myself returning to the world of Pickup Lines, although I now call them by a more mature name: Pitches.

I recently had a book signing at our local LDS bookstore, and a few things finally clicked into place for me. I had my table set by the door, a plate of chocolate, and a stack of printed pages ready to fold into paper airplanes.

As people walked through, I would offer them chocolate. If they had kids, I would offer paper airplanes. One young family tumbled into the store, and within thirty seconds I was down four planes and ten pieces of candy--the youngest looking like a squirrel with a cheek full of nuts.

But I digress. At first, as I would offer the chocolate, half of the customers would politely refuse, and the other half would come and take a piece. A very few of those taking some candy would linger for a moment, looking at my book and handouts, and I would take a moment to tell them about my book. However, nobody was buying.

But as the signing wore on, I realized that even those who didn't take time to linger still took 5-10 seconds selecting their piece of chocolate. For those brief seconds, I had a captive audience. So I decided to try something.

As people reached for the candy plate, I said, "I'm here today letting people know about my new book." Go ahead--time yourself reading that aloud. I get 3.5 seconds. And that was it.

With that brief pitch in place, nearly every candy eater then became a lingerer, looking at my book and other materials and listening to my full-length book pitch. And a significant number those ended up buying.

All because I found a way to connect with a potential reader, and had the courage to throw a four-second pitch at a captive audience.

I've come to accept that book signings are all about connecting with customers, and actual sales are secondary. To that end, I think it's essential to come up with a strategy to rise above the noise. For me, that has been chocolate and paper airplanes.

And it seems to be working. Let me share with you a portion of an email I got a few weeks ago, showing exactly how that connection helps.

I picked up your book on Saturday...and honestly, I was a little unsure if I would like it. But, I felt I needed to be supportive of a new author putting himself out there and I wanted the paper airplane.  I didn't pick up the book again until Tuesday morning and then I struggled to put it down to work and drive. I even got up early Wednesday morning to finish it before heading off to work. What a fun read! 

All because of a folded piece of paper, and a concerted effort to connect.

Going Viral. Or Not.

A dozen years ago, I had an experience that I fear skewed my perception of normal when it comes to generating publicity. Some of you may even remember this event.

Three of my sisters were all pregnant at the same time, with due dates spread over a span of eight weeks. This was the cause of some confusion early on a winter's morning when one sister called my mom and, in a pinched, mid-contraction voice said, "My water broke and I'm on my way to the hospital."

My mom's reply was, "Who is this?" It turns out it was the oldest sister, and the one farthest from her due date. The baby came quickly.

Sister number two visited the new baby on the way to her own OB appointment in the same hospital. The OB sent her back to the maternity ward, announcing that she was significantly dilated, and within hours the second baby was born.

The excitement of two cousins being born in the same morning and at the same hospital was a lot of fun, but it was also very difficult for sister number three, as she was "the most pregnant" and the only one actually due. Exhausted, she went to bed early and cried herself to sleep, only to be awakened by contractions a few hours later. Before the night was over, the third cousin had been born.

I thought this was all pretty cool, and so the next day at work I filled in an online tip form at the Associated Press website. This one simple act set off a firestorm of interest, resulting in calls from news organizations as far away as Germany and Japan, articles in People magazine, and an appearance on Oprah.

Yes, my sisters and their babies were on Oprah. And it all started with a single email.

When Bumpy Landings was released earlier this year, I knew that it was nothing as exciting as three sisters giving birth on the same day, and I had no delusions of getting a call from Oprah. However, I will admit that, in the back of my mind, I expected a similarly smooth (albeit much less grand) path to popularity.

After all, my book had a fun hook, an exotic location, and two unique book trailers. Which I have gratuitously posted below. Because I can.

However, I'm finding the skids aren't so easily greased for a niche-market novel as they are for multiple births, and this whole book marketing thing is lot more effort than I imagined. Months after release, and despite positive reviews and concerted personal effort, many independent LDS bookstores haven't heard of me or my book. Even employees at bookstores that do carry Bumpy Landings right there on the shelf claim they have never heard of it.

The road out of obscurity is steep, and I fear it might be a long one.

Of course, I haven't ruled out the possibility that I used up all of my publicity karma back in 1998.

Perhaps it only works when somebody else fills out the form.

Or maybe, just maybe, the universe is determined to keep me from the public eye. After all had those three babies come just one day earlier, they would have been born on my 30th birthday.

And then I could have been on Oprah, too.

Aloha from Hawaii

This week I have returned home to La'ie to do some book promotion, combined with a little bit of research. While not everything went quite as planned, I had a week that was nothing short of amazing.

I ate food featured in Bumpy Landings, including banana pancakes at the Hukilau Cafe:

and pineapple delight (which is no longer served in a pineapple shell) at the Polynesian Cultural Center night show.

I did my first school presentations as an author at my old alma matters, BYU-Hawaii and Kahuku High. I was joined by fellow CFI author Susan Corpany, who lives a short hop away in Hilo.

Susan also joined me for a very successful book signing at the BYU-Hawaii bookstore.

I met with all kinds of old friends as I wandered around town, and when they asked what I was doing there, I pulled out a card and told them about my book. It wasn't the way I planned to market Bumpy Landings, but it sure seemed to work.

I also went to see my friends in the band Vaihi, who provided the background music for my book trailers.

They made me get up and dance the Shama Lama.

And I did research. I was privileged to go behind the scenes at the Polynesian Cultural Center, and watch the cast and crew put together the night show. I also went to a community fundraiser, and solved two different problems that have been plaguing my current work-in-progress.

I had a chance to attend the La'ie temple, and see how nice everything looks after its recent renovation. Afterward, I went behind and took a picture of myself in front of the giant banyan tree.

The week has flown by, and while I'm excited to get back home to my girls and a routine that will maybe allow me a bit more writing time, it's going to be hard to leave behind this wonderful place in the middle of the sea.

Aloha oe, La'ie. Until we meet again.

Marketing: Where the Rubber Hits the Runway

I love writing, and am proud to call myself a writer, yet it's been weeks and weeks since I've actually written anything. Instead, I've (temporarily) become that somewhat scary and misunderstood creature, a Marketer.

This past week I had the privilege of introducing Bumpy Landings to the world, and I've learned quite a bit in that short time. I'm by no means an expert, but I thought it would be helpful for both you and me if I shared three of the lessons I've learned.

1. Have books on hand and be prepared to sell them. My home teacher came by the day after my books arrived, and I proudly showed them to him. He asked where he could buy one, and I pointed him to Amazon and Moon's LDS bookstore in Dallas. After he left, my wife said, "I think he really wanted to buy one from you."

I answered that these were copies for me to send to reviewers, but as I thought about it I realized I could always get more for them. So I took one with me the next time we met, and he eagerly bought it. I have since schlepped a box of books with me everywhere I go, and when people ask where they can buy one, I say "Right here."

Being prepared also applies to having business cards with book info in my pocket, and preparing a smooth 30-second pitch. I'm still working on that, but it's gotten a lot better than "It's about this guy, and, um, there are airplanes..."

2. Play to your (and your book's) strengths. My book is set in Hawai'i, so I've adopted that as the theme for much of my promotion. The idea of "escaping the winter chill" features prominently in my marketing material, and people have commented that Bumpy Landings helps them do just that.

At a recent signing, I took my ukulele to fill in the quiet spots. I'm hardly a master strummer, but it was fun for both me and the people I was with. Also, notice the little paper airplane to the side of my stack of books. Since Bumpy Landings features flying as part of its central conflict, I printed up airplane patterns with the cover colors and book title, and give them out to kids. I have no idea how effective they will be as marketing tool, but they sure are fun.

3. Include your friends. I stand by my assertion that the best part of this whole writing gig has been the friends I've made in the writing community. This past Saturday, I was invited to participate with three of those friends at a signing in Logan at The Book Table. Having friends at the store made it especially fun, as we were able to talk amongst ourselves during the slow periods, and we were able to attract a broader range of readers.

(Okay, actually everyone came to see Tristi, but that worked out well for the rest of us.)

Once the signing was over, we worked our way down the Wasatch Front, stopping at bookstores and libraries to introduce ourselves and share bookmarks. I learned a ton from hanging out with Tristi and Rebecca and Daron, and I look forward to planning events with other authors in the very near future.

What are some of the marketing lessons you have to share?

Super Fantastic Book Signing THIS Saturday

Did I get your attention with that title? I hope so. I wanted to announce a Super Fantastic Book Signing. That's right, it's going to be awesome.

Tristi Pinkston, Daron Fraley, Don Carey, and I are all going to be signing books THIS Saturday. I'm celebrating the launch of my book, The Upside of Down. Both Tristi and Don have January releases as well. Bumpy Landings by Don Carey is now available as is Dearly Departed by Tristi Pinkston. Daron Fraley will be signing his book, The Thorn. Isn't that exciting? We think it is and we'd love to have you join us for our book signings. (You know, I keep wanting to type book "singings"--maybe that'd be fun, you could come and hear us sing about our books . . . . Or not.)

Here are the details:

We'll be in Logan from 11:00-1:00 at The Book Table, 29 South Main Street. Then we'll head over to Ogden and be there from 3:00-5:00 at Wisebird Bookery, 4850 Harrison Blvd # 5. If you are going to be in the Logan or Ogden area this Saturday, January 15th, please stop by to see us. And, if you can keep your fingers crossed that the weather will cooperate and allow me to travel, that'd be awesome.

Hope to see you there!!

That's Good; That's Bad; That's Life

When I was growing up, we had a picture book called "That's Good, That's Bad," by Joan M. Lexau. In the book, Tiger sees Boy sitting on a rock. "Run," said Tiger. "And I will run after you. And I will catch you. And I will eat you, Boy. So run from me."

Boy just sat there and looked at Tiger. "Eat me then," said Boy. "I have no more run in me."

Boy then shares with Tiger a tale of woe and joy, explaining why he has no run left. Tiger listens intently, replying "That's good," at Boy's little victories, and "That's bad," at every defeat.

The "good" and the "bad" alternate regularly, bringing the reader along in a compelling narrative, with the threat of Tiger eating Boy constantly lurking in the background.

Decades later, I'm still impressed with the effectiveness of this simple writing strategy: Something bad happens, and then something good happens, and then back to something bad. It's a powerful tool for building tension and keeping a reader's interest.

I think one reason this strategy captures our attention so well is because it's often the pattern found in real life. We're constantly tossed up and down, the good and the bad coming at us in rapid fire. We talk about clouds having silver linings, and about windows opening when doors close. That's the way life works--giving us a healthy blend of both the good and the bad.

It's the way great fiction works, too.

shameless self promotion: Watch for the Bumpy Landings next month! Launch party January 13th, 2011. Save the date.

Ideas Versus Execution

I've always been an idea person. Ideas come to me all the time; thoughts that sneak into my mind while I empty the dishwasher, mow the lawn, or try to catch a few extra Zs on a Saturday morning.

I'm sure I had some good ideas growing up, although I don't remember most of them. However, one idea I had when I was a sophomore in high school is still as vivid as it was the day it came to me.

Our high school band was traveling from Hawaii to Florida for the Citrus Bowl parade, and I thought it might be fun to make a sign to hold up during the game--something silly like, "Aloha! We made this sign just to get on National TV!"

The reason I remember this idea is that, unlike most thoughts from that era, I acted on it. I shared the thought with some friends and, armed with markers, paint, and a bed sheet, we made the sign. We smuggled it into the game in my xylophone case, waited for just the right moment, and unfurled our queen-sized banner.

A camera wheeled over, the red light went on, and people all over the country saw our sign. We had our fifteen seconds of fame, all because I had the courage to execute on an idea.

I'm sure you've noticed by now that even the best ideas fall flat when the execution doesn't measure up. Have you ever picked up a book or gone to a movie, excited by the title and synopsis, only to experience terrible disappointment at the result? That's failed execution.

In writing, successful execution requires a number of things: clean prose, interesting voice, likable characters, and solid story structure. Execution takes time and effort.

And it takes courage. Because executing an idea is to risk failure. And the bigger the idea, the bigger the risk.

Every book out there started as an idea. The thing that separates the published works from the ideas scratched in notebooks is the courage, effort, and determination to execute on that idea.

*****

In an act of shameless self-promotion, I would like to share with you a the execution of an idea I had more than half a year ago. I present for you the Bumpy Landings Teaser Trailer.



In connection with the release of the trailer, I'm holding a contest on my blog. Visit www.donaldjcarey.com for the complete details.

My Secret Marketing Weapon

With my novel Bumpy Landings coming out in just over two months (That's important background info, NOT shameless self promotion. Really.), I've been hard at work pulling together a marketing plan. In making this plan, I have come across what could be a significant challenge.

While the themes of the book are universal--integrity, self worth, and kissing pretty girls--the main characters are all LDS, which means the bulk of my readers will also be LDS, most of them living far to the west of my home in Texas.

Being a thousand miles away from family, friends, and coworkers has been a challenge. Activities and gatherings and day-to-day life all take place without me, and I'm left on the sidelines, watching from afar. I expect in-person book publicity to be equally challenging.

Every once in a while I'm able to make a trip to Utah, and then I get to participate in the fun. I've noticed that since I'm not around all that often, my very presence in town constitutes and event. My friends organize dinners, my family plans barbecues, and we all make the most of the time I am there.

If I am especially fortunate, I can time my visits to coincide with a writing event, which is what happened a few weeks ago. My travel schedule put me in Utah at the same time as the UVU Book Academy, and I made sure to go. The classes were great. The company even better. And I was blessed with some insight as to how I can turn my distance from my readers into a strength rather than a weakness.

Two different classes, one by Josi Kilpack and the other by Annette Lyon and Kelly Smurthwaite, emphasized the importance of giving book buyers and media people EVENTS that they can get excited about. Not just another book signing, but something bigger.

Josi talked about Launch Parties, and how their main purpose is to let the author crow about their book. It's an event, and the potential buzz around that event is as important as the number of books sold there.

Annette and Kelly talked about Media Publicity, and how the media needs a hook for a book to become newsworthy. That hook is often found in a related event.

Just being in town is enough of an event for my mom. I realize that Jane A. Reader and Bob D. Newsman are going to need a little bit more. But if I focus my efforts on creating an event every time I'm in the neighborhood, I can take the weakness of my distance and turn it into a strength.

The Frustrated Saxophonist

Before I took up writing, my creative outlet of choice was music. I've had formal instruction on instruments in all five categories - keyboard, string, woodwind, percussion, and brass - and have been in a number of musical groups over the years.

During high school, I played both the saxophone and the xylophone. I wasn't able to find a picture of myself with my sax, but here I am with my xylophone in the 1983 Aloha Week parade.

However, it was while playing my tenor sax that I learned a lesson I've been able to apply to my writing these many years later.

The jazz band had already played our formal concert several weeks before, but for some reason we'd been invited to play at another school somewhere else on the island. It was my senior year, and graduation was just around the corner. A ton of homework and class projects had worn me down, and I was not particularly happy about what was to be the final concert of my high school career.

School was stressing me out - probably my pending AP exams - and I was tired from all of the studying. There was also some tension between myself and the baritone sax player - we had dated earlier in the year, and the relationship did not end well.

I was really not in the mood for this concert, especially since we'd be playing Help Me, Rhonda, and I didn't want to do the solo again. Although I had practiced it to perfection and executed flawlessly during the regular concert, my solo still fell flat. I could tell the band director was disappointed, as he usually was with my solos. I just didn't get it, whatever "it" was.

So the concert came, and I went through the motions, playing everything the way I had practiced. Then it was time for my solo.

In my bad mood, I didn't bother to play the solo the way it was written. I just blew. The notes were close, I stayed in the right key, but all I was really doing was venting my frustrations through my horn. It was the worst solo I'd ever played. It was also tremendously therapeutic.

After the concert, the band director approached me. "What was that up there?" he asked. I braced for a good chewing out. "That was the best I ever heard you play."

I was shocked; here I thought I'd completely messed up the whole thing, when in fact I'd done what he'd been trying to get me to do for four years - play with feeling.

All the time I'd been working on executing the notes exactly, what I'd really done is scrubbed away all of the emotion. Precision and conformity is exactly what's needed when playing as part of the band, but during a solo, it's the passion that counts.

Now that I've traded a mouthpiece for a word processor, I notice I tend to be the same way with my writing. I edit and edit until the voice is thoroughly sanitized.

This would be fine for a newspaper article or users manual, but I'm writing fiction. And in fiction, it's the voice that counts.

Making the Writing Look Good

I have a new calling at church: I'm the Assistant Stake Executive Secretary. This means helping the three members of our Stake Presidency with maintaining their schedules and agendas as they coordinate the affairs of nearly two-thousand families and individuals spread out among ten different congregations.

In short, my job is to make the Stake Presidency look good.

There are a lot of things to coordinate--meetings, agendas, appointments, callings--and this week I've been doing it all on my own, as the main Secretary has been on vacation with his family.

I thought I was doing pretty well until yesterday afternoon, when I realized I'd failed to inform the Stake President of a meeting with the Mission President.

Now, this missed meeting isn't a hundred percent my responsibility. It's on the schedule for everyone to see. The problem is when I talked to the Stake President and updated him on his schedule, I didn't double-check the calendar.

Oops. So much for making the Stake Presidency look good.

I'm still well down the learning curve on this calling, and getting a handle on exactly what my responsibilities are has been a real challenge.

The same thing has happened as I've tried to develop my skills as a writer. There are so many things I'm responsible for as I try to make my story look good: smooth prose, an interesting premise, empathetic characters, solid story structure. The list goes on and on, and it seems like just when I think I've made some progress, I'll come across something else that I've missed and need to do better.

Yet as many writing skills as there are to learn, I'm having fun learning them. And I'm finding the more I write, the more natural these things become.

Right now I'm working on making sure every scene in every chapter has sufficient conflict to move the story forward. I've always been kind of a peace maker, so conflict doesn't always come easy to me.

But as I work at giving my characters sufficient conflict, I find the conflict writing itself into the story without my needing to put quite so much effort into it. And my writing looks better as a result.

What about you? What writing skills are you currently trying to improve?