MICHAEL A. VENTRELLA: I’m pleased to be interviewing Janice Gable Bashman today. Janice is co-author (with Jonathan Maberry) of WANTED UNDEAD OR ALIVE: VAMPIRE HUNTERS AND OTHER KICK-ASS ENEMIES OF EVIL (Citadel Press, August 2010). She has written for many leading publications, including NOVEL & SHORT STORY WRITER’S MARKET, WILD RIVER REVIEW, THE WRITER, INDUSTRY TODAY, and FOOD & DRINK QUARTERLY. Janice is a member of the ITW (International Thriller Writers) and the Horror Writer’s Association, as well as a contributing editor of the ITW’s newsletter the BIG THRILL. Her writing won multiple awards at the 2007 Philadelphia Writer’s Conference.
Your book WANTED UNDEAD OR ALIVE is due out shortly. Tell us about the book!
JANICE GABLE BASHMAN: WANTED UNDEAD OR ALIVE deals with monsters of all kinds (supernatural, fictional, or real) and the people/beings/forces that fight them. It’s a pop culture book for fans of the genre. We interviewed tons of people for the book — FBI profilers, authors, screenwriters, comic writers, actors, directors, producers, criminal experts, psychologists, and others — as well as luminaries like film-maker John Carpenter, author Peter Straub, and the legendary Stan Lee. The book also has over forty illustrations from fantastic artists.
Here’s what some of the experts have to say about the book:
“WANTED UNDEAD OR ALIVE is a fascinating, far-ranging analysis of the nature of evil and those who rise to fight it … in real life, in pop culture, in literature and in legend. A must read for those who want to dive deep into the reasons for why we are fascinated by monsters … and love those who make it their business to take them down.” — Rachel Caine, New York Times and USA Today bestselling author of the Morganville Vampires series, Weather Warden series, and Outcast Season series
“WANTED UNDEAD OR ALIVE is a riveting chronicle of all things that drop fangs in the dead of night. All aficionados MUST have this in their library!” — LA Banks, New York Times best-selling author of the Vampire Huntress Legend series
“Jonathan Maberry and Janice Gable Bashman probe into pop culture’s Heart of Darkness, and what they find is both fascinating and thought-provoking.” — Charlaine Harris, creator of TRUE BLOOD and the Sookie Stackhouse novels
VENTRELLA: How did your writing styles work together?
BASHMAN: Jonathan Maberry and I each wrote individual chapters and reviewed and edited the other’s work. Other chapters were a collaborative effort. Prior to writing anything, we had to decide who was best to write each chapter. Although writing the book was research and interview intensive, we each brought our own skill sets and knowledge of the subject matter to the project; therefore, some chapters were better suited for one of us than the other.
When writing or co-writing a book, voice is important. The challenge with two authors is finding one voice that both authors can write and that fits the tone of the book. At first it takes a bit of trial and error (and writing and rewriting) to get there, but the end result is, if you do your job right, a voice from two writers that sounds like it’s from one.
VENTRELLA: Do you have any similar books planned?
BASHMAN: WANTED UNDEAD OR ALIVE is a companion to VAMPIRE UNIVERSE by Jonathan Maberry (2006) and THEY BITE by Jonathan Maberry and David F. Kramer (2009). I’m finishing up a proposal for my next non-fiction book; it’s still under wraps so I can’t share the details at this time. I can say that dozens of key players are already on board for the project and it’s sure to be a fun one.
VENTRELLA: You primarily have written nonfiction. How does that differ from writing fiction?
BASHMAN: Writing fiction and non-fiction differ and yet are the same. By that I mean that both forms of writing have a story to tell. In fiction, the story comes from your imagination (and research); in non-fiction, the story is derived from fact. Whether I’m interviewing an author for the NOVEL & SHORT STORY WRITER’S MARKET or THE BIG THRILL or interviewing a CEO of a major corporation for a trade magazine, the process is the same. I gather my facts and tell a story — the story of the person or organization I’m interviewing.
I’ve received many e-mails from authors and others I’ve interviewed thanking me for giving them such an interesting interview, one where the questions differ from those they’ve been asked so many times before. I make it my business to thoroughly research my subject before I construct an interview and find a way to take that interview to a deeper and more personal level, to get to the heart of the person and talk to them about what really matters.
But, in the end, it’s all about story. Finding the story and crafting it in a way that’s exciting for the reader. That’s my job as a writer whether I’m writing fiction or non-fiction.
VENTRELLA: How did you get started in the business?
BASHMAN: About four years ago, I decided to take a swing at publishing some articles after I became involved with a writing group. I learned to craft a query, sent out a few ideas to some local publications, and sold my first article. In the years prior, I had published my master’s thesis and a few book reviews, so I did have some, albeit minimal, publishing credentials. Once that first article was published, I began sending out more queries to both local and national markets, and the sales began rolling in. I’ve written dozens of interviews and profiles for numerous publications, but I’ve also written features, book reviews, and now a non-fiction book.
VENTRELLA: How do you pitch a nonfiction book or article?
BASHMAN: Pitching a non-fiction book is different than pitching an article, so let’s tackle a book first. To pitch a non-fiction book, the writer must write a non-fiction book proposal. The book proposal contains detailed information about the editorial format, the book contents, the author’s marketing and promotion intentions, who will buy the book, media contacts, and more. A sample chapter or two is also submitted with the book proposal. The author must then pitch the book to an agent, via a query letter, in order to find an agent to represent him in selling the book. Some publishers may accept proposals directly from an author, but most do not. So, unlike fiction, the entire book does not have to be completed before pitching to an agent or editor.
The process of writing a non-fiction book proposal is helpful beyond obtaining a sale. It helps the author flesh out and refine his ideas and really get a good handle on the book. And when it comes time to write, the author is ready to go.
Pitching an article is a different beast. To pitch a non-fiction article the writer must send a query to an editor telling that editor about the proposed article and why it’s a good fit for his publication. This is done prior to writing the article. It does help sometimes, depending on the type of article you wish to write, to have one or two quotes from “experts” in your pitch to support your proposal. For an interview or profile I have not found this necessary, but I would recommend using expert quotes for a feature article. It shows the editor that you not only have the knowledge to write the article but that you also have access to the experts who can support the material.
My experience has shown that once I’ve worked successfully with an editor, it is easier to pitch new ideas to him and have them accepted for publication, as long as the ideas are good, obviously, and fit the publication’s needs. I’ve also had editors contact me on numerous occasions asking if I would be interested in writing a particular piece for their publications. When that happens, it certainly makes life easier because I bypass the query process. If and when that happens, it’s important to remember that it’s okay to turn down an assignment if your schedule will not allow you to complete the piece on time to meet the editor’s deadline. Always, always, always meet your deadlines.
VENTRELLA: Giving a pitch to a fiction editor or agent is a skill few have. How do you manage it? What advice do you have?
BASHMAN: The hook is all important. A query letter must hook the agent or editor in the first sentence just like the first sentence of a book must hook the reader. The writer must give the agent a reason to continue reading the query letter and to request sample chapters. It may seem like a simple thing, especially after writing and editing a manuscript, but it’s not. Crafting a good query letter takes time, but it’s important for the writer to take the time to do it right. How awful would it be for a great manuscript to sit forever in a drawer because an author didn’t take the time to learn how to write a good query and therefore couldn’t get an agent or editor to read the manuscript?
My advice is simple. It takes practice. Write and rewrite your query until it sounds like something that would make you request pages if you were an agent. Run your query past a few colleagues, post it on a writer’s critique board such as Backspace or Absolute Write Water Cooler, or if you’re really brave post it online for either the Query Shark or Evil Editor to critique. But before you even get that far, read through Miss Snark’s blog achieves where you’ll find hundreds of query critiques to study as examples. Publishers Marketplace is also a good resource. Take a look at the deals page and you can easily see how authors/agents have summed-up a book’s hook in one sentence. Find books in your genre and read the back cover copy, see how the wording hooks the readers and find a way to do the same for your book.
The more a writer studies and writes queries the easier it gets, but it takes time and practice. Don’t expect perfection right out of the gate. Work on the query, study your sentence structure, word choices, etc. until you get it right. Put the same hard work into the query that you put into your book. And if you query and don’t receive requests for pages, you either need to rethink/rewrite your query letter or ensure you queried the agents/editors who are interested in your type of book. One or the other wasn’t on target.
VENTRELLA: What advice can you give an aspiring writer?
BASHMAN: Remember that you’re writing because you love to write, because you have something to say that is meaningful. Be persistent. Push through the tough times; they will come. Relish the rewards of your work. And remember that publishing is a business, so try not to take rejection too personally. A rejection may not be a reflection on your work but may simply show that what you wrote is not the right piece for the marketplace at that particular time.
VENTRELLA: What’s the worst thing you have seen writers do that ruin their potential careers?
BASHMAN: I cringe every time I see a writer bash an agent or an editor in a social media setting such as Twitter or Facebook because the agent or editor rejected that writer’s work. Agents and editors receive and respond to hundreds of queries a week and often read them on their own time outside of business hours. They are searching for that next great book to represent, the book they love, and the book they believe readers will love too. They’re in the publishing business because they love books, and believe me, they want to find the next great book just as much as the writer wants to write it.
Rejection is part of the business, and a writer’s response to that rejection should be kept private or shared with a few select friends. It’s okay to feel disappointed, hurt or upset, but publically airing those feelings and lashing out at agent or editor either online or via e-mail is awful. First of all, it’s cruel. It’s done out of anger and feelings of rejection — that the writer’s work isn’t good enough, which may or may not be true. Second, agents and editors know one another, so when a writer bashes an agent or editor, that writer is labeled as trouble based on their online or e-mail rant. The writer may have written a great manuscript, but who wants to work with a difficult author, especially one just starting out in the business?
VENTRELLA: How do you manage promotion for your work? What things do you have planned?
BASHMAN: Promotion takes a lot of time, but it’s a necessary part of business. Today, authors are expected to do most, if not all, of their own promotion. It’s important to have a game plan and follow-through with it. A writer can write a great book, but if no one buys it the book is considered a failure.
For WANTED UNDEAD OR ALIVE, we’ll be posting expanded interviews on our websites with some of the people we interviewed for the book, we’ll reach out to readers through social media, we’ll attend upcoming comic, horror, and other events, we’ll participate in speaking engagements at local libraries and other organizations, we’ll attend book fairs, hold book signings, and a whole slew of other things to get our book out there and to bring it to the attention of readers.
VENTRELLA: How important is it for a writer to post on Twitter and Facebook and keep a blog? And what can a writer do to make his or her blog different and noticeable?
BASHMAN: It’s extremely important for a writer to connect with as many potential readers as possible. The internet has given authors a powerful arsenal of tools to connect with readers through social media, blogs, Yahoo! groups, websites, etc., and authors need to recognize those opportunities and use them. I recently spoke about building your buzz to drive up sales at the Backspace Writers Conference, and I’ll be speaking about it again to the Brandywine Valley Writers Group in September. I embrace these social media and online opportunities and have found them instrumental in helping propel my writing career forward. I’m on Twitter , Facebook, LibraryThing, Shelfari, LinkedIn, and a bunch of Yahoo! groups. I also follow and comment on numerous blogs and post to my own blog, usually about the writing business.
In order for a writer to make his blog noticeable, the writer must provide content that is engaging and relevant to the blog readers. In order to achieve that, the writer must identify his blog audience—who are they and why they are there. Also, what does the writer want to talk about? How can the writer make that interesting for his readers? If the writer’s target audience is other writers, for example, how can a blog post on writing draw in potential readers, agents, editors, etc.? Find ways to target new audiences while maintaining the readers you already have? Study those blogs you admire and see what they are doing and how they are doing it. Learn by example. Then try your twist on it and see if it works. If it doesn’t draw the response you desire, tweak your approach and try again. There’s no sure-fire formula for success. Just do what you do and do your best.
VENTRELLA: What projects do you have upcoming?
BASHMAN: In addition to the upcoming non-fiction book project I mentioned earlier, I continue to write for various publications. I’ll also be shopping a young adult novel shortly.
Filed under: writing Tagged: | Janice Gable Bashman, Jonathan Maberry, new writers, nonfiction, promoting yourself, query letter, rejection letters, research, resources for writers, writing advice, writing blogs, zombies