Doing It By the Book
MyShelf.com
December, 2002

I never liked to follow the rules. They were for other people. After all, I came of age during the Sixties. I was special. A free spirit. And of course, enormously talented. I'd do it my way.

Except I didn't.

I started writing fiction in 1996 when my father died. We weren't that close, but I suppose it was my way of coping with the loss of a parent. I'd read lots of mysteries and thrillers; I could do just as well, couldn't I? Four months later, I emerged from my basement with a manuscript that should never see the light of day.

But back then, who knew? Even when two agents politely rejected the manuscript, I hardly blinked. Instead, I started a new one. A police procedural. Featuring two male cops. The problem was that I'm a female. And, except for a brief incident thirty years ago, I'd never had much contact with cops. Still, I soldiered on. I even got an agent, but he failed to sell the book and promptly dropped me.

It was then I rethought my goals. Why was I writing mystery fiction? Did I enjoy it? Was I trying to become a better writer or simply get published? Should I invest more time and effort? If so, how?

Now—six years, four manuscripts, two agents, and dozens of rejections later—I'm about to be published. The first of three novels in my new series will be released in December by Berkley Prime Crime. Yes, it's satisfying. And terrific. But I'm convinced it wouldn't have happened if I hadn't realized there are rules, and they were worth doing. Indeed, once I began adhering to them, my writing got better, I made the right contacts, and I ultimately got published. More humble now, I've come to call this process "doing it by the book."

Writers' groups

A friend who's published nine mysteries told me that becoming an author is 10 per cent talent, 90 per cent craft. If you master your craft, she said, you will eventually get published. If you follow only one of the "rules," this is the one. There is no better way to learn your craft than by joining a writers' group. I was lucky enough to join one five years ago. I will be in it for the rest of my life.

Yes, you need to be careful about the group's composition: mystery vs. other genre writers; published vs. pre-published. And yes, it can take time to find the right mix. Happily, though, geography is no longer a problem. Online groups are flourishing. And, once you've found the right group, the rewards are incomparable. Your group will tell you what's working, what's not, and why. You will learn the rules. Your writing will get better.

It wasn't easy. I was bloodied pretty well the first year or so. In fact, one night, after receiving the group's critique, I checked over the seven pages I'd read and wailed, "I don't think you guys missed a single sentence." And there are occasions I don't agree with someone's opinion. Still, I try to remember if one of my passages "stopped" someone, that passage probably needs more work.

Research

If you're going to write a police procedural, you'd better know procedure. If you're going to write from the other gender's POV, you'd better know how that gender thinks. You need to be credible. You don't want readers to throw your book across the room because you got it wrong.

I made friends with my neighborhood cop. Visited the police station. Asked questions. I still do. I also search the net, use the phone, go on field trips, and take pictures. I've found most people, whether they're an FBI agent, a longshoreman, or a factory owner, love to talk. Especially to writers. Not only have I made new contacts, but they've often handed me unexpected plot twists.

Multi-tasking

It takes time to find your "voice"—it took me three years. During that time, I experimented with different voices and characters by writing short stories. I am a huge proponent of the short story form. It forces you to write sparingly, to make the most of a few words. For me, they're challenging, fun, and liberating—and they can become the genesis of a novel. My Berkley series developed from the first story I ever wrote. I aged my male protagonist forty years, gave him an adult daughter, and wrote a novel from her POV. I try to write several short stories a year. They help build your track record, and—don't forget—they're usually easier to publish.

Independent editors

Once your manuscript is as good as you (and your group) can make it, consider investing in an independent or free-lance editor. Groups can take you to a certain point, but eventually, you'll need feedback on the book as a totality: does the plot advance smoothly, are the characters believable, is the solution workable. I'd never taken a writing course so I was willing to make the investment. I considered it a "tutorial."

It was worth every penny. I learned more about writing from my editor than I'd ever expected. We all know that publishers don't nurture or grow writers anymore. Even if you show tremendous promise. They want something that's ready to go. A good editor—one that you've checked out carefully—can make the crucial difference. It did for me.

Resources

I found my first agent using Jeff Herman's Writer's Guide to Book Editors, Publishers and Literary Agents. I like the fact he includes a brief summary of what individual agents look for and how they operate. But there are similar books and even online lists of agents. I urge you to check them out.

While the big houses generally don't accept unsolicited manuscripts, many smaller publishers do. There's no one list, but you can assemble your own by networking and reading your online digests. (See the next rule).

Of all the resources and tools I've used, I believe the most essential is a solid query letter. Editors and agents won't read your manuscript unless they get past the first paragraph of your query. It must capture their attention and give them a reason to keep reading. Though it does require you to move from "writer" to "marketer," it's not as daunting as it sounds. There are books that will guide you, and—again—you can find a wealth of suggestions through networking, in person and online.

Networking

Bottom line: no writer does it alone. I didn't. The value of networking is unparalleled. I strongly recommend joining and volunteering with the organizations in your area. Go to MWA and SINC meetings. You'll hear experts on crime issues and writing techniques that can be downright inspiring. Plus, you'll start hearing about contests, agents, publishers, upcoming anthologies, writing groups, and more. And don't forget about writing conferences in your area, if you can get to them. Or your local bookstore. Hopefully you'll find, as I have, that mystery people are some of the most generous, helpful, and fun people to be around.

Online mystery groups (DL, SINC-IC, SMFS, EMWA) and web sites (Cluelass.com, for example) are also extremely valuable, and I subscribe to several. In fact, I found my present agent through an online group.

To sum up, I wish I could tell you that Rule #1 or Rule #4 was the one that got me published. But that just wasn't the case. Each one was a vital "rule of the road." It all came together last summer when I was offered a three-book contract—ten weeks after signing with my new agent.

An overnight success?

You know better. It was six years in the making—and doing it by the book.

A transplant from Washington, D.C., Libby Fischer Hellmann has lived in the Chicago area for over twenty years. She writes mysteries, both novels and short stories. Her short stories have appeared in both American and British publications and have won several awards. Her novel, An Eye for Murder, the first of three mysteries featuring Chicago video producer Ellie Foreman, will be published by Berkley Prime Crime in December, 2002.

When not writing fiction, Libby coaches individuals in delivering presentations, speeches, and media interviews. She also writes audio-visual scripts, articles, and speeches. She holds a MFA in film production from New York University, and a BA from the University of Pennsylvania. She was President of the Chicagoland chapter of Sisters in Crime for three years, and is chairing the Edgar 2002 Short Story committee for MWA. She lives with her husband, two children, and a Beagle in Northbrook, Illinois.

All content © Libby Fischer Hellmann.