The Appeal of Spy Fiction–Guest Post by Jordan McCollum

Title: Why Spy? The appeal of spies in fiction

minxyby Jordan McCollum

Maybe it’s just a guilty pleasure. Maybe it’s an obsession. Maybe it’s simple wish-fulfillment fantasy. But with the popularity of everything from James Bond to Burn Notice, it’s tough to deny the appeal of spies in fiction.

The glamour and the gadgets (and the girls!) are only the beginning of the coolness, however. Sure, spies get the coolest tools on television, but unsurprisingly the reality is a lot less glamorous and entertaining.

But it’s not just the veneer of fiction that keeps us reading and watching spy stories, and I highly doubt much of the audience is interested in the politics and intrigue of made-up people. (We’re scarcely interested in real politics & intrigue these days!)

So why is spy fiction so perennially popular? I think it traces back to the simple facts of the job itself. In real life, most spies don’t directly save lives, catch bad guys, and engage in gunplay. Their real lives are much more quiet and covert, and largely involve trying to get other people who already have access to share or steal secrets.

Secrets. Even in real life, spies trade in secrets every day. And that’s a big part, I think, of the subconscious appeal of the spy. Most people have a negative connotation with keeping secrets. We might keep confidences, but keeping secrets, it seems, is when other people don’t tell us something we almost have a right to know, something important.

Me having fun, freshman year of college

When it comes to spies, though, keeping secrets is the honorable thing. They pledge their lives to keeping secrets—and with these secrets, lives can hang in the balance.

Sometimes spies must even keep secrets from those they love—even big secrets. Like many aspects of the spy life, this is a lot more popular in fiction than in reality. It does, however, happen. From what I hear, the official rule in the CIA’s Clandestine Service is you can tell your significant other about your job once you’re engaged. A story at a CIA training facility goes like this:


After months of training in DC, and several months of more in-depth instruction far away from family and friends, CIA trainees are allowed to bring their closest family members for a family weekend. As part of the weekend, family members are loaded onto a bus for a tour of the Farm facility.

One year, the instructor-turned-tour guide clapped his hands and welcomed the family members to the CIA.

One woman leapt to her feet. (In some stories, she’s even holding a young child.) “The CIA?” she exclaimed. “My husband works for the CIA?!”

While that story is probably fictitious, it carries at least an ounce of truth: Spies are expected to keep secrets, even from the people closest to them—and that’s a good thing! For me, that’s one of the most interesting aspects of the job, even more than the fictional glamour and mystique, and even more than the lives they save: it’s the personal costs that can run so high.

What do you think? Do you read or watch spy fiction? Why?


About the Author


An award-winning author, Jordan McCollum can’t resist a story where good defeats evil and true love conquers all. In her day job, she coerces people to do things they don’t want to, elicits information and generally manipulates the people she loves most—she’s a mom. Jordan holds a degree in American Studies and Linguistics from Brigham Young University. When she catches a spare minute, her hobbies include reading, knitting and music. She lives with her husband and four children in Utah.

Visit Jordan:  BLOG & WEBSITE | FACEBOOK | TWITTER | GOODREADS

Jordan’s first novel, I, Spy, is out now: Canada’s the last place you’d expect an American spy. But even idyllic Ottawa has deadly secrets—and so does CIA operative Talia Reynolds. There’s only one thing she can’t do: tell her boyfriend Danny about her Top Secret occupation. When her latest target turns around and targets Danny, her schedule isn’t the only thing suffering. To save her secrets and her country, Talia must sacrifice the man she loves. More about I, Spy | Amazon  Kobo | direct from JordanMcCollum.com.

Cause-Related Marketing

by Kay Kendall, @Kaylee_Kendall
Everyone knows the publishing world is in
upheaval and it’s a dog-eat-dog world as far as promoting books is concerned.
At first the various ways to connect through social media seemed to be
heaven-sent, yet now, after only a year or two, folks on authors’ chat groups
across the Web lament that book sales are flagging. They say that the kinds of
promotions that used to work are not as effective anymore.
What’s an author to do?
 My
own debut mystery DESOLATION ROW was published by Stairway Press of Seattle
just this spring, and of course I have been going full-tilt with online
marketing. Lately I’m turning the bulk of my attention back to mystery number
two, but when I write for days on end and let the promotion slide, my sales
figures fall. So, like a yoyo, I pop right back to do more online marketing.
You know the drill. Facebook, Twitter,
Goodreads, blogging and/or guest blogging. And now, as if all us authors didn’t
have our hands full already, Everyone
says that an author has to add Google+
What is a poor besieged author to do?
In an earlier incarnation in life I was a
vice president of public affairs with American Express. This was in the late
eighties when the company was pioneering the concept called cause-related
marketing. Now I have begun my own version of that, and I suggest that you at
least consider it. It isn’t something you will have to do daily. The concept is
no longer brand new in the world of marketing, but it is not yet old hat in the
book world.
Simply put, you as an author know what
charitable causes have resonance with you. Find one that also relates to
something in your book. Then promote the fact that you will donate a part of
your royalties to that worthy cause. Both sides of the equation win. Even if
this does not sell more of your books today, you show your true colors as a
caring person about something that is not frivolous, something that is near and
dear to your heart. The homeless, arts in your community, a hospital funding
drive. The list is truly endless.
For example, DESOLATION ROW is set
against the backdrop of the Vietnam War. In 1968 a young bride from Texas uses
her CIA-honed skills to catch the real killer when her husband lands in a
Canadian jail for murdering the draft-resisting son of a United States senator.
Read the whole book and you will find that the overall thrust is pro-soldier
and anti-war.
Because of that ethos, and because I have
supported the organization for more than 30 years, I am choosing to donate a
portion of my royalties to the Paralyzed Veterans of America.  When I talk about that, I not only share with
readers where my heart lies but also profile a worthy organization that does
essential work.  Remember: the connection
between your writing and your cause is key.
I urge you to look at your writing and
your own causes. See what will work to make both sides of that equation gain
prominence and profile. A position that is win-win for all concerned is always
best. And as we used to say back in the day—slightly amended to what I am doing
now…WRITE ON!
=============
Kay Kendall is an international award-winning public relations executive
who lives in Texas with her husband, five house rabbits, and spaniel Wills. A
fan of historical mysteries, she set her debut mystery during the Vietnam War,
a key conflict of last century not already overrun with novels. Kay says her
mysteries feature women caught in their own battles during that unusual war
era. “In
Desolation
Row
I explore what life was like for a
typical young woman–not a headline maker, not a Hanoi Jane or Angela Davis,
but a moderate who nonetheless got swept up by history’s tides during the
turbulent sixties. All that turmoil lends itself to drama, intrigue, and
murder.” Kendall’s now working on her second Austin Starr mystery,
Rainy Day Women.

Editorial Letters and Other Edit Requests:

By Elizabeth S. Craig, @elizabethscraig
Not every editor sends editorial letters
along with requests for edits, but my editor for the quilting mysteries
does—and I love them.  
 The reason she’s
one of my favorites to work with in this business is because of the way she
approaches criticism.  She opens her
letters full of praise for the story, and then brings up issues to be
addressed.  It’s a pleasure to work with
her.  I just received one from my editor
last week, and I’ll share some of the points she brought up in mine.
Things she mentioned that she liked in
the story (in case you’re editing your own mystery): plot twists, character
growth for minor characters (I tried hard in this particular story to show
different sides of characters…especially the more unlikeable ones), and the
setting.  Y’all know I really don’t enjoy
setting (at all!) but this time I tried
to make the setting more fun to write so that I’d do a better job with it…I
released my inner Nancy Drew and wrote in secret passageways, trap doors, and a
spooky attic.  I also brought in some
Southern Gothic elements…just because I’m a fan.  The Gothic elements also made the setting
more fun to write in.
Wondering what types of issues come up in
editorial letters?  I’m happy to share my
mistakes in case any of you have got the same sorts of issues.  Mine seem to come up in the same categories:
Making
sure bits of story set-up are present at story wrap-up:
This book is an old-fashioned country
house mystery—remote location, ice storm, murderer in the house.  You know. 
So my set-up involved trees that had broken during the ice storm and
blocked the driveway, making escape down the mountainous driveway
impossible.  Somehow, I’d forgotten to
mention those trees at the end of the story and during the rescue, there was no
mention of them.  I quickly wrote in the
trees and the necessity of a chainsaw.
Make sure
that other mentions in the story are explained in the wrap-up:
Was there really a ghost?
How did a gun get into a character’s
room?
Why wasn’t the house heated?
Character
consistency:
I’ve got a character who was a wealthy
and ruthless businesswoman.  Why would
her house be in such poor repair/so shabby? 
Well, she was a miser and didn’t want to pay for the upkeep.  In my head,
I knew this…forgot to share it with the reader.
And the
bits that were mentioned in Track Changes on the actual manuscript:
More
detail wanted
(what did the van look like, sound like? What type of gun
was the gun?)
Transitions
needed:
Needed a bit of text to show a car going into a driveway instead
of suddenly ending up at the house.  Needed to add transition to a very abrupt change after a section break.
Correcting
what characters knew:
  How did the
characters know which bedroom was theirs?
Who is
speaking?
  A bit of dialogue
confusion.
Continuity:
Peanut butter sandwiches miraculously turned into pasta
Tension:  Drawing out tension in one scene—I was asked
to add a few sentences between the appearance of a pale-faced, frightened
character and her explanation of what she’d seen to make her that way.
Echoes:
A couple of accidentally repeated words that meant I needed to rewrite one or
two of the words.
Convoluted
logic:
A character made an assumption while creating a plan…a leap of
logic that didn’t really make sense.  It
was simply a leap I needed the character to make.  I wrote in other options and explained why
the character ended up making the plan she did.
A sentence
that was a little too rough for the genre:
I toned it down for my cozy
readers, at the editor’s request.  I must
have been in a grim mood that day! Read a bit more like noir than cozy.
So those were my edits for the book
coming out in December.  Not too bad…able
to work methodically through them and make the changes in a day.
What kinds of things do you focus on
during your edits? Do you usually need to make similar changes to mine?

Twitterific

By Elizabeth S. Craig, @elizabethscraig
by Elizabeth S. Craig, @elizabethscraig
 
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Author Photos

By Elizabeth S. Craig, @elizabethscraig

Author photos aren’t just for the backs
of books.  They’re also used to brand our
series and connect different bits of our platform.  They can also connect a pseudonym to our real
name. My photo is one of the few things connecting my Riley Adams books to my
Elizabeth Craig books on both my Goodreads pages and Author Central on
Amazon.  They’re useful for guest posting
on blog tours.
And it’s much better to use our photo
than our book cover for branding.  Our
covers and series change…our faces stay the same.  Sort of. 
:)
I was amazed how many sites I had to
update yesterday with the new photo.  I
updated for two Facebooks, two Goodreads, Twitter, Amazon Author Central (twice
for the two profiles), my website, Google Plus, LinkedIn, my avatar for
Wordpress, and my blog.  And I have the
sneaking suspicion that I’m forgetting something.
I try to update my photo every year,
although last year got away from me.  I
have a particular favorite author and read her once-yearly books when they
release. When she finally updated her author photo after ten years, I
gasped.  What had happened to her?  Then I realized…oh.  It had been ten books since that picture had
changed.  If we can, it’s probably better
to update our photos more frequently than that.
I’ve gone to professional studios twice
before for headshots and I just haven’t been as happy with the results. The
fault lies squarely on my shoulders.  I
completely understand that professionals are better for a variety of different
reasons…but I tend to stiffen up and produce extremely unnatural-looking
expressions.  The last time I went to a
studio, the photographer told me in frustration that she’d rather work with the
screaming toddler down the hall than me—that I needed to learn to relax.
This is why I’m now using my daughter to
take my headshots. :) My publishers haven’t seemed to notice a difference in the quality of the photo.  Newly-recovered
from her tonsillectomy, and bored because she’s not doing normal activities
yet, my daughter took photos of me yesterday to update my images on my sites. I will smile for my daughter.  She’s even signed legal releases for Penguin
so that her picture of me can go in the backs of my books.  The point is that I look more relaxed. I definitely looked stressed in some of my studio pictures.
If you do go to a studio, you need to
make sure that they will release the rights to the photo to you.  Most of them do…there are only a couple of
commercial chains that I’ve heard aren’t good about it.  They’ll usually recommend wearing a solid
color (I frequently ignore this advice), and not to wear very light colors if
you’re fair.
The studio drove me a little batty
because they wanted me to strike a variety of poses—and I knew my publisher
didn’t want that.  The publishers I’ve
worked with have asked for headshots—not full-length photos—and they don’t want
you looking off to the side or cradling your head in your hand or doing
anything that looks particularly artsy. 
You only have to pay for the poses you want, but I felt as though I were
wasting my time with everything but headshots at the studio.
If you do
go to a studio, though, be sure to take more than one outfit with you.  They let you change during the shoot.  In fact, they’re delighted to let you change
because it means you may buy several different portraits (since you’re in
several different outfits, it appears that you’ve had more than one shoot.)
Midnight Ink, as I recall, had a whole
page of author photo instructions.  From
what I remember of Penguin’s instructions, it was mainly just that they needed
a headshot and the specific resolution they needed to have a clear black and
white picture on the inside back cover of the mass market paperbacks. But
you’ll want to make sure that you know your publisher’s requirements before you
get your photo taken.
Have you updated your photo lately?  Any tips that I’ve forgotten?
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