Wednesday, August 27, 2014

Thomas & Mercer has acquired the Huntress/FBI thrillers

A lot of you have been wondering when in the world Book 3 of the Huntress series is ever coming out.  I know. I know. I know. I actually finished the book quite a while ago, but I've been negotiating with Thomas & Mercer (Amazon's mystery and thriller imprint) for the series, and I can finally make this announcement. 

T&M has bought the rights to the series, and is going to re-launch all three Huntress books in January - including the world premiere of Cold Moon.

I truly, deeply apologize for the wait. Believe me, it's hard for me, too! But this is the difference between a traditional publishing schedule and the freedom of indie publishing - it takes a lot longer to get all the gears in motion. As a devoted TV binge watcher, I fully understand and am 100% behind the strategy of launching the three books together as a binge read. Thomas & Mercer really gets the uniqueness of the series and I know they'll be awesome at marketing.  And I'm thrilled that the series will be able to reach a much larger audience. I think the stories and characters deserve that.

I also know that a lot of you will be wondering why I would want to turn around and take a traditional publishing deal when I've been able to do so well with indie publishing. 

Well, first, Thomas & Mercer is a traditional publisher with an indie mindset. They get the new landscape of publishing (partly because they're creating it). And who wouldn't want the marketing genius of Amazon behind them?  

I've written here often about how important I think it is to diversify. Having a mix of indie published titles and traditionally published titles is to me the same kind of strategy as diversifying a financial portfolio. No one knows what the publishing landscape is going to look like a year from now.  Personally I've reached a happy point that I have so many books out that it's hard to manage all of them on my own and still have the time I need to be doing the most important thing: writing. Letting Thomas & Mercer handle the Huntress series will - hopefully - free up some time for me to launch the new series I'm working on (which I refer to as "the Scottish book") as well as continue the Huntress series with Book Four (which will be available very soon after Cold Moon, without the long wait.

Again, I deeply apologize for the wait - but I think Cold Moon is going to be worth it.  In the meantime, Huntress Moon, Blood Moon and the audiobook of Huntress Moon will remain available. 

In fact, you can pick up Huntress Moon for Kindle or Nook today through Thursday for just 99 cents (and the UK and worldwide equivalents).  The paperback is also on sale.

This is the last time the book will be available at a price like this, so if you already have it, please feel free to share the news!   


Amazon US    99c
Amazon UK   99p
Amazon DE   Eur .89
Paperback      $7.99

Nook US        99c
Nook UK       99p


"This interstate manhunt has plenty of thrills...  keeps the drama taut and the pages flying."   -- Kirkus Reviews

- An ITW Thriller Award Nominee for Best Original E Book Novel
- A Suspense Magazine Pick for Best Thriller of 2012
- A Huffington Post Books Pick for "Women You Should Be Reading" 2014



FBI Special Agent Matthew Roarke is closing in on a bust of a major criminal organization in San Francisco when he witnesses an undercover member of his team killed right in front of him on a busy street, an accident Roarke can't believe is coincidental. His suspicions put him on the trail of a mysterious young woman who appears to have been present at each scene of a years-long string of "accidents" and murders, and who may well be that most rare of killers: a female serial.

Roarke's hunt for her takes him across three states...while in a small coastal town, a young father and his five-year old son, both wounded from a recent divorce, encounter a lost and compelling young woman on the beach and strike up an unlikely friendship without realizing how deadly she may be.

As Roarke uncovers the shocking truth of her background, he realizes she is on a mission of her own, and must race to capture her before more blood is shed.




Book II in the Huntress/FBI series, Blood Moon, is also available $3.99 (2.45 UK)

Amazon US
Amazon UK
Amazon DE

Nook US
Nook UK

Twenty-five years have passed since a savage killer terrorized California, massacring three ordinary families before disappearing without a trace.

The haunted child who was the only surviving victim of his rampage is now wanted by the FBI  for brutal crimes of her own, and Special Agent Matthew Roarke is on an interstate manhunt for her, despite his conflicted sympathies for her history and motives.

But when his search for her unearths evidence of new family slayings, the dangerous woman Roarke seeks - and wants - may be his only hope of preventing another bloodbath.




And the audiobook of Huntress Moon is also available, narrated by multiple Audie Award nominee RC Bray

Amazon
Audible







As always,  I'll keep you posted on the sale - the promotional strategies I used and what I find to be effective.

So authors, what about you? Are you diversifying? Does the hybrid life make sense to you?
And readers - are you going to kill me?  (Hopefully not!)

Alex

Monday, August 18, 2014

You just have to do it (lessons from the Reduced Shakespeare Company)



One of the great pleasures of living in Scotland is the month-long Edinburgh Festival Fringe. A pleasure if you don’t actually live in Edinburgh, that is. Residents talk about the Fringe as they would about a plague, which I suppose it is: 20,000+ performers and God only knows how many tourists from all over the world descending on a really quite small (and ancient) city center (that’s centre over here), for the world’s largest arts festival (and the Fringe is only ONE of the festivals). It’s a riot of buskers, street theater, acrobats, jugglers, musicians, crafts, food, bagpipes, and general mayhem on the streets - before you even get to the 3000+ shows a day in various commercial venues.

So we went in last week to see my friends Reed Martin and Austin Tichenor of the Reduced Shakespeare Company in their new show:
 The Complete History of Comedy (Abridged).  

It’s a great show, with the RSC’s usual combination of a razor-sharp survey of whatever subject they’re ostensibly skewering, disguised in laugh-till-it-hurts comedy, physical, satirical and intellectual. You can enjoy this show on multiple levels, and actually learn something about the development of the art and practice of comedy along the way. It’s at the Pleasance Grand until August 25, then touring the US, UK and Ireland, and I highly recommend it (here’s the schedule).

But I enjoyed it on a whole different level, too.

This was really my present and past colliding, as I have been going to see RSC shows since the genesis of the troupe at the California Renaissance Pleasure Faire, where the RSC’s first full-length show was written and for quite a long time performed by my friends (since college, eek!) Adam Long, Daniel Singer and Jess Winfield (who is also the author of My Name is Will, a brilliant novel of sex, drugs, and Shakespeare.)



And maybe when I say “present,” I really mean “future,” because along with working on Book 4 of the Huntress series, I’ve started on a new series which I’m going to set partly in Scotland.

I know. What could I possibly be thinking?

But it’s been very hard for me to envision a series that could follow (or run concurrent with) the Huntress/FBI thrillers


This is a problem I now realize long-time authors face. Some readers will follow you anywhere. Myself, if I love an author, I read everything by that author: series, standalone, it doesn't matter. I may like some books better than others, but it’s the themes that an author is working with that really draw me, and authors bring their personal themes into every book they write.

Other readers, though, may be so specifically keen on certain aspects of a series - the characters, the genre mix, the level of suspense, the arena – that they may well not be interested in something different from that author.

And I have to admit there are a few of my favorite authors who have books or a series that I’ve just never been able to get into.

So the problem with deciding on a new series is how to write something that will sustain you creatively as an author (since we’re the ones who have to live in these worlds for years at a stretch) and that will hopefully also draw your readers who have become attached to the last series you wrote. Obviously there are also always commercial considerations, if you’re doing this for a living, as I am.

So I needed to find a series that has the depth and thematic resonance that I think the Huntress books have, and the range of interesting characters, and the locational aspect that I know my readers enjoy - the Huntress books are in one sense a road trip and California especially is a character in the novels.

So here I am living in Scotland. And people are jealous. I mean, I get death threats. Mostly people are kidding – I think – but Scotland is a fantasy to a lot of Americans, in lots of different ways. 

As an American actually living here, I see both the fantasy and the reality (sort of reality). I think I can write about that really well, and bring my American readers into a fascinating and stunningly beautiful, mysterious world - in the context of a crime series that will allow me to explore different sides of my own personal theme: What can good people do about the evil in the world?

It’s an exciting thought… and terrifying. Like paralyzingly terrifying.

So watching the RSC show I realized what I was fretting was the enormity of doing this story justice (this is my eternal fret, actually). And a line leaped to mind - my favorite moment from the RSC’s Complete Works of Wm. Shakespeare (Abridged). My favorite moment in another show full of laugh-till-you're-sick moments comes just before the intermission, when Adam flat out refuses to go any further, because the one play left that the boys haven't yet butchered is Hamlet. And Adam just doesn't think he can do it justice (“There are just so many words…”). 
Jess (now Austin) lifts a sobbing Adam from the floor, assuring him - "We don't have to do it justice. We just have to do it."



And that's the point I have to remember in venture into my new series. Sometimes you don't have to do it justice (although you always hope justice eventually will be done). Sometimes you just have to do it.

So authors – have you had the experience of having to follow up a successful series? How did you know when you had the right idea?

And readers – are you willing to follow a favorite author into a new series? Or would you rather your favorite authors stick to their tried-and-true characters?

- Alex

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August contest!

I've added a new feature to my website: a monthly contest. You'll be able to enter for a chance to win signed books, audiobooks, gift cards, and other giveaways, which I intend to get pretty creative about. (For example, I have extra tickets to a showing of Benedict Cumberbatch in Hamlet, coming up next year....)

You can find contest news by clicking on the contests! link on the website nav bar (to the left), and/or you can sign up for another new feature, a monthly newsletter that will have the upcoming contests and freebies listed. 

Click to go to the contests page.

Click to sign up for my newsletter.




Friday, August 15, 2014

Gone but not forgotten: RIP Robin Williams



This has been a heavy week. Like a good part of the rest of the world, I’m heartbroken over the loss of the incomparable Robin Williams. 

I'm surprised at the depth of my feelings. Of course the loss is massive. He was a once-in-a-generation (perhaps once in several centuries) comic genius who was a presence in my life for so many years.  A whole generation of us grew up with Williams always in our lives, and as a theater person I was in awe of the force of his talent. He was a touchstone for artistic integrity. He made me understand what truth is, in acting and in writing. And how truth means letting go of all comfortable boundaries. He is a living lesson on the edge.

But the grief I feel over Williams' death is more complicated than that loss. There is guilt and sadness that someone who gave so many billions of people so much pleasure was suffering so terribly himself. There is selfish anger about the many roles, both written and unwritten, he was born to play as an older man that now we'll never have. His death brings up conflicted memories of my personal experience living with a loved one with biopolar disorder. And I have a strange, absolutely codependent thought that (as with Philip Seymour Hoffman) we all should have seen this coming and should have done more to ensure it didn't.

I've spent some of this week reading the tributes (this anecdote by Norm MacDonald was most resonant for me) and watching film clips (the Mork and Mindy premiere!) and will no doubt be revisiting some of my favorite Williams movies this month. I am so incredibly grateful that so much of his work is on film for us and future generations, that his talent will continue to entertain, challenge, and delight the world.

But I've realized this week that there's something even more to all of this, that makes the loss even more than the black hole that it already is. Because Williams is an archetype.

I'm not going to go into a lecture on archetypes and how to use them in your writing. I've written about it before, and this week I'm just too sad. But here's the definition.

Archetype:  a collectively-inherited unconscious idea, pattern of thought, image, etc., that is universally present in individual psyches

That is, there are characters that we are all born knowing. And theatrical, filmic, television characters take on exponential power when they are archetypes: Reacher -the Mysterious Stranger; Katniss Everdeen - Artemis (or Diana) the Huntress; Gandalf - the Mentor... 

And Robin Williams. He is a living embodiment of the Fool, the brilliant and childlike truth-teller, the divine madman, who is empowered to criticize kings, and gets away with it exactly because of that childish truth. He even shared Puck's given name.




We've lost something much more than a brilliant talent.

We've lost the world’s Fool.


And my poor fool is hang'd! No, no, no life!
Why should a dog, a horse, a rat, have life,
And thou no breath at all? Thou'lt come no more,
Never, never, never, never, never!    
       -- King Lear

Monday, July 28, 2014

The Great Agent Hunt


The "How Do I Get An Agent?" question is coming at me from all directions this week and I figured I'd better put the answer all in one place so I can just refer people here.

So you've finished your first novel and now you face the dreaded question: What do I do now?

Well, first, MASSIVE CELEBRATING. Most people who try to write a novel never finish at all. You are officially awesome.


And before we talk about HOW,  I'll address the question of WHY you need an agent at all.

If you're planning to go right into indie publishing, great!  You don't need an agent. Skip this step and go straight on to a whole other set of scary issues. :)

But if you're looking for a traditional publishing deal with a traditional publisher, yes, you need an agent. I know, people do it without. Fine - if you're one of those people, I'm not talking to you.

(If you're planning to sell directly to a Harlequin category line, you don't really need an agent at first, either. But you do need the professional savvy of Romance Writers of America. I strongly recommend that you join up.)

But for those of us who DON'T have that kind of business savvy to negotiate our own deals with a multimillion dollar corporation, this is what an agent does.

A good literary agent lives in New York (that's CITY). An agent's job is pretty much to go out to breakfast, lunch, dinner, coffee, and drinks with every good editor in the city, and know what those editors are looking for, so that when you hand your agent your new book or proposal, your agent will know exactly which editor is looking for what kind of a book - know each editor's taste intimately, so that your agent can submit to exactly the right editor at each publishing company and put you and your book in the position of making the best possible deal available on the planet at that moment.

Really. That's what your agent does.

When your agent submits your book, s/he will most likely submit it to 8-10 of the top publishers in New York simultaneously, and you need to have that book submitted to the editor MOST LIKELY TO BUY IT at each house, in the hopes of -

1 - creating an auction and/or pre-empt situation

2. - getting the best possible editor for you and your particular book and the best possible deal out there.

You cannot do these things yourself. An agent can. This is the difference between writing for a living and writing in those spaces between the demands of the day job.

An agent also is or functions as a contracts lawyer (or a good agency will have a department of contracts lawyers) who will, after the sale of a book, negotiate a contract that is far better for the author than the boilerplate (basic contract) - such as retaining rights in other media and other countries, reversion of e rights, and other critical bargaining points.

Writers without representation or with less than ideal representation might realize just how unfavorable the contract is only when it's much too late.

And here's some video of a panel discussion that I did with Dusty Rhoades and Stacey Cochran that goes further into what an agent will do for you and why it's so important to have one. The question I was asked in the beginning of this tape was "Can I sell a book without an agent?"



And continued here:




--------------------------------------------------------------------------------

So that's the why. On to the HOW.  Legendary Putnam editor Neil Nyren has this to say about finding an agent:

"The question I always hear the most at conferences is about how to find the right agent, and I always say, “Homework.” Now that homework is easier to do than ever. Besides such sites as Publishers Marketplace, AgentQuery, and the like, every agent in creation has his or her own website where you can find out about their preferences, authors, deals, ways of doing business. Really, people, there’s no excuse for cluelessness anymore."


Amen to that.  If you're not spending - I would say at least a month - doing your research, you're not taking this seriously enough.

I know a lot of authors recommend starting with the lists in Writers’ Market, but the very thought makes me cringe. How are you supposed to know who’s a good agent from reading randomly through that enormous book? Instead, I highly recommend making your own targeted list of agents who represent books in your genre, who have made recent sales, and who other authors you admire are enthusiastic about. We are SO LUCKY to have Google to allow us to do this kind of research instantly, right from our own desks.

I also know that getting an agent is so hard these days that a lot of aspiring authors jump at the first offer of representation. That is a TERRIBLE thing to do. You only have one shot to get your book read and bought by the major publishers and you need the best representation you can find. An agent with “clout” can get you thousands more in advance money, just because of their relationships and who they are. It can easily be the difference between you writing as a hobby - and writing for a living. It’s worth taking the time to do extensive research, and approach the agents you most want to work with first, before you settle for the first thing that comes along.

MAKE A LIST

You knew that was coming, didn't you?

While you are doing this research, I recommend that you build a list of at least 20 agents who you feel would be good representation for both you and your book. Take good notes, because when you query these agents you may want to say things like: "I feel you'll respond to this book because of (these similarities) to your client's excellent book (title).

Here are just a few great resources to consult when you start your agent investigation:

1. The Backspace forums

Backspace is an invaluable resource for all aspiring authors (and published authors, too!) There are public pages, but the real gold is the private forum – it’s a $25 or $30 one time fee to join but invaluable. You can get your questions answered directly by great agents and editors, and get public or private feedback on particular agents or your query letters by other Backspace members.

2. Here's a great site with over 1500 agent listings and software to research agents and keep track of your queries: Querytracker

3. And another: AgentQuery.com

4. Subscribe to Publishers' Lunch, a free newsletter that you can sign up for on the Publishers' Weekly site, and start a notebook in which you list agents who have sold books in your genre that week and the editors and publishing houses they have sold to.

5. Continue to build your targeted list of agents by going to the library or a bookstore or your own bookshelves and selecting at least 20 popular books in your genre and turning to the ACKNOWLEDGEMENTS page. Unless s/he’s a complete and total ungrateful idiot, the author will have thanked her/his agent in the first few lines.

You can also often find your favorite authors’ agents’ names on the authors’ websites, complete with contact info.

6. If you need help finding current, successful books in your genre, ask your local librarians and independent booksellers, who are your best friends.

7. Always check with Writer Beware to make sure that agents you're approaching are legit.

And GalleyCat is a must-read blog for your agent hunt.

8. Go to writing conventions in your genre that agents will be attending, especially if you can sign up for pitch sessions. Meeting agents face to face in these situations is the best way to establish the connection that can lead to signing with an agency. The Shaw Guides provide a comprehensive list of conferences and conventions, nationwide, as does Jacqueline Deval's excellent book PUBLICIZE YOUR BOOK - a comprehensive list of conventions in the back. If there’s a particular agent you have targeted, check to see if that agent is participating in pitch sessions at particular conferences It is absolutely worth it to go make the initial contact in person, in a structured setting like this. The personal contact will not only most likely get your submission read, it will give YOU a chance to see if you really want to work with that agent, which is equally important.

9. Go to conventions and hang out in the bar. I particularly recommend Bouchercon, Thrillerfest, the Backspace conference, Romance Writers of America National Conference, and Romantic Times Booklovers Convention. (Thrillerfest's Agentfest, in July, has a massive number of attending agents.) If you've signed up for a pitch session at one of these conferences and an agent has asked to see a partial (or a whole book!) then you are light years ahead of a cold querier. I think for most aspiring authors it's the very best way to speed up the getting an agent process.

Be pleasant and charming, buy an agent a drink. Again, the personal contact will not only likely get your submission read, it will give you that chance to see if you really want to work with that agent.

So now that you have your list, you need to query. It's a specific process, so do your research on how before you send those emails off.

HOW TO WRITE A QUERY LETTER:

Folio Literary Management has an EXCELLENT blog on all aspects of agenting, publishing, and writing careers.

Check out this post on the perfect query letter:

And then go ahead and delve into the other posts!

More on query letters and Who To Query - from Murderati's Louise Ure.

Lisa Gardner on writing queries and synopses.

San Francisco agent Nathan Bransford, with Curtis Brown, also has an excellent blog on these and other topics - check out his essential links on the right side of the blog.

Here's a free downloadable e book on writing query letters.

Good luck with it!

And I’d love to hear of other good sources people have found so I can keep adding to my lists, so please let me know what I’m missing!

- Alex


Screenwriting Tricks for Authors and Writing Love, Screenwriting Tricks for Authors, II, are available in all e formats and as pdf files. $2.99 and $3.99



Kindle

Amazon UK

Amaxon DE (Eur. 2.40)






Smashwords (includes online viewing and pdf file)

Amazon/Kindle

Barnes & Noble/Nook

Amazon UK

Amazon DE

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Monday, July 21, 2014

An American in Harrogate



This time of the summer I’m almost always at Thrillerfest. It felt weird to miss it, but my brother was getting married that weekend so obviously, priorities!

But I wasn’t conference deprived, far from it. As befits my new transatlantic lifestyle, the weekend after TFest I ended up at what is in many ways the UK equivalent: the Theakston's Old Peculier Crime Festival.

I’ve always intended to go to Theakston's Old Peculier (which most people understandably shorten to “Harrogate”), since a good number of my favorite authors are British, and I can always use the UK market exposure, and of course there are the accents. This weekend was the first of many to come, now that the conference is only a four-and-a half-hour train ride away from me.  Craig and I flew back from the wedding in California and had just twenty-four hours layover at home before we took off again (just enough time to reunite with our abandoned cat and promptly leave him again. Anyone know a good feline therapist?).

I don’t know what exactly I expected of  Harrogate, visually speaking, but I was surprised to find a lovely little Georgian-era spa town with elegant stone mansions and Victorian gingerbread flourishes, gorgeous flowering gardens and ubiquitous hanging flower baskets, hilly cobbled streets lined with restaurants, pubs, tea rooms, mouth-watering boutiques... and a startling number of bath houses. The respectable kind, at least so it seems from the outside of them. Which meant that all weekend long I was dying for a Turkish bath, but because of the crazy traveling we were only there for two days of the festival as it was. So the Turkish bath will have to wait for the next trip. As will, alas, the obviously excellent shopping. 

Or maybe missing out on the shopping is a GOOD thing….

To catch you all up on the conference I’ll steal - I mean give an American version of Craig Robertson’s Sixteen Wonderful Things about Harrogate U.K report (which you can read here on Crime Fiction Lover)  and start by focusing on some key differences between Harrogate and some of its U.S. equivalents:

1. -- US: the host cities and hotel venues tend to change for every conference (except for Thrillerfest, which is now permanently housed in the Grand Hyatt in NYC, and Malice Domestic, always just outside Washington, D.C.). The moveable feast aspect allows for people in different regions of this rather large country to get to conferences that might be too expensive to travel longer distances to. You have to learn a new hotel every time, but one huge perk is the local law enforcement line up. Bouchercon and Left Coast Crime are particularly good about putting on law enforcement tracks, where you can learn tons about that state/county/city's particular law enforcement agencies and methods and famous crimes. My favorite aspect of any conference. Except the people, of course!
        

   --  UK: Harrogate is permanently in the Old Swan Hotel.  (photo right)

(I know, how much more British does it get?).

Of course, everywhere in the U.K. is pretty close to everywhere else, so no reason to move it around. It was very clear attendees love the Old Swan, although there were (of course) lots of complaints. I wonder if I'll ever get used to all the complaining?


2. -- US: Except for a few headliners, authors generally pay to go to U.S. cons, and most authors who pay their conference fees on time are given a panel spot, which means there are a lot more panels on and the quality of those panels varies wildly.

    -- UK: Authors are invited to panels by a programming committee, and they are paid both for the panel and for travel and accommodations. Obviously I’m in favor of this “authors are paid to appear” thing! The paid moderators ("chairs") might go a long way toward eliminating a common and stupefyingly annoying conference problem: the authors who ignore the panel topic and use the forum to relentlessly plug themselves and their books. But I haven't seen enough UK panels to know if that actually works in practice. It seems to me some authors will try to hijack panels no matter what, and it's up to all the authors on the panel to save those offenders from themselves.

3.  -- US: Conference attendees pay for either day passes or a full conference pass and then can attend as many panels/events on that day or days as they can handle.

     -- UK: attendees can buy day passes, or pay for individual tickets to events of their choosing. So you can choose what you attend and how much you want to spend.

4.   -- US: There are lots of panels on at any given hour and people tend to panel-hop, and it’s perfectly acceptable to move in and out of panels, which is kind of great.

      -- UK: There’s usually only one event going on in the one huge double event room (capacity about 500 people). So you can conceivably see the entire program, and the conversation in between events tends to be focused on one event, which is also kind of great.

More specifically about Harrogate:

5. The Old Swan is really quite small compared to big US downtown hotel venues, and the event hall and the bar and the lawn area (which hosts a bar tent and a signing/bookstore tent) are all right up against each other, so despite the impressive 15,000 tickets sold for various events over the weekend, it feels like you’re at one four-day long party of about 400 people.

6. As usual, I didn’t make it to many events, but I absolutely loved the Domestic Noir panel, featuring my new author friends Helen Fitzgerald and Julia Crouch, plus Chris Ewan and Cath Staincliff, chaired by NJ Cooper, who asked great questions like: “If some people are in fact biologically born bad, does that make them less guilty of their crimes?” (Discuss!)  If you ask me, we need more panels like this at every crime conference.

I was also really thrilled (at the spy panel) to learn the backstory of screenwriter Terry Hayes’ huge success with I Am Pilgrim. Hayes is living proof of what I am always telling my ScreenwritingTricks workshops: If you want a better chance at getting a film made, write a book, not a script. And what a lovely thing it always is to see a writer of a certain age making such a brilliant second career. And being so perfectly jolly about it all!

7. There was a quiz, traditionally hosted by the always hilarious Val McDermid and Mark Billingham. To put it in British speak, I am rubbish at quizzes, so I only peeked in. The questions were really, really hard. For all the reading I do, I don’t seem to know much about crime fiction. I did know which director directed the first Columbo episode, though. (Go ahead, guess…)

8. It was really, really wet. I’m told that’s not usual - in fact I was promised sunny days lounging out on the expansive hotel lawn. Hah! Instead it rained like hell half of the time and the other half it was so humid it might as well have been raining. Luckily there was a bar tent up on the lawn (although… those metal poles during a lighting storm? Hmm….) But I’d just had a lot of sun in California, and rain promotes its own kind of intimacy. It was all good.

9. There is much, much, MUCH more smoking in the UK. Some electronic cigarettes but a lot of old fashioned cancer sticks. My lungs were cringing in horror. On the other hand, there was much less pot. At least that I could see (smell).
-        
10. There is more drinking.  I wouldn’t say much, much, MUCH more, but still, it felt like more. But I always feel like a lightweight in a UK drinking crowd. As for the all night partying (which it was), I’m usually up for anything from two a.m. karaoke (Anchorage Bouchercon) to after-midnight absinthe (Romantic Times New Orleans) to drag queen bingo night (Thrillerfest) to a hike through Mayan pyramids on a blazing Caribbean day (Florida Romance Writers’ Cruise With Your Muse), or dressing up as God knows what at Writers for New Orleans or Romantic Times, or a midnight Jacuzzi party (any number of cons in every genre) but after five straight weeks of traveling and accompanying jet lag I was in bed by a reasonable 1:30 a.m. both nights, therefore blissfully unhungover in the mornings. Next year, however, I intend to organize a Turkish bath party (and I have a fair idea of which of my new U.K. friends will be up for it).

11. There were no bloody battles between indie published authors and traditionally published authors (that I saw); in fact I had a very civilized conversation with a Big Five publisher who shall remain nameless, but who was quite open to hearing about why so many authors I know are happier with the way Amazon treats them. I hope all this enmity is on its way to dissipating, because the important thing is that authors now have all kinds of ways to make enough money to keep writing great books.

12. In the UK, they call the readers “punters,” which I know is affectionate… (she says hopefully) but which I still find a little shocking.We’re all readers, aren’t we? Isn’t that the point?

13. Everyone is on Twitter. Everyone. In the US, Facebook is much more popular. But okay, I get it. I'll figure out how to use my Twitter account. Because I really don't have enough to do already. Sigh.

14. Some things are exactly the same. Friday night was the publisher dinners, and I had a fabulous time at a restaurant called the White Hart meeting my new Thomas&Mercer colleagues: authors Helen Smith, Jay Stringer, Louise Voss, Mark Edwards, EM Powell, Mel Sherratt, Rachel Abbott and Daniel Pembry, and our charming T&M hosts Emilie Marmeur, Sana Chebaro and Neil Hart.

15. The main reason I didn’t make it to many events was that just like in the US I kept getting caught up in chats, I knew a lot more people than I expected to, not just Americans like author Laura Lippman and editor Kelley Ragland but quite a few Brits (and Irish) authors and readers I know as regulars to Bouchercons and Thrillerfests and World Fantasies and World Horror Cons, like Sarah Pinborough, David Hewson, Martyn Waites, Mark Billingham, Stuart Neville, Kevin Wignall, Simon Kernick, Russel McLean and Martyn James Lewis. We Americans really should be ashamed that the Brits are so much more willing to travel to the U.S. festivals.

I also realize I’ve met a fair number of terrific UK writers and readers and bloggers during my not very long residence in Scotland, like Helen Fitzgerald and Sergio Casci, Julia Crouch, James Oswald, Chris Carter, Mari Hannah, Rhian Davies, Danny Stewart, Lisa Gray, Graham Smith. And I met a whole slew of wonderful new people who are now part of the ever-growing and forever circle of conference friends.

16, Just as with US conference attendance, it's hard to quantify what good it does for your visibility as an author. I wasn't on a panel (this time!) but even so the networking is gold. You meet bloggers, reviewers, agents, publishers, conference organizers, other authors, and READERS. It certainly will not get you the book sales of an online promotion (far from it!) but personal connections  make for the most loyal readers - readers who are happy to talk you up to other readers. I think there's a ripple effect to attending conferences that pays off in millions of ways that you'll never fully be aware of.  And face time with your publishing people is invaluable.  I always think it's worth it to attend a conference that's nearby (to reduce travel expenses!). 

17. And there's one more thing that's also always golden: the massive creative inspiration. I’ve come away every bit as fired up to write as I am after any U.S. conference. I woke up this morning and wrote five pages on the first book of my new series without even getting out of bed. 

Magic is magic, in any accent.

Next up: I'll be launching the first three books in my Huntress Moon series at Bloody Scotland, September 19-21, and then Bouchercon, Long Beach, November 13-16,

And I can’t wait to see people again on both sides of the pond.

- Alex