Self-Publishing A Novel In A Locked-Down World

by Brian Finney

My new novel, Dangerous Conjectures, ends on March 13, 2020, the day the lockdown began. That’s roughly when I opened my computer and began writing the book. In my case the lockdown was a blessing. It offered me endless uninterrupted time in which to work on the novel. Not everyone had this experience. A writer friend of mine had writer’s block and could only do weekly podcasts throughout 2020. In my case, after constructing a brief outline, I found the novel more or less wrote itself. I positively looked forward to writing each bit of it.

The spread of the coronavirus plays a major role in my novel and causes the major female character to become so afraid of it that she commits a number of errors that drive the plot and almost destroy her marriage. While I situate the novel in Oakland, California, I live in Venice, Southern California. My experience of living through the pandemic in Venice is relatively unusual, in that most Venetians showed respect for one another by wearing masks and maintaining a safe distance from each other. Elsewhere in Los Angeles this was not necessarily the case. Feeling safer in this community probably influenced the way I portrayed my principal male protagonist, a professor of computer science who remains unfazed by the rise of the virus.

Writing the book was the easy part. Next came the editing. As Stephen King observed, “Only God gets it right the first time.” I had written the narrative over a period of days, each day a separate section headed by the date and narrated in the first person alternately by one of my two leading characters. My line editor thought this read more like a diary and persuaded me to drop the dates and change to a third person omniscient narrator. Interestingly this made the narrative more personal than if I’d used third person in the first place. Still, for weeks I kept on coming across an “I” left in place, instead of a “he” or “she.”

Next came the vocabulary. I was born in Britain and, despite immigrating to Southern California 34 years ago, I still speak with an English accent and use English expressions. My characters are all Americans. It took five different readers to identify and eliminate those Anglicisms.

Additionally, some of my readers thought (rightly) that I allowed my two major characters to become reconciled after a near break-up too easily. I was reminded of Hemingway’s famous quotation from A Farewell to Arms: “The world breaks everyone, and afterward, some are stronger at the broken places.” I had to rewrite those sections making both characters much less reasonable and more angry with each other. Similarly, my readers got me to rewrite how the nine-year-old daughter spoke, as I had initially given her too advanced a vocabulary.

As this is my second self-published novel, I knew not only how important it is to get professional help with marketing the book, but also to allow my publicist several months prior to publication to launch the novel successfully. I enlisted the services of Nanda Dyssou who heads Coriolis Company, which had handled the launch of my first novel. She directed me to a gifted book designer in Mexico and arranged an online pre-publication campaign via social media. She sent numerous copies of the book (as pdfs or as paperbacks) to potential reviewers. I entered some half a dozen fiction competitions (most up to a year away).

She also tried to get me to persuade another author launching a novel around the same time to agree to a joint local bookstore reading, something bookstores were requiring during the pandemic. The most promising writer in my locality (Venice, California) was being published by one of the big five publishers. Although he was inclined to do a joint reading, his publisher didn’t like the idea and so this came to nothing. Another major bookstore in the Los Angeles area wasn’t making any dates for in-person author readings until May, two months after my book was published, and is still only doing online readings and interviews.

Instead Nanda turned to podcasts and blogs. To date she has arranged some dozen zoom-type interviews with me, focused principally on my latest novel. While a great way of making my book known to readers, such virtual meetings have only a limited effect on book sales. Next we are trying out free days on Kindle and an initial paid advertising campaign on Amazon.

Of course I would love to see more sales. But, as Vladimir Nabokov said, “Readers are not sheep, and not every pen tempts them.” It is early yet. Still, you can see how difficult it is to get your self-published book noticed, read, reviewed and sold these days. Despite these obstacles, I still think it is well worth it.

Brian Finney has won awards for his biography of Christopher Isherwood and for his debut suspense novel, Money Matters. His writings have appeared in The Los Angeles Review of Books, The New York Times Book Review, The Los Angeles Times, The LA Weekly, The Irish Times, The Chicago Tribune, The San Francisco Chronicle and numerous other journals and anthologies. He has published seven nonfiction books and two novels. Money Matters (2019), his first novel, was a finalist for the American Fiction Awards in the Best New Fiction category. The second is Dangerous Conjectures (2021), a novel featuring a couple living in the Bay Area whose lives are threatened by the spread of the coronavirus and the rise of conspiracy theories. In his former life he was a literature professor in London University and several universities in Southern California. He now calls Venice, California home. You can visit him at www.bhfinney.com

 

Stephanie Marie Thornton On Researching Spies & The Red Scare

Todays’s guest on the blog is Stephanie Marie Thornton, author of A Most Clever Girl, which takes readers on a thrill ride inside the calculating mind of a notorious Cold War spy: Elizabeth Bentley, code name Clever Girl.

Elizabeth Bentley is notorious for her role in the Red Scare, as well as for naming the Rosenbergs - which led to their execution. Was it difficult to write about this character in a way that could build empathy within the reader?

Yes! Elizabeth Bentley is an intriguing protagonist because she made a lot of terrible choices in her life, but I got the feeling that some of those early decisions—like becoming a Communist and then joining the CPUSA underground to spy—were made because she really did want to do something meaningful during a very difficult time in American history. At first, that meant spying on America to root out fascists and later, she aimed to expose Communist spies in American government.

While many Americans at the time believed—and protested in the streets—that the Rosenbergs were not guilty, the top secret VENONA Project confirmed and gave indisputable evidence that Julius and Ethel Rosenberg were involved in the Soviet spy ring that sent atomic secrets to Moscow. The FBI and J. Edgar Hoover had also used VENONA to confirm the identities of spies that Elizabeth Bentley informed on even before the Rosenberg trial. They couldn’t oust the project, but they could—and did—get Bentley to provide circumstantial evidence at the Rosenberg trial to ensure a guilty verdict. Unfortunately for Bentley, VENONA wasn’t declassified until 1995, so she died with many Americans believing she was a full-blown liar. To me, this ultimately made her overall story sympathetic even if there were moments where it was difficult to empathize with her choices. 

Bentley's reputation is somewhat tarnished, and much of her testimony at the time was called into question, whereas her male counterparts were often awarded for their service. Can all of this be laid at the feet of sexism, or is there reason to doubt some of her motivations?

I don’t think all of Elizabeth’s tarnished reputation can be blamed on sexism, but a fair chunk can. Whereas men like Joseph McCarthy and Whittaker Chambers were taken seriously when they made accusations of Communist spies hiding in American government, when Elizabeth Bentley named similar names—which the FBI had secretly corroborated with Project VENONA—she was pilloried in the press. Part of that came from Bentley’s appearance—she had encouraged early newspaper bylines claiming that a blond spy queen had exposed a Red spy ring, but when she showed up to testify, everyone discovered she was actually a brunette of a certain age. Later, she’d be called hysterical and menopausal, descriptions that never would have leveled at either Chambers or McCarthy.

Elizabeth Bentley was no saint—she initially told the truth during her testimony to the FBI and Senate, but as time went on and there were no guilty verdicts for the spies she named, she felt pressured to give up even more names. This is when she started relying on hearsay, which in fact, helped lead to the convictions of the Rosenbergs, who were in fact guilty. So, while sexism was a large contributing factor, Elizabeth also hammered a few nails into her own coffin.

What was it like researching such a divisive time in American history? Did you find any unexpected walls while researching?

Stephanie Marie Thornton On Researching Spies & The Red Scare.png

I was actually incredibly lucky that Project VENONA had already been declassified—without that backing, this story could have been written much differently as it would have been nearly impossible to ascertain the extent to which Elizabeth Bentley was telling the truth during her many testimonies. The same goes for the Rosenbergs—there are still people who maintain they were not guilty, although we now have declassified information to prove their guilt.

The most difficult walls I discovered came up when I was researching Russian spy agencies during World War II and the Cold War. While the FBI and CIA have published a lot of material on their spies and agencies and techniques, the KGB and its predecessors don’t seem too keen on sharing that information, (go figure!), which meant I sometimes had to extrapolate.

Given the current environment, did you find parallels between the Cold War, and modern day?

Absolutely! (As they say, history does tend to repeat itself.) First, I was struck by the fact that regardless of the era, most Americans truly want what is best for their country. Second, many of those same Americans have polar-opposite visions of what is best the country and how to go about achieving it, which often results in division. For example, Elizabeth Bentley believed fascism was a threat to America, so she joined the Communist Party of the United States. Many other Americans at the time—and today—would have seen that as the least patriotic move she could have made.

The other parallel that stood out was about spying itself. While researching Soviet Cold War assassination techniques, (Elizabeth Bentley may have crossed the wrong people at one point), I came across KGB cyanide-spraying guns and other poisoning techniques reminiscent of the 21st century poisonings of Alexander Litvinenko and Alexei Navalny, not to mention North Korea’s poisoning of Kim Jong-nam. No matter the decade, it’s always dangerous to cross the wrong people!

Save the Cat! Writes for TV! - Enter To Win!

Have you ever considered writing for TV?

It’s a distinct skill set, and slightly different than writing a novel, or even a screenplay. A TV series is the long game—the series itself needs an arc, or course. But so does each season, each episode, and each character. Sound like a lot of work? It is. But there’s a tried and true method that can be applied to writing for television.

First, what is Save the Cat!®? 

Save the Cat! provides writers the resources they need to develop their screenplays and novels based on a series of best-selling books, primarily written by Blake Snyder (1957- 2009). Blake’s method is based on 10 distinctive genres and his 15 story beats (the Blake Snyder Beat Sheet). Our books, workshops, story structure software, apps, and story coaching teach you everything you need to unlock the fundamentals and mechanics of plot and character transformation. 

Find out more about Save the Cat! by visiting their webpage at https://savethecat.com/

About the Save the Cat! Writes for TV

Blake Snyder's Save the Cat!, the world's top-selling story method for filmmakers and novelists, introduces The Last Book on Creating Binge-Worthy Content You'll Ever Need. 

Screenwriter Jamie Nash takes up Snyder's torch to lay out a step-by-step approach using Blake's principles for both new and experienced writers, including:

  • How to write and structure a compelling TV pilot that can launch both your series and your TV writing career

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  • Beat sheets of the pilots of Barry, Ozark, Grey's Anatomy, The Marvelous Mrs. Maisel, What We Do in the Shadows, Black-ish, The Mandalorian, This Is Us, Law and Order: SVU and more to help you crack your story.

Create your binge-worthy TV series with Save the Cat! Writes for TV.

Purchase a copy of this book on Amazon or Barnes and Noble. Or save it to your GoodReads reading list.