Ten questions for Claire Johnson
Claire M. Johnson, the President of the Northern California Chapter of the Mystery Writers of America, writes a culinary mystery series set in San Francisco. She shares the fascinating reason why she started her first novel and the things that have improved her writing (including fan fiction!).
Please tell us about your debut novel.
My debut novel was titled, "Beat Until Stiff." It wasn't that much of a cozy as it featured a pastry chef protagonist, and it had a bit of a gritty vibe to it. It was set in San Francisco, so that helped in creating a visual backdrop for the novel. A sense of place in a book is always helpful, and whatever San Francisco is, it's a great visual. It won a Malice Domestic Grant, was nominated for an Agatha for Best First Novel, and was a Book Sense pick.
2. I’ve read that only 4% of the people who start a novel, finish writing it. Why do you think you beat the odds?
I was in a critique group that met once a week, and that was a fantastic motivator. It did two things: it kept me writing and it kept me learning about what worked and what didn't (i.e., with readers).
3. Was your debut novel the first book you wrote? (Any prior efforts hiding on your hard drive?)
My debut novel was my first book. I started writing because I moved to the suburbs and felt my identity disappearing. I was some child's "mom." Often, I didn't even have a first name. I'd wake up in the morning terrified that I'd look in the mirror, and there wouldn't be any reflection whatsoever. I was miserable living in the burbs (note, I STILL live here). We moved because of the excellence of the school district. I was used to living in a fairly eclectic community with a diverse population. Let's just put it this way. My suburb is NOT diverse.
4. What helped you become a better writer? Any books or resources you found helpful?
I think a critique group is invaluable. I belong to two groups and have been writing with both for years. But I also think it can be destructive, so be careful in choosing its members. It is important to have people who might not be writing what you're writing, because especially in genre writing like mystery, there can be an echo chamber effect where you don't get a wider point of view. Also, "constructive criticism" is an art form. New writers have very thin skins for obvious reasons. Writing puts you out there like nothing else. Your heart is on the page, and you don't want to pass around your material and have people just stomp on it because they hate first person point-of-view, no matter who writes it. Or they hate mysteries and you're writing a mystery. What you want is a group that both cheerleads but also points out in a reflective way what isn't working for them. Notice the emphasis on what doesn't work for them. On the other end, as a writer, you must become equally reflective in what you hear. Does this make sense to you? A writer needs to step back from their writing and read it like a reader. While you might be writing something that makes your heart happy, will this also make other hearts happy? It's always a difficult dance. You write for you, but you're also writing for other people.
Books. Well, this will sound mundane, but a decent book on grammar is the first book you should read. Seriously. The competition for agents, readers, publishers, etc., has never been higher. The Blue Book of Grammar is good. If you have a bunch of mistakes in your grammar in the first five pages of your manuscript, you've immediately given them a reason to chuck your manuscript in the "nope" pile. It would take an unusual and stellar voice for anyone reading your manuscript for the first time not to get sidetracked by grammar mistakes. Do your homework. That said, there are a number of excellent grammar programs out there. Use them. I use ProWritingAid myself. It has a number of features that are fabulous. Overused words is the feature I like best, and the feature that flags passive voice is great. These programs are NOT infallible. That's why you need to have a firm grounding in grammar. The one caveat about these grammar programs: they tend to strip out a writer's voice. Designed for business writing, these programs will do their best to make your writing grammar free but slightly robotic. That's the key reason for you to know your grammar because voice is the most important aspect of writing. You can always fix plot and pacing, but if your voice is dull and insipid, it's almost impossible to fix. Mystery Writers of America just issued a new Handbook for writing a mystery. It's a wonderful book and highly recommended. David Corbett and Donald Maass have EXCELLENT books that delve into the real hardcore meta about writing that will elevate your writing from the okay to the great. Their books are must haves in your writing library.
What made my writing better? Okay, I'm confessing here. I write fanfiction. I have written a lot of fanfiction. I'm not ashamed of it. Why? Because I could write like a mofo and learned how my brain worked with words. My first two books were slogs. I was learning how to write with both those books. The fanfiction set me free in a way because I didn't have to worry about the marketplace or the inevitable criticism that accompanies any book you put out there. Believe me, there is criticism in the fanfiction world as well, but there is a freedom in writing fanfiction because, hello, these characters aren't real! What it does for a writer is that you create your voice without too much penalty. You write a ton. And that's what is key. You writewritewrite your ass off, and the more you write, the better a writer you become. Of course, you don't have to write fanfiction to get to that place. But what you are striving for is that place where you own the words, the words don't own you.
My final bit of advice is to tattoo on your heart that you can't please everyone. Don't try. Someone will hate your masterpiece, count on it. If you please a majority of readers, you're home free.
5. What was your process like getting an agent?
Well, I'd like some advice myself on that one since I've been hunting for an agent for five years now. But in general, I would say that it's best to go to the standard mystery conventions (Bouchercon, Left Coast Crime, etc.). There are usually agent panels, and it's probably your best bet. If you approach an agent, then you must make SURE that your book is the best it can be. It's finished. I's been vetted for grammar. If you have the money, have it professionally edited. You will have one chance to wow an agent. One. Make sure you have a polished product. If you approach an agent and say, "I have this half-finished book that I think is okay..." their eyes will glaze over and their eyes will dart all over the place looking for the next person to make their pitch.
6. How did you celebrate when you learned your book would be published?
I had two small children at the time, no money, and my life was pretty chaotic. I think I had a glass of wine.
7. What was the most exciting moment involving the publication of your debut novel? (The moment you first saw the cover? The call when you learned when it was being published? When you cashed your advance check?
My advance was in the three figures, as in ###.00, so there wasn't much to celebrate on that score. The call from Rob at Poisoned Pen press was wonderful. I'd been shopping this book forever, and I thought, wow, finally. I think for me the real highlight was seeing it on a shelf at Barnes and Noble. WHAT A HIGH!
8. What’s your best advice for someone who wants to be published?
Oi, I guess I sort of answered that above. There is tremendous competition for people's eyes. By that I mean, you're not just competing against other authors. You're competing against Netflix and Hulu and every podcast out there. So you must hone your skills to the max. Treat this like a job. You cannot enter the marketplace, whether it be indie publishing or hunting for an agent. etc., without your best foot forward. Would you go to a job interview in a tee-shirt you'd been wearing for five days with a big stain on the front? No, you wouldn't. Believe me, agents, publishers, editors, etc., are looking for the smallest incentive to move you along to the reject pile. There are a thousand people behind you and they are dressed to the nines. Rejection is a hard beast to deal with. Ask me how I know!
9. What are you currently reading? Or, what's one of the best novels you've read lately?
I'm reading a lot of non-fiction these days, but I would say that Rosalie Knecht's book, Vera Kelly Is Not a Mystery was an excellent read. Great voice.
10. What are you working on now? Any projects coming out soon?
I'm working on a noir-ish book set in 1930 San Francisco. The historical research on that has been tons of fun. I have two books I'm trying to shop right now. The first is a historical fiction in a first-person POV of the marriage of Pauline Pfeiffer to Ernest Hemingway, and the second is a YA thriller set in a California suburb. No takers so far.