CHAT WITH MARK SCOTT PIPER

Mark Piper has been writing professionally his entire adult life. He holds a P.D in English from the University of Oregon and has taught literature and writing at the college level for several years. He has published two novels, You Wish, which earned first place gold in the 2019 American Eagle Book Awards, and the recently released, The Old Block. His short stories have appeared in Short Story America, The CWC Literary Review, and several online literary magazines.

Time to chat with Mark!

What is your latest book?

My second novel, The Old Block, was released in October of 2020. It’s a literary novel, that touches several genres, including coming of age, contemporary, mainstream, mystery, and even a bit of romance.

Tag line: What would you do if you discovered your father might not be the person you always thought he was?

Pitch:

Shortly after his father dies, 24-year-old Nick Castle discovers what seems to be a draft of the novel his father had always hoped to write. But a clue at the end causes Nick to fear that this story of a serious federal crime and escape from the U.S. may not be fiction at all. When Nick sets out to find out the truth about his father’s past, he learns more than he ever expected—about his father and about himself.

How did you choose the genre you write in? Or did it choose you?

I’m not really a genre author, the fiction I write—and read—is eclectic and sometimes difficult to fit into any specific genre. Novels have to be categorized for marketing, though. I wrote my debut novel, You Wish, primarily for adults, despite the fact the protagonist is fourteen years old.

Despite my best efforts, the book is labeled young adult and sometimes even children’s books. At the very least it’s YA Crossover. So far all the reviews I’ve received are from adults, and I doubt any teenagers have even read it.

My most recent novel, The Old Block, is a literary novel, but it features large doses of mystery and romance. My current WIP, Until Proven Innocent, has thriller elements laced with comedy, mystery, and even a bit of horror. But it doesn’t strive to hit all the expected/required tropes of those particular genres.

Even though I don’t usually hold to the boundaries of a specific genre, I have a great deal of respect for any authors who do them well. My academic career focused on American and English literature with a specialization in the Nineteenth-Century novel. I suppose that influence is why my preference is to write literary novels, most of which unabashedly steal bits and pieces from other established genres.

Do your books begin with ideas for characters or plots? Something else?

 The starting point for most of my fiction is a “what if” question, as advocated by Stephen King and several others. So, I usually have an clear enough idea of my main character, his or her goals, and where the story is headed. The rest falls into place as I write it. The story develops almost on its own, while I do my best to keep up with the characters. Always there are surprises, but the core idea usually holds true. Not surprisingly, this method can mean I don’t know for sure the details of how the book will end. I know where I want the plot to go, but sometimes I rewrite the final chapter several times before I get it right.

How much of your own personality goes into your characters?

It’s no surprise that many of my protagonists share my world view, my expectations, and my values. But my characters are never me, and I don’t want them to be. In person, I’m inclined to sarcastic humor, perfectly okay when your audience can see your expressions and know your intent. For some readers, though, sarcasm doesn’t translate so well on the page. Readers who know me thought the early drafts of Until Proven Innocent were hilarious. Some of those who didn’t, hated my MC. I’m in the process of softening the sarcasm as I edit.

On the other hand, most of my protagonists aren’t much like each other or me. For instance, Jake Parker (You Wish) is fourteen years old; Nick Castle (The Old Block) is twenty-four; Mac Faulk (Until Proven Innocent) is sixty-two; and Judith McPherson (in another WIP, Beholder) is thirty-four. I’m older than all of them, and I was when I first met them.

What is the worst writing advice you’ve ever received? The best? Any advice you’d like to offer to readers?

I’ve been told by instructors and other writers, “If you don’t grab the reader on the first page they won’t read any further.” As an avid reader myself, I know that’s not true, but many still hold onto this rule with both hands. It applies well enough for certain genres—mystery, detective, thriller—but not all. Given my background in literary fiction, I have no problem not having to step over a dead body to start the journey.

Like most writers I’ve combed the how-to books, studied the authors I respect, and sought out advice in conferences and critique groups. The problem is, expert advice can be sometimes confusing, sometimes absolute, and sometimes contradictory—e.g., always use “said” for dialogue attribution because it’s an “invisible word” vs. never use “said” because it’s hackneyed and lacks imagination. So, seek out expert writing advice for sure but ferret out what’s most useful to you. Just be wary of absolutes. We’d all be wise to take Pablo Picasso’s advice, “Learn the rules like a pro, so you can break them like an artist.”

Is it important for you to know the ending of a book before you write it? The title?

Yes, you need to have a pretty good idea of how your story is going to end, but in my experience, the ending of a novel always ends up being tweaked considerably. You need a solid grip on where your MCs are going and how they will manage to get there, but I’ve found it best to not hold on to that preconception too tightly. Strong characters soon develop minds of their own and can take your story in directions you don’t expect. And that’s usually a good thing.

Regarding titles, it’s easy enough to come up with a working title and it doesn’t matter much how bad that early title is, but I’ve come up with the final version of the title for each of my books well after the early drafts have been completed. The opportunity to see and experience the whole story from beginning to end gives you a perspective you don’t have early on. My original title for my debut novel was The Final Wish, which seemed okay until someone at a conference told me they assumed I was writing about a dying teenager. The title that went to press is You Wish, a better reflection of my protagonist and the story. Trial and error to the rescue.

What else have you written?

 The first full-length manuscript I wrote was my Ph.D. dissertation on the fiction of Stephen Crane years ago. An academic book, sadly lacking in character arcs, plot twists, or car chases. I worked as a freelance writer for many years, creating corporate marketing materials, internet sites, and video scripts—many or which I also produced and directed. These days I focus almost exclusively on my fiction.

My fist published novel, You Wish, won first-place gold in the 2019 American Eagle Book Awards. More than a dozen of my short stories have appeared in print and online literary journals.

Do you have any advice for first-time authors?

New writers should take extreme pride in completing a first draft of a novel. It’s a remarkable accomplishment, and it’s definitely exhilarating to type “The End” on your manuscript. But you quickly learn you haven’t reached the end at all. It can take a while for first-time writers to fully understand when their work is “finished”—it certainly did for me. The short answer may well be “it’s never finished.” Most published authors find edits they wish they’d made even years after their book has been published.

That said, editing is where the refinement happens. There’s a palpable sense of pride and accomplishment when you see how much better your narrative has been improved. It’s also important to hire a professional editor and proofreader—and listen to what they tell you—before you start the publishing process or query an agent. Neither excellent grammar or flawless punctuation will save a weak manuscript, but the lack of either can seriously undermine a good one.

While you’re writing, get as much feedback as you can from readers who aren’t friends and family. Join a critique group—in-person, online, or both—it’s a great way to get that feedback. Finding a group of fellow writers that fits you, your book, and your personality may take some searching, but it’s well worth the effort. And the input comes from people who are focused on writing, same as you.

How much research was involved in writing your book? How did you go about it?

By far, the most researched of my novels so far is The Old Block. It’s a tale of two journeys. The manuscript written by Nick Castle’s father takes place in the ‘70s during the student anti-Vietnam War protests, and the majority of that narrative takes place in Central America. I experienced the student unrest personally, but I researched the time extensively to make sure I had the details right. The whole time I was working on the first draft, my desk was full of maps of El Salvador, Honduras, Mexico and the U.S. southwest—places I’d never been—to help me show the geographical particulars accurately. I tend to research details while I’m writing. The information is only an online search away.

The rest of the novel covers Nick’s quest through Oregon and Washington. That meant more maps. I lived in Oregon and Washington many years, but having the maps in front of me helped me describe Nick’s routes and to understand driving time between locations. Also, I retraced Nick’s journey in person when I followed Nick’s path through Oregon and Washington on my way to settle my dad’s affairs after he passed away. The novel includes some real locations, real towns and cities, real distances and time frames, and in the end, I hope those details helped make it possible for readers to better experience the journey along with Nick and me.

Do you feel your latest book is your personal favorite or one of your previous novels?

Tough question. Sort of like being asked to pick which one of your children you love most. My first published novel, You Wish, won an award and has received good reviews. The idea behind it has been with me since the ‘80s when I first wrote it as a screenplay. Over time I revisited the concept as a novel, and You Wish is the result. I’m not sure I’m ready to call it my favorite, but my editor loves it best. It’s certainly the novel I’ve spent the most time with, and it still affects me emotionally when I reread it. Plus, did I mention it won an award?

Are you an early bird writer or night owl? And do you have any must haves like coffee, chocolates, wine, music or something else?

I’m definitely an early bird. My alarm goes off each morning at 5:00 a.m., and that means I have a quiet work environment every day for four hours or so, until the rest of the household is awake. I have an office where I do my writing. It’s my creative sanctuary, my work cave. Afternoons are usually full of errands and family, but the mornings are mine. If I’m really on a roll with something new, or I’m editing a manuscript, I sometimes go at it again in the evenings. You have to strike when the iron is hot, as they say. Whoever they are.

I know admitting this may get me kicked out of the writer’s union, but I haven’t had a cup of coffee for more than twenty years. But I’m not completely decaffeinated; my morning ritual though includes a chai latte or two. I’ll stalk the cupboards for a snack every so often while I’m working, but I suspect that may be more avoidance behavior than hunger.

We all know the old saying; you can’t judge a book by its cover. This is true. However, how much importance do you place on your book cover design?

Hiring a professional cover designer may be as important as hiring a professional editor and proofreader. Certain genres require specific elements and a particular cover look—historical romance and horror come to mind—but I write literary novels for the most part, so the cover options are greater. When I’m online or in a bookstore, and I come across a book with a weak cover I might pass it by. I’m not a snob about it, but first impressions count, and a lot of people assume that a novel with an amateur-looking cover is also full of amateur writing.

For The Old Block, I searched for a cover designer on Reedsy, by posting my book details and personal cover preferences. A designer named “Nick C.” responded from London with a reasonable estimate, and I liked his work. As it turned out, his full name was Nick Castle—the same name as my novel’s main character. Too much of a coincidence to overlook. I had to hire him. Bonus: the cover looks great. It’s the designer’s unique concept and far from what I had envisioned, but I loved it from the start. It reflects the dilemma at the heart of the novel. This is why you hire a professional.

Do you have complete control over your characters or do they ever control you?

Part if the excitement writing fiction is trying to keep up with my characters as the navigate the plot maze I’ve set up for them. They don’t control me as much as show me a better path or offer me insights into their personalities. So, things change as I get to know my characters better. The more I’m able to “become” each character, the more fleshed-out they become, and the better I’m able to see how they would react, rather than how I thought they should react. This is especially true of antagonists—with whom I usually have less in common, and have to make more of an effort to understand in three-dimensions.

A lot of authors are frustrated by readers who don’t understand how important reviews are? What would you say to a reader who doesn’t think his or her review matters?

I didn’t understand why reviews are so important until I published You Wish. Now I know that the sheer number of reviews can be the difference between success and failure, especially for independently published authors. Here’s why reviews are so important. After 20-25 reviews, Amazon may include a book in “You Might Like” and “Also Bought” promotions. After 50-70 reviews, Amazon may highlight the book and include it in its newsletter. Both of these promotional lifts can boost book sales and author recognition. It’s simple common sense really. The wider the exposure for an author or a book, the better chance of a success.

For a playwright, even a stand-up comic, the audience response is immediate. That’s not the case for those of us who write fiction. What we hear is a resounding silence, unless we have a chance for a book signing or an open mic. So, receiving reviews is a crucial way to break that silence. Your review is more than a pat on the back for the author. It provides exposure and some kind words that might just cause another person to pick up the novel. If you’re a shy person who’s afraid of being judged for your grammar and punctuation, don’t worry. That’s not going to happen. Plus you get better the more reviews you do.

Where do you live now? If you had to move to another city/state/country, where might that be?

My partner and I currently live in Santa Rosa, California, about ninety minutes north of San Francisco. Yes, that’s smack dab in the middle of the raging forest fires that regularly devastated the area in recent years. So, I’d love to live somewhere safer, even just an hour south would be better. I grew up in Washington and spent many years in Oregon. Either would be okay, and these days Canada has some appeal, though. For now, we choose to stay close to family.

 Care to brag about your family?

Oh, yeah. I have four adult children—three daughters and a son—two grandsons and one granddaughter (with another on the way), and a great-granddaughter. Nearly all have settled near me in Northern California. One daughter is a pediatric nurse, another is a veterinary nurse, another is an executive recruiter, and my son is Director of Marketing for Autodesk Construction Solutions, and my oldest grandson is a realtor. I’m blessed that my partner is an excellent editor. She plays a key role in the quality of my writing. Plus, she’s a lot of fun to be around.

If you could have one skill that you don’t currently have, what would it be?

This is easy. I’ve always wished I had musical talent. I am in awe of people who can play the guitar, piano, harmonica, any instrument actually. Happily, some of my children have those skills, but I don’t. I enjoy listening to good music and talented vocalists as much as I love settling in with a good novel. But at this stage (and age), it’s clear enough that I’m destined to be an enthusiastic, if somewhat jealous, spectator.

What music soothes your soul?

I listen to a wide range of music, but I especially love blues, reggae, classic rock, and folk. That may date me a bit, but the music from your formative years stays with you like an old friend. I remember when my dad was in his nineties, he used his computer almost exclusively to play solitaire and listen to swing bands. He was a fan of Benny Goodman and Glenn Miller. I thought it was quaint, but understandable. Now I guess I’ve become him, only with more sophisticated computer games and John Prine, Bob Marley, and B.B. King in my ears.

What simple pleasure makes you smile?

Spending time with my toddler grandson as he learns words and discovers the world. Enjoying a good laugh and long philosophical discussions with my partner. Watching my adult children succeed in life and overcome their own challenges. Discovering a new five-star review online. Meeting a stranger who loved my novel. Looking at my own novels on my bookshelf sitting there among the masters as if they belong.

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STAY OUT OF YOUR CHARACTER’S HEADS

A Guest Blog

by M. S. Kaye

Fight Princess blog tour September 2nd – 9th: on an adventure to meet fun bloggers and readers!

Staying out of the characters’ heads is the most momentously important thing I’ve learned about how to “show, not tell.”

Obviously, sometimes offering a morsel of a character’s thoughts is instrumental in helping the reader understand, but it should be limited to one morsel. If you have to write a paragraph of explanation, you need to find a better way to show the information in action or dialogue.

Or simply cut the information—oftentimes, leaving something unsaid is more powerful. Ask yourself if the information is invaluable, if it truly impacts the story. If it’s not essential, CUT IT.

And even better: keeping to only morsels of thoughts can be intriguing. People think in segments naturally, so choose to offer intriguing bits, just enough to pique the reader’s curiosity, without explaining too much. This is what keeps readers flipping pages. See the below opening to Fight Princess:

“What if I told you I loved you?” Floyd the bartender asked as he rested his elbows on the ring-stained mahogany.

Celisse was standing across the bar from him. “You love sex, Floyd.”

“There’s a difference?” Floyd grinned.

Celisse rolled her eyes. She really didn’t know if there was a difference. “Blackberry—” she started.

“Whiskey,” Floyd finished. He stood straight and poured her usual shot.

In these five paragraphs, only one sentence expresses a thought. She really didn’t know if there was a difference. Now you know something about Celisse’s love life, something powerful and interesting—and only that one sentence hinted to it. Also, notice the sentence does not go on, does not continue with that evil word “because.” I would say “because” is as dirty as a four-letter word, but four-letter words are generally more impactful. It is almost always better to cut the sentence short. “Because” takes away the intrigue. Let the reader wonder, leave them feeling curious.

And speaking of “show, not tell,” what else do you learn about Celisse? She can brush a man off with ease, and without being a bitch. That shows the kind of person she is. It also shows she’s likely attractive. We find out she’s discriminating, not slutty. And, of course, her usual shot is whiskey: she’s a tough-ass. All of this was conveyed without diving into the character’s thoughts.

Notice the overlapping of information. We hear so much today about multitasking—people are used to several things going on at once, and they can be impatient if not much is happening. If you have information you want to convey, try to find a way to give the information while other necessary events are going on.

If you choose to show strong details, your writing will be impactful and addicting. Hearing soliloquies about a character’s childhood, and how she feels about herself, and how she adores the guy down the hall is not impactful. If your character is gazing out a window THINKING, cut the scene, decide if the information is necessary, and if it is, find a way to show it.

Read my latest book to see how my method works…

FightPrincess

Fight Princess – Published by Liquid Silver Books

Things aren’t what they seem. Don’t get involved.

Celisse is too headstrong to listen. Her best friend’s boyfriend is dead, and she does not heed Cullen’s warning, slipped to her in a note as he’s being arrested for the murder.

Cullen tries to keep Celisse out of danger and also tries to avoid her, both unsuccessfully. He can’t deny his feelings for her anymore, but he knows if she ever discovered the truth about his past, she’d surely hate him.

While struggling with her intense feelings for Cullen, Celisse uses her skills as an ex-prosecutor to investigate, all while continuing to fight for Ogden, the organizer of an underground fight ring. She eventually realizes things are connected—the ring, Ogden, Cullen, the murder, and herself. She races to uncover the truth before she’s arrested or becomes the next victim—or perhaps, the next culprit.

EXCERPT

Through the peephole she saw Cullen staring her down, as if he could see through the door. “I know you’re in there, Celisse. Your car’s outside.”

Celisse grumbled under her breath. Then she spoke loud enough for him to hear. “How do you know where I live?”

“It’s not that hard to get a person’s address—as you damn well know.”

Crap. How did he know? “What are you talking about?”

“You made it downtown so quickly because you were already in my apartment.” His jaw flexed as he continued to glare at the door. She was almost impressed he was able to maintain that intense, pissed-off posture and expression when she saw in his eyes that he was barely hanging on through the exhaustion. Like riding a bike, if he stopped, he would probably fall down.

She turned the bolt and opened the door. “How would I have gotten in your apartment—and why would I want to?”

“You flashed a beautiful smile at Alfie. Don’t tell me you don’t know exactly what you’re doing.”

Celisse hesitated. Hearing him say that… She wasn’t sure how to react.

He pushed the door open a bit further and slid past her into the apartment. She didn’t think to stop him until he was already past her. She turned and looked at him standing in the middle of her little living room, like a storm cloud in her usually calm and cloudless space. This small, cheap apartment was the first place she had ever lived where she felt completely comfortable.

She realized he was looking at her, not at her eyes. She crossed her arms over her chest. “What do you want?”

His jaw tightened again, and he met her eyes like lightning flashing across the sky. “Don’t ask me why in the hell you’d want to be in my apartment.”

It took her a second to realize he was answering her previous question.

“What did you think you’d find?” he asked.

“Certainly not stacks of hundred-dollar bills.”

“It’s none of your goddamn concern how much money I have and why. Stay out of my business.”

“No.”

“Excuse me?”

“My best friend’s boyfriend was murdered, and then the accused slips me a note that says things aren’t what they seem. What did you think I was going to do?”

He paused, and the glare in his expression that had about blinded her a few seconds ago dulled to the glower of the moon in a clouded sky. He turned and looked around her apartment—her TV stand with a couple movies on top, the potted plant next to the sliding glass doors, her one pathetic attempt at gardening, and then over to the bookshelf where he started reading titles.

She stood next to him. “What do you think you’re doing?”

“Does it annoy you?” He took a book from the shelf and flipped through its pages. “Someone going through your things, invading your privacy?”

Celisse snatched the book out of his hand, before he realized what it was.

“Are you pissed yet?” he asked.

“I wonder how it would look to the court if the police were called on you the same day you posted bail.”

He took a step toward her, and she backed up with her hands in guard position.

He stopped, and his voice was inside out from what it had been. “I would never hurt you.”

“You were arrested for murder today.”

His expression sobered, like fog pulling across a jagged cliff face. “I’m sorry. I never meant to scare you.” He walked across her living room, out the door, and down the stairs.

MSKaye

M. S. Kaye has won several writing awards and has been published in literary journals. She is a 4th-degree black belt and certified instructor of Songahm Taekwondo. A transplant from Ohio, she resides in Jacksonville, FL with her husband, Corey, where she does her best not to melt in the sun.

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It’s Only Logical: part 1 in the series EDITING: MORE THAN I BEFORE E.

 


It’s Only Logical: part 1 in the series EDITING: MORE THAN I BEFORE E
by Laura Daly

Tomorrow is the last day of Words Matter Week, so it seems appropriate to start a blog entry on editing and writing. My friend Lisette had suggested a while ago that because I’ve been a freelance editor since 1984, I might have some knowledge, tidbits, tricks of the trade, or advice to give on the subject. I believe my initial reaction to her was “Huh?” because, from my perspective, I’m still learning how to be an editor. The longer I work at it, the more I realize how much I don’t know, how much there is for me to learn. But she persisted, and I can never say no to Ms. Brodey, so, what the heck, I’ll give it a shot and put out some ideas and offer some suggestions and probably some two-bit opinions that I hope may be helpful.

Where to begin: Well, I think I’ll start with internal logic and why it’s a very good thing to watch for in any writing. Now, I’m not using the term in the strict Introduction to Aristotelian Logic sense. I mean it in the sense of maintaining coherency and consistency. So, for example, when writing a work of fiction, that means paying attention to the details: the descriptions of characters, their backgrounds, their traits (character A is X, Y, and Z); the main developments in the plot and their relations to each other (plot point B happens because of points C and D, which are foreshadowed by point E); the time, both within the actual boundaries of the plot and before and after the storyline (plot point F occurs at X location on the story’s timeline); the locations—where events in the narrative take place, where characters are from or are going, that kind of thing (character G came from place H and currently is in place I and will wind up in place J); and the influences on the storyline, or why things occur (plot point K happens because of L, M, and N). (Being a J school grad, I resorted, if you noticed, to calling on the 5Ws: the who, what, when, where, and why of the story.)

CandleGlassBook

Writers have different ways of keeping track of these details. Many do up copious lists, outlines, and descriptions, per character or chapter or major developments in the plot. Some do character sketches that may include details that never make their way into the story but that act as biographies for characters and help to keep traits, descriptions, and so on, clear. For a story covering a particular period of time, whether 24 hours or 3 months or 200 years, a timeline showing the plot points is helpful. Not all of these recorded details may wind up in the final story, but they help a writer stay true to the characters and the plot.

Editors can keep track, for instance, of descriptions of characters: Susie, 24, blonde, lives in Aberdeen, Maryland, hates crab, came from Dubuque; Butch, 39, wears flannel shirts, speaks with a drawl, once worked as a carny; plot point O takes place on planet Zoltar, which is two light-years from Boldorf—whatever details the author provides. With an involved storyline, editors may want to keep some notes or rely on the very helpful find feature in Word. Also, quick fact checking is very important and useful (even though publishers these days don’t seem to bother having fact checkers on staff). I’ve been asked to submit lists of characters, with descriptions, along with place names, as part of style sheets. As a matter of course for works of nonfiction, I keep lists of place names and proper names, along with a basic timeline, when needed. I also do fact checks, which are speeded up thanks to online sources. (A discussion on finding reliable sources might be good for another blog entry down the road.)

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More importantly, things have to make sense within the context of the work. They have to be logical, even if a story itself is not meant to be realistic. So, for instance, a character who is in his late 20s in a story, which takes place now, can’t have been the set designer for a movie from 1985; that would mean he would have to be at least in his 50s, unless he was a child genius set designer, in which case he could be in his 40s. (This kind of discrepancy actually came up in a recent project.) A villain who is creeping up the stairs to a second-floor bedroom can’t suddenly be downstairs in the basement burying a body unless a gap in time is acknowledged in the story. An Edwardian gentleman can’t recite “In Flanders Fields.” You get the idea.

So, the lesson today is be consistent, be coherent, be logical. Oh, and don’t forget: words matter.

If you’ve come across odd internal logic problems in anything you’ve read recently or want to share some ideas on how you maintain internal logic in your own writing or editing, join the discussion.

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Laura Daly, a freelance editor, writer, and proofreader based in Maywood, NJ, has worked on fiction and nonfiction trade books, textbooks, trade magazines, and journals. She can be reached at laurajdaly@earthlink.net.