The Tipping Point by Malcolm Gladwell

After reading Made to Stick, I decided to read the book that inspired it—The Tipping Point: How Little Things Can Make a Big Difference by Malcolm Gladwell. I’d read Blink and Outliers by the same author and found both fascinating.  I’m happy to report The Tipping Point is just as good. In it, Gladwell examines what conditions cause ideas, behaviors, messages, and products to spread like outbreaks of infectious disease. 

In the book he shares a number of situations and studies, including the sudden drop in crime in New York city in the 1990′s (which started by attacking graffiti in the subway), the dramatic popularity of the Blue’s Clues TV program with pre-schoolers, Paul Revere’s success in rousing the citizens along his route (versus the almost total failure of the other guy who rode that night), the resurgence of Hush Puppies shoes, syphilis in Baltimore, Columbia Record’s amazingly effective golden box ad campaign, and a dozen other outbreaks.  From all of these, he extrapolates three rules of social epidemics—The Law of the Few, The Stickiness Factor, and The Power of Context.  

The arguments Gladwell presents are thought-provoking and powerful, but what makes him such a treat to read is how he writes.  Like the best science writers (in fact, I think he IS one of the best), he tells great stories with interesting characters.  He puts the reader on the edge of the seat with mystery, insight, and humor. He makes things that could be incredibly complex seem like first grade math. It’s as if he’s standing right there with you chatting about the subject. Moreover, he does all this from page one.

Here’s what I mean. I left the book out on the kitchen table one night after reading a few chapters.  The next morning Super Wife came down to quickly eat breakfast and get herself to a meeting.  She made the mistake of opening the book to glance at the first page. Twenty-five minutes later she came up for air and realized she was going to be late and dashed out the door. The writing is pure mind control.  And I loved every minute of it.

If you’re at all interested in advertising or how fads and movements start, if you want to affect the behavior of customers or local teens, if you just like to read how things work, I think you’ll love this book.

Sunflower Dish Cloths

I used to suffer along with subpar dish cloths.  There were the dish cloths with mesh on one side that were so small you had to rinse them after every wiping stroke.  There were the hand cloths made of terri that belonged in a bathroom but were repurposed and were far too big. Then were the cloths that had some slippery crap in the thread that refused to soak up water.  And there were the crocheted things that I think we should have put out of their misery when we first got them. Folks suggested we go to sponges. So we did sponges and had similar results.

Oh, woe, woe, woe.

Then a kind and loving friend gave us a set of mystery cloths that were incredible.  They were large enough that we didn’t need to rinse with every wipe.  They had this fantastic weave that was open, yet absorbent, and dried quickly.  And the weave had enough of a texture that you could use it to scrub.  We received those back in 1999.  They lasted us for years and gave us much kitchen cleaning joy.  But, alas, like all of mortality, those brave cloths finally began to give up the ghost. 

My problem was that I didn’t know who had made those cloths and where I could get more.  We looked all over and couldn’t find them.  And then, at this year’s Garden City Raspberry Days craft fair, we saw them nestled amidst all the kitsch!  We bought as many as we could afford, and went our way rejoicing, fully expecting these to last us until we have grandchildren.  Maybe we’ll pass them down as priceless heirlooms.  Maybe some day they’ll be featured on Antique Roadshow.  Maybe they’ll be resurrected with us and become the official dish cloth of the Millennium when the world is renewed (it could happen).

If you’re sick and tired of sponges and crappy dish cloths, let me suggest you pick up some Sunflower Dish Cloths made by Sangamon Mill. You can order them in bulk at http://www.sangamonmill.com/ , or in smaller quantities online from places like Amazon.

Everiholder’s Veggie & Tuna Press & Strainer

Do you eat tuna? If so, you know the biggest pain is draining the can. But you don’t have to suffer along any longer using the lid, which doesn’t do a good job at all anyway.  There’s a better solution, which Super Wife discovered. It’s called the Tuna and Veggies Press and Strainer by Evriholder: http://www.evriholder.com/Tuna-Veggie-Press.asp.  With this little blue piece of higher technology you easily and quickly press all the juices away, and nothing slips out the sides. We love our.  You can order it online, although Super Wife found it at our local evil empire Wal-Mart store.

That’s it for now.  In the next review, I’m going to reveal two killer recipes over which all who partake will salivate and drool—Chocolate Éclair Cake and Dill Potato Salad.

They stole his kidney . . .

A friend of a friend of mine is a frequent business traveler.  To keep his identity safe, I’ll call him Bill.  Bill was recently in Atlantic City for an important meeting with some new clients.  Afterward, he went to a local bar to kill some time before his flight and took a seat at a table. 

He’d just finished one drink when an attractive woman approached and asked if she could buy him another.  He was surprised, but flattered (Bill isn’t exactly a Brad Pitt).  He accepted the drink.  The woman walked to the bar and brought back two more drinks—one for her and one for him.  He thanked her and took a sip. And that was the last thing he remembered . . . before he woke up, disoriented, lying in a hotel bathtub, his body submerged in ice.

He looked around frantically, trying to figure out where he was and how he got there.  Then he spotted the note:

DON’T MOVE. CALL 911.

A cell phone rested on a small table beside the bathtub. He picked it up and called 911, his fingers numb and clumsy from the ice. The operator seemed oddly familiar with his situation. She said, “Sir, I want you to reach behind you, slowly and carefully. Is there a tube protruding from your lower back?”

Anxious, he felt around behind him. Sure enough, there was a tube.

The operator said, “Sir, don’t panic, but one of your kidneys has been harvested. There’s a ring of organ thieves operating in this city, and they got to you. Paramedics are on their way. Don’t move until they arrive.”

Incredible, isn’t it?

More importantly, do you think you could remember enough of that, without review, to tell it to someone tomorrow?

My guess is that you could. And if you did, you’d be spreading one of the most successful urban legends of the past fifteen years.  

But I didn’t tell you the story to focus on urban legends. There are a lot of stories people tell one another that don’t go viral.  What makes this one different?  In fact, what makes any idea stick effortlessly, like this one does, in someone’s brain?

Are you a teacher? In school, at home, or at your business? Do you give presentations?  Do you ever need to advertise something—a product, service, or yourself? If so then you’ve had this question.

Maybe you’ve uncovered some of the secrets. Maybe you haven’t.  But there’s no reason to despair: Chip and Dan Heath have written the book on it. It’s called Made to Stick: Why Some Ideas Survive and Others Die and is one of the most fascinating and practical reads I’ve come across in the last few years.

The brothers Heath spent hundreds of hours researching sticky ideas: urban legends, advertising campaigns, wartime rumors, proverbs, conspiracy theories, jokes, some of the nation’s best teachers—you name it; if it was sticky, they looked at it. They asked questions like what makes some urban legends so compelling? Why do some chemistry lessons work better than others? Why do some political ideas circulate widely and others fall short? What they found was that sticky ideas exhibit six traits. And it was relatively easy for someone, once they understood those traits, to make almost any idea stickier.

I can see the traits in some of the things that I’ve done that have been sticky. I can see other ways to improve. The cool thing is that I’m not going to be guessing as much. If you need to make your ideas stick, let me recommend you get this book.  If you want a preview, go to madetostick.com.

Recipes that actually work?

I was once induced, through insidious mind control, to purchase a cookbook that included all sorts of tempting dishes. I prepared a number of the recipes, and every one of them was a bust, especially the cinnamon flank steak with eggplant, which I think Nellie and I chewed for about six hours until our jaws dropped off.

Not satisfied to learn my lesson once, I soon purchased another book on making bread the Old World way. Despite our best efforts and many valiant attempts, all we could produce were loaves that were so bitter and sour they could have been used at Guantanamo Bay to threaten captured Talibanists to talk.

Let’s just say that after a few more of these, I finally beat back the mind control. I’ve been gun-shy of cookbooks ever since. We’ve been very selective over the years, and this has saved me some money. Unfortunately, I think all of those lessons learned are going to go out the window.

I was recently watching the Create channel and saw an episode of Cook’s Country where they showed how to make coleslaw that wouldn’t get all watery and a grilled chicken with traditional Southern white BBQ sauce that had me slavering in my seat. During the show they talked about testing these recipes and their failures.

I learned that the folks there had just finished an eleven-season series called America’s Test Kitchen (where was I all that time?). In the series, they tested hundreds of recipes five ways to Sunday to come up with ones that really worked.

When the episode of Cook’s Country finished, the old cookbook mind control had risen to full force. This time, though, I was able to exercise some restraint. Instead of buying fifty cookbooks, I started a 14-day trial to Cook’s Country magazine, a thirty-four page, oversized, bi-monthly that’s full of recipes that have been tested. 

One of the neat features is that they don’t simply present the recipes, they also include the stories behind the testing so a reader can learn from their failures and successes right along with them. In fact, the stories of the tests were so interesting I made Nellie sit down while I read them to her. The magazine also includes cooking tips and product ratings. In the issue I received, I learned, for example, which egg wash proved, through testing, the most successful on pies and which graham cracker tasted best in recipes. One of the best things about the magazine is that, unlike many magazines that have three sentences of content and forty pages of advertisements, Cook’s Country has zero advertisements. Zero! It’s nothing but cooking.

We’ve tried five recipes so far. Three of them have been clear winners for all the tasters in this family. There other two were good, but not spectacularly so. Still, there weren’t any cinnamon flank steaks! 

In the next set of reviews, I’ll share their potato salad recipe that had us all oohing and aahing. And maybe the chocolate éclair cake we adjusted to perfection. I’m going to continue the subscription and give their family cookbook a try.  I’ll report my results. In the meantime, I suggest you look at Cook’s Country magazine online at cookscountry.com or watch the show on Create.

Donald Rumsfeld

I just finished Known and Unknown, a fat memoir by Donald Rumsfeld, and enjoyed every page.  Rumsfeld served as the Secretary of Defense under George W. Bush.  But Rumsfeld’s service didn’t start there. He was a Navy pilot, an assistant to a congressman during the Eisenhower days, and, in the early 60′s, a four-term congressman from Illinois.  He held various positions in the Nixon White House in the late 60′s and early 70′s, including ambassador to NATO.  He was Chief of Staff and Secretary of Defense when Ford took over from Nixon.  Reagan tapped him to be a special envoy to both the Middle East after the Beirut bombing and to the Law of the Sea treaty discussions.  He was the president of Searle, a pharmaceutical, as well as General Instrument, the company that pioneered HDTV.  Only after all that, did George W. Bush bring him on as Secretary of Defense.

When writing novels, I try to create characters worth knowing, either because of their interesting personality or skills or because of the events they take part in. Donald Rumsfeld is just such a character, except he’s no fiction.

In his memoir he shares insider information on everything from Watergate to 9/11 to the war in Iraq. What emerges is a fascinating look into many of the most important events in the last forty years.  You’ll get insight into some of the issues experienced in various White House administrations and see what really was going on with waterboarding, Guantanamo, Abu Ghraib, hurricane Katrina and many other of the hot button issues in the Bush years. There are some laugh out loud moments where his understated humor shines through. There are also parts where he reveals some of his differences with others that worked with him in the various administrations, including issues with Nelson Rockerfeller, Colin Powell and Andy Card. But in everything he writes he’s fair and restrained and attempts to present the facts accurately. This is no attempt to settle scores.  Just a wonderful read.

If you are interested in politics at all, I think you’ll enjoy this book. Moreover, I think you’ll come out a little wiser, maybe a little better person, for having spent a few hours with Donald Rumsfeld.  

The King’s Speech

I do not watch many r-rated movies.  They are usually too vulgar or pornographic for my prissy tastes. However, I did my research on The King’s Speech, and having heard so many glowing reviews, Nellie and I rented it.

It was wonderful.

The movie tells the story of prince Albert Frederick Arthur George of Britain who did not ever expect to inherit the throne and did not want to, in part because of his stammer. Can you imagine having to be a public figure like a king and have to deal with something like that? Most of us dread the thought of public speaking. Can you imagine having to try with a stammer?

But Albert’s lot was not to live the sheltered life. He became king when his brother abdicated the throne because of improprieties in his personal life. The day before the abdication, Albert went to London to see his mother, Queen Mary. He wrote in his diary, “When I told her what had happened, I broke down and sobbed like a child.” That is not the entry of a power-hungry man.

He assumed the throne in 1936, when England ruled over almost a quarter of the world’s population. Three years later in 1939 WW2 broke out and Britain’s king needed to be able to address the people.

In the movie, Colin Firth plays Price Albert. Geoffery Rush (Captain Barbossa in Pirates of the Caribbean) plays Lionel Logue, the unorthodox Australian speech therapist to whom Albert’s wife turns for help. The script is wonderful and the star-studded cast is spot on. There are moments of humor and poignancy and triumph. I was caught up in this movie as much as any I’ve seen.

If you like English dramas, you’ll enjoy this one. And the profanity, the reason for the r-rating, is not there to depict casual vulgarity. It was part of a technique used by the therapist. In the end, you’ll overlook it and find yourself on pins and needles, rooting for this fine man.

Aquatic Ancestor Apes & Talking Bacteria

I’ve written about TED before. The annual TED (technology, entertainment, design) conferences, in Long Beach/Palm Springs and Edinburgh, bring together the world’s most fascinating thinkers and doers, who are challenged to give the talk of their lives (in 18 minutes or less). The folks at TED record these speeches and put them up for free on their site for the rest of us to watch. And I just watched two dandies.

The first is by Elaine Morgan who says we evolved from aquatic apes (sigh, just when you think you’ve found grandpa Eddy hanging out in the trees, you learn he’s an imposter). Morgan is a Welsh writer for television and also the author of several books on evolutionary anthropology. In the speech she describes the reasons why it makes sense that humans had aquatic ancestors. Along the way, she illustrates key principles of science, including why science by consensus is no science at all. Her manner is so delightful and engaging I think I could listen to her for hours, preferably around the dinner table. Watch her right now. She just might convince you.

The second speech was given by Bonnie Bassler, an American molecular biologist, who has been part of the team that discovered key insights into how bacteria talk. It appears that bacteria do not invade a host and start doing damage. No, they wait until their numbers are sufficient that they have a chance of surviving. They coordinate defense and mount attacks as a group. Who would have thought? Knowing how this works is not only interesting all by itself, but it has stunning implications for medicine and fighting infection. Bassler is a fascinating and enthusiastic presenter. Among other things, you’ll end up seeing that humans are more bacteria than you could imagine. Watch her.

US Army Special Forces

Nobody can stand up to the US Military’s conventional fighting force using conventional tactics.  Yes, Russia and China have significant militaries and a fight with them would be bloody.  But it’s not likely we’re going to go to war with them.  Instead, as we’ve seen since the 1990′s, we’re likely to fight much smaller groups—Somali warlords, genocidal brutes in the Balkans, terrorist-supporting regimes like the Taliban, unstable dictators like Saddam Hussein, or Islamic extremists who aren’t associated with any nation. 

Those who do try to fight us conventionally get wiped out.  We saw that very clearly with Saddam Hussein.  Which is why the fight went underground.  In this type of war, when the bad guys are hiding among the good, we can’t just rush in and bomb the place to the stone age.  If we do, the local population will soon come to hate our presence and work against us.  And when that happens, we set ourselves up for defeat.

The best way to fight against insurgents is to ally ourselves with friendly portions of the populace who can identify who the insurgents are, which doors to kick in, and can actually kick those doors in themselves, if only they get some support and training. 

Because of this, a strong argument can be made that the US Army’s Special Forces are the most effective tool we have in winning the types of wars we’re likely to fight in the near future.

The US military has a number of special operations forces.  Those you’re probably most familiar with are the Navy SEALs, Delta Force, Rangers, Marine Force Recon, and the Army’s Special Forces (commonly known as Green Berets).  There are other groups like the Air Force’s Combat Control Team, the Army’s 4^th Psychological Operations Group, and other black op units that the military doesn’t officially recognize. There is some overlap in the types of things these forces do.  However, each has its own focus, the thing it’s best suited for. The reason why the Army’s Special Forces are so valuable in our current environment is that one of their main missions, the thing they do better than anyone else, is conducting and fighting unconventional wars.

Along with all the other cool stuff that goes along with special operations work, Special Forces troops have to learn how to build rapport and trust because unconventional war is conducted through and by the indigenous population.  Special Forces troops not only have to know how to conduct high-risk missions, they have to be able to train others to do the same, which is why they are all required to learn a second language.  All this people work requires a more mature soldier.  And it shows: the average age of the SF operators is thirty-two, while the average age of a US Marine is nineteen.

I just read two fabulous books on the Army’s Special Forces.  The first is Masters of Chaos by Linda Robinson. Robinson was given unprecedented access.  She traveled with them to the front lines and was allowed to interview and report as no other had been allowed up to that point.  She starts with a brief history of the SF and their training; she then details missions the Special Forces carried out from 1989 – 2003, including their work in Panama, El Salvador, Kuwait, Somalia, the Balkans, Afghanistan, and the second gulf war.  My eyes were opened to the significant role they’ve played in all these conflicts.  It was absolutely fascinating.

The second book is Chosen Soldier by Dick Couch. Couch, a former Navy SEAL and CIA case officer, is the only writer ever given the privilege to attend the many months of Special Forces pre-selection, preparation, selection, and qualification training from start to finish.  He was given “full access to all training, venues, students, and training cadres.”  Couch did not merely interview.  He and his wife moved to one of the few residential structures on base at Camp Mackall in North Carolina.  Couch went out with the SF candidates to observe first hand exactly what they did, and, in a number of instances, do it with them.

One of the things I loved about this book are the personal bios given about the backgrounds of the various candidates.  They are not at all what you’d expect—everything from bouncers to engineers to one fellow who had a degree in and a passion for Russian literature.  I also enjoyed the details he gave about the training.  There are about 1.2 million people in the US Army.  Only about 5,000 of them are in the Special Forces.  When you finish, you have a good feel for the types of things they learn and why about 80% of those who volunteer for training wash out.

I couldn’t put either of these books down.  If you decide to read them, let me also recommend you download and read Army Field Manual 3-05.20 Army Special Forces Operations as well, which is the Army’s “keystone manual for Special Forces (SF) doctrine” that “describes SF roles, missions, capabilities, organization, command and control, employment, and sustainment operations across the operational continuum.”  You can find it here: http://tinyurl.com/3ryt3o3.  For those who just want an overview of these forces, the Army has provided a great site here: http://www.goarmy.com/special-forces.html. 

The Boys of Laketown and Round Valley

Every school morning my wife and two oldest girls hunt.  They eat their breakfast perched high on a hill and watch for the quarry.  When it appears, a shout is raised, and the trio races to the car.  They blast out of the garage, perform an expert three-point turn, then Monte Carlo down the winding hill road.  Next, they attempt to set a land speed record on the straight shot into town, all in an effort to catch the big yellow school bus. 

Most days they make it.  The bus makes a few stops in town.  Sometimes they’re not so speedy and can only manage to catch the bus at its last stop.  Sometimes I join in on the hunt.  Most of the time I catch the bus at its last stop in town.  But this week I was quick enough to get them to the third stop in front of the middle school where most of the teens board the bus.  And I had the privilege to witness a class act.

The first time I arrived with my payload, all but two teen boys had already boarded.  We raced up to the bus, my daughters flew out of the car, and the two teenage boys from Round Valley stopped.  They did not get on.  They waited for my girls to hustle the length of the bus.  My girls got on, and the boys followed them in.

Odd.

The next day we got there a little bit earlier.  This time I witnessed ALL of the boys from Laketown and Round Valley stand and wait for all the girls to get on first.

What was this? 

I asked my girls about it.  They confirmed—it wasn’t a fluke.  While first initiated by the bus driver, the boys have the class to show this courtesy every day. 

Teenagers . . .

Bravo, Gentlemen.  Bravo.

Bradley P. Beaulieu just had his first novel released on April 1st. It’s called The Winds of Khalakovo and is the first of three planned books in The Lays of Anuskaya series publishehd by Night Shade Books. In addition to being an L. Ron Hubbard Writers of the Future Award winner, Brad’s stories have appeared in various other publications, including Realms of Fantasy Magazine, Orson Scott Card’s Intergalactic Medicine Show, Writers of the Future 20, and several anthologies from DAW Books. His story, “In the Eyes of the Empress’s Cat,” was voted a Notable Story of 2006 in the Million Writers Award. His agent is Russell Galen.

Brad is a software engineer by day, wrangling code into something resembling usefulness. He is also an amateur cook. He loves to cook spicy dishes, particularly Mexican and southwestern. He lives in Racine, Wisconsin with his wife and two children. As time goes on, however, Brad finds that his hobbies are slowly being whittled down to these two things: family and writing. In that order . . .

I recently had the opportunity to interview Bradley. Among other things, we talked about how he broke in and how he comes up with his ideas. He also convinced me to use his picture method, which I’m finding very handy on my current thriller project.

***

JOHN: In your novel an elemental spirit attacks an incoming windship, murdering the heir to a kingdom. The person believed to be behind this is a child, an autistic savant. This sounds like Orson Card tale (grin). Did you come up with this character first, the magic, or something else. Tell us the genesis of the tale and this character in particular.

BRADLEY: The genesis of the book is actually from a series of postcards of fine art that I picked up in Edinburgh, Scotland. (I posted about it on my website if you’re curious to learn more.) I used that artwork to first generate and then crystallize my thoughts about the book. Initially, I tried not to let any one thing rule the brainstorming I would do from time to time. I didn’t even know who the main characters were at first. I was quite taken by the picture of the three sisters, though, and I knew right away, the moment I laid eyes on the original in the National Gallery, that they would play a major part in the novel.

But in the end it was the picture of the boy with the flaming brand that kept leaping out at me, calling for attention. The artist is Godfried Schalcken, and the piece is called A Boy Blowing on a Firebrand to Light a Candle. This character eventually became Nasim, the autistic savant. As I was studying the characters, I began to realize that this boy was not going to be a point-of-view character, but he was going to be a prime mover. In the end, he embodies much of what Winds is about. The story truly does revolve around him and his unique powers.

The brand that he holds in the painting also came into play. I didn’t know what the magic was going to be about. I hardly had a single preconception about the book going in. I just wanted the artwork to speak to me, to advise me as to what the story was going to be–from the characters to the world to the magic. The boy blowing on the brand got me to thinking about elemental magic, and I realized that Nasim was one who could do this without even thinking. It came as naturally to him as did breathing. That’s a difficult place to put a character, however. As a writer, you have to be careful of all-powerful things, and so I needed something to balance Nasim’s abilities. And this, of course, is where his disconnection from the world came from. Nasim, as written in the book, is often lost. He has difficulty relating to others in even the smallest of ways. This both limited his power and made him in some ways more dangerous and more scary than a calculating villain, simply because of the unpredictability.

I’d be remiss if I didn’t also mention Rehada, who started out as a somewhat minor character but grew into the most complex and perhaps the most compelling of my three main characters. Rehada came from Andrew Geddes’ Hagar. It’s another beautiful painting, filled with emotion. I was drawn to the fact that she was crying. I wondered why. I spent a lot of time answering that one question. After knowing that her people were essentially pacifists, I realized that Rehada was not. She felt she had betrayed her people and their ways because she had taken to the path of violence. It was from this, from that one single tear, that the entirety of the Maharraht–the fanatical splinter group that came to embrace violence as a means to an end–was born.

By this point, I understood that I wanted there to be an aristocracy of some kind, and I fairly quickly landed on a culture that was modeled loosely after Muscovite Russia. I don’t remember why, exactly. It might have been that the other artwork reminded me of Russian Czars a bit, but I think the biggest driver here was that I definitely didn’t want something that was centered around western Europe, because frankly that’s been done to death. I wanted something more unique, and I’d always sort of like the mystique and darkness that seemed to hover around that time period in Russia. They’ve always seemed like a hard people, a people that would do whatever it took to survive, but in the same light, they took time to live life fully when they could.

Given that I had the loose guidelines of the aristocracy, the peace-loving, indigenous Aramahn, and finally the will of the Maharraht to do whatever it took to regain the islands as their own, it created a crucible from which the story flowed fairly easily. I spend a lot of time building my worlds so that the conflicts within them come naturally, and that was definitely the case here.

JOHN: The description of the world and your process for getting into the story is fascinating. From the article on your site it sounds like using images was a new technique for you. Is that correct? And if it is, was your process previously to have some other physical object of which you’d ask questions?

BRADLEY: Yes, using artwork as a starting point was a new technique for me. I had no idea if it was going to work or not. An interesting thing came up when I was doing it, though. One of the things I learned at a few of the workshops I’ve been to (Writers of the Future and Orson Scott Card’s Literary Bootcamp) was to create stories in very little time using a few unrelated things as starting points. One unanticipated result of having restrictions in some areas (such as the elements involved in the story) is that it opens your mind in other areas. You’re forced to become more creative in some ways because certain avenues have been closed to you. I think it was the same with the portraits I used to represent the characters.

Before that, in the previous three novels I’d written, I didn’t really have any specific brainstorming techniques. I would start with a premise and perhaps a loose idea of the characters and a mood, and I would go from there, trying to stay true to those things as the story evolved and grew. Although part of the problem with those early stories was that I was young in my craft, I also think my brainstorming wasn’t very efficient. I think, as I alluded to above, that there were too many possibilities. I had trouble narrowing the story down, and it led to stories that were ok, but nothing great. Too often they became a bit generic. Nothing really stood out.

So while the artwork I used is one of a great many possible brainstorming techniques, I like the idea of challenging yourself with restrictions in order to force the story to stretch and bend in unpredictable ways.

JOHN: Wow. That’s a striking insight. I think I’ve found the same thing occurs when I run workshops or do my own brainstorming, but I don’t know that I’ve ever crystallized it the way you have. (See folks, this is why I love these interviews.) So I see _The Winds of Khalakovo_ will be published by Night Shade books. You’ve had quite a few short stories published, but this is your first novel. How did you make the sale? Did you have an agent? Was the editor someone you knew? Gives us a bit of the story behind this.

BRADLEY: As you said, I’d been making steady progress throughout the years in short story sales. I had attended a number of workshops, and I think my name had at least some recognition by editors, either from short stories I’d published or personal connections I’d made at conventions. As an aside, some people will say that you shouldn’t go and sell yourself at conventions. If an opportunity comes up, they say, and an editor or agent asks you what you’re working on, go ahead and take advantage of it. I don’t doubt that that’s good advice for some. Just not for me. I believe that editors and agents are at cons not just to meet with their authors and speak with agents, but to see who’s coming up in the field. They’ll get to know a certain percentage of the newcomers from their short sales, or even novel sales, but they can’t read everything. They can’t even read a small percentage of the fiction that comes out each year. So, frankly, it’s up to me to make them aware of who I am.

Now, that doesn’t mean you should be pushy. You should be friendly and businesslike. Keep things short and sweet and as casual as you possibly can. And that’s exactly what I tried to do. I approached Jeremy at World Fantasy in San Jose (2009) and told him I had an epic fantasy that he might like. I pitched it as “The Song of Ice and Fire meets Earthsea.” He asked me if I had an agent. I said no. Night Shade doesn’t normally take unagented mss (and I should probably ask Jeremy some day if he gets annoyed that I tell this story), but he said he liked the cool pitch and said to send it his way. Roughly five months later, I got an email from Jeremy, offering to publish the book. 

At that point, I moved quickly to find an agent, and believe me, agents will move quickly as well if you tell them you have an offer on the table. That doesn’t mean they’ll be clamoring to sign you up. It just means you have their attention. I was lucky enough to be picked up by Russell Galen of the Scovil Galen Ghosh Literary Agency. Russ and I are simpatico on a number of levels, and to be frank, as an agent he kicks serious ass, so I feel honored and blessed to be under his wing.

JOHN: What a great breaking in story. And you’re right, Galen is tops. So to give my readers perspective, did you approach a lot of editors this way? Or was Jeremy at Night Shade one of a select few? And did you encounter any annoyance? I know my editor, David Hartwell at Tor, doesn’t much like to be approached at cons. But obviously, that’s not the case with all editors.

BRADLEY: Well, I had not approached anyone else for Winds. However, I had previous novels, and I’d approached a variety of agents and editors over the years. Not scads of them, mind you, but a number of them, and there were more agents I spoke to than editors because the general rule of thumb is that you can approach and/or query multiple agents at the same time, whereas editors you typically ask for exclusives, even at the partial stage. I was also careful about who I approached, and when. I went to the Pikes Peak Writers Conference for several years. They had pitch sessions there, where you can sit down with an acquiring agent or editor and talk to them about your novel. I certainly took advantage of this, but I also wasn’t afraid to approach them outside of those sessions. At conferences in particular, I think the invited guests are open to being approached at the bar, at the dinners, and at the parties. Again, though, I tried to keep things as casual as I could, and I kept the pitch short and sweet so that they could determine quickly whether it was a project that interested them. Most often I got a “Sure, send me 50 pages” type of answer, but I got a few requests for fulls by doing this as well.

Conventions are another beast. It’s a looser environment than a conference, so I was much more choosy about when I approached agents and editors. I’ve never encountered annoyance, but I’ve certainly felt stiffness from those who perhaps would rather not be approached. I learned from this early on and adjusted my approach. I would try to meet them first and strike up a conversation and see where it went. Often, if you can just be humans with one another, the subject of what you write and what projects you might have ready will come up. Try to take that approach, because there’s nothing to put off an editor that already keeps unknown writers at arm’s length than the smell of desperation. In the words of Monica Geller, keep it breezy.

JOHN: Well, I’m excited for you. Night Shade is a great publisher. So I have one more question: what’s next?

BRADLEY: I’m contracted for two more books, so that’ll occupying my time for a little while yet. But I’ve started brainstorming the next project. (I like to let things germinate for quite a while, so it’s important for me to get my hindbrain working on these as early as possible.) I have two possibilities that I’m mulling over. The first is a science-fantasy called The Days of Dust and Ash. Think Nausicaä of the Valley of the Wind meets The Coldfire Trilogy. I’m excited about this story, because it’s a departure from what I’ve written in the past, though it will still be fantastic and wide in scope. The story focuses on a young girl who is summoned from the dust, a global consciousness that was created as the last great age of technology fell under a nanite plague.

The other is called From the Spices of Sanandira. I sold a novella with the same title to Beneath Ceaseless Skies last year, and it will be appearing sometime this spring. It’s a story that springs from Sanandira, a large desert oasis known for its caravan trade and spice bazaars. It’s got a strong Thousand and One Nights feel to it. The novel is not so much an expansion of the novella as it is a re-imagining of it. It will probably focus on a pair of twins: one boy, one girl. The sister is sold to one of Sanandira’s famed assassin rings at a young age. The boy (the protagonist) finds his sister by happenstance years later, and because of this chance meeting is drawn into the world of intrigue his sister walks every day.

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 JOHN SEZ: I just love hearing how other authors work. As I said before, after this interview I decided to use the image technique myself on my current thriller project. Images of people and places and thing. I’m finding it helpful to help the story come to life. I also think Bradley’s breaking in story illustrates one key thing: work. And that’s exactly what I need to do right now

I recently had the wonderful opportunity to interview Edmund Schubert, the editor for Orson Scott Card’s Intergalactic Medicine Show, about How To Write Magical Works: A Writer’s Companion, a collection of essays about the craft and the business of writing that he edited. Ed’s someone to listen to. But so are the authors whose essays fill the book: Faith Hunter, David Coe, C.E. Murphy, Misty Massey, A.J. Hartley, and Stuart Jaffe. Here’s what he had to say about this book.

John: Edmund, you recently edited How To Write Magical Words: A Writer’s Companion. It’s chock full of advice from some pretty successful fiction authors, and an editor who, having purchased one of my stories, has shown exceptional taste (grin). But there are a lot of how-to’s by successful authors out there. What makes this book different, do you think? What’s the special value this book brings to the table?

Edmund: I think the biggest thing that differentiates this book from others on the subject is its diversity of opinions. Most how-to books are written by one person, giving on perspective, but the truth is that there are many paths to success in this business. The Magical Words book was intentionally designed to replicate the give-and-take that exists on the MW blog. Sometime the MW writers agree, sometimes they don’t. The other thing that makes this book different is that it also includes some of the follow-up questions asked by readers of the blog, and the accompanying reply. That makes this book feel/read more like a writer’s conference than your basic info-dump book.

John: I think the concept is great. And the contributors have quite a bit of experience. I know you can’t comment on every essay in the collection, but are there one or two that stood out to you while editing?

Edmund: There were a few that stood out to me. One by Catie and one by David, both on the subject of money/advances. Those stood out to me because of how very blunt and honest they were about finances, and it’s information I think more people need to be aware of.

The other one that stood out for me did so for personal reason. Catie’s essay about Visualizing The Story made me feel so much better about myself as a writer and my chances of success, because for years I’ve been hearing all these other writers at conventions talk about how their stories are like movies in their heads and all they have to do is record the action and the dialogue, and I used to hear that really worry because at best I might see a slide show of of bits and pieces of the action, but I’m totally making the rest up. Hearing Catie say that she didn’t/couldn’t visualize the story that way either gave me hope.

John: I’m sure aspiring authors are going to be very interested in what Catie and David say about money. It’s also interesting that sometimes we writers hear other successful writers talk about how the invention process works for them, compare our process with theirs, and assume we’re lacking. In reality, the way we approach it might be just as effective. That’s one of the things I like about this book—it has multiple contributors. Let me ask one more question. You see a lot of stories as editor of Intergalactic Medicine Show. What are some of the topics addressed in this book that, based on the biggest issues you encounter in submissions, authors would be wise to carefully consider?

Edmund: Magical Words as a group have two mantras: the first is that there is no one right way to do this crazy thing called writing, and the second is the exception that proves the rule: the one and only true answer to everything is BIC. Butt In Chair. You put your butt in the chair and you write. You figure it out as you go along. And the more you write, the more the other advice you hear will make sense. You want to be a writer? Write. The rest is details.

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John sez, amen to that. And amen to this book. I really enjoyed the format and the insights shared. I never tire talking about craft and business with other writers. With over 100 essays and 313 pages, this book has lots to share. If you want to hear what some very smart and a few very published authors have to say about writing, you’ll want to pick up your own copy.