sometimes they market me as a thriller writer, sometimes they market me as a
horror writer and it‟s just not
a well trodden path to put all those things together. I
mean there are people who‟ve done it definitely like Michael Crichton or Douglas
Preston & Lincoln Child, but it
‟s not like you will find a shelf of hard science
horror anywhere in a bookstore.JP: Yeah, absolutely. Okay,
you mentioned your 11 to 12 years of slugging awaythere which is obviously key to your success but do you have any otherrecommendations for people who want to become New York Timesbestselling authors?
SS: Well, I think the biggest thing now is with the affordability and accessibility of allthe tools online, it is to
write every day, create the best story you can, edit thestory heavily cause you only get one chance for people to hear your story
they‟ll turn you off and
never come back to you again. Outside of that, which
hasn‟t changed in hundreds of years worth of fiction writing, it‟s
get yourcontent out online and start building up an audience.
The days of being discovered I believe are completely gone. The days of
someone pulling your manuscript out of a slush pile and like, „oh my goodnessthis is the greatest thing I‟ve ever seen,‟ those are totall
y gone. There will still berandom lightning bolts that strike and people, you know, one in a million willmake it through the traditional model, but I think where things are going to nowis, if you can get your stories online, give them away, build an audience andinteract with that audience, and
you will get to a point where you bring thataudience to a publisher.
So, instead of saying, “I know my book will sell
because this is just the best thing
ever,” you‟re going to the publisher saying, “I know my b
ook will sell because
I‟ve got fifty thousand people reading my blog every
day. There is a hugedifference there and publishers now are starting to understand this as well. So,instead of them just taking a chance based on their own taste or on the taste of
some English professor at some college who‟s dubbed the student, you know, thisis a very important work etcetera, now publishers can sit back and look at what‟sresonating out in the marketplace. And you‟ve got to remember, publishers are
risking an enormous amount of money with every book that they publish.
People‟s jobs are on the line with every book that comes out.
If you were in their shoes, most people are going to be more apt to go with moreof a sure thing to mitigate that risk. And
the way they can mitigate that risk is
look to see who’s out online building up an audience and already has people
that like their work. Those are people that publishers are going to startsigning and putting promotional money behind.