An excerpt from HUNTER: A Thriller

 

I know, I know: We’re in a recession. You’re careful about spending. Which is why some readers like you have asked me if they can sample a few pages of my new thriller, HUNTER, before deciding whether to purchase it.

Well, I’m happy to oblige. Today I gave permission to a writers’ website, “Writing on the Rocks,” to publish the following excerpt from early in the novel. No, it’s not from one of the many action scenes; instead, it’s a sequence that motivates the later action scenes.

I hope you enjoy it.

 

~*~

ARLINGTON, VIRGINIA

Monday, September 1, 6:45 p.m.

 

They stood in the hallway of the funeral home. Susanne Copeland, clutching a tissue, stared at the open door of the parlor just ahead of them, on the left. Her eyes were red-rimmed and swollen; her dark-red, shoulder-length hair bordered a pretty face now lined with pain and fatigue, a face that seemed to have aged ten years in the past three days.

She breathed deeply. “Okay. I guess it’s time.”

Annie took her arm gently and they began to walk slowly toward the room, followed closely by about a dozen of Susie and Arthur Copeland’s closest family members.

The funeral director who had greeted them at the building entrance had walked ahead, and now stood to one side of the parlor door. On the opposite side of the entrance a small, marble-topped table supported a spray of white roses, the visitors’ register, and a golden pen. The director smiled sadly as they approached, his hands clasped before him like a maitre d’.

“Mrs. Copeland,” he said, placing a consoling hand on her shoulder, “please take all the private time you need, and let me know if you require anything, anything at all.”

She blinked and swallowed. “Thank you, Mr. Reynolds.”

He moved to greet the relatives following them. She glanced at Annie, then at the door yawning open before her, as if it were the entrance to hell. Annie gave her arm a supportive squeeze. Susie took another deep breath, let it out, and they entered.

Soft string music was playing over the intercom—some banal, bittersweet religious hymn. She felt Susie’s arm go rigid at the first sight of the casket. Illuminated by hidden lights, it rested in a recessed alcove to their right. It was a gleaming bronze thing lying on a bier draped in cascades of rich white fabric, surrounded by what seemed to be a solid wall of floral wreaths and displays. The sickly sweet scent of hundreds of flowers was almost overpowering.

Arthur Copeland’s face and folded hands were visible against the white satin of the casket’s open lid.

As they neared, Susie’s pace slowed; then her steps became halting, each punctuated by a little gasp. The gasps became sobs. She sank onto the kneeling pad at the side of her husband’s body.

“Oh God. Oh God. Oh Arthur!” she cried out, her voice high and thin. She reached out a trembling hand, touched his sleeve. “Oh Arthur!”

Annie found hot tears running down her own cheeks. She knelt beside her friend, wrapped her arm around her quaking shoulders. Susie turned into her, and they hugged and cried together.

Annie didn’t know how long they remained like that. She became dully aware of the family members around them, sobbing and praying.

Eventually, Susie regained her composure. Annie helped the young widow to her feet and then stepped aside to let her lean in close to her husband’s body.

It was a cliché, she thought, but Arthur looked as if he were merely asleep. The man’s face, so anguished during the past two years, was serene now—unlined, unmarked, bespectacled, just as it had been earlier in his life. She had dreaded seeing his body tonight almost as much as Susie had; but she marveled now that there was no sign of the gunshot wound that he had inflicted to his own skull. Clearly, the funeral director was as skilled at his own reconstructive craft as Dr. Arthur Copeland had been at his. At just forty-four, Arthur had been one the nation’s most renowned plastic surgeons.

“I can’t believe it. I can’t believe it,” Susie said, shaking her head. “Oh, Arthur, why?” She touched his clasped hands, flinched a bit—the shock of the hard coldness, Annie realized—but then let her palm rest on them. She touched his wedding ring with her forefinger. Then she leaned her face over his, and began to talk to him so quietly that Annie could no longer hear what she was saying. As she spoke, she patted his loose blond strands. Smoothed the lapel of his charcoal suit. Ran her palm down his tie.

Annie had to turn away. Each of her friend’s tender gestures felt like the thrust of a knife.

At last, Susie bent and kissed Arthur’s forehead. She straightened and hesitated, swaying slightly.

“Susie dear, would you like to sit down, now?”

Her cheeks were wet, her eyes dazed; she was beyond exhaustion. “Yes. Thanks. And maybe a little water.”

They took seats in a line of chairs positioned not far from the casket. Annie fetched a paper cup of water from a cooler in the corner and found a box of tissues. The rest of the family members joined them, consoling each other quietly as they took their seats. After a while, the director entered, closing the door behind him, and approached.

“Mrs. Copeland, many of your friends and family have already gathered outside. Just let me know when you feel ready to receive them.”

“I’m ready. Ready as I can be.”

He smiled gently. “He obviously was a beloved man. We haven’t had this many visitors here for a very long time.”

He returned to open the door, and people began to file in slowly. They first approached the body to kneel and pray, then turned to the waiting family, most of whom stood to receive them. Annie stood beside Susie, who remained seated. The visitors, some in tears, leaned over to hug her and whisper the painfully trite things that people always struggle to say to those who have lost a loved one. Once past the receiving line, many stayed for a while, taking seats in the rows of padded folding chairs that filled the rest of the parlor.

Annie was not surprised to recognize and greet a number of those filing past her: They were co-workers from Langley. Susie was a long-time European analyst in the Directorate of Intelligence, and Arthur had worked for the Agency on a consulting basis for over a dozen years. She was astonished, though, when the CIA director himself entered, flanked by several top Agency people, including Grant Garrett. Nobody had told her about this. But then again, they wouldn’t announce in advance the itinerary of such a group. She knew the two OS security officers flanking the door; many more would be outside, forming a protective cordon around the building and the armored limos.

The intelligence chiefs paused as a group at the casket for a solemn moment, then made their way to Susie. Each of them hugged her and expressed sadness that Annie knew was heartfelt. When they reached her, they greeted her quietly and by name. Garrett, his face stony, nodded, said a terse hello, and gave her a brief hug before moving on. After they passed through the receiving line, they wandered among the seated guests, exchanging handshakes with some of those whom they recognized and—she had to smile to herself—pointedly ignoring others whose identities it would be unwise to acknowledge….

Her eyes roamed the endless line still wending its way into the parlor. Then rested on a man framed in the doorway.

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An Interview with Brad Thor–Master of the Political Thriller

Brad Thor. (Photo: John Reilly)

Reviewers and admirers—including his fellow authors—have called #1 New York Times best-selling author Brad Thor “the master of thrillers,” “as current as tomorrow’s headlines,” and “quite possibly the next coming of Robert Ludlum.” Suspense magazine described him as “arguably the best political thriller writer of all time.”

Set in the post–9/11 world of Islamist terrorism, Brad Thor’s turbo-charged tales are loaded with international intrigue, frenetic action sequences, astonishing “insider” details of intelligence and counterterrorism activities, and provocative political perspectives. They’ve become mandatory bedtime reading for Washington leaders, as well as countless fans of suspense thrillers.

His late-July release, Full Black, held down the #3 spot on the New York Times bestseller list throughout August. The tenth novel to feature tough counterterrorism hero Scot Harvath, Full Black is a dark, controversial tale that projects a conspiracy to bring down America via a nihilistic nexus of far-left radicalism and jihadist terrorism. It’s another in-your-face, high-octane thrill ride by a writer who revels in Political Incorrectness.

I became hooked on Thor after reading his scary-real State of the Union a few years ago. I went to his website to learn more about his work, then began to participate in the Thorum—the raucously entertaining discussion board for eager fans of his works. I finally met the man himself while he was on a book tour in the D.C. area a few years ago.

That’s when I learned that Brad Thor is not just a great thriller writer: He’s also a great guy. Personable and funny, he enjoys establishing personal bonds with his multitude of readers. He’s also active in supporting military-related charities, which—in addition to his patriotically themed stories—has endeared him to U.S. soldiers stationed around the globe.

Trim, athletic, articulate, and handsome, Brad could be cast as a hero in the coming movie adaptations of his thrillers. Especially since this guy already knows his way around weapons and counter-insurgency tactics; he even tagged along with a small black-ops unit in Afghanistan a few years ago. His telegenic ease before the camera proved itself before he began writing thrillers, when he created, produced, and hosted an award-winning show, “Traveling Lite,” on public television. He’s a fixture on conservative talker Glenn Beck’s programs, and on cable TV news shows, where he is outspoken about public-policy issues.

Born in 1969, Brad was bitten by the writing bug during childhood. He switched from studying business administration to creative writing at the University of Southern California, and after college, he traveled to Paris with his laptop, meaning to write his first novel. But fear of failure led to a long period of paralysis. Instead of writing, he began to tour Europe on a shoestring, which gave him the idea for his “Traveling Lite” show.

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“The Gray Man” returns

 

Mark Greaney, a young author who made a big splash with his bullet-paced debut thriller The Gray Man a few years ago–which was followed by a sequel titled On Target–has just published the third in the series, Ballistic.

I highly recommend The Gray Man (soon to be a movie); if you like it, you’ll want to continue with Mark’s exciting series about an international hit man, formerly with the CIA, who targets people who deserve to be killed.  (Hmmm…sound familiar?)

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A personal message from Vince Flynn

I just received by email a copy of this personal message from bestselling thriller author Vince Flynn. It speaks for itself.

I had the honor of interviewing Vince a few years ago (and I’ll be re-posting that interview here on “The Vigilante Author” soon). In addition to being a great writer, he is one of the most personable and principled men I know.

I know all of you will wish this wonderful man a full and speedy recovery as he continues his gallant battle with cancer.

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The Best Thriller Writers — Ever (Part 2)

 

My list of seven “best thriller writers” in the previous post came with some important caveats—such as the fact that they’re really only “the best I’ve ever read,” and that I couldn’t possibly be familiar with all the great thriller authors out there.

As you would expect, some people have complained about the inclusions and omissions, others about the categorization of a few detective writers, such as Robert B. Parker and Robert Crais, on a “thriller” list. Fair points. The boundaries of what can be encompassed by the generic term “thriller” are vague enough that we are justified to split hairs. Still, concerning the latter point, many cerebral detective stories contain little physical action and few cliff-hanging perils (think Sherlock or Miss Marple), while others (such as those by Crais and Parker) are packed with plenty of both. So, some detective stories, I think, ought to bleed over into the thriller category. (Pun intended.)

By any measure, though, seven names can’t begin to exhaust the category of great thriller authors. Then there’s the matter of great stand-alone thriller works. Let me follow up with a host of other writers and titles I’ve encountered over the years—again with the caveat that I’m constantly discovering new worthies, and that I aim to give them plenty of attention in future posts.

Once more, the following are listed in no particular ranking suggesting relative merit; they all are worthy of your attention.

***

NELSON DeMILLE. Here’s a thriller veteran who for many years has served up big, well-researched, solidly character-driven novels with clever plots and plenty of action. DeMille’s stories have ranged from The General’s Daughter, a cunning murder mystery in a military setting, to The Charm School, a consummate Cold War spy thriller, to Plum Island, a story of deadly intrigue set on Long Island.

Thriller master Nelson DeMille

Plum Island is written in first person from the point of view of NYPD homicide cop John Corey, another wise-cracking maverick who’s so appealing that he’s broken out to become an ongoing series character. Corey is crusty, independent, very smart, and very funny. His best adventure to date, in my humble opinion, was The Lion’s Game, a chilling novel about terrorism published in 2000—made especially scary because DeMille was stunningly prescient about the kind of terrorist attacks that were to come to New York City only a year later.

Strictly in terms of literary quality, DeMille shines. The Lion’s Game, for instance, alternates in viewpoint from that of Corey, presented in the first person, to that of the terrorist, narrated in the third person. It’s extremely difficult to write that way without distracting the reader. For example, Robert Crais has employed the same device in several recent novels and I don’t think he’s been entirely successful. But DeMille somehow makes it work without calling too much attention to itself.

The man is a master who will amply reward your investment of time.

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The Best Thriller Writers — Ever (Part I)

 

In a previous post, “My Moral Teachers Were Fictional Lawbreakers,” I discussed the seminal role that the fictional “vigilantes” of my youth played in my moral development. But their creators—the authors of thriller novels—played a formative role in my development as a budding thriller author, as well.

These days, an ever-growing host of terrific authors ply the thriller craft, and I don’t pretend to be familiar with more than a fraction of them. So, let me confess right up front that I’m not even trying to provide you with a comprehensive survey of these writers and their works. In this two-part post, I will tell you only about some of those whom I’ve encountered and most enjoyed. So, to be clear, “The Best Thriller Writers—Ever” ought to be titled, more accurately: “The Best Thriller Writers I’ve Ever Read.”

Here, then, in no particular order of ranking, are my favorites: the storytellers that I’ve discovered and that I recommend enthusiastically to my friends—friends who have repaid me with their undying gratitude in return.

***

The Top Rank

STEPHEN HUNTER

Formerly a Pulitzer Prize–winning film critic for the Washington Post, Stephen Hunter is a grand master of the thriller genre.

Quite a long time ago, I ran across his Cold War–era nuclear nightmare novel The Day Before Midnight and found myself hijacked onto the best thrill ride in memory. For some unaccountable reason, I didn’t try another Hunter story for years. Eventually, though, I read Point of Impact, which introduced me to one of the most original and compelling action heroes ever to stride across the fiction landscape: a lean, stoic, former Marine sniper with the unlikely name of Bob Lee Swagger. Once again, Hunter told me a story of matchless excitement. (The screen adaptation of Point of Impact, titled “Shooter” and starring Mark Wahlberg, departs significantly from the novel in order to infuse the plot with a leftist political tilt; I don’t recommend it.)

After that stunning introduction, I plunged into Bob Lee’s further adventures. Then I took up the ingenious, interwoven adventures of his equally heroic state trooper father, Earl Swagger.

That word, “ingenious,” is vastly overused when describing thriller authors and plots. But it applies to Hunter in spades; his  creative imagination and writing skills are simply breathtaking. The wealth of detail he provides for period and place; his refined ear for dialogue and dialects; the psychological depth and originality of his characterizations; the tangled twists of his dazzling plots and their unbearable suspense; the furious, frenzied action sequences that he renders so palpably; and, above all, his majestic heroes—hard, driven men of almost mythic stature: What more could any thriller reader possibly want?

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A stunning review of “HUNTER”

Roger Donway, reviewing HUNTER for The Atlasphere, opens with the words:

“I demand a sequel.”

Then this:

To say that HUNTER is a well-structured novel is an understatement…. There is nothing of philosophizing or pontificating or preaching in HUNTER. Nevertheless, it is this philosophical conflict between the two main characters’ passion for the virtue of justice…that drives the novel’s plot…. The profound harm that evil men wreak on good people is portrayed here in the most heart-wrenching terms. On occasion, it brought me to tears…. This is the first reason that I am impatient for a sequel to HUNTER: I want to return to the exhilarating moral atmosphere of Bidinotto’s story.

“But the second reason that I want a second helping of HUNTER has to do with its characters…. From the reader’s perspective, characters must not appear as mere chess pieces. They must seem like real people, acting from internal motives of character and personality, and Bidinotto’s characters always do.

For example, the well-plotted actions that occur when Dylan’s crusade and Annie’s crusade conflict would not be believable unless you first believed — not only that their crusades are right — but that their passion for each other is no less right. And you do believe it. I said that I approached HUNTER not as a thriller reader but as a romance reader, and so I cannot tell you that this is a great thriller. But I can assure you that it is one of the great romances.

Going beyond the main protagonists, even the lesser characters are vividly realized. Even the minor evil characters, whom we meet only as they are about to be dispatched, are memorably etched with a few deft strokes. Bidinotto seems incapable of creating a cardboard figure. An author who, just by the way, gives us a cat’s tail swaying “like a wobbly periscope” is clearly a born poet.

And this points to the second reason that I demand a sequel. In creating the benevolent characters of HUNTER, both major and minor, Bidinotto has introduced us to a coterie of folks that we love, that we yearn to meet again, that we want to know better.

There’s more, much more. It’s the kind of review every author lives for, and that a Vigilante Author would kill to receive.

Read it all.

UPDATE: While I’m at it, let me share an excerpt from a 5-star review left on Amazon by thriller writer Claude Bouchard, author of Vigilante and other novels:

A journalist by profession, Bidinotto’s writing is flawless and precise. He uses words to create scenes much like an accomplished artist uses paint and brush to create a masterpiece. His characters are three dimensional; they are real, flesh and blood people with true emotions. The story itself is an intricately woven tapestry of details which all perfectly mesh together resulting in a highly believable, suspenseful read. . . . [T]his novel is the best in the crime thriller genre I’ve read in a while. I can only give one piece of advice to you readers out there. Buy this book!

 

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How the Lone Ranger inspired me to write thrillers

I mentioned this in passing in my previous post. But now I fully…er…unmask myself and reveal the vigilante inspiration for my turn to thriller-writing.

Thanks much to award-winning indie author Nathan Lowell for inviting me to do this guest post: Who Was That Masked Man?

Enjoy!

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My Moral Teachers Were Fictional Lawbreakers

Interviewers have been asking me which writers have been most influential in my own development as a novelist. In coming posts, I shall pay homage to those authors. But first, I thought I would take a journey back many decades, to the earliest inspirations for “the Vigilante Author.”

Growing up in a dying mill town in western Pennsylvania was an oppressive experience. And in our blue-collar home, there were few windows that opened to a world of wider possibilities.

That wasn’t my parents’ fault. Their lives had been brutally tough, their own horizons painfully limited. My dad was born on a nearby farm and never made it to high school. For many years, he worked with his hands—stone mason, soldier in WWII, carpenter, railroad brakeman. Mom never finished school, either. She displayed early signs of musical talent, but there was no money for piano lessons. She spent her young adulthood on the assembly line at the “the pottery”—the local china factory.

After the war, they met, married, and settled in a tiny ranch house. Later, they bought and ran a local tavern, to help put my brother and me through college. They worked like mules; there was little time for anything else. So, culture was an unknown. There were no books in our house. We didn’t go to plays or concerts. The local radio stations featured farm reports and Patsy Cline.

Like most parents of that generation, they desperately wanted their kids to have more than they did, so they valued education. But the local offerings were limited. Each morning, I rode an old yellow bus with bad shocks to a school where the biggest club was the Future Farmers of America. I was eternally lucky that the school had a quirky librarian with political passions, an art teacher who played classical recordings during class, and an unforgettable history teacher who opened my mind to the world of ideas.

But the cultural inspiration of my youth came from the TV action heroes of the 1950s.

As a toddler, I became addicted to TV. Mom would park me in my little walker in front of our massive Philco. She told me that somehow I figured out when my favorite shows would come on, and I would scoot the whole walker forward to change the channels. That small screen introduced me to the concept of vigilante heroes—appropriately, in black and white.

My earliest imprinted images of manhood included the Lone Ranger, Roy Rogers, Robin Hood, the Range Rider, Hopalong Cassidy, Wyatt Earp, “Lash” LaRue, “Cheyenne,” and Tarzan. There was a Saturday serial cliffhanger featuring the adventures of an amazing guy with a “jet pack” on his back, “Commando Cody.” Meanwhile, Walt Disney’s Mickey Mouse Club served up a regular diet of Zorro and Davy Crockett.

And then there was Superman. Boy, did I love Superman.

Later, I discovered other comic-book heroes—vigilantes all. There was Batman (still my favorite), the Flash, the Green Lantern, Aquaman, the Phantom, and Spider-Man. Novels—especially science fiction and action thrillers—came along later, during adolescence.

I can’t tell you how important such experiences were to a lonely little kid with a big imagination, growing up in that four-room ranch house. Those heroes told me that life didn’t have to be a series of boring, empty routines. That there was more to the world than the claustrophobic rural township where I grew up. That the universe was a huge place filled with adventure and romance, open to infinite, exciting possibilities.

But, most importantly, that you always had to stand up for justice.

Like millions of other kids from that era, I took all this very seriously.

I still do.

I offer this personal preamble to my forthcoming survey of great thriller novels because such fare is universally dismissed as the literary equivalent of junk food. Certainly, almost no one takes action thrillers seriously or believes that they have anything important to impart to readers. They are pure “escapism,” it is said.

Well, all works of fiction transport the reader to another time and place. And, yes, a mental journey into an imaginary world can offer a few hours reprieve from boring routines and unhappiness. Call that an “escape,” if you will.

However, for the ambitious soul, fiction offers more than an escape. It provides the fuel and the road map to set out on his own real-life journey to a different, better place. For the morally ambitious soul, it can provide a lot more: the inspiration and insight to become a better person.

Of all genres of popular fiction, action thrillers are my favorite, precisely because they present an extravagant, open-ended, no-limits vision of human potential. Just as TV, film, and comic-book heroes can spark passion and idealism in children, thrillers can keep the fires of that passion and idealism burning in adults—at least, in those adults who have not surrendered to cynicism.

For example, many members of America’s armed forces and intelligence agencies love the novels of thriller masters Vince Flynn and Brad Thor, which feature the heroic counterterrorist adventures of Mitch Rapp and Scot Harvath, respectively. Our soldiers identify with and are inspired by their stoic, determined, take-no-prisoners approach to fighting the War on Terror.

Similarly, as proof of fiction’s direct inspirational power, Pentagon brass visited the set of Fox TV’s former hit series “24” several years ago to complain about the tough-guy exploits of fictional counterterrorism agent Jack Bauer. It seems that soldiers who were fans of Bauer were resisting official, Politically Correct military indoctrination about treating and interrogating captured terrorists respectfully, preferring Jack’s more (shall we say) “direct” approach.

Almost without exception, thriller heroes are exemplars of individualist values and virtues. They think for themselves and stand by the judgments of their own minds. They take great risks for their highest values. They stand alone against obstacles and opposition that would overwhelm ordinary people. They are resourceful and relentless, creative and courageous. Though they are hard-headed realists, they’re invariably principled and committed to some private, inviolate code of honor.

It’s therefore no accident that so many action-novel heroes also act as vigilantes, to one degree or another. Thriller protagonists typically find themselves forced into the “lone maverick” role: They are transformed by circumstantial necessity, becoming law-breaking rebels who must defy arrogant authorities, indifferent bureaucracies, and choking rules in the interests of justice.

Sadly, we live today in morally rootless world, a world that needs such images and examples in order to help us recover our ethical bearings. It is a terrible and telling commentary on our times that so many of us seek our exemplars of moral principles in fictional stories about people who break rules and laws.

I wrote HUNTER: A Thriller in that spirit and tradition. Though a tale for grown-ups, its morality is firmly rooted in those days during the early 1950s that I spent glued in front of that big old Philco with the tiny screen, mesmerized by the Lone Ranger and Zorro and Superman. For they were the moral inspirations of this Vigilante Author.

———————————

This post is adapted from an article published originally in The New Individualist, April 2007. © 2007, The Atlas Society.

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Nurturing the Vigilante-Author Attitude

One of the most important things you’ll ever do in life is to develop the right attitude. There’s an old saying that “Your attitude determines your altitude.” And it’s true. Nobody flies higher in life than their attitude — at least, not consistently or over the long haul.

We all face challenges. Sometimes, we can change unpleasant situations. But often, we can’t alter the facts of reality around us. All that we can control is our perspective about those facts, and thus, how we’ll respond to them.

We writers know that we can control what we put down on a blank page or screen. After spending years learning our craft, we strive to do the best job we can in weaving a compelling and powerful story. But ultimately, we can’t control how people are going to respond to what we write. Communication requires a transmitter and a receiver. As writers, we can control only the transmission, not the reception.

I love indie-publishing guru Joe Konrath as much for his feisty, maverick attitude as for his sage advice about writing and publishing. Joe is the personification of the hugely successful Vigilante Author. If you want to sample a bit of Joe, try his recent blog post titled “Not Caring.” Some excerpts:

Do yourself a huge favor, and don’t listen to the public.

This goes for more than your literary endeavors. If you blog, or speak in public, or tweet on Twitter, you are a Public Figure.

That means some people aren’t going to like you.

And you shouldn’t care.

You shouldn’t care about people liking you, either. Praise is like candy. It tastes good, but it isn’t good for us.

The opinions of strangers, good or bad, should have no power over you….

If you’re lucky enough to be read, you will attract detractors and sycophants. You will be ridiculed, celebrated, roasted, venerated, criticized, analyzed, and talked about.

You have no control over what people say about you.

You have full control over how you react to what people say about you….

The world is filled with a wide variety of people. But only a few of them should really matter to you. The rest are just white noise. They can amuse. But don’t give them more power than that.

Do yourself a favor and go read it all.

Another Vigilante Author whom I greatly admire is Dean Wesley Smith. Also a hugely successful indie author, Smith posted a recent blog that concretizes the kind of attitude that Konrath is expressing, in the form of some basic rules for writers:

Every writer is different.

Let me say that one more time:

Every Writer is Different!!!!

And what makes your books interesting to readers is YOU….

But then you go trying to imitate some other writer, try to write what is “hot” because some editor or agent told you that is what is selling. So what do you do? You take the YOU out of your work and it becomes mundane and just like everything else and won’t sell….

Kick all the editor and agent voices out of your writing office and write what makes you passionate or angry or excited….

Some basic guidelines on how to do this:

1) Never talk about your story with anyone ahead of time.

Their ideas, unless you are very experienced, will twist the story into partially their story.

2) For heaven’s sake, never, ever let anyone read a work-in-progress.

Totally stupid on so many levels I can’t even begin to address. If you want to collaborate, make sure you have a collaboration agreement, otherwise, keep your work to yourself until finished. And wow does this apply to workshops. Never show a work-in-progress. Ever. Trust yourself for heaven’s sake and learn how to be an artist.

3) Never think of markets or selling when writing.

Enjoy the process of writing and creating story. When the story is finished, then have someone read it and tell you what you wrote and then market it.

Smith lists three more rules for writers to help them maintain their independence, integrity, and unique voices; but to find out what they are, you’ll have to read the rest of his blog post.

If you follow both the advice and the example of successful indie authors like Konrath and Smith, you too will nurture the Vigilante-Author Attitude. And that attitude eventually will determine your altitude — your ultimate level of success — as an author during the coming tumultuous years in the world of publishing.

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