When multitasking is not your forté

by A.M. Khalifa, thriller writer, Google+

This is my last post as a regular contributor to Crime Fiction Collective for now. Thank you L.J., Peg and others for hosting me, and Jodie for inviting me in the first place. The experience has been tremendous, and I would strongly recommend group blogging as a fun and interactive way to engage with savvy readers and talented writers. But being the great multi-tasker that I am not, I am stepping aside to focus on reigning in my numerous wayward writing projects. I am working on the last installment in a collection of romantic suspense shorts about strong women struggling to find their place in life. And not one but two full length novels this year, one of which is the sequel to my critically acclaimed debut, Terminal Rage. I will be blogging erratically on my site, so you can join the conversation here. And you know how writers love seeing their email list swell, so do sign up below to my newsletter for periodic updates on my writing adventure.

I leave you with two short clips from London and Sydney exploring with members of the public what the title Terminal Rage conjures up in their mind.

Goodbye for now, but I am sure you will be seeing me around these parts, popping up every now and then. Thank you again for a wonderful run!

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My romantic suspense, The Italian Laundromat is currently discounted at 99 cents on Amazon!

A.M. Khalifa's critically acclaimed debut novel, Terminal Rage, was recently described by Publishers Weekly as "dizzying, intricate, and entertaining." 

Foreword Clarion says, "Khalifa manages to pull off something that is often difficult to do in the crime-thriller genre—he keeps the novel unpredictable and lays out a plot so twisted that the puzzle picture morphs as more pieces are added."

The ebook version of Terminal Rage is available for $2.99 on Amazon.

Music and Writing: a Harmonious Match, or an Off-Pitch Proposition?

by A.M. Khalifa, thriller writer, Google+

Christof Unterberger, Austrian Cellist and Film Music Composer

You may not immediately associate music with fiction, but in my world, music plays an integral role. Often when I write particularly visual or emotional scenes I hear music in my mind. I also write better when I have music playing in the background. For instance, the soundtrack of the film Rush, as scored by Eric Clapton, is the perfect mood-setter when I am writing about fallen heroes, conflicted protagonists, or psychologically charged scenes. Music touches me on many levels and unclogs my creative pores. Other writers may find this process distracting, but listening to music while I write invites an additional dimension to what I create and amplifies the state of hypnosis that is creativity.

But it doesn't stop there. I have gone a step further to involve music in my writing.

I work in the film industry. My friend Christof Unterberger is a talented and successful film composer and cellist. He is also my musical partner in crime. Almost every project I have produced in the last six years has been touched and elevated by his music. As with any creative partnership, Christof is also interested in my writing.

When I started working on my debut novel Terminal Rage, Christof was only the second person after my wife to know about it and to read the synopsis. He started composing small vignettes, spontaneously and inspired only by the little he knew of the story. And he nailed it. The musical pieces he composed back then were so reflective of the essence of my thriller, and so sublime and cinematic, that I started listening to them as I was writing. As a result, my writing and writing regimen improved. My story inspired his music, and his music inspired my writing - cyclical and symbiotic creativity at its very best.

Now that Terminal Rage has been published and Christof has read it, we are doing something even more daring. We are composing a soundtrack for the book. One piece for every chapter. You can listen to the entire sequence here.

I believe we are breaking new ground with this derivative work, which we plan to sell as a companion product once all thirty-two chapters have been scored.

Here is the opening sequence of the Soundtrack, which sets the tone for the entire work:



And this piece is from an action-packed chapter in the book at the halfway mark. Notice how the music is layered and develops subtly:



Finally, here is a sample of a more emotional,  melancholic chapter towards the end:



What intrigues me about this process, is that people who've read the book connect emotionally with the music almost immediately. They appreciate it as a bonus and unexpected layer of the story that expands and enhances their experience with my work.

Mind you, Christof is a highly sought-after film composer, and time is his most precious commodity. Working on the "book" soundtrack of Terminal Rage is a labor of love for him that comes with no material benefit in the short run. He just fell in love with the story and decided to score some amazing music to it while we wait for the film version. Talking of which, can you guess who will score the music to the film adaptation of Terminal Rage, one day? I joke with Christof and say: Alexander Despalt of course!

As a new and independent writer, thinking out of the box and innovating ideas is an essential component of setting myself apart and building my brand. It's not enough to follow the script dictated by the archaic traditional publishing universe we have all inherited.

Readers: Do you hear music in your minds when you connect with a good story? And are you able to read with music in the background? Writers, what do you think of my literary musical experience: does it add value to a book?

As a special promotion for thriller and music aficionados, if you buy the paperback edition of Terminal Rage before January 1, 2014 and let me know about it on my site www.amkhalifa.com, you will find a copy of the Terminal Rage CD in your mailbox sometime early next year!



A.M. Khalifa, author of international thrillers, writes exhilarating, contemporary stories pulsating with life and unforgettable characters. His debut novel, Terminal Rage, is a layered thrill ride that moves seamlessly from inside a nerve-wracking hostage situation to far-flung locations across the world, challenging readers to stay ahead of its unpredictable plot.

The ebook version of Terminal Rage is now on sale for $2.99 on Amazon, Barnes and Noble, and Kobo. 

FBI 101 for Crime Fiction Writers: Interview with Scott Nelson

by AM Khalifa, thriller writer, Google+

Scott Nelson is the film industry’s leading technical expert on all matters FBI. Most recently he was Clint Eastwood’s main point of reference on J. Edgar, the historic biopic of the FBI's founder. A former and highly decorated marine, Mr. Nelson rose to head the FBI's public affairs office where he was instrumental in the creation of America’s Most Wanted, as well as convincing the filmmakers of the Silence of the Lambs to shoot on location at the FBI’s academy in Quantico, Virginia.

I sat down with Scott for a coffee and a chat near Westlake Village in Southern California, where he now runs a global security and risk management firm. I wanted to glean some valuable advice for crime fiction writers. This is is the first of a two-part interview. Click here for part two.

AM Khalifa: During your time heading the FBI's public affairs office, did you ever work with crime fiction writers, and if so, what are they typically trying to research?

Scott Nelson: Yes. Typically crime fiction writers want to know how it works in the real world and then how those basic techniques and tactics can be tweaked to create more interest and more drama. Everyone is looking for that new story, and as times change that new story will always emerge. Plus, old stories can be retooled to present new facts and new views.

AMK: As an FBI insider, what is the number one misconstrued notion about the Bureau that you would like to set the record straight on here, once and for all?

SN: That the FBI always screws over the "locals" (local and state law enforcement). Simply not so. The Bureau works hand in glove with state and local officers and provides ongoing valuable training, research, services and support. In fact, many joint operations are run every day.

AMK: However, I think readers and viewers LOVE it when the smart, omnipotent FBI agent slights the incompetent locals and pulls rank and jurisdiction. They feel secure of a positive outcome when a favorably drawn FBI agent is involved. Do you agree?

SN: Yes, but likewise there is a tendency to show cops merely as doughnut eaters. And therefore, many cops - particularly suits in the front office - are quite defensive and constantly trying to prove their worth. I've been blown off on many occasions by locals who do resent the FBI and their own lot in life.

AMK: How accessible is the FBI as an organization to independent authors reaching out to it for technical information, and what specific mechanisms exist to deal with such requests?

SN: The FBI Office of Public Affairs, Washington D.C. and the Public Affairs Agents in the many field offices are very receptive to independent authors looking for technical information. The FBI is always trying to "tell their story" but the level of interaction and assistance will often depend on the topic, the legitimacy of the work, and the track record of the author. Usually there are some requests that can't be accommodated for a variety of reasons. That is where former FBI Agents come in. They may be useful.

AMK: What useful resources and tips for crime fiction writers seeking to research the FBI or FBI agents can you share with us?

SN: Talk to a real FBI Agent, and don't believe all you hear from the so-called crime experts. There is also a tremendous amount of online information available, including legitimate search warrants, interviews, organization charts, etc. I would definitely take advantage of this information. Much of what authors want to know has already been done. No sense re-inventing the wheel, although new and fresh perspectives are always welcome.

AMK: I've heard you describe the typical look and feel of an FBI agent. Do you think established contemporary novelists tend to get the FBI right in their narratives, or is there room for improvement?

SN: That's a good question. So, I'll ask one myself and then answer it. Do you think FBI Agents are super sleuths, pushy and nerdy? Well, some are but most are not. The Bureau is made up of thousands of men and women with varied occupations, skill sets, genders, and ethnicity. Doctors, lawyers, accountants, military officers, teachers, engineers, etc. are proud to call the FBI home. Real agents are real people with real problems and real accomplishments. Actually, they seek to serve and so they do. Although J. Edgar Hoover promoted the super G-Man, "can do no wrong" concept, which actually helped the FBI solve cases and still does, that view can be more fiction than fact.

AMK: Is the FBI concerned about crime writers inspiring copy cats? And if so, where do we draw the line between freedom of speech and social responsibility?

SN: Great question. Real is often boring, while blood, sex, color, violence and "I can't believe that happened" are often titillating and popular. And repeated. Salacious also sells. Deviants often get ideas from the media and because it is done once, they psychologically give themselves ethical permission to do it again. I do think the FBI is concerned about copy-cat crimes and we often see similar crimes following serious publicized incidents. That said, members of the public have a right to know and make up their own minds. Freedom of speech - not yelling fire in a crowded hall - is paramount. Social responsibility is also tremendously important. The balance between the two is personal, guided by ones ethics, existing laws and regulations, and just good common sense. Doing the right thing is actually black and white and a pretty easy thing for most of us. Writers included.

AMK: Many crime writers go through their careers without ever meeting real-life criminals. Do you think it would add any value for a crime writer to interact with some of the seriously bad people we tend to write about?

SN: Yes. Many stories are gleaned from interviews of crooks, deviants, and weirdos (whatever they are). Human motivation is a complicated thing, and understanding the motivations of seriously bad people can be insightful. Short of that, talking to some real FBI agents and conducting strong research are helpful.

AMK: Do you find your experience in law enforcement gives you an advantage in predicting unexpected twists and turns in a crime novel?

SN: Yes. Been there, done that helps a lot. On the other hand, that experience can sometimes restrict out-of-the-box thinking because frankly, many neat turns and twists are simply figments of some writers' imaginations.

AMK: Are there particular crime story lines you feel are not broached enough that would make for compelling fiction?

SN: My sense is that much of it has been covered in one way or another. But there is always more out there. High tech/cyber crime solving is always of interest as is the more basic terrorist crime fighter profile of an agent winning against great odds. Also, the FBI cracks big cases all the time and many of those offer good story-lines. In general, I think we all like the good over evil story where the disadvantaged crime fighter overcomes all odds to save America, often sacrificing his own life in the process.

AMK: What types of fiction genres and story lines appeal to you most and why?

SN: I listen to books on tape when time permits, often when I'm on the road. I did make a recent exception and read Terminal Rage.....guess that sounds familiar, huh? That story line appealed to me because it fronted a real character with real problems and a noble cause. Plus the good guy won. I must say that stories promoting right over wrong, the goodness of man, and the greatness of America, as opposed to glorifying evil, violence and man's darkness appeal to me.

AMK: Who are some of your favorite writers and your favorite books and films?

SN: My favorite writer is Ernest Hemingway - hardly a crime fiction writer - and I listen to The Old Man and the Sea over and over again as it depicts real life lessons of a good guy underdog overcoming great odds to accomplish something really worthy. As for crime films, my favorite is Silence of the Lambs, and my students always profile Hannibal Lecter in a Psycho Social Criminal Behavior graduate class I teach. We've also studied Clint Eastwood's J. Edgar, but unfortunately I think the writer for that movie was off-target in many respects. On the light side, I watch time and time again Scent of a Woman, Planes Trains and Automobiles, Good Morning Vietnam, Office Space and many other movies some might not actually classify as serious pieces.

Readers: Do you like your FBI agents served nerdy and smart, or strong and infallible?

Writers: What challenges do you face when depicting your law enforcement protagonists?

I send out a monthly newsletter with free fiction, intriguing interviews like this one, and insight on how a thriller novel like mine goes from the printed page to the silver screen. Join me on this amazing journey! Consider signing up as I also run cool competitions, give away free books (not just mine, but by authors I admire), and will protect your privacy and not share your email address with the widows of former Nigerian dictators, regardless of how much they offer me. Pinkie promise. Sign up, now!

AM Khalifa, author of international thrillers, writes exhilarating, contemporary stories pulsating with life and unforgettable characters. His debut novel, Terminal Rage, is a layered thrill ride that moves seamlessly from inside a nerve-wracking hostage situation to far-flung locations across the world, challenging readers to stay ahead of its unpredictable plot.

Would you share credit with 443 other writers?

by A.M. Khalifa, thriller writer

[Note from Jodie: I’m swamped with work so am ceding my spot again today to my friend and client,  talented author A.M. Khalifa, whose just-out (Aug. 30) gripping international thriller, Terminal Rage, is definitely a bestseller-in-waiting. But don’t take my word for it – read this stellar review. Take it away, A.M.!]

Collaborative Writing on Steroids

Writing is a lonely profession. It’s just you, the writer, interacting with your tools to create universes and characters of which you are master. If you are a mystery or thriller writer, you construct underlying puzzles and crimes and decide which characters you will send in harm's way to resolve them. Their lives and futures are in your hands.

But what if you decided to take a chance and surrender custody of your characters and plot line? This is exactly what I sought to do when I started a literary experiment called the 444project.org.

A few months ago, I had written a short story about a man who wakes up on a beach not knowing how he got there and remembering everything about his life except his name. I set it aside for a while as one of many writing projects I had going on at the same time.

When I came back to it, I realized it was exactly 444 words. And I had another thought: I couldn’t help but feel sorry for my main character. The mystery of how he got there and any chance of salvation and resolution lay with me, and me alone. Of course I knew how he got there and how it would all end. But what if there were alternate story lines that would bring forth different outcomes and endless possibilities?

 I decided on a whim I would for a change voluntarily give up my rights as an author to this story line and share it with other writers. But there were a few catches: Each subsequent chapter must always be exactly 444 words. And the story will end when 444 writers have participated. And each contributor must recruit the subsequent writer with only one guideline: That they firmly believe this writer to be better and more skilled than they are. The idea was to create a “fiction moving forward” momentum, where every piece is better than the preceding one.

The results of this experiment have so far been nothing short of astounding. Mass collaborative writing is highly instructional – and stimulating. I am learning from writers who are building upon the infrastructure I laid down. We are only up to chapter six, but never in my wildest creative spurts would I have imagined what my five co-conspirators have come up with so far. I am no longer just one of the writers, but I am also a reader – biting my nails, unable to wait for the next chapter.

Because I have no control on the recruitment of successive writers, something quite special is brewing. Writers from all genres are intersecting on this venture. I see myself primarily as thriller writer. But the people who’ve participated so far come from science fiction, steam punk, fantasy, and horror backgrounds. The identity of the story is developing almost as a genre of its own that mixes all of the writers' influences without coming across as disjointed or Frankensteinian.

Being the master of your narratives is a powerful and intoxicating aspect of being an author. So to be willing to give up that control has been difficult, but ultimately liberating. And it proves that collaborative writing is not only possible, but one with boundless possibilities and its own pleasures. Of course, the 444 Project is collaborative writing on steroids, but it has made me open and ready to co-write with someone else at some point in the future.

I would like to hear from other mystery, crime and thriller writers: Would you be willing/able to collaborate with another author? And what do you think the main challenges of such a venture would be?

And readers, would a mystery or thriller written by more than one person be an attractive read, or would you be troubled by the potential duality of voices? 

A.M. Khalifa, author of international political thrillers, writes exhilarating stories pulsating with life and unforgettable characters. Khalifa speaks three languages, and has lived, worked or studied in fifteen countries across five continents.
 
Terminal Rage is Khalifa's debut novel. 

Participation in the 444project.org is by invitation only. However, interested authors can submit an expression of interest on the project's web site for possible inclusion should circumstances change.

Write fearlessly, then be humble

 by A.M. Khalifa, thriller author

[Note from Jodie Renner: I'm away on holiday so my client and friend A.M. Khalifa is entertaining you today with a great blog post and is also giving away two print copies and two e-copies of his new thriller, Terminal Rage. To enter for the giveaway, leave a comment at the end. Good luck!]

The story idea for my debut novel, Terminal Rage, came to me in the shower four years ago. I was living in Manhattan at the time working on a film project and still unsure of my writing ambitions. But the idea came to me fully-formed, with all the major plot lines, twists and turns, and main characters clearly defined, so I knew immediately this was the story I needed to tell. And I felt I was the most suitable person to chaperone it from a humble idea to a novel. 

Terminal Rage is an international political thriller about two seemingly different men, a former FBI agent and a hostage-taker, on course for a head-on collision. But as the intricate story unfolds, the differences between them become blurred, challenging many of the readers’ perceptions. Nothing is what it seems.

My friend, the talented science-fiction writer, J.L Forrest says, “Be fearless with your writing, then be humble.” Even before I wrote the first outline, my biggest concern was my lack of technical knowledge of the FBI, which features heavily in my story. It’s the lead investigating agency in the narrative, and most of my characters are connected to the Bureau. 

How does one write a convincing thriller about the FBI with only superficial knowledge of that entire universe? Like most people, what I know of the FBI is gleaned from what I read and what I see on screen. And since much of that is highly fictionalized to start, I didn’t want to write a book based on watered-down pop culture. 

My first instinct was to read as much as I could. I devoured whatever I laid my hands on. I started with all the publicly-available information the FBI puts out. They have a decent website with ample information. Then I moved to reference books, biographies, and some of the bigger case files. Gary Noesner’s Stalling for Time: My Life as an FBI Hostage Negotiator, helped me a great deal to formulate my main FBI character. I highly recommend it for anyone writing about critical incidents and the men and women who try to defuse them.  

Armed with what I thought was enough knowledge to weave with convincing authority a story featuring the FBI, I wrote “fearlessly.” It wasn’t until I completed the first draft that I realized once again I needed to go back to being “humble.” A million questions were still swimming in my mind about FBI procedures, career paths, jargon, subcultures, power struggles, and gender roles. To name but a few. I was hungry for the sort of nuanced details I appreciate as a reader. I felt I owed it whoever would read the book to construct an authentic world populated with believable characters. In my mind, I always imagined an FBI agent picking up a copy of Terminal Rage at an airport ahead of a long flight. And how disappointing it would be if they were turned off by any inaccuracies or flagrant stereotypes in my writing.

Fortunately, I happen to work in the film industry. One of my contacts was Ernest J. Porter, who for many years had served as the former Chief of the Investigative Publicity and Public Affairs Unit of the FBI. I approached Ernie asking for his help, and he graciously accepted. Looking back, I know now that along with hiring an outstanding editor, Jodie Renner, working with Ernie as an FBI technical expert was one of the best publishing decisions I made.  

Like any other organization, let alone one that depends on secrecy to conduct its work, it’s almost impossible to gain critical insight of the FBI without getting into the mind of a person like Ernie who had dedicated his life working there. 

To start, Ernie did a first pass and we discovered that quite a few of the technical details I thought I had nailed were in fact still not exactly accurate. When that was fixed, Ernie provided a number of other suggestions I hadn’t even thought were required. For instance, we did a comprehensive name check with the FBI to ascertain that none of my characters’ names matched existing or former agents. Or indeed real criminals. 

And that was just the start. Through Ernie, I was able to dig deeper into the psyche of FBI agents and hostage rescue operators to better understand the characters I was creating and sending in harm’s way. What amazed me was how the tiniest or seemingly trivial facts or anecdotes can give your character more depth, more humanity, and even broaden your plot options as a writer. The more you know about your characters, the more compelling action and honest emotions you will be able to extract from them. Now that my book is published, I see how this is paying off. Many of my readers write to tell me how much they appreciate the little nuggets of insider information about the FBI and the people who work there.

I was fortunate to have direct contact with an FBI veteran. But does that mean I think all writers must go the extra mile and work with a technical expert on subject matters they know little about? The practical answer is, “it depends.”

There’s never been a better time to be a writer. The research tools and free information sources available to us would have been unfathomable only a few decades ago. With Google and Wikipedia, anyone can write somewhat intelligently about pretty much anything. I don’t believe the extra effort I exerted to better research the FBI will ultimately help me sell more books as far most readers are concerned.

But what it came down to for me was a question of pride of craft. As a reader, nothing ticks me off more than when I am able to see through an author’s infallibility by way of bad writing or ill-researched subjects that I happen to know a thing or two about. More importantly, I’m one of those old-fashioned authors who still believe that even the most exciting, the most thrilling, and the most adrenaline-laced stories should also serve to teach you something. To expose readers to new concepts, ways of life, or types of people they wouldn’t otherwise come across. It’s what makes reading such a magical experience.

Authors: Tell us about your experiences researching and writing about settings and subjects you were unfamiliar with. 

Readers: How do you feel when authors don’t get the details right?

BOOK GIVEAWAY: A.M. Khalifa is giving away two paperback and two eBook copies of his debut novel, Terminal Rage to readers of Crime Fiction Collective who leave comments here, to be chosen at random.

Website: amkhalifa.com

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A.M. Khalifa, author of international political thrillers, writes exhilarating stories pulsating with life and unforgettable characters. Khalifa speaks three languages, and has lived, worked or studied in fifteen countries across five continents. Many of the larger-than-life characters and plots he writes about are inspired by people he's actually met or events he's been privy to.  He currently divides his time among the cities of Los Angeles, Rome, and Sydney. Terminal Rage is Khalifa's debut novel.