How I Write: Secrets of a Bestselling Author
  • How I Write: Secrets of a Bestselling Author
  • How I Write: Secrets of a Bestselling Author

How I Write: Secrets of a Bestselling Author

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by Janet Evanovich, Ina Yalof

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How many people would kill to be a bestselling novelist? Especially one like Janet Evanovich.Writers want to know how a bestselling author thinks, writes, plans, and dreams her books. And they are primed for a book from Janet Evanovich that tells, in a witty Q&A format:
- How she comes up with such remarkable characters
- How she nails the perfect name

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How many people would kill to be a bestselling novelist? Especially one like Janet Evanovich.Writers want to know how a bestselling author thinks, writes, plans, and dreams her books. And they are primed for a book from Janet Evanovich that tells, in a witty Q&A format:
- How she comes up with such remarkable characters
- How she nails the perfect name every time
- How she finds out insider details
- Just how she sets up those masterful plots
- What the life of a full-time writer is really like
- What she'd tell an aspiring author about the publishing industry
- And much, much more!

This book details the elements of writing and publishing a novel, and addresses all categories of fiction-from mystery/thriller/action titles to romance; from stand-alone narratives to series. It offers practical and inspiring advice on such subjects as structuring a plot and handling rejection. And it combines one of today's most successful fiction writers with a published non-fiction writer who teaches creative fiction. HOW I WRITE is the perfect reference for anyone looking to improve their writing, and for those fans who are hungry to find out more about just how Janet Evanovich ticks.

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Editorial Reviews

The New York Times
No less than her plotting, Evanovich's characterizations are models of screwball artistry. The intricate plot machinery of her comic capers is fueled by inventive twists.
Evanovich's series is as addictive as Fritos—and...not losing any of its salty crunch… Evanovich serves up consistently craveable goodies.
Seattle Post Intelligencer
Plum is one of fiction's most irresistible heroines.
Evanovich is the crown princess of detective fiction.
Denver Post
Evanovich is brilliantly evocative.
"The reason I switched from writing romance novels to mysteries is because I ran out of sexual positions." Always quotable, always riveting, Janet Evanovich has ensnared the attention of a huge crossover reading audience. Her Stephanie Plum mysteries blend fast-paced plots with characterizations that The New York Times praised as "models of screwball artistry." How does she do it? In this rousing read, she shares her secrets about orchestrating a story, developing memorable characters, and nailing the conclusion. She tells readers what the life of a full-time writer is really like and offers fledgling authors essential pointers about the publishing industry. Aspiring writers and Stephanie Plum fans alike will enjoy these lively observations and autobiographical revelations.

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St. Martin's Press
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5.69(w) x 8.15(h) x 0.75(d)

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Part 1

Creating Great Characters

How a Character Is Created • Supporting Characters • What's in a Name • The Importance of Research • Creating Series Characters

How a Character Is Created

Q. I'm finally ready to start my novel. What are the important things I should know when creating my characters?

JANET. A well-developed character is multidimensional, with quirks and flaws, dreams, motivations, and values. A mystery novel's major character—the protagonist—must always want something. That desire is what sends him out in the middle of the night looking for a criminal when he could just as easily be sleeping in a warm, comfy bed. When something or someone stands in the way of your character getting what he wants, you get the beginnings of conflict. It's the conflict that sets up the story. How that character meets the challenge and overcomes the obstacles of the conflict defines that character.

Q. Your characters are funny, unpredictable, often eccentric—and yet they're still so believable. How do you do it?

JANET. All writers are people watchers. If you want characters that ring true, take a really close look at the people around you: that buttoned-up old lady on the train as well as the girl with fourteen facial piercings who hangs out at your local coffeehouse. Watch your hairdresser, your dog walker, your dentist. (Okay, maybe not your dentist.) Begin with them, and then let your imagination run wild. Also, keep your ear to the ground and develop an ability to listen. No matter where I am, I'm eavesdropping on someone—at a lunch counter, in a waiting room, in those unending lines at the airport. I'm always recording the moment. Everything you see and hear and experience can find its way into a story. Just store all this stuff up in your brain and retrieve it as you need it.

Television and movies are another source of inspiration for characters. I find it's difficult for me to read when I'm writing (and I'm always writing), but I can relax with a half-hour sitcom or I can slip a DVD into my schedule without having it intrude on my creative process. I also take my cues from real life. Many of my daughter's disastrous dating experiences show up in my books in one form or another. Everyday life is a limitless resource.

For example: When I was growing up, my best friend was a boy. We liked to watch the trains that rumbled over the tracks behind his house. And we liked to build soapbox cars and race them down the Beryl Street hill. And okay, I'm finally going to admit it . . . it was this same boy who inspired the famous garage scene where Stephanie Plum and Joe Morelli play choo-choo.

When I was a kid I didn't ordinarily play with Joseph Morelli. He lived two blocks over and was two years older. "Stay away from those Morelli boys," my mother had warned me. "They're wild. I hear stories about the things they do to girls when they get them alone."

"What kind of things?" I'd eagerly asked.

"You don't want to know," my mother had answered. "Terrible things. Things that aren't nice."

From that point on, I viewed Joseph Morelli with a combination of terror and prurient curiosity that bordered on awe. Two weeks later, at the age of six, with quaking knees and a squishy stomach, I followed Morelli into his father's garage on the promise of learning a new game. . . .

Old man Morelli used the garage to take his belt to his sons, his sons used the garage to take their hands to themselves, and Joseph Morelli took me, Stephanie Plum, to the garage to play train.

"What's the name of this game?" I'd asked Joseph Morelli.

"Choo-choo," he'd said, down on his hands and knees, crawling between my legs, his head trapped under my short pink skirt. "You're the tunnel, and I'm the train."

I suppose this tells you something about my personality. That I'm not especially good at taking advice. Or that I was born with an overload of curiosity. Or maybe it's about rebellion or boredom or fate. At any rate, it was a one-shot deal and darn disappointing, since I'd only gotten to be the tunnel, and I'd really wanted to be the train.

—One for the Money

Q. What are some of the elements that make up a well-drawn character?

JANET. Above all, there has to be honesty. One of the things that has helped me keep my character Stephanie Plum honest over the years is that Stephanie thinks a lot like me, and so when she is confronted with a situation, I ask myself: What would I do? I'm a very average person from a small central Jersey town where my dad worked in a factory, so I know who Stephanie is and where she's coming from. And I have a daughter who is Stephanie's age. So with all of that, I have a pretty good grip on that character.

People like Stephanie because they "get" her. She's not an eccentric character, even though she does a lot of eccentric things. Maybe her job is eccentric, and what happens to her is eccentric, but you can sit down and you can have a piece of pizza with her. You can go shopping with Stephanie—although you might not let her drive your car.

Q. How did you come up with Stephanie Plum in the first place? She's so perfect—but in an imperfect sort of way.

JANET. I wrote romance novels before starting the Stephanie Plum series, so I'd already tested the waters. And I had a good idea of what kind of a heroine I wanted. She should be someone who was adaptable and resilient, but she should be struggling to pull together all the parts of her personality.

I stepped out of the shower and shook my head by way of styling my hair. I dressed in my usual uniform of spandex shorts and halter style sports bra, and topped it off with a Rangers hockey jersey. I took another look at my hair and decided it needed some help, so I did the gel, blow-dry, hair spray routine. When I was done, I was several inches taller. I stood in front of the mirror and did the Wonder Woman thing, feet spread, fists on hips. "Eat dirt, scumbag," I said to the mirror. Then I did the Scarlett thing, hand to my heart, coy smile. "Rhett, you handsome devil, how you do go on."

—Four to Score

Actually, if you look closely, Stephanie's role in the series is kind of like Jerry Seinfeld's in his TV show in that everything in the story revolves around her. As you get to know her better, you learn that as a kid she wanted to be an intergalactic princess. She wanted to marry a hero. She wanted to be a movie star. She wanted to fly. And now her aspirations are to pay her rent on time, to have the respect of her peers, to have a decent car—and okay, she still wants to marry a hero. She's just like you and me, struggling to be a good person in an imperfect world.

In the end, I simply wanted a heroine that I could relate to—a New Jersey-type heroine. I wanted someone who had the same familial guilt that I did. My entire life was ruled by pot roast. At five o'clock at night, the pot roast was done, and God, don't be late. Stephanie is constantly worrying about that damn pot roast. Her mother is always saying to her, "You gotta come home, I'm having a nice chicken tonight. And pineapple upside-down cake for dessert." And, of course, Stephanie is totally sucked in by the pineapple upside-down cake.

My mother was at the screen door. "Stephanie," she called. "What are you doing sitting out there in your car? You're late for dinner. You know how your father hates to eat late. The potatoes are cold. The pot roast will be dry."

Food is important in the Burg. The moon revolves around the earth, the earth revolves around the sun, and the Burg revolves around pot roast. For as long as I can remember, my parents' lives have been controlled by five-pound pieces of rolled rump, done to perfection at six o'clock.

—One for the Money

Q. How much of Stephanie is autobiographical?

JANET. Stephanie and I share a lot of history, and we have a lot in common. We're both from New Jersey and we both graduated from Douglass College. I learned to drive in a '53 powder blue Buick, the same one Stephanie occasionally drives. We're both Cheez Doodle addicts who have owned a hamster, and we have shared similar embarrassing experiences. I wouldn't go so far as to say Stephanie is a completely autobiographical character, but I will admit to knowing where she lives.

Stephanie is younger and slimmer and braver than I am. Because she is not of my generation, my daughter, Alex—who is closer to Stephanie's age—is enlisted to make sure I don't mess up, generationally speaking, that is. Alex takes me riding on the back of her Ducati, coaches me on clothes and music selection, drags me out to pickup bars (for research purposes!!), and keeps my four-letter word vocabulary up to date.

Q. I have heard writers talk about the importance of "rooting for" a character. What's that all about?

JANET. If you make a character real and vulnerable and kind, as soon as you put that character in jeopardy or any type of distress, the reader will always root for that person to win, or succeed, or make it out safely. To make a character vulnerable, just keep him a little bit unsure of himself and his choices. That's one way of connecting the reader with the character, which is what you want. It also keeps him wondering what's next.

And you don't always have to be on the side of a character to have a rooting interest in him. You can hope that the villain will get his comeuppance, too. It works as long as the reader is involved with the outcome, be it good or bad. It's when the reader doesn't care that he is tempted to close the book.

Q. I am currently writing a novel that a friend loves, but she seems to like the main character's personality and humor more than the plot. Should I try to keep character and humor the biggest selling point or make it secondary to the plot?

JANET. My books are more about the characters than about the plot, but at the end of the day everything has to work together to tell a good story.

And humor should never be your first consideration, even if it's what you end up loving best about a book. Humor is the icing, but character is the cake.

Q. Why did you decide to make Stephanie Plum something other than a private eye?

JANET. It was actually a process of elimination. I didn't want to write about a female private investigator because I didn't think I could do anything better than Sue Grafton—the author of the alphabet series (A Is for Alibi). And I didn't want to do a cop, because you have to have some kind of law enforcement experience behind you. Or you have to be willing to put in hours and hours and hours of research. In short: You really need to know what you're doing.

Q. What inspired you to make your main character a bounty hunter?

JANET. One night, I was watching television and I saw the movie Midnight Run, which starred Robert De Niro as a bounty hunter and Charles Grodin as his skip. And it was clear to me from the movie that while bounty hunters need some skills, they mostly rely on a lot of bravado and intuition. It seemed like something that Stephanie and I could come up to speed on together. I was starting at ground zero, so I chose to make Stephanie start at ground zero. That way I could understand her reactions to things. And I think that the series has a ring of normalcy because Stephanie and I are always at the same place. We don't really know what the hell we're doing.

I positioned myself halfway into the door, adjusted my pocketbook on my shoulder, and lied my little heart out. "This will only take a few minutes. We need you to stop in at the courthouse and register for a new date."

"Yeah, well, you know what I have to say to that?" He turned his back to me, dropped his pants, and bent over. "Kiss my hairy white ass."

He was facing in the wrong direction to give him a snootful of pepper spray, so I reached into my jeans and pulled out the stun gun. I'd never used it, but it didn't seem complicated. I leaned forward, firmly pressed the gadget against Eugene's butt, and hit the go button. Eugene gave a short squeak and crumpled to the floor like a sack of flour.

"My God," [his wife] Kitty cried, "what have you done?"

I looked down at Eugene, who was lying motionless, eyes glazed, drawers at his knees. He was breathing a little shallowly, but I thought that was to be expected from a man who'd just taken enough juice to light up a small room. "Stun gun," I said. "According to the brochure it leaves no lasting damage."

—Two for the Dough

Q. Some people say they start writing and the character tells them what's next. In other words, the characters take over for the author. Do your characters ever surprise you like that?

JANET. NO! What does surprise me is that people say this happens. This is fiction! Your character doesn't do anything you don't want him to do!

You have to be very careful never to force a character to do something simply because you think he needs to do it for the sake of the plot or because you think it's funny or because you think it's hot or it's cute or whatever. Characters have to do what they are supposed to do according to your creation of them and your plot line. The bottom line is: Writers control the story and the characters. And don't let anyone tell you different—particularly your main character.

Copyright © 2006 by Evanovich, Inc. All rights reserved.

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How I Write: Secrets of a Bestselling Author 4.2 out of 5 based on 0 ratings. 33 reviews.
RARogers More than 1 year ago
If, like me, you are a novice writer and are looking to improve your knowledge and expertise in a very competitive field, How I Write, by Janet Evanovich, et. al., is a lighthearted and quite useful look at the way one of America's successful writers does what she does. It is chock full of useful facts and tips to help us in our own quest for that magical author's publishing agreement and full-time careers as writers. In her own trademark amusing style, Janet covers such topics as how to create great characters, the nuts and bolts of the writing life, story structure, revising and editing, how to get published, and other things that are normally not covered in "How to" books such as how to write a query letter and the actual formatting of your manuscript. Janet's daughter, Alex, who runs and manages Janet's website, also includes useful tips and information within the confines of the book, as does friend and fellow writer, Ina Yalof. All-in-all I found it quite useful to me as a newcomer to the field and a witty, amusing look inside the life of one of my favorite writers. Hats off to Janet and Alex Evanovich and Ina Yalof for creating this useful book in my ever-expanding library of literary resources! And let's not forget SuperJen Enderlin, who makes it all possible for them. May I be so lucky in my quest for a literary agent!
cottonmilltown_writer More than 1 year ago
I average about 4 "writer's manuals" a year. This one was probably one of my top 3 writing books. The reason I personally enjoyed it was that, even though I'm a 100% heterosexual male, I enjoy reading Janet. Therefore I had the background of her work, and it made her writing tips easy for me to relate to because I had seen them used in her writing. It was good to read a writing book by someone that is a proven success, and not just a one or two hit wonder. It's not a deeply detailed book, but it surely a great complement to a more technical manual. I strongly recommend new writers to give it a look. Cottonmilltown writer
Anonymous More than 1 year ago
This one is a fast read, but aspiring writers will want to mark it up and go back to it again and again. It's chock full of down-to-earth advice, including repeated urgings to start a project and stick with it. (Those of us who have a tendency to jump from one thing to another know that we need to hear that a lot!) Highly recommended!
Guest More than 1 year ago
Best selling author, Janet Evanovich, explains the secrets of writing and getting published. The fact that J. Evanovich is a best selling author does add to the credibility of the book, but the advice in it is nothing new. Considering that I¿ve read a lot of ¿how to write¿ books, this one actually held less writing help then most others. However, this book did have a lot of help in the publishing department. It had a real example of a query letter, and the advice on how to get published seemed more complete then those in most other books. All-in-all, this was nothing new, and there are better books out there when it comes to writing help, but it was a quick read.
BeachRead245 More than 1 year ago
Are you a writer who wants to know how to progress in their manuscript? If you are I have the book just for you! How I Write Secrets of a Bestselling author by Janet Evanovich, Ina Yalof, and Alex Evanovich. This book is constructed from the many questions on Janet’s website in the Frequently Asked Questions or FAQ. I did not realize how in depth or what kinds of questions were submitted to Janet. They are enough to create this informative book. This book is divided into eight parts. The topics are: Creating Great Characters, Nuts and Bolts, Revising and Editing, Getting Published, Bits and Pieces, The Writing Life, and the Quick Reference to the resources for this book. In each section a question listed and Janet answers with Ina Yalof providing creative writing insight. My Thoughts: I found this book to be a great reference point for my writing. I also know that it will help others. When assessing a book such as this I look for something that I can take away that might be different or unique from other resources. I found the information about publishing process once the manuscript was submitted very informative. She also discusses what a writing advance means in regards to sales and how the royalties will translate into profit for you the writer. One aspect I might copy and keep for myself is the chart for editing the manuscript once it is finished. The only part of the book that seemed to not interest me some topics were repetitive. Always to take what benefits you as the writer the most. This book to be very useful! by Jencey Gortney/Writer'sCorner
Anonymous More than 1 year ago
Anonymous More than 1 year ago
The insight into the publishing world, written with a one of a kind humor that has become addictive to her true fans, reads almost as easy as any of her novels. This giude is a simple, uncluttered, step by step for anyone who has ever read a Janet Evanovich book and thought, hey, I can write like that. Written chronologically from the first thought, to the movie deal for your book rights. I can only hope that the novel I'm writing now makes it through to the bookshelves as seamlessly as this would have me believe. Thank you, Janet, for your faith that I'm writing a #1 bestseller, before we have even met.
Anonymous More than 1 year ago
Service was excellent. speedy. Thank you.
Anonymous More than 1 year ago
Awesome book. Very helpful, enlightening, easy to read and witty. I love anything Janet puts out. If you are an inspiring writing, "How I Write" is a must read.
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Guest More than 1 year ago
Janet Evanovich doesn't disappoint. Great tips on writing - useful to everyone who wants to be a writer!
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Life_Long_Reader More than 1 year ago
I purchased this book because I knew I loved Evanovich's humor and I knew she was a best selling author. Her characters jump off the page with personality, her plots are unique and funny, and she has a long-lasting series that is still fresh and engaging. She did not disappoint with this book. What I love is that she talked about specific "guidelines" and "rules" and then gave examples so that we could understand. What I also thought was genius is the addition of Ina Yalof's voice, advise, and expertise. Yalof is a non-fiction writer and her advice was so valuable. If you are a writer, buy this book no matter what stage of your career you are in, but especially if you are a beginner writer.
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