Today on Awesome Authors I get to interview the lovely and talented Polly Iyer. As fellow suspense authors, Polly and I have crossed paths through the years and tend to be members of many of the same groups/forums. In that time if there’s one thing I’ve learned about Polly, you definitely know where you stand with her–and believe me, in this biz that’s tres refreshing😀
Here’s her bio (from the author): Polly Iyer is the author of six suspense novels: Hooked, InSight, Murder Déjà Vu, Threads, and two books–soon to be a third–in the Diana Racine Psychic Suspense series, Mind Games and Goddess of the Moon. Her books contain adult language and situations with characters who sometimes tread ethical lines. She grew up on the Massachusetts coast and studied at Massachusetts College of Art and Design in Boston. After living in Rome, Italy, Boston, and Atlanta, she now makes her home in the beautiful Piedmont region of South Carolina. She spends her time thinking of ways to make life difficult for her characters. Learn more about her at PollyIyer.com and feel free to email her at PollyIyer at gmail dot com. She loves to hear from her readers.
“The best way for me to develop a character is to become her/him. Really.”
D: Hi Polly! It’s great to have you here. Please tell us something about yourself.
P: Thanks for having me, D.V. I started out as fashion illustrator when department stores actually employed people to draw their ads. I worked for Fairchild Publications out of New England, which included Women’s Wear Daily and W. Then I switched to commercial art when I moved to Atlanta and drew storyboards for television commercials. When my husband and I started an import/design business, I stopped drawing. I’m really not sure artists do what I did back then anymore. Computers have taken over that field. The import business led to a home furnishings store, along with a custom frame shop. So I still worked in the arts. Then the writing bug hit, and goodbye store. I promise this is my last career.
P: Threads took 13 years for me to write and publish. It’s about a woman’s worst nightmare.
D: You write in a few different genres, including mystery/suspense and erotica. How difficult is it to switch gears between the different genres? How do you handle writing under a pseudonym as well as your own name (e.g., marketing, fans, etc.)?
P: This is a tough one, because my erotic author persona is the forgotten stepchild. I started out paying attention to her, but after three books I really haven’t promoted her as much as I should. Actually, I kind of let her go. I do have another book half-finished, and I may start bringing her back. She doesn’t feel like me, so that’s a problem. Besides, she’s cuter and younger and makes me jealous.
D: LOL. Why did you decide to “go indie”? What was your road to publication like?
P: I wrote my first erotic romance because I thought it might be a way to break into publishing, though I’d never read the genre. I was right and found two great epublishers for my books while my agent tried to find publishers for a couple of my suspense novels. When that didn’t happen, I decided to publish them myself. It was a good decision, and I’ve never looked back. I now have six books on Amazon with a couple of others on the way.
“Last year, I pulled all my books off Amazon KDP Select and put them with a distributor.”
D: What kind of marketing has worked best for you?
P: I’m really not sure I can pinpoint what works and what doesn’t. I love Facebook for the camaraderie, but I try not to pimp my books unless I have a reason. I don’t like Twitter. I do it, but I don’t like it. Does it work? I have friends who swear by it. Of course, they have 40K followers. That would take too much time for me. Last year, I pulled all my books off Amazon KDP Select and put them with a distributor. That meant my books would be on all the platforms—B&N, Apple, Kobo, etc.—libraries, and foreign wholesalers. I wish I could say that worked, but it didn’t. I gave it a year and feel now that I lost a good bit of revenue by doing that. I went back on Select. I made more on borrows in the first month than I made in any month with the distributor. I offered a couple of free books, and my sales have definitely increased. So that has worked for me better than all the social media, and I didn’t have to do much pushing my books or me down anyone’s throat.
D: I totally get not wanting to force books down people’s throat. Readers don’t like it.
What’s your process like? Do you sit down with an idea and just go with it, or do you plot the story, do character sketches, etc., or something in between?
P: I get an idea and just go with it. I don’t plot, but I know where I want to end up. The best way for me to develop a character is to become her/him. Really. I get into their heads as if I were them. I had wanted to be an actress when I was young, so maybe that’s my way of acting. All I know is it works. I edit as I go because as the story develops, earlier plot points have to be changed, and I’m afraid I’ll forget to do that. I don’t trust myself to do it later. Things come up in my stories that I know I never would have thought of if I’d plotted. I’ve written ten books that way and a few I haven’t finished, so it works for me.
D: As indies, we need to know about every facet of publishing from self-editing to marketing to formatting to cover design to accounting. Which of these do you tackle and which do you hire out, if any?
P: I mentioned self-editing, but when I’m finished, I turn it over to an editor who’s a writer and a grammarian, Ellis Vidler. She’s a critique partner and friend, so we keep in touch on a daily basis anyway, and we’re there for each other when needed. I also have another excellent critique partner, Maggie Toussaint. I don’t know what I’d do without them. I do my own formatting for ebooks and for paperback. I also do all my own covers. After a career in the arts, it’s one way of keeping my tired old hands in the visually creative part of writing. Besides, it’s what I did, and I doubt I’d be happy with anyone else’s vision of my books.
“Most writers starting out, unless they’ve gone through a master’s program, don’t know what they don’t know.”
D: What are you currently working on?
P: I’m working on the third book of the Diana Racine Psychic Suspense series, Backlash. This one has been especially difficult because I’m a stand-alone writer and love to develop the characters. That’s harder to do as a series progresses, which is why series get tired unless we can find something new to write about the characters. I’m almost finished. It’s also hard to keep the quality up to what readers of the first two books expect. I would hate to disappoint them.
D: Which writers have inspired you?
P: I’ve always been a reader of dark novels. I love Dennis Lehane, James Lee Burke, John Sandford, Karin Slaughter, Mo Hayder, early Robert Ludlum and Tom Clancy, John Grisham, and Robert Crais. For lighter fare, I love some of the writers of the 70s like Sidney Sheldon, Harold Robbins, Leon Uris, and Judith Kranz. They wrote good stories I loved reading.
D: What was the worst advice you ever received about writing? Best?
P: Worst? Write what you know. Why would I? Part of the fun for me is writing what I don’t know. Now if I were an ex-secret agent or an adventurer, maybe I would. But I’m not. I have a good imagination, and I use it. Best advice? Write what I want to write the way I want to write it. I can’t write to the market just to sell books. I don’t play safe, and that’s the way I like it.
“Part of the fun for me is writing what I don’t know.”
D: What advice would you give to writers just starting out?
P: Get readers who will tell you the truth to read your manuscripts. And get an editor. Join groups. Keep up with what’s going on in the publishing business. Most writers starting out, unless they’ve gone through a master’s program, don’t know what they don’t know. I sure didn’t, not that I know everything now.
D: Where do you see yourself in five years?
P: Doing what I’m doing now. This is my most fun career because I can become so many other people.
D: Where do you think publishing is headed?
P: If publishers and Amazon can stop their silly power plays, the future of publishing should embrace both electronic and paper books. I’d like to see new respect to indie authors instead of the distinctions being made that separate us into two camps. I just went to a big conference and was barred from being on a panel because I wasn’t traditionally published. I saw first-time authors on the panels who had no portfolio of reviews and rankings. That should stop, and I hope it does.
D: My sentiments, exactly. Thanks so much for stopping by today, Polly–good luck with Backlash!
P: Again, D.V., thanks for having me. Your questions were fun and made me think.
D: Here’s an excerpt from Polly’s book, Threads:
The artsy crowd packed the gallery’s opening night. Once inside, Alan grabbed two champagne flutes off the tray of a roaming waiter, giving him the eye and getting one back.
“Half the city’s here. Hey, check out that couple,” he whispered in Miranda’s ear. “I’ll tell you all about those two tomorrow. Scandalous. Clue―that’s not his wife. In fact,” Alan cupped his hand around her ear, “she’s not a she.”
“Huh? You’re kidding.”
“Nope. Oh, there’s Jeffrey. Mind if I go over and thank him for cluing us in on this?”
Miranda waved him on. “I’m a big girl, Alan. I can take care of myself.”
“Be right back.”
She stole another peek at the object of Alan’s gossip―sheesh, who’d’ve thought? After stopping to chat with a few acquaintances, she continued her stroll around the gallery, listening to varying reviews of the art.
The paintings, displayed on white walls with halogen spots, hung in three different abstract groups―figuratives, landscapes, and paintings the art world might describe as “what the fuck.” The artist had wielded his brush with thick, vibrant color, creating an impression of movement and energy. Miranda stood back, sipped her champagne, and squinted at each one. The portraits were easy to distinguish as were the landscapes, but she couldn’t for the life of her define the subject matter of the third category, and their titles didn’t help. Dream #1 was anything but dreamy. More like a nightmare.
“Well, what do you think?” a deep, slightly accented voice from behind her asked. “Do you like them?”
She turned to the tall, exotically handsome man who asked her opinion. He wore his dark brown hair long enough to partially cover a small diamond stud, and his smile revealed unnaturally white teeth. But his most riveting feature was his eyes―black and piercing and intensely focused on her. Heat rose on her face as those same eyes flashed with amusement at the obvious impact he had on her. She couldn’t help herself. The man could have been a movie-star idol.
“I haven’t had a chance to study them all,” she said, “but I like a few.”
“And the others?”
She stood back, deliberating, then faced him square on. “Suck.”
Gorgeous burst out laughing. People turned to see what happened. “I love it. A breath of fresh air.”
“Well, I mean, take that one.” She pointed to a large canvas with a black figure embracing a red figure. “Who are they supposed to be? Fred and Ginger?”
“The black figure is Medea.”
“What’s she doing? Is she―” Miranda stopped when she figured out the action in the painting. She shuddered. “Now I know I don’t like it. The artist―what’s his name, I forgot―must be a whack job.”
“Hmm, could be.”
“Where is he anyway? Point him out.”
A subtle bow accompanied his offered hand. “Stephen Baltraine, at your service,” he said with a playful smile. His gaze remained on her face, exactly where it had been throughout their conversation.
Miranda’s cheeks flamed. “My father always said anyone asking my opinion better be ready for it.” She forced a smile. “I should learn to keep my mouth shut until I know who I’m talking to.”
“I’m just glad you spoke softly.”
“I don’t suppose I could start over and say it’s fabulously frenetic and original, could I?”
He leaned into her. “Not a chance.