Be a Star!

So you mean to tell me that while you’re flattered that I suggest you get into show biz, it’s just not for you? With all the fast pace, fierce competition and demands of your whole life that pretty much enslave the stars, you just can’t take that chance? Sure, it’s nice to dream about it. Maybe your book will be adapted into a movie. But short of that, you’re quite content to sit at home and weave your plots on the keyboard. The closest you’ll come to performing is when you’re trying to think like the character you’ve created in your novel.


Nice try, but wrong. You’re in show business, baby.

Retreat to your word processor all you want to. But if you’re serious about getting a contract for that book, please allow me to offer up some perspectives that will help you to fully realize what you’ve gotten yourself into. Forgive me if I’m a little presumptuous. More than likely, many of you have already made the connection. But I must confess, it boggles my mind how many writers act shocked when they begin to unveil how difficult it is to get published.

By the way, it’s not like I’m some celebrity big shot. I’ve done bit parts in local plays, a handful of unpaid stand-up comedy gigs, and I used to make a modest living playing music. Perhaps through some of the disappointments I experienced in those disciplines, I now notice similarities with what I’m doing as a writer. Besides that, I love behind-the-scenes stories about the biz.

Consider this: roughly 75% of the blockbuster investments cranked out by Hollywood are adapted from…you probably already know this one…bestselling novels. The executives apparently think: the book sold, so the movie’s got a good chance of making bank too. This joint at the hip between movies and print, I think, is a nice place to segue into the rest of the parallels.

Bob Saget told a story once about his mentor, Rodney Dangerfield. When Bob was down in the dumps about one of his ‘failures’, Rodney said something to the effect of, “You got to be a tank, kid. Just run right over them. You can’t listen to ‘em. Do what you know is best and stick with it.”

How often do you hear similar advice as a writer? They tell you to keep at it. They tell you to grow thick skin. You’ll learn from the rejections, right? Keep submitting.

So, I’d like to impart the spirit of Rodney’s words on to you with my own embellishments. Believe in your work. If you love what you’re doing and feel rock solid confidence about your manuscript, you’re bullet proof. Every one who knows me will tell you that I’m a cocky, stubborn hellion, but really, it doesn’t originate in just my personality. It’s because I know my work is as good as many of the hits out there. Join me and stand behind your art come hell or high water. Then you will have taken your first step to nail this book deal.

I plan to write this as a series, comparing more similarities between the rocky roads to publication and other achievements in the entertainment business. We’ll look at icons like Willie Nelson, Lady Gaga, and Jamie Foxx just to name a few.

gusTO dAve is an urban fantasy and YA western steampunk author represented by the Belcastro Agency

Be a Star : What Willie Nelson and You Have in Common

I’m continuing with my series that supports why writing is very much the entertainment industry, comparing the rough roads to success between novel writers and performers.

The many stories about Willie Nelson’s rise to stardom are pretty famous. Most of us know that it took him decades to ‘make it’ in show business. But one can hear this tidbit, shake his or her head in amazement, and really fail to comprehend all the kicks this songwriter had to endure just to get someone to listen to his songs. Incidentally, he always wanted to be a songwriter more than anything. The performing just came naturally.

Here’s the big thing you—or any other artist for that matter—share with the Red Headed Stranger before he made his mark with the Texas Outlaw sound: You never really know if you’re going to make it.

Sure, Willie knew lots of people…players in the industry. He made headway and impressed performers enough that Patsy Cline and other country music stars recorded his songs. But there is never job security in the entertainment business. This is true as well with the publishing industry. If authors’ sales decline, publishers will drop them. If songwriters can’t pump out any more hits, they’re marked also. The trick to ‘making it’ is loving the art so much that you’ll keep doing it no matter what.

And Willie loved playing music. When he pitched the Red Headed Stranger album to Columbia Records that would go on to launch his performance career, they said they liked it but thought it was a little bare and offered to front him some coin to produce it with a more contemporary sound. Having been ‘produced’ almost to death, and advised to portray a clean cut image - I might add, Willie told Columbia that they could take it or leave it. He was prepared to play bars the rest of his life. Columbia gave in and now we all know who Willie is.

I can’t write a piece about my idol without pointing out a couple of his most brilliant career moves. Hang with me for these, because whereas they don’t necessarily underscore any challenges to finally get his big break, an aspiring artist can learn from them. Willie is a master of publicity. No one really ever gives him credit for it either. In the early 70s, Willie invited his country music star buddies to play at an outdoor 4th of July concert every year. Banners flooded the Lone Star State calling out the event. Guess whose name was on each banner. Pretty damn smart. Then when he gained fame, he started singing duets with just about everybody. And by doing so, he doubled his exposure.

So if you get another rejection-or a slew of them for that matter-for your book, consider how long and how many extra miles Willie walked to finally make it in the entertainment business.

G U st O
D A v O