Clay Stafford

An interview with Clay Stafford

Interview by BWG member Carol L. Wright

Bethlehem Writers Group: I met Clay Stafford last summer at the 12th annual Killer Nashville International Writers’ Conference. After my first experience with this conference for writers of mysteries, thrillers, and suspense, I knew I would be back. Some might be surprised that a writers’ conference in Nashville, Tennessee, has become, in 12 short years, an international event, drawing big-name speakers and writers from all over the U.S. and the world. But if they’re surprised, it’s because they have never met Clay Stafford—the founder behind it all.

Clay Stafford: Carol, you’re very kind to say so. I work with an incredible team of people, as well as volunteers, so credit also has to go to them, as well.

BWG: Thanks so much for joining us, Clay. I'm very much looking forward to attending the 13th Killer Nashville International Writers' Conference from August 23-26, 2018.

I know Killer Nashville is your brainchild. Yet, you didn’t start out as a conference coordinator or even as a mystery writer. Your B.A. and M.F.A. degrees are in Film & Television and Screenwriting, respectively. You’ve been a journalist, actor, singer, songwriter, television and film writer, producer, director, and the list goes on. The Atlanta Journal has described you as a Renaissance man, and one peek at your resume bears that out. With all that going on, what drew you to the mystery-writing field?

C.S.: First of all, I’ve always been of an academic mindset. Killer Nashville sprang out of that. As far as mysteries, I had written several mystery plays that were produced in Los Angeles, one of which actually went on tour. I also worked behind the scenes for Universal Studios on mystery-based television shows such as Murder, She Wrote, Simon & Simon, MacGyver, Magnum, P.I., Amazing Stories, Alfred Hitchcock Presents, and Miami Vice (just to name a few). So I’ve always had one foot in the mystery genre; I just also happen to be stepping in a bunch of other pies at the same time.

At the time I created Killer Nashville, I was on the national board of Mystery Writers of America and president of the Southeastern Region. The closest mystery conferences to us were in New York and Florida. So we needed something in the middle. I saw that need and, with the help of staff and volunteers over the years, we made it happen.

I think part of it, too, is the definition of the words mystery, thriller, and suspense, which are the spine of the Killer Nashville Conference. If you look at our daily book reviews, you’ll see a mix. What we look for are elements of mystery, thriller, and suspense in works. Breaking it down: what happened, what’s about to happen, what could possibly happen. This could apply to a multitude of works whether they are set in England in the 1200s, Vegas in the ‘50s, or on planet VingVing in the year 4023. In the end, I love stories and storytelling no matter what the genre and, to me, all good stories have these elements.

BWG: You mention serving on the board of directors of Mystery Writers of America, and as president of Southeast Mystery Writers of America. You are also a member of several other national writers’ groups. How important has your membership in these groups been to your developing Killer Nashville?

C.S.: I think as writers, or any practitioner of any discipline, we need to support our particular community, and also we need to have the support that comes from that. You get back to the extent that you put in. Aside from Killer Nashville, I personally have benefited and grown from my membership in writers’ organizations and would encourage anyone with an interest in writing to be a part of as many groups as he or she can. The added point-of-view from others regarding the industry and your work is vital. You can learn so much.

In terms of benefit to Killer Nashville, MWA was our very first sponsor and has played a vital role in Killer Nashville throughout the years. I couldn’t ask for a better partner in helping us educate the writers of tomorrow.

BWG: When one thinks about writers’ conferences, Tennessee isn’t the first place that comes to mind. What made you think you could attract literary luminaries and an international crowd to a conference in Nashville? Has it exceeded your expectations?

C.S.: I guess it falls into the Field of Dreams mentality: If you build it, they will come. We’ve certainly been blessed. It has definitely exceeded my expectations. We have attendees coming from Italy, Japan, Canada, Scotland, South America. We get books for review consideration from France, Germany, Japan, Scandinavia, and the UK. It has truly become an international year-round event.

BWG: You mention having an academic mindset. Does this come from being a professor or guest lecturer at such schools as the University of Miami and the University of Tennessee? What subjects did you teach there? Does your experience teaching influence your mission for Killer Nashville?

C.S.: My experience as a college professor certainly influences the layout of Killer Nashville. Something you may not know, I also co-designed the original film curriculum for Miami-Dade to train film technicians for Orlando. Between designing class syllabi for film and writing classes and developing an entire film program, it gave me a habit of looking at things from a holistic viewpoint. That’s how Killer Nashville is structured. We start with the premise that there will be those in attendance who have an idea, but no clue how to get started and we work our way through to seasoned veterans, even New York Times bestsellers, who come to Killer Nashville to learn additional marketing tips for taking their careers even higher. We have five different tracks running for three days so that there is always something in each time block for a writer no matter what his or her level. In function, we have people who come every year and it’s interesting to watch their progression in terms of course selection. They’ll start out with the basics, learn about writing, and then come back the next year with a manuscript. Through people they meet at Killer Nashville, they then publish the manuscript, and then come back the next year to learn more about marketing. Then once they start seeing some degree of success, they continue to come back to learn new techniques to further enhance their career. It’s been fun for me watching these various authors go through these incremental stages. It is, practically, almost like an M.F.A. unto itself.

BWG: It is a very welcoming and inclusive conference where even a first-timer feels a part of it all. As the conference has grown, how have you been able to keep it such a friendly and supportive environment?

C.S.: Thanks for saying so. Having an intimate feel is consciously important to us, and I think it is one of the things that makes us different from many conferences. We do know your name. We do know who you are. For the most part, we also know what you want. We’re small enough to do that. We actually rent out the entire hotel, so that means our attendees are there with other writers and other people from the publishing business. No matter where you go, no matter which elevator you get on, the other person there with you is either a writer, publisher, editor, agent, publicist, academic, playwright, screenwriter, or literary attorney. It gives it a feel of inclusiveness. We also cap Killer Nashville at 300 so we can continue to keep that intimate feel.

BWG: One popular part of the conference is the opportunity for attendees to investigate a staged crime scene. Can you tell us more about it?

C.S.: I have to give credit for the crime scene to Dan Royse, the now-retired Assistant Director of the Tennessee Bureau of Investigation. In our first year, I asked the TBI if they would create a realistic crime scene for us. They did. Dan has continued every year since. It is a highlight for people attending: Crime Scene.

Dan is also instrumental in bringing in experts for our forensic panels. This year we will be taking a look at what goes on inside a forensics lab and addressing issues such as toxicology, drugs, poisons, computer forensics, impression evidence, shoes, tires, fabric, trace evidence, fingerprints, composite art, and DNA. Some attendees and CSI junkies come to Killer Nashville just for the forensic sessions alone.

There’s a reason we do the forensics sessions and why the TBI and other law enforcement entities have been supportive of Killer Nashville over the years. They would like to see writers get it right. By providing clear information from practitioners in their various fields, we make sure that when a writer is describing a crime scene in his or her story, he or she is doing it through the eyes of a seasoned veteran as opposed to someone who might have gotten their information from watching TV or reading a book (books and TV shows many times, as law enforcement personnel will tell you, get it wrong).

BWG: Killer Nashville gives out several awards for both published and unpublished work. Could you tell us a little about these honors and how authors can enter?

C.S.: The Killer Nashville Claymore Award is for the best unpublished first fifty pages of a manuscript containing elements of mystery, thriller, and suspense. We’ve had great results with many authors finding publication via this award. It’s one thing to win the award, but it’s also—to sound trite—an honor to have been nominated. Most of the Top 20 Claymore Finalists all have a publishing contract or a book in hand within two years of placing as Finalists. Agents and editors look at the Claymore. Even on awards night, authors have been offered contracts right then and there. As the result of the Claymore, authors have not only found book publication, but also found great traditional agent representation and have sold their rights to film and television. The deadline for the Killer Nashville Claymore Award is fast approaching (April 1, 2018). More information can be found here: https://killernashville.com/claymore/.

The Killer Nashville Silver Falchion Award is for the best book of the previous year as voted on by our reviewers for our Killer Nashville Book of the Day book reviews: https://killernashville.com/past-book-reviews/.

The Killer Nashville Readers’ Choice Award is the best book as voted on by the worldwide reading community: https://killernashville.com/awards/killer-nashville-readers-choice-award/.

For all of our awards, the books or manuscripts need to be submitted or nominated. Sometimes this submission comes from the publisher or publicist. Sometimes it comes from the author him- or herself.

All awards have deadlines, so be sure to visit the specific webpage to get the details.

BWG: Putting on Killer Nashville must involve a lot of people working together. Potential conferees might wonder—are there are opportunities to volunteer at Killer Nashville?

C.S.: Killer Nashville could not function, nor could it have become what it is today, without our volunteers. Over the course of the year, we have around 40-60 volunteers helping out in every stage. Volunteering is a great way to meet other writers and members of the publishing industry. For our reviewers, it’s a great way to get a by-line. For more information about volunteering at Killer Nashville, connect with us here: https://killernashville.com/home/volunteer-for-kn/. From book reviewers to front desk greeters, Killer Nashville is always looking for volunteers. And it doesn’t matter where you live. In this age of electronics, there is a place for you at Killer Nashville wherever you are.

BWG: Killer Nashville is far from your only project these days. You’re editor-in-chief of Killer Nashville Magazine, the publisher of Clay Stafford Books, and President/CEO of American Blackguard, Inc., an event production and publishing company. Among your clients you count several accomplished horror or mystery writers, such as Stephen King and Jeffrey Deaver. Can you tell us a bit more about these ventures? Are you seeking submissions from writers?

C.S.: As you pointed out, my latest venture is a new publishing company, Clay Stafford Books. Not only are we publishing full-length books, we’re also publishing anthologies from new authors as well as New York Times bestsellers. Our first book is scheduled for print and digital in April. And, yes, I’m always looking for new writers. If someone wants to send me a very short high-concept paragraph (1-4 sentences) about what his or her book is about, I’m more than happy to consider it. I’m looking for both fiction and nonfiction.

And speaking of internationally bestselling author Jeffery Deaver, he is doing a small-group writing workshop on Thursday this year, the first day of Killer Nashville. He’s an incredible teacher. This is a session writers will not want to miss: Killer Nashville Workshops.

BWG: It seems your combination of experience and skills make you uniquely qualified to create a successful writers’ conference. What can we look forward to in the 13th annual Killer Nashville International Writers’ Conference in August 2018?

C.S.: Every year I say the same thing: this is going to be the best year ever. Each year, the conference grows and morphs with the ever-changing industry. We try to stay on the vanguard of that evolution. Interesting that this is our 13^th year. Some might have a superstition about that.

BWG: As a member of Sisters In Crime myself, I am aware that they have a new program to provide education grants to help their members attend conferences such as Killer Nashville. Are there any other scholarship opportunities available for Killer Nashville?

C.S.: Many times when a writer is starting out, they don’t have the funds to attend a conference. Killer Nashville has teamed up with authors Lisa Jackson and Kris Calvin, as well as the estate of Jimmy Loftin, to offer full scholarships to needy writers who otherwise could not afford to attend the conference. We do not believe that finances should get in the way of anyone’s dreams and passions. You can find more about the scholarships here Killer Nashville Scholarships.

BWG: What parting words of wisdom would you offer to someone who is considering a career in writing?

C.S.: As far as parting words: read and write in equal measure and do both every day. I’m the son of a brick mason and I liken a writing career to bricking a house. You do it one brick at a time. You do it daily even when you don’t want to. When you start, it may seem daunting, but then brick by brick, word by word, you’ll see the house come together. All you need to do is to show up with the passion and discipline to lay that next brick.

Also, you can’t do this alone. That’s where Killer Nashville comes in. It takes a team. Deals are made via contacts. Coming to events like Killer Nashville puts writers at the head of the line. I’ll close with a story about author Jonathan Stone. Several years ago, he thought, “what the heck,” and pulled an old manuscript out of a drawer where it had been sitting for around a dozen years. He sent it in to our Killer Nashville Claymore Award and decided to attend Killer Nashville that year. His manuscript won the Claymore. Within a week, he had an agent that he had met at Killer Nashville. Within a month, he had both a publishing and movie deal. His only question was, “Why didn’t I do this sooner?” This is echoed in Michael Connelly’s admonishment to our Killer Nashville attendees: “It all happened when I told myself to just shut up and write.” Final words of parting wisdom: Don’t wait to make your dreams come true. We’re here to help.