IT'S THE LITTLE THINGS

by Gar Anthony Haywood

My writer Facebook friend Jeff Cohen recently posted a lament regarding a great pet peeve, one to which all but the most successful published authors among us can relate.  He'd recently gone to a party and had some thoughtless dumb-ass ask him The Question.  You know the one I'm talking about, because you've almost certainly heard it yourself:

"So, are you still writing?"

Naturally, Jeff was somewhat irked, as we all are when our choice of career is similarly treated with such disrespect and disdain.  But if we were to give the party guest who'd accosted Jeff the benefit of the doubt, and tried to understand why he (or she) would ask such an asinine question, we might be less ready to condemn.  Because this, in my opinion, is what The Question really breaks down to whenever it's asked, in terms of what the person asking it is actually trying to find out:

"Since your writing hasn't yet made you rich or famous, and you pour so much of your heart and soul and time into doing it, why are you still bothering?"

Granted, that's still a rather insensitive inquiry, but I can see how people might wonder.  Why do we authors keep writing when the ultimate rewards we seek --- fame and, if not fortune, a decent living independent of a day job, continue to evade us?  What in the hell keeps us going in the face of all the discouragement and rejection we regularly endure?

The little things, that's what.

Those small, golden moments in which we are made to feel, however fleetingly, like a winner.  Unexpected notes of recognition from surprising corners of the universe that serve to prove we are not, in fact, writing in a vacuum.

Example: Not two weeks after my first novel, FEAR OF THE DARK, was published by St. Martin's Press way back in 1988, the family and I went to pick up some photos we'd dropped off at the local Fotomat.  (Remember them?  Those little drive-thru booths in strip malls just big enough for a cashier and about 100 rolls of film to fit in?  How about film?  Do you remember film?  Nevermind.)  Anyway, I'd paid the old guy behind the window for our developed photos and was about to walk off (yeah, we'd walked up, rather than driven through) when he said, "You aren't Gar Anthony Haywood the novelist, are you?"

Huh?

Turns out he'd found my book in the library, read it, and liked it.  A lot.

I floated on air the rest of the day.

That's a "Little Thing."  And we all experience them, sooner or later.  And this being Wildcard Tuesday, I thought I'd ask some of my other writer friends to share their favorite Little Things with you.

Enjoy.

Tess Gerritsen, author of LAST TO DIE

The incident that stands out for me was while flying aboard a British Airways flight from Boston to London. A short time into the flight, the male flight attendant quietly approached and said the crew were all wondering if I was the famous author. I never had such attentive service!

Bruce DeSilva, author of CLIFF WALK

Howard Frank Mosher ("Waiting for Teddy Williams") is my favorite living novelist, the closest thing we have today to Mark Twain. So I was stunned to receive an unsolicited email from him shortly after my first crime novel, "Rogue Island," was published. He raved about it, calling the book "a highly serious work of fiction combining a fascinating evocation of a twenty-first American city with a lyrical tribute to the dying newspaper business." When my second novel, "Cliff Walk," was published in June, he got in touch again, saying my protagonist, Liam Mulligan, is "the most human, unpredictable, and anti-authoritarian fictional character I've met since Ranger Gus McCrae of "Lonesome Dove." But that's not even the best part. My hero and I are email buddies now.

P.D. Martin, author of HELL'S FURY

I remember when my first novel got published and my 'publicist' rang me to introduce herself and chat. The whole idea of a publicist sounded pretty special and made me feel very much like a celebrity! And then I went to my first event with her, and she was like: "Can I get you a drink? Coffee, wine?" Might be the closest I come to having 'people'!

Aaron Philip Clark, author of A HEALTHY FEAR OF MAN

I don't have too many stories about folks recognizing me or any of those cool happenings. However, I did receive an email from a reader who thanked me for "writing a character with a soul" and said she typically didn't read mysteries unless it was something Mosley had written. It put a smile on my face.

J.T. Ellison, author of A DEEPER DARKNESS

So many wonderful experiences: Winning the thriller award in New York last summer. It was an insane night – I was dreadfully ill, had laryngitis, a wicked case of nerves, and two of my literary heroes were in the room: John Sandford and Diana Gabaldon. To win a prestigious award in the presence of two of the writers who shaped me was incredible and gratifying. The very first Thrillerfest in Phoenix, 112 degrees and all the people I’ve only ever heard of there in the flesh; meeting Lee Child and having him react with, “Oh yes, I’ve heard your name.” I was floored. What? How? OMG!!! Allison Brennan talking to me like I was a real writer. The moment my agent called to tell me I had my very first deal – and not just for one book, but three. The day my agent called to tell me he wanted to be my agent. The first time I finished a book – Christmas Day, 2003, at my parents’ house in Florida, and the exhausted realization I’d finally done something special. But the very best was the very first sentence I ever wrote with intention to follow it with another, and another. I finished that paragraph and began to cry. There’s true magic in intention.

David Corbett, author of KILLING YOURSELF TO SURVIVE

Do They Know I'm Running? produced some of the most generous and heartfelt communications from readers I ever received in my career. I was deeply touched by many of the comments people shared, this one in particular:

"My father-in-law was finishing your book when I got home tonight. When I mentioned I met you, he right away asked, 'Is he a cholo with a white boy's name?'

I said nope, a white boy.

He got quiet for a second, then said, 'He is a poet of my people.'"

Pari Noskin Taichert, author of THE BELEN HITCH

I was at a party the other night. It had nothing to do with my writing or writing at all, just a social gathering mostly of people I didn’t know. I introduced myself.  A woman in the group recognized my name, squealed loudly and said, “I can’t believe this! I’ve been waiting and waiting and waiting for you to get me another book! When are you going to write one?” Then she gushed about my books to me and to the group.  It was a small moment and an utter surprise. And it made my evening.

Brad Parks, author of THE GIRL NEXT DOOR

I was at a doctor's office, doing some routine intake stuff with my wife, who has a different last name than me (and who, of course, carries our insurance, because her husband is a ne'er-do-well writer). Anyhow, the doctor got through asking my wife all the questions she needed to ask, then turned to me. "And what's your name?" she asked. "Brad Parks," I said. The doctor gasped and blurted, "The author?!?" She then launched on a 90-second rave about the great pleasure of reading my books and the tremendous admiration she had for me as a writer. I loved it and try to visit that doctor whenever possible. Strangely, my wife doesn't use her anymore.

Zoë Sharp, author of FIFTH VICTIM

I’m constantly both humbled and honoured when I hear from readers who have enjoyed the Charlie Fox books. I try not to read reviews, so when people make a point of getting in touch directly it really means something special. It’s hard to pick out individual occasions, but three relatively recent ones spring to mind.

I have a fan in New Zealand, Karen, who is a huge champion of Charlie on Goodreads. She is always making sure the book covers and the details are correct, and she is an absolute wonder.

The second is reviewer and blogger Judith Baxter, who has done some wonderful posts about the books, and even about her surprise that I would get in touch to thank her for her kind words.

And thirdly is US singer/songwriter Beth Rudetsky, who wrote an amazing song for FIFTH VICTIM: Charlie Fox book nine called ‘The Victim Won’t Be Me’. I am just so moved by this.

Alexandra Sokoloff, author of HUNTRESS MOON

I was thrilled that Shelfari's mystery and suspense group picked Huntress Moon as their August read, and the incredible discussion questions they're coming up with are making all the work worthwhile.

Brett Battles, author of THE DESTROYED

When my first book (THE CLEANER) came out, I was still working at E! Entertainment Television. Every summer we would have this big party with a top named musical artist...can’t remember for sure, but think LL Cool J might have been that year. I had given a copy of my book to Ted Harbert, President of the network and he read and loved it. I had heard that he might say something when he was up on stage talking to everyone. He did...unfortunately I was in the bathroom at the time and never heard it. But I did have several folks later come up and congratulate me.

Robert Gregory Browne, author of TRIAL JUNKIES

I remember a young aspiring writer approached me at a conference and was so nervous he could barely stop shaking. I assured him that there was nothing to be nervous about—I mean, for godsakes, I'm NOBODY—but to think that someone was as nervous around me as I would be around, say, Stephen King or Donald Westlake, certainly got me to reflect for a moment on how I see myself. I rarely take time to realize that I'm doing what others only dream of and I'm a very lucky man, indeed.

Bill Crider, author of MURDER OF A BEAUTY SHOP QUEEN

In 1980 I attended Bouchercon for the first time.  It was a very small convention in those days, and I hadn't published a novel yet.  (My first one, a book in the Nick Carter series, came out in January 1981.)  I was, however, writing reviews and articles for a number of fanzines like Paperback Quarterly, The Mystery FANcier, The Poisoned Pen, and The Armchair Detective.  I was looking at paperbacks at a dealer's table and found one I wanted: The Case of the Phantom Fingerprints by Kendall Foster Crossen.  I can't remember the price, but it was more than I wanted to pay.  I asked the dealer if he'd take less, and he looked at my name tag.  "Bill Crider," he said.  "Are you THE Bill Crider?"  I told him I was the only one at the convention as far as I knew, and he told me how much he'd enjoyed reading my articles in Paperback Quarterly.  Then he said, "I've enjoyed them so much, I want to give you the book."  This was particularly gratifying because the publishers PQ were standing there beside me, amazed.  I thought that as soon as my Nick Carter novel was published, things like that would happen all the time, but of course nothing like that's ever happened to me again.

Gary Phillips, author of VIOLENT SPRING

One of my biggest thrills early on was being on a panel with Ross Thomas at the downtown main library.  We both talked about having worked for the same national union -- AFSCME- and among his books he signed for me was the Seersucker Whipsaw, his novel about, among other things, union shenanigans.

Timothy Hallinan, author of THE FEAR ARTIST

Aside from the thrill of getting on a plane a few times and seeing someone reading one of my books (rocked my world) my biggest thrills come from fan mail.  My hero, Poke Rafferty, and his Thai wife, Rose, have adopted a little street child, Miaow, as their daughter.  Once or twice a year I get email from people who have become cross-cultural adoptive parents who want to say how accurately my books describe the joys and pitfalls of bringing someone into your family who has different beliefs, experiences, and expectations.  The emails practically paralyze me with pleasure--not only because the books mean something to these people but also because I blithely wrote the relationships in Poke's little family without giving a thought to the possibility that I'd get it all wrong.  The best of these letters arrive with photos of the children.  The VERY best of them came from a 15-year-old Korean-American adoptee whose father wrote me in 2006 and now, six years later, she was old enough to read the book (A Nail Through the Heart) that had prompted his letter.  She wrote to say that I'd told aspects of her story so accurately that parts of the book had almost seemed to be about her.

Stephen Jay Schwartz, author of BEAT

The very best "shout-out" I got was when I stood in the back of a Michael Connelly signing at Mysterious Galaxy - a room packed with almost 200 people - and a woman in front of me asked Michael what authors he liked to read.  He answered that he didn't always read in the genre in which he writes, but occasionally someone will send him the work of a new author.  "Like the author behind you," he said, "Stephen Jay Schwartz's work is exceptional."  At that point every one of his fans turned around to look at me and my face went completely white.  I nodded to him, thanking him for his kindness.  That was an amazing thing for him to do, at his own signing.  I really love him for that.

Questions for the Class: Writers: What Little Things motivate you to keep writing?  And readers, have you ever done a Little Thing that may have inspired a favorite author to keep on writing?

Of books and blurbs

By Allison Brennan

Book Two in the Lucy Kincaid series, KISS ME, KILL ME, went on sale Tuesday, the same day as J.T. Ellison's SO CLOSE THE HAND OF DEATH, of which I bought two copies -- one for me, one for my mom. I gave my mom her copy today at my book signing and she will probably finish it long before me. (Probably? Most certainly, because I still have THE IMMORTALS to read . . . now I have both staring at me from my To Be Read Next shelf.)

I read J.T.'s debut book, ALL THE PRETTY GIRLS, as an ARC. I don't remember exactly how this came about, except I think she asked me if I'd read it when we met at the first Thrillerfest in Arizona.

(As an aside, I would love to have a reunion Thrillerfest in Arizona. There was something about that conference that was so magical, I want to do it again.)

I remember where I started reading the book--in an airport. I don't remember why I was in the airport, or where I was going, but I vividly remember drinking a beer while quickly flipping pages wanting to know what happened next. J.T. had me hooked.

I never offer a quote to books I don't read, which means I don't blurb a lot of books because I don't have as much time to read as I used to. Too many times, I've said, "No promises, but send me the book and let me know when you need a quote" . . . and then the deadline passed and I never made it. I feel bad, but what can I do? I can't quote a book I haven't read, and J.T. is the primary reason for this rule.

More of my readers have THANKED ME for recommending J.T.'s book than any other book I've blurbed. They tell me they picked it up because of my quote, and were looking forward to the next.

I hadn't been sold on the power of blurbs until I had multiple emails about J.T. I think it helps that we write in loosely the same genre (suspense) with a strong female protagonist. Readers who like my stories would be naturally attracted to J.T's Taylor Jackson. But it also brings home the fact that if I don't read a book and know what's between the pages, I can't in good conscious tell my readers it's a great book. Because if it's not, they'll be disappointed, and the next book I blurb they won't trust my recommendation, which doesn't help anyone.

Anyway, while I haven't read SO CLOSE THE HAND OF DEATH (yet), I'm confident that J.T. has written a story that is as good or better than her other Taylor Jackson books.

I've been blessed by three generous authors who have given me a quote: Mariah Stewart on my debut novel THE PREY, Lisa Gardner on SUDDEN DEATH, and Lee Child on LOVE ME TO DEATH. I appreciate all of them for taking the time--I know how valuable a writer's time is.

KISS ME, KILL ME is my sixteenth novel, the second in my Lucy Kincaid series. Writing a series is a lot different than writing loosely connected books with different heroes and heroines, but I'm really enjoying the change. I can grow Lucy and her boyfriend Sean Rogan over time, not needing to wrap everything up in a neat bow at the end of the book. Since the suspense plot is always primary in my stories, having this freedom with character is invigorating. I've already done two "firsts" with this series. In book one, I wrote my villain in first point-of-view. In book two, I didn't go into the villain's POV at all--a definitely first for me, because I love writing the villain's point of view. And now I'm in the middle of book three, IF I SHOULD DIE, and while still a romantic thriller, the story backbone is more a true mystery . . . and there's no serial killer. (Yes, someone . . . or some two . . . die, but no serial killer. SEE NO EVIL, TEMPTING EVIL and FATAL SECRETS aren't serial killer books, either, so this isn't a "first", but it still feels different.)

Now, a little blatant self-promo for my new book . . . RT Book Reviews gave it four-and-a-half stars and said, "Lucy Kincaid’s saga continues in the second installment of Brennan’s riveting new series. This time Brennan tests her heroine’s emotional and intellectual strength on a missing-teenager case that horrifically intersects with a twisted serial killer. Lucy continues to be a fascinating and enticing character, and her ongoing development adds depth to an already rich brew of murder and mystery. Brennan rocks!"

And, two weeks ago, LOVE IS MURDER, my digital exclusive novella, hit the New York Times e-book list. I was stunned, but of course thrilled.

And the winner of Season One JUSTIFIED DVD set from my blog two weeks ago is . . . TRACY NICOL! Congratulations. Please email me at allison@allisonbrennan.com and I'll ship a set out to you!

Now my question of the day: what was the last book you bought because of an author blurb? Have you ever bought a book because of an author quote only to be disappointed? Have you discovered a new favorite author because of another author's recommendation? Comment for a chance to win a copy of LOVE ME TO DEATH, the first book in the Lucy Kincaid series.

Nothing New Under the Sun?

And if I put my fingers here, and if I say
"I love you, dear"
And if I play the same three chords,
Will you just yawn and say...

It's all been done
It's all been done
It's all been done before   

-Barenaked Ladies

Tropes are storytelling devices and conventions that a writer can reasonably rely on as being present in the audience members' minds and expectations.

-Tvtropes.org

By J.D. Rhoades

After the recent discussions here and here about genre and the reader's expectations, I started thinking about...well, about the genres within genres within genres. I'm talking about going  beyond the hardboiled/cozy/thriller/procedural/etc divides and considering recurring patterns of character and story (sometimes known as "tropes") that you see in crime fiction.

A few examples:

The Wunza Story: As in "One's a [blank] and One's a [blank]," The Wunza story puts two often dissimilar people together and lets that tension play out against the bigger story. It's a central pattern in romantic suspense: "Wunza beautiful, dedicated detective with the Nashville PD, Wunza handsome, brilliant FBI agent." Crank up the differences a few notches and you get more humor in the mix: "Wunza a small town Southern girl who's always getting into wacky scrapes, Wunza a dark and mysterious bad-ass who may or may not be a bad guy." Make both characters the same sex and you have a Buddy Story: "Wunza ex-military doctor recovering from wounds suffered in Afghanistan, Wunza a brilliant cocaine addict who plays the violin."

(For a hilarious "Wunza" generator, go to http://www.theyfightcrime.org/)

Advantages: the above-described romantic tension, opportunities for fun dialogue.

Disadvantages: for romantic Wunzas, what do you do once they've done it? Or in the alternative, how long can you realistically keep them from doing it before the reader gets impatient? In the Buddy Wunza: how long before people start snickering that they're gay (not that there's anything wrong with that...)

The Merry Band: A whole bunch of wunzas fighting crime (police procedural) or committing it (the caper story). Think CSI, NCIS, or the Dortmunder stories.

Advantages: lots of room for intra-team conflict and/or romance; even more opportunities for snappy dialogue; enjoyable to watch as it all comes together.

Disadvantages: easy to lose track of where everybody is and who's doing what with whom.

The Shane Story: Mysterious stranger rides into town, finds bad things going on, sets them right using his fists and/or his gun, then rides away. He probably, but not inevitably, beds the beautiful damsel in distress along the way. Think:  Jack Reacher, Travis McGee.

Advantages: mythic, archetypal, or at least way larger than life character; great opportunity for cool badass action scenes.

Disadvantages: easy to make the character too invincible; suspension of belief can get more and more difficult; you've got to disentangle the loner hero from the love interest at the end, so he can bed the next damsel down the road. That can get a little contrived ("everyone who sleeps with the Captain dies!"), not to mention off-putting to some readers.

The Brooding Knight: A tough loner like in the Shane story, but often more tormented and reflective than a Shane. Said torment possibly comes from a traumatic experience in the past, or possibly by an ideal of justice that they cling to despite being repeatedly and grievously disappointed. May drink a lot. Think Harry Bosch, Phillip Marlowe, Jack Keller.

Many of the same advantages as the Shane story in regards to the kicking of asses; writer can (carefully) slip a little of his or her own worldview into the narrative; soulful characters can be attractive, especially to the female reader.

Disadvantages: Jesus, dude, get over yourself already.

The Smartest Guy/Girl in the Room: Also similar to the Shane story, in that the protagonist, usually an outsider, has to set things right where they've gone wrong, but by using his or her far-superior wits rather than physical force. Think:  Nero Wolfe, Hercule Poirot.

Advantages: some people really love puzzles and love pitting their wits against the SGITR.

Disadvantages: The SGITR can be kind of a dick; danger of making the clever solution so clever as to be absurd; misdirection of the reader is required to keep them interested. In short, the SGITR story is one of the hardest to pull off, because the writer has to be as smart as the SGITR.

Many stories combine tropes. For instance, A SGITR story is often paired with a Wunza story. The other half of the Wunza can be an exposition dump, that is, a person to whom the SGITR has to explain things to, thus informing the reader (Dr. Watson). In the alternative, they can be a foil to soften the SGITR's obnoxious know-it-all-ism (Archie Goodwin). In contrast, Inspector Rebus is a Brooding Knight with his own Merry Band.

Now, as for the overarching advantages and disadvantages of  tropes:

Advantage: It's easy to describe, pitch, and market stories based around familiar tropes.

Disadvantage: It's easy for trope to become cliche.

While researching this post, I looked up a site my son had often quoted to me:  tvtropes.org. And I have to tell you, friends, it got plumb discouraging. The site's huge, and clicking though all the links, especially the ones involving crime fiction,  makes you wonder if  pretty much every "original" idea you ever thought you had  has already been done by someone else. You may begin to wonder if the Dragon,  Big Bad or Magnificent Bastard  in your WIP isn't a Wall Banger because you have a scene in which they kick the dog.

Well, maybe. But then again, maybe not. After all, tropes can be tools. It's all in how they're used. If they're used in a lazy or uncreative way, if you're just phoning it in, then sure, you've got the possibility of the dreaded Dethroning Moment of Suck. Done right, (as in the examples above from our own 'Rati) you may be looking at a Crowning Moment of Awesome.

Which, at long last, leads us to our discussion question, our teaching moment,  of the day:

Readers: What are some of your favorite tropes? Your least favorite? Who uses them in ways that work? Writers: how do you get out of the trap that turns trope into cliche?

Neil Nyren on the State of the Industry

Interviewed by J.T. Ellison

For the past two years, we’ve been lucky enough to have publishing guru Neil Nyren join us for an annual glimpse into the inner working of the publishing industry. I was so happy when Neil agreed to come back again, for his third annual State of the Industry interview! Especially now, with publishing in flux, it’s important to get the real skinny on the industry. Links to the past two interviews can be found here (2007) and here (2008). They’re well worth a read.

Neil Nyren is the senior vice president, publisher and editor in chief of G.P. Putnam’s Sons. He’s been involved in the careers of many of today’s leading authors, including Tom Clancy, Clive Cussler, Jack Higgins, W.E.B. Griffin, John Sandford, Dave Barry, Daniel Silva, Ken Follett, Alex Berenson, Randy Wayne White, Carol O’Connell, James O. Born, Patricia Cornwell and Frederick Forsyth. His non-fiction list reads like a who’s who as well: Bob Schieffer, Maureen Dowd, John McEnroe, Linda Ellerbee, Jeff Greenfield, Charles Kuralt, Secretary of State James Baker III, Thomas P.M. Barnett, Sara Nelson, and Generals Fred Franks, Chuck Horner, Carl Stiner, Tony Zinni and Wendy Merrill. And if that’s not enough of an endorsement, he’s just been nominated as Best Editor by Spinetingler Magazine. (You can vote for Neil here.)

I’m always thrilled when Neil comes for a visit, so without further ado, here we go!

 __________________________

The state of the industry is in flux, and we’re all looking for answers. What can you tell us to calm the incipient waves?

Not surprisingly, because of the economy, I’ve gotten asked this a lot the last few months, because everybody’s read all the bad news: layoffs, restructurings, pay freezes, wobbly sales, etc. And, yup, that’s bad. But I point out a few things.

First, it’s bad for everybody right now – we’re in a recession. Much as we like to think we’re the center of the world, God has not struck publishing and passed over everybody else (you can see I have the season on my mind). I’ve also been around long enough to see several cycles come and go – the lean years and the fat years, when we all staff up and buy books like mad.

And it isn’t as if we aren’t buying books now, because we are. We’re being careful, sure (mostly, though some of the buys recently – well, I’m not going to comment), but a publisher’s got to have books. That’s our business. And it’s not all the tried-and-true or big celebrities (though the latter is what tends to get the ink). I’ve just taken a quick look and at Putnam we bought four first novels in March. Other first novels from four different publishers, including us – The Help, Beat the Reaper, The Piano Teacher, Hotel on the Corner of Bitter and Sweet – have made the NYT hardcover list in the first months of this year. That’s pretty encouraging, isn’t it?

All we’re looking for, when it comes to fiction, is a good story. That hasn’t changed, and never will. No matter what happens, the best advice I can give to anybody reading this blog: Just write the best damn book you can.

I know many editors and agents are using Kindles to read submissions. Do you have a Kindle? Outside of the convenience factor, is it the death of the bound book?

Here you start getting into other “in flux” questions, of course. Because we’re not just talking about the Kindle or the Sony Reader, but, all e-reading devices, including smartphones, PDAs, and Dick Tracy’s wrist TV. But I don’t think e-readers are the death of the bound book. It’s still early in the game, and most people aren’t reading e-books yet – Penguin’s income from e-books increased several hundredfold last year from the year before, but that’s still just a teensy-tiny part of our income. However, it is going to keep growing as the apps spread and the physical e-readers improve, and then they’ll simply be one more way to enjoy a book, for those who prefer it (the same way some people like audio books now). But the printed book will always endure. A piece of plastic will never replace the look and feel and smell of paper.

And, no, I don’t have an e-reader, but many of our editors do, not only for books, but, as you say, for submissions. It’s much easier to download a submitted ms and read it that way than to stuff a 500-page ms in your bag. And as I noted on Murderati a while ago, all our sales reps have them, too, so that they’re not afflicted with massive towers of paper teetering around their homes. We have public network folders they can access, and download any ms they want – it gives them a lot more flexibility, and they end up reading more before they sell it than they might have otherwise.

Electronic galleys and catalogs are all the rage – as a cost-saving measure and as an environmental issue. Do you think this is a good trend? Will all publishers move to this model in the near future?

In line with the above, you’ve asked about electronic galleys and catalogues. Harper’s moved to the latter, as have some smaller publishers, and I’m sure there aren’t many publishers who aren’t studying it in some way. I think you’re going to see a lot of it. Printed catalogues are outdated as soon as they roll off the press. Jackets change, publicity and promo details change, plots change, new books are suddenly dropped in – digital catalogues can be constantly refreshed and updated. For me, they just make sense. And they’re short enough so that they’re easy to download for anybody who needs a physical copy.

The future’s a little hazier for electronic galleys, though I think their use will increase. These galleys are meant for reviewers, booksellers, media – a whole host of people – and until all of them have an e-reader, their use is bound to be limited. And even then, a lot of people are likely to want that individual ARC. But – time will tell.

What do you think of the new policy at Thomas Nelson, where they’re making a book, e-book and audio book available for one price? Is this the future of publishing?

I’m not going to comment on Nelson. But here’s one thing I do want to say. There’s a chorus out there that claims publishers should charge next to nothing for e-books, because it cost us next to nothing to produce them. But – and I know I’m going to rile them, but too bad – that’s nonsense. The physical manufacturing of a book is only one small part of a publisher’s costs. It makes no difference if a book is printed or formatted for download, most of the costs are apart from that: the advance (and later royalties), the editing, the copyediting, the proofreading, the design, the marketing, the publicity, all the staff involved in each of those stages. The actual ppb – paper, printing and binding – is not a very big piece. And even when discussing the costs of producing an e-book, there are still plenty involved in formatting for all the different platforms out there, warehousing, and the staff involved in all that.

E-books don’t cost much? Please.

The rate of change in technology is becoming quicker every day. In most cases, readers will get to the next new technology before we do. Can we adapt fast enough and what are publishers doing to adapt to the changes?

Unfortunately, tech is not really my area of expertise, and I am eternally grateful that there are phalanxes of people around here whose responsibility it is to think about it every single day. So I can’t answer this in any intelligible way. I’m fascinated, though, by the bits and pieces I do see: the aforementioned apps for any conceivable device, for instance. The experiments in selling – I’ve just read about one test in some stores to get them more involved in e-book selling. They’re selling cards with a book cover on one side and a code on the other – the customer buys the card, has it activated at the register, and downloads the e-book there or at home. Interesting, right?

Then there are the evolving e-book formats – there’s a new one that allows for two-minute videos, and I’ve just read about a thriller on offer containing “two dozen short videos with actors that augment the book’s main mystery.” It’s called a Vook. I know, not exactly mellifluous, but hey.

Everybody’s Twittering – publishers, authors, bookstores. The bookstore use interests me most, because they’re using it to drive people into signings and events. Publishers are doing a lot with e-cards and videos for accounts – I have a new book for which the author created his own video ad, and we’ve made it available for any account who wants it, and we’re also using it as a paid web advertisement on a number of blogs.

And here’s a cool thing that Penguin UK has done – “We Tell Stories,” a site on which six authors wrote six stories over six weeks, with a mysterious “secret” seventh story involved – it recently won a web award from SXSW. (Editor’s Note: SXSW is South by Southwest, an annual music, movie and technology exposition in Austin, Texas.)

In all industries, businesses are looking for the next great market. Are you looking at opportunities in new emerging markets overseas or among new target audiences within existing markets?

Well, I think the next great market might in fact be e-books, once everything’s sorted out – that some of the customers will be people who aren’t regular readers. We’re also always looking for opportunities in non-book venues – for The Friday Night Knitting Club novel, for instance, we held events in yarn stores. We have whole departments dedicated to special sales and gift sales and college adoptions. Overseas, there are offices – even whole divisions – opening in places like China and India, even Dubai!

In every recession, new businesses and firms rise from the ashes. With all of the layoffs in publishing, what type of business would you suggest they start?

I’ve seen a number of people, not surprisingly, become agents and packagers. I think there’ll be a host of digital opportunities, though – just the other week, I saw an item about a former Doubleday editor and a friend who develops mobile phone games teaming up to launch an imprint for new books to be published on mobile platforms. Another editor left on his own accord to start a recipe website from great chefs and cookbooks authors. I’m sure we’re going to see a lot more of that kind of thing (cellphone novels, incidentally, are all the rage in Japan, so much so that traditional publishers are even taking the most successful and putting them into print!).

What do new authors need to know about how to break in to publishing? Has anything changed?

It depends what kind of publishing they want to break into, I suppose. For traditional publishing, very little has changed. Most (though not all) of us still want agented manuscripts, but editors have been reaching out and finding books through blogs, websites, Twitter (and maybe even cellphones!). Some self-published books have done well and then got picked up by mainstream publishers. And as far as really non-traditional publishing goes, well, we’ve been discussing a little bit of that above. I can’t give much advice on that – I’ve no idea! – but, really, who knows?

Finally, for new authors – and for any authors – here’s something I want to say. I was asked at a conference a few months ago what advice I’d give to writers and – boom or recession, print or e-books, fiction or nonfiction – here’s my best shot:

One, if you’re a writer, write. Write every day. Put your butt in that chair. I don’t care how many pages you turn out, just produce something every day. I know one writer who sometimes speaks at writers’ conferences and begins by asking, “How many here are serious about being writers?” Most, of course, raise their hands. “Then what are you doing here? Go back to your rooms, go back to your homes, go write!”

Two, learn the business. As a writer, you are the CEO of your own business. Nobody will care as much as you do. You should make it your job to learn that business. Don’t assume your publisher knows everything. Do you know what one of the most common answers in publishing is, no matter who asks the question? “I don’t know.” The other is, “It depends.” How many copies will the book sell? I don’t know. Will there be a paperback edition? It depends. Will the NYT review it? Gee, I don’t know. Will you spell my name right on the jacket? It depends.

Learn the business. Observe, listen, question. Be flexible. And don’t get hung up on the trivia that sidetracks so many people. Which leads to:

Three, be happy (I’m indebted to Joe Konrath, on whose site I first saw this advice, and which I’ve adapted a little). Do you know what I’m talking about here? Look, you all know people who think like this. I’ll be happy...when I finish my book. I’ll be happy...when I land an agent. I’ll be happy...when I sell that book. I’ll be happy...when I sell three books...when I make 100K a book...when I hit the NYT bestseller list...when I hit #1 on the NYT bestseller list...when I hit #1 for 5 weeks on the NYT bestseller list...when the movie from my book, starring George Clooney, Angelina Jolie and Meryl Streep makes $400 million at the box office and wins best picture....

These people are never happy. Be happy now. Of course, set goals for yourself, then set new goals, move yourself forward. You may never be at perfect peace with this business. All you can do is try your best, learn from failures, and celebrate successes no matter how small. Be happy now.

And for the fun stuff:

You must have more books than you know what to do with. How do you arrange your books on your book shelves – alphabetical, format, subject???

Hahahaha. Arrange, you say? Come, meet my friends, “helter” and “skelter.” Where shall we begin? With the overstuffed bookshelves? The piles on the floor? The stacks on my bedroom window sill and night table?

Best movie you’ve seen in the past six months?

Impossible task #1, but here are three: Tell No One, Happy Go Lucky, Slumdog Millionaire.

Best book you’ve read?

Impossible task #2, but here are two: The Lost City of Z by David Grann. This is nonfiction, about the explorations deep into the Amazon over the last century-plus to find a supposed lost advanced civilization in the jungle. Many men went, and a lot of them never came out again. Grann, a very good journalist, became fascinated with all this, and during the course of his researches, decided...to try it himself. Understand, he describes himself as a guy who lives on the second floor of his building in Brooklyn and, when given the choice, always takes the elevator. But off he went into the jungle himself, and his adventures are intertwined with that of the historical explorers. Good stuff.

And the second is Charlie Huston’s latest The Mystic Arts of Erasing All Signs of Death. Very dark and funny as hell. There’s no one writing like him.

Thank you so much for joining us today!

Wine of the Week: Here's a wine tip in Neil's honor: Chateau de la Negly Coteaux du Lanuedoc. It's a mature wine, dark and inky, and very rich. Excellent stuff.

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Neil S. Nyren is senior vice president, publisher and editor in chief of G.P. Putnam’s Sons. He came to Putnam in 1984 from Atheneum, where he was Executive Editor. Before that he held editorial positions at Random House and Arbor House. Someof the author’s he’s edited are Tom Clancy, Clive Cussler, Jack Higgins, W.E.B. Griffin, John Sandford, Dave Barry, Daniel Silva, Ken Follett, Alex Berenson, Randy Wayne White, Carol O’Connell, James O. Born, Patricia Cornwell and Frederick Forsyth; and non-fiction by Bob Schieffer, Maureen Dowd, John McEnroe, Linda Ellerbee, Jeff Greenfield, Charles Kuralt, Secretary of State James Baker III, Thomas P.M. Barnett, Sara Nelson, and Generals Fred Franks, Chuck Horner, Carl Stiner, Tony Zinni and Wendy Merrill.

Welcome to our new Murderati!!

by Pari

Welcome to our newly designed Murderati website. We hope you like the look.

Before I go any further, let’s all give a huge shout-out to J.T. Ellison and her husband Randy! The two of them designed this entire new site and migrated all the info from our former host. They did so with aplomb, grace and nary a word of complaint.

It was a monstrous task and I think they did a magnificent job.

Thank you so much!

As for today’s topic, I thought I’d keep it simple since everyone is returning from a brief holiday and I’m still recovering from my Passover Seder . . .

I’M LOOKING FOR TWENTY-SOMETHINGS

As most of you know, I’m working on a new project. It’s not like anything I’ve written so far. One of the biggest challenges is that the protags are all in their mid-late twenties. In my own life, I don’t have access to many people that age – especially ones that are single and childless – so I’m looking for television programs (on mainstream TV), books, internet sites, YouTube references, etc. – where I can get a good current feel for this age group.

Any suggestions?

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A note: I have a guest post up at Kaye Barley’s blog today http://meanderingsandmuses.blogspot.com/ and hope some of you stop by to say hello.

Cheers,

Pari