My podcasting venture has begun. I had a conversation last weekend with Ken Lewis, who is the police chief of Rogue River, Oregon; the author of the mystery/suspense novel, Little Blue Whales; and the host of NetDrag, a podcast featuring crime writers. It was a great conversation (although I sound like I have a little marble under my tongue) and those who have listened said they loved it.
We talked about mystery conferences, Oregon writers, THE SEX CLUB, and the difficulties of finding a publisher if your story has young victims or deals with controversial issues. Ken gave my detective an 8 (out of 10) for believability, and that’s high praise coming from a police officer. He also said my story/mystery stumped him and that he felt Detective Jackson’s bafflement and anguish every step of the way.
Check it out here: NetDrag
I was a little nervous about being recorded, but the conversation was so relaxed and enjoyable, I soon forgot about that. For the mechanics of it, we both called in to a service that he's subscribed to that records the conversations and allows him to make minor edits.
My next step is to do my own podcasting by recording the first chapter of THE SEX CLUB and making it available. I have everything in place but the time.
Saturday, November 29, 2008
Monday, November 24, 2008
When Is an Old Story a New Story?
Most novelists who have been writing for a while have an unpublished story or two that they haven’t given up on. You keep thinking that if you could just find the right twist or revise a character you can make it marketable. But how much do you have to change the manuscript to consider it a new story? Can you send a revised novel with a new name to the same editors and agents as though it were something fresh for them to read?
Or what about his scenario? You write a great sci-fi story called Death March into Armageddon. Publishers seem to like it, but no one offers you a contract. A few years later, you publish the story with a small press that goes out of business shortly after. Your novel only sells a few dozen copies. Five years later, you get a great idea for how to make the story better. You make those changes, spruce it up with a new name like Heavenly Invasion and submit it to a different publisher.
Can you consider this work to be “previously unpublished”? Is there a legal definition for how much a story has to change to be considered a new work? Do you have a moral or legal obligation to tell the new publisher about the manuscript’s history and the two dozen copies of the previous version that are still out there somewhere?
Has anyone been in this situation? How did you handle it?
Or what about his scenario? You write a great sci-fi story called Death March into Armageddon. Publishers seem to like it, but no one offers you a contract. A few years later, you publish the story with a small press that goes out of business shortly after. Your novel only sells a few dozen copies. Five years later, you get a great idea for how to make the story better. You make those changes, spruce it up with a new name like Heavenly Invasion and submit it to a different publisher.
Can you consider this work to be “previously unpublished”? Is there a legal definition for how much a story has to change to be considered a new work? Do you have a moral or legal obligation to tell the new publisher about the manuscript’s history and the two dozen copies of the previous version that are still out there somewhere?
Has anyone been in this situation? How did you handle it?
Thursday, November 20, 2008
A Break From Reality
So Sarah Palin and Joe the Plumber both have book deals, with Sarah’s rumored to be worth $7 million. These kinds of book contracts are what make hard working, talented, undiscovered, underpaid writers (like me) CRAZY! That’s all I have to say. Except, maybe, WTF!
If you’d like to hear more from me today, check Pop Syndicate where I have a fascinating author Q/A with Angela Wilson.
http://www.popsyndicate.com/books
If you’d like to hear more from me today, check Pop Syndicate where I have a fascinating author Q/A with Angela Wilson.
http://www.popsyndicate.com/books
Tuesday, November 18, 2008
The Problem with Unions
I had been thinking about unions lately and wondering if they have become counterproductive. Then yesterday I heard that autoworkers at General Motors make around $71 an hour when you include benefits. Holy shit! No wonder the company is going broke. This is clearly not a sustainable business model.
And then there are the teachers’ unions, which many people believe keep bad teachers in their jobs and contribute to the decline in education. Before you get all riled up, I support teachers and think they should be better paid. (I wouldn’t teach middle school for any amount of money.) But I also think teachers should be held accountable for the job they do, and those that don’t cut it should be fired—like anyone else.
So what does this have to do with writers or books? Not much. But independent writers have no market protections and no real benefits (which is the case with most low-wage workers). Of course, there is a Writers’ Guild, but it’s mostly for scriptwriters who are already making good money and can afford the $2500 joining fee. Some writers are represented by agents, but an agent can’t guarantee anything. Health benefits? Hah! Paid holidays? Dream on. Livable hourly wage? If I ever did the math on my novels, it would make me cry.
I don’t begrudge anyone else these benefits just because I currently don’t have them. But as a taxpayer (who pays teachers’ and government workers’ salaries), I expect my money to be invested wisely. So if we the people bail out GM, its employees should have to live in the real world with the rest of us where there are no unions, no guarantees, and no one is fighting for you—but you. That’s life.
And then there are the teachers’ unions, which many people believe keep bad teachers in their jobs and contribute to the decline in education. Before you get all riled up, I support teachers and think they should be better paid. (I wouldn’t teach middle school for any amount of money.) But I also think teachers should be held accountable for the job they do, and those that don’t cut it should be fired—like anyone else.
So what does this have to do with writers or books? Not much. But independent writers have no market protections and no real benefits (which is the case with most low-wage workers). Of course, there is a Writers’ Guild, but it’s mostly for scriptwriters who are already making good money and can afford the $2500 joining fee. Some writers are represented by agents, but an agent can’t guarantee anything. Health benefits? Hah! Paid holidays? Dream on. Livable hourly wage? If I ever did the math on my novels, it would make me cry.
I don’t begrudge anyone else these benefits just because I currently don’t have them. But as a taxpayer (who pays teachers’ and government workers’ salaries), I expect my money to be invested wisely. So if we the people bail out GM, its employees should have to live in the real world with the rest of us where there are no unions, no guarantees, and no one is fighting for you—but you. That’s life.
Wednesday, November 12, 2008
Will Big-Name Authors Go Rogue?
I read an article about a speech Simon & Schuster president and CEO Carolyn Reidy gave at a publishers’ convention. She mostly talked about the state of the industry and how publishers have to find ways to cut costs. Then she said a couple of interesting things. First she mentioned “powerful retailers who have ambitions to be publishers.” Does she mean Walmart and Costco? How would they make the transition? They would need big-name authors to sign directly with them, and they would have to allow distribution in bookstores as well. But this could happen, especially with nonfiction authors.
Then Reidy talked about self-publishing and wondered, “is it only a matter of time before one of the major authors actually strikes out on his or her own?”
That would be an interesting development. What would motivate a best-selling fiction author to step away from his/her publisher and self-publish? An opportunity to make more money? Probably not. If this ever happens, the dispute will likely be about content. Maybe the issue will be an entire story that the writer wants to bring to market, but the publisher won’t because it’s controversial or outside the writer’s genre. Or maybe it will be an environmental issue. An author who refuses to have his book published in hardback form because so many are returned and shredded. And his publisher won’t concede, so he self-publishes in trade paperback with smaller print runs that sell out each time.
What if such a venture proved successful, and the author was able to reach a wide audience and make money? Would more authors follow? What would it mean to the industry? Would publishers change their business model to keep authors onboard? Would it finally blur the distinction between traditionally published and self-published authors? And who will be first? Stephen King has already stepped out on his own with serial e-content (and made money), and I believe in time more authors will do the same.
It’s fun to speculate. What do think?
Then Reidy talked about self-publishing and wondered, “is it only a matter of time before one of the major authors actually strikes out on his or her own?”
That would be an interesting development. What would motivate a best-selling fiction author to step away from his/her publisher and self-publish? An opportunity to make more money? Probably not. If this ever happens, the dispute will likely be about content. Maybe the issue will be an entire story that the writer wants to bring to market, but the publisher won’t because it’s controversial or outside the writer’s genre. Or maybe it will be an environmental issue. An author who refuses to have his book published in hardback form because so many are returned and shredded. And his publisher won’t concede, so he self-publishes in trade paperback with smaller print runs that sell out each time.
What if such a venture proved successful, and the author was able to reach a wide audience and make money? Would more authors follow? What would it mean to the industry? Would publishers change their business model to keep authors onboard? Would it finally blur the distinction between traditionally published and self-published authors? And who will be first? Stephen King has already stepped out on his own with serial e-content (and made money), and I believe in time more authors will do the same.
It’s fun to speculate. What do think?
Monday, November 10, 2008
Giving It Away (aka Free Books!)
Every week I give away a free copy of The Sex Club on my website. I gave away 75 copies of The Sex Club at Bouchercon, and I’ve sent hundreds of copies to bookstores, book clubs, and readers who asked for it.
Meanwhile, I have a collection of new/nearly new paperbacks that have nowhere to go. Our local Book Exchange went out of business, so I’ve decided to give them away. To win one of these titles, simply e-mail me and ask for it. (Click the contact link on the right of this page.) I’ll randomly pick winners at the end of the week. Don’t forget to enter The Sex Club giveaway. (And you might consider ordering a few copies as the perfect stocking stuffer for your siblings and co-workers.)
Meanwhile, I have a collection of new/nearly new paperbacks that have nowhere to go. Our local Book Exchange went out of business, so I’ve decided to give them away. To win one of these titles, simply e-mail me and ask for it. (Click the contact link on the right of this page.) I’ll randomly pick winners at the end of the week. Don’t forget to enter The Sex Club giveaway. (And you might consider ordering a few copies as the perfect stocking stuffer for your siblings and co-workers.)
- Fault Line (by Barry Eisler)
- The Guards (by Ken Bruen)
- A Nail Through the Heart (by Timothy Hallinan)
- What the Dead Know (by Laura Lippman)
- The Woods (by Harlan Coben)
- The Innocent Man (by John Grisham)
- The Blade Itself (by Marcus Sakey)
- Bad Luck and Trouble (by Lee Child)
- Deadly Errors (by Allen Wyler)
- Kidnapped (by Jan Burke)
- Safe & Sound (by J.D. Rhoades)
- Money Shot (by Christa Faust)
- Go Go Girls of the Apocalypse (by Victor Gischler)
- The Black Path (by Asa Larsson)
- The Secret History (by Donna Tartt)
Wednesday, November 5, 2008
Early Thanksgiving
I’m celebrating Thanksgiving today (sans turkey) because I have so much to be grateful for that it can’t wait.
So today (and going forward), I am grateful for these things and more. I posted this list next to my computer where I’ll see it first—and last—thing every day.
- We have a new president! A thoughtful Democrat who will value the things I value and raise our standing in the world.
- I have a new book contract! My recently finished story, Secrets to Die For, will be published for people to buy and read. Oh happy day!
- I have three great sons, who all contacted me yesterday (calling, texting, visiting) to let me know they had voted (and for Barack Obama).
- My husband has a job, and I have some freelance work coming. We will stay solvent!
- My wonderful husband has worked hard to resolve my exercise issues, and, as a result, my chronic knee pain is diminished!
So today (and going forward), I am grateful for these things and more. I posted this list next to my computer where I’ll see it first—and last—thing every day.
Saturday, November 1, 2008
New Day, New Goals
Last January, I set two main goals for the year: 1) establish a freelance fiction editing business and 2) write and sell a second Detective Jackson novel. With the help of a layoff from my job, I sort of accomplished the first. And yesterday, I signed with Echelon Press to publish Secrets to Die For next September, so I can happily check off the second goal.
And I did it with two months to spare, so now I can write like crazy on the third Jackson story during November, also known as National Novel Writing Month. I don’t expect to finish the novel in 30 days, but if I have 30,000 words down by December, I’ll be very happy. (And yes, technically it’s a new goal.)
I’ve also come to accept the idea that the publishing industry is moving—slowly—away from paper products. In fact, I bought a Kindle the other day (I still have a credit card!), something I never thought I would do. (It hasn’t arrived, so I can’t report on it yet, but I will eventually.) So now I’m thinking seriously about nonpaper media, with ideas such as 1) creating an audio version (podiobook) of The Sex Club, 2) creating a downloadable e-book of a story I wrote years ago and never tried to sell, and 3) podcasting the first chapter of several of my stories. All viable projects—all time consuming. But I have two months to spare this year, so why not branch out?
And I did it with two months to spare, so now I can write like crazy on the third Jackson story during November, also known as National Novel Writing Month. I don’t expect to finish the novel in 30 days, but if I have 30,000 words down by December, I’ll be very happy. (And yes, technically it’s a new goal.)
I’ve also come to accept the idea that the publishing industry is moving—slowly—away from paper products. In fact, I bought a Kindle the other day (I still have a credit card!), something I never thought I would do. (It hasn’t arrived, so I can’t report on it yet, but I will eventually.) So now I’m thinking seriously about nonpaper media, with ideas such as 1) creating an audio version (podiobook) of The Sex Club, 2) creating a downloadable e-book of a story I wrote years ago and never tried to sell, and 3) podcasting the first chapter of several of my stories. All viable projects—all time consuming. But I have two months to spare this year, so why not branch out?
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