We’d Be Fools Not To

Sarah Weinman pointed me to this fascinating interview with Robert B. Parker. I have a lot of emotional attachment to the Spenser novels… I loved reading the early ones and my first job in television was writing an episode of “Spenser: For Hire.” (by the way, that’s a picture of me with Parker at the Edgars a few years back). Leeparkerop

The comment in the interview that sticks with me the most, and apparently Sarah as well, is:

Parker: I write 10 pages a day. When I’m done with it that day, it’s what you see on the printed page. Maybe the spelling is improved or the punctuation changed, but essentially you’re looking at my first draft. I don’t do a second draft.

That’s no surprise to anybody who has been reading him lately. I listened to four of his unabridged books-on-tape over a relatively short period… BAD BUSINESS, STONE COLD, GUNMAN’S RHAPSODY, and DOUBLE PLAY…and was struck by how much he repeats the same dialogue, observations, and situations over and over, particularly ending chapters with the hero, or his girl, saying “We’d be fools not to.” That said, I loved listening to all four books. His lean, snappy, dialogue-heavy writing style is perfectly suited to the audiobook medium…and his regular performers, Joe Mantegna (the Spensers) and Robert Forster (the Jesse Stones) in particular, are terrific.

I suspect if I’d read the latest Parker books, I wouldn’t have enjoyed them as much and the repeated dialogue and situations would have grated on me more. Somehow, you’re a lot more forgiving to an author when you’re a captive audience stuck in gridlocked traffic.

Booksigning Hell

My brother Tod, in this weeks Las Vegas Mercury, tells a few of his booksigning horror stories. Every authors has’em. I do, too. Here are a couple:

I did a signing in a now-defunct Laguna Beach bookstore. Not a single soul showed up. So the store clerk plopped herself down in the seat beside me.

“This is great,” she said.

“How so?” I replied.

“I can read you some of my erotic poetry,” she flipped open a thick notebook filled with illegible scrawl, and began to read. “Hello, He throbbed…”

I looked at my watch. I was scheduled to be there another hour-and-thirty minutes. And my wife had my car…

“My wife should be here any minute,” I said.

Her breasts swelled, waves of lust on a sea of passion…”

* * * * * *

Another signing, this one at a Waldenbooks in the South Bay, where I was stuck at a cardtable at the front of the store. Only one person even approached me. She wanted to know where the diet books were.

After two hours of boredom, I approached the manager and thanked her for having me. “Would you like me to sign the stock?” I asked.

She looked at me in horror. “No way!”

“Why not?” No one had ever said no to me signing stock before.

“None of our customers are going to buy a marred book!”

* * * * * *

I fictionalized one of my favorite bad booksignings for my short story REMAINDERED, which appeared in “Ellery Queen Mystery Magazine,” a few years back. Rather then tell it like it was, here’s a bit from the story instead…

The voice of a new generation sat at the end of aisle 14, where the house wares department ended and the book section began. He peered over the neat stack of paperbacks on the table in front of him and, once again, as politely as he could, told the irritable woman in the orange tank top and slouchy breasts that he had absolutely no idea where she could find wart remover.

“You’re not being much of a help,” she snapped, leaning one hand on her shopping cart, which was filled with disposable diapers, Weight Watchers Frozen Dinners, Captain Crunch, a sack of dry dog food, a box of snail poison and three rolls of paper towel. “Look at this, it’s doubled in size just this week.”

She thrust a finger in his face, making sure he got a good look at the huge wart on her knuckle.

“I don’t work here,” he replied.

“Then what are you doing sitting at a help desk?”

“This isn’t a help desk. I’m an author,” he said. “I’m autographing my book.”

She seemed to notice the books for the first time and picked one up. “What’s it about?”

He hated that question. That’s what book covers were for.

“It’s about an insomniac student who volunteers for a sleep study and falls into an erotic relationship with a female researcher that leads to murder.”

“Are there cats in it?” she asked, flipping through the pages.

“Why would there be a cat in it?”

“Because cats make great characters,” she dropped his book back on the stack, dismissing it and him with that one economical gesture. “Don’t you read books?”

“I do,” he replied. “I must have missed the ones with cats.”

“I like cat books, especially the ones where they solve murders. If you’re smart, you’ll write a cat book.” And with that, she adjusted her bra strap and rolled away in search of a potion to eradicate her warts.

Booksigning Hell

Any author who was published back in the pre-ebook days can tell you stories about some horrible booksignings. I did a signing years ago in a now-defunct Newport Beach bookstore. Not a single soul showed up. So the store clerk plopped herself down in the seat beside me.

“This is great,” she said.

“How so?” I replied.

“I can read you some of my erotic poetry,” she flipped open a thick notebook filled with illegible scrawl, and began to read. “Hello, He throbbed…”

I looked at my watch. I was scheduled to be there another hour-and-thirty minutes. And my wife had my car…

“My wife should be here any minute,” I said.

Her breasts swelled, waves of lust on a sea of passion…”

* * * * * *

Another signing, this one at a Waldenbooks in the South Bay, where I was stuck at a cardtable at the front of the store. Only one person even approached me. She wanted to know where the diet books were.

After two hours of boredom, I approached the manager and thanked her for having me.

“Would you like me to sign the stock?” I asked.

She looked at me in horror. “No way!”

“Why not?” No one had ever said no to me signing stock before.

“None our customers are going to buy a marred book!”

* * * * * *

I fictionalized one of my favorite bad booksignings for my short story REMAINDERED, which appeared in “Ellery Queen Mystery Magazine,” a few years back. Rather then tell it like it was, here’s a bit from the story instead…

The voice of a new generation sat at the end of aisle 14, where the house wares department ended and the book section began. He peered over the neat stack of paperbacks on the table in front of him and, once again, as politely as he could, told the irritable woman in the orange tank top and slouchy breasts that he had absolutely no idea where she could find wart remover.

“You’re not being much of a help,” she snapped, leaning one hand on her shopping cart, which was filled with disposable diapers, Weight Watchers Frozen Dinners, Captain Crunch, a sack of dry dog food, a box of snail poison and three rolls of paper towel. “Look at this, it’s doubled in size just this week.”

She thrust a finger in his face, making sure he got a good look at the huge wart on her knuckle.

“I don’t work here,” he replied.

“Then what are you doing sitting at a help desk?”

“This isn’t a help desk. I’m an author,” he said. “I’m autographing my book.”

She seemed to notice the books for the first time and picked one up. “What’s it about?”

He hated that question. That’s what book covers were for.

“It’s about an insomniac student who volunteers for a sleep study and falls into an erotic relationship with a female researcher that leads to murder.”

“Are there cats in it?” she asked, flipping through the pages.

“Why would there be a cat in it?”

“Because cats make great characters,” she dropped his book back on the stack, dismissing it and him with that one economical gesture. “Don’t you read books?”

“I do,” he replied. “I must have missed the ones with cats.”

“I like cat books, especially the ones where they solve murders. If you’re smart, you’ll write a cat book.” And with that, she adjusted her bra strap and rolled away in search of a potion to eradicate her warts.

Detecting LA through Mystery Writing

The excellent blog LAObserved pointed me to this interesting book review by my friend Paula L. Woods, author of the Charlotte Justice mysteries.

For her first novel, “Summer of the Big Bachi,” Naomi Hirahara has chosen as her hero another iconographic albeit little-known figure in the Los Angeles landscape — the Japanese American gardener. [The hero] traverses the breadth of Japanese American Los Angeles, treating readers to snippets of the Japanese language in addition to well-drawn scenes in Crenshaw District homes still occupied by elderly Japanese, San Fernando Valley ramen shops, hostess bars on Sawtelle Boulevard that cater to Japanese businessmen, Gardena bowling alleys and illegal card games in Little Tokyo.

It’s not so much the book itself that struck me, but Paula’s observations about how some writers are using the mystery as a tool to examine LA from fresh perspectives.

The best Los Angeles crime fiction is distinguished by its ability to transport readers to unfamiliar corners in our multicultural metropolis. The house-proud black neighborhoods sleuthed by Walter Mosley’s midcentury detective Easy Rawlins, the gay and lesbian enclaves of Katherine V. Forrest’s Kate Delafield police procedurals, the Persian American elite and other diverse groups investigated by John Shannon’s P.I. Jack Liffey all leave readers more knowledgeable than they started about people seen only from a distance and lives imagined only in the broadest of outlines.

I’ve read Mosley, of course, but I’ll have to check those other authors out… as soon as I break out of my mystery reading funk.

Mystery Fatigue

I’ve been reading a lot of “vintage” fiction lately… Gold Medal paperback from the 50s & 60s by Harry Whittington, Charles Williams, Dan Marlowe and the like. I’ve also been devouring westerns by Elmer Kelton, AB Guthrie and Frederick Manfred, among others.

I’ve become burned out lately on private eye novels, police procedurals and thrillers. Maybe I’ve just read too many of them…and maybe they are just getting harder and harder to tell apart. I’m tired of seeing all the clues way ahead of the hero… and knowing who the murderer from the get-go. Maybe I just spend way too much time writing, watching and reading mysteries to get much of a thrill out of them these days. I’m even avoiding some of my favorite authors… buying books by Ian Rankin, Robert Parker and others and just sticking them on the shelf until my enthusiasm and interest returns.

As I wrote in a comment on Sarah Weinman’s blog

I’m so tired of the cliches common to police novels on both sides of the pond… the “ex-alcoholic” or nearly alcoholic cop who either has a bitchy ex-wife who doesn’t understand him or is incapable of sustaining a relationship because he brings home the job. I’m also tired of the rogue cop whose commanding officer is a constant obstacle and a police bureaucracy that does its best to undermine the hero at every turn. You’d think after Bosch and Rebus had proved their crime-solving brilliance half-a-dozen times, their superiors would begin to respect their skill and intuition. The constant repeating of that played-out conflict becomes numbing after a while.

There’s a real sameness after a while to the Bosch and Rebus books… mainly, because their characters and professional situations are almost identical. I’m a big fan of both authors but I had to take a break from Rebus for a few novels… and Michael Connelly, luckily for me, saved me the trouble by breaking with the format and making Bosch a PI for a time.

I’ve also OD’d on the wise-cracking, tough-guy PI with the Hawk-esque, violent sidekick. As if Spenser hadn’t been copied enough, Parker himself closed him character for the Sunny Randall books (her sidekick is gay, but just as Hawk-esque and violent).

Maybe I’m just buying the wrong books and need to break some of my bad habits…

But I sure am getting a charge out of those vintage paperbacks, particularly Harry Whittington’s work. There’s something fresh and new, oddly enough, about the older stuff. Most of what I’m reading, on the advice of Ed Gorman and Bill Crider, is also edgy, sexy, violent and surprising. Sure, there are a few cliches, dated references, and musty phrases… but by and large, I’m finding the books far more compelling the what’s hot in the genre today.

Scammer of the Month Reponds

A while back, I criticized Bookreview.com as a scam for offering to review books for a fee. Heather Froeschl, associate editor of the service, has responded and thinks I was way out-of-line (I wonder if she’s also a member of the Colonial Fan Force, "the power brokers of the new Babylon"?)

Every writer providing a review deserves to be paid for the service. This does not mean paying for a rave, it means paying for the reviewer’s time and written word.

Sure, a reviewer should be paid. By her editor, not by the person whose work she is reviewing.

My goal is to give authors what they ask for…a review of their work. Sometimes I have to give bad news, sometimes I do give a rave, but in the end, authors respect what I have said about their book. Can you buy MY respect? Nope. But you can get a review from us within 14 business days. And that’s no scam.

Heather argues that the reviewers, despite being paid by the author or publisher for their comments, can maintain their objectivity and journalistic integrity. Paying for a review, she says, doesn’t guarantee a rave or that the reviewer will tread gently.

Okay, for the sake of argument, I’ll take her word for that.

How could anybody respect a book review that’s paid for by the author or publisher? How could anybody trust a critic who takes cash from the subjects of her reviews?

Of course the assumption is that a review that’s bought and paid for will be positive. If a  book gets a negative review from her,  I’d have to figure the author’s check bounced…or he wouldn’t kick in the extra $50 for a rave.

She doesn’t seem to get why anyone would question the validity of a review that’s paid for… or a critic who is in the pocket of the author or publisher. Heather also doesn’t seem to get the ethical problems, either…or how the practice creates a glaring conflict of interest.

Would you respect a movie review from a critic hired by the studio? Would you trust Consumer Reports on their review of a car, appliance, or other product if they were paid for the review by the manufacturers? Would you respect a restaurant review from a critic who was paid by the chef?

Apparently, Heather would.

Lawrence Sanders

I went to the anniversary party at The Mystery Bookstore today, and a few of us authors started talking about ghostwriters. One of the interesting issues that came up is the story of Lawrence Sanders and Vincent Lardo.

You may recall, some years ago a reader sued a publisher after discovering the “McNally” book he bought by Sanders was actually written by Vincent Lardo after Sanders’ death. The reader, as I recall, won the case and the publisher had to give refunds to anyone who bought a book. From that point forward, all the “MCNally” books had to be credited to Vincent Lardo.

Now here’s the fascinating twist. The publisher is going to be reissuing the early Sanders “McNally” novels… and it turns out the ALL the McNally novels, even when Sanders as alive, were actually written by Lardo. In other words, they were ghostwritten from the start! So now, under the terms of the lawsuit, the early McNally novels now have to say “By Vincent Lardo writing as Lawrence Sanders.”

So the whole lawsuit was a pointless and more than a little bit ironic.

Michael Gruber is Robert Tannenbaum??

Deadly Pleasures is reporting an interesting rumor…

Michael Gruber was reportedly ineligible for an Edgar Award first novel consideration because he has ghost-written other novels previously. Someone told me that he had written some of the Robert Tanenbaum novels. Has anyone else heard that?

I’ve seen Robert Tannenbaum at signings. I wasn’t aware that he had such a large following that he needed a ghostwriter to churn out his books. I mean, is he really in the same league as Clive Cussler? Tom Clancy? James Patterson? At least those titans credit their co-authors.