It’s a Wrap

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Maddie and I went to the Monk Wrap party last week. Of course, all thePb170040_1
pictures that Monk creator Andy Breckman took of me with Tony Shalhoub didn’t turn out. Pb170041
But here are a few that did…that’s me with Andy Breckman, Jason Gray Stanford and my daughter with Stanley Kamel. (Click on the pictures for larger images)

Mr. Monk and the Finished Manuscript

I’ve just emailed the finished manuscript for the fourth Monk novel, MR. MONK AND THE TWO ASSISTANTS, to my editor in New York. The book will be published in hardcover in July 2007. Here’s what the cover copy says (yes, the cover was completed before the book):

Only a special kind of person can keep up with Monk’s
brilliant, if idiosyncratic, methods. One such person is his former assistant,
Sharona.  And now that her ne’er-do-well husband has been arrested for
murder, she’s back in San Francisco, ready to reclaim her place in Monk’s
extremely well-ordered life.

His current assistant, Natalie, is not at all pleased
with this turn of events. As little as her job pays, she’s grown fond of
Monk and would rather not get fired.

While Monk tries to maintain a delicate balance between the
two women,  he discovers a few unsettling snags in the case against
Sharona’s husband.  With bestselling crime novelist Ian Ludlow nosing
around, and other cases taking his attention, Monk may be up against a killer
who not only understands him, but is one step ahead….

The Double Life is Finally On Sale. You Can Breath Again.

Dm7a
In case I forgot to mention it, my seventh DIAGNOSIS MURDER book, THE DOUBLE LIFE, is now available in finer bookstores, truck stops, and places of worship nationwide.
I like to think of  THE DOUBLE LIFE as the second book in an unofficial trilogy that began with DIAGNOSIS MURDER #5 : THE PAST TENSE and that will conclude in May 2007 with the eighth and final DM novel, the appropriately titled THE
LAST WORD
.

You can order your very own signed and/or personalized copy of THE DOUBLE LIFE from the friendly mystery babes at Mysteries To Die For, who will gladly send your order anywhere in the world…and to most State and Federal prisons.

I Should Kill More Critics

I killed Chadwick Saxelid in the latest DIAGNOSIS MURDER novel, but that didn’t stop him from giving THE DOUBLE LIFE a great review.

For the seventh book in his series of Diagnosis Murder tie-ins, author Lee Goldberg has concocted a mystery concept so unnerving, it would even give veteran medical thriller writer Robin Cook the willies.

[…] mixing an emotionally nuanced character
study (of Steve Sloan, this time around) with an intricate puzzle of a
mystery, where finding out howdunit is just as essential, and
entertaining, as finding out whodunit.  Like the best of series
fiction, The Double Life both satisfies and leaves the reader hungry for more.

Cross-collateralizing Royalties

There’s a fascinating and informative discussion going on (as usual) at Joe Konrath’s blog. Today my friend is talking about basketing or "cross-collateralization" deals, which he had on his first three books.

My royalty statements confirm this. As of my statement of June 2006, both Whiskey Sour and Bloody Mary have earned out their advances. They did this on the paperback releases.

Unfortunately,
I won’t see any royalties until next year, because of basketing.
Basketing is a form of joint accounting. When books are basketed in a
contract, the publisher doesn’t pay out royalties until all of the
books have earned out. So the earnings from Whiskey and Bloody are
paying the advance for Rusty Nail. Which is fine. By next year, I should be in a royalty situation. This is a good thing.

Author PJ Parrish left a comment, noting in part:

This cross-collateral accounting is, I am told, simply an easy way for
a publisher to withhold money due to a writer while spreading its risk
over several books.

For example, you might have two books with
$10,000 advances, but if one does great and the second poorly, you
still won’t see any royalty money until the entire $20,000 advance
earns out. Why shouldn’t each book stand on its own merits? Why should
an author be penalized for the success of one and not another when so
many factors that go into that success are out of the author’s hands?
I’m sorry, but I don’t buy it and I don’t think any author should.

I’m with her on this.  My DIAGNOSIS MURDER books are cross-collateralized and so are my MONKS.
It’s standard in multiple book tie-in deals and not something I had the
leverage to exclude from my contract. I wish I could.  It benefits the
publisher and screws the writer. Which brings me to nit-picking one of
Joe’s comments:

I’ve said, from the very beginning of my career, that my goal is to make money for my publisher.  For my first two books, I’m doing just that. It will be interesting to see where it takes me."

My
goal is to make money for me. Obviously, that means making money for
my publisher, too. But enriching my publisher and enriching myself
should go hand-in-hand. That doesn’t happen in cross-collateralization
deals or when you spend your advances…and then some…on promotion.
It might pay-off in the long run, but if you want to make a living as a
writer, it’s a delicate balance.  Joe made another comment that I don’t entirely agree with:

Royalties are like found money. You’re earning on work you did years
ago. Your publisher also likes royalties. They no longer have to spend
marketing dollars on your backlist, but it keeps generating income.
Earning out an advance is a good indicator that the book made a profit,
and the longer it stays in print, the more profitable it becomes.

I disagree with his first line but I agree with everything else. Royalties are not found money, it’s money you’ve earned, it’s how you make a living. And in cross-collateralization deals, the publisher is keeping your money from you.

Royalties are where the real money for an author is over the long run. Yes, you have to promote your books to sell enough to generate royalties, but again…it’s a balance. 

If you’re making a living as
a writer, advances and royalties (or script fees and residuals in TV)
are how you pay the bills. If you spend your advance on promotion, and
your royalties are caught up in cross collaterization, you are
succeeding in making money for the publisher…and screwing yourself.

I
am not saying this is the case with Joe, and I certainly think
self-promotion is important (just look at me at what I do), but I think it’s a mistake for newbie
writers to necessarily follow Joe’s example unless they have a
lucrative day job.

Giddy Up.. or Giddy Down?

I received this email from Chuck:

I read on your blog some comments about Westerns going the
way of the buffalo. However, I’ve come across some data that
indicate otherwise. Nielsen BookScan, which covers about 70% of U.S.
book sales, says Western sales have increased by 9% in 2005 and 10% thus far in
2006. Books in Print says the number of Western titles produced
has increased from 543 in 1995 to 901 in 2005. Would you or your knowledgeable readers have any idea
why these numbers contradict the prevailing opinion that the market for Western
literature is dying?

Good question. So I asked three western writers I know. Here are their responses:

"My understanding is that all but two or three publishers have folded
their western lines. I assume this is because that westerns don’t sell
well enough to make them worth the trouble.
"

"This contradicts all I’ve heard. Does Books in
Print include vanity-press titles? I believe it does. I do know that a flood of
self-published and vanity westerns have been pouring out of XLibris, iUniverse,
etc. (Spur Award judges are telling me that they’re getting mostly vanity press
westerns now.) This also says nothing about sales per title. Are
more books slicing a thinner market? I do know that most western lines have died
off, or have radically cut back. Even Forge is cutting its western line to the
bone. I would need a lot more data than raw numbers of
titles before coming to any conclusions."

"This is interesting, but I think those numbers are
deceptive.  Kensington has been pumping out the William W. Johnstone
reprints by the truckload, and they’ve been selling very well. Throw in
the continued popularity of L’Amour, the Ralph Compton books actually written by
other authors, Leisure’s reprints of Brand, Flynn, Horton, and other pulp
authors, and I still think the market is pretty bad for living Western authors
who want to publish under their own names.  I know two or three guys who
were publishing regularly under their names a few years ago who are now just
doing house-name books because those are the only contracts they can get. 
And with only four house-name series left and sales on those dwindling,
prospects don’t look good for any of us."

Tico Changes Course

Tico Publishing  is no longer pitching themselves as both "a publisher and literary agent,"  limiting manuscript submissions  to "non-agented" writers, or selling reviews and editorial services. The publisher, Arnold Tijerino, took this action today in response to criticisms leveled against his company here  and on other forums. In his comments to me, he wrote, in part:

I appreciate the positions and assumptions that are being made about TICO Publishing, based on the "services" we offer, both here and the aforementioned thread on another website. I assure you, had we been aware that by offering such services, we would be lumped in with "scammers" and "vanity presses", we would never have offered them in the first place. TICO has never accepted, nor will it accept, any money to publish a book we’ve contracted. […]I also understand that perception is reality. While we don’t agree that offering those services was wrong, we do now see how it could lead people to the wrong impression about our organization.

Some of the other services we offered have led to misperceptions about Tico’s philosophy, and thrown our reputation into question.  As a result, we’ve cancelled those other services. Our exclusive focus will be on receiving submissions from aspiring authors and finding the best new voices to put into print.

All publishing companies were small at some point in time. We’re just the new guy on the block.

He also concedes that he has no previous experience whatsoever as either a publisher or literary agent. His background is in sales and marketing. Even so, I would think that experience would have taught Mr. Tijerino that it’s necessary to learn about the ethical standards and accepted business practices in your field before starting to do business.  That said, I applaud his efforts to make things right at Tico and to repair the negative image of the company that presently exists. It’s honorable and encouraging.

Another reason for me to love Hawaii

I got a very nice review today from Burl Burlingame in the Honolulu Star Bulletin for MR. MONK GOES TO HAWAII.  He writes, in part:

This is a real novel, not a fleshed-out screenplay, as it is told in
the first person of Natalie, which is fascinating because she’s still
relatively undeveloped on the show. The story, as it is, unfolds from
her point of view and gives the character an inner life and complexity.
I came away from the book with a greater appreciation of the back-story
of Natalie’s character.

[…]"Mr. Monk Goes to Hawaii" is an entertaining and ruefully funny
diversion that stars one of television’s best-loved characters, and
because it’s a mystery novel, it will stick long after you’ve forgotten
the plot of the latest "Monk" episode.

Thanks so much, Burl!

The Last Word

Dmlw3Here’s is the cover for DIAGNOSIS MURDER #8: THE LAST WORD, coming out next Spring. It’s likely, as the title suggests, to be the final book in the series…and I can promise you that it’s a worthy finale.  Dr. Mark Sloan and company face an old adversary and their biggest challenge yet.