On Other Blogs

Mr. Monk and Mayhem

by

There’s a Q&A interview with me today over at the MAYHEM & MAGIC blog about me and my latest MONK novel. Here’s a peek:

Lee, tell us about a bit about your latest book and your writing schedule

[…]My writing schedule isn’t set in stone. I basically work on my books whenever I am not working on a script, or vice-versa. I have about four months to write each book, so I write anywhere and everywhere I can put pen to paper (or fingers to a keyboard). No matter what I am writing, I tend to do my best work between 8 pm and 2 am. Don’t ask me why…my brother Tod is the same way.

Will you be guest speaker at any mystery conferences this year?

I’ll be attending Left Coast Crime in L.A, the 3rd Annual Forensic Trends: Psychiatric & Behavioral Issues Conference in Las Vegas, the International Mystery Writers Festival in Owensboro KY, Bouchercon in San Francisco, and the Professional Pierce Brosnan Impersonator Convention in my living room.

Mr. Monk is Flattered

by

I was pleased to discover today two great reviews for MR. MONK IN TROUBLE, which comes out tomorrow. Author, blogger, and man-about-town Bill Crider wrote, in part:

The relationship between Monk and Natalie has always been as interesting to me as the mystery plots in these novels, and it takes a new and intriguing turn in this installment […]Mr. Monk in Trouble is another fine, hilarious entry in Lee Goldberg's series, and I read it with a smile on my face, except for the times I laughed out loud. I recommend it to fans of the TV series, and to anybody else.

And James Reasoner chimed in by saying, in part:

this is probably my favorite Monk novel so far, and that's saying a lot. It comes out tomorrow, I believe, so you'll have plenty of time to pick up some as Christmas presents for your friends and family who are Monk fans. They'll love you for it.

I like to think they would have been just as kind even if I hadn't thanked them both in the acknowledgments for their help with the "western" aspects of the book.

Nude Dudes

by

Back in the mid-80s, when I was still a freelancer writer, I wrote hundreds of articles for STARLOG and their sister magazines, including FANGORIA, COMICS SCENE, and ALLURE, their feeble attempt at their own version of PLAYGIRL. Just what the world needed — a porn magazine for women published by Trekkies. In honor of Turkey day, Starlog editor David McDonnell blogged about ALLURE, his company’s biggest turkey ever. He wrote, in part:

…perhaps we might call it pseudo-porno, a magazine with pictures of naked people that aspired to sleaziness but apparently wasn’t quite sleazy enough. It was intended by then-Co-Publishers Norman Jacobs & Kerry O’Quinn to compete with PLAYGIRL and feature nude dudes while appealing to a readership of women and gay men.[…]ALLURE ran at least one celebrity interview per issue and needed a writer. Asked for nominees, I suggested my LA-based contributor William Rabkin, who tackled Dudley Moore for ALLURE in a chat timed (believe it or not!) to that most inappropriate of movies, SANTA CLAUS (1985). Yes, SANTA CLAUS in the porno mag. WHAT were they thinking? Also, Moore played an elf.

Oddly enough, ALLURE editor Nancie S. Martin went on to edit PLAYGIRL and to pose naked in PLAYBOY. My then-girl friend worked as an editorial assistant at PLAYGIRL and got me a gig writing fake letters-to-the-editor for $25 each asking for sex advice. If I remember correctly, I wrote both the letters and PLAYGIRL’s advice. 

My Dark Past Reviewed

by

51irJXlLsFL._SS500_  The Red Adept blog reviews the Kindle edition of my 1985 novel .357 VIGILANTE #2: MAKE THEM PAY and was far kinder to the book than I had any right to expect. Here's an excerpt from the review:

The storyline flowed fast and furious. There wasn’t a lot of thought put out regarding vigilantism and whether it is good or bad. There was no preaching or lectures, either. This was just a fast-moving, roller coaster ride of a story.[…]this is not a literary novel. You don’t read it for the great metaphors, flowery prose, or vivid descriptions. You read if for the action. With that, Mr. Goldberg really hits his stride. The action scenes are wonderful, quick reads, with plenty of tight descriptions. He knows just when to draw out the scene and when to just get on with it.

My Brother’s Bookgasm

by

Bookgasm’s Bruce Grossman gave my brother Tod’s new book OTHER RESORT CITIES a rave review today. Here’s an excerpt:

The people who populate these stories could totally exist in our society and probably some do. They are just like you and me, but with some truly twisted backstories. Some of these stories could be expanded into even further lengths. While I’d love to read more about these people, I definitely would not want to hang out with most of them. OTHER RESORT CITIES is an eye-opening look at life in today’s society, never sugarcoating its harsh reality

The Rigors of Writing Tie-ins

by

Over at Jeff Vandermeer's blog, authors Dan Abnett and Mark Charan Newton discuss the challenges of writing tie-ins vs non-franchise fiction. Here's an excerpt:

Mark Charan Newton: You see it frequently these days – a literary fiction star such as Jonathan Lethem wanting to write a comic strip for Omega the Unknown, or Jodi Piccoult writing a Wonder Woman series. There’s a sense of reverence and pedigree involved. It has cool factor. But those authors are writing for a franchise that is not creator-owned. It’s not their world; the characters are often not their own. But let’s go the other way. For an author to write tie-in fiction – that is, fiction connected to a franchise or character, that isn’t technically owned by the author – it is still treated as a gaucherie by the majority of genre fans. The books suffer by not getting proper review coverage, and sometimes they are not even considered as ‘real’ works. Why do you think tie-in fiction is treated as the second-class citizen of the genre world?

 […]Dan Abnett: There are any number of contributing factors, and many of them are inevitably contradictory. Let’s start with a basic assumption: if you write as a hired gun, you must be in it for the dosh. You don’t really care what you’re writing. Therefore (obviously), you’re just crapping it out, words per square inch. In other words, tie-in fiction MUST by the very nature of its manufacture, be poor, disposable and second-rate.
It’s possible that an awful lot of people think this. They may not even mean to think it. There’s also a possibility (actually, a very high probability) that an awful lot of people in what I’m happy to refer to as “my line of work” believe that’s what other people think.
I think it’s worth getting this out of the way right at the start: writers of tie-in fiction may, sometimes, involuntarily, feel slightly guilty. They may be, involuntarily defensive. They know what the perception can be, and it contaminates them slightly. Tie-in writers can be their own worst enemies.

[…]Mark: It’s interesting you mention the money as a perceived incentive, and you’re quite right. But I suppose without naming names, there have been writers who have been strapped for cash and wanted to do tie-in fiction because they thought it was easy money. Hang around at a convention bar and you’ll hear those stories. So, as an aside – you’ve written both original fiction and tie-in fiction, so which do you find is easier?

 Dan: I actually think it’s harder to write for franchises in many ways, as you’re constantly checking (or you damn well should be!) that you’re remaining true to the source, in terms of detail, fluff, character and style. It’s quite demanding to be so engaged, so ‘on’, permanently policing your actions within the boundaries of someone else’s property. In your own work, you only have to check with yourself about where the edges are. This labour is OF COURSE counter-balanced by the creative efforts involved in original invention – let me just say that before anyone has an indignant spasm.

The Writer is God

by

The Guardian reports that the only way to raise the quality of UK television series is to adopt the showrunner/writing room system prevalent in the U.S. They write, in part:

The only way to produce sophisticated, rich, long-running drama like The Wire or even ER is to use a team of writers who collaborate under a showrunner, a system the US studios has cracked. It's too much for even one great dramatist to write the whole thing, but you can't hire hack writers to work on episodes in isolation. Result: US viewers sit down to an evening of Damages; we get Casualty

The short Guardian piece was in response to a terrific essay by Peter Jukes in Prospect Magazine, where he wrote, in part:

in US television drama “the writer is God.” This is not because of literary cachet—it’s arisen out of aesthetic, technical and commercial need. Drama is incredibly expensive to make and economies of scale kick in when stories are told over 13 or 24 episodes. They cannot be written by one person alone, nor can they be effectively controlled by studio executives, actors or directors, whose talents by definition lie elsewhere. It requires a team of writers willing to develop character and narrative over a long haul, keeping it focused and fresh. It’s not the writer, singular, who is God in US television drama, but the role of the writer, generic, in the process.

 […]Although we are blessed with a tradition of great television dramatists, there’s no way that Alan Bleasdale, Dennis Potter or Jimmy McGovern could have written a dozen episodes of a show alone. We have recently imported the idea of showrunners for the resurrection of Dr Who and Survivors, but their power is limited, and the principle of collaboration doesn’t penetrate the lower echelons. Script editors and producers take a dim view of you talking to another writer without tight supervision. There is no financial incentive either. Why make someone else’s episode great when it might make yours look less good? Given that the running order can be changed at the last moment by management fiat, those collectively crafted character developments and story arcs will be binned anyway. Just write your own episode and cash that cheque.

I recommend Jukes' article, it's fascinating reading.

Editorial Guidance

by

My Uncle Burl Barer is an Edgar-award-winning author of a dozen books but that doesn't make the job of writing any easier…in fact, he's having some trouble with is current project.

There is something not right about my current book in progress, and it is driving me crazy. […] So far, at the request of my editor, I've done a complete restructuring of the book, and still it doesn't "sing."
Tomorrow I'm calling "headquarters" – the executive editor — and consulting on what I need to do to make this baby at least hum.

Thankfully, Burl has something most self-published authors do not… an experienced editor provided by the publisher at no charge to him.

Editors are the inspired clergy of the literature religion. They comfort, admonish and encourage. They bring out the diamond potential in our prolix lumps of coal. I am blessed with the editors at Kensington Publishing, headed by the resilient and insightful Michaela Hamilton. Mike Shol is currently editing the manuscript of Fatal Beauty, and it is all coming together. Whew. I pity authors who don't have the blessing of a world-class editor. I've been very lucky. My first book, THE SAINT: A Complete History was edited by Steve Wilson at McFarland & Co. I doubt I would have snagged the Edgar were it not for his guidance. One of the tragedies of self-published (ie self-printed) books is often the lack of editorial guidance, not to mention the lack of sales.

Sadly, many "self-published" authors have gone the vanity press route because they believe their work is perfect "as-is" and reject any suggestion that their book may be flawed in some way (which is one reason why the self-publishing companies are known as "vanity presses"). These aspiring authors don't recognize the importance of editing and rewriting, of having an experienced, and objective, outside perspective on their work. All they are interested in is seeing their book "in print" as quickly as possible without having to "jump through all those hoops" or letting anyone meddle with their "artistic vision." And that's why so much of what is self-published out there is unreadable slop.

What is it… Really?

by

TV writer & blogger Will Dixon has taken some points I raised on how mysteries are constructedand expanded on them as they apply to sf, horror and fantasy shows . He wrote, in part:

when it comes to constructing the plot for good genre mysteries (like X Files; Buffy; Angel; Firefly…and today you've got Supernatural; Smallville; Warehouse 13; Sanctuary; even Chuck, etc.), there is one question always be asked: 

What is it…what is it really. 

 (In the case of procedurals and investigative mystery programs like 'Veronica Mars' or 'Castle' or 'Bones', the mantra becomes: Who is it...who is it really.)

[…]Of course, this is just one aspect to telling a good mystery story. To take it to the next level, you also need to pick an overall theme to flesh out the episode.

Dixon offers some examples from Buffy The Vampire Slayer to back up his points. His observations are well worth reading.

The Cons and Cons of Self-publishing

by

I've been engaged in a discussion about the pros and cons of self-publishing over at The Kindle Boards and thought I'd share some of my comments here.  One person wrote a message talking about the reasons he self-published with a POD press. One reason he did it, he said, was because publishing companies are turning their backs on literary fiction. He said, in part:

Literary novels are a very tough sell to publishing houses. They want the sales of "Water for Elephants" or "The Time Traveler's Wife," but they, like movie studios, can't tell which books will do it. All they know is that they cannot publish many literary novels anymore. Thus, those of us interested in writing literary books as opposed to genre books have to find new paths. My agent at XYZ in New York received dozens of positive rejections on my latest manuscript, for instance. Many editors told him that my novel had them laughing–it was a fun read–but they didn't know how to market it if they were to publish my book. Thus, I'm trying to assist my agent by creating a platform independently.

That struck me as a lot of rationalizing….and not a lot of fact. There are a lot of literary novels published every day, some do well, some don't. There's a lot of "commercial fiction" published every day, some do well, some don't. Publishers never know which books will sell, and which won't. His comment about WATER FOR ELEPHANTS and TIME TRAVELERS WIFE assumes the publisher knew for certain they would sell. They didn't. No more than they knew GARGOYLE would flop (they thought it would be huge). So that rationalization doesn't hold…not that it was honestly credible to start with.

Real publishers are still publishing literary novels. They just aren't publishing his. That's blunt, I know, but that's the truth. the rationalizations may make him feel better about it, but the bottom line is the bottom line.

The market for ALL books, not just literary novels, has narrowed (the same is true for movies and tv shows, another field in which I toil). But good books will still get published. For example, my brother Tod's collection of very literary short stories, OTHER RESORT CITIES, was just published this week and he's on a national book tour financed by his publisher at this very moment. If nobody is buying literary novels, imagine how small the market is for collections of literary short stories…and yet, he's on a book tour. What does that tell you?

The commentor mentions that his book got "dozens of positive rejections." I'm sorry, but a positive rejection is nothing but a polite "we are not interested." They don't want your book. Period. If they can't market your book, that is a serious problem. And it's code for lots of things…bad writing, poor plotting, unsympathetic characters, cliches, boring prose, whatever. But what they are saying is, they don't think your book is publishable or something they can publicize effectively. And if a major publisher can't market it, the odds of you having any better luck with a self-published POD edition that few, if any, bookstores will stock and that few, if any, reputable reviewers will review, and that will have limited distribution, at best, is even slimmer. Yes, the publishing business is changing, but we are a long, long way off from POD self-publishing being the way to success or a wide readership…if ever. (Yes, there will be one or two exceptions….but that's exactly what they are, exceedingly rare exceptions).

I am not saying this from some exulted position — I may be a published author of dozens of books, but I also have had books rejected that are sitting in my drawer right now. Yes, I got "positive rejections," but I am honest enough to know what that really means….the books are unsaleable. In some cases, after a time, I've gone back and looked at those manuscripts and realized the editors were right…and saw the flaws I couldn't see before…and am thankful I wasn't foolish enough to invest money in self-publishing them anyway in the hope of being "creating a platform."

Someone else wrote that he considers himself a published author even though he selling his work as "self-published" e-books:

Frankly, even with my 1-2 sales a day, I consider myself a published author. I put a hell of a lot of work into my book, and even though only a handful of people will ever see it, I'm proud of it. And yes, I'm asking 99 cents for it, since having people actually pay money, even pocket change, gives me a little ego boost that gives me a warm fuzzy feeling.

I wrote that he may consider himself a published author — I may consider myself the sexiest man alive — but that doesn't make it so. He's not a published author. He's a guy who has printed his own manuscript (or put it in ebook format). There's a big difference between him and somebody who actually is a published author. In his heart of hearts, he knows that, too…or he wouldn't be striving to become one.

Someone else argued that self-published, POD novels are every bit as good, if not better, than what is coming from the real publishers. She wrote, in part:

Without a doubt, some of the best novels I've read this year are from independent authors. I'm sure these authors had good editors working with them. Beyond that, I don't think they had a lot of marketing behind them; I came across these novels through the threads here and from e-book blog postings. I think with good, cheap viral marketing a completely independent author with a good story and good editing can make a decent living right now, and things are just going to get better for them.

"Independent authors?" Is that the aspirational, PC term for self-published authors now? (The equivalent, I suppose, of aspiring writers who insist on calling themselves "pre-published"). Sorry, I'm not buying in.

Yes, publishing is in flux, but so far the only people making money off self-publishing are the vanity presses and POD houses. The paradigms aren't changing as fast as the self-published would like to believe they are, or in the ways they would like them to. 

Ebooks make up a very, very small percentage of overall book sales…the POD sales barely even register (the vast majority of POD fiction titles are sold to the authors and their narrow circle of families and friends). I would be interested to know how many POD authors are making a "decent living" off their work…and how much money they consider "a decent living" to be. How many of these POD authors, for instance, are making even $10,000 off their books (after recouping what they spent on printing, formating, etc.). Very, very few.

I don't believe things are going to get better for POD authors…if anything, I believe the narrowing of the publishing industry is going to make it even harder for self-published writers to get noticed…or accepted…by an ever-shrinking reading audience. One problem is that most of the self-published stuff is unmitigated crap. I'm sure there's some good stuff to read among self-published works…but that has not been my experience, or the experience of "typical readers" i know who've sampled self-published work.

Another commenter accused me of being "anti-writer" by attacking vanity presses. He wrote, in part:

Lee, I could understand your attitude if you were a president of a publishing company, but I'm surprised you're so hot-and-bothered against other writers.

I am not against writers — far from it. I encourage writers to never give up and to continue honing their craft. That doesn't mean flushing your money down the toilet, and harming your career, by self-publishing your work. What it DOES mean is that you need to learn to accept that some of your stuff might be clumsy, amateurish, unpublishable or utter crap…and to learn from it and move on. It means learning how the business works, what the professional standards are, and accepting the reality that there are no shortcuts to publishing success.

I am trying to warn writers away from the vanity press vultures who prey on the desperation and gullibility of aspiring authors by conning them with lies and false hope. And I am trying to stop unpublished novelist from making an expensive and embarrassing mistake that, in most cases, will do them far more harm than good.

Finally, a self-published author disagreed with my view  that you should stick your rejected manuscripts in a drawer and move on. She wrote, in part:

It's also, quite simply, a way to have your book read. Why else write? Certainly not to stick your novel in a drawer. Writers write so readers can read.

Maybe so, but not all books are worth reading…or ready to be read. It's ultimately harmful for writers to publish stuff that isn't ready for primetime, so-to-speak. You only get one chance to make a first impression, and you don't want to do it with a book that's not very good simply because you want to see it in print. 

Bottom line, I believe that self-publishing your unpublished novel is, 9.9 times out of 10, a costly and humiliating mistake. You will not make back your money and you will likely do more damage than good to your career. The odds of actually becoming an acclaimed, respected, and widely read professional writer by self-publishing your rejected manuscript is about the same as finding buried treasure in your backyard.

I am not saying you should give up being a writer if you are met with constant rejection. What I am saying is that you will be far better off — creatively, financially, and professionally — if you put your rejected manuscript in a drawer and write another book instead self-publishing it.

I am not saying that every book that's rejected by publishers and agents is a steaming pile of crap. However, you might want to honestly ask yourself why your book is being rejected…is it really because NY agents & publishers are old-fashioned, narrow-minded, bean-counting, creative cowards…or you don't know the right people or the secret passwords…or the system is geared to make money and not art… or the system isn't able accept something as brilliant and original as your work….or that nobody in the mainstream can appreciate your brilliance?

Or could it be that maybe its your work that is flawed in some way…or that you just don't have the talent, skill, or voice yet to make it as a writer? It's hard to accept that possibility, but rather than self-publishing what may be a substandard book…you might be better off trying to see the manuscript the way others have and learning from the experience…perhaps rewriting it, setting it aside, or going back and learning more about your craft.