The Decline of Story

Richard S. Wheeler certainly isn’t afraid of controversy. After laying the blame for the decline of the mass-market paperbacks on the quality of the novels, today on his new blog he makes much the same argument about the movie business.

fiction is not the only type of storytelling in decline. After
adjusting for inflation, Hollywood’s annual gross from feature films
had declined every year since 1970. As is true of novels, this decline
has occurred during a time of rapid population growth. Plainly, there
is a deepening disconnect between storytellers of all sorts, and those
who buy our stories.

In the case of the movie business, I’m not sure storytellers are to blame as much as aggressive creative meddling by non-writers… studio execs who "develop" scripts to death. Literally.

What are your thoughts?

Who is to Blame? Part Two

Another voice weighs in on the death throes of the mass market paperback. Agent Richard Curtis, in a fascinating series of articles at Backspace (and excerpted this month in the Authors Guild newsletter), lays the blame at the "implosion of the wholesale book distribution business" in 1996, which:

…transformed the way business was done throughout the industry. It was a traum from which the book industry never recovered.

…although a growing number of traditional bookstores stocked mass-market paperbacks, it was the wholesale distribution network that fueled the huge growth of the book business in the last quarter of the twentieth century, spawning a thriving industry and a generation of bestselling authors. Even when those authors graduated to hardbacks, paperback reprints of their books drove sales overall. In the late 1980s
mass-market paperback revenue made the difference between feast and famine for hardcover publishers. Income from romance fiction alone contributed 25% of the cash flowing into the trade book industry..

He says the rise of bookstore chains like Barnes & Noble and Borders (as well as the power of Amazon) took business away from wholesalers. Computerized sales info allowed publishers, retailers and wholesalers to better track what was selling.

Assessing these patterns, paperback distributors began asking themselves why they needed to employ human labor when they could more efficiently and economically service bookstores and other outlets by shipping books directly to the retailers. Yes, it would mean that the human element — the guy in the station wagon who knew which towns loved historical romances and which preferred contemporary ones, which adored westerns and which were big on science fiction – would be removed from the equation. But — well, that was progress!

The big agencies pulled the plug in that summer of 1996 when whole fleets of drivers were discharged, and in the following years the wholesale distribution workforce was reduced to a fraction of what it had been in its heyday.

In fact, the consequences were nothing short of calamitous. The impact was felt in every sector of the publishing business, from what got written to what got published to what got read. It wasn’t
long before customers in west Texas or Nebraska or South Carolina discovered that many books by their favorite authors were no longer being stocked in their local stores.

As paperback publishers awoke to the new buying patterns, they were forced to choose between star authors and those whose sales performance fell below a minimum level. At first the triaging was restricted to marginal genres like westerns, but as the last decade of the twentieth century progressed the definition of “marginal” broadened to embrace every category of book that fell below an ever-stricter definition of commerciality, a process akin to the lowering of the bar in a limbo dance. Limbo indeed: authors who had made a living for years from sales of ten or fifteen thousand copies of their paperbacks were now being dropped by their publishers as the minimum sales quota increased to twenty or thirty thousand copies or more.

As much as authors would dearly love to bring back the robust mass-market paperback erak, it’s no likelier than a return to steam locomotives.

In his view, the future lies with print-on-demand and e-books, though neither format has yet reached its potential.
Richard S. Wheeler blames writers. Richard Curtis blames distrubtion. What do you think?

How One Survivor Survives

Somehow I missed this news item in the holiday rush. It turns out that Jenna Lewis, the 27-year-old single  mother of handicapped twins and one of the original SURVIVOR castmembers, tried to X-tend her 15 minutes of fame.

Back in May, Jenna and her new male-model husband made a hard-core video tape of their  “honeymoon
adventures” for “personal use” — only to be stunned when it “disappeared.”

“I ran around the house crying, screaming, so angry and upset that
day,” she told reporters at the time. 

And she was “fighting mad” and out-raged when the tape showed up for sale at $40-a-copy on a website. Her biggest concern, she said in a press release, was the impact the tape might have on her 8-year-old daughters. The people who did this were despicable scum.

Well, surprise surprise… it turns out she is the despicable scum.  The New York Daily News discovered in December that Jenna Lewis and her manager own the website that’s selling the tape… and they have made $100,000 in sales so far.

It’s a shame. Lewis came across as so genuine and grounded on the original SURVIVOR. Seeing what fame has turned her into is truly sad…and sickening.

(For more details, check out Steve Rogers’ article at RealityTVWorld)

Who Needs Religion If You Have Tivo?

The multitalented Mark Evanier is a man who loves his Tivo.

It’s odd — and yes, I know it’s probably not healthy — to have an
emotional connection to a product. I think TiVo is the best thing to
happen to television since Chuck Barris retired. If nothing else, I
find it so liberating that I never have to fret about being home on
time to watch a certain show or to hassle with setting the VCR. I can
go about my life, comfortable in the knowledge that the latest
broadcast of The Daily Show will always be there to watch when
I’m ready to watch it…and I can pause it or rewind it or watch part
and then stop and go get lunch and watch the rest tomorrow. It makes
you feel like you own your TV instead of the other way around.

He offers users this link to get in line for the priority software upgrade that will allow you to  record a show on your TiVo and then transfer it to your PC. 

I look forward to this upgrade but a tiny part of me resents having to
wait in line. I owned one of the first TiVos made, and have continually
upgraded and purchased new models, and I think they should cater to
"charter subscribers" before they service Johnny-come-latelys to the
wondrous world of TiVo.

I’ve got my first-generation Tivo hooked up to a GoVideo DVD burner/VCR combo, so I can easily off-load whatever I record to DVD or video.  For the time being, that’s enough for me.

How I Write

My next DIAGNOSIS MURDER is due in March. I have the broad strokes of the story…. but that’s it. The broad strokes. The equivalent of  book jacket copy. I’ve still got to come up with the actual story.  I’ve
been able to procrastinate by doing research on the period, which has given me some plot ideas, but I’ve still got to figure out the  murders, the clues, the characters and, oh yes, the story.

This  is the hardest part of writing… the sitting around, staring into space, and thinking. This is writing, even if you aren’t physically writing.  A lot of non-writers have a hard time understanding this. Yes, just
sitting in a chair doing nothing is writing. A crucial part, in fact.
It can be hell,  especially when you are on as short a deadline as I am.  Everyone has their own method… this is mine:

Want to find out more? Check out my article at The Mystery Morgue.

Ghosting

Veteran novelist & ghost-writer James Reasoner weighs in on the Michael Gruber debate and, as it happens, has a point-of-view that I share…

I don’t know the details of the
contract(s) between Gruber and Tanenbaum, but if Gruber agreed that he
wouldn’t reveal he was writing the books, then he shouldn’t have
revealed it. I understand the frustration he must have felt — I once
ghosted a book that got glowing blurbs from big-name folks who never
would have blurbed a book with my name on it — but a deal’s a deal.

He also talks about the unspoken rules about writing series novels under the publisher’s "house names."

Of course there are varying
degrees of secrecy on these things. Some of my house-name Western
contracts say that I can’t publicly claim authorship but that I can use
the books as professional credits within the industry.

I’m sure it’s common knowledge in publishing circles that folks like Margaret Truman and William Shatner, for example, don’t write their own books and that editors are well aware of who really does do the work… but I doubt most readers know when, or if, they are reading ghosted books. I’m sure there are readers out there who think Don Pendleton writes all those EXECUTIONER novels…

Speaking of James Reasoner, mystery fan Aldo Calcagno raves aboutthe author today on Ed Gorman’s blog.

Reasoner may be one of the most underrated writers
around today. TEXAS WIND is a classic, but how many people have had the
opportunity to read it (Thankfully PointBlank has republished the book).

Exposition

Screenwriter John August  discusses the perils of exposition on his terrific screenwriting blog.

Always ask yourself: Would the character actually say this, or is he
only saying it because you need the audience to know some fact or
detail? If the answer is the latter, you’re writing exposition and not
dialogue.

That’s not good.

The  advice he gives applies as much to writing novels as it does to writing scripts.

Wherever possible:

  1. Show the information, rather than having a character say it.
  2. Try to follow a natural line of thought:  A to B to C. 
  3. Simplify.  The reader may not need to know everything.
  4. Keep your hero active in learning the information, rather than passively listening.
  5. Balance natural speech patterns with efficiency.  People rarely say things as concisely as they could.

Avoiding exposition is hard, especially in plot-dependent stories.
But it’s one of the first things a reader notices, so spend the time to
deal with it.

Robert Sims Reid

Whatever happened to author Robert Sims Reid? He wrote a bunch of cop novels set in Montana but I don’t think he’s had a new book out in nearly  a decade…

I read his book RED CORVETTE a few years ago, liked it so much that I picked up everything Reid ever wrote, and then for some reason didn’t get back to him until last week, when something made me pack BIG SKY BLUES among the paperbacks to read in Hawaii.  I’m glad I did. James Crumley, in a cover blurb, called the book

"Perhaps the finest police novel I’ve ever read. I absolutely loved it. Wonderful writing, fine characters, and a great story.  Reid has taken the police novel out of the genre and into literature."

I wouldn’t go quite as far as Crumley, but I thought it was a great book. For all the hoo-hah about THE GUARDS, I thought BIG SKY BLUES was better. At least I enjoyed it a lot more. Although it was published back in ’88, it seems so much fresher than the cop novels I’ve read the last few years. For one thing, the hero isn’t an alcoholic loner on a path of self-destruction who’s hated by his bosses and inexplicably desired by women. The hero of BIG SKY BLUES is married with a teenage daughter and isn’t addicted to anything. And yet, he’s still a deeply troubled, complex character whose life is falling apart around him, particularly his relationships with his wife and his partner.

When I get home, I’m going to catch up on Reid’s other books…