The House Name

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Author James Reasoner, the hardest working guy in publishing, talks about what it's like to have most of his work published under "house names" — author bylines owned by the publisher — like Tabor Evans, for instance. He says, in part:

At last count, novels and stories I’ve written have been published under at least 35 different names.[…]

In the past month I’ve worked on projects that will be published under four different names, none of them my own. People have asked me, “How can you write a book knowing that your name won’t be on it?” For years my standard answer was, “I don’t care as long as my name is on the check.” Of course that’s not completely true, now or then. Writing has been my job for more than three decades now, and getting paid is important. But most writers love to see a new book with their name on it, and I’m no different. If we didn’t have egos, it probably wouldn’t even occur to us that people might want to read what we write, would it? I’ve been blessed with the ability to put those feelings aside when I’m working, at least to a certain extent. When I’m sitting at the computer, the words appearing on the monitor are my words. The book I’m writing is mine. When it’s published, my name may not be anywhere on it, but that has no bearing on the writing itself. I know it’s good, and I feel a surge of pride when I see the books in the store and know that people are reading them and enjoying them. So when you come right down to it, the answer to the question “Who am I today?” is simple and always the same.

I’m a guy writing a book, spinning a yarn. That’s all I ever wanted to be.

It’s All About Buzz

If you read the newspapers, the blogs and the trades, there's no question that MAD MEN is a huge critical and popular hit.

But if you look at the numbers, it's a different story.

On Sunday, MAD MEN, drew 2.2 million viewers and scored a 0.8 rating. THE GLADES, which isn't getting nearly the same amount of buzz or adoration, drew 3.1 million and the same rating. THE GLADES also out-performed HBO's HUNG (2.5 million, 1.4) and ENTOURAGE (2.6 million, 1.5) in eyeballs, if not rating.

So THE GLADES has more viewers than ENTOURAGE, HUNG, and MAD MEN… and yet isn't drawing anywhere near the same amount of media attention or adoration. Which, I suppose, may prove it's not how many viewers are actually watching your show that makes you a hit… it's how many people in the media say that you are one.

 

“Stories That Drip Crap Out of Every Electronic Orifice”

The glow blogger/author Bryon Quertermous sees outside his window tonight is from the horde of enraged, self-published authors burning his effigy. He took a shot at self-published e-authors and their readers today on the aptly named Do Some Damage blog that isn't going to make him a lot of friends among the "indie writer" crowd. He wrote, in part:

[…] Other than improper use of grammar, mistakes regarding guns, and swearing, nothing seems to bother the legion of readers snapping up these Kindle books for $.99 with awful writing, poorly developed characters, and stories that just generally drip crap out of every electronic orifice. […] But it doesn't seem to bother readers. Sure, they'll comment on it in an Amazon review or whatever, but then mention that they still loved the story and will buy the next book by the author.

But my biggest insult comes from the fact that they don't seem to distinguish AT ALL the difference between an author who has slaved and sacrificed and put in the hard work to make their book the best they can be then run the gauntlet of gatekeepers, rules, traditions, whims, luck, and corporate landmines that hold together the publishing industry or the author who gave up on the traditional route and slapped up a rough draft with some zippy copy and a garish self-designed cover with some blurbs from their mom and their old aunts writing group. It's hard some days when the writing isn't coming or the rejections are coming too fast and I want to give up. But I've known all along that I don't just want to be published, I want to be published right. Call me elitist, call me traditional or stuffy or whatever, but that's what I signed on for and that's what I'm working toward.

So do you agree with him? Or are you going to bring the matches to the effigy-burning?

Dorchester Getting out of the Paperback Biz

Publishers' Weekly reports that Dorchester is getting out of the paperback book business and shifting to an e-book and POD model.

Mass market romance publisher Dorchester Publishing has dropped its traditional print publishing business in favor of an e-book/print-on-demand model effective with its September titles that are “shipping” now. President John Prebich said after retail sales fell by 25% in 2009, the company knew that 2010 “would be a defining year,” but rather than show improvement, “sales have been worse.”

[…]Dorchester will continue to do print copies for its book club business and has signed a deal with Ingram Publisher Service for IPS to do print-on-demand copies for selected titles. According to Prebich, some e-books that are doing well in the digital marketplace will be released as trade paperbacks with IPS fulfilling orders; the company, however, will not do any more mass market paperbacks for retail distribution.

I am running out the door, so I haven't had a chance to give this development much thought. I'll probably post more about it later. But I wonder what this means for their Hard Case Crime imprint?

UPDATE – Apparently, the Wall Street Journal was wondering the same thing:

Hard Case Crime, an imprint owned by closely held Winterfall LLC, said it may seek to move its mystery books from Dorchester to another publishing house.

"It's been a good run, but if they aren't publishing mass market paperbacks, we'll have to decide what to do. I'm a believer in the mass format, but I do understand the reality of the marketplace," said Charles Ardai, who owns Hard Case Crime.

The country's largest consumer book publisher, Bertelsmann AG's Random House Inc., said it continues to be a strong believer in mass paperbacks. One of the country's most successful mystery writers, the late John D. MacDonald, is available from Random House exclusively in mass paperback.

"It's still a viable, popular, lower-priced alternative to the other reading formats," said Stuart Applebaum, a spokesman for Random House. "It also has a committed readership. Will that commitment be forever in a transformative marketplace? We'll have to wait and see.

UPDATE: And Charles Ardai elaborated in a comment he left here, that says:

It means that future Hard Case Crime titles will most likely be published by a company other than Dorchester (although Dorchester may still distribute them to their book club members).

Interesting times. More info to come as things ripen…

Harry O Tie-Ins

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What is best TV private eye show? For me, it's a tie between David Janssen's HARRY O and James Garner's THE ROCKFORD FILES… with Darren McGavin's THE OUTSIDER coming in a close second. The plots on HARRY O were often lousy, but the pleasure of watching Janssen's portrayal and listening to the crisp dialogue (and, in the first season, the voice-overs) more than made up for it. HARRY O is definitely the most "literary" of the three …by that I mean that it was the show that came closest to capturing the feeling of reading a detective novel. Perhaps that's why I was so disappointed in the HARRY O tie-in novels, one of which is reviewed today over on the Vintage Hardboiled Reads blog. He says, in part:

This "Harry O" paperback is far from being a great crime novel, but as a huge fan of the series I did enjoy it. I would say that the characterization of Harry Orwell in the story is fairly close to the TV one. The spoken narrative on the show is definitely much better. And the book didn't capture that lonely, somber persona that David Janssen was able to deliver. I'll chalk that up as something that is difficult for a tie-in author to do. The writing is straightforward and the plot though interesting, wasn't too difficult to figure out. Even with the similarities of Hammett's Casper Gutman, I would of liked to have seen more of the Sydney Jerome character. He came off as the most colorful of all in the story. All-in-all, it still was a fun quick read for me. If you were a fan of the TV series, I'm sure you would get a kick out of this novel also.

And, just for the fun of it, here's the  HARRY O main title from the second half of season one  (I'll use any excuse to watch it again).

 

 

 

Tied In Ties Up Another Rave

Novelist James Reasoner has given TIED IN a rave. He says, in part:

For someone like me, who’s very interested in the history of popular fiction, the highlight of TIED IN is David Spencer’s “American TV Tie-ins from the 50s Through the Early 70s”, which is almost a book in itself. It’s a fascinating historical discussion of how the TV tie-in novel originated and evolved over the years and touches on many of the books I was buying and reading when they were new. This article really brought back a lot of good memories for me. Along similar lines, also of great interest to me were fine articles by Paul Kupperberg about comic book and comic strip tie-in novels (I read a bunch of those, too) and Robert Greenberger about the connection between pulp magazines and tie-ins.


TIED IN
is available as an e-book right now, with a print edition coming out soon. Either way, I don’t think you can go wrong. It’s informative, entertaining, and a must-have if you have any interest in tie-in fiction. Highly recommended.

Thanks, Jim!

Mr. Monk and the Meme

The Random Ramblings blog takes part in a Friday meme that quotes the first sentence of book and the fifth sentence of the 56th page. He chose my book MR. MONK IS CLEANED OUT.

The first line is:

Some guys showed up the other day at the house next door, mowed the dead lawn, and spray-painted it green.

And now, for the Friday 56, I present the 5th sentence on page 56.

I also know that anyone who has evidence that could help solve a murder has an obligation to share it with the police, regardless of whether the police have just fired you and your comely assistant.

To be honest, I like both of the sentences.  They aren’t exactly moving the story forward, but I find them amusing and give a great feel for the tone of the book.

Sounds like a fun meme. Speaking of MONK, Ed Gorman gives CLEANED OUT a rave. He says, in part:

One of the things that makes this series so distinctive is the full and realistic portraits we get of Natalie and her daughter Julie. The writing here is especially strong. Lee Goldberg is good at describing the way we live now.

The old wrestling come on “This time it’s personal” applies here because Monk plans to trap, humiliate, debase and defoliate the “dude” (who said Monk is out touch?) who took his money.

A truly artful comedy that has a lot to say about the people who robbed us blind over the past three decades.

Thanks, Ed. Here’s the first line of his book DARK TRAIL.

The cigarette had two or three good drags left and Leo Guild was happy to take them.

And here’s the fifth line of page 56.


“He said that he didn’t know you were a man of honor.”

Those two lines actually do a pretty good job of conveying the feel of his terrific western.

Sledgehammer & Whore

Screenwriter Josh Friedman has written the best blog post I have read all year…maybe in the last two years… maybe ever. I loved it. What's it about?  The intersection of life, writing, and TV procedurals. Kind of. I'm not doing it justice at all, so what are you waiting for? Just read it. Here's a peek: 

So I'm at a meeting with a producer the other day and he's pitching me a tv idea. As way of emphasizing why I need him and his idea, he brings forth a piece of paper. On it, my credits. He doesn't actually hand it over to me but he says this:

PRODUCER: I've been looking over your credits, pretty impressive.

ME: Thanks, we try.

PRODUCER: Seems to me you're just missing one thing from these credits. And I'm gonna tell you what it is.

ME: Please do.

At which point he turns the piece of paper towards me and I see he's written in bold black marker near the top, pointing to the list: BIG FUCKING HIT TV SHOW.

ME: Well, yes, I am missing that. Very true. I think about that a lot.

PRODUCER: That's all right. Because I'm here to change all that.

At which point he launches into his pitch for what may or not be "my big fucking hit tv show."

Now, I leave it to you to debate whether pointing out my shortcomings is a good or bad sales strategy (it rarely works for my dad but often for my wife), and I'll leave it to me to decide whether or not the idea he pitched me was the answer to my problems…

And that does not even hint at the strangeness that happens after he gets a late-night call from a hooker…