To Speak for the Kindle

Night Vision,Redskyfinal.jpg Paul Levine's iconic hero Jake Lassiter burst onto the mystery scene with TO SPEAK FOR THE DEAD, the first in a widely acclaimed series that has since gone out-of-print. Now Lassiter is making a triumphant return — with the out-of-print titles on the Kindle and with a brand new hardcover release entitled LASSITER coming this fall.  So I thought I'd ask Paul what it's like being one of the few authors these days who is both still very active in print and yet diving head-long into the uncharted waters of the ebook biz.

LEE: You're a recent convert to the Kindle… and in the space of just a few months, you've released many of the Jake Lassiter backlist as ebooks, including MORTAL SIN. Have they been successful? What have you learned from the experience?

 The success of the books has startled me.  “To Speak for the Dead” and “Night Vision,” the first two Jake Lassiter novels, both hit number one on the Kindle “hardboiled” and “legal thriller” lists.  So did “Reversal,” my stand-alone Supreme Court thriller.  “False Dawn” and “Mortal Sin,” the next couple Lassiter books, hit number two.

These books were long out of print and originally appeared in hardcover in the early 1990’s.  So, the point for all authors is this: books you thought were long dead have an afterlife.  You can resuscitate your out-of-print and out-of-mind books by electronically publishing them.  Also, and this is BIG: the books gather momentum and grow each month.  This is the opposite of our experience with dead-tree books, which have the same life expectancy as yogurt in the fridge. 

LEE: What are the chances that you'll write an original ebook some day soon?

I have three more Lassiters to put up on Kindle and Smashwords, which then distributes to B&N, Borders, Sony, and the rest.  Then…and I haven’t said this publically before…I’m publishing “Ballistic.”  It’s a loose nukes thriller I’ve adapted from a spec feature script I wrote some time ago.  The script had some close calls, but never was made.  After that, who knows? 

LEE: Do you think releasing the out-of-print Lassiter books will give your traditional, hardcover release next Fall of LASSITER a sales spike? Or do you think it will work the other way around?

Both, I hope! 

But let’s be realistic.  I’m the publisher of the “old” Lassiters, so I can charge $2.99 on Kindle and Kobo etc.  Will those buyers shell out $25 for a hardcover?  Should they?  Remember, too, that I have no control over what Bantam will charge for the e-book edition.  I will plead for as low a price as possible, but we know that won’t be anywhere close to $2.99.

LEE:. Do you think it's wise for unpublished authors to self-publish? What about mid-list authors who have been dropped? Is this the future of publishing…or just an additional revenue stream for authors?

Some smart-alec at the Bouchercon e-books panel said that self-published authors were producing a “tsunami of swill.”  Wait!  That was you.  It’s true, of course, but as you also pointed out, there is some very good fiction being written by otherwise unpublished authors.  It’s so damn hard to break into mainstream publishing now that it’s inevitable that some good writing will be left at the door.  The problem is that way too many writers lack the training or discipline or just plain talent to produce readable fiction.  Separating the wheat from the chaff produces…a lot of chaff.

For mid-list authors who’ve been dropped, it’s a different story.  They have the training, the experience, and some audience.  The Internet can provide a new source of income…and satisfaction.  We write because we have to….because it’s an illness, a fever…not just for the bucks.  If you want to get rich, open a burger joint across the street from a community college. 

As for the future of publishing, I’ll borrow William Goldman’s line about Hollywood, “Nobody knows anything.”

Swain is Rolling the Dice on Ebooks

Wild Card James Swain has started to put his out-of-print backlist of terrific crime novels — including THE PROGRAM, WILD CARD, and THE MAN WHO CHEATED DEATH – on the Kindle. They represent a sampler of sorts of his three series for readers unfamiliar with his work… which has won wide and enthusiastic praise (I've always liked this rave that he got from The New York Times:  "Swain uses language with such blunt force he could be hammering in nails”).

I thought this would be a good time to catch up with him and get his views on his career, the publishing industry and the new world of ebooks…

LEE: Your early books — like GRIFT SENSE, FUNNY MONEY, and SUCKER BET — are all set against the world of gambling and cons. Were you writing about what you know?

JAMES: Yes, I was. I’ve been a magician since I was a kid, and used to hang out with guys in New York who cheated in private card games. They’d come into Tannen’s magic shop and blow our minds with their skill. In the late 1970s, I was visiting Las Vegas, and saw a guy switch a card while playing blackjack. It was amazing how skillful he was. I later told a magician friend of mine named Mike Skinner who lived in Las Vegas and knew a thing or two about cheating. Skinner proceeded to tell me how the casinos got ripped off all the time by cross roaders, which is a hustler’s term for people who cheat casinos (it refers to parking your horse at the cross roads in a town in case you need to make a speedy getaway). I started researching the subject, and met a number of famous cheaters, and collected their stories. Twenty years later when I started writing the gambling books, I had a wealth of information to work from.

LEE: You branched off into other series… was that a creative decision (to stretch yourself as a writer), a marketing decision (to broaden your brand) or were sales of the Valentine series tapering off?

JAMES: It was a fluke. The Valentine books were doing just fine, and had been sold in many foreign markets and also to Hollywood. I’d written nine of them, with two more set to be published –WILD CARD and JACKPOT. I needed a break, and wrote a book called MIDNIGHT RAMBLER, which is about a down-and-out ex-cop who helps police departments in Florida find missing people. I didn’t tell anyone about RAMBLER except my wife – it was my little secret, just to see if I could do something else. When I was done, I showed it to my agent, and he called me up, and started yelling how good it was. He showed it to my publisher, and they reacted the same way. The next thing I knew, I had a new contract and a new series, and the Valentine books were put on hold.

LEE: How did you feel about that? Was it hard to see those books put on the shelf?

JAMES: It was gut-wrenching. I loved those books, especially the last two. But it’s difficult to argue with your publisher when they’re throwing money at you. I bit my tongue and accepted it.   The Program

LEE: What's your take on the state of publishing today? If you'd written GRIFT SENSE today, would it get published? Do you think it would receive the same kind of enthusiastic support and wide notice you got back in 2001?

JAMES: To be honest, I didn’t get much support when GRIFT SENSE was published. I paid for my own tour, and did most of my own marketing. The book was purchased by a lovely editor at Pocket Books named Emily Heckman, who was let go before the book came out. There wasn’t much support for it in-house.

The support I did get was from the mystery field, which pushed the book heavily. For example, Otto Penzler gave the book to a customer named Anthony Mason, who’s a newscaster for CBS Sunday Morning. That led to be being on the show a year later, which was a huge break for me.

In 2003, I went over to Ballantine Books, and my editor there purchased GRIFT SENSE and FUNNY MONEY (the 2nd book in the series) from Pocket. Ballantine got behind the books, which led to much of the success I’ve had.

So to answer your question, I really think that publishing today isn’t much different than it was ten years ago when I started. The avenues of distribution have changed, as have the ability to market yourself over the Internet, but at the end of the day, it’s still about hard work and catching some lucky breaks.

LEE: You've recently released a bunch of your books on the Kindle (and other e-formats). What prompted you to do that? And would you ever consider writing an original book directly for the Kindle, bypassing publishers altogether? If so, why?

JAMES: My decision to release books as ebooks was brewing for a while. The two Valentine books I mentioned earlier had reverted by contract back to me. I also had a thriller called THE PROGRAM which my agent had been shopping around, then had to pull when I got an offer from Tor to do a new series. So I had these three terrific books sitting on my laptop, which bothered me no end.

Then I bought my wife an iPad, and to my surprise (and hers), she fell absolutely in love with it, and started reading 4-5 ebooks a week on it. That got me thinking that maybe I should take these books I had, and release them as ebooks.

The turning point was hearing Joe Konrath speak at the Mysteries To Die For conference in Sarasota this past summer. Joe answered every question I had about the process, and gave me the confidence to put these books out. Will I ever write an original book directly for Kindle? The answer is yes. I’m working on a new Valentine novel right now, and plan to release it in the spring of 2011.

LEE: You've gotten some terrific blurbs from authors like Lee Child, Michael Connelly and Randy Wayne White. How important do you think blurbs from other authors are in selling your work to booksellers and readers? Have blurbs lost their punch or are they even more necessary today to rise above all the clutter out there?

JAMES: Blurbs are very important. They set you apart from the rest of the crowd. They can also tell the reader what they’re in store for. I’ve never released a book without one.

Paul Levine: The Mentalist

Mystery writer Paul Levine stumbles on a crime-in-progress in his neighborhood and plays detective in this very funny blog post. Here's a snippet:

When the cops arrived ten minutes later, I told them the guy was late 30's, 6-1, 190 pounds, bleached spiked hair and spoke with a Russian accent. The car, I suggested, was possibly stolen. Maybe owned by a woman who was a life insurance broker in Orange County. She might need assistance walking, and it's possible her initials are "L.F."

The cops gave me sideways glances. Like who the hell was this guy, "The Mentalist?"

I explained. The license plate holder is from a dealer in Anaheim. In the front seat, there's a blue handicapped parking sticker and a hardcover book. Married Lovers by Jackie Collins. Men don't read her. The personalized license plate is "LF CLU."

"Her name might be Lois Fenstermacher," I suggested, helpfully. "And she could be a Chartered Life Underwriter."

The cops weren't impressed.

Another Ruthless Interrogation

Hank Phillippi Ryan interrogates me today at the Sisters-in-Crime blog. Here's an excerpt of what she beat out of me:

HANK: When you watch TV now, or read a book—can you just relax and, maybe, enjoy? Or is your editor-writer brain always assessing? What do you see as the flaws and gaps and missteps? The successes?

LEE: With a mystery, no, I can't just read or watch. I am always very aware of the construction of the mystery.

But you're not supposed to be passively entertained by a mystery. You are expected to track the clues. Part of the fun is that the mystery is there to be solved, and if the author (or writer/producer) has played fairly, then you can and should participate along with the detective.

If a movie is really good, I can stop looking at the construction of *the story* and just be swept up in it. But if the movie is flawed, it pulls me out, and I start seeing the work/structure/component parts and then it's hard to be entertained by what I am watching. I begin to watch it like a producer watching a director's cut and thinking about what he's got to go into the editing room to fix…

 

Mysteries, Margaritas, and a Grilling

There’s a long Q&A interview with me over at the Mysteries and Margaritas blog. Here’s an excerpt:

Mary: You write books and you write screenplays. I’ve heard they are completely different animals. Do you find it hard to do both? Or in your mind do they complement each other?

Lee: They do compliment each other. I was a reporter first… and that taught me how to write tightly, to say more with less, and to craft strong leads. It also trained me to meet deadlines and to be a ruthless editor. I became a screenwriter when one of my books was optioned for film and I got hired to write the script.

I think that being a screenwriter, particularly for TV, has made me a much better novelist. You have to write outlines for TV, so it has forced me to focus on plot before I start writing my books. I’m not figuring things out as I go along as some authors do. I know exactly where I am going…though I may change how I get there along the way.

Being a TV writer has also trained me to focus on a strong, narrative drive, to make sure that every line of dialogue either reveals character or advances the plot (or both), and to cut anything that’s extraneous or bogs the story down. I also suspect that being a TV writer has given my books a faster pace and more of a cinematic structure.

 

I also talk about what I wear in bed, so you really don’t want to miss it.

Harry O Tie-Ins

HarryOpaperback

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).

 

 

 

Remaindered Cast

We've cast my short film REMAINDERED, which I wrote and will be directing in Owensboro, Kentucky in early September, thanks to Zev Buffman, Roxi Witt and all the other terrific folks at the RiverPark Performing Arts Center

DSC_0520
Eric Altheide is Kevin Dangler, a once-bestselling author trying to get back to the top… 

Resized Bill Spangler shot 3
Sebrina Siegel is Megan, his adoring fan (perhaps too adoring)

Todd Reynolds
And Todd Reynolds is Detective Bud Flanek, Owensboro's answer to Columbo (as he also was in my buddy David Breckman's film MURDER IN KENTUCKY). Robert Denton and Lisa Baldwin play supporting roles. I can't wait to start working with these terrific actors, who were found thanks to the tireless efforts of our casting director Lori Rosas and our producer Rodney Newton.

I'll be keeping you updated on the production of the movie here and on the Remaindered Production Blog...and the Remaindered Facebook group

Mr. Monk is Out

51bwbQd18mL._SS500_

No, he's not gay. He's published.

MR. MONK IS CLEANED OUT, the 10th book in the series, is out today in bookstores everywhere.  

This is the last book that's set before the final season of the TV series…and takes place against the backdrop of the global financial crisis. Squeezed for money, the SFPD fires Adrian Monk as a consultant…again (you might recall it happened before in MR. MONK AND THE DIRTY COP). Monk figures he can live off his savings for a while. Then Natalie learns that Monk invested his money some time ago with Bob Sebes, the charismatic leader of Reinier Investments, who's just been arrested on charges of orchestrating a massive $100 million fraud. All of Sebes' clients-including Monk-are completely wiped out.

When the key witness in the government's case against Sebes is killed, Monk is convinced that Sebes did it, even though the man has been under house arrest with a horde of paparazzi and police surrounding his building 24/7.

In a sense, it's a classic "locked room" mystery…with a lot of other mini-mysteries thrown in.

The paperback edition of MR. MONK IN TROUBLE is also out. So that should keep MONK fans entertained until January, when MR. MONK ON THE ROAD…the first book set *after* the final season…is released.

Meanwhile, I am hard at work on MONK #13, tentatively titled MR. MONK ON THE COUCH, and its something of a departure from the whodunit structure of the previous books…but more on that later.

Blue-Eyed Devil is Wide-Eyed Awful

Blueeyeddevil  I'm a big fan of Robert B. Parker's  early Virgil & Everett westerns (APPALOOSA,RESOLUTION, etc.) but the latest, BLUE EYED DEVIL, is Parker at his worst. For starters, it's hardly a book at all, more like a long short story fattened up with large fonts, three-page chapters, and lots of white space. 

Professional gun hands Virgil Cole and Everett Hitch return to Appaloosa, the setting for the first (and best) book in the series and spend most of their time sitting on one porch or another sipping whiskey and talking about how smart, skilled, capable, and all around marvelous they are. Occasionally, they get up and shoot someone. The plotting is episodic, improvised, and often inept. For example, at one point, their old friend Pony Flores, a inscrutable and wise half-breed Indian, shows up on the run from the law with his silent brother but isn't worried about being caught because, like Virgil and Everett, he's so damn good.

"Anybody on your trail?" Virgil said.

Pony shook his head.

"Only man can track Pony Flores," he said, "is me."

"Good," Virgil said.

But a few pages later, the law shows up looking for him anyway. Virgil quizzes the trackers.

"What makes you think he's here?" Virgil said.

"Folks in Van Buren spotted them, couple weeks back, heading south. This is the next town."

Virgil nodded.

So Pony's brilliant, untrackable method for eluding pursuers is to go in a straight line from one town to the next, making sure that he's seen.  But Virgil and Everett continue to regard Pony as a master tracker and eluder anyway.

An editor might have caught that bit of insipidness and, perhaps, also the half-dozen repetitions of the phrase "when the balloon goes up" throughout the book, but it's been a while since anybody has bothered editing Parker…and that disinterest and laziness continues even after his death.

Parker relies on all of his tropes in this book, repeating banter that I swear I've read in all of his books and lifting situations whole from previous entries in the series (for instance, once again Everett finds a sweet, warm-hearted, still beautiful hooker willing to have sex with him for free because she gets so hot hearing him talk about how competent and marvelous he and Virgil are)

Parker has succeeded in killing this series with his own disinterest the same way he did with the Jesse Stone books. Both series started out great and then he seemingly gave up making any effort, letting them become thinly-written and loosely conceived parodies of themselves. It's a sad thing to see and even more painful to read. At least it's over fast. I doubt BLUE EYED DEVIL is even 30,000 words.

I truly hope that the two upcoming SPENSER novels that Parker finished before his death are a return to form and not, as I fear, a sad coda to a once-great writer's career.

Me at the Los Angeles Times Festival of Books

As usual, I had a fantastic time at the Los Angeles Times Festival of Books. I got to talk with so many writers, including Hannah Dennison, Brett Battles, Denise Hamilton, Gregg Hurwitz, John Wirth, Jane Smiley, Doug Lyle, Paul Levine, Cara Black, Joseph Wambaugh, Gary Phillips, Megan Abbott, Alex Espinoza, Cecil Castellucci, Tim Maleeny, Robert Gregory Browne, and Robert Dugoni, to name just a few. I also talked to tons of readers and bought a bunch of signed books, including "Model Home" by Eric Puchner, "Up in the Air" by Walter Kirn, and "A Bad Day for Sorry" by Sophie Littlefield. Here I am with my brother Tod and William Rabkin at the Mystery Bookstore booth.

P4230121
And here's Christopher Rice, me, and Joseph Wambaugh.

P4230124
And here I am with Todd Reynolds, who is going to be one of the stars of the short film I am shooting in Owensboro KY this fall.

P4240128
I moderated a panel with Gayle Lynds, Christopher Rice and David Corbett and it went great. It was a nice mix of laughter, good advice, and knowledgeable observations about the craft and business of writing. I think we had as much fun as the audience. I hope I get to moderate another panel next year.