Killing Castro

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Hard Case Crime is reprinting a long-lost Lawrence Block novel called KILLING CASTRO. It’s a book Block wrote under a pseudonym fifty years ago. And if this excerpt doesn’t whet your appetite for more, you don’t have a pulse:

The taxi, one headlight out and one fender crimped, cut through
downtown Tampa and headed into Ybor City. Turner sat in the back seat
with his eyes half closed. He was a tall, thin ramrod of a man who was
never tense and yet never entirely relaxed. His hair was the color of
damp sand, his eyes steel gray. His lips were thin and he rarely
smiled. He was not smiling now.

The stub of a cigarette burned
between the second and third fingers of his right hand. The fingers
were yellow-brown from the thousands and thousands of cigarettes which
had curled their tar-laden smoke around them. He looked at the
cigarette, raised it to his lips for a final drag. The smoke was
strong. He rolled down the window and flipped the butt into the street.

Night.
The street lights were on in Ybor City, Tampa’s Latin quarter. Taverns
winked seductively in red and green neon. Cubans, Puerto Ricans and
Negroes walked the streets, congregated around pool halls and small
bars. Here and there butt-twitching hustlers were rushing the season,
looking to catch an early trick before the competition got stiff.
Turner watched all this through the taxi window, his thin lips not
smiling, not frowning. He had bigger things on his mind than corner
loungers or early-bird whores.

He was thirty-four years old, and he was wanted for murder.

What’s amazing about it is that he was so good from the get-go, long before he would achieve all his well-earned honors and accolades.

Scribe Award Nominees Announced

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The Second Annual Scribe Awards, presented by the International
Association of Media Tie-in Writers, acknowledges and celebrates
excellence in licensed tie-in writing — novels based on TV shows, movies, and
games.  The IAMTW is proud to announce this years nominees for the Scribe
Award.

BEST GENERAL FICTION ORIGINAL

CSI NY: DELUGE by Stuart M. Kaminsky
MR. MONK AND THE TWO ASSISTANTS by Lee Goldberg
MURDER SHE WROTE: PANNING FOR MURDER by Jessica Fletcher & Donald Bain
CRIMINAL MINDS: JUMP CUT by Max Allan Collins

BEST GENERAL FICTION ADAPTED

AMERICAN GANGSTER by Max Allan Collins (nominee & winner)N221557

BEST SPECULATIVE ORIGINAL

LAST DAYS OF KRYPTON by Kevin J. Anderson

STARGATE ATLANTIS CASUALTIES OF WAR by Elizabeth Christiansen
STAR TREK: Q&A by Keith R.A. DeCandido

BEST GAME-RELATED ORIGINAL (SPECIAL SCRIBE AWARD)

HITMAN by William Dietz
FORGE OF THE MINDSLAYERS by Tim Waggoner
NIGHT OF THE LONG SHADOWS by Paul Crilley

BEST SPECULATIVE ADAPTED

RESIDENT EVIL: EXTINCTION by Keith R.A. DeCandido
52: THE NOVEL by Greg Cox
30 DAYS OF NIGHT by Tim Lebbon

BEST YOUNG ADULT ORIGINAL

BUFFY THE VAMPIRE SLAYER: THE DEATHLESS by Keith R.A. DeCandido
GOODLUND TRILOGY: VOLUME THREE: WARRIORS BONES by Stephen D. Sullivan
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NANCY DREW AND THE CLUE CREW #10: TICKET TROUBLE by Stacia Deutsch & Rudy Cohon

BEST YOUNG ADULT ADAPTED

TWELVE DOGS OF CHRISTMAS by Steven Paul Leiva (nominee & winner)
The Grandmaster Award honors a writer for his extensive and exceptional
work in the tie-in field. This year’s honoree is ALAN DEAN FOSTER.

Foster’s books include his
ground-breaking novelisations in 1975 of the STAR TREK animated series
and his subsequent novelisations of the first three ALIEN films, BLACK
HOLE, STARMAN, OUTLAND, PALE RIDER, ALIEN NATION and, of course, STAR
WARS (writing as "George Lucas"). He is also the author of scores of
original novels as well as the story for the first STAR TREK feature
film.


The Scribe Awards will be given at the Comic-Con Convention in San
Diego in July. The Special Gaming Scribes will be awarded at Gen Con Indy in August.

The IAMTW is dedicated to enhancing the professional and public
image of tie-in writers…to working with the media to review tie-in
novels and publicize their authors…to educating people about who we
are and what we do….and to providing a forum for tie-in writers to
share information, support one another, and discuss issues relating to
our field (via a regular e-newsletter, our website, and our active discussion group).
Our members include authors active in many other professional writer
organizations (MWA, PWA, WGA, SFWA, etc.) and who share their unique
perspectives with their fellow tie-in writers. Our name itself is a declaration of pride in what we do: I AM a Tie-in Writer. You can find out more about the IAMTW at our website.

Tie-ins Dominate Bestseller Lists This Week

IAMTW Member Karen Traviss’ REVELATION, a STAR WARS tie-in, is number  one on both the New York Times and the Publishers Weekly mass market paperback bestseller lists. Another tie-in, TOM CLANCY’S ENDWAR by David Michaels (a pseudonym for an IAMTW member) is number nine on the PW list and number ten on the NYT list. Congratulations to them both! This just goes to show that critics may scoff at TV and movie tie-ins, but the public loves them.

Our Worst Script

I published the post below on this blog in July 2006…and forgot all about what I said I’d do at the end. Now I am following through…

Ken Levine writes today about the worst script he and his partner ever wrote.

In 1993 my writing partner, David Isaacs and I did a short run series
for CBS called BIG WAVE DAVE’S starring Adam Arkin and David Morse. It
ran that summer, got 19 shares, kept 100% of MURPHY BROWN’S audience
and was cancelled. At the time CBS had starring vehicles in the wings
for Peter Scolari, Bronson Pinchot, and the always hilarious Faye
Dunaway so they didn’t need us.

We were given a production order
of six with three back-up scripts. We assigned the first two back-ups
to our staff and planned on writing the third ourselves. When the show
was cancelled we put in to CBS to get paid for the additional scripts.
They said fine, but we had to turn in the completed scripts. Gulp!

Bill
Rabkin and I had almost the exact same experience on SEAQUEST. We’d
already turned in the outline for  episode 14 when we got canceled.
But in order to get paid for the teleplay, we had to write it. We did
it in one day, while we were packing up our office. I still live in
fear that some sf fan will stumble on a bootleg draft at a scifi
convention, post it on the net, and people will think we actually write
that bad. I’m in Germany now, or I’d post an excerpt. I’ll try to
remember to do it when I return.

Darwin
UPDATE March 8, 2007:
  Okay, here’s an excerpt from "About Face,"  the script Bill and I wrote in a day to get our script fee. We knew no one would ever read it. All you need to know to follow along is that Piccolo a man with gills and Darwin is a talking dolphin (I’m not kidding).

Read more

Sisters-in-Crime Wrestles with POD

Now that anybody with a credit card and the email address of a Print-on-Demand company thinks they can call themselves a publisher or a published author, professional writers organizations have been forced to carefully define what it means to them to be a "publisher" or a  "published author" to deal with the issue. Now even Sisters-in-Crime is acknowledging the problem.

It seems that the abundance of POD titles in the Sisters-in-Crime’s annual  "Books-in-Print" catalog has rendered the publication useless to the booksellers and librarians it was intended for. As a result, Sisters-in-Crime is changing their rules about which titles can be listed in the publication. 

According to a member mailing by Sisters-in-Crime president Roberta Isleib, from now on only books that meet "marketplace standards" will be included in the listing.

Following are the criteria for a book that meets marketplace standards:

Is returnable.

Is offered at standard industry discounts

Is available through national wholesaler, such as Ingram or Baker and Taylor

Is competitively priced

Has a minimum print run of 1,000 copies

(We believe that the minimum print run of 1,000 copies shows a publisher’s intent to place the book in the marketplace. It is the same number used by Authors Coalition to determine a ‘published book.’)

Any titles that do not meet one of the standards may be petitioned on a case-by-case basis, so long as all other requirements are met.

[…]POD reprints of titles that met industry standards when originally published will be included in the print BIP.

The Mystery Writers of America enacted guidelines this year that excludes print-on-demand "publishers" from their Approved Publishers list. There was, predictably, a lot of foot-stomping in the blogosphere among the POD crowd, who predicted a mass exodus of members from the MWA as a result of the changes. In fact, the exact opposite occurred — the change actually resulted in a surge in membership renewals and new memberships. We now have more members than ever before.

But unlike the MWA, Sisters-in-Crime has a much more flexible membership policy and includes among its active members many people who’ve had their manuscripts printed using a POD press and consider themselves "published authors." Expect an uproar.

Tired of the Cliches

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I love mysteries, but I’m burned out on all the cliches. I won’t read about one more drunken, divorced cop with a tragic past.  I wish more authors had the same attitude as author Laura Wilson.  She writes in RED HERRINGS, the UK Crimes Writers Association newsletter (and in Shots Magazine), that she consciously avoided the cliches when she started her new series:

I decided, at the outset, that I did not want DI Stratton to be a conventionally flawed crime protagonist. He is neither a drunk, a compulsive gambler, nor an adulterer, and his psyche isn’t scarred by past personal tragedy — but nor is he a hero of lonely integrity walking the mean streets or a Dixon of Dock Green-like, salt-of-the-earth embodiment of law and order. He is an ordinary man with a realistic background […] lower middle class and father of two, he lives with his family and works in the West End. He is an intelligent, humorous man, but with rudimentary education; cynical, but kind and humane; happily married, but with a wandering eye. Above all, he is pragmatic.

S is for Sloppy Editing

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I have a theory that when an author becomes really, really big, the editors don’t read the manuscripts very closely, if at all. That’s especially true with Robert B. Parker. His books are usually laced with errors (for instance, in his latest Jesse Stone novel, STRANGER IN PARADISE, the spelling of the name of a big estate keeps changing).  What brings this to my mind today is a sentence on page 169 of Sue Grafton’s S IS FOR SILENCE that really boggles me. Her heroine Kinsey Milhone is in a sleazy motel room and makes this observation:

My bedspread smelled musty, and I was happy I didn’t see the article about dust mites until the following week.

How could she have been happy about something that hadn’t happened yet?!

Where the Wild Tie-In Writers Are

More and more high profile authors are turning to tie-ins.  Dave Eggers, author of A HEARTBREAKING WORK OF STAGGERING GENIUS, is
writing the novelization of the movie adaptation of Maurice Sendak’s
classic children’s picture book WHERE THE WILD THINGS ARE. The novelization
will be based on the script by Eggers’ and director Spike Jonze, which
expands on Sendak’s 300-word book. Publishers Weekly reports that the
novelization was Eggers’ idea but it was Sendak who lobbied Eggers to
be the one to write the tie-in. Harper Collins will publish the book, Eggers’ first since
2000 not to be published under his own McSweeney’s banner. It was not
an easy deal to craft:

The publisher acquired world rights to the novel about a year
ago, in a deal that involved not only Eggers but lawyers from Warner
Brothers, since a tie-in book was already part of the movie contract.
Intellectual property rights of both Sendak and HarperCollins (Where the Wild Things Are
was originally published by Harper & Row) also had a bearing on
terms. As [editor Dan] Halpern put it, negotiations involved “many different moving
parts.” But the goal was always to have any tie-in book published by a
Harper imprint, per the preexisting deal between Warner Brothers and
Harper, which owns publication rights to the Wild Things
franchise. Sendak, who has since been affiliated with other houses,
agreed “there was something correct” about Harper doing Eggers’s book.
 

Things Aren’t Bleak for Bleak House

The MWA has been criticized in some quarters for favoring the big houses over small presses. But as Publisher’s Weekly notes, the Edgar nominations this year tell a different story:

To nobody’s surprise, when the Mystery Writers of America announced the
finalists for the 2008 Edgar Awards last week  titles from the large
New York houses dominated the eight (out of a total of 13) categories
dealing with books. But one small Wisconsin press is more than holding
its own among the 35 books and five short stories selected as this
year’s Edgar Awards nominees. Three of the 15 titles released this past
year by Bleak House Books in Madison, an imprint of Big Earth Books,
have been nominated for 2008 Edgar Awards in three different
categories: Soul Patch by Reed Farrel Coleman (Best Novel), Head Games
by Craig McDonald (Best First Novel), and "Blue Note" by Stuart M.
Kaminsky from the Chicago Blues collection (Best Short Story).

Bleak House isn’t the only small press represented on the Edgar list this year. There are also titles from McFarland & Co, Serpent’s Tail, Hard Case Crime, Rookery Press, Level Best Books, Akashic,  Clarion, American Girl, and Busted Flush.