Tied Up

Tim Waggoner talks about the biz of tie-in writing over at Writers Digest.

Christopher Golden, bestselling author of The Ferryman and Strangewood, has written "Buffy the Vampire Slayer"-related books, and novels based on the "Angel" TV series. He’s witnessed first-hand the problems some writers—even good ones—have constructing a story within someone else’s guidelines. "I’ve also seen a lot of god-awful tie-ins," he says, "which would seem to indicate that some writers think it’s a lot easier than it actually is."

Are Novelizations Doomed?

Slate wonders if novelizations are endangered species:

novelizations have been supplanted by big-selling tie-ins—original novels based on existing properties such as Buffy the Vampire Slayer, CSI, or Halo—and the Internet. In a DVD world, the idea of using a book to relive the pleasures of a film is practically counterintuitive.

[…]The home-theater revolution may have wiped out a large part of the novelization market, but the lessons learned may wind up sustaining the genre. When DVDs first arrived, the studios quickly realized that they could get fans to "double dip" by issuing a bare-bones release of a movie and then following it with a "Deluxe Edition" loaded with special features. Now it looks like literary special features—expanded back stories, cut scenes, and deleted characters—might just make the novelization relevant again.

Shamus Award Nominees

The Private Eye Writers of America have announced the nominees for the 2006 Shamus Awards (for works published in
2005). Needless to say, I was thrilled by their choices…though I fear I don’t stand a chance against Crais, Connelly, and Mosley. But wow, it sure is nice to be included in their company. The awards will be
presented on Sept. 29, 2006, at the PWA’s 25 Anniversary Banquet in
Madison, WI, which will be held during the Bouchercon World Mystery
Convention.

Best Hardcover

Oblivion by Peter Abrahams  (Wm. Morrow), featuring Nick Petrov.

The Lincoln Lawyer by Michael Connelly (Little, Brown), featuring Mickey Haller.

The Forgotten Man by Robert Crais (Doubleday), featuring Elvis Cole.

In A Teapot by Terence Faherty (Crum Creek Press), featuring Scott Elliot.

The Man with the Iron-On Badge by Lee Goldberg (Five Star), featuring Harvey Mapes.

Cinnamon Kiss by Walter Mosley (Little, Brown), featuring Easy Rawlins.

Best Paperback Original

Falling Down by David Cole (Avon), featuring Laura Winslow.

The James Deans by Reed Farrell Coleman (Plume), featuring Moe Prager.

Deadlocked by Joel Goldman (Pinnacle), featuring Lou Mason.

Cordite Wine by Richard Helms (Back Alley Books), featuring Eamon Gold.

A Killing Rain by PJ Parrish (Pinnacle), featuring Louis Kincaid.

Best First Novel

Blood Ties by Lori G. Armstrong (Medallion), featuring Julie Collins.

Still River by Harry Hunsicker (Thomas Dunne Books/St. Martin’s Minotaur), featuring Lee Henry
Oswald.>

The Devil’s Right Hand by J. D. Rhoades (St. Martin  Minotaur), featuring Jack Keller.

Forcing Amaryllis by Louise Ure (Mysterious Press – Warner), featuring Calla Gentry.

Best Short Story

“Oh, What a Tangled Lanyard We Weave” by Parnell Hall. Murder Most Crafty (Berkley),
featuring Stanley Hastings.

“Two Birds with One Stone” by Jeremiah Healy.  Alfred Hitchcock Mystery Magazine, Jan/Feb 2005, featuring John Francis Cuddy.

“The Big Road” by Steve Hockensmith. Alfred Hitchcock Mystery Magazine, May 2005, featuring Larry Erie.

“A Death in Ueno” by Michael Wiecek. Alfred Hitchcock Mystery Magazine,  March 2005 featuring Masakazu Sakonju.

“The Breaks” by Timothy Williams. Ellery Queen Mystery Magazine, September/October 2005 featuring Charlie Raines.

Daniel Woodrell

The Ones You Do. Under the Bright Lights. Give Us A Kiss. Woe to Live On. These are just a few of Daniel Woodrell’s wonderful books. This man should be a bestselling author, held in the same high regard as Michael Connelly, T. Jefferson Parker, George Pelecanos, and Dennis Lehane. But while he’s well-reviewed, he’s not well-read (the same fate befell Ang Lee’s excellent RIDE WITH THE DEVIL, the movie version of Woe to Live On… it went unnoticed by audiences and tanked at the boxoffice). Hardly anybody is aware of him despite the fact he’s one of the best crime writers today…hell, he’s one of the best writers out there in any genre.  My brother Tod pointed me to an interview with Woodrell in The Independent. Among his quotes:

"I just really like the verve and muscle of good crime fiction,
the narrative punch of it. The underlying principle of good crime
fiction is an insistence on a kind of root democracy. I’ve always
responded to that notion."

The Thrill of Sexism?

The International Thriller Writers has enjoyed nothing but success, praise and enthusiasm since it was co-founded by Gayle Lynds & David Morrell two years ago…until now. On the eve of ITW’s first convention in Phoenix, Author Elaine Viets has criticized the organization’s inaugural list of Thriller Award nominess:

It’s tough to define an award-winning thriller, but the new International Thriller Writers has succeeded:

It’s anything written by a man.

That’s not what it says on the ITW Website. That tells us,
"Thrillers provide a rich literary feast – the legal thriller, the spy
thriller, the action-adventure thriller, the medical thriller, the
police thriller, the romantic thriller, the historical thriller, the
political thriller, the religious thriller, the high-tech thriller, the
supernatural thriller. The list goes on and on, with new variations
being invented constantly. This openness to creation and expansion is
one of the field’s characteristics."

Unfortunately, the plums at this literary feast are served to men
only. For the first ITW Thriller Awards, every single novel nominee is
a man.

Best Novel – five men.

Best First Novel – five men.

Best Paperback Original – five men.

And the winners of these Thriller Awards?

No surprise there: They’re all going to be men.

So is the recipient of the first ITW Life-Time Achievement Award.

The judges were men and women. So was it sexism…or did men simply write the best work this year? You tell me. I didn’t check, but how many Jews were nominated? Jews write lots of crackling thrillers. Hmm.

UPDATE 6-23-06: Novelist Joe Konrath calls Elaine Viets "a troll" and ITW co-founder Gayle Lynds reponds to her charges. Gayle wrote, in part:

As an author (not as a woman who has spent her life battling sexism), I
could complain that no women were nominated. At the same time, I could
also complain that no people of color were. I’m not sure whether any
Muslims or religions other than Christian or Jewish were nominated, but
I think they weren’t either. There also might be a preponderance of
nominees from one section of the United States, which could be taken as
a prejudice favoring that area.

As long as awards are given in
whatever field, there are always going to be those who say, "I wish it
were otherwise. And because it isn’t, it’s prejudice."

The only
time there’s really an institutional problem, at least in my mind, is
when there is a history of one group of people being disenfranchised.

Since this is ITW’s first year, the organization can have no track record of institutional prejudice.

The Perils of Signing

Author Barry Eisler signed THE LAST ASSASSIN at a small, independent bookstore in the mid-west and then left and signed stock at two nearby big chain stores in the same town.  Barry reports that this did not sit well with the independent bookseller, who wrote:

Signing
stock at chain stores signals to the people who did take the time to
come to your [our independent bookstore] event and support you that
their effort was not necessary. More importantly, calling attention to
that fact that you need to leave to do such a thing is insulting to
your hosts. If that was something you felt compelled to do, you
probably should have done so without drawing attention to yourself. I
chalk it up to you not understanding the dynamics of the situation.
Other booksellers may not be very forgiving. Some in particular that we
know would simply stop carrying your books without comment.

[…] Like many of the key independents, we’re in the business of selling
books and we also produce author events. In order to drive the
publicity for an event, particularly for genre fiction, there has to be
a unique quality to the experience we’re offering. Part of that
uniqueness is the opportunity to meet the author and purchase a signed
book. If someone can go anywhere in town and purchase a signed book,
then that unique aspect of the event marketing is lost.

Is the independent bookseller over-reacting or did Barry make a  mistake? Barry doesn’t think he did:

I can’t apologize for signing stock at chains, my friend. They’re
important distributors in my business, and I can’t make a living
selling through independents alone (nor would I have been able to build
my business as I have without the backing of independents). If I
insulted you by doing I see as best for my business, I regret it, and
am somewhat surprised, as it’s not a reaction I’ve run into before.

If you’d like to have me back for another event, I would be delighted,
as you, along with other key independents, have done a tremendous
amount to get me where I am, and where I hope to go. You also run a
first rate signing and seem like good people. But whether I do a
signing with you or not, you should know that I’ll also sign stock at
as many chains in town as I can. This is a business decision for me,
not at all personal, and you shouldn’t feel insulted by it.

What do you think? Was Barry right or was he wrong? I’m not in my friend Barry’s league, but I can see both sides of the argument.

I know one independent bookseller who was very upset to find out that a week before they were hosting a signing for A Big Bestselling Author, signed copies of his book were being sold at the Costco two miles up the street (he’d signed thousands of copies at their distribution center) and he’d signed stock at the Barnes & Noble  less than a mile away a day earlier.

After the signing at the independeant bookstore, the Big Bestselling Author made sure he stopped by the nearby Borders, too. The independent booksellers were pissed…but there wasn’t much they could do about it. They still sold a lot of his books, just not as many as they could have sold if they weren’t undercut by the much cheaper signed books at Costco and B&N.

On the other hand, people who came to the independent bookseller’s event got to meet the author…something they couldn’t do at Costco, B&N or Borders. And they presumably were willing to pay a little extra for that priveledge.  I do believe the indie offered something unique that the other stores couldn’t, and that the people who’d buy the signed book at Costco aren’t necessarily the same customers who’d attend an author signing.  One doesn’t necessarily cancel out the other.

Like I said, I can see both sides.

I wonder how the independent feels about authors who do signings at another indies in the same city? I know it happens all the time in L.A. area and authors are very upfront about it.  Mystery/thriller  authors frequently sign at Mysteries to Die For the same day as Mystery Bookstore and Book’em… and even ask for directions (as Barry did, asking the indie how to get to B&N). If the indies here mind, they haven’t said anything about it that I know of…

Like a Needle in a Haystack

Author Jerry B. Jenkins has some very good advice about removing cliches from your writing over at Writer’s Digest. Yep, Writer’s Digest. Hard to believe.

Clichés come in all shapes and sizes. There are just as many clichéd
scenes as phrases and words. For instance, how may times have you seen
a book begin with a main character being "rudely awakened" from a
"sound sleep" by a "clanging" alarm clock? Have you written an opening
like this yourself? Wondering where to start, you opt for first thing
in the morning. Speaking of clichés, been there, done that. We all
have. Don’t ever do it again.

Compounding that cliché is having
the "bleary-eyed" character drag himself from his bed, squinting
against the intruding sunlight. And compounding that is telling
the reader everything the character sees in the room. What comes next?
He’ll pass by or stand before a full-length mirror, and we’ll get the
full rundown of what the poor guy looks like.

Are you cringing?

LOST Novel Author Outed

Variety has revealed that "Gary Troup," the fictional author of the LOST tie-in novel BAD TWIN, is actually acclaimed novelist Laurence Shames.

Insiders say writers on "Lost" were asked to provide a list of elements that Shames could incorporate into the novel. But the author had his own vision and wound up including only a few of the elements.

[…]Show staffers also were frustrated that the book referenced copyrighted elements for which the publisher had not sought clearances, saying it would make it difficult to use those elements on-air.

But Hyperion told ABC that, like all publishers, it doesn’t normally seek clearances on copyrighted items in its novels. The house also said the book’s production schedule could have been held up if such clearances were sought.

Remaindered

My short story REMAINDERED is now available on Amazon for a mere 49 cents.

Whether you are a bestselling author or a writer toiling in mid-list obscurity, your books will eventually end up remaindered to the bargain bin at Barnes & Noble. The fear, of course, is that your career will eventually end up remaindered, too. I got the idea for this dark-comic mystery while actually living the humiliating booksigning experience that opens the story….

Lester Dent’s Fiction Formula

Dent2
I got this email from "Bigby" today:

Lester Dent, the pulp writer who created Doc Savage
(and I believe wrote all or most of the Shadow stories) and God knows how many
others once gave his formula for any 6000 word pulp story… which is EXACTLY
the four-act structure for TV. He even breaks those six thousand words into four,
1500 word acts…Absolutely fascinating.

Bigby is right.  Dent’s formula reads almost exactly like the four-act structure of an episodic teleplay. For example, here is how Dent describes the first 1500 words of a story:

  1. First line, or as near thereto as possible, introduce the hero
    and swat him with a fistful of trouble. Hint at a mystery, a menace or
    a problem to be solved–something the hero has to cope with.
  2. The hero pitches in to cope with his fistful of trouble. (He
    tries to fathom the mystery, defeat the menace, or solve the problem.)
  3. Introduce ALL the other characters as soon as possible. Bring
    them on in action.
  4. Hero’s endevours land him in an actual physical conflict near the
    end of the first 1500 words.
  5. Near the end of first 1500 words, there is a complete surprise
    twist in the plot development.

That’s pretty darn close to what the first Act of any episode has to accomplish. The first Act sets up the central conflicts of the story:  what the hero has at stake, what others have at stake, what his goals are and the obstacles that prevent him from achieving his aims. Dent says much the same thing, only in a different words ("He
tries to fathom the mystery, defeat the menace, or solve the problem."). Dent’s advice is worth taking — whether you are writing a thrilling short story or a spec episode of a TV show.