Writing - Page 7 of 65 - Lee Goldberg

Report from Bouchercon Albany

September 25, 2013 by Lee Goldberg

The success of a Bouchercon has less to do with the venue, and the organization of the conference, than with the collective vibe of the people who attend…which is a good thing, because this was the worst location, and the most poorly organized, Bouchercon I’ve ever been to. That said, the people were great and I had an absolutely terrific time.

So let’s start with the good part. I’m long past attending the Bouchercons for the panels or the special guests…I rarely go to any panels or interviews anymore. I go to Bouchercon to see old friends, to get introduced to new authors and new books, to meet with my editors and executives from the publishing companies that I work for, to buy books, to talk shop, and to pick up the latest news in my little corner of the industry. I spend almost all of my time in the book room, or in the corridors of the conference center, or going to parties, or hanging out for hours in the hotel bar, talking with editors, authors, readers and booksellers. I usually come away from the event re-energized, full of new ideas, and armed with a fresh understanding of the marketplace. All of that happened this time.

What I like best is when I bump into people I’ve long admired but have never met…like Dexter producer Clyde Phillips and Law & Order SVU writer Jonathan Greene… or have a chance encounter with authors I’ve never met before that leads to long and interesting conversations….and that happened with Chris Povone and Jamie Mason, among others…or get to meet enthusiastic readers of my books…and I met many of them. I was especially thrilled to hear how much they liked The Heist. What really surprised me was how many of those fans were men.

I chatted with scores of authors, including Sue Grafton, Harlan Coben, Joseph Finder, Alison Gaylin, Zoe Sharp,, Roger Hobbs, Jeffery Deaver, Tess Gerritsen, Matt Hilton, John Lawton, Lisa Lutz, Dick Lochte, Hannah Dennison, and Hy Conrad, to name just a few. The big topics of conversation, of course, revolved around the massive changes in the publishing industry…all prompted by the big elephant in the room: Amazon.

Kentucky Colonels Sue Grafton and Lee Goldberg at Bouchercon

And Amazon was there in force… at least in terms of the editors from Amazon Publishing and their many authors in attendance, among them my friends Kendra Elliot, Melinda Leigh, 2013 Anthony award winner Johnny Shaw, John Rector, 2013 Anthony Award winner Dana Cameron, Sean Chercover, Joel Goldman, Max Allan Collins, and Helen Smith. But Amazon was also strongly represented by the many professional authors and attendees who are using KDP, their self-publishing platform, to republish their out-of-print backlists (in the case of the pros) as well as new books (in the case of pros and “newbies” alike), a list that includes big names like Lawrence Block, as well as lesser known, but successful, authors like Stacey Cochran.

There’s no question that the explosion of self-publishing, the emergence of Amazon’s imprints (two of their Thomas & Mecer authors scored Anthonys for best novel and best short story), and the Kindle device have changed everything…and authors trying to figure out where they fit in, where the best opportunities are, where the pitfalls are, and how all of this changes their approach to both the business and craft of writing. The big takeaway is that this is an exciting time to be a novelist…perhaps the best ever. Authors have choices they never had before, especially those of us who have been at this a while. But what about new authors? What is the path to success in this rapidly changing landscape? Where do agents fit into it all now? All of that is far less clear…at least from the vantage point of the Albany convention center last weekend.

Look closely and you'll see John Saxon running from the lesbian overlords of future earth... — Look closely and you’ll see John Saxon running from the lesbian overlords of future earth…

Which brings me to the venue, which had all the charm of a bus station men’s room, minus the urinals. The windowless pit was buried beneath the Empire State Plaza, which looked like a matte painting from a busted, 1970s Gene Roddenberry sf pilot. Finding your way into that bleak pit required a sherpa… or directions from one of the many crack addicts, toothless meth-heads, smelly panhandlers or opportunistic drug dealers on the streets surrounding the far-flung hotels where everybody had to stay (the convention center was virtually inaccessible for the handicapped). The conference rooms where the panels were held had terrible accoustics and the ambiance of police interrogation cells. The only author who probably felt at home in them was Marcia Clark.

Because bleak, destitute downtown Albany revolves around government workers, everything shuts down early in the afternoon and is closed up on weekends…those few places that already boarded up or out-of-business… meaning there was no place to eat on Saturday and Sunday….unless you wanted to wander into crack alley for a soggy burger or go back to the understaffed, woefully unprepared Hilton Albany, the nearest hotel…where even if you got served, it was a crapshoot whether inedible meal that was delivered was the one you actually ordered. The bar was even worse.

What were the Bouchercon organizers thinking when they picked this shithole? Who knows. But I can tell you this, Long Beach next year will be a big improvement…and I’ve already booked my tickets.

The Mail I Get – Tie-In Edition

September 24, 2013September 24, 2013 by Lee Goldberg

I got two very similar emails today asking, basically, the same question about tie-ins. Here they are:

I’m seeking guidance on writing a novel series for a past TV franchise that continues to hold a loyal fan base. You had accessibility to writing the Monk novels from your freelance work on the show and your established relationship with the creator. Any suggestions on who would be the appropriate contact to query regarding rights from a past dramedy for which I am interested in writing a novel series? Would it be the creator via his agent or someone else?

And here’s the other one:

wanted to let you know that lately I’ve read several of your Monk novels and have enjoyed them greatly. I wanted to ask you how would someone approach studios regarding writing novels based on existing shows? I’ve a Doctor Who novel and was wondering if you had any pointers on how I should approach publishers. Who do I approach – do I approach BBC Books direct or do I approach the TV company, copyright holders?

The simple answer is that, in most cases, TV tie-in books are publisher-generated and do not come about because of an author’s interest in the property. The way it usually works is that either the rights-holder (usually a studio) with a hot series property auctions the publishing rights to the highest bidder…or a publisher approaches the rights-holder (usually through the licensing department of a studio) about licensing the publishing rights to a property. Either way, the publisher will pay the rights-holder a license fee as well as a percentage of the sales. The rights-holder also maintains creative control of the project and provides photos, logos, and other marketing materials related to the show. Once the rights are secured, the publisher then seeks out authors to write the tie-in books…usually going to established professional writers who they know can work within tight guidelines and deliver a strong, clean manuscript in very little time.

As unproven authors, you really have nothing to offer the rights-holders of a classic, or hit, TV series that would motivate them to license the novel rights to you. If a publisher is already producing books in a tie-in series…like, say, STAR TREK or DOCTOR WHO, you could contact the editor and pitch yourself as someone to consider to write one of the books, but the chances of that approach succeeding are, to be blunt, nil.

So the bottom line is there’s really no way for you to interest a studio in letting you write novels based on one of their shows unless you approach them with a publisher attached…or you are already a big name in your own right and having you attached to the book would guarantee significant sales and publicity. You can learn more about tie-in writing, and how the tie-in biz works by reading Tied In: The Business, History and Craft of Media Tie-in Writing

The Unsung Pros of Crime Novels and Westerns

May 24, 2014September 18, 2013 by Lee Goldberg

There are scores of professional writers out there who are incredibly prolific, sell huge numbers of crime novels and westerns, and yet are virtually unknown. One of those writers is Robert Vaughan, who has sold 40 million books, mostly westerns. He was interviewed about his under-the-radar career recently and he’s pretty frank about his lack of celebrity.

I have written well over 400 books. If I had written every one of those books under my own name, Robert Vaughan would be a name that is immediately recognized. I would have established something of value that my survivors could capitalize on after I die…(such as I am doing for others now….continuing the name of a deceased author for the benefit of his survivors). Don’t get me wrong. I am also benefiting from this name….but with this author….and with two others, I have had seven books make it onto the NYT best seller list. Two novels, LOVE’S BOLD JOURNEY, and LOVE’S SWEET AGONY, which I wrote as Patricia Matthews, made number one on the list. In 1981, I sold 6 million books. In my life time, I have probably sold 40 million books, but nobody knows who I am.

But I bet he didn’t really have a choice. Like many writers, me included, he probably took the jobs that came along to pay the bills (do you think I wanted to write for The New Adventures of Flipper or Baywatch?) and didn’t necessarily take a long-range view of what the cumulative effect might be on his career.

I have enormous respect for authors like Vaughan. They are true craftsman, and don’t get nearly the attention, or financial compensation, that they deserve for their crimes novels and westerns. I’m talking about pros like James Reasoner, Mel Odom, Bill Crider, Robert Randisi, Ed Gorman, Raymond Obstfeld, Mike Newton, Chet Cunningham, Donald Bain, to name a few… guys who can write just about anything in any genre…thrillers novels, crime novels, western novels, romance novels and do it well. And who have ghost-written scores of books, or toiled under house names (a pseudonym created by a publisher or book packager for a novel or series of books), while others repeated the lion’s share of profits from their efforts. A few such writers have emerged from the shadows into wide popularity… guys like Lawrence Block, Donald Westlake, John Harvey, and John Jakes… but most toil in obscurity, writing sometimes hundreds of books in virtual anonymity as “work-for-hire” authors.

But I believe that is finally changing, thanks to Amazon and the e-book revolution. There has been a massive shift in the economics of publishing, and it’s increasingly becoming financially impractical for a prolific, self-starting professional author to toil in the “work-for-hire” field, where you don’t own the copyright, advances can be as low as $3000, and royalties as pitiful as 1 or 2%…if you get any at all.

More and more writers who used to live on work-for-hire gigs are now turning to self-publishing…which offers them the opportunity to own their books, make more money, and become known for their work. For example, Crider, Odom and Reasoner are writing and publishing the Rancho Diablo westerns… just the kind of “house name” series they used to toil on as anonymously “work-for-hire” writers with no ownership stake.

Vaughan, meanwhile, has a new western out under his own name (When Hell Came to Texas) and is also writing romances for Pocket Books with his wife Ruth under the pen-name “Sara Luck.”

And though the Sara Luck books don’t have my name, Ruth and I at least own the name.

And that means something.

Finding Havana Lost

September 12, 2013 by Lee Goldberg

The Chicago Tribune hailed my friend Libby Fischer Hellmann’s new novel HAVANA LOST as her “most ambitious book, a sprawling novel that spans more than six decades and a number of countries and comes peppered with passions, love affairs, kidnappings, conspiracies, CIA and Outfit thugs, and, naturally, a pile of dead bodies.” Sounds great, doesn’t it? So I asked Libby to tell me how this book came about…

I was talking to my sister on the phone after I finished A BITTER VEIL. I was already about 60 pages into my next Georgia Davis thriller, but something was preventing me from investing in it. I considered writing a World War Two thriller—I’m continually drawn to periods of extreme conflict in which some people are heroes, others cowards, and you never knew whom to trust. Unfortunately, I realized there was probably nothing I could write about World War Two that hasn’t been done better by someone else.

Our phone conversation turned to other time periods and settings of extreme conflict, and my sister brought up Cuba. As soon as she mentioned it, I started to get that itch—the kind of itch that can only be scratched by diving into a subject. We both remembered how my parents flew down to gamble in Havana. This was when Batista was still in power. I must have only been about 6 or 7, but I remember being jealous that they were going to a foreign country and culture. I wanted to go. Of course, they didn’t take me.

A few years later Fidel took over and Cuba was suddenly off limits to Americans. Soon afterwards it turned Communist, and Communism was our enemy! Because of that, Cuba seemed even more mysterious and exotic, and I wanted to know more about it. A year later, of course, came the Bay of Pigs, followed fifteen months later by the Cuban Missile Crisis, both of which made Cuba even more impenetrable and threatening. So close and yet so far.

Finally, and I’m not ashamed to admit it, I recalled one of the Godfather films where Al Pacino (Michael Corleone) and Lee Strasberg (Hyman Roth aka Meyer Lansky) are on a rooftop supposedly in Havana discussing how they’re going to own the island. Shortly after that, Michael sees a rebel willing to die in order to overthrow Batista . Michael changes his mind about doing business with Roth.

That clinched it. I realized I had most of the elements for a terrific thriller: revolution, crime, conflict, an exotic setting. And while I knew it would be a stand-alone story, rather than a series, there is a thematic link between HAVANA LOST, and the two previous stand-alone thrillers I’d written: A BITTER VEIL and SET THE NIGHT ON FIRE. That theme is revolution and what it does to an individual, a family, a community, a country, a culture. In fact, I consider HAVANA LOST the noir leg of my “revolutionary trilogy.”

There was only one other element I needed. I enjoy—actually it’s more than that… it’s probably an obsession at this point—writing about women and the choices they make. I needed a female character I could insert into the middle of the volatile situation. It would be fascinating to see what she did and how she coped. How would she survive? What kind of a woman would she become? I found that woman in Frankie Pacelli, the daughter of a Mafia boss who owns a Havana resort. She’s eighteen when we meet her but in her seventies by the end of the book.

The rest was, as they say, is history.

Btw, I finally did make it to Cuba in 2012 with my daughter, and it was just as fascinating as I thought it would be. I want to go back. In the meantime, I hope you’ll take a look at HAVANA LOST.

Chicagoan Libby Fischer Hellmann is the award-winning author of ten compulsively readable thrillers. They include the Ellie Foreman series, which Libby describes as a cross between “Desperate Housewives” and “24,” the hard-boiled Georgia Davis PI series, and two standalones, SET THE NIGHT ON FIRE, and A BITTER VEIL. Her tenth and newest release, also a stand-alone, is HAVANA LOST, a historical thriller set largely in Cuba. She also has written nearly twenty short stories and novellas. A transplant from Washington DC, she says they’ll take her out of Chicago feet first.

On the Lam

August 29, 2013August 29, 2013 by Lee Goldberg

Amazon’s Thomas & Mercer imprint brought their authors up to Seattle last weekend to meet with their executives and editors over dinners, parties and meetings…..and to talk shop at a conference entitled “On The Lam” that was open to invited members of the public. It was an amazing experience.

The best thing about the “On the Lam” conference were the numerous, and lengthy, opportunities we had to meet, and spend time with, the Amazon executives and editors. It gave us a real chance to develop personal relationships with them rather than the typical short encounters you have at Bouchercon, etc.

The first full day began with a breakfast meeting at Amazon HQ where the heads of their various departments gave us confidential briefings on the current status on all aspects of the Amazon Publishing program and the many initiatives they have in the works for the coming year. It was very interesting and I wish I could share the details…but we were sworn to secrecy. We were introduced to key department heads and went off to lunch aboard a yacht in Lake Union, where we got a chance to mingle with the execs one-on-one in a casual setting. We then broke up into groups for an afternoon cruise , a walking tour of the city , or a tour Seattle distillery tour. After the afternoon outings, we got back together for a terrific party at the Chihuly Glass Museum at the base of the Space Needle. There were a number of inspiring, short speeches by Amazon execs…and then we all mingled.

Saturday was spent in the “On the Lam” conference, where the authors in attendance were on panels moderated by Amazon editors and discussed many aspects of writing, marketing and the publishing business. The conference concluded with the authors breaking into several groups and going to dinners hosted by editors at some of Seattle’s best restaurants.

Authors Max Allan Collins and Jay Stringer

A lot of the authors and attendees have blogged enthusiastically about their experience at “On The Lam.” Author Max Allan Collins says the event was truly unprecedented:

[It]was unlike anything I’ve experienced in forty years of publishing. The T & M crew flew in 75 authors from hither and yon – “yon” being the UK, and hither being places like “Iowa” – simply to give those authors a chance to interact with each other, and the T & M editorial and marketing team. Editors have taken me out for lunch or breakfast many times, and publishers often have cocktail parties at Bouchercon and/or take authors out for a group dinner. But this was different.

For one thing, this conference was almost exclusively attended by one publisher’s writers. For the Saturday panels, family and friends and some local writers group members were in the audience, but mostly this was writers talking to other writers (and to editors). All weekend, the kinds of conversations usually only heard in secluded corners of bars at Bouchercon hotels was the up-front order of the day.

Barb and I both found it interesting and illuminating, and the generosity of T & M toward their authors was damn near mind-boggling. Everybody had a gift bag with a Kindle Paperwhite in it, for example…

The freebies went beyond that. There were t-shirts, notebooks, pens, umbrellas, and plenty of copies of the T&M books. Our money was no good at the restaurants and bars in the hotel. But it wasn’t the swag or meals that impressed me… it was the message that the gifts, and the event, underscored about Amazon’s attitude towards their authors: we appreciate you. We are in this together.

Author Helen Smith shows off some of her Amazon swag.

Author Christine Kling blogged about it on day one of the conference:

I guess you could say that in the 21st century with the advent (invent) of the Kindle, traditional publishing has come under siege. There is a war going on for eyeballs on screens. Authors are the ones who produce much that content that goes on the screens. It sometimes seems like the legacy publishers have forgotten that, but this is something that Amazon knows at the core of their corporate structure. I’ve been here 24 hours now and all I hear (and see) is how Amazon puts the author at the center of all business equations.

[…] all the talk among the authors was about how we, as authors, have never been treated so well by a publisher. They really want our opinions on covers, and when we say we think there should be changes, they go back to the drawing board and try again. They pay better royalties and they do so monthly. We have an online dashboard where we can see actual sales by the next day, so we always know how many books we’ve sold, and our final royalty statements are available online about fifteen days after the close of the month’s period.

Author Charlie Williams notes how lots of people like to depict Amazon as an evil empire …but that’s not how the company feels to authors or to customers.

You may have heard negative things about them, things about monopolies and doing the independents out of business and destroying the publishing industry. Well, all I can say is that they know how to treat an author. And if they treat you well too, dear reader, then that’s a pretty good deal. Right? See them as the dark overlord if you like, but I can assure you that they are a bunch of bright, imaginative men and women trying to find new and better ways of doing things. And they are book people. There is a new paradigm going on and they are at the heart of it, cutting unseen shapes from the rock-face. Lucky them. Lucky you.

Author Helen Smith says On the Lam was good business, for Amazon and for authors:

It was an opportunity for us to meet each other and spend time with the staff at Amazon Publishing, including Russ Grandinetti and Jeff Belle, as well as the people who work across all the Amazon Publishing imprints. I had met some of them before at various events in London and New York and it was a joy to spend time with them again in their home town.

The conference made author Jay Stringer give serious thought to why he writes…and the direction his career is going.

I’m three books into my career. I’m still figuring out what kind of writer I want to be. At On The Lam I got to talk to many different kinds of writer. Some have forged successful careers mixing their own work with work-for-hire, some like to sit and slowly work through their own books, one at a time, and supplement their income elsewhere. Some have long-term deals, some only worry about one contract at a time. Each of them took time to talk to me about their careers, their paths, and to help me along in deciding on mine.

“On The Lam” was even great for the attendees who weren’t Amazon authors. Erin Havel reports for the Huffington Post that she found the panel discussions packed with information…

By the end of the day I was completely inspired. I realize I could write a separate blog on each of the panel discussions, perhaps I will in the future. However, for now, this is a small glimpse at a world few beginning authors have the opportunity to see. Thank you Thomas and Mercer!

Amazon has worked very hard to make their authors feel like partners, not like outside contractors or, worse, as a necessary evil (remember Harlequin complaining a few weeks back that their profits are down because they have to pay royalties to authors?). I certainly can’t recall any publisher doing anything like “On the Lam” before…or being so open about sharing sales information (in real time!) or paying royalties so frequently and promptly (monthly!).

It’s very important to me to establish personal relationships with the people I work with. The “On the Lam” conference is just one of many examples that demonstrate that the executives at Amazon Publishing feel the same way.

Remembering Elmore Leonard

August 21, 2013August 20, 2013 by Lee Goldberg

Elmore Leonard died today…and just about every crime writer in America owes some debt to him in their writing. I’m one of them.

The wonderful thing about Leonard’s writing is how unobtrusive it is…it gets out of the way and puts you right there with the characters. And oh, what great characters they are, each one every bit as rich and complex as those in “literary fiction,” emerging through action and dialogue rather than belabored, self-conscious prose. He knew the power of simplicity and humor to convey character, ethical issues, and the often contradictory impulses that shape what we do. His characters are never simply good or bad. Even the most vicious sociopath in one of his stories can be surprisingly likable, gentle and polite in certain situations. His cops and marshals were often more bloodthirsty and lawless than the criminals they pursued. I return to his books not just for the pleasure of a great story well told, but to learn how to say more with less (something I’ve failed to do here) and to use humor to reveal character.

I was lucky enough to meet him on two occasions, and I’d intended both times to tell him how much his writing meant to me, but that’s not what ended up happening. We didn’t talk about writing at all. We shared a few Hollywood anecdotes, but mostly we just chatted about this and that. Amusing, time-passing small talk. In some ways, that was more gratifying and revealing than me gushing over him or grilling him. The easy familiarity he could create in person was the same experience he created in his books. I realized that his writing talent came naturally, that it wasn’t so much a skill as it was an outgrowth of who he was. And that, in itself, was a writing lesson…and maybe a life lesson, too.

The Forgotten

August 3, 2013August 3, 2013 by Lee Goldberg

There are two great new books out that deal with forgotten entertainment: Richard Irvin’s Forgotten Laughs: An Episode Guide to 150 TV Sitcoms You Probably Never Saw and Brian Ritt’s Paperback Confidential: Crimes Writers of the Paperback Era.

Forgotten Laughs is a fantastic book from Bear Manor Publishing that focuses on comedies that lasted six episodes…or less. Many of the sitcoms were initially picked up for thirteen episodes but didn’t survive past their first or second week on the air. Some of the shows were cancelled before even one episode got on the air. The book includes detailed episode guides for the aired, unaired or, in some cases, unproduced episodes of each series and gives the backstories on their development and cancellation. It’s a treasure trove of information and a fascinating glimpse into the world of network television scheduling and development. It’s an exhaustively-researched, smoothly written, must-have reference book for TV industry followers. I absolutely loved it. I hope Irvin will follow up with a sequel covering forgotten one-hour dramas.

Paperback Confidential is an essential reference book for lovers of hard-boiled/noir paperbacks of the 1930s through the mid-1960s, most of them forgotten by most readers today. Ritt profiles 132 of the best loved, and also some of the most obscure, authors of the era. Authors include David Goodis, Norbert Davis, Marvin Albert, Dolores Hitchens, Fletcher Flora, Cornell Woolrich, Ann Bannon, Harry Whittington, and so many others. Ritt not only tells you all about them and their books, he also provides their pseudonyms and a selected bibliography of their work (some of these authors wrote dozens, if not hundreds, of books). Now whenever I pick up a vintage paperback from some author I’ve never heard of, this book will save me the hours I would have spent on the Internet searching for more information. It’s no surprise that this terrific book comes from Stark House Press, the people who’ve so lovingly republished “lost” and/or long out-of-print books by Harry Whittington, Gil Brewer, Dan J. Marlowe, and James Hadley Chase among others. The people at Stark House are doing God’s work, as far as I’m concerned.

(For the record, I independently bought both of these books…there were not provided to me for review)

How to Embarrass Yourself and Not Sell Your Book

July 28, 2013 by Lee Goldberg

If you want to embarrass yourself, and not sell any books, follow the example set by author and literary agent Jodie Rhodes: take out a half-page ad in the Los Angeles Times and be sure to include a boring and badly written excerpt from your self-published novel. Here’s a taste of her powerful prose:

“I’ve got it, James!” she exclaimed, her eyes sparkling. “I’ve got the script for my first picture. But I need your advice on where to go from here.”

He blinked in disbelief. “What do you mean, you’ve got a script? You don’t even have a production company.”

“Oh, don’t worry about that.” She waved an impatient hand at him.

“Anthony has already agreed to set up one.”

“Christ, Erin, you don’t waste time, do you? How in the hell did you accomplish that in one week?”

“It wasn’t all that difficult.” She gave a tiny shrug. “All I have to do is marry him. Anyway,” she continued eagerly, “let me tell you about this script.”

The characters in this thrilling excerpt from “Inside Hollywood” don’t talk. They exclaim, they shout, they admit and they continue eagerly. My favorite line, though, has to be the one about the impatient hand. The heroine doesn’t wave impatiently, she waves her hand, which is impatient.

The ad not only showcases her bad writing, but it also casts doubt on her judgment as a literary agent (she’s the president of the Jodie Rhodes Literary Agency, as she mentions on the cover of her book). If this excerpt is her idea of great writing, and this advertisement is her notion of a brilliant marketing campaign, can you imagine the kind of advice that she gives her clients? What’s even more shocking is that she’s also a former advertising executive…and yet produced an ad as ugly, ineffective, and outright embarrassing as this one. This cringe-inducing ad should be given to every aspiring writer as an example of what not to do when trying to sell your book to Hollywood, publishers or readers.

Two Pros Battle Illnesses With Prose

August 9, 2013July 24, 2013 by Lee Goldberg

Joel Goldman and Ed Gorman are two of my favorite authors…and two of my favorite people. They’ve both inspired, entertained, and educated me so much over the years. And now, coincidentally, they’ve both given lengthy interviews this week about their careers, their approaches to their craft, and how they have coped with life-changing illnesses while continuing to write great novels.

Joel was a successful Kansas City trial attorney when he was afflicted with a rare movement disorder which he calls “life annoying” and not life-threatening, but it still forced him to walk away from his legal career. He incorporated his illness into his fiction, with bestselling results. He talks about it in this candid interview with the Lawrence World Journal:

When he developed a movement disorder that caused him to experience involuntary shakes and spasms several times a day, he wasn’t literally under a spotlight. It only felt that way. But unlike his character Jack Davis, who stubbornly continues fighting crime against his doctor’s recommendations, Goldman turned away from the only career he’d ever imagined. Instead, he became a bestselling crime author.

“As crazy as it may sound, I look at this disorder as something that has opened new doors for me,” said Goldman, 60.

[…]In 2006, when he could no longer hide his periodic shakes at work and his doctors said he could no longer handle the long hours and constant travel of his job, he was determined not to feel sorry about leaving behind the law. Instead, he decided to focus full time on his now quite-successful writing career.

“People ask me now if I miss it,” Goldman said of his law career. “And I tell them that I miss it in the way that you miss your first girlfriend.”

You can hear even more about Joel’s books, his love affair with Kansas City, and his movement disorder in a terrific NPR piece about him that aired last weekend.

Ed was already a successful author with dozens of mystery, horror and western novels to his credit when he was stricken with incurable cancer twelve years ago. He recently underwent a bone marrow transplant and has emerged 100% cancer free, though he knows the cancer will return eventually. But he’s not letting his cancer stop him from writing books, as he tells J. Kingston Pierce for Kirkus Review in this excerpt:

Gorman has been working for the last dozen years under the sentence of an incurable cancer, multiple myeloma—which has only brought his production of prose down to a slightly more human scale. “Before cancer I tried for 1,500 to 2,000 words a day,” he says. “With cancer it’s 500 to 1,000.”

[…]”When you have incurable cancer you certainly have to face death. You have monthly meetings with your oncologist and those are a roll of the dice. Once in awhile you sit down and get some pretty grim news. As my oncologist told me, I had a choice—to go home and just wait to die or go in with my life. I’ve probably met 200 cancer patients by now, and I’ve never met a single one who didn’t fight like hell to stay alive. And none of them just sat around waiting for the final breath, either.”

You can read even more of the interview, packed with tons of insightful material about writing, that didn’t make the Kirkus article on J. Kingston Pierce’s The Rap Sheet blog.

The healthy attitude Joel and Ed have towards writing in the face of illness may actually be healthy. The Daily Mail reported a couple of days ago that people who write while they are ill recover faster.

Scribe Award Winners Announced

July 21, 2013 by Lee Goldberg

The International Association of Media Tie-In Writers, founded by yours truly and Max Allan Collins, is pleased to announce the winners of the 2013 Scribe Awards, honoring excellence in media tie-in writing (books based on games, tv shows, movies, toy, etc). The awards were handed out at ComicCon San Diego. The winners are:

Best Original Novel: Robert Jeschonek for Rising Sun, Falling Shadows, a Tanhauser novel

Best Adapted Novel: Kevin J. Anderson, for Clockwork Angels, based on the album by Rush.

Best Audio Tie-in: Nev Fountain, for The Eternal Actress, a Dark Shadows story.

Grandmaster: Ann Crispin, for lifetime achievement in the craft of media tie-in writing.

Here’s an excerpt from Ann’s acceptance speech:

When I heard the name of the IAMTW’s Grandmaster Award, it struck me as ironic that it’s officially the “Faust Award.” I know this title refers to Frederick Faust, who wrote as Max Brand, but to those of us who work in media universes, it sometimes comes down to making a deal with the devil, doesn’t it? Some members of the writing profession look down on those who take on media tie-in projects as having sold out, or assume they’re lazy and can’t do the work to create “real” fiction. Those of us here all know, of course, that nothing could be further from the truth. It is every bit as challenging to write a good tie-in story as it is a good original novel. When you throw in tight deadlines, unreasonable and clueless studio minions, and the rules of story canon, it can be even more difficult than writing an original book.

But a good story is a good story, no matter what universe it is written in.

My dear friend Andre Norton once listened to me complaining about how tie-in writers aren’t respected the way they should be, and remarked, “Being a storyteller is one of the oldest and most valued professions. Without stories to lift us out of life’s problems and doldrums, where would we be? Be proud of what you do.”

Andre was a very wise lady, and her words stuck with me over the years….