Colt’s Wild Ride To Print

Colt54 (Small)My friend Jude Hardin’s highly acclaimed Nicholas Colt mystery novels have followed an unusual publishing path. In this informative guest post, Jude talks candidly about that journey and the hard lessons he’s learned, culminating with the self-publication this month of his latest novel in the series, COLT (and be sure to check out his fantastic DEAD MAN tale, FIRE & ICE). 

In the spring of 2011, when my debut thriller POCKET-47 received a starred review in Publisher’s Weekly, I figured I was on my way. Suddenly, I was getting inquiries from a variety of big-name industry professionals who were interested in my book and my future.

I was a published author, and I was getting noticed. After years of trying to break into the business, these were two of the best things a writer could ask for!

But, with a hardcover print run of 3000 copies, and a $9.99 price tag on the ebook version, it quickly became apparent that the book wasn’t going to take off as well as it should have. The distribution just wasn’t adequate; there was no co-op placement in bookstores, and there weren’t a lot of readers willing to shell out ten bucks for an ebook by an unknown author.

That PW review did help me land a top New York agent, though, so I had high hopes for the second book in the Nicholas Colt series. My agent and I discussed strategies to move forward, and we decided Amazon’s Thomas and Mercer imprint might be the best way to go. Ebooks were quickly gaining traction in the marketplace, and Amazon’s promotion of them was second to none.

So we submitted the manuscript.

It sparked the editors’ interest, and I ended up signing a four-book deal with an option on a fifth. CROSSCUT was scheduled to be released June 2012, and SNUFF TAG 9 the following November. With Amazon’s backing, I thought these and subsequent titles would sell well enough to allow me to write full time. Once again, I was on my way.

Once again, good things!

Unfortunately, even with solid promotional efforts from Amazon, the sales of my Nicholas Colt titles have been lackluster so far. The books have earned out their advances, but they haven’t sold well enough for T&M or other publishers to offer the kinds of publishing deals I’m interested in. KEY DEATH comes out later this month, and I’m hoping things will pick up when it does.

But of course I’ve learned that there are no guarantees…

So, in an effort to give the series an extra shot in the arm (and with all of my contract obligations to Thomas and Mercer fulfilled) I have decided, for the first time, to self-publish a novel.

COLT went on sale May 30. It’s a prequel to the series, the events taking place three years before those in POCKET-47. Here’s the story:

October 21: just an ordinary day, unless you’re a former rock star…

The sole survivor of a plane crash…

A private investigator working out of a camper..

For Nicholas Colt, October 21 is an unlucky day. A day for nightmares. It always has been, and this year is no exception.

Someone is brutally murdering the offspring of an anonymous sperm donor, and Colt’s missing client is next on the list. With less than four days to find the young man—and, with a pair of drug-addicted study partners, a violent motorcycle gang, a stalker ex-girlfriend, and a host of other obstacles standing in his way—Colt faces the most challenging and deadly case of his life.

By self-publishing, I have control of the price, and I can participate in free giveaways and other promotional tools like BookBub. I have another completed novel that falls on the other side of the Nicholas Colt timeline, and I’m planning to self-publish that one early 2014.

Does this mean that I’m finished with publishers altogether? Not at all. It just means that writers have more viable choices now than ever before.

And that, my friends, is a very good thing indeed.

 

 

 

 

Happy Endings Can Be Hell

Change of Heart

And they lived happily ever after…

That may be a satisfying, romantic ending for a book…but it can be living hell for an author who wants to write a sequel, as New York Times and USA Today bestselling author Jenna Bennett (aka Jennie Bentley) explains in this guest post. She writes the “Do It Yourself” home renovation mysteries for Berkley Prime Crime and the “Cutthroat Business” mysteries for her own gratification. Her most recent book is the just-released Change of Heart, book six in the “Cutthroat Business” series. 

Once upon a time, I wrote a five book series of romantic mysteries.

More accurately, I wrote a very long romance novel in five parts, with a dash of mystery thrown in for good measure.

It had all the usual things you usually find in a novel: three high points of escalating stakes, a dark moment towards the end, and a climax and resolution.

The only difference was that each of my high points was its own book, the dark moment was a separate book, and the climax and resolution was yet another book.

And then I stopped, and started working on other things. The hero and heroine were together, after all. The story was over.

A couple of months went by, and people started asking when the next book was coming. I had to tell them that there would be no more books. There was nothing more to say.

“Oh, but…”

After I heard that enough times, I realized two things.

One was that although the hero and heroine were together, the story wasn’t necessarily over. When the fairytale ends, it doesn’t mean that nothing more happens. Life goes on. Life went on for my characters, too. I didn’t kill them, after all.

The other thing I realized—and call me mercenary—was that people wanted to read more about those characters. Like in the movie: if I wrote another book, they would come.

It was a no-brainer, really. We all want devoted readers, right? My readers were devoted enough to ask for more books. So why not come up with another story arc and write another few books? And make everyone happy. What could it hurt, after all?

Famous last words.

Come to find out, there’s a reason the fairytale ends with ‘and they lived happily ever after.’

It’s the same reason why, in romance novels, the book is over when the relationship is settled.

Happy, domestic, everyday relationships are damned hard to write.

Or maybe I should say that they’re damned hard to make interesting.

Who wants to read a book with no conflict, after all? No romantic tension? No stakes? Just page after page of cooking dinner and taking out the trash and going to sleep together and waking up together.

Even the sex becomes boring.

So the new book became about tossing wrenches into the works. I’d played the jealousy card before, but I played it again. I came up with a secret one party couldn’t tell the other. I threw in some extended family unhappiness about the relationship. I made sure that one party’s efforts to show the other party the beauties of domestic life had the opposite effect.

I did my level best to make trouble in paradise. And then I crossed my fingers and threw the book out there, holding my breath to see whether I’d succeeded.

It’s been a couple of weeks, and so far things look promising. The consensus seems to be that the series didn’t hit bottom once the hero and heroine were in a settled relationship. In fact, some people even said it was their favorite book in the series so far.

Of course, it’s early days yet. And I do have a few more books to write. And you can only play the jealousy card so many times before it becomes old hat.

But it turns out the story isn’t actually over when the curtain comes down. Life goes on behind the curtain. And the prince and princess don’t always live happily ever after. At least not every moment.

It’s more like they live mostly happily, with a little tension and a few arguments and some excellent makeup-sex, ever after.

And that isn’t so bad either.

Fifteen Minutes to Live

Phoef Sutton Fifteen Minutes to LiveYou don’t get many do-overs in life, but my good friend Phoef Sutton, the insanely talented, Emmy-award winning writer, got the chance with his new novel Fifteen Minutes to Live. And it’s fitting, since the book is also about revisiting the past. But I don’t want to spoil the story, so I’ll let Phoef tell it…

I started writing as teen-ager.  Short stories.  I still have hundreds of rejection slips from PLAYBOY and ALFRED HITCHCOCK’S MYSTERY MAGAZINE and ELLERY QUEEN.   I took each one as a badge of honor.  I knew that one day I’d get accepted…

Well, that day never came.  I started writing plays in college because I knew I could put them on – they’d have that much life anyway.  This proved an invaluable experience for what came to be my chosen profession.  Writing stuff that makes people laugh.

I loved TV as a kid.  Who doesn’t?  I can still recite episodes of the DICK VAN DYKE SHOW and GET SMART by heart.  But I never thought my career would go in that direction.  I always wanted to write horror stories and thrillers.  Richard Matheson was my idol.  And Cornell Woolrich and Robert Bloch.  I knew who Carl Reiner and Jim Brooks and David Lloyd were, of course.  But I never saw myself following in their footsteps.

But fate had plans for me.  I ended up writing for CHEERS, sitting next to David Lloyd and learning from the masters.  I guess writing for what TV Guide just named one of the best written shows in TV history is something to be proud of.  But I still had that nagging desire to see my name in print.

When I read Oliver Sacks’ THE MAN WHO MISTOOK HIS WIFE FOR A HAT and started putting myself in the place of its oddly brain damaged heroes I knew I had a way in to that novel I always wanted it write.  It just flowed out of me, unbidden, like a dream.

Writing in complete sentences after a career of writing stage directions was not so easy.  But the joy of being able to get inside characters’ heads and tell what they’re thinking and feeling was heaven.

So I wrote FIFTEEN MINUTES TO LIVE, then called ALWAYS SIX O’CLOCK.  Imagined that, in the book world, the writer was king and what he says is Gospel.  I didn’t know about editors and notes.  I made the mistake of selling it to a publisher who wanted to turn it from a noir-ish, Cornell Woolrich-style nightmare into a straight romance.  And I agreed.  The end result pleased nobody and sank without a trace. Always Six O'Clock

With the advent of electronic publishing, I now have the chance to present the book as I originally intended.  People seem to be responding to it the way I hoped they would years ago.  It’s very gratifying.   Almost like getting one of my stories accepted by ELLERY QUEEN would have been to my high-school self!

 

The Story Behind THE DEAD MAN #18: STREETS OF BLOOD

The Dead Man #18: Streets of BloodAuthor Barry Napier was the winner of the “You Can Write a DEAD MAN Novel” contest last year….and his book, THE DEAD MAN #18: STREETS OF BLOOD, has just been published by Amazon/47North. I’ve invited Barry to talk about his experience writing the book:

I won Amazon’s You Can Write a Dead Man Novel contest last year. The months between October – January were spent writing and editing it. If I’m being honest, I learned a lot from writing it, some of which I think most writers can either relate to or need to know.

First, Lee Goldberg and William Rabkin were very kind about pointing out a few of my flaws…flaws that have plagued me since writing my first short story at the age of 14. Among them…I’m too wordy. I tend to wax poetic when it’s not called for. I try to create back story that serves as a story in and of itself (this one, I will argue to my last breath, is often necessary and pivotal for longer works). When I try to write about someone collecting information or being smacked by insight, I tend to come off as too passive.

The great thing is that I have had these things pointed out by editors in the past. But with The Dead Man #18: Streets of Blood, these things were not only pointed out, but highlighted with blood and gore. Writing this book was perhaps my biggest lesson in reigning myself in when I wanted to get too wordy or experimental when it wasn’t called for.

This book was equally odd to write because of its content. It’s one of the bloodier things I have written in a while. When you consider the fact that I was writing a faith-based suspense novel at the same time, it was a very challenging and eye-opening few months.

So, while researching parts of scripture for the faith-based novel, I was also having to research old morbid nursery rhymes for my Dead Man book.

I’m not going to lie…it was sort of fun.

So again, a big thanks to Lee Goldberg for helping me through the process. It was an intensive course in writing short novels while helping me to further cripple some of the mistakes that I still wrestle with in my writing.

 

Jonathan Winters on Writing Humor

00000048Jonathan Winters died today at age 87. My parents used to play all of his comedy records for us when we were kids. Those records made me laugh so hard I had trouble breathing. Jump forward to 1997. I was a novelist and TV writer by then and I was invited to be a guest speaker at the Santa Barbara Writers Conference… on a panel on writing humor with Jonathan Winters and Fannie Flagg. I was honored…and absolutely terrified. What the hell was a nobody like me doing on the same stage as a legend like Winters? But he was incredibly gracious and hilariously funny…and that night is one of the most treasured memories of my career. Here's a recording of that hour-long panel.  Although it's a video, there's only a still photo to look at. The audio track is the panel. The picture here, and in the video, is of my mother Jan Curran and Winters at the conference. Somewhere out there is a picture of me with Winters and Flagg, but I haven't been able to dig it up.

 

Jonathan Winters at Santa Barbara Writers Conference from lee goldberg on Vimeo.

Plotting Death and Destruction

0609 Lee Goldberg ebook V4 TDMS_5I spent the day Saturday in the company of  a bunch of talented writers to plot a DEAD MAN novel…not just any book, but our biggest tale yet, both in page count and ambition. The story will be published next fall as a Kindle Serial (six to eight, 10,000 word "episodes" that will add up to one, cohesive novel). The project is being written by Phoef Sutton, Lisa Klink and Kate Danley from a shared outline. So series co-creator William Rabkin and I, along with DEAD MAN author David Tully (THE KILLING FLOOR), got together with them and we all spent the day cracking the story in a "writer's room" setting.

Bill, Phoef, Lisa and I are all experienced TV writer/producers, we are very comfortable with the "writer's room" process of hashing out the story as a group, analyzing every character motivation and story beat until we come up with all the moves of the story, which we layout on a white, dry erase board. It was a new experience for Kate and, to a lesser extent, for David, who has been part of a writer's room on some television projects in Germany (where his wife was a network executive).

The writer's room process is wonderful because not only do you benefit from the creativity of everybody in the room, but it also forces you to really explore, analyze and figure out all the angles of your plot and the motivations of your characters.

The group experience also forces you not to give in to the easy, lazy or cliche way of resolving plot and character issues…to go further and dig deeper. It means there are some inevitable frustration or disagreements, but it's all positive…because you end up with a much stronger, more-thought-out story.

It's my favorite part of the TV writing experience…spending hours, days and weeks in a room full of smart, clever, outrageously creative writers…all working to together to tell the best possible story.

Our writers room session for THE DEAD MAN went great. We first discussed character and our over-arching, creative goals for the book. Then we started talking broad plot points. Then we drilled down to the novel equivalent of the eternal TV question: "what do we want our act breaks to be?" (Or, in this case, the "cliff hanger" moment at the end of our six "episodes") And once we had that, we got into the nitty-gritty of the specific beats of each "act."

That's where the real work was. We hashed it out in spirited debates while eating lots of food (and, occasionally, diverging into discussions of lame plot points in SKYFALL and the last BATMAN movie. Do you realize Bond failed at *everything* he did in SKYFALL? He didn't do anything right. Still a great movie, though).

We got started at 10:30 am and by the time we finished around 5:30 pm, we'd plotted out the novel and felt great about what we'd come up with.  Or, as one person in the room put it, we accomplished in one day what it would take an author by himself a month or two to figure out. It's going to be a kick-ass, standalone DEAD MAN novel that requires no previous knowledge of the series to enjoy…but that will also satisfy our loyal fans with a game-changing story that acknowledges past events, answers some long-standing questions, sends Matt Cahill in an exciting, new direction.

Now everybody is writing up their portion of the outline, which Bill and I will cobble together into one document and submit to our editors at Amazon Publishing's 47North imprint for their notes. Once we have their input, the authors will start writing.

I wish I had a writers room for my novels…

Love is Murder

Photo-7I spent last weekend as a special guest at the Love is Murder conference in chilly Chicago and I had a terrific time.

It's probably the smallest mystery conference I've ever been too and, reflecting the huge popularity of self-publishing, there seemed to be more authors than readers in attendance. In fact, there were two big "group" signings over the weekend and there were so many "authors" sitting behind tables that there were maybe three actual "readers" left standing to buy books. I've signed more books at funerals.

But the small number of attendees also made the conference more intimate, and I had a lot of opportunities to talk shop with authors like William Kent Krueger, Bob Mayer, Blake Crouch, Joe Konrath, Ann Voss Petersen, F. Paul Wilson, Robert Goldsborough, Jamie Freveletti, Libby Fischer Hellmann, Sparkle Abbey, Hannah Dennison and Raymond Benson, to name just a few (that's me with Kent and Libby in the picture). We spent a lot of time trying to figure out where the publishing business is going, though we didn't manage to come up with the answer. But we agreed that it's a great time to be an author.

I was treated by Joe Konrath to the worst hamburger I've ever had in my life. It was from White Castle. Joe, his wife, and F. Paul Walker went wild over those burgers. I sent mine to a forensic lab for analysis and am awaiting the results. I'm curious to know what that very thin, oddly-colored patty was actually made of. When Joe comes to Los Angeles, I'm going to take him to In-and-Out or The Habit so he can see what a real hamburger tastes like.

I was a guest on many lively and fun panels, including one on writing characters created by others. My fellow panelists were Robert Goldsborough, who talked about picking up Nero Wolfe where Rex Stout left off, and two strange women who wore matching shirts covered with their bookcovers and talked about revising an unfinished manuscript written by a dead guy…with help from his ghost. I kid you not.

One of the women said her first novel came to her in a dream. She encountered Bugs Bunny on a spirit path, he opened his skull, and there was her book, cover and all, inside his head. She read the book, woke up, then ran downstairs to make notes and describe the cover. She then fleshed the story out with the help of her friend's dead father's ghost. Or something like that. Their process was so confusing, and there were so many ghosts and cartoon characters involved in their writing, that it was hard to follow. They also read aloud from their book, which was a real treat.

On Sunday, Libby took me on a tour of Chicago, and one of our stops was the Sears Tower,
65509_10151382283928930_1628944150_n where I discovered that I have a slight fear of heights…it revealed itself to me when I stepped out on the "skydeck" that is basically a piece of plastic hanging out over the street where a normal window is supposed to be. I couldn't help thinking I'd be the one who finally fell through…and for what? A photograph. Libby was very amused by my discomfort.

Afterwards, we met with Jamie Freveletti for some deep dish pizza and shop talk, which I really enjoyed. I realized that one of the things I miss most about being on a TV show is all the time spent in the writers room, working with other writers. Now that I'm primarily a novelist, my writer's room is me and my dog, who doesn't contribute much when it comes to breaking stories.

I flew home on Monday. On the plane, a young woman fell asleep and snuggled up against me. That's not the first time that's happened. I must have a very comfy shoulder. After about an hour, I moved a bit and woke her up. She was startled an mortified, not so much because she discovered that she was clutching me, but because the first thing she saw was a graphic, brutal sex scene from Game of Thrones on my iPad. If the plane wasn't full, I think she would have switched seats.

All in all, a very pleasant trip. Next week, I am off to Florida for a photo shoot for The Heist, the book I wrote with Janet Evanovich.

The Best Time To Be a Writer

0728 TOP SUSPENSE ecover WRITING ON CRIME_SMIt’s news to no one that the publishing industry has undergone a massive paradigm shift in the last twenty-four months that has changed everything about the business for authors, booksellers, and publishers. But there's one thing that hasn't changed, the most important thing of all, and sadly too many authors aren't paying enough attention to it.

Thanks initially to the introduction of the Kindle, and Amazon opening up their storefront to authors, it’s no longer necessary to have a publisher in order to reach readers.  Authors now have options they never had before for getting their books to a national audience. Being dropped by a publisher, or having your books go out of print, are no longer the kiss of death. On the contrary, they present perhaps more profitable opportunities to exploit your material.

For new authors, it’s no longer necessary to go through the struggle of finding an agent who will then sell their work to a publisher, an odyssey than can take years…if it happens at all. Now it’s the publishers, editors and agent who are struggling ….desperately trying to reinvent themselves in a radically changing business.

Self-publishing is no longer the realm of vanity press vultures preying on aspiring, naïve and desperate authors…nor is it the complicated and outrageously expensive gamble, with pitiful chances of success, that it once was. It’s now possible to publish your book, both electronically and in print, with a mouse click, with little to no upfront investment…and to have your book  on the virtual shelf on equal footing with the likes of  James Patterson and Nora Roberts, at the Amazon and Barnes & Noble storefronts.

Writing careers are being born and, in the case of mid-list authors, reborn.

Now whenever authors get together, we are no longer discussing how we write, or problems with our editors, or tales of life on the road. The talk today is inevitably about reversion of rights letters, book scanning, copyediting, e-book formatting, the nuances of cover art, manipulation of metadata, e-pub vs. mobi, pricing, giveaways, marketing and publicity, social networking, blogging, tagging, liking, tweeting and pinning.

For established, professional writers, coming into self-publishing after years in the “legacy” publishing world, that isn’t such a bad thing.  They’ve learned and perfected their craft (or maybe I am just trying to excuse my own obsession with those aspects of the business). But I’ve listened to new writers at conferences or while lurking on writers’ boards and the newbie writers seem obsessed with everything except what matters most: the writing.

I believe it’s that misguided obsession that s leading to the ethical scandals we’ve been seeing lately… like John Locke who hired people to buy his books and write fake reviews (to artificially boost his rankings and acclaim) to establish himself… and Stephen Leather and RJ Ellory who both used “sock-puppets” on Amazon and social media to generate false buzz and fake reviews to boost their popularity and attack their "rivals."

What authors need to remind themselves is that all of that formatting, pricing, tweeting, social networking, etc. is meaningless if you don’t know how to tell a good story, create compelling characters, develop a strong voice, set a scene, establish a sense of place, or manage point-of-view.

I rarely hear writers anymore talking about the pluses and minuses of out-lining, the importance of an active protagonist, the different kinds of conflict, or the elements of structure. The craft of writing has taken a backseat to the business of publishing.

That’s one reason why the members of Top Suspense, have put together a book called WRITING CRIME FICTION.  We want to get the dialogue started again… to bring writers back to the one thing that will never change, even as the publishing business reinvents itself.

People want a good story.

That’s why writers write and readers buy books. Good stories. Great characters. That's what matters. Not whether you should write an erotic novel to cash in on FIFTY SHADES OF GRAY… or maybe focus on a YA novels since the HUNGER GAMES series is so hot.

Writers have been handed a great opportunity in the last twenty-four months. We now have tremendous control over our creative and financial lives as writers that we never had before. We now have choices that simply didn’t exist before.

Don’t blow it. Don’t become so focused on the business that you forget the craft. Take advantage of the freedom, and the opportunities, and the new choices by focusing on telling great stories.  Hone your craft, Find your voice…focus and less on how the story is packaged, sold and promoted. Help us shift the balance back to where it belongs…

Storytelling.

Imprints for Success

0383 Lee Goldberg ecover King City_14 (1)For a while now, the editors at New York publishing companies have been warning authors who are thinking of jumping ship to one of Amazon Publishing's imprints that not only won't their books be in brick-and-mortar stores, but they also won't make nearly as much money. 

"You'll disappear," they say. "Your career will be over. Nobody will be able to find your books anymore."

While it's true that you won't see many Amazon-imprint books at your local Barnes & Noble or at airport bookstores….so what? Ebooks are outselling prints books today. And while your ego may take a hit not seeing your book on a store shelf, your wallet won't. Unless you're an A-lister like Lee Child, Janet Evanovich, James Patterson, or Michael Connelly, etc., you will sell a lot more books and make a lot more money with Amazon than with a "legacy" publisher.

I know many authors, formerly with NY publishers, who are now with one of Amazon's imprints…and earning more than they ever did before. I'm one of them. KING CITY has already made me more money in the last 90 days than my last two MONK novels combined.

But I am not alone. Today Amazon Publishing exec Jeff Belle sent a letter to agents telling them what we Amazon authors already knew…that the imprints are a huge success. He also punctured the big lie, which I have heard repeated many times, that Barry Eisler made a costly mistake walking away from a $500,000, two-book St. Martin's contract in favor of working with Amazon. Belle said, in part:

We are especially focused on increasing the audience for our authors. The Detachment, by Barry Eisler, published last September by Thomas & Mercer, has sold over three times the copies of any of Barry’s previous New York Times bestselling books. New York Times bestselling author Connie Brockway joined Montlake Romance as our launch author, and The Other Guy’s Bride has also gone on to sell more than three times the copies of her other recent titles. These authors, along with Amazon Publishing, are helping to redefine what it means to be a bestseller. We’re extremely proud of the results so far.

We are as determined as ever to make sure that Amazon Publishing authors reach a huge audience. In particular, we will continue to heavily market and promote them to our 180 million customers around the world, through online and offline advertising, our websites, through email, and on millions of Kindle and non-Kindle devices. Based in large part on our long experience as a bookseller, we are confident that this expansive marketing and promotional support will continue to yield strong sales results for our authors.

It's not just the sales that are attractive to authors… it's the talented, friendly and enthusiastic editors, who give authors an enormous say in how their books are packaged and marketed…it's the astonishing effectiveness of their promotional campaigns…and its the far more generous royalties, paid swiftly, and accompanied by clear, easy to understand royalty reports. Amazon Publishing treats authors like partners. And they publish great books.

Is it any wonder Amazon Publishing and their authors are doing so well?