A Writer's Life

Publishing As We Knew It Is Called...what?

In the midst of the big e-revolution in publishing, nobody has quite figured out how to characterize publishing as we knew it, way back in the day (2010). Terms like "traditional publishers," "dead tree publishers," "NY publishers," and now "legacy publishers" have been thrown around, but none of them has stuck (though "legacy publishers" seems to gaining traction lately). How do you think we should refer in our discussions of the business to what we used to think of, in a general sense, as "publishers" and "publishing"? 

More Eisler vs. Hocking

There's a very interesting conversation between authors Barry Eisler and Amanda Hocking on literary agent Ted Weinstein's blog today.  Hocking kicked off the interview by sharing some eye-opening numbers:

I have self-published eight full-length novels and one novella since March or April of 2010. I thought it was April 15th, but Amazon emailed me on my "anniversary" and said it was March 15th. I've sold somewhere over a million copies in that time (it was 1,030,768 when I last added up totals last Tuesday). I don't know the exact amount of money I've earned, but it's somewhere in the neighborhood of $1.5 - $2 million. 

[...]I also have paperbacks made through CreateSpace, and those are available on Amazon and my blog. My paper sales are minor when compared to my total. I think it's around 10,000 copies sold in paperback, compared to over a million in ebooks. The royalties I'm getting on my paperback sales are much smaller than my ebook royalties, too. 

As for the St. Martin's deal, I haven't actually signed anything, and I don't know the exact terms of it. What I do know is that the offer was over $2 million for four books world English rights, and the royalty rate is on line with the industry average. 

She went on to say that she formatted books and did the covers herself but hired freelance editors to proof them. She also did all of her own social networking PR. Only recently has she brought on an artist, an assistant and an accountant. She has agents handling the sales of foreign and subrights.

My friend Barry wasn't quite as forthcoming as Hocking about his sales figures and earnings (he's an ex-CIA agent, after all)...

Let's see, eight books total, six with Putnam, the most recent two with Ballantine. Off the top of my head, I don't know how many units sold total (hardback, paperback, digital). How much I've earned... also a little hard to say. Some of the contracts have earned out, some not, and there are foreign sales in at least 20 different languages. But the advances have been six and seven figures and I've been making a good living writing for the last decade or so.

Unlike Hocking, he's been at this a lot longer. And he's had the benefit of publishers handling most of the tasks that she took on herself. He says:

I have a circle of family and friends who are all talented editors, for example, and I would never release a book before hearing from each of them. On cover design, I've been consulted, with different results with different publishers. On publicity and marketing, same. I guess the short way of explaining my experience on working with legacy publishers on various packaging, marketing, and publicity matters would be to say, these are areas I've long wanted to be fully in charge of. I've always carried a lot of the weight when it comes to marketing and promotion, and have been disappointed more than once by my publishers' packaging decisions, so the way I see it, going indie won't represent much work that I haven't been doing myself anyway, plus I'll get to make my own decisions. Plus for me, I think indie will be more lucrative.

A big reason behind Barry's decision to leave "legacy" publishing for self-publishing was the money. It just made more financial sense to go out on his own now.

In a typical legacy deal, the author gets 14.9% of the retail price of a digital book. So when my of my publishers sells one of my digital titles at $9.99, I get $1.49 of that. When the same title is self-published at $2.99, I keep 70% of the retail price, or about $2.10. And if fact, I plan on pricing my first self-published novel, The Detachment, at $4.99, which would mean a $3.50 per unit royalty for me. So I don't have to sell as many self-published books as I did legacy; in fact, I can sell far fewer and still come out ahead.

A big reason behind Hocking's move in the other direction was distribution and name recognition. She wants to reach a larger audience, and become a household name, something she thinks a publisher is better positioned to do for her than she can for herself. She wrote on her blog:

I am fully aware that I stand a chance of losing money on this deal compared to what I could make self-publishing.

I honestly didn't do this for money. But let's not forget that as much money as I've made, James Patterson made $70 million between June 2010 and July 2010. Legacy houses (is that what we're calling them now?) have made a lot of authors very rich.

So what do I actually want out of this deal? What do I hope to gain?

Career stability. As an author, I'll never really have one. Each book I come out with could bomb and could be the one that turns readers off me forever. Any day, my books could just stop selling. And I know that going with a house isn't going to change that. Any author can stop making money any day.

James Patterson has a book out now that has incredibly low reviews, some of the lowest I've seen for any book, and that book is still selling like crazy, and I can find it Target and Walmart. Even the sequel to the book, which the reviews say is even twice as awful as the original, is selling like crazy. Why? Because James Patterson wrote it. (Or more accurately, because his name is on the cover).

I want that. Not the writing bad books thing. I'll always strive to write a product that people enjoy. But I want to be a household name. I want to be the impulse buy that people make when they're waiting in an airport because they know my name.

That, I think, is as close to career stability as I can get. And that's why I took the deal.

Clearly, these are two different authors at two very different places in their careers who, from where I am sitting, have made the right moves for their unique situations.

Barry has been at this awhile and has been doing well. From what I can tell, Barry isn't after Patterson-esque ubiquity, he just wants to make more money from his work than he's being offer from publishers right now. And I am willing to bet that he will, even if he sells far fewer copies than he would have before. 

Hocking is just starting out at a time when publishing is undergoing seismic changes. Beyond being very talented, Hocking is obviously one very sharp young woman. She knows what she wants and what it will cost her to get it. And she's okay with that. But some chide her for it, like Macy Halford at the New Yorker. She says: 

Even though Hocking seems to care about quality, her desire for Patterson-style ubiquity is troubling. She seems to think of herself as a corporation in a way that few writers do, speaking of herself as a commodity with complete ease—she understands that her blogging and tweeting selves are marketing tools, but she doesn’t seem either to mind or to view them as entirely separate from her writing self. 

Which is part of the secret to her success.  What writer out there wouldn't want Patterson's ubiquity? Or for that matter, Stephen King's or Michael Connelly's or Nora Robert's? Kudos to Hocking for acknowledging it and for leveraging her success in self-publishing so shrewdly that she might actually achieve her goal.

There's a lot to learn from Eisler and Hocking. The big lesson? There isn't just one approach to publishing any more. You now can, and must, find your own path that fits your talent, your skills, your experience, your goals and your potential. 

REMAINDERED to The Beaches

REMAINDERED has been accepted by another festival (our fifth, since the film was completed in October, for those of you who are counting). We've been selected by the 6th Annual Myrtle Beach International Film Festival, named one of the 25 best festivals MovieMaker Magazine in 2009 for independent film makers. It runs April 19-23 in Myrtle Beach.  We'll post more details as soon as we have them.

This news comes on the heels of us learning that REMAINDERED has also been selected by the Big Island Film Festival in Hawaii, May 11-15  at the Mauna Lani Resort. The Festival was picked by Moviemaker Magazine as one of the 25 Coolest Film Festivals in the nation and we're eager to find out for ourselves if they deserve it. 

TV Main Title of the Week

Spur for Wheeler

My friend Richard Wheeler has won another well-deserved Spur Award, the Oscar of western writing, from the Western Writers of America, this time for his novel SNOWBOUND. Congrats, Richard!

Cover Story

One thing that hasn't changed with the e-revolution in publishing is the importance of a good book cover. One of the best cover artists out there is Jeroen Ten Berge, who I had the pleasure of working with on the TOP SUSPENSE anthology and the upcoming, April relaunch of my JURY SERIES books.  He's also done kick-ass covers for Joe Konrath, Blake Crouch, Brett Battles and J.D. Rhoades.

The Man Eating Bookworm is finally giving Jeroen the attention he deserves with a great interview...which I'm very ambivalent about sharing with you, only becuase it's going to make Jeroen even more in-demand than he already is...meaning he'll have less time to work on my stuff!

Here's an excerpt:

 

MEB: "Never judge a book by it's cover." What do you think?

Jeroen: Baloney.

A picture tells a thousand words. A great cover should do exactly that - convey the essence and feel of the book in a confident and striking fashion, with a design that stands out, one that hooks you in mere seconds. Once that is achieved the product description hopefully complements the cover, pulls in the buyer even further and a sale is made.

Today, with e-books and Amazon, an effective cover is even more important than before. Unlike traditional bookshops, unknown writers and renowned bestselling authors now share the same shelf, next to each other, with equal opportunity to present their work. That has never happened before and it is a major game changer. But if you're an unknown, and your cover looks crap, a potential buyer will most likely not read the product description, move on, and click and buy someone else's book.

 

What About The Content

In all this discussion about the explosion of ebooks, very little is being said about the quality of the work resulting from this newfound freedom, and that disturbs author James W. Hall, who wrote in a comment here:

You know one thing that keeps being left out of this discussion, Lee, is the writing itself. The traditional publishers (I find the term 'legacy publishers' patronizing and silly) served and continue to serve an important function as gate-keepers. They weren't always right, of course. But by and large good books got published and the "tsunami of sludge" that we're seeing now was kept offshore. Book reviewers had their role in all this, steering readers to 'literary' novels and maintaining or trying to maintain some conventional standards. Again, reviewers often got it wrong, and their bias toward a high culture novel often missed the books that people were actually reading and loving. Books like Peyton Place, say, which was an incredible success despite terrible reviews. That list is endless.

Anyway, with the huge sea change underway, neither reviewers nor publishers have the power they once had and many will say we're better off for that. I'm not one of those. I lament the loss of quality writing in this deluge of self-publishing. Being a hustler is now more important than writing well, creating rich, dimensional people, plots that are both full of surprise but are also coherent.

Writers interviews and blog posts are becoming all about cover art and social networking and the masterful manipulation of Internet outlets. I'm trying to learn my way in this new world even as I keep one foot solidly in the establishment publishing world. I read more than half the books I read on my iPad and my Kindle and realize these new delivery systems are inevitable and very positive in many ways. However, in our rush to embrace what's good about the new, there is far too much dismissiveness and self-congratulation by the emerging New Media stars.

In all this discussion about Hocking and Eisler and Konrath, everything seems to be about the marketing and profitability issues. I've yet to see any real discussion of the aesthetic issues, of storytelling, of graceful style, of all those features that writers and readers used to hold dear. Getting a 70% profit on every book sold is fine. More power to all of us. Karen's comment above is right. These are interesting days. I simply hope that what was good in the best books of the past will survive.

And that in our hurry to embrace and celebrate the new forms of delivery, we will not abandon our love for good writing and the well told story and solid, three-dimensional characters. And the discussion of literary values will someday again be about more than 2.99 versus 1.99.

I agree with his concerns about content and over-emphasis right now on money and marketing. The writing is getting lost in the discussion.

As exciting as this new world is for authors, it's creating a new set of obstacles for novelists hoping to stand out and for consumers trying to find the good stuff amidst the preponderance of unreadable, previously unpublishable, self-published crap that is flooding the e-marketplace.

In the near term, the writers who will benefit are those who already have a platform, mostly from having been published by the old guard before the e-revolution, because that's who readers will turn to first...names and franchises they can depend on...especially after they've been repeatedly burned by horrendous crap from writers they have never heard of. 

Even 99 cents is too much when what you are buying is nicely packaged, but unreadable swill.

That's not to say there aren't some great self-published, unknown authors out there...there are many (David Dalglish and David McAfee are just two that I'm happy to have stumbled across). But there's far more who aren't. Far, far more. One need only look at most of the stuff on Smashwords, the aggregator many writers use (including yours truly) to get their books on the iPad, Nook, etc. 

Go on, I dare you. It's not pretty.

Despite all the hoopla surrounding Joe Konrath, Barry Eisler, John Locke and Amanda Hocking, it could actually get harder, rather than easier, for new writers to break-through the ever-increasing clutter and sell books in this new, e-publishing world than it was in the "old" print-centric one...

I'm still wildly excited about the opportunities for writers now...but I'm not so caught up in my own enthusiasm not to see the pitfalls for writers and readers alike.

A Peek in Barry's Brain

Barry Eisler, in a Book Beast interview with Jason Pinter, goes into more detail about the thinking behind his news-making decision to turn down a $500,000, two-book deal from Minotaur to self-publish his books instead. He says, in part:

My tendency has been to focus too much on that big, seductive number. But to understand what the number really represents, you have to break it down. Start by taking out your agent's commission: your $500,000 is now $425,000. Then divide that $425,000 over the anticipated life of the contract, which is three years (execution, first hardback publication, second hardback publication, second paperback publication). That's about $142,000 a year.  This is a more realistic way of looking at that $500,000.

But there's more. Some people have mistakenly argued that, for my move to make financial sense, I'll have to earn $142,000 a year for three years. But this is one time when you don't want to be comparing apples to apples. Because the question isn't whether I can make $425,000 in three years in self-publishing; the question is what happens regardless of when I hit that number. What happens whenever I hit that point is that I'll have "beaten" the contract, and then I'll go on beating it for the rest of my life. If I don't earn out the legacy contract, the only money I'll ever see from it is $142,000 per year for three years. Even if I do earn out, I'll only see 14.9% of each digital sale thereafter. But once I beat the contract in digital, even if it takes longer than three years, I go on earning 70% of each digital sale forever thereafter. And, as my friend Joe Konrath likes to point out, forever is a long time.

Ballantine managed to sell about 10,000 combined digital copies of my last two books at a $9.99 price point (a price point that was earning me $1.49 per unit sold, BTW) in the latest three-month period for which I have data. Call that 5000 of each book for three months, so 1,667 of each book per month. If I cut the Ballantine price in half and still can only move 1,667 units a month, at a $3.50 per unit royalty ($4.99 x 70% = $3.50), that's about $5,833 per month. But unlike paper books and digital sold at paper prices, low-priced digital books sell steadily, so it seemed to me that I could make about $70,000 per year, per book on my own. Assuming nothing changes and digital doesn't keep growing (and that would be crazy–Charles Cummings' critically acclaimed spy thriller The Trinity Six just sold three times as many digital copies as hardback in its first week), I should be able to make $140,000 a year for the two books I could have sold in a $425,000 legacy deal, instead. $70,000 for the first year, then $140,000 for each year thereafter, when I'll be selling two books instead of just one. So if I'm right about all this, and I'm pretty sure I am, I should be able to beat the contract about halfway through the fourth year. And again, all of that ignores the continued growth of digital, the way low-priced digital books reinforce sales of other such books, etc.

It's clear that Barry Eisler gave this decision a lot of very serious thought and his reasoning is strong. The article goes into much more detail, including his pricing plans for his books and his perspective on self-pub phenom Amanda Hocking taking a publishing deal. Fascinating stuff.

Eisler & Hocking

The news this week that Barry Eisler snubbed a $500,000 publishing deal to self-publish and that self-pub phenom Amanda Hocking is negotiating a $1 million+ deal with a publishing company has created a lot of discussion among authors, agents, editors and pundits. Even Hocking herself has weighed in with her reasoning:

I'm writer. I want to be a writer. I do not want to spend 40 hours a week handling emails, formatting covers, finding editors, etc. Right now, being me is a full time corporation. As I said before in my post - Some Things That Need to be Said - I am spending so much time on things that are not writing.

 

I like writing. I even like marketing, especially when it comes to interacting with readers. And I don't mind editing. I just don't want to run my corporation, because that takes away from writing and everything else that I actually enjoy doing.

Booksquare offered some interesting analysis, crediting both authors for making shrewd moves based on their unique situations in the publishing universe. 

Eisler and Hocking are making the right choices, but, if you were to corner me in a bar and ask me which author is following the right path right now, I’d say Eisler.

He’s taking a riskier path, for sure, and there is no guarantee. His history suggests he has some talent when comes to calculated risks. And while he’s burned some publishing bridges, he also has a track record in the industry.

Hocking, however, is more of a publishing dark horse. She’s done the indie thing amazingly well. I cannot over-emphasize how critical this is, and how well she’s done it. But there is a gap between indie publishing (especially self-publishing, without a lot of professional editorial input) and corporate publishing.

The biggest challenge, and the reason I’m putting my money (virtual because the husband hates it when I bet cat food dollars) on Eisler is that the publisher who signs Amanda Hocking today will likely not have a book on the shelf before 2012, more likely 2013. Note my nouns.

The Hocking zeitgeist is right now. Her audience is right now. Her moment is right now. Can this buzz be sustained a year or more? Can her audience be engaged for that long? Yes, if she’s continually giving them the books they want…at the price point they want.

What's interesting to me is how many editors and pundits still don't see how fast things are changing, in many ways for the better, for writers in this new, digital landscape. The media that covers publishing...Publishers Weekly, Publishers Lunch, The Wall Street Journal, New York Times, etc... seem to be even slower to get this than the publishers are. Some of the coverage of Eisler and Hocking, and the ways the economics, sales, and distribution of self-publishing have changed in the last twelve months, has been totally inept.

New Media Meets Old Media

From Publisher's Lunch:

On the same day Barry Eisler turned down half a million dollars from Minotaur Books to self-publish, news emerged publicly that Amanda Hocking appears to be doing the exact opposite. Yesterday afternoon the NYT finally caught wind of what many in the industry have known about for weeks now, which is that agent Steve Axelrod is shopping a new four-book series to publishers, attracting bids "of well over $1 million for world English rights," according to two unnamed publishing executives who spoke with the paper, and that the auction may be complete by today. Sources in turn tell us that Penguin and St. Martin's are no longer in the running, and that the series is entirely new an previously unpublished.

The Game Has Changed

My friend, the huggable spy, Barry Eisler has announced that he's walking away from a $500,000 advance from St. Martin's Press  to self-publish his books.  Eisler explains his thinking in a long and fascinating interview with -- who else? -- his buddy Joe Konrath:  

I know it’ll seem crazy to a lot of people, but based on what’s happening in the industry, and based on the kind of experience writers like you are having in self-publishing, I think I can do better in the long term on my own.[...]I’m not the first example, though I might be a noteworthy one because of the numbers I’m walking away from. But there will be others, more and more of them.

He's right. Just a few weeks ago, Terrill Lee Lankford made headlines by rejecting a high, five-figure deal. By now, the publishers must be doing so much head-scratching that they have no scalps left.  

But the reason established authors are doing the previously unthinkable -- saying no to big-money advances --  is simple. In exchange for that advance, the publisher is, essentially, buying the book out-right and forever (since it's unlikely to ever go "out of print"  with the advent of ebooks) and yet are only offering a 25% royalty on ebooks. 

But ebooks cost almost nothing to produce. There's no printing, no warehousing, no distribution. The only costs are editing, formatting, and cover art. So why give authors so little? The truth is, what the author will get is even less than 25%, as Barry and Joe explain:

Barry: [...] a 25% royalty on the net revenue produced by an ebook equals 17.5% of the retail price after Amazon takes its 30% cut, and 14.9% after the agent takes 15% of the 17.5%. 

Joe: Yeah, that 25% figure you see in contracts is really misleading. Amazing, when you consider that there’s virtually no cost to creating ebooks--no cost for paper, no shipping charges, no warehousing. No cut for Ingram or Baker & Taylor. Yet they're keeping 52.5% of the list price and offering only 17.5% to the author. It’s not fair and it’s not sustainable.

Which is why we are going to see more and more A, B and certainly C-list writers opting to forgo publishing contracts in favor of self-publishing.

Where does this leave print publishers? Domestic print publication will become for an authors a nice ancillary market, much the way audio and foreign editions are now, where limited rights are sold for a negotiated fee. The benefits would be distribution to brick-and-mortar stores (those that are still left). Or perhaps, as one blogger predicted, a retailer like WalMart or B&N might make exclusive deals with authors to sell the print editions in their stores.

But even in that negotiation, authors will have strong, self-publishing alternatives to help them leverage the best possible deal.

I found that out for myself this weekend. I was astonished to find the CreateSpace print editions of my self-published ebooks available for sale at the Virginia Festival of the Book alongside my Penguin-published MONK books...and being gobbled up by readers.

The readers saw no difference between my self-published novels and my published ones (granted, I hired a professional cover artist and formatters, so they looked very slick). But I am seeing a difference: much higher royalties and more money in my pocket. And if I, a mere mid-list author, is seeing that, imagine how much better a guy like Barry could do.

But you won't have to imagine it. Soon you will be able to see it for yourself.  Barry's new John Rain novel, The Detachment, will be self-published by Father’s Day. My prediction -- it will be a huge Kindle bestseller.

 

TV Main Title of the Week

Home from Virginia

I just got back from the Virginia Festival of the Book in Charlottesville and had a wonderful time, both as a panelist and a book lover. I was in town less than an hour before I bought my first book, a signed copy of John Casey's COMPASS ROSE, the sequel to the SPARTINA, which won the National Book Award. I was thrilled...and took that as a good omen.

One of the great things about Charlottesville is that they really, really love books. They have lots of great, independant bookstores, including four used bookstores in their historic downtown pedestrian mall. I bought so many books over the first two days (including a signed first edition copy of SPARTINA, courtesy of the wonderful folks at Read It Again, Sam) that I had to send them home in a box. So even without the festival, I would have had a great time. 

The festival is first class all the way...not just in terms of the headlines (three National Book Award winners, Scott Simon, Kathy Reichs, Jim Lehrer, Mark Childress,  Alan Cheuse, Myla Goldberg, etc) but how it's run. It's classly, slick, and exceptionally well-organized. It takes place all over the charming, colonial town, which I suppose can make it seem too sprawling, but it allowed me to get a real feel for the place and it's people. There were panels & events at bookstores, libraries, big hotel, a grade school, the University of Virginia, government offices, wine bars, and local theaters.

My first event was mixer at Read It Again, Sam, were I had the opportunity to chat with author Diane Fanning, Jenny White, Meredith Cole, Brad Parks, Andy Straka, and Louis Bayard, to name a few, before heading over to the Albemarle County Office building the Friday Night Frights panel with Kathy Reichs, John Connolly, Louis, Jenny and Andy.  I was astonished to see every single book I have in print, including my CreateSpace reprints, on sale in the lobby. I could have hugged the bookseller.

The panel was great, even though Kathy was felled by the tail-end of a bad cold. It's not easy keeping up with authors as smart and witty as John, Louis, Kathy and Jenny (who told a particularly hilarious story about the time her friends came close to accidentally killing her with belladonna). I hope I managed to hold my own. Afterwards, I hung out at a local bar with John, his publicist (and my old friend) Ellen Clair Lamb, and his friend Jeff, who works for the CIA. I had a blast, even if the crowd of college students made me feel like a grandfather who snuck into at a frat party.

The next morning I was up bright-and-early for a screenwriting panel with WKRP creator Hugh Wilson and  Oscar-winning documentarian Paul Wagner that drew a standing-room only crowd. Hugh's colorful and hilarious stories won everybody over, especially me. At the booksigning afterwards, a woman asked me what it was like to be married to Myla Goldberg and if we were competitive with one another.   

I signed a bunch of books, attended the Kathy Reichs luncheon and then scooted off to a panel with fellow Jewish authors Micah Nathan, Phoebe Potts, and Ariel Sabar, all of whom were enormously entertaining. 

That left me me with an hour or so to myself, so I did some quick sight-seeing at the University, which is beautiful, before heading to an authors reception and, finally, capping the Festival with a long and wonderful dinner at a steakhouse with Kathy Reichs and her daughter Kerry, Jenny White, John Connolly, Ellen Clair Lamb, Brad Parks, and Meredith Cole. We talked and ate and drank well past the restaurant's closing time...but the patient proprietors were kind enough not call the cops and have us forcibly removed.  

All in all, it was a terrific festival and a welcome getaway for me. With luck, the Virginia Film Festival with select REMAINDERED and I'll have an excuse to go back.

(Pictured 1. a corner of the Daedalus bookshop, 2. my books for sale, 3. Kathy Reichs, Andy Straka and Louis Bayard).

Floored and Flattered

Bruce Grossman at Bookgasm praised THE DEAD MAN today, saying, in part:

THE DEAD MAN: FACE OF EVIL, a short novella from the very prolific authors Lee Goldberg and William Rabkin, is the first step in an intriguing series, for which this lays the groundwork. [...] I've not seen a writing tandem like this since the glory days of Richard Sapir and Warren Murphy. 

We are extremely flattered by the review. The comparison to Sapir & Murphy means a lot to us. We were not only big fans of the "Destroyer" novels, but we had the good fortune of working with Warren Murphy many years ago on the TV series "Murphy's Law," which was loosely based on his "Trace" and "Digger" novels. We have remained friends, and admirers, of Warren's ever since.

 

More Suspenseful Authors

Naomi Hirahara, Libby Fischer Hellmann and Stephen Gallagher have joined Top Suspense, and you can read some amusing &  informative interviews with them on the Top Suspense blog. Here's an excerpt from the interview with Stephen:

TSG: What are your influences?

A mixed bunch of American pulpsters and British postwar thriller writers; I'm particularly drawn to novelists who demolish all barriers between low and high art for the sake of a thrilling tale. I like good contemporary suspense and I also like a great historical, as long as there's a streak of darkness in it.

TSG: Your muses?

The ghosts of Arthur Conan Doyle, James M Cain, Gavin Lyall, and all the dogs I've ever owned, and the woods we've roamed in while I worked out my stories.

TSG: Your first sale?

An adaptation of my first radio serial. Radio drama was the first and most valuable step in my education. Unlimited landscapes with a tight focus on plot and character.

TSG: Your biggest, most memorable thrill as a writer?

Driving down to Santa Monica in October 2008, seeing a giant billboard advertising one of my TV shows while the trail for another played on the car's radio. In a convertible it would have been a perfect moment; in a rented Hyundai it was still pretty good.

TOP SUSPENSE Free Advance Reading Copies

Hold on tight for a literary thrill-ride into the wickedly clever, frightening, and exhilarating world of  Top Suspense, a sizzling collaboration of twelve master storytellers at the peak of their
powers in thirteen unforgettable tales...Max Allan Collins, Bill Crider, Stephen Gallagher, Joel Goldman, Libby Fischer Hellmann, Naomi Hirahara, Vicki Hendricks, Paul Levine, Harry Shannon, Dave Zeltserman, and yours truly.

This unforgettable anthology – packed full of cold-blooded killers, erotic tension, shady private eyes, craven drug dealers, vicious betrayals, crafty thieves, and shocking twists – is coming out on APRIL 1 and is only a taste of the thrills you will find in the breathtakingly original ebooks by these authors at www.topsuspensegroup.com.

But you can get a FREE ADVANCE READING COPY...in your e-format of choice.

Here’s all you have to do:

1. Send me an email at lee@leegoldberg.com with the subject FREE TOP SUSPENSE BOOK and give me your name and the address of your website or blog (don’t have one? That’s okay. Read on).

2. Agree to post a review, positive or negative (but with no spoilers!) on your blog, website, Goodreads page, Facebook page, or the Amazon listing for TOP SUSPENSE in the next 60 days. (You don't have to buy the book on Amazon to review it there, you only need to have an account). 

3. Email me a copy of the review or a link to the post.

Each Top Suspense author has been alotted just 25 copies to giveaway, so if you're interested, you'd better hurry. And once you get your book,  sit back, bite down on a piece of strong leather, and prepare to get hit by some gale-force suspense and writing so sharp it will draw blood.

TV Main Title of the Week

The Man with the Lousy Title

 THE MAN WITH THE IRON-ON BADGE  is by far my most critically-acclaimed book, but the ebook sales aren't as good as I think they could be. My theory is that the clunky title is to blame. So I'm seriously considering retitling the book and coming up with a new cover. The stage play version of the book was called MAPES FOR HIRE, but I'm not wild about that title, either. 

If you've read the book, and have some ideas for a new title, please let me know!

 

 

Looking Forward to Charlottesville

I'm doing some panels March 16-20 as a guest of the 17th Annual Viriginia Festival of the Book...but that's not why I can't wait to get there. I'm excited as a reader. The line-up they've got is incredible. Here are some highlights, including: 

And here's what's sold out at press time:The Help author Kathryn Stockett in an event sponsored by John and Renee Grisham; the traditionally sold-out festival luncheon, this year with the Newshour's Jim Lehrer, and the Crime Wave luncheon with author and TV series Bones producer Kathy Reichs. The good news: that still leaves 127 other events. For the 17th Virginia Festival of the Book, here are 17 events that caught our eye.

14. Screenwriting large and small. Doesn't everyone have a screenplay lurking, or is that just in L.A.? This panels covers all the screenwriting basics. Lee Goldberg (Diagnosis Murder) takes small-screen writing. Locals Hugh Wilson (First Wives Club, Police Academy) and Paul Wagner (Out of Ireland) handle feature films and documentary writing respectively. 

 

Mark Your Calendars

You don't want to miss this great panel at the Los Angeles Times Festival of Books:

Sunday, 5/1/2011, at 1:30:00 PM, USC Campus

Moderator  - Lee Goldberg   

Panelists   - Thomas Perry,  John Vorhaus,   Don Winslow

Mark your calendars now.

Publishing Leprosy Cured

Mid-list novelist Beth Orsoff talks on her blog about how she turned a disappointing (and all too familiar) experience at a big six publisher into success as a self-published author:

My first book, “Romantically Challenged” was published in April 2006, approximately six months after the chick lit markettanked.  I had a small print run, no publisher support, and, not surprisingly, my book was not a huge success (massive understatement)[...]While I was waiting for “Romantically Challenged” to be published I wrote another book, also chick lit.  NAL elected not to option it and my agent started sending it to other publishers.  

When that book, and a couple of others, failed to sell, she got the rights back to "Romantically Challenged" and put it,along with several of her unsold manuscripts, on the Kindle and the Nook. 

Thanksgiving weekend I uploaded all three books to B&N via their PubIt program.  I sold 9 books at B&N in November.  In December I sold 500 books at B&N.  In January 2011 I sold almost 7000 books at B&N.  Between Amazon and B&N, I sold over 13,000 books in January.  Will I continue to sell books at that rate?  I don’t know.  But I’ve already had much more success as a self-published author than I ever did as a traditionally published author, plus I get to write the books I want to write, choose my own covers, and publish on my schedule, not someone else’s.

I am hearing stories like hers every day...especially in the wake of my first "Midlist to E-List" post... and its inspiring. It used to be that when a midlist author was dropped, it was a living hell getting published again because your lukewarm sales figures would follow you wherever you went. Reinventing yourself with a new novel and a new voice was also a steep, uphill climb.

But now, for the first time ever, midlist authors not only have an alternative, but one that could actually be more lucrative and perhaps more creatively fullfilling, than sticking with their publishers. For the first time, a midlist author doesn't have to take a crappy deal just to stay in print...or feel like a literary leper when they have been dropped.

These are exciting times.

Amazon Spotlights THE DEAD MAN

Amazon is featuring the story behind The Dead Man original book series today on their Kindle blog:

I grew up loving those "men's action adventure" paperback novels of the 60s, 70s, and 80s...series like The Destroyer, The Ninja Master, Nick Carter: Spymaster and The Death Merchant. You could find them in finer supermarkets, gas stations, 7-11s and bookstores everywhere. They were the male equivalent of Harlequin romances, though the only romance was often between a man and his AK-47.

The books were short and tightly-written, with hard-boiled heroes, outrageously sexy women, and gleefully over-the-top plots. Nobody would ever mistake them for great literature, but they were enormous fun to read...and to write. I know, because I broke into publishing in the mid-1980s writing one of those series--357 Vigilante by "Ian Ludlow"--while I was still in college.  

Sadly, the "men's action adventure" series novels are virtually extinct now, early victims of the narrowing of the paperback marketplace.

But the Kindle offers the perfect medium for the revival of the genre..

Please spread the word. Amazon was kind enough to offer me the opportunity to post on their blog and I want to thank them by bringing as many new readers to their blog as I can!

A Dose of Reality

Amanda Hocking may be single-handedly responsible for driving thousands of newbie authors to self-publishing, eager to replicate her astonishing success. But today she gave them a dose of reality. I just wonder how many of them will listen...

Everybody seems really excited about what I'm doing and how I've been so successful, and from what I've been able to understand, it's because a lot of people think that they can replicate my success and what I've done. And while I do think I will not be the only one to do this - others will be as successful as I've been, some even more so - I don't think it will happen that often.

Traditional publishing and indie publishing aren't all that different, and I don't think people realize that. Some books and authors are best sellers, but most aren't. It may be easier to self-publish than it is to traditionally publish, but in all honesty, it's harder to be a best seller self-publishing than it is with a house.

I don't think people really grasp how much work I do. I think there is this very big misconception that I was like, "Hey, paranormal is pretty hot right now," and then I spent a weekend smashing out some words, threw it up online, and woke up the next day with a million dollars in my bank account. 

She goes on to talk about the years of hard work she put into it...and the difficulty of finding good, professional copyeditors...and the huge amount of time she's spent marketing. And yet, she acknowledges that a lot of her success comes down to simple luck (she points out other self-published writers she thinks are every bit as good as she is and yet still have not broken through). Then she makes this point, which I'm sure few newbies want to hear:

I guess what I'm saying is that just because I sell a million books self-publishing, it doesn't mean everybody will. In fact, more people will sell less than 100 copies of their books self-publishing than will sell 10,000 books. I don't mean that to be mean, and just because a book doesn't sell well doesn't mean it's a bad book. It's just the nature of the business. Self-publishing and traditional publishing really aren't that different. One is easier to get into but harder to maintain. But neither come with guarantees. Some books will sell, some won't.

Great advice...and I applaud her for giving it.

TV Main Title of the Week

Midlist Becomes the E-List

Daily Finance reports that the shuttering of Borders, and the dire situation facing bookstores in general, make it even harder for mid-list authors to break-through, much less even stay in print. A Borders sales exec says that even if the company manages to survive, mid-list authors are facing doom.

· Borders will likely be even more cautious about investing in midlist authors. While their new loans from GE Capital will allow them to finance, among other things, the purchase of new stock, Borders is not in any position to gamble. They're likely, in my opinion, to skipmore midlist titles than usual and to only spend their money on names they know they can sell. This will be exacerbated by the aforementioned store closings.

· Publishers may offer lower advances, especially on midlist titles.The industry has depended on Borders as a major market for new titles. If the publisher can't trust Borders to take a sufficiently large number of copies of a given title, this will factor into their profit and loss statements. As a result, they may advance less money to authors in order to increase the odds that any given acquired title will earn out.

Publishers are going to double-down on their bestsellers and their established, successful franchises -- and so are bookstores. That's already the case at the biggest booksellers of all, the big-box general retailers like Wal-Mart, K-Mart and Costco, where mid-list authors are already barely represented on their limited shelf space.

It's no wonder that more and more midlist authors like me are opting to self-publish -- which can be far more lucrative, and far less risky, that a publishing contract, especially if you can get back the rights to your backlist.

Poop Paper

Now they are making stationery out of pachyderm poop. Obviously, this is going in my next MONK book. Here's an excerpt from the Los Angeles Times story:

Vijender Shekhawat's big break came while visiting a shrine near the Amber Fort in Jaipur, as he glanced down at the pile of elephant dung he had just failed to avoid. A struggling maker of handmade paper, he noticed that the texture of the plant-eating animal's manure was a lot like wood pulp.

Eureka! he thought. Pachyderm poop paper.

[...]Shekhawat, who believes he was India's first elephant dung papermaker when he launched the venture eight years ago, uses 3,300 pounds of droppings a week. The dung is first washed, then boiled with baking soda and salt to reduce the smell, beaten to a pulp, forced through a sieve and flattened into sheets. Drying takes a day to, during rainy season, a week.

At one point, Shekhawat fed the elephants turmeric hoping to create yellow paper. That failed. Now he adds organic dyes late in the process, including beet juice for red paper, dried pomegranate skins for gray and the castor oil plant for green.

He now produces 2,000 2-by-3-foot sheets a week, which sell as far afield as the United States and Europe.

Mr. Monk is a Reader's Choice

My friend Dave Zeltserman just passed along the good news that my story "Mr. Monk and the Seventeen Steps" was the fourth-ranked finalist in Ellery Queen Mystery Magazine's 2010 Reader's Choice awards. Here's the list of the Top Ten stories, as chosen by readers of  the magazine:

1. Dave Zeltserman, "Archie's Been Framed" (Sept/Oct)
2. Doug Allyn, "The Scent of Lilacs" (Sept/Oct)
3. Doug Allyn, "Days of Rage" (March/April)
4. Lee Goldberg, "Mr. Monk and the Seventeen Steps" (Dec)
5. Brendan DuBois, "To Kill an Ump" (Sept/Oct)
6. Clark Howard, "Winter's End" (Dec)
7. Clark Howard, "Last Dance in Shanghai" (June)
8. Evan Lewis, "Skyler Hobbs and the Rabbit Man" (Feb)
9. Stephen Ross, "The Man With One Eye" (Dec)
10. Carol Biederman, "The Changelings: A Very Grim Fairytale" (Nov)

Also in the May issue, is Jon Breen's rave review for MR. MONK IS CLEANED OUT:

 The latest hilariously funny and devilishly clever novel about TV's obsessive-compulsive sleuth Adrian Monk is an impossible-crime lover's delight. How could the driver of an otherwise empty, constantly observed vehicle be garroted? How could a Madoff-style Ponzi scheme operator under house arrest and constantly wearing a state-of-the-art tracking device leave his home to murder former associates? The best comic set-piece, in which the financially ruined Monk, having lost his consultancy job with the San Francisco P.D., becomes a supermarket employee, is also one of three self-contained mystery puzzles unrelated to the main plot.

Thanks so much, Jon! 

Here's the trailer I made for "Mr. Monk and the Seventeen Steps."

Let's Schmooze in the Writer's Chatroom

The Writer's Chatroom http://writerschatroom.com Chat with Dave Zeltserman and Lee Goldberg  Dave Zeltserman is the Shamus award winning author of JULIUS KATZ. His 'man out of prison' crime noir series features the novels SMALL CRIMES, PARIAH, and KILLER. SMALL CRIMES was selected by NPR as one of the five best crime novels of 2008 and by theWashington Post as one of the best novels of 2008. PARIAH was selected by the Washington Post as one of the best novels of2009. Dave's novel THE CARETAKER OF LORNE FIELD is a finalist for a Black Quill Award for best dark genre novel of the year. Dave lives in the Boston area with his wife,Judy, and after spending 20 years developing network management software for several of the world's leading technology companies, he now splits his time between writing crime and horror fiction and studying martial arts, where he holds a black belt inKung Fu. His upcoming crime novels include OUTSOURCED (Feb. '11) and THE ESSENCE OF MONSTERS (Fall, '11). OUTSOURCED has already been called a 'small gem of crime fiction' by Booklist and has been optioned by Constantin Film and Impact Pictures. (See more of Dave's books here) Lee Goldberg is a two-time Edgar Award nomineewhose many TV writing and/or producing credits include Martial Law, SeaQuest,Diagnosis Murder, Spenser: For Hire, Nero Wolfe, Monk and The Glades. His books include The Walk, Successful Television Writing, The Man With with The Iron-On Badge and the Diagnosis Murder and Monk series of original mystery novels. As a TV development consultant, he's worked forproduction companies and broadcasters in Germany, Spain, Sweden, and theNetherlands. He currently serves on the board of directors of the Mystery Writers of America and is the co-founder of the International Association of Media Tie-in Writers. (See more of Lee's books here) Dave and Lee are both members of the Top Suspense Group.  http://www.topsuspensegroup.com/    WHEN? Sunday, March 6, 2011 Eastern USA Time.....7 PM Not sure what time that is wherever in the world you are? http://www.worldtimeserver.com WHERE? The Writers Chatroom at:  http://www.writerschatroom.com/Enter.htm Scroll down to the Java box. It may take a moment to load. Type in the name you wish to be known by, and click Login. No password needed. Please note:  The chatroom is only open for regularly scheduled chats.

 

 

 

Charlie Sheen Quotes as New Yorker Cartoons

This tops the Family Circle stuff I posted yesterday. Absolutely hilarious.

The Casino Royale You Never Saw

The Telegraph has a fascinating story today about development of Ben Hecht's unproduced screenplays for CASINO ROYALE...which eventually morphed into the comedy debacle that starred David Niven, Peter Sellers and Woody Allen. Here's an excerpt:

The fact that Ben Hecht contributed to the script of Casino Royale has been known for decades, and is mentioned in passing in many books. But perhaps because the film Feldman eventually released in 1967 was a near-incoherent spoof, nobody has followed up to find out precisely what his contribution entailed. My interest was piqued when I came across an article in a May 1966 issue of Time, which mentioned that the screenplay of Casino Royale had started many years earlier "as a literal adaptation of the novel", and that Hecht had had "three bashes at it". I decided to go looking for it.

To my amazement, I found that Hecht not only contributed to Casino Royale, but produced several complete drafts, and that much of the material survived. It was stored in folders with the rest of his papers in the Newberry Library in Chicago, where it had been sitting since 1979. And, outside of the people involved in trying to make the film, it seemed nobody had read it. Here was a lost chapter, not just in the world of the Bond films, but in cinema history: before the spoof, Ben Hecht adapted Ian Fleming’s first novel as a straight Bond adventure.

[...] these drafts are a master-class in thriller-writing, from the man who arguably perfected the form with Notorious. Hecht made vice central to the plot, with Le Chiffre actively controlling a network of brothels and beautiful women who he is using to blackmail powerful people around the world. Just as the theme of Fleming’s Goldfinger is avarice and power, the theme of Hecht’s Casino Royale is sex and sin. It’s an idea that seems obvious in hindsight, and Hecht used it both to raise the stakes of Fleming’s plot and to deepen the story’s emotional resonance.

 

UPDATE: You can read excerpts from one of those terrific lost scripts here.

Charlie Sheen's Family Circus

Pure Brilliance. 

 

DEAD Paper

THE DEAD MAN: FACE OF EVIL, which has been out as an ebook for a week, is now available as a trade paperback, too. We couldn't be happier with the enthusiastic response we've  had from readers so far. Some of the new blog reviews include this one from Book'em Benj-O:

 This adventure story has engaging characters, elements of finely tuned horror stories, and some fun thrown in for good measure. I’m looking forward to future installments to see where Cahill’s adventures take him.

And this one from Nathan Shumate:

It’s also pulp, in the best sense of the word: a supernaturally-flavored action-adventure, with this first installment setting up a mysterious conflict which will be pursued throughout the series [...] overall I think both the concept and its execution is a perfect one for the new realities of Kindle-based fiction, delivering a linked series of short novellas which can be consumed like popcorn.

And this one from Journey of a Bookseller:

This is the first in a series of horror stories that will have you sitting up straight in your chair as you read along.[...]You race through the story waiting to see what evil what will pop up next and the words flow well.  I don't read a lot of horror stories, but I sure enjoyed this one.  And I want to see where the story goes from here.  It's just beginning...

And this one from Futures Mystery Anthology Magazine:

THE DEAD MAN FACE of EVIL reminds me of Stephen King and Dean Koontz.[...]Lee Goldberg and William Rabkin have written an exciting, journey into what if….They have merged writing styles to produce a fascinating horror story that leaves you wanting more, more, more!

Those are just a few...and we are very appreciative. We can't wait to get the rest of the books in the series out there, including HELL IN HEAVEN by me & Bill Rabkin, RING OF KNIVES by James L. Daniels, and THE DEAD WOMAN by David McAfee. You can keep up on the latest DEAD MAN news on our blog.

Hocking Self-Published Books

Amanda Hocking's astonishing success with her self-published ebooks, which made big news after USA Today started tracking ebook sales on their bestseller list, is getting her noticed by the media all over the world.  Now the media, suddenly aware of what's happening with ebooks,  is turning their spotlight on other authors who have also scored big on the Kindle and Nook.

The London Observer recently featured the story of Stephen Leather, a mid-list UK author who is doing great with 99 cent ebooks of his unpublished work on Amazon UK, earning him the title of "UK's leading independant author."

Leather, who celebrated his seventh consecutive week at the top of the Amazon chart with his novella The Basement, about a serial killer in New York, also occupies fourth place with Hard Landing, another thriller, and 11th place with Once Bitten, a vampire novel.

He is one of many authors increasingly turning to ebooks as an alternative way to the top. Capitalising on the popularity of e-readerssuch as the Kindle, a new generation of writers is bypassing agents and publishers and using the flexible pricing model of ebooks to offer their work directly to the public at rock-bottom prices. Some, like Leather, are achieving huge sales, which, not surprisingly, is striking fear into publishers.

Leather enjoys a successful parallel career writing "big international thrillers" for Hodder & Stoughton. But last August, when Amazon.co.uk opened its Kindle store, he saw an opportunity: "I was lucky, in that I had three novellas Hodder had turned down because they were in a different genre from my other books and too short to work as conventional paperbacks. But I realised they might work for the Kindle."

I see more and more established, professional authors following the same path as Leather...and they'd be fools not to be. The publishing world has changed dramatically in the last few months, upending all the old paradigms. Whoever thought a year ago that it would be possible for a mid-list author to make more money, and reach more readers, by self-publishing than going with a major, established publisher? I certainly didn't.

And there's Amanda Hocking who, with no previous publishing experience or any kind of promotional platform, has become an overnight sensation, all on her own. Did I see that coming? Hell no. What she has accomplished is nothing short of amazing.

Leather's achievements are dwarfed when set against the scale of independent publishing in the US, where ebooks are estimated to be 20% of the total market. The most spectacular example of an author striking gold through ebooks is 26-year-old former care assistant Amanda Hocking, a Minneapolis-based writer of paranormal romances. She had completed eight novels but had failed to acquire an agent when, last April, she decided to publish them herself via the Kindle store.

"I sold 50 books the first month. It picked up over the summer, then really took off in November," she said. Hocking is now the world's bestselling ebook author, selling more than 450,000 titles last month alone.

It's an exciting time to be an author.

(Thanks to David Cunningham for the heads-up)