A Writer's Life

Remaindered Remainders

The release of my short story REMAINDERED as a 99-cent Kindle standalone, released through Top Suspense and including a link to the short film based on the book, has garnered some gratifying reaction. Here's a sampling:

Ed Gorman wrote: "REMAINDERED is one of the wiliest short stories I've read in many years. Really laughed my ass off when I read it. The short film based on it is equally excellent. Lee Goldberg at his very best."

Lawrence Block tweeted: "Thanks so much for Remaindered. I'm not surprised the film festivals are eating it up. You can be proud of this one."

Randy Johnson wrote: "You not only get the excellent short story, but a link to the short film based on it written and directed by Lee. I thought the film was an excellent twenty minutes."

Paul Brazill wrote: "Remaindered by Lee Goldberg is the clever and very funny story of a former writing golden boy reduced to pimping his books in supermarkets..."

I hope you'll check it out. The story is also available in a Nook version.

Quiet on the Set

I haven't talked much lately about screenwriting on this blog, not because I'm not doing any, but because I'm not allowed to say much about the projects I'm working on (in one case, because I signed a very rigid non-disclosure agreement).

But I can say that good things are happening with GUN MONKEYS, my long-in-the-works feature adaptation of Victor Gischler's terrific novel...and we're both hoping that we're going to be free to share some exciting news with y'all in the very near future. But I can tell you that director Ryuhei Kitamura (Midnight Meat Train, Versus, Azumi) is still attached, as is a world famous movie star with whom I've worked closely on several drafts of the script.

And I've been working on low-budget feature adaptations of four western novels, two each by Bill Crider and Ed Gorman, and financing talks on those  have been ongoing with many entities...including a national retailer. That project, in particular, has been a big learning experience for me. It's the first time I have had to get involved in the nitty-gritty of equity financing, distribution and co-production and it's been a real education (which is to say, slow going and extremely frustrating).

I've also had a few disappointments...TV staff gigs that came close, but fell through, and some freelance scripts that were promised to me but didn't happen, all for a number of reasons beyond my control (positions eliminated to cut costs, a showrunner I was working with getting fired, etc). But that's how the business works and I'm used to it.

I wrote a spec pilot recently that has been working well for me as a fresh sample, getting me several "get-to-know-you" meetings at studios and networks around town, but it hasn't led to a TV or movie gig yet.  It was based on an unfinished novel which I am now finishing...before I have to start work on my next Monk in just a few weeks.

But all of that is on hold for the next couple of days...I am off to Las Vegas with the family, so behave yourselves here while I am gone.

 

Literary Agents Reinventing Themselves

With the publishing industry undergoing cataclysmic changes, and with self-publishing now a viable option for authors, it's only natural that literary agents are scrambling to position themselves.

How are they going to make money in this new publishing business? How are they going to be relevant?

One way is to reinvent themselves. Instead of just finding clients publishers and negotiating the deals,  they are now branching out into publishing books themselves... or helping their clients self-publish by taking on the management and business side of the business (finding cover artists, copyeditors, tracking royalties, etc) ...in exchange for a 15% commission on books sold. Here's how the Dystel & Goderich Literary Agency is doing it:

 We have a project manager whose job it is to coordinate, advise, and make sure that the process goes smoothly with minimal work on the part of the author.  This, because we want our authors to write, not have to engage in a 47-e-mail exchange with someone about font size.   Everything is subject to the author’s approval.

Which brings up the question posed by several of you, both here and on Joe Konrath’s blog: what are you people doing to earn that 15% commission?  Pretty much what we do now to earn that 15% commission.  Our commitment to this is more than just uploading and watching the dollars trickle in.  In addition to all we do as agents, managing self-published properties will be part of our job: updating metadata, copy, next-book excerpts, etc.  It’s not just vague managerial duties, but concrete tasks that we will be adding to our other duties.

Over on the Writer Beware blog, there's an informative, thoughtful, and remarkably civil discussion going on about this new development, one that Victoria Strauss sees as a troubling conflict of interest. Here's just one of her many concerns:

 If an agency can publish a client's book itself, will it try as hard to market the book to traditional publishers? Will it give up sooner on a book that doesn't sell right away? Where and how will the line be drawn between "this book still has potential markets" and "this book is tapped out?" How much--unconsciously or otherwise--will the agency influence clients' decisions on which publishing route to take? According to Dystel & Goderich's announcement, "what we are going to do is to facilitate e-publishing for those of our clients who decide that they want to go this route, after consultation and strategizing about whether they should try traditional publishing first or perhaps simply set aside the current book and move on to the next." (My bolding.) Does this mean that the agency may take on clients whose manuscripts are never marketed to other publishers at all?

 But in the comments section, author Barry Eisler, who is married to an agent, and Joe Konrath, whose agents just announced their new self-publishing intiative, have  jumpd in to explain in detail why they see this as a natural evolution for agents as advocates for their authors. Barry says, in part:

I think you're defining the author/agent relationship premise too narrowly. Most fundamentally, the purpose -- the end -- of the agent is to help authors get their books to the greatest number of readers and achieve the greatest possible commercial and literary success. The means by which this end has traditionally been achieved is a sale to a legacy publisher. Because the "sale to a publisher" route has until quite recently been the only means to the "getting the book to the greatest number of readers and achieve the greatest possible commercial and literary success" end, it's easy to conflate the two. But just as railroads were not in the railroad business, but rather were in the transportation business, agents are not in the "selling to publishers" business, but rather are in the "helping their authors reach the greatest number of readers and achieve the greatest possible commercial and literary success" business. Agents who miss this fundamental distinction are making the same mistake the railroad companies made, and will achieve similar results.

It's discussion well worth reading.  

I'm sure you're wondering where I weigh in on this.

I agree with both Victoria... and with Barry & Joe.

I think it's a big conflict-of-interest when an agency becomes a publisher...creating a situation that's rife with ethical problems and plenty of opportunities for the authors to be exploited and screwed.

However, I think that's very different from what agencies like Dystel & Goderich appear to be offering.  

If I am reading it right, they're offering to take all the headaches out of your self-publishing venture by dealing with the cover artists, copyeditors, formatters, and sales platforms for you.

In other words, you write, we'll handle as much of the business side of it as you'd like us to. You'll still be making all the decisions and writing all the checks...we'll just shoulder all the time-consuming, day-to-day managerial work. 

I don't see a conflict-of-interest in that scenario. It's your self-publishing venture, they're just managing it for you in exchange for a commission (I think 15% for that service is way too high, but that's another discussion).

 (Pictured: Victoria Strauss and Barry Eisler, who photo was taken at Bouchercon 2010 by Mark Coggins)

Me on Me Again

The Writer Underground interviewed me this week about, well, writing...here's an excerpt.

Q: You came to writing early; you wrote and sold your first novel while still in college. How many novels have you written over the course of your career?

Eight Diagnosis Murder novels, 13 Monk novels, four Jury novels, My Gun Has Bullets, Dead Space, Watch Me Die, and The Walk.

Q: In an era where a lot of “experts” suggest you have to specialize to succeed, you write in several different formats (novels, online, TV, etc); how has that versatility paid off during your career?

It’s kept me alive. I have never put all of my eggs in one basket. So when TV lets me down, the books pick up the slack, and vice-versa. I also work as a TV consultant to studios and networks around the world.

Q: How do you approach new projects when you have little or no experience with that kind of writing (e.g. — your first script, your first novel, first tie-in novel, etc)?

With terror… and excitement. I like challenging myself. It keeps me sharp. I usually begin by researching the subject and talking to experts in it… before tackling it myself.

Q: Any quirky writing habits that would immediately endear you to my readers?

I write in the nude while listening to TV themes. I’m joking, of course. I at least wear underwear.

Q: You’ve got a pretty active online presence; how much time are you investing in your blog, interviews, social media, etc?

Way too much. In fact, I shouldn’t even be answering these questions.

Q: Writing professionally means dealing with tight deadlines, yet “writer’s block” is still a hot topic among writers. How do you make yourself “creative” on a deadline?

It’s the deadline that makes me creative. I do much better when I have a drop-dead date. I have never missed a deadline, even when I had an accident and broke both of my arms.

Q: Any advice for novice writers, or observations about the mistakes they make over and over and over and over…?

Avoid clichés.

 

Mid-list Riches

There's an interesting article at Publishing Perspectives on what a goldmine self-publishing ebooks has become for midlist authors. But that's not news to anybody who has been reading this blog, is it? The article concludes:

There was a time when self-publishing produced little to no revenue, and doing so was often the last resort for a project that had been rejected by everyone it had been put in front of. Now, in the post digital revolution, the model has been turned upside down. Authors are going to e-books first based on earning potential and a quick time to market. If they do well, then they leverage their sales for larger advances and favorable contract terms. Of course self publishing is not for everyone, but at least for those that decide to go this route, they won’t have to be that one in a million outlier—if they can achieve the e-book midlist status, they stand a good chance of telling their boss, “I quit, I’m going to stay home and write for a living.”

The Latest News...from 1861

Imagine Rachel Maddow covering the Civil War and you have THE MASON DIXON REPORT, William Rabkin's smart and funny new web series, starring Dan Gilvezan.

Bill writes today on the History News Network site about how the series came about.

...one reason why so many Americans have such little interest in history [is that] they can’t make a connection with the people who the books tell them lived lives so completely different from their own.

That disconnect is what led the brilliant producer Steve Ecclesine and me to create our original web series, The Mason Dixon Report.  We’d been watching the parade of Civil War programming, and while the shows ranged from superb to, um, less so, they had one alienating element in common:  

They all insisted that the war was History.

In fact, the best of them, Ken Burns’ massive documentary series, was the most guilty of this, full of slow pans across battered photographs and self-consciously old-timey music in the background screaming out in every frame that this was an event that could only have happened to those other people who weren’t anything like we are today.

We wanted to strip the History out of the Civil War and drop our audience into the middle of it.  To give people the sense of what it’s like to live in a time when you don’t know whether or not your country will survive another day.

The conceit of our web series is simple:  Cable news existed in 1861, and this was the flagship series.  And it turns out that nineteenth century cable news looks a lot like today’s.  We’ve got a host who gets the news of the day from our regular reporter, and then turns to a rotating panel of pundits, politicians, and consultants to explore the meaning of what just happened.

It's a lot of fun and think you'll enjoy it. I certainly am!

Mason Dixon Report Coming Attractions from ron schneider on Vimeo.

TV Main Title of the Week

Bish is Back

Paul Bishop's terrific crime novels, inexplicably out-of-print for the last few years, are back in new ebook editions, including CITADEL RUN (retitled HOT PURSUIT). Now is a good time to find out for yourself why the Los Angeles Times calls him "“The closest equivalent to Joe Wambaugh yet" and the New York Times calls him "a first-class writer" who delivers "a lively, bloody adventure."

Show Me the Money

The Guardian reports in a lengthy piece today that more established authors are thinking about self-publishing their work in the wake of such high-profile deserters of traditional publishing as JK Rowling, Barry Eisler, and John Edgar Wideman.  it all comes down to dollars and sense, as my friend Barry told them:

Thriller novelist Barry Eisler turned down a reported $500,000 from St Martin's Press to go his own way. "The key dynamic at work in self-publishing is legacy publishers' loss of their lock on distribution," he says. "It used to be that if you wanted to distribute your book in meaningful numbers, you needed a partner with a sales force, and relationships with wholesalers, retailers, and printing presses. Digital has changed that. Before, the question that had to be asked by a would-be self-published author was, 'How will I distribute?' It used to be that there was no good answer. Today, digital has definitively answered it. The question for a would-be self-published author now is just, 'How will I market?' And that question has a lot of available answers." 

[...]The thriller author is an interesting case. After turning down the St Martin's deal to self-publish, he subsequently signed up to a one-book deal with Amazon for a six-figure sum, but will continue to self-publish other titles. The way he explains it, the numbers make sense. 

"To understand what the traditional advance 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," he says. 

"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." 

Barry just took a deal to publish his book THE DETACHMENT through Amazon's new imprint, Thomas & Mercer, but that's because they offered him a total rethink of the typical author contract. He says:

[...]"Amazon offered me the best of both worlds, legacy and indie. The advance and marketing muscle you (might) get in a legacy contract; the kind of digital royalties, creative control, and time-to-market you get with indie". So he's giving up "something like 20% or 30%" of his digital retail channels, but he's gaining Amazon's "marketing muscle" – "and if Amazon blows out the marketing for The Detachment, [his current and future self-published books] will benefit enormously".

JK Rowling, meanwhile, is self-publishing the ebook versions of her HARRY POTTER novels, but is going one bold step further... she's cutting out booksellers... brick-and-mortar and e-retailers...entirely.

She's going to sell the books through her own storefront. She stands to make millions more than she would have if she'd let a publisher or e-retailer release her ebooks. Instead of splitting the royalties with anyone...she's taking them ALL for herself.

This is a very compelling model...one I wouldn't be surprised to see other "franchise" authors like James Patterson, Stephen King, Janet Evanovich, or Michael Connelly try in the very near future.

The changes in the publishing world are happening with astonishing speed...and, for once, they are favoring authors more than corporations...at least for now.

Just One More Thing...

I wrote about Peter Falk, and his portrayal of Lt. Columbo, for the Wall Street Journal today. I said, in part:

Before Peter Falk came along with his iconic portrayal of Lt. Columbo, TV detectives were never people like us. For the most part, they were a smug and self-assured bunch, comfortable in their mental, moral, and physical attributes and their obvious superiority over not only the bad guys, but everybody else, too.

They were smooth and elegant, like Gene Barry’s millionaire homicide cop Amos Burke, or stalwart do-gooders like Jack Webb’s by-the-book Joe Friday, or handsome tough guys like Burt Reynolds’s Dan August. We watched them because they were better versions of ourselves, wish-fulfillment caricatures who didn’t have our imperfections, our doubts, our anxieties. They weren’t so much characters as they were a means of escape from our dreary lives.

But we watched…no, we adored…Peter Falk’s Columbo because he was us:  an everyman, working class, messy, and imperfect, dealing with the physical and domestic woes we know so well, and constantly underestimated by wealthier, better-educated people as a result.

 

 

Fall Season Promo of the Week: Come on Along

More Good Stuff

My short story REMAINDERED is now available as a standalone  on the Kindle and the Nook...and this special edition includes a link that will take you to a private, streaming video of the movie version of the tale: 

Kevin Dangler is a once-famous author desperate to regain his lost glory while traveling the back-roads of middle America, selling remaindered, fifth-editions of his first book out of the trunk of his car. When he meets a woman who loves his work, he believes she might be his salvation...or perhaps his nightmare.

This story was an Ellery Queen Mystery Magazine Readers Choice finalist and has previously appeared in the anthologies "Three Ways to Die" and "Top Suspense." 

But wait, there's more...

DIE LOVER DIE, a Top Suspense short story, is now available on the Kindle and the Nook for just 99 cents. It's 10,000 words of non-stop action, violence and sex...a wild ride like nothing else you've read before...from twelve masters of suspense, who teamed up to write this rollicking story 250 rapid-fire words at a time, tag-team style, without an outline, without knowing what was coming next. The result is a pure, literary adrenaline rush:

Lauren Blaine is on the run...fleeing across the country, pursued by a pack of ruthless, skilled, and psychopathic killers. That's because she's dumped her husband and he hasn't taken it well. Of course, he might have taken it better if he wasn't a major drug dealer with a gale-force temper... and if she hadn't run off with all of his cash. Now she's marked-for-death, a moving target for every mercenary, hitman, and sadist in the midwest. What they don't know is that Lauren is nobody's victim... she's a resourceful, brave, and cunning woman who won't go down without a fight.

We Are Family

My brother Tod wrote a piece for the Wall Street Journal today about what it's like being part of a family of writers...and the dymanics that have shaped us into the authors were are today. He  says, in part:

the truth is that I didn’t really grow up surrounded by writers as much as all the people I grew up with – my older brother, Lee Goldberg, and my two older sisters, Karen Dinino and Linda Woods, who often collaborate – all became authors. We are separated by nine years, oldest to youngest, yet we managed to end up in the same place, at least metaphorically speaking.

My brother was first. His debut novel, .357 Vigilante, a slim men’s action adventure written under the absurd pen-name Ian Ludlow, was released in 1985 after he got a book deal through his writing teacher at UCLA. I would follow fifteen years later with my first novel and then my sisters, writing as a team, published their first book in 2006. Combined, we’ve published 50 books, hundreds of short stories, essays and features and, in my brother Lee’s case, written or produced 26 different television shows.

[...]We had a difficult childhood, all of us: our mother was dying for most of our lives, the victim of both lupus and cancer, though she’d actually live for 73 years, but that specter hung over us, along with her propensity towards madness. And our father was simply gone, long before he was actually gone. We each escaped into words from an early age. That’s the sad truth that lives under the happy result. The “how” is easily revealed: we enjoyed the escape so much that it became our physical world.

For more, check out the article. You'll know more about us afterwards than you'd ever want to.

 (Pictured: l-r Linda Woods, Lee Goldberg, Maddie Goldberg, Valerie Goldberg, Tod Goldberg, Wendy Goldberg, Karen Dinino, and Jan Curran)

Mr. Monk and the Sunday Paper

My short story "Mr. Monk and the Sunday Paper," an excerpt from my book MR. MONK ON THE COUCH, appears in the current issue of Ellery Queen Mystery Magazine. You can read a free excerpt from the story here.

Also in this issue, they announce the winners of the 2010 EQMM Reader's Choice Awards. I am proud to say that my story, "Mr. Monk and the Seventeen Steps" was the fourth-place finalist.

All the Cars I Have Owned

This is not a collection that's going to make Jay Leno, or anybody else, envious. 

1. 1978 Chevette (My first car. Later burst into flames at Big Bear Lake in 1982 and had to be sold for scrap)

2. 1982 Sentra (I later gave it to my sister Linda, who once saw gang members using it for cover during a shoot out in Venice. I think my brother Tod may also have owned the car for a while.)

3. 1987 Honda Accord (A fine car. I'd only owned it a few months when I was rear-ended in a traffic jam by a Swedish diplomat without a driver's license or insurance.  My front and back end were smashed, since the force of the impact slammed my Accord into the car in front of me. The Swedish guy immediately proclaimed that he had "diplomatic immunity" and was not responsible for the damages. He was right. My insurance company covered the costs).

4. 1988 Corolla FX (my wife's first car in the U.S. She's from France. I learned to drive a stick with this car)

5.  1990 Miata (I still own it. Only 60K miles on the odometer, since we only drive it a few times a month, usually on weekends, when its really nice out.  The car looks as good today as it did then. But I just had to replace the transmission, which was inexplicably fried despite the low miles.)

6.  1984 Mercedes SL  (I bought this from my grandfather in 1992 with only 30K miles on the odometer. It was a Christmas present for my wife, who coveted my Miata.  We still own it and it's in mint condition. Just crossed 100K on the odometer. It's my car now. My accountant would like me to get rid of it...thinks it costs way too much to maintain. But we have a huge sentimental investment in the car)

7. 1995 Volvo 960 Wagon (We bought this when my daughter was born, since all we had were two two-seat convertibles and no place for a third person...)

8. 1999 Mercedes  SLK. (...so, naturally, I got another convertible. For a while, we had three convertibles and one station wagon. For a family of three. How dumb is that? It was the most troublesome car I've ever owned. Everything went wrong with that damn car. After three years, I sold it to my sister Karen, who later sold it to her sister-in-law)

9. 2000 Mercedes ML  (It replaced the Volvo. We still own it and have 175K on the odometer. Still looks and runs great. This is my wife's car now -- by her own choice -- and she loves it. I've inherited her SL) 

10. 2004 Lexus ES (I leased this for three years so we'd have more than one "family" car instead of an SUV and two 2-seat convertibles. I loved it but it spent more time in the garage than on the road since I was mostly working in Canada and Europe during the lease period, so I let it go).

Our next car will probably be something for my daughter, who turns 16 in July...or we'll give her the ML and buy a new "family car."

Locke Cracks Million Mark

Amazon announced today that John Locke has become the first self-published author to sell one million ebooks on the Kindle, joining a very select group: Stieg Larsson, James Patterson, Michael Connelly, Lee Child, Charlaine Harris, Nora Roberts and Suzanne Collins. 

“Kindle Direct Publishing has provided an opportunity for independent authors to compete on a level playing field with the giants of the book selling industry,” said John Locke. “Not only did KDP give me a chance, they helped at every turn. Quite simply, KDP is the greatest friend an author can have.”  

“It’s so exciting that self-publishing has allowed John Locke to achieve a milestone like this,” said Russ Grandinetti, Vice President of Kindle Content.  “We’re excited to see Kindle Direct Publishing succeeding for both authors and customers and are proud to welcome him to the Kindle Million Club.” 

John Locke, of Louisville, KY., is the internationally bestselling author of nine novels including "Vegas Moon,” "Wish List,” "A Girl Like You,” "Follow the Stone,” "Don't Poke the Bear!" and the New York Times bestselling eBook, "Saving Rachel." Locke's latest book, "How I sold 1 Million eBooks in 5 Months," is a how-to marketing guide for self-published authors.

TV Main Title of the Week

Hocking on Hocking

There's a great interview with self-publishing superstar Amanda Hocking in the New York Times today. She comes across as very natural, likeable, and surprisingly level-headed about her success, which came to her surprisingly fast once she put her books on Amazon:

...Hocking uploaded “My Blood Approves” to Amazon and, about a month later, to Smashwords, a service that makes her books compatible not only with the Nook but also with less popular devices like BeBook and Kobo. (When, in October 2010, it became possible to self-publish directly on Barnes & Noble’s site for the Nook, she did so.) It’s a surprisingly simple process in each case — much like signing up for Facebook. She took the e-leap because she thought that even if she sold her vampire books, there was going to be a reaction against them before they made it into stores.

The first day, she sold five books. The next, five more. “I took screen shots a lot,” she said. Then she uploaded another novel and sold a total of 36 books one day in May. “It was like: 36 books? It’s astounding. I’m taking over the world.”

Soon she started selling hundreds of books a day. That June, she sold 6,000 books; that July 10,000. “And then it started to explode. In January, it was over 100,000.” Today, she sells 9,000 books a day.

Hocking is at a loss to explain the phenomenon. “I’ve seen other authors do the exact same things I have, similar genre, similar prices” — like many self-published authors, she prices her books radically below what traditional publishers charge; typically hers cost between 99 cents and $2.99 — “and they have multiple books out. And they all have good covers. And they’re selling reasonably well, but they’re not selling nearly as well as I am.”

The problem is, now everybody thinks they can be Hocking...or John  Locke...and don't seem to realize that they are exceptional cases. 

Rerun: 25 Random Things About Me

(From January 2009) 

I've lost count of how many people have tagged me for this "25 Random Facts About Me" meme. So here goes:

1. When I was a pre-schooler in Oakland CA, I ran away from home, showed up at the door of the Mormon temple, and asked if Shirley could come out to play.

2. I'm a Lee Hazlewood fan.

3. I had a girlfriend who was an editorial assistant at Playgirl. I honed my skills writing sex scenes by writing fake "Letters to the Editor" for $25 each. 

4. My favorite BBQ place is It's In the Sauce in Ventura, Ca. 

5. When I'm sick, I like to lie in bed and watch old episodes of "Gunsmoke."

6. I wrote my first novel when I was ten. It was about a superspy from the future who was born in an underwater sperm bank. I don't know why it was underwater, or how you made deposits, but I thought it was pretty cool.

7. I love Nacho Cheese Doritos.

8. My favorite James Bond movie is "Goldfinger." 

9. I've broken all but one limb...so far.

10. When I was five or six, I used to tell people my name was "Lee Beaudine." I don't know why. 

11. When I was a kid, I once threatened to send my little sister Karen to prison for picking apart my Nerf ball. She was so terrified that she gave me all the money in her piggy bank to buy her freedom. I still feel guilty about that. 

12. My middle name is Brian. 

13. The ugliest city I have ever been to is El Paso, TX. 

14. Until I was about 25, I spent two weeks every summer at Loon Lake, Washington. 

15. I love the theme to "It Takes a Thief" but I can't hum it. 

16. I had a crush on Linda Carter when I was a kid. She was my Wonder Woman. 

17. I think Harry Whittington is one of the great, unappreciated authors of noir. 

18. When I was a kid, I used to collect Wacky Packs. I thought the cards were hilarious. 

19. One of my all-time favorite books is "Lonesome Dove" by Larry McMurtry. 

20. I've seen Roger Moore naked. 

21. I like to read Motor Trend and the National Inquirer on airplanes. This embarrasses my wife. 

22. I can't spell marriage, similar, or envelope. 

23. I wrote two episodes of "The New Adventures of Flipper." 

24. I once flagged down a cop on Jefferson Blvd. to alert him that a homeless man was "playing a twisted game of Russian roulette" by running into traffic. The cop actually asked me to repeat that without imitating the ABC announcer's voice. 

25. I owned a Chevy Chevette.

Tsunami of Swill Makes News

The Los Angeles Times reports today about something I've been talking about for months...the tsunami of self-published swill washing over Amazon. The article refers to bad self-published books, but mostly discusses rip-offs of other people's work and books cobbled together from public domain sources.

Spam has hit the Kindle, clogging Amazon.com Inc.'s top-selling e-reader with material that is far from being book-worthy and threatening to undermine the company's entry into publishing.

Thousands of digital books, called e-books, are being published through Amazon's self-publishing system each month. Many are not written in the traditional sense.

[...]These e-books are listed for sale — often at 99 cents — alongside more traditional books on Amazon's website, forcing readers to plow through many more titles to find what they want. Aspiring spammers can even buy a DVD box set called Autopilot Kindle Cash that claims to teach people how to publish 10 to 20 new Kindle books a day without writing a word.

This new phenomenon represents the dark side of an online revolution that's turning the traditional publishing industry on its head by giving authors new ways to access readers directly.

[...]In 2010, almost 2.8 million nontraditional books, including e-books, were published in the United States, while just more than 316,000 traditional books came out. That compares with 1.33 million nontraditional books and 302,000 conventional books in 2009, said Albert Greco, a publishing industry expert at Fordham University's business school. In 2002, fewer than 33,000 nontraditional books were published, whereas more than 215,000 traditional books came out in the United States, Greco noted.

"This is a staggering increase. It's mind-boggling," Greco said. "On the positive side, this is helping an awful lot of people who wrote books and could not get them published in the traditional way through agents."

But Greco listed downsides. One problem is that authors must compete for readers with a lot more books — many of which "probably never should have seen the light of day," he said.

My Books Need Friends

I've created Facebook groups for my books. I hope you will join them. Here they are:

The Dead Man Series  

The Jury Series

The Monk Books

Watch Me Die

The Walk

Fall Season Promo of the Week: Turn Us On, We'll Turn You On!

The Mail I Get

Technically, this one didn't come to me, but was about me, so I think it counts. It's mail that my brother Tod got from a fan of mine:

Hey Todd, I am running a contest on my facebook page for a shopping deal I made at the store today! ( I bought a gallon of milk, hemorrhoid wipes and candy, it cost 29 cents) Anyways, would you like to be the judge? I was thinking the prize would be a Mr. Monk book by your brother, I will buy it at the local book store. I think it might be fun to see what creative responses we get. Also, you don't think that your brother Lee would be mad it I gave a Mr. Monk book as a prize do you?

To which Tod politely responded:

Uhm...I'm flattered (I think?) that you'd want me to judge this, but I just don't have the time, I'm afraid. As for the prize...well...I'm inclined to believe that no writer would really want his book being the prize for a bargain spree of candy and cheap hemorrhoid cream, so I'm going to go ahead and say use your best judgment on that one.

Shaken for Japan

Naomi Hirahara, Brett Battles, Wendy Hornsby, Cara Black and Timothy Hallinan are just a few of the amazing authors who've contributed stories to SHAKEN: STORIES OF JAPAN, an ebook anthology that benefits the  Japan America Society of Southern California's Japan relief fund. You won't find an easier or more enjoyable way to contribute money to a great cause.

The Funny Side of Thomas Perry

If you're a regular reader of this blog, then you know I'm a huge Thomas Perry fan. We did a panel together at the Los Angeles Times Festival of Books and I used the opportunity to urged him to bring back his two hilarious, out-0f-print classics, BIG FISH and ISLAND, as ebooks. I'm thrilled to say that he cracked under my relentless nagging...both books are now available!  Here's the story on BIG FISH:

First published in 1985 and long out-of-print, Big Fish, one of Thomas Perry's most sought-after titles, is now available to readers in an e-book format. Powerfully-plotted and funny, Big Fish follows dangerous and mysterious Los Angeles entrepreneur Altmeyer, and his wife Rachel whose quiet lives in the Hollywood hills are disrupted when a multi-million dollar gunrunning deal goes bad. 

Under most circumstances, Altmeyer might be mildly amused by the audacity of the double-cross. But whoever cheated Altmeyer may also be planning to destroy the world. With so much at stake, Altmeyer and Rachel and their friend, super-agent to the stars Bucky Carmichael, set off on a perilous adventure in search of the identity of the Big Fish. What they find is shocking and horrifying and all too credible.

And here's the story on his classic ISLAND:

Island, first published in 1987 and long out-of-print, one of Thomas Perry’s most sought-after titles, is now available to readers in e-book format. The riveting and entertaining thriller follows a husband-and-wife con team on the run from the Mob, a soldier of fortune between jobs, a two-bit operator with grandiose dreams of tribal dynasty, a sultry CIA operative with divided loyalties, and the most dazzling defector ever to hurl a split-fingered fastball––twentieth-century buccaneers who wash up on a tiny island in the Caribbean and turn it into a multinational cash machine—but then the shooting starts.

Somebody is trying to invade the island, and that somebody could be anybody: the CIA, NSC or IRS; the most powerful, corrupt bank in the U.S. or the South American cocaine mafia—or it could just be the Los Angeles incarnation of the devil himself, a shadowy figure with a checkered past named Fat Jimmy… 

If you are Thomas Perry fan, these classics are a must-buy...revealing a lighter side only hinted at in his string of thrillers. And if you've never read Perry before, these are a great place to start.

Take the Money and Run

Back when I was a teenager writing my .357 VIGILANTE books as "Ian Ludlow," my publisher thought it would be nice if I met some of their other writers who lived in my area. One of'em was "Pike Bishop,"  who was writing the DIAMONDBACK westerns.

So they set us up on a lunch.

I was expecting a leather-skinned, laconic cowboy with a boots and a Stetson...and he was expecting a hardened, streetwise tough guy.

Imagine my surprise when "Pike Bishop" turned out to be uniformed cop Paul Bishop...and imagine his surprise when "Ian Ludlow" turned to be, well, me...who was then a very geeky teenager.

But that lunch started a friendship that has endured for nearly thirty years (OH MY GOD, thirty years!?). In that time, Paul has become a highly decorated LAPD detective (twice named homicide detective of the year), nationally acknowledged interrogation expert, an acclaimed crime novelist (CITADEL RUN, TWICE DEAD, etc), and a TV writer (among his credits, three DIAGNOSIS MURDER scripts that he wrote for Bill Rabkin & me).

Now Paul can add another accomplishment to his list: TV STAR.

He's the star of ABC's new summer reality/game TAKE THE MONEY AND RUN, from hitmakers Jerry Bruckheimer & Bertram van Munster, the team behind THE AMAZING RACE. Here's the description from the press release:

"Combining all the elements of an edge-of-your-seat spy thriller with the excitement of rooting for real people in different locales trying to outwit legitimate professionals, "Take the Money and Run" is an exhilarating competition series that will take reality television to a whole new level. The cat and mouse format will pit everyday people against real life law enforcement for a $100,000 prize."

The series premieres on August 2nd...and I, for one, can't wait.

The Age-old Reading Fee Scheme - Updated With Correction

I just received a solicitation from Creative Nonfiction Magazine, which is looking for true-crime articles for an upcoming issue. The catch is that they require authors to pay a $20 reading fee or to buy a subscription for $25.  In return, they will award the best submission $1000. So Creative Nonfiction Magazine is, essentially, not so much a magazine seeking submissions...as it is a thinly disguised writing contest with a $20-25 entry fee.

If this was a  reputable magazine, and not a facade for a contest, money would flow from the publisher to the writer, not the other way around.  This is a scheme by a company that apparently makes its money from writers...as opposed a real publisher, who commissions work from writers and then makes its money selling the final product.  Avoid them.

UPDATE:  6-16-2011 I received the following note from the magazine:

You should've checked us out quickly online before making that erroneous judgment.

To which I replied:

I see nothing "erroneous" about it. I did check you out online. You should be ashamed of yourselves for charging a "reading fee" and/or a subscription fee to submit articles for consideration. Are you charging Ruth Reichl, Sarah Wexler, John Edge, and Phillip Lopate a reading fee? I doubt it. You must be in pretty desperate shape to be trying to make a quick buck off of writers.

To which they responded:

Anyone is welcome to submit to general submission for free. Contest entries require a reading fee, which is used to pay the prize money for the winning essay, as well as any readers and judges we have to hire to read the submissions. We sometimes have to hire readers because we have a small staff who are taken up with reading general submissions and essays for other categories. This is standard practice for literary magazines.

So I looked into it some more.  And they are right, it is standard for literary magazines to run contests that charge a reading fee. I owe them an apology on that score.

However, no where in their solicitation to me, or on their home page, do they acknowledge this is a contest. Here's the original email I received from Creative Nonfiction magazine in its entirety:

Dear Lee,

For an upcoming issue, Creative Nonfiction is seeking new essays about true crimes—detailed reports of premeditation, follow-through and aftermath, whether gleaned from police blotters or the news, passed down as small-town legend or family lore, or committed in cold blood.

We’re interested in a variety of viewpoints and are hoping you will help us reach your audience—or will consider submitting.

We want true stories of petty theft, identity theft, embezzlement or first-degree murder; of jaywalking, selling (or maybe buying) weed or assault; of crimes and punishments and unsolved mysteries. Think "The Devil in the White City" (Larson), "In Cold Blood" (Capote) and "Iphigenia in Forest Hills" (Malcolm); or "Half a Life" (Strauss), "Lucky" (Sebold) and "The Night of the Gun" (Carr). If it’s against the law and someone—maybe even you!—did it anyway, we want to know all about it.

We’re looking for well-written prose, rich with detail and a distinctive voice. Essays can be serious, humorous or somewhere in between. Creative Nonfiction editors will award $1000 for Best Essay.

Submission guidelines: essays must be unpublished, 4,000 words maximum, postmarked by September 30, 2011, and clearly marked “True Crime” on both the essay and the outside of the envelope. There is a $20 reading fee (or send a reading fee of $25 to include a 4-issue CNF subscription–U.S. submitters only); multiple entries are welcome ($20/essay) as are entries from outside the U.S. (though due to shipping costs, the subscription deal is not valid).

Please send manuscript, accompanied by a cover letter with complete contact information including the title of the essay, word count, SASE and payment to: Creative Nonfiction Attn: True Crime 5501 Walnut Street, Suite 202 Pittsburgh, PA 15232

For more information, please visit www.creativenonfiction.org.

Thank you for your time. We appreciate any help you can provide in sharing this announcement.

All the Best,

Becky Bosshart

Editorial assistant, CNF

You'll note that they say "for an upcoming issue," not for a contest. And here is what they say on the home page of their website about the issue:

UPCOMING CALLS FOR SUBMISSIONS: We're always reading general submissions and queries for non-essay sections of the magazine. We'd love to see what you're working on! We're currently looking especially for Pushing the Boundaries essays—experimental work that tests the limits of the genre. (Postmark deadline: June 13). Just announced: True Crime!

You'll note that so far the word "contest" has not appeared anywhere. But if you click the link to True Crime, here's what you get:

CONTEST: TRUE CRIME

postmark deadline: September 30, 2011

For an upcoming issue, Creative Nonfiction is seeking new essays about true crimes—detailed reports of premeditation, follow-through and aftermath, whether gleaned from police blotters or the news, passed down as small-town legend or family lore, or committed in cold blood...

That is the only point where they finally disclose that this issue is the product of a contest that's outside of their usual publication submission requirements (where no reading fee or other fees are charged). 

The problem here is two-fold. They aren't upfront that their contest is a contest...and I didn't dig deep enough before leveling a judgment. We are both at fault on this one.

Get Branded

My buddy Axel Brand's latest mystery, NIGHT MEDICINE is now available on the Kindle. This is the third book in the acclaimed Joe Sonntag series...the first of which, THE HOTEL DICK, was published top wide acclaim in hardcover by Five Star some years ago (and is not yet  available in e-format).  The second Sonntag tale, THE DEAD GENIUS, comes out in hardcover from Five Star in August. Here's the skinny on NIGHT MEDICINE...

It's summer, 1948, Milwaukee, Wisconsin. The body of a lovely, well-dressed young woman is discovered at the Washington Park Zoo, near the lion cages. She is lying in a bed of ferns, her arms folded over her breast, her skirts smoothed and her legs straight. Nearby a lioness prowls her cage. Clearly, someone cared about this unknown young woman, and laid her out as if she were in a funeral home. Why she was placed there, in that fashion, is a riddle that Detective Joe Sonntag and his gifted staff try to solve.His quest leads him into strange dark corners, where compassion and death intersect.

She-Wolf of Studio City

I was on my way to lunch with my buddy Phoef Sutton, and waiting on the sidewalk to cross the street, when I heard a familiar voice behind me...one I hadn't heard in years. I turned around and there, sitting at an outdoor cafe with a friend, was actor Neil Dickson, who starred in She-Wolf of London, a syndicated series that Bill Rabkin and I wrote and produced in the early 1990s. It was a wonderful surprise. The last time I saw Neil was almost ten years ago, when he guest-starred in an episode of Martial Law, another series that Bill and I wrote & produced.  While I've aged and fattened, he has kept his stunning good looks. We only had a few minutes to chat, and share some She-Wolf memories, but I am looking forward to catching up with him again very soon.

 

My Favorite Child

  I’ve written thirty novels – eight of them Diagnosis Murder books and thirteen of them Monk tales – but my favorite out of them all is Watch Me Die, which was originally published in hardcover in 2005 under the title The Man with the Iron On Badge.

It’s about a guy who learns everything he knows about being a PI from reading books and watching TV shows. It's about the clash between fictional expectations/stereotypes and reality. The book is something of a spoof...and yet, at the same time, a straight-ahead crime novel full of explicit sex and violence. That shifting tone made the book a hard sell...because it didn't fit into a particular marketing niche. Is it a satire? Is it a PI novel? Is it a thriller?

Most of  the editors who rejected the book back in 2003 praised the writing but didn't see where it would fit in their publishing line.  There were two editors at major houses who loved it and wanted to acquire it...but  couldn't convince their superiors. Another wrote a LONG rejection letter, saying how much she loved it, that it was the best PI novel she'd ever read, and how it pained her not to be able to publish it. (In the mean time, I wrote a screenplay version of the book, which landed me the gig writing the Dame Edna movie. It never got made, but it was a very, very big payday for me and was my first solo screenwriting job outside of episodes of TV shows that I'd produced).

It was frustrating not being able to sell the book because I felt it was the best novel I'd ever written. I loved writing it and I very much wanted to write more about Harvey Mapes, the main character. I couldn’t complain too much, because I was having a lot of success with other books. Even so, this one meant more to me than the others. I approached my Diagnosis Murder & Monk editors at Penguin/Putnams about The Man with the Iron-On Badge...but as much as they liked me, and my work, they weren't willing to take the gamble.

Finally, after two years of  shopping the book, we took it to Thomson/Gale/Five,  which had a reputation for putting out fine mysteries...and for being a place  where  published authors can find a home for their "dropped" series and unpublished works.  It was an imprint run by writers (like founder Ed Gorman) and editors (like legendary book packager Martin Greenberg)  who truly loved books and appreciated authors. They produced handsome hard-covers that were respected and reviewed by the major industry publications. I had a great experience with them on The Walk (another book that was a hard sell that but went on, after it fell out of print, to sell 20,000 ebook copies in two years)  and I knew they would treat the book well. 

The downside with Five Star was that they paid a pitifully  low advance, primarily served the library market and had very limited distribution to bookstores.  Still, it was possible to win wide acclaim and impressive sales with a Five Star title. And I did. Here's a sample of the reivews:

"As dark and twisted as anything Hammett or Chandler ever dreamed up [...] leaving Travis McGee in the dust." Kirkus, Starred Review

 “This was a witty, wonderful book,” Deadly Pleasures

“Goldberg delivers a clever riff on the traditional private eye novel, resplendent with witty and dark turns,” Knight-Ridder Newspapers.

“A fast paced, first person thriller about an under achiever who has to strive to be more than he ever thought he could be,” Permission to Kill

“Approaching the level of Lawrence Block is no mean feat, but Goldberg succeeds with this engaging PI novel,” Publishers Weekly

"Lee Goldberg bravely marches into territory already staked out by some fierce competition -- Donald Westlake, Lawrence Block, the early Harlan Coben-- and comes out virtually unscathed." The Chicago Tribune

"Goldberg has a knack for combining just the right amount of humor and realism with his obvious love for the PI genre and his own smart ass sensibilities. [The book] is a terrific read. Goldberg is the real deal and should be on everyone’s must read list." Crimespree Magazine

The book even got nominated for the Shamus Award for best novel by the Private Eye Writers of America (losing to Michael Connelly’s The Lincoln Lawyer)

And  although it sold well for Five Star, it failed to land a paperback or foreign rights sales…and went out of print in 2007. 

Last year, I re-released it as an ebook…where it has failed to gain much traction, despite several different covers,  lots of flogging on this blog, and a stage production by the legendary Firesign Theatre.

So now I have re-re-released it as Watch Me Die. And am doing more flogging.

I really, really want Watch Me Die to succeed.

I want it to be my bestselling book...by far. Not so much for the money, but because I am proud of it.

And if it does finally do well, I can justify to myself (and, more importantly, to my wife), investing the time to write the sequel. Or a string of sequels. I would like nothing better than to write as many Harvey Mapes books as I have Monks…or many more….because Harvey Mapes is a character and a voice and an attitude that I love.

So please, help me do that. Spread the word about Watch Me Die.   

 (Pictured: Orson Ossman performing as "Harvey Mapes"  in the Firesign Theatre radio play/stage production, at the RiverPark Performing Arts Center in Owensboro, Kentucky )

TV Main Title of the Week

What Does MWA Do?

I always feel guilty when I spend more time posting on someone else's blog than my own...which is what has been happening over the last few days. I have been cheating on you over at Joe Konrath's blog. He wrote a lengthy post castigating the MWA for not welcoming self-published authors as active members...so naturally I responded. A lot. But I think some of what I said, even without the context of the subsequent comment thread that prompted my remarks, is worth repeating here. 

So you can read Joe's post for yourself...then come back and read this. Go ahead. I'll wait.

Okay, good to see you back.

First, let me say, that I am speaking for myself, and not in any way for the MWA.

I know ebook self-publishing is changing everything. I am earning far more self-publishing my out-of-print backlist today than I am from my traditional contracts.

I know that MWA will inevitably have to address that side of the business....but I think MWA’s rules will evolve and that these recent changes, while too incremental for Joe and some others, were a necessary and significant first step. 

There are many good points in Joe's post. But his overall argument that MWA should exist to help authors sell books is too narrow.  MWA does a lot of great things -- like supporting book festivals & writers conferences, running speakers groups, funding Writer Beware, taking on predatory publishing practices, etc, to support their members and non-members alike.

He likes to use International Thriller Writers as a yardstick for comparison to MWA.  He says they get it right where MWA doesn't.

I agree that ITW does some great things for its members that MWA doesn’t...and vice-versa.

However,  the last time I checked, ITW had only let in three or four self-published authors as active members. Self-published authors are welcome to join ITW as associate members which, by the way, is also the case with MWA.  

I haven't seen ITW announce that they are now including e-publishers and POD publishers as Approved Publishers...and books exclusively published in e-format or POD as eligible for Active Membership…but MWA has.

The ITW, unlike MWA, is utterly beholden to, and dependent upon, “legacy publishers.” The reason members don't have to pay dues is because the ITW lives off the royalties it earns from its anthologies published by Harlequin, among others. If any organization exists to support the old guard, it's ITW.

While they are a different organization, they are also, in many ways, exactly the same. They also have an approved publishers list, they also rely upon "legacy publishing" as a primary yardstick for professional publication, and they also have a large associate membership etc.

So I'm not seeing how ITW is getting it right where MWA isn't.  

There are some also significant differences between the two organizations worth noting…

• MWA took a strong, and very public stand against Harlequin that other organizations quickly followed (notably not ITW, perhaps because the anthologies that keep their organization afloat are published by Harlequin). MWA ultimately convinced Harlequin to substantially change a program that struck many as predatory and unethical.
• MWA delisted and strongly condemned Dorchester for their miss-treatment of their authors...and other organizations quickly followed MWA's lead (notably, ITW has remained silent).
• MWA has teamed up with SFWA to support Writer Beware to expose countless publishing and literary agency scams that prey on writers (What is ITW doing to educate writers about predatory publishing practice? Zero).

I am a proud ITW member, and they have been very, very smart in how they have positioned themselves and how they are helping published writers get more traction. But MWA is about much more than that. 

MWA's stand against Harlequin, for example, was geared entirely towards preventing unpublished authors from getting taken advantage of...and that's a big part of MWA’s mission…and why they partnered with SFWA to support Writer Beware. 

Not only that, but MWA makes substantial financial contributions to scores of big and small book fairs all across the country (including contributing to NY is Book Country, the LA Times Festival of Books, the Miami Book Fair, etc.) to help keep them afloat because they feel supporting writers, booksellers, and the love of reading is important. 

There are also countless workshops and speakers programs that MWA and its local chapters do in high schools, libraries, book fairs, and at community events nationwide to educate writers about writing, publishing, and the mystery genre.

Those efforts help ALL WRITERS published and unpublished, self-published and traditionally published, and teaches aspiring writers new skills, and encourages a love of reading and books that helps authors no matter whether they are published electronically or in print. 

MWA doesn't just exist to help authors promote and sell their books (though MWA promotes its authors with a strong presense at trade events like BookExpo, Printers Row, and ALA, etc.).

They put an enormous effort into protecting aspiring writers... people who ARE NOT MEMBERS... from getting ripped off by publishing scams and con artists who prey on their hopes, desperation, and naivete.

MWA does that by educating its members  as well as through the very existance of its Approved Publishers list (publishers are thoroughly vetted by the MWA’s membership committee and held to a set of high professional standards…as listed in our Approved Publishers criteria).

MWA also uses its might, which comes from its size and the respect it has earned, to leverage big publishers into halting unethical and predatory practices. That doesn't prop up the status quo...that's something MWA does, at great cost in time and money, because it's mission is more than helping successful writers be more successful. Again...all of this is done by volunteer writers. 

MWA's goals, and responsibilities, and what it does for members and non-members alike, are far broader than simply helping it’s members sell books and promote themselves.

Bottom line:  MWA is far, far more than just the self-publishing issue.

But you could argue, as Joe did in the comments to his post, that  “teaching writing craft is a good thing, but how do my dues benefit me when they are being used to teach some newbie how to add conflict to his first short story?”

That’s a fair question. I can only answer for myself.

I pay my $95 in dues not just for what MWA can do for me... but what it does for others. I get something important out of that. You may not. That's fine. 

You may not take any pride or pleasure knowing that your dues go towards teaching a newbie writer about conflict, story structure or dialog...but I sure as hell do. 

You may not take any pride that your money is going to support efforts to prevent publishers from engaging in predatory and unethical conduct towards writers. I do.

You may not see any personal benefit in your money going towards exposing publishing scams and protecting writers from them. I do.

What MWA does is not always for you. Sending authors to libraries or schools may not help you sell books...but it might inspire one kid in the audience to write...or spark a love of reading....or bring new readers to the mystery genre. 

I think that's a great use of my dues money. I get a personal benefit out of it that isn't calculated in books sold.

Actually, Joe and I agree on more than we disagree, though some who do not know us well would not know that from reading this long-winded post (or his).

I am the chair of the MWA membership committee, so I played a big part in crafting these rules.

I am a published author...but I am also a self-published author.

So I see this issue from both sides. 

I have said it before, and I will say it again...the MWA's eligibility criteria are a work-in-progress that will change as the industry does. 

Accepting novels published exclusively as ebooks or POD as making the author eligible for Active Membership is a big, and important step...one other writers organizations, including ITW, the Authors Guild, Horror Writers, etc. have yet to make. 

I am sure there will be other steps to come.

 

I Love the Mystery Guild

Well, their readers anyway, one of whom clued me in to all the great reviews that MR. MONK ON THE ROAD is getting over there...

Fantastic as always      
If you want some laughter with you mystery then this is the series for you. I have all of them thus far, and will be getting Mr. Monk On the Couch(June 7). Such a lovable, likable bunch of chararcters makes this an easy series to read. Highly recommend. Hope this series will be around a very long time. Pleeeaase Lee Goldberg, keep writing them! Reviewer: William H

Already can't wait for the next one!      
It seems that Lee Goldberg just can't write them fast enough for me. I LOVE this series. Oh well, I can go to my keeper shelf and start all over again. But really, hurry up and get here June(Mr. Monk on the Couch). Can't recommend this series highly enough. If you're missing this series you really are missing a great pleasure. Reviewer: Bridgette H

Another Winner!      
I can't believe Lee Goldberg's record. He has never let me down with this fantastic series. I'm already all sorts of anxious for the next book. If you want a break from the stresses and frustrations of everyday life then read about Mr. Monks stress and frustration in dealing with the everyday world. You'll do a lot of smiling and laughing, and you know that's a good way to ease and escape your own tensions. I'll be rereading this whole series(on my keeper shelf)pretty soon. Highly recommend! Reviewer: Percy P

Yet another winner!      
Loved it, as I have every book in this great series. Monk, Ambrose, and Natalie, what a trio! It was fun for the reader everywhere they stopped. I was worried about the fate of the books with the series ending. Guess I should have known better. Lee Goldberg is an incredible writer and I'm so glad that the Monk series is continuing with the usual laughs and great mysteries. If your not reading this series yet you don't know what you are missing. Highly recommend. Reviewer: Daniel H

After seeing these, I naturally went back and looked to see how my previous MONK books were received...and I am flattered to say they were met with the same, enthusiastic response. Thank you Mystery Guild readers!

Tweet Porn

Absolutely hilarious...and very dirty: Bill Maher and Jane Lynch do a dramatic reading of Weiner's tweets.

 

 

Cover Story

One of the great things about the ebook format is that it allows you to quickly change your product to adapt to the  marketplace. I learned this lesson when I changed the covers and titles of my .357 VIGILANTE series (to THE JURY SERIES) ...and sales immediately and dramatically increased as a result.

That made a big impression on me.

I have since experimented with changing the covers, and in some cases the titles, of some of my other work. Almost always, I have seen a marked improvement in sales. In fact, I recently changed the cover of the JURY SERIES again and sales of that book have more than doubled.

So I now I'm hoping to perform that same magic on THE MAN WITH THE IRON ON BADGE, perhaps most my widely acclaimed novel when it was released in hardcover a few years ago...and yet one of my weakest performing ebook titles today. I have tried changing the cover multiple times...and while that has always helped, the uptick hasn't been much. 

I think the problem is the title. It's awkward, dated, and dull.

So I have decided to take a more radical step...this time I am changing the title and the cover.

It's now WATCH ME DIE.

It's a much more active title and the cover, by Jeroen Ten Berge,  is far more vivid and compelling than any of the others. The image is taken from a key scene in the book.

I predict that sales will go way up...what do you think? Here's the evolution of the covers...

The McFarland &  Company cover for the original, hardcover edition:

The First Kindle Edition, made by yours truly:

The Second Kindle Edition, designed by Carl Graves:

And, once again, the new cover by Jeroen Ten Berge:

 

 

Fall Season Promo of the Week: This is the Place to Be

The Rap on Me and Monk

Kirkus Reviews is spotlighting the MONK books today in an interview with yours truly conducted by J. Kingston Pierce, who also runs the excellent Rap Sheet blog.  Here's a taste:

The series focused primarily on Adrian Monk, but your books are told from Natalie’s first-person perspective. What affect has that had on your storytelling?

I think it humanizes Monk. It gives us a necessary distance and, at the same time, a perspective to frame what we’re seeing. In a way, Natalie’s eyes become the replacement for the TV screen that’s was usually between us and Adrian Monk. Also, a little Monk goes a long way. You can overdo the joke and all the obsessive/compulsive stuff. By telling the stories from Natalie’s point of view, we aren’t with him all the time. We get some space, a breather from his shtick, and I think that’s important.

It’s also a conscious homage to Sherlock Holmes and Nero Wolfe, who were seen as well through the eyes of their assistants.

The interview was huge, and all the stuff that Kirkus couldn't use, Pierce has posted on his blog.  For instance,we expanded on the previous question...

JKP: You’ve said before that telling these stories from the first-person viewpoint of Monk’s assistant, Natalie Teeger (played on screen byTraylor Howard), rather than from a third-person perspective more similar to what we saw on television, “humanizes Monk.” Could you explain that further?

LG: [I]t’s allowed me to add an emotional resonance to the storylines that goes beyond just Monk’s eccentricities and the solving of puzzling mysteries. The underlying theme of the book (and yes, there always is one in each tale) is often reflected in whatever is happening in Natalie’s life. Her personal story frames the way in which she perceives the mystery and reacts to Monk, so it’s all of a piece. It’s allowed me to make her a deeper, more interesting, and more realistic character. By doing that, I ground the story in what I like to think of as “a necessary reality.”

Without that reality, Monk would just be a caricature and cartoon character. Natalie humanizes Monk and makes the world that the two of them live in believable to the reader. Through her, we are able to invest emotionally in the story. Without that crucial element, I believe the books would have failed.

MR. MONK ON THE COUCH is out today!

My 12th original MONK novel, MR. MONK ON THE COUCH, is out today in hardcover...and as an ebook, too. 

This is the second book set after the finale of the TV series and takes the characters in some new directions, none more so than Monk's assistant and the book's narrator, Natalie Teeger. Over the last few books, she's begun to realize that not only does she enjoy detective work, but she's actually is pretty good at it. But it hasn't been easy to prove herself when she's constantly paired up with a brilliant detective who often solves crimes on-the-spot. In this book, she finally gets the chance...and really comes into her own as a detective (which I take it to the next level in the book I'm just finishing now, MR. MONK ON PATROL). 

Like all of my MONK books, there are lots of little “standalone” mysteries that Monk solves while investigating the major, over-arching mystery of the novel. However, this time the central mystery is less of a whodunit than it is a “what the hell is going on?”

MR. MONK ON THE COUCH is also grittier than any of my previous Monk books...but nothing too extreme. It’s still very much a MONK,  with lots of laughs, but also with a lot more going on and a slightly harder edge.  Plus there’s even a subplot involving Monk’s brother Ambrose, picking up where his story left off in MR. MONK ON THE ROAD.

All in all, there's a lot going on in MR. MONK ON THE COUCH and I hope that you enjoy it.

TV Main Title of the Week

Doug Lyle is a Royal Pain

My friend Doug Lyle, the medical advisor on my scripts & books, as well as my doctor, is writing the tie-in novels based on the hit USA Network series ROYAL PAINS. It was a series he was born to write...I just had to convince him first.

His opening novel in the series, "First Do No Harm," has just come out and novelist Laura Benedict, whom I had the pleasure of sharing a panel with at a conference in Kentucky, has interviewed him on her blog. Here's an excerpt:

Q:     I know readers and writers alike will want to know how you came to be chosen for the gig. Was there a writing/audition process?

A:  I have to blame my good friend Lee Goldberg for this. As you know, Lee writes the Diagnosis Murder and Monk novels. His brother Tod writes the Burn Notice novels and his partner Bill Rabkin writes the Psych novels. These are called tie-in novels because they are tied to a television series.

Penguin approached Lee about taking on the Royal Pains project, but he told them he was probably not the guy to do it but that I might be. He recommended me to them. So that’s basically how it began. After I spoke with my wonderful editor there, Sandy Harding, and my equally wonderful agent, Kimberly Cameron, I finally decided to sign a two book deal with them.

Q:    Royal Pains is such a fun television series. Were you a fan, first? You've done a terrific job with the characters' voices in First, Do No Harm--particularly Divya's. Does it help to have live actors as models for the characters that you're writing? 

A:    Thank you. I’m glad you liked the characters and the story. Yes, I watched the TV show before I was ever approached to write the novels. Though I have problems with some of the medical stuff that Hank does–couldn’t happen in the real world–I really enjoyed the characters and their interaction. I liked the humor and I liked the other characters that surround the four main ones. And I thought it was an interesting premise.

As for having live actors as models, it’s a double-edged sword. I have these characters that are already created and so therefore I don’t have to come up with new characters out of whole cloth. But, it also means that I can’t tinker with them or take them in directions that I would like. You are constrained by the creators and the TV series as to what you can and cannot do. But overall it was fun.

He goes on to share more about wriing the ROYAL PAINS novel, as well as his other fiction and non-fiction books. You'll want to check it out.