Tuesday, April 24, 2012

Adapt or Die

I attended a webinar this morning hosted by StoneHouse Ink, publisher of my novels, THE LONELY MILE and PASKAGANKEE. Featured was Thom Kephart of Amazon, who gave an online presentation titled, "Maximizing your book and Kindle sales on Amazon."

The presentation was interesting and informative, and after the two hour session was over, I started thinking about how the subject matter dovetails perfectly with a fascinating blog post I read a couple of days ago by one of my favorite authors, Lawrence Block.

In his post, the entirety of which can be read here, Block talks about his foray into self-publishing, and how quickly the literary world is changing:

But bookstores were closing, and sales were down. Authors of mid-list books, many with lengthy backlists and no end of flattering reviews, found themselves cast adrift. Some of them were trying to do something about it.

I thought this was interesting. But I wasn’t having trouble getting published. I’d been doing what I do long enough, and had built enough of a following in the process, so that first-rate publishers were still willing to print and distribute my books, and to pay me decently for the privilege of so doing.

Still, I could see changes. My advances were down. And my books were getting harder to find. The new ones got shelf space, but the mass market backlist titles did not; for years my paperbacks filled two shelf sections at a Barnes & Noble, and then one day I stopped at a B&N and could only find one copy each of four titles. And it’s been like that ever since.

"My advances were down...my books were getting harder to find..."

These words weren't written by some newbie nobody struggling to find an audience. This is Lawrence freaking Block, a guy who has made a living by making stuff up and writing it down longer than many of us have been alive. A guy who has won awards, written bestsellers, created more unforgettable characters than any ten other authors.

Lawrence Block.

If Lawrence Block is having trouble maintaining a foothold in the traditional world of publishing/bookstores, what chance do the rest of us have? But here's the thing - Block may be advancing in age, but he's no dinosaur. Here's more from his post:

I moved very tentatively into self-publishing...The ebook of THE NIGHT AND THE MUSIC went live the last day of September [2011]...The book covered its costs within the first month or so, and continues to sell well. It seems to me that I’ve already netted more from it than the modest advance a publisher might have shelled out, and from this point on I can market the book at least as effectively as a publisher would, can keep the price point where I think it should be, and will receive a significantly higher portion of every sale than would ever appear on a publisher’s royalty statement.

I realize you're not stupid, but I'm going to emphasize this statement, more to illustrate my sense of wonder than anything else: "I've already netted more from it than the modest advance a publisher might have shelled out..."

THE NIGHT AND THE MUSIC is a book of Matthew Scudder short stories, and if you're a crime fiction fan, I need say no more. If you're not a crime fiction fan, I can only illustrate the enduring popularity of Matthew Scudder with the following numbers: He has been featured in eighteen separate books over the last four decades.

Again, if a guy like Lawrence Block could expect a "modest advance," and declining shelf space, for a book featuring a character like Matthew Scudder, what chance do the rest of us have in the world of traditional publishing?

Sure, some authors will hit it big, but for every Lee Child, there are a hundred or more Boyd Morrisons, who traditionally published THE ARK after phenomenal success self-publishing the same book, but who was cut loose by his U.S. publisher after more modest success with a couple of other books and is now back to self-publishing. If recent history is any indication, it will probably work out to his benefit.

All of which brings me back to my original point: This morning I attended a webinar designed to help me maximize sales at Amazon.

Amazon is a lightning rod, the eye of the storm when it comes to the disconnect between the proponents of "traditional publishing," and the proponents of "indie publishing."

These two groups view each other with a seemingly deep-seated mutual suspicion - when they're not openly hostile to each other - and I've never really understood why. I've always felt that more opportunities for writers can't possibly be a bad thing. And the more often well-known writers begin to realize they can make more money and have more of an impact by maintaining more control over their output, the more the barriers between the two worlds -I believe - will continue to break down.

On the other hand, as more bookstores close and more bestselling authors desert their traditional publishers, things may well become more nasty, not less, at least for the short term. As a book lover, I'm not happy to see bookstore after bookstore close.

But here's the thing: There's nothing I can do about that. I've tried to interest bookstores in my work, with absolutely no success. I'm not going to lose a lot of sleep over the increasing irrelevence of an institution which has demonstrated zero interest in me. I'm not happy to see bookstores close, but on the other hand, I'm excited to welcome new readers, as Amazon and other e-retailers help me do that.

Adapt or die. Lawrence Block knows that. Other big-name authors are realizing it, too.

Tuesday, April 3, 2012

Is that a Derringer Award or are you just happy to see me?

I'm going to list some names and I want you to try to guess what they have in common: J.A. Konrath, Dave Zeltserman, Doug Allyn, Earl Staggs.

If you guessed these are all authors who can out-write my ass with half their brains tied behind their backs, you probably wouldn't be far off, but that's not what I'm getting at. All of the above-mentioned authors have earned Derringer Awards from the Short Mystery Fiction Society at some point in their careers (some more than one).

Other Derringer winners have been Richard Helms, Mike Wiecek, Chris F. Holm, Dave White, Julie Hyzy, Toni LP Kelner and a number of other unbelievably talented writers. Jeffery Deaver was a finalist. So was the incomparable Sophie Littlefield. The list goes on and on.

And you want to hear something cool? I'm now one, too!

My seven hundred word flash fiction story, "Lessons Learned," which ran at the outstanding noir fiction site, Shotgun Honey, last July, was voted the 2012 Derringer Award winner for Best Flash Story, rendering me stunned, humbled, and excited as hell to be included among such an incredible array of talent in the crime fiction community.

And the competition was fierce, too. The Derringer is awarded annually in four categories: Best Flash Story (under 1000 words), Best Short Story (1001-4000 words), Best Long Story (4001-8000 words), and Best Novelette (8001-17,500 words). Judges chosen from SMFS volunteers score each nominated story to come up with five finalists per category, and then the SMFS membership votes to determine a winner in each category.

As a member of the Short Mystery Fiction Society I read all the stories which were selected as finalists in each category and then voted (and yes, of course I voted for my own story, are you crazy?), and there wasn't a bad tale in the bunch.

I'm not new to the Derringer Awards, having been selected as a finalist three previous times, twice in 2009 for Best Short Story ("Independence Day" and "Regrets, I've Had a few")and once in 2010 for Best Novelette (Uncle Brick and Jimmy Kills"). But this is my first Derringer win and I would be lying if I said it tasted anything other than incredibly sweet. Again, all you have to do is take a look at the names of the previous Derringer winners to see what an honor it is.

A few months ago I made a light-hearted comment on Facebook about an award I was in the running for or something and a gentleman made the following comment in return: "If you write to win awards, you're a bigger asshole than you know."

I didn't say much at the time, simply unfriended the person and moved on, because his comment was so ridiculous and unnecessary I couldn't see wasting a lot of energy on it. I don't write to win awards and find it hard to imagine anyone would - there aren't enough awards out there to even make that a legitimate goal, and the ones that are out there are so hotly contested, the odds of ever winning any of them are so prohibitive you might as well try to win $640 million at Mega Millions.

But just because awards aren't the reason I write, that doesn't mean I don't appreciate winning one. Everyone likes validation; anyone who claims otherwise is lying, either to you or to himself.

In the business of writing fiction, if you don't find a way to deal with rejection you're not going to last long, so when people - especially people who specialize in either writing or reading the type of fiction you write - make an effort to recognize your work, it's a hell of a good feeling, one which I intend to savor for a while.

But, like anything else in life, as a writer you're only as good as your last book, or your last story, or maybe even your last sentence. So with that in mind, congratulations to the 2012 Derringer Award winners in the other three categories: Best Short Story, B.V. Lawson; Best Long Story, Art Taylor and Karen Pullen; and Best Novelette, Earl Staggs; as well as to all of the finalists in all of the categories.

Now it's time to get back to writing.