About Joe Moore

#1 Amazon and international bestselling author. Co-president emeritus, International Thriller Writers.

Let’s Learn the Right Lesson

By John Gilstrap

NEWS FLASH:  We interrupt this blog post to bring you a special bulletin.  My novel Hostage Zero has been nominated by the Private Eye Writers of America for the Shamus Award for Best Paperback Original.  Winners will be announced at a private banquet in St. Louis during Bouchercon in September.  Fingers crossed.

Now, on with the blog post . . .

There’s an old joke about a scientist who amputates the legs from a specially trained jumping frog.  After the wounds have healed, the scientist spends days saying, “Jump Froggie, jump!” yet the frog just sits there.  Based on the empirical evidence, the scientist concludes that frogs go deaf after you cut off their legs.
I thought of this joke several times yesterday, following Jordan’s great post about S&S’s decision to distribute John Locke’sbooks.  Some of the responses troubled me, both in tone and in content.  People seemed to be taking away from that story lessons that I don’t think apply.  Moreover, they seemed to be taking away lessons that could prove harmful to them in the end.
Wrong Lesson #1: Locke’s deal is replicable by others.  Think Amanda Hocking, right?  This is the new wave of publishing.  Joe Konrath, too.  Finally, the authors have the publishing world on the ropes.  A new day has dawned.
Okay, I’ll concede the new day thing, but only to a point.  First, let’s consider how the system worked fifteen years ago, when I was a rookie in the publishing league.  I wrote the book and my agent sold the book.  I cashed the check and started writing the next book, earning back at the rate of $3.25 per copy sold.  The publisher took all of the risk, paid all of the designers, established all of the distribution, handled most of the publicity, and in return might or might not make any money out of the transaction.
In Locke’s case, the publisher waited on the sidelines until a writer took all of the risk, paid out all of the marketing money, and dedicated countless hours to promotion, selling a million-plus copies at $0.99 apiece.  Seeing a sure thing, S&S stepped in to make money with near-zero risk.  This was not a David v. Goliath moment.  It was a sound business transaction that was preceded by the literary equivalent of a lightning strike.  Ditto the Amanda Hocking deal.
To me, Locke’s deal is the equivalent of General Motors telling an untried engineer, “Tell you what, kid.  If you design the car, build the factory, manufacture a few thousand copies, road test them, market them, get them written up in Car and Driver and build a loyal customer base, I’ll let you use a corner of some our show rooms to sell them.”  It’s a sound business decision, but it’s hardly a model for every young engineer.
Wrong Lesson #2:  The smart new author needs to retain his digital rights, granting a publisher only print rights.  Two words come to mind for this one: career suicide.
Let’s take this one from the point of view of a publisher who’s dealing with a brand new author:
I don’t need your book.  I’m awash with books.  No one knows who you are, but I’m willing to try and change that.  The odds are woefully stacked against us, but I’m willing to commit thousands of dollars in designer time, editor time and marketing time to help your book rise above the noise.  Our editors will help you be a better writer than you could ever be on your own.  Plus, I’m going to pay you—not as much as we pay Grisham or King, but that kind of money is there for you when you get those kinds of results.  You get to keep the advance money, too, even if I lose my bet on you. 
But if you want to profit from my expertise, you have to give me the tools with which to earn it.  The print business is shrinking, baby.  The future lies in eBooks, whatever form they’ll take in the coming years.  I’ll put you in catalogues that those eBook originals will never see.  I’ll show you off in Frankfurt at the Book Fair, and I’ll give away ARCs at the ABA convention.  We’ll put you on our website, which is visited not just by readers, but by bulk buyers and libraries.  Think of all of this as thousands of dollars in free services, all because we believe in you.
What’s that?  Still not convinced?  You just want to leave me with what you perceive as the dregs so that you can have only upside?  Run along, young author.
Next?
This publishing game is a business, and the author is only a small part of the machine.  I think there’s way too much hype out there vilifying the publishing industry as some kind of parasite, and it’s just not true.  Publishers are the gateway to success.
Fifteen years ago, authors who weren’t very good turned to vanity presses that stoked the fires of artistic egalitarianism.  Every now and then, a Christmas Box phenom broke out and fired unwarranted dreams that ended up in garages full of unsold printed books.  Now, those same authors, or authors like them, are turning to eBooks with irrational hopes.  A few will make it, but many will not.  Of those who do make it, most would have done better if they had pursued the traditional publishing route.
The hook to indie e-publishing is the lure of 70% (or whatever the number is) of the cover price of every book sold, versus the 25% that is quickly becoming the standard in the traditional publishing world.  Ultimately, authors must ask themselves which is better: 70% of 1,000 books sold (or 10,000 or 25,000) at $0.99 apiece, or 25% of 150,000 books sold at $4.50 or $9.00 apiece.  They need to ask themselves if their true expertise is in writing or if it is in publishing.
One thing seems clear to me in all of the self-pub success stories: In every case, the author established a reliable fan base before the Big Deal was closed.  There’s no easy way to do that, but some ways are way easier than others.

Another Coup for Self-Publishing

Dovetailing on Joe Moore’s great post yesterday on “Show Me the Money,” I saw an article in Publishers Weekly and wanted to share this very interesting deal.
John Locke is my hero.
No, not THAT John Locke! This guy…
Publishers Weekly reported on Aug 22nd that John Locke, the self-pubbed Kindle bestseller phenom, closed a distribution deal with Simon & Schuster. The deal, negotiated by his agent, is an exclusive arrangement where S&S will handle Locke’s eight Donovan Creed novels and get them into retail markets for print books. These novels are expected to start releasing in Feb 2012 with more titles to follow.
This seems like a really different idea, but a rep at S&S said this concept mimics the type of arrangements made between distributors and small publishers. Whether you consider this unorthodox or not, this is news, people. Locke still distributes his e-books and retains his rights as publisher on all digital fronts. S&S is only getting the right to sell print books to retail markets. S&S sees value in print and paid accordingly for that privilege, but Locke didn’t have to give up his lucrative digital rights.
If Locke hadn’t self-published, he never would have known his true value in the marketplace.
I see this as very encouraging for aspiring authors. The digital marketplace has become the new resume, a proving ground. It requires work to market your own books, but traditional publishers expect authors to do this anyway. Quality and author craft is still important to this process, but I believe if an aspiring author has talent and a marketing platform to get the word out, this new digital world can be the best way to showcase work.
Published authors benefit from this development too. Striking a similar deal, they would get to focus on their writing, get their books into the public faster without all the approval and production schedule delays, and push the genres they write without NYC filtering the content for placement on shelves in retail stores. Established authors already spend time on promotion. Nothing new there, but there would be no more waiting to see if the publisher will spend money on promo or coop dollars for often limited time on the shelves. And the author retains control of cover art, book jacket summary, copy editing, and formatting, if they want it.
Even though S&S has limited access to Locke’s work, it can be looked upon as a WIN-WIN, in my opinion. S&S gets access to books that have a proven readership. They don’t have to “guess” whether a series will gain traction or not. They get exclusive print distribution rights for a known commodity. Not a bad thing to try in a changing world.
The author gets to take the risk of whether his or her book will find success, so they can push the genre or create a new trend—AND keep the rights that are most lucrative these days. The author would also free up time to write more, rather than spend time with the print side of the business—and gain access to retail markets he/she would not have reached on their own. PLUS a proven winner like Locke would also have the attention of NYC with his next project, opening more doors. Definitely a WIN-WIN!
I see this as a very positive arrangement—a healthy one for the industry. Both sides benefit from something they would not have tried otherwise. If a traditional bundled publishing deal can be broken apart for perceived value, how do you think this might change how deals can be negotiated in the future? Can digital rights be retained by the author for the right project? How would an agent’s role change? Would an author have to be a proven bestseller to have enough clout to negotiate a similar deal or does a deal like Locke’s foreshadow things to come for all authors?

Show me the money!

By Joe Moore

dutch11First, some breaking news to share–MONTEZUMA’S WRAAK, the Dutch version of my new thriller, THE PHOENIX APOSTLES (co-written with Lynn Sholes) was released on August 18 by my Netherlands publisher Karakter Uitgevers.B.V. Here’s a look at the cover.

And now for today’s post.

According to a recent article in Forbes, the sale of adult hardcover novels was down 23% in the first half of this year. Despite the downturn, some authors are holding their own. Their names may be familiar. Chances are you’ve read a few of their books. So why are these guys doing so well while most of the industry is in a state of funk? Forbes attributes it to the increasing popularity of ebooks, but even more so the diversification of these writers’ personal brands.

money (Small)James Patterson is a good example. Mr. Patterson signed a 17-book, $150m book deal in 2009 with Hachette. Teaming up with a number of co-authors, he placed 20 titles on Publishers Weekly’s year-end bestseller list. Those titles totaled 10m copies. In addition, he sold 750k ebooks. He’s also expanded into the YA market with great success.

Other examples of authors doing well in tight times is Stephenie Meyer, whose Twilight series at one point accounted for 15% of all books sold in the US; and J.K. Rowling, who is about to jump into the electronic book market by launching Pottermore, her new virtual online bookstore. Pottermore will offer ebook versions of her novels compatible with any e-reader. Other collateral merchandise will be offered as well.

What the numbers don’t show is the quality of the writing. That, of course, is in the eye of the reader. Much criticism has been leveled at James Patterson that his books lack the depth and magic of some of his early works. I see comments on writer forums saying that Patterson has sold out and become an assembly line pouring out books just to make money. The commenters don’t understand why people keep buying his books. It reminds me of what people say about a very popular local restaurant. “No one ever goes there, it’s always too crowded.” The reason James Patterson makes so much money is because bazillions of readers around the world are willing to buy his books. Why? Because they like reading them.

Now for the list of the highest paid authors (May 2010-April 2011). Get out your royalty statements and compare.

James Patterson ($84 million)
Danielle Steel ($35 million)
Stephen King ($28 million)
Janet Evanovich ($22 million)
Stephenie Meyer ($21 million)
Rick Riordan ($21 million)
Dean Koontz ($19 million)
John Grisham ($18 million)
Jeff Kinney ($17 million)
Nicholas Sparks ($16 million)
Ken Follett ($14 million)
Suzanne Collins ($10 million)
J.K. Rowling ($5 million)

What does this mean for writers that make less money that these folks? It means that people still want to buy books and be entertained with good stories. I consider all this to be a very positive sign. How about you? How does this list of mega-authors make you feel? Are you deflated or defiant?

Rave reviews, for a fee

Note: Clare was on sick duty yesterday, and I must piggyback on her excuse with my own today. A close family member had a stroke last week, and has just returned home  from the hospital. I’m helping him with his recovery, so I must beg off.

I’ll leave you all with a link to an interesting article in the New York Times. It describes the emerging trend of fake book reviews–positive reviews that are purchased for five bucks a pop. Here’s the link:

In a Race to Out-Rave, 5-Star Web Reviews Go for $5 

Just a few years ago, rave-only reviews were likely to come from the author’s friends and family. Now, it turns out, you can buy ’em by the bushel. The practice even extends to book blogs, where you can buy full-length, positive reviews.

Many people don’t pay attention to online reviews, but for those that do, do you think that this practice will devalue them? Have you run across any reviews you suspected weren’t “real”?

(My thanks to Patricia Smiley for bringing my attention to the NYT article.)

Just call me Nurse Clare

So another apology and another missed blog post. After returning from the USA to help look after my Dad, I’ve had one boy suffering from croup and a horrible plague-like cough and another boy who I just picked up from the school health center after falling badly in PE (cut up face, blood nose, wounded knee – he did a good job with that face plant on the asphalt!)…So instead of writing my blog post, I am on full ‘nurse mom’ duty as of now! Hopefully next week things will have calmed down and we will be back to my normally scheduled blog!

No Fear, No Envy, No Meanness

James Scott Bell
Twitter.com/jamesscottbell



Liam Clancy was one of the great Irish balladeers and a key figure in the folk renaissance of the early 1960s. Naturally he ran across 20-year-old Bob Dylan who was starting to get noticed in the coffee houses of Greenwich Village.
In the superb Martin Scorsese documentary, No Direction Home, Dylan recalls Clancy giving him some advice (fueled by more than a few pints of Guinness). “Remember Bobby,” Clancy said, “No fear, no envy, no meanness.”
That is a trinity of sound advice for writers, too.
NO FEAR
You have to go to new places, new depths, if you’re going to be worth anything as a writer. Fear will keep you safe but it will never get you up the mountain.
Fear is not something we can always control. It’s a feeling that sneaks up on you, and is actually healthy in certain situations. It can keep you out of a biker bar at midnight, for example. Not a bad thing.
But fear can also debilitate you and hold you back from your best work. Joan Didion said, “I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear.”
Go there. Write fearlessly. Let loose. Don’t be afraid to fail aggressively.
NO ENVY
Socrates called envy the “ulcer of the soul,” and the wise old sage knew what he was talking about. Envy is a useless emotion that is, unfortunately, something most artists are prey to, even if they don’t want to be. Suffice to say if you envy another’s success you are only hurting yourself.
Besides, envy is baseless. The person you think “has it all” probably doesn’t. I’ve known some bestselling authors who are miserable, to themselves and other people. A few are paranoid. You would not want to be them.
Just work hard toward your goals and leave other people’s success out of your equation. Practice gratitude. That is the key to happiness.  I love what I do and what I have, my family and friends and career. I’m not going to poison that with pointless comparisons and petty thoughts.
Epicurus, one of the few Greek philosophers who got a whole school named after him, said, “Do not spoil what you have by desiring what you have not.”
NO MEANNESS
Meanness in a writer is something I just don’t understand. Most of the people I’ve met in the writing business are good, decent folks. I count many of them as among my closest friends in life.
There are exceptions. The diva. The narcissist. The sun around whom the rest of us are expected to orbit. I remember being at a book conference once when one of these exemplars was getting ready sign (as I was). But a sufficient supply of books was not at the booth, so this paragon of magnanimity started barking at the poor staffers, though they had several other tasks to attend to. The smile that was reserved for the public was gone, as was any hint of charity or appreciation.
It was all about this writer, you see.
As author Michael Bishop once put it, “One may achieve remarkable writerly success while flunking all the major criteria for success as a human being. Try not to do that.”
So there you have it. Simple, clear and solid advice from Liam Clancy, an Irishman who lived it: No fear, no envy, no meanness.
Try it. You’ll be the happier for doing so. 

Damned with faint praise. Or something like it.

Damned with faint praise

I was stuck on what to write for this week’s offering but as usual something came up, and it wasn’t that quesadilla I had for lunch. It is a wondrous age we live in, and it seems that for good or for ill, something new is developed every day. So it is that there is a new development that the authors in our audience — particularly the mid-list folks who, imho, provide the solid backbone of the publishing industry — might want to be made aware of. Amazon is slowly adding a feature, or element, or whatever you might want to call it, on their book title pages titled “What Do Customers Ultimately Buy After Viewing This Item?” and which consists of a list of four or five titles, accompanied by the percentages of buyers who bought another book to the exclusion of the one they were originally looking up. This is to be distinguished from the “Customers who bought this book also bought” (emphasis added) feature. No, the “ultimately buy” feature tells the world what percentage of the audience looked at your book, found it wanting, and bought another book by someone else instead! It’s kind of like sitting in the autograph room at Bouchercon and hoping that someone will come up to your table, and just as someone does, their friend says, “oh, let’s go meet ______ ____________ instead.” It’s not being done with every book by every author, and, at least as far as I can tell, it’s only being utilized by amazon.co.uk. Maybe the Brits have thicker skins, though I don’t think so: I learned of this feature from a British author, whose novel had received the implicitly rough treatment, and the author was, uh, not happy.

I don’t think that this new feature is going to be welcomed with open arms by authors on either side of the Atlantic. Am I wrong, here? What I sense is a suggestion to the effect that if you’re looking for something to read, you might find something you like better elsewhere, and we have a jury of your peers to tell you so. As for the authors themselves, I could see this busting up some friendships. I mean, if you have ten books published, and Amazon is noting with each one that a certain percentage of people would rather buy a book by, say, Author A, that might create a problem. I really don’t see how it helps anything, either. It’s might be intended as a sort of “Recommended If You Like” referral, but it isn‘t, and they have one of those already with their “ People Who Bought this book also bought“ feature. It strikes me as more of a “Why would you want to read this when you could read that?” Or to put it another way, it’s almost like an article in your neighborhood newspaper which states that while your wife might still love you, she would rather be tupped by your next door neighbor, as would seventy per cent of the women on the street. Oh, and your Kindle books aren’t safe from this thing, either.

So what do you think of this? I would include a link to an example of this, but I don’t want to embarrass anyone, even indirectly. But have you seen this? Have you been a — I hate to use this term, but there is no other — victim of it? And should Amazon, UK or US or otherwise, get some feedback about it? What say you?

For the Love of the Game

By John Gilstrap
I hate what professional sports has become.



I blame free agency. Yes, I understand that from the players’ point of view free agency is the equivalent of emancipation, but I don’t think of sports from the point of view of the player. I’m a fan—a paying customer—and I miss the days when teams were about, you know, teams. I miss the teaching moment that was built around the pre-free agency notion that the individual was subservient to the team. That’s why we put our kids into sports, right? So that they can learn the lessons of teamwork?


Nowadays, professional sports is all about the money. Okay, it’s always been about the money, but I lament the migration of the prima donna from its former exclusive domain of opera to the gridiron and the baseball diamond.


In a few short weeks, I will once again, for the forty-seventh time, walk into the whirling propeller that defines being a Washington Redskins fan. Yes, Dan Snyder is Satan incarnate, and I won’t recognize eighty percent of the names on the roster, but dammit, this team is the descendant of Sonny Jurgensen and Billy Kilmer (yes, and Joe Thiesmann, but decent Washingtonians don’t speak of The Ego). The Redskins will yet again lure me into their web with early season wins, and they will yet again fall apart in mid-October. I’m not a sports stats fan, but I’ll bet bucks to buttons that no team on the planet has given up more fourth-quarter leads than the Redskins.


The disparity that separates real sports from their professional cousins is most widely illustrated this time of year during the Little League World Series, currently being televised on ESPN. It’s refreshing to watch 12-year-old athletes giving their all to win a game simply for the right to proclaim themselves winners. If you haven’t watched any of these six-inning games yet, you really ought to take the opportunity to do so.


First of all, it’s great baseball, complete with breathtaking offense and defense, but also littered with the occasional egregious error. I cannot imagine the thrill these kids must feel when they watch the recordings of themselves, complete with sportscaster commentary and instant replay.


And here’s the heart-wrenching part: Often as not, the losing team cries. These boys have put everything into the game, and while their athletic prowess might have matured, their emotions have not. They’re kids, and they’re all heart. Someday, the best among them will probably join the ranks of free agents, but for this brief slice of time, they’re just athletes, pure and simple.

There’s a writing analogy to be made here–those who write for the love of the craft versus those who write because their franchise demands it–but I’ll leave it to you, dear Killzoners, to connect those dots.

My White Whale

by Michelle Gagnon



There was an interesting post on Slate this week entitled, “Overrated: Authors, critics, and editors on ‘great books’ that aren’t all that great.

The article got me thinking about which stories endure, which eventually fall by the wayside, and why. In a world where people now fit their innermost thoughts into 140 characters or less (counting spaces), lengthy descriptive passages such as those found in TESS OF THE D’URBERVILLES probably strike the modern reader as tedious, while back when it was first published, that type of writing was the norm. It’s also interesting to see that some of the people quoted cited both GRAVITY’S RAINBOW and Joyce’s ULYSSES as being overrated, but for very different reasons.

I’ve read a decent number of the canonical ‘great books,’ and enjoyed most of them (including TESS, although I’m not generally a big Hardy fan).

But there’s one that has become my own personal white whale: appropriately enough, MOBY DICK. It’s one of the few books that I’ve never finished, despite gritting my teeth and picking it up a half dozen times. I always enjoy the beginning, and sweep through the first twenty chapters.

Then I hit Chapter 32: Cetology, and my eyes glaze over. I have yet to make it through Ishmael’s attempts to classify whales scientifically. I read a page or so, then set the book down. One thing leads to another, and MD inevitably ends up back at the bottom of my TBR pile. I suppose I could always just skip the chapter, but I’ve never done that with a book before and something inside me balks at the thought.

Plus, I honestly have a fairly limited tolerance for sea shanties.

Yet this is supposed to be one of, if not the, “Great American Novels.” So am I really missing out by not finishing? Or has Melville passed his expiration date? How relevant are the classics to our contemporary lives now? Are some so outmoded they no longer qualify as great literature? More importantly, are certain books lauded as great simply because they’ve managed to survive the tests of time?

In the article, Elif Batuman points out that, “the right book has to reach you at the right time, and no person can be reached by every book.”

I love that observation. Sometimes I wonder if I’d still enjoy Milan Kundera as much if I read him now, or if Gabriel Garcia Marquez’s 100 YEARS OF SOLITUDE would make such an impression. I rarely go back and re-read books- there are simply too many amazing new stories coming out every week.

So today’s question is this: which great book let you down?


Cover Copy

How are you at writing back cover copy for your story? Most fiction writers don’t train for the advertising biz, and yet we’re expected to come up with log lines and blurbs and back cover copy. Recently, I read another author’s blog where she talks about optimizing your bio and cover copy for search engines by using keywords. Huh? And here I thought my profile was pretty good. As for cover copy, I can never come close to the witty style my former publisher used to promote my Bad Hair Day mysteries. I can write the story, but condensing it into a few lines that are entertaining while employing keywords is beyond my scope. Here is one area where I’m glad to get editorial input.

Let’s say we’re writing a mystery about a produce grocer who operates a booth at a weekday morning farmer’s market. When one of the other vendors ends up dead, suspects may include mutual customers, rival vendors, conniving relatives, and snarky suppliers. To make it easy for me, we’ll set it in Florida. So what would our keywords be here?

Amateur sleuth
Cozy mystery
Culinary (especially if vegetarian recipes are included)
Florida

I’m sure you can come up with more keywords. Anyone want to pitch in?

Now let’s have a go at the cover copy:
Before he can take a bite out of his organic Gala apple, green grocer Jimmy Octagon notices a commodity not on the menu at the farmer’s market. Normally a beehive of energy, honey seller Aldreshia Meyers is dead as a turnip over by the onion stand. With the mayor threatening to shut down the market and Jimmy’s vendor license on the line, he’d better find the killer fast or else he might become the next victim of the lethal Green Menace.

Okay, I warned you I’m bad at this, didn’t I? Note that I neglected to use a single keyword. Why don’t you give it a try?