Why This Mister's a Sister

You know I’m a believer in writer’s organization. I pay my dues to Mystery Writers of America , Private Eye Writers of America, International Thriller Writers, American Independent Writers, the Virginia Writers Club and even the Maryland Writers Association in the next state over. But why would an otherwise masculine guy like me be a member of Sisters in Crime?

Well, originally I joined because I wanted to support the cause - to combat discrimination against women in the mystery field and raise awareness of their contribution to the field. Soon after I joined I realized that I knew more female mystery writers than male, so maybe they didn’t need my help. But then I began to feel the advantages of membership.

This group is more proactive than any of the other national organizations from the point of view of training. While the MWA is focused on enhancing the reputation of mystery writing, and the ITW are all about marketing, Sisters in Crime focuses on nurturing new writers and helping them to improve their craft. They are also big on networking and maintaining close ties to publishers and agents, which helps members get into the business.

But perhaps the biggest advantage to me is the electronic newsletter, In SinC. The editors do a very good job of scanning the industry and letting me know which articles in Publishers Weekly or other pubs I need to read. They link me to the most useful and informative articles and interviews with agents and publishers who have the inside view of the publishing industry.

The best part of the newsletter to me is the encouraging news. While we’re all hearing about how the publishing industry is going into the toilet they print the details of new deals members have landed. When I read that Clea Simon has sold the first book in a new paranormal mystery series to Severn House in a nice two-book deal, that Lorraine Bartlett sold the next three books in her series, and that Carolyn Hart's next three books sold to Harper in a significant deal (significant deal = somewhere between $250K and 500K) I know that editors are still buying, and I find that fact very encouraging.

Life After Bouchercon

Bouchercon - the premiere annual event for mystery writers and fans - was more fun than a writer should be allowed to have. Thursday thru Sunday I was in my element, and I'm still sorting through the sensory overload. I won't bore you with details of all four days of wonder but I will hit the highlights just to give you an idea.

I sat on a panel with some excellent writers and got to talk about how we construct a puzzle to keep the reader interested. I watched a slew of great panels too and, while it's hard to rate them on a relative scale I'll admit that my favorite panel had only 3 people on it. Christa Faust talked about Richard Prather (Shell Scott's creator,) Gary Phillips talked about Chester Himes (Coffin Ed Johnson and Grave Digger Jones) and Max Allen Collins schooled us on Mickey Spillane (I don't have to tell you he wrote Mike Hammer, do I?) They were all amazing in both depth of knowledge and understanding of these seminal authors.

Another highlight of the event was the most excellent hospitality suite that Sisters in Crime put on. It was an oasis in the midst of merry chaos.

Then there's the whole ego thing. It's kind of cool to have fans ask about my work. It's very cool to have new writers ask for my advice. It is super cool to be recognized by guys like Max Allen Collins (Road to Perdition and a zillion other things) Louis Bayard (Edgar nominated The Pale Blue Eye) and Bob Randisi (founder of the Private Eye Writers of America.) When guys like that call you by name you feel like a star yourself for a minute.

I left the hotel long enough to give a presentation Saturday at the Canton Library, the nation's first branch library, standing in the same place since 1886. Those wonderful folks kept me there, answering questions and signing books for two hours.

In the meanwhile, my Bouchercon blog post for the Baltimore Sun was so popular that it was referenced and quoted in the competing Washington City Paper. And then it was referenced again in an article in the Baltimore Sun, and again in the Baltimore Sun's Read Street blog.

But the BEST thing was getting an e-mail Monday from a lady I met at Bouchercon for whom I signed a book. She said, "I finished reading it on the plane ride home. Wow! It was even better than I anticipated after I heard you speak. I will be buying and reading your susequent books. Your characters are believable, interesting and "hooked" me from page 1. I hope to see you at Bouchercon in Indianapolis next year. Thank you for your books and I hope you keep getting published!"

Yeah, THAT would have been a good reason to show up at Bouchercon all by itself!

Publishing’s Inconvenient Truth?

Regular visitors to this site know that I am a supporter of self-publishers, small publishers and even Print On Demand authors. After all, I am or have been all of the above. I always believed that having my book out there would be a plus, and that a track record of sales would make me more attractive to publishers. Besides, with a book published I can demonstrate how hard I’m willing to work to sell books.

The truth may be someone different. I’ve spoken with several agents lately and been told some things that, if true, I wish someone had told me a lot sooner. Some things that POD Publishers and small presses would NOT want you to know.

For example, I’ve been told that some agents automatically reject any manuscript from an author who wants to step up to a bigger house, or wants a chance at a wider readership once he or she is already published. They say that publishers prefer the unknown risk of debut authors to the known potential of established authors who have shown they’ll promote their work, unless those authors have sold more than 50,000 copies.

For years I’d heard that large publishers would pick up books that had been successful at a small house or POD, but until now no one every defined “successful” for me. (This particular agent, Janet Reid, was speaking in the Sisters-in-Crime newsletter.)

Agents also report that most publishers aren’t interested in taking on a series that is already started. They might look at a new series by an author with a series already published, but only if they see the new series as potentially a big breakout hit.

So the advice from these agents is, keep submitting everywhere because if you self-publish, publish POD or go with a small press it could spike your chances at a career as an author for one of the big houses. Ms Reid says that until you’ve queried 50 agents with three separate books, it’s too soon to consider the other options.

It’s hard to say to what extent this is just information that small presses and POD companies just don’t want you to hear, since their livelihood is based on getting writers to publish with them. There is also quite an industry that has sprung up around selling products and services to self-publishers and POD authors. They don’t want you to think it’s pointless, or worse, counter-productive to try.

But it’s also hard to say to what extent this information is self-serving for the agents, whose livelihood depends on selling manuscripts to companies that pay an advance big enough to make 15% worth having.

As there are no disinterested parties in this business, we must all still use our best judgment: publish now and risk never being considered by the big guys, or keep submitting, knowing that you may never be considered by the big guys.