PW’s Book Shopping List.

PW

A mid-November issue of Publishers Weekly was stuffed full of interesting things, particularly two special features on mysteries, thrillers & true crime in, “Out Of The Shadows” by Michael J. Seidlinger, and “Open Wounds” by Bridey Heing. The thrust of those two meaty multi-page articles: Gillian Flynn’s Gone Girl has sold nearly four million copies in seven years, during which time the mystery/crime fiction/thriller marketplace might feel overtaken by a glut of domestic thrillers helmed by similarly imperfect narrators. But the genre, its subsets and offshoots are an incredibly rich and diverse landscape of distinctive voices, inventive plot devices and milieus, so both Seidlinger and Heing showcased a wide selection of now-debuting and soon-to-arrive novels and true crime titles that aren’t necessarily Gone Girl derivatives (or even include ‘Girl’ in the title, which so many new releases have been doing). I was pleased to spot some I’d already ordered, reserved or even had in hand. And, just as pleased to see more in Seidlinger and Heing’s articles and the adjacent ads for books I mean to get, including:

After All -

After All by Robert Arthur Neff

Are Snakes NecessaryDouble Feature

Hard Case Crime’s Are Snakes Necessary by Brian DePalma and Susan Lehman, and Double Feature by Donald Westlake

Bonita Palms

Bonita Palms by Hal Ross

That Left Turn At Albuquerque

That Left Turn At Albuquerque by Scott Phillips

The Wrong Girl

The Wrong Girl by Donis Casey: ‘The Adventures Of Bianca Dangereuse’

The Beauty DefenseAnd for some non-fiction, The Beauty Defense – Femmes Fatales On Trial by Laura James

 

 

A Matter Of Perspective

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So maybe you can think of better ways to spend $250. That’s the cost of an annual subscription to Publishers Weekly magazine (well, shave off a buck – it’s actually $249). Maybe I could too, but I still consider it an investment and I’m certain that I squander way more than $250 every year on a lot of foolish things.

Some writers consider Publishers Weekly mandatory reading while others see it as far removed from their interests or experience, particularly when sitting all alone in front of their keyboard. As for me, I’m closer to the ‘mandatory reading’ side, and actually feel a little adrift when I’ve let my subscription lapse (I’m not lapsed these days). Is it because I want to daydream about big deals and mega-star author status? Absolutely not. In fact, it’s the exact opposite.

Reading Publishers Weekly grounds me.

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Six and even seven figure book deals and film/subsidiary rights along with business news about corporate mergers, paper prices and distribution networks provide me with perspective on what I’m doing and why I’m doing it. Skimming those articles reminds me that I write simply because I want to (or have to, depending on the mood), not because of any naïve expectations that it’ll pay off with meaningful contributions to my income, or invitations to pontificate about whatever in high-profile interviews and genre-con panels. Once you realize that agents, editors, publishers and booksellers alike may be much more worried about Ingram buying portions of Baker & Taylor, or do the math in your head about just how much dough Michelle Obama’s book really brought in at retail — well then, it’s a lot easier to deal with any normal writerly frustrations and indignities.

There are purely pragmatic reasons to subscribe to Publishers Weekly. The extensive weekly reviews are tagged with the agent/agency for each, which is helpful to note when you’re querying projects. Even self and hybrid author/publishers are no longer ignored, the magazine acknowledging an evolving marketplace with a monthly multi-page “BookLife” feature dedicated to that segment of the industry.

This week’s issue includes articles on Spanish audiobook production, social media’s effects on poets and poetry, and a feature on new books by and about TV, music and sports celebrities…not one of which interested me in the least. But that’s not the point. When my fingers start pounding the keyboard tonight, I’ll know why I’m doing it, and I’ll be at peace with the teeny-tiny part I play in a vast marketplace and the shared endeavors of countless people like me. And I’m cool with that.

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