I’m really looking forward to participating in BoucherCon 2014 in Long Beach, California, this week! If you are around on Thursday, come to the Book Country panel, where I’ll be showing Mystery and Thriller writers how to use Book Country to make their books better at the same time as they are finding their audience. This is a great chance to start building your author platform and online profile!
How Online Workshopping Gives Writers an Edge in a Crowded Market
Thursday, November 13th, 4-5pm, Hyatt Regency Conference Center, Seaview A
Book Country is Penguin Random House’s online writing and publishing community where thousands of mystery and thriller writers connect to get feedback on their books. Whether you are self-publishing or seeking a traditional book deal, your book is up against stiff competition. How can you improve your work, present it successfully to readers and the publishing industry, and grow your fan base? Please join Lucy Silag, Book Country’s Community and Engagement Manager, for a candid discussion about how online workshopping helps writers to hone their craft and improve their sales success rate once they publish. Go beyond social media to grow your online platform and achieve your writing and publishing goals.
Bouchercon 2014: Murder at the Beach kicks off November 13th in Long Beach, California. Bouchercon is one of the world’s largest crime fiction conventions. Dana Edwin Isaacson, Senior Editor at Alibi, shares what he his most looking forward to at Bouchercon.
Janet Umenta: What are you most looking forward to at Bouchercon 2014?
Dana Edwin Isaacson: During the e-publishing forum on Thursday, our Alibi authors are doing a virtual eBook signing, using our partner Autography. Interested mystery readers can meet our authors at the signings, get a personal inscription or photograph with the author, and then go and download their personalized eBook. As I’ve yet to see this incredibly cool innovation in action, I’m eager to get my own personalized eBooks!
I’m also excited to be meeting in person for the first time a few of our Alibi authors. When editing a novel, you develop an intimate relationship with the author’s viewpoint. It’s fascinating to meet in person someone whom you feel you already know.
JU: What new trends do you see in the mystery and thriller genres?
DEI: Cozies are selling well. In online strategies, novels with a female protagonist find it easier to win readers. Also, there seems to be an uptick of medical thrillers. Continue reading →
Quite often, I walk over to Nevena‘s desk at the Book Country offices to ask her what genre a certain book is, such as NIGHT WATCH by Linda Fairstein, which I’ve been reading this week. NIGHT WATCH is one of Fairstein’s Alex Cooper novels: murder mysteries starring a Manhattan District Attorney who specializes in sexual assaults. Seems like it would be pretty easy to figure that one out: Alex is investigating a case, the main characters work in law enforcement . . . it’s a police procedural, right?
Not so fast. Nevena, having fastidiously read her “genre bible” (THE READERS’ ADVISORY GUIDE TO GENRE FICTION by Joyce G. Saricks), needs to know much more information about a book before she can make her final judgment on what genre it is. Once we chat about the book for a while, Nevena deems NIGHT WATCH a legal thriller. Here are some of the major deciding factors when you are trying to decide whether a book is Mystery versus Thriller:
My recent interview with Barbara Rogan about her superb literary mystery A Dangerous Fiction got me thinking about one of my favorite genre-blending novels ever, Gone Girl.
Gillian Flynn’s Gone Girl is the story of a woman’s mysterious disappearance. It’s also the gut-wrenching exploration of her and her husband’s marriage. I relished every word, although it did make me glance at my partner suspiciously for about a week…
Like me, most people loved the book but many were frustrated with the ending. I thought the ending was perfect, but this ambivalence got me thinking: most readers either love or hate how the book ends. Why the extremity?
Then it dawned on me: genre conventions! Readers who consider Gone Girl a thriller are bound to be disappointed, as it violates one of the genre’s most fundamental precepts—a straightforward ending in which the good guy or gal wins. In Gone Girl, there is no Robert Langdon to save the Vatican.
The truth is that Gone Girl is kind of hard to categorize. The compound adjectives we save for thriller novels apply: the book is fast-paced, hair-raising, heart-pounding. The two main characters give us diverging interpretations of the unfolding story, to the point where we’re confounded and can’t trust either. They cast blame on each other, constantly withholding snippets of the truth from us. Reading the book becomes an exercise in finding who they really are. It gets harder and harder to sympathize with either of them.