Showing posts with label small presses. Show all posts
Showing posts with label small presses. Show all posts

Saturday, May 14, 2011

Ed Lynskey's Small Press Adventure

This weekend's guest blog is from Ed Lynskey, the author of the P.I. Frank Johnson mystery series (including The Zinc Zoo out in 2011) as well as a small town cozy mystery, Quiet Anchorage, also out now.

My Writing Career Kicked Off in the Small Presses

by Ed Lynskey

First, I’d like to extend a warm thank you to the good folks at Poe’s Deadly Daughters for the opportunity to hang out with them today. Sandra asked me about Wildside Press, the publisher of Lake Charles, my new Appalachian noir. So, I thought I’d discuss how I got my start in writing through the small presses and then speak of Wildside Press.

While I attended a community college in my early 20s, I was introduced to the small press and little magazines community, and it opened up a new world to me. Scores if not hundreds, of little magazines edited by literary-minded folks published their own journals. They were often crudely produced although the so-called “mimeos” (from their copies reproduced on a mimeograph machine) came out before my time.

Long story short, I published poetry, reviews, and the occasional short story in the small press magazines over the years. I’ll also lump in the literary magazines produced by many of the graduate school writing programs (the MFA degrees). Some of the leading editors, such as David Wagoner and Stephen Berg, liked my work enough to publish it. After a time, I landed big credits at The Atlantic Monthly, New York Times, and Washington Post. That was heady stuff.

It was never about the money. The small presses and little magazines operated on shoestring budgets and done as labors of love. Many of them folded before my work even appeared in the slated issue. The only pay was often in one or two contributors’ copies. Their distribution was counted in the dozens or hundreds, if even that. But it was during this long period that I honed my craft, as they say. Or at least I had lots of practice at writing, and I like to think it enabled me to get my writing chops.

The big drawback with the small presses, and literary writing in general, is the limited audience, where few people have the access to read your work. Moreover, literary writing has a niche reader appeal. For instance, my mother and two sisters are voracious readers, but they never enjoyed my “literary writing.” That troubled me. After all, we write in order to be read by as many as possible and, hopefully, to thrill or intrigue them.

So, you have to write the stories the majority of readers like for their entertainment. The late Tony Hillerman told the anecdote about how early in his writing career, his goal was to reach a wide readership, so the popular mystery, not literary (he was a journalism college professor), was the fiction genre he chose to work in. Lucky for us fans he did. Anyway, that notion got me to thinking on how I might increase my audience.

I’d been a devotee of mysteries since an early age. Ross Macdonald, John D. MacDonald, and Hugh Pentecost were the first trio of crime fiction authors I was turned on to as a kid. I checked out their books from our small town library and devoured them over the summer breaks. Some ten years ago that old affection launched me into creating my own mystery novels. The PI Frank Johnson series marked my first titles to see print.

Wildside Press brought out Frank in The Blue Cheer in 2007. It sold reasonably well, distributed through Diamond Comics, before the economy took a nosedive (oops, I almost wrote “swan dive” there). But things in 2011 are looking up again, and Lake Charles will hit the streets. It’s a coming-of-age yarn set in the 1970s and based in the Great Smoky Mountains. I’m relieved and appreciative the initial reviews have been favorable ones.

This year I also went soft-boiled by writing a small town cozy mystery titled Quiet Anchorage, featuring two elderly but spry sisters who’re amateur sleuths; this book is currently on sale, and its reviews have also been positive ones.

Finally, Frank will also be back this year in all his raging glory in The Zinc Zoo. Despite his move to the Virginia suburbs outside of Washington, D.C., he still manages to get into more trouble than he can handle.

Perhaps best of all, my mom and sisters are now reading and liking my books. A few other readers have read them, as well, and attracting a real audience for once feels gratifying to me.

Read the first chapter of Lake Charles to learn more about the book and author here:

Lake Charles is up for pre-order sales at Amazon Books.

Saturday, December 8, 2007

Major Talents at Small Presses

Troy Cook (Guest blogger)

Our guest is a reformed filmmaker who decided, after working on 80 movies, that he’d rather write novels. His first crime novel, 47 Rules of Highly
Effective Bank Robbers, was nominated for major mystery awards. His second, The One Minute Assassin, was released this fall.

Troy Cook here, with a topic near and dear to my heart, the indy presses. In light of recent changes to the MWA guidelines for their list of approved publishers (which I won’t go into here), I wanted to take a moment to champion some of the wonderful companies that have been bringing us great books and new discoveries.
But why should we care about
the magnificent independent presses? We all love the big NY publishers and want to be published by them, so why do indy presses get me excited?

It probably starts with my background in independent filmmaking. In the film business 80% of all films are produced by the independents. Yes, a lot of them are crap, including plenty of the 80 films I made in my career. But it’s also where you discover the next great filmmakers of our time: Quentin Tarantino, Ron Howard, Martin Scorsese, and Francis Ford Coppola, among others. These guys, with their crazy ideas about filmmaking, explored and created works of art in the independent world before being snatched up by the big guys.

I think it’s the same with big publishers as it is for the studios. Big publishers
are defined by their stockholder value, which makes it next to impossible for them to take too many risks. And every new author is a risk. That’s where the independent presses come in. They can take a chance on a new author because they don’t need huge sales numbers to be profitable. They can grow an author from scratch all the way to big sales.

Of course, then the NY pubs swoop in and lead the author to bigger and better distribution and sales. Which is pretty cool.

Will this happen to me? To you? It remains to be seen, but it is possible to make a splash even when you’re with a small press. My debut mystery picked up rave national reviews and won multiple awards, garnering interest from a big NY pub, selling out its print run, and landing me a film deal. So I think it’s plausible.

A couple of examples of the small press rags to riches story are Sean Doolittle and Victor Gischler. Well…rags to riches might be a stretch since very few authors get to the riches stage. But these guys were with a cool small press called Uglytown, with good sales, and eventually got snatched up by Bantam/Dell. One day, I hope to follow in their footsteps.

Visit the author’s web site at www.troycook.net