Crime Fiction Dossier

Book reviews still matter

Random House and Zogby did a poll of the reading and book-buying habits of over 8,000 adults. They generated some interesting results -- for example, only 11% of respondents said they are comfortable reading books in non-traditional formats, such as online or with an e-book reader or PDA -- so it's worth taking a look at.

Here's one stat that I found especially interesting: "When asked what makes them want to buy a book, 60% said suggestions from friends and family members, while nearly half (49%) said they are influenced by book reviews." (emphasis mine)

So reviews are definitely still having an impact. If only the people running newspapers and magazines would listen.

Ask the Critic: Dashiell Hammett

Reshma Thomas writes in to ask:

Have you ever read any works from Dashiell Hammett? If so, what do you think of him as a person and as a writer? Are there any authors that remind you of him?

I have had limited, but enjoyable experience with Hammett's work. He was a very talented and influential writer -- his book The Maltese Falcon in particular had a huge effect on the development of popular fiction in the U.S.

He essentially created the genre of the American detective novel -- a distinct, more realistic and harder-edged form than that of Conan Doyle's Sherlock Holmes -- and helped to garner literary regard for the mystery novel more generally.

All the subsequent American detective writers, from Raymond Chandler to Mickey Spillane and John D. MacDonald, all the way up to Sue Grafton, Dennis Lehane and Michael Connelly, owe him a debt. You can see echoes of what Hammett created in all of their works.

Hammett drew in some ways on his personal life -- where he had been a Pinkerton detective -- in his writings, but I don't know much about his life other than that.

New James Bond novel

The new James Bond novel, Devil May Care, written by British literary novelist Sebastian Faulks, is being released today. I haven't read it -- haven't seen a copy and don't know if I will. But I've been reading a few of the reviews.

I was never much of a fan of the Bond novels, although that opinion is based on an admittedly small sample. Some years ago, having seen and enjoyed the films, I tried reading a couple of the books, but found them tepid and not very interesting. I've meant in recent years to revisit them, but haven't ever gotten around to it.

I remain, however, an ardent fan of the films and the character. They've always been a bit silly, but still a lot of thrills and fun. So I'd like to try the new novel at some point.

In the meantime, check out Patrick Anderson's review. It's on the harsh side, but I suspect it will echo the reaction of many. (Janet Maslin is similarly unkind.)

Miss me?

I was on vacation for awhile, thus the lack of posts. But I'm back now. I read a few books on our trip: Jeffery Deaver's The Broken Window, Ken Bruen and Jason Starr's The Max and Victor Gischler's Go-Go Girls of the Apocalypse. (I never read very much on vacation.) I also picked up a couple books that I hope to read soon, including James Rollins' adaptation of the new Indiana Jones movie (which I haven't seen yet).

How 'bout you? What you been reading?

How to ask for a book review

I made a post a while back on how not to talk to book reviewers. Now here's one on how you should. (I've written about this before, but it never hurts to repeat.)

1. Know who the reviewer is. If you don't know who you're asking for a review, then why are you writing to them?

2. Address the person by name. At least have the good manners to find out who you're writing to. (And if you're going to do this by mail merge, at least make sure it's not blatantly obvious.)

3. State upfront why you're writing. For example: "I'm a mystery author with a new book coming out and I'm hoping for a review." (You can say it more elegantly than that.)

4. Give the pertinent details: Author's name, book title, publisher, format (hardback, paperback, etc.), publication date.

5. Include a short synopsis. No more than a couple sentences.

6. Briefly include any interesting hook that might appeal to that reviewer: you're a local author, it's a debut novel, you're an FBI agent, you just won the Edgar. (If you don't have a cool hook, nevermind. You don't have to have one.)

Things you shouldn't include:

1. Blurbs.

2. Press release.

3. Excerpts from other reviews.

4. Long summaries.

5. Attachments.

6. Claims that this is the best book I'll ever read (and other assorted puffery).

Remember: your goal is to make it as easy as possible for the reviewer to say yes. Reviewers always have many more books than they can possibly read, much less review, and they also tend to be cranky SOBs. Don't give them a reason to say no before they've even considered the book.

Vote early, vote often

A friend of mine is a finalist in Amazon's contest to write a Harry Potter ballad. It's down to two finalists and hers is the better one, I think.

So go vote for Laura H.

If she wins, she's going to steal the super-limited edition The Tales of Beedle the Bard book that Amazon paid a million bucks for. Then we'll all have a chance to look at it.

Book of the Week: Garth Stein's "The Art of Racing in the Rain"

Although my reading schedule is always overstuffed with crime novels, I occasionally read books outside the genre, the latest of which is Garth Stein's excellent The Art of Racing in the Rain. It's the heartbreaking story of how a family comes apart, told from the perspective of the family dog. A book like this could have been silly if not downright ridiculous -- but Stein pulls it off in impressive fashion, crafting a very human story of love and loss, filled with emotion and inspiration. One of my favorite books of the year so far -- it blew me away.

Book of the Week: Miles Corwin's "Homicide Special"

I'd never heard of this book, which was first published in 2003, so when a friend recommended it I picked it up right away. Journalist Miles Corwin spent a year with the LAPD's Robbery-Homicide Division, riding with the detectives, sitting in the squad room and observing their investigations. Homicide Special is the fascinating result of that work, a non-fiction study that reads like a Michael Connelly novel. Corwin is a sharp observer and a fine writer. For anyone interested in learning what a homicide investigation is really like, this is indispensable.

Interview with literary agent Simon Lipskar

Simon Lipskar, a literary agent at Writers House, is one of the top agents in the business. He represents a wide range of writers, including major authors in literary and commercial fiction, narrative nonfiction and young adult fiction. He graciously agreed to answer some questions.

Q. What's the best way for an unpublished writer to get an agent?

This is going to sound agonizingly reductive, but the answer is to worry less about finding an agent and more about writing the best possible book.  If the book is great, old-fashioned queries (though hopefully with less paper waste via email submission) are the best way to garner interest.  But don't bother looking until you're confident your book is as good as it can be.  I guess part of the question you're asking is if going to conferences and meeting agents on the prowl will help; my basic feeling is usually not.  What you're selling is on the page: if it's there, it's there, if it's not, it's not.

Q.  What do you look for in a prospective client?

More reductiveness: a great writer.  A determined writer.  A writer who's willing to work as hard on her craft as her career (and vice versa).  Recognizing that writing is a solo act but publishing is a team effort is helpful, but I'll represent a raging egomaniac who is a brilliant writer -- the work always comes first, period.

Q. What are publishers buying right now?

The further adventures of reductiveness: books they can sell.  What that is precisely changes from time to time, of course.  In terms of thrillers, which are your primary area of interest, editors are looking for thrillers that aren't like all the others.  Sure, there's still money to be made writing Da Vinci Code knockoffs, but that's growing staler by the moment.  Originality and freshness seem to be the watchwords on everyone's lips.  I should also add that there's a pretty sour vibe in publishing these days about the marketplace, even more so than usual; nobody is feeling all that great about the health of the bookselling market, and that makes for nervousness all around.

Q. Does it make any sense for writers to try to write to the market or is that a futile enterprise?

Almost invariably futile.  I know one or two cases in which writers wrote books specifically to catch a particular wave in which this gambit worked, but usually this just serves to waste vast amounts of precious time.  Writers should write the books they love.  That way, no matter what the market says, their time wasn't wasted.

Q. What's the one thing that you think all writers should know about the publishing business but don't?

That most of us (publishing folks) really love books.  That most of us really care about publishing books well, that we take it personally. This is not a business for folks who are just looking for a job to pass the time -- it's well beyond 9-5 for most of us, and it usually doesn't compensate the average editor or agent nearly well enough given the amount of time, dedication and passion he or she gives.  So often I get the sense that writers think we really couldn't give a damn about books and publishing them well -- and that's just a profound misreading of this business and the people who work in it.