The defrocked journalist known as Brinker finds out in Mr. Magic, available now for preorder and Oct. 1 in print.
First, you have to have the latest app for an iOS device. Then, when you hear a passage you’d like to share with others, tap the Clip icon, move the start and end points and save it the snippet, or share via email or social media.
Saving the clip allows you to return to that spot for a repeat performance. Benefit to you. Sharing the clip amplifies Audible’s marketing and might eventually put a few more pennies in the pockets of its authors and narrators. Game, set and match to Audible.
But before grow too critical, I’d like listeners to try the service on one of my audiobooks, Peak Season or Mr. Mayhem, depending on whether you like a strong female lead or a crazy disgraced journalist nattering in your ear for seven hours.
Speaking of nattering . . . let me know what you think.
This is an updated version of an interview I did several years ago with Laurie R. King, whose latest in the bestselling Mary Russell-Sherlock Holmes series, The Murder of Mary Russell, is due in April 2016.
The author of The Beekeeper’s Apprentice is buzzing over social media.
With a website, author and character blogs and a presence on Facebook, Goodreads and Twitter, Laurie R. King is a champion of social marketing. She posts in the voice of one of her characters, runs writing contests and invites fans to discuss the books among themselves. Her efforts go beyond promoting the work to promoting engagement with readers. That reveals an understanding of the collaborative nature of social media many corporations might envy.
“Mostly what I use the social networking sites for is to tie together my readers—I set up a site, or suggest an approach, and then more or less stand back while they play with it,” she said in an email exchange. But first, some background on the Californian who has become famous for portraying the life of perhaps the world’s most-famous detective, and the woman who has become, some would say, an equal or better.
Creating a voice
Ms. King has written 22 novels, including several stand-alone novels and three series, one featuring San Francisco police detective Kate Martinelli and a second with Mary Russell and Sherlock Holmes. Her first book, A Grave Talent (1993), received the 1994 Edgar Award for Best First Novel and a 1995 John Creasey Memorial Award. She followed with the 1996 Nero Award for A Monstrous Regiment of Women and the 2002 Macavity Award for Best Novel for Folly.
Her books about Russell and Holmes have been applauded as “the most successful recreation of the famous inhabitant of 221B Baker Street ever attempted” (Houston Chronicle), “with the power to charm even the most grizzled Baker Street irregular” (New York Daily News). The first in the series, The Beekeeper’s Apprentice, appeared in 1994.
She measures the number of copies in print in the millions.
Creating a buzz
A few years ago, to highlight the 20 books she’s written, and the publication of her then-newest novel in the Mary Russell/Sherlock Holmes series, Ms. King embarked on what she calls “Twenty weeks of buzz.” In addition to the traditional methods of promotion—book tours, radio and TV appearances—Ms. King took to the Internet with a passion usually reserved for her characters.
Her presence on the Internet is considerable. She created a website and a blog about her activities called Mutterings. She also created another blog, this one in Mary Russell’s voice, back when MySpace was the rage. Mary, in character, posts regularly on Twitter (@mary_russell)—a technique used effectively by Helen Klein Ross (@AdBroad) to promote the TV show Mad Men. Ms. King writes as a guest blogger on other sites and runs a Yahoo! Group. She has a page on Facebook. She even posts reader videos on YouTube.
To share her tastes in literature, Ms. King created an account on Goodreads, where millions of members recommend, compare and discuss books.
She also bolstered reader engagement with the creation of twin writing contests. To celebrate the publication of The God of the Hive, she authorized the 2010 Mary Russell Fan Fiction Writing Contest. Contestants were asked to write about a character in one of the Russell novels as a teenager. A second contest, to celebrate National Library Week, invited readers to create their version of the ideal library, complete with drawings.
She even runs contests for artwork about Russell, Holmes, and their world where fans can submit and judge the works.
Her opinion on social-media efforts and their results are insightful for readers and writers alike. Edited highlights of the interview with Ms. King, who goes by LRK online, follow.
Creating a community
I have to say, it’s funny to be considered a “champion of social marketing” since I never feel I know much about what I’m doing! Mostly what I use the social networking sites for is to tie together my readers—I set up a site, or suggest an approach, and then more or less stand back while they play with it. I’m kept in the loop of course, and I’ll drop in regularly, but making use of enthusiastic volunteers means that I don’t have to do all of the day-to-day work, while at the same time letting a group of key readers—”fans” if you will—have the fun of working with a writer they enjoy and making her job just a little bit easier.
I think a number of writers do this in some form or another—Dana Stabenow’s “Danamaniacs” are a powerhouse of networking, for example—and so long as it is kept fairly clear which is the author speaking and which is one of the administrators, I find people are happy.
Mostly I write and post my blog “Mutterings” and stop in once a day on both the personal and fan Facebook pages. I visit regularly on the Virtual Book Club [now the Laurie R. King Virtual Book Club on Goodreads], reading the discussion and dropping in on some of the other threads, but I don’t tend to post a lot there unless I have something in particular to contribute—the VBC is a place for the readers to freely discuss and get to know each other, and I don’t want to give the impression that I’m in charge of what they say. A great side-effect of the VBC is that whenever LRK readers meet at an event or a conference, they often already know each other remarkably well, even if they have never met in person.
As for Twitter and Goodreads, I work with volunteers on answering letters sent to me (or to Russell) through the sites, helping promote things like the recent Twitter Party. (I helped set this up beforehand but, being in a far distant time zone, I had very little to do with it at the time.)
All in all, I probably average an hour a day on this stuff, more when I’m working up to a book launch.
As for results, who can tell?
A doctor wants to euthanize his terminal patients. A disgraced journalist wants a better job than flogging tours of crime scenes. The tour business is dying. There aren’t enough murders in this sleepy town to draw a crowd.
A good serial killer would help.
So begins Mr. Mayhem, the new crime thriller that fittingly goes on sale on Black Friday.
For a man known only as Brinker, the trouble starts when he’s fired for reporting his publisher’s DUI. Reduced to doing PR for a funeral home and its trolley tour of murder sites, Brinker despairs of ever restoring his pride, or his bank account. Compared to journalism, PR is degradation, an excuse to lie for a living. His addiction to prescription medication only fuels that rage.
When his doctor asks for a hand in dispatching hopeless patients, Brinker hires a wildly successful assassin named Angel, who brings chaos and fame to this backwoods town. But as Angel’s demands soar with the body count, Brinker wonders whether he’ll become the latest addition to his own list.
With Mr. Mayhem, I’ve tried to turn the suspense genre on its head. Fans of Elmore Leonard and Gillian Flynn will enjoy the double- and triple-crosses that give the book its dark edge. And readers who like a little sugar with their spice may come to think of Brinker as the king of the comic sex scene.
Mr. Mayhem is set in the snowy mountains of Pennsylvania, from whence I come. Published by Allusion Books, the novel is available in print and ebook formats through Amazon, iTunes, Barnes & Noble, Kobo, my website and bookstores that place orders through Ingram. The audiobook version is due by the end of December.
What a way to end the year.
In another effort to challenge traditional publishers, Amazon has announced a program to test and market e-books before they’re published.
Called Kindle Scout, the program allows authors to place their unpublished work before a focus group of readers. If they like your book, Amazon may offer an advance and royalties through a five-year contract.
It’s crowd-sourcing for the unpublished author. And the key word here is unpublished. Only e-books that have not seen publication in any form except blog posts are eligible for Kindle Scout.
Authors thinking about selling their e-books through competing channels such as iBooks and Barnes & Noble’s NOOK should read the fine print. Kindle Press acquires worldwide publication rights for e-book and audio formats in all languages. The e-book is automatically enrolled in Kindle Unlimited and the Kindle Owners’ Lending Library.
On the plus side, giving away a previously unpublished e-book enrolls the author in Amazon’s marketing program.
Amazon is looking for e-books in these categories: Romance, Mystery & Thriller, Science Fiction & Fantasy, and Literature & Fiction. Action & Adventure, Contemporary Fiction, and Historical Fiction will be accepted within the Literature & Fiction category. To apply for the program, the author must be 18 or older with a valid U.S. bank account and a U.S. Social Security number or tax identification number.
Should you jump in? Only with eyes open. You can review the Kindle Scout guidelines here.
When I pitched a review of Peak Season to Bill Kline, he respectfully declined. Lehigh Valley Business, the journal in Bethlehem (Pennsylvania) he edits, doesn’t deal in fiction. But if I could find an except from the novel with a commercial theme, he’d run it.
And he did. (Always a stickler for readability, the subheads are his.) You can view the excerpt as a PDF and, in three weeks, the original online.
Bill and I go back. I worked with him when he served as copy chief of the Pocono Record in Stroudsburg, Pa. He created the paper’s first Sunday edition and made it a showcase. His content and design pushed the conservative newspaper into the modern world. During the early 2000, we both worked in the Valley. He served as a sports and Sunday editor at Allentown’s Morning Call while I worked in public relations for an agency in Bethlehem.
LVB and I also go back. I wrote numerous articles for the publication when it was known as the Eastern Pennsylvania Business Journal. It’s now a diverse and colorful journal, online and off, led by an editor who isn’t afraid to stretch.
There’s a saying in the academic world—publish or perish. It means that if you want a tenured position, you must publish your research, or your dream of advancement will perish.
Writers who want to share their work face the same dilemma.
Years ago, people wrote books and sent them to editors who hired others to read through the pile of manuscripts in the hope of finding the next Updike or Jong. When editors ceded that job to agents, they followed the same procedure, acting as editorial screens to deliver works with literary or commercial potential. It was a respectable system.
Self-publishing wasn’t. People viewed indie authors with the same credibility afforded Donald Trump. Even the name of printers who handled the work, vanity presses, spoke volumes about DIY status. And for good reason. If a professional, an agent or editor, didn’t vet your work, you could bet the writing would look as amateurish as the cover design.
Today, indie publishing—uploading your work to e-book brokers and print-on-demand houses like Smashwords and Amazon—has gained a small measure of respect. Some proponents, Joanna Penn of the Creative Penn among them, count the followers of their blogs and podcasts in the thousands. Some writers like Bob Mayer, the former Green Beret and Area 51 series author, sell tens of thousands of units.
Self-publishing is not that onerous, they say. Gone are the days of loading up the station wagon with cartons of books and flogging them to libraries and stores. POD services print and deliver books as readers order them. Yes, with indie publishing, you won’t get the marketing, distribution or stamp of credibility offered by a traditional publisher. But if you’ve queried hundreds of agents with no takers, you need another option.
Through the end of the eighties, that wasn’t necessary. When I last pitched a novel, I landed a series of agents who did the heavy lifting. A decade later, when I wrote my first non-fiction book, the Spirit of Swiftwater, I took the manuscript directly to the publisher, an academic press that wanted to start a business imprint. For the second book, the publisher called me.
Those were the days.
For Peak Season, my debut crime-fiction novel, I queried seventy-six agents and editors. Nada. For Mr. Mayhem, the first of the Brinker novels, due out this fall, I queried seventy-five. Zip. So I declared independence.
That proved simple but not easy.
Publishing is no longer a question of DIY vs. traditional. Today we choose between sharing our work and giving up. That means authors must not only learn how to write, we need to develop skills in editing, proofing, design, social media, marketing and distribution. Add persistence to the mix and we have the ingredients for a new system that, like the old, offers satisfaction but doesn’t guarantee success.
From a gatekeepers’ perspective, the traditional system makes sense. In this name-brand culture, editors and agents look for a sure thing. Paid on commission, agents don’t need to take a chance on the unknown. New authors present too much risk with too little guarantee of reward.
My advice to emerging writers is to ignore the stigma of indie publishing. If you want someone to take a chance on your work, there’s only one place to look . . . in the mirror.