February 2018 by TopShelf Magazine

2016 Sales Catalog - 1

FEBRUARY2018 ™

A Comprehensive Bookseller’s Guide to

A NOVEL APPROACH

magazine

TopShelf Authors & Books!

Conflicts Vs. Stakes

FORGOTTEN TOMES

Ancient Manual of Love

THE INSIDE SCOOP

What in the Book-World was I thinking?

THE MARKETING GURU

Store Decor & Selection

TOPSHELF KIDS

Battle with the Wither King Plus, Author Interviews, Book Reviews, and more!

MARK REUTLINGER Explores the Challenges of Self-Publishing and Shares His Experiences with Random House and Black Opal Books. 23

Every person with that little voice in their head―the one that tells them to write everyday―must own this book. ~ STEVE BERRY New York Times and #1 Internationally bestselling author of The Patriot Threat

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www.BryanRobinsonBooks.com Llewellyn Publications

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FEBRUARY2018

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A Comprehensive Bookseller’s Guide to

TopShelf Authors & Books!

table of contents

masthead

columns

CEO & Publisher

A NOVEL APPROACH Conflicts vs. Stakes

Keith A. Katsikas Jr. keith@topshelfmagazine.net

FORGOTTEN TOMES Ancient Manual of Love

THE INSIDE SCOOP What in the Book-World was I Thinking?

Rebecca Katsikas

THE ART OF MARKETING Store Decor & Selection

Lead Editor

TOPSHELF KIDS Battle with the Wither King

kris@topshelfmagazine.net

interviews 17 19 23 25

Michael Anderie J.N. Chaney Laura Lovett Mark Reutlinger

becky@topshelfmagazine.net

Kris Miller

Assistant Editor Rosemary Fifield editor@topshelfmagazine.net

Creative Director Keith Katsikas

reviews 27 27 27 29 29 29 31 31 31 33 33 33

E.V.P. & Director of Marketing

The Wanted A Boy Made of Blocks Reichold Street As Bright as Heaven Black Sun Moon Hunt A-List Almost Mortal Finding Sophie Not That I Could Tell Sister-In-Law This Is Not a Love Story

creative@topshelfmagazine.net

Contributors & Reviewers J. H. Bográn Rosemary Fifield Paul Hollis Keith Katsikas Rebecca Katsikas Jon Land Sarah Noffke Kris Miller Tim Sunderland

editorial policy TopShelf Magazine is a bookseller-focused buyers’ guide packed with the crème de la crème in indie and traditionally published authors and books. There’s no junk here!

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spotlights

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A Comprehensive Booksellerâ&#x20AC;&#x2122;s Guide to TopShelf Authors & Books!

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“A CRISPLY PLOTTED LABYRINTH OF “AN ADRENALINE-FUELED THRILL INTRIGUE, ACTION, ADVENTURE.” RIDE FEATURING LOVE,AND FAITH, MYSTERY, ~ STEVE BERRY New York Times

and #1 Internationally Author AND REDEMPTION. OPEN Bestselling UP TO PAGE ONE AND HANG ON FOR DEAR LIFE.” ~ALLAN LEVERONE, NY Times & USA TODAY Bestselling Author of over a dozen novels, including the acclaimed MR. MIDNIGHT

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“An NPR Must Read for our 2017 Spring Read series.”

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“A wonderful writer, like good scotch on a winter night.” ~ Michael Bane - Producer, Writer, Actor

“A writer to watch...” ~ John L. Moore Full Award-winning Page Ad novelist and journalist, author of The Breaking of Ezra Riley

#1 Amazon Bestselling Author A Christian coming of age story from the #1 Amazon bestselling author of Saving Grace - A Story of Adoption and The Book of Barkley - Love and Life Through the Eyes of a Labrador Retriever.

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CONFLICTS VS. STAKES

by Paul Hollis (TopShelf Columnist) Twitter @HollowManSeries | TheHollowManSeries.com No matter what kind of novel you’re writing, no matter the genre, your story will not be memorable without trouble. Even love stories and kids' books have conflict. And every great story begins with some level of conflict. While a novel doesn’t necessarily have to include conflict on the first page, it doesn’t hurt. It’s one of many techniques to immediately involve readers in a story, pique their interest, begin to ask themselves questions and make them want to read more. Yep, even in romances – look at Grease. In the beginning, the summer has ended, and Sandy and Danny will never see each other again. That is a tragedy when you are seventeen. Conflict can be big and noisy like a fistfight or it can be quiet like a person who wants two opposing things and can’t decide, but make sure it’s there. Conflict must exist in every scene. And generally, but not always, conflicts are short-lived like the two examples here. Stakes, on the other hand, are more primal and long-lasting. Stakes are weaved through the fabric of a novel. A plot that hinges on primal drives like survival, hunger, sex, protection of a loved one, love itself, fear of death, revenge, etc., will connect with readers at a fundamental level because everyone “gets” those things. Stakes have to matter, but by the end of a novel, they have to matter more than anything else in the world. An audience has to know the stakes, and they have to know them sooner rather than later. The longer readers go without knowing the stakes, the more lost they feel in terms of understanding the story and the characters’ motivations. It’s crucial the reader knows what is to be gained or lost in the battle or during the journey or in the love affair. Whether a red marble or the universe is at

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ULTIMATE STAKES - When life tests humans to the utmost, our motives grow exponentially greater. Our most profound

convictions rise close to the surface. We care even more. We become more determined than ever to make a difference, to persist, to overcome all problems and obstacles. The hero of a novel will also be tested to the limit of his or her convictions. If not, ask yourself, are there enough obstacles in the way of this character? PUBLIC STAKES - Public stakes not only affect the main character but the community, the nation, the world! Things can go wrong in so many different ways. That’s the essence of raising the outward, or public, stakes––making

FEBRUARY2018

A NOVEL APPROACH

PERSONAL STAKES - A protagonist’s stakes are not just what motivates him or her. Personal stakes illustrate the reasons why this goal must be achieved, or that action must be performed to end matters in a positive, profound, and personal sense.

matters worse for people or the populace in general, showing readers that there is more to lose than just one’s self, promising even bigger disasters will happen if the hero doesn’t make matters come out okay. The train will derail, and hundreds of people will die. The Government Embassy will burn. The universe will collapse on itself. Raising the public stakes is easy in thrillers, mysteries, action-adventure, and science fiction/fantasy novels. The action in such stories usually has significance for more than just the characters involved. Public safety and security are issues. But what about the stakes in other types of novels like sagas, coming-of-age stories, romances, and family dramas? It’s the same. Coming of age novels can deal with racism, sexual situations, and so on. In Romance, throw a third person into the mix. In the end, someone must lose love. Family drama may deal with the

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risk, the stakes are crucial and supply the motivational drive to achieve a goal. Characters are the engine that drives a story, and if the stakes are not high enough––or worse, not there at all––the story becomes artificial. Both conflicts and stakes must be personal and internal. And as a result, remember, conflicts and stakes also may be specific and different for each character. Stakes mean more to us as an audience when the stakes mean more to the characters. There are three kinds of stakes for characters:

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COLUMNS

death of a relative and its effect on members of the family. To summarize, a novel can have personal stakes where the main character struggles with his sanity as in Dostoyevsky’s Notes from the Underground. The main character may be tested to the limit of his existence as in Jack London’s To Build A Fire. And worlds may be jeopardized as in Douglas Adams’ Hitchhiker’s Guide to the Galaxy. And of course, a novel can also have a combination of these stakes.

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“A ROLLERCOASTER RIDE OF EPIC PROPORTIONS, PACKED WITH STAGGERING TWISTS AND TURNS, ROCKETING TOWARD A CATACLYSMIC CLIMAX THAT WILL SHOCK YOU!” -TopShelf Reviews

DARK LIGHT: DAWN “A fantastic, incredible, can’t-putit-down book... A terrific read!” ~Douglas Preston, #1 New York Times bestselling author

"Has everything––mystery, action, sex, violence, widescreen apocalypse and close-up chills, along with the creepiest little girl you'll never want to meet. 'I couldn't put it down' has become such a cliche but... I couldn't put it down.” ~Paul Wilson, New York Times bestselling author

"Combining the supernatural conspiracies of The X-Files with the pandemic panic of Contagion and World War Z, Dark Light Dawn is an addicting, intense, nail-biting big budget summer movie brought to the page by creator Fabrizio Boccardi and author Jon Land. Hopefully, we’ll see the return of Max Younger sooner than later." ~Forces of Geek Magazine

ISBN: 978-0765328724

interviews

Michael released his first book on Nov 3rd, 2015. Personally, he has published twenty-two books and two novellas. He has been published in three anthologies and has collaborated with over twenty other talented authors in both the Kurtherian Gambit and Oriceran universes together to complete over a hundred titles for LMBPN, his publishing company. His books have sold over 500,000 copies, and by the end of January 2018 will have generated over 400,000,000 pages read on Kindle Unlimited. With the book Death Becomes Her you made what some thought to be a bold decision to write what you wanted to read, versus taking the ‘best practices’ approach. What led to that decision? I was and am a big reader of indie writers, and felt that I knew I needed to write a more extended series to attract readers like myself (what I call whale readers or readers who read at least a book a week). It was due to my experience finding Timothy Ellis’ Hunter series that coalesced my belief that whale readers started considering a series at three books, and I was super jazzed when I found a FIVE book series! I read them in a weekend, and it was phenomenal. Now, having said all of that one needs to realize I am a lifelong reader with exactly ZERO best practice knowledge when I started. I didn’t know what kBoards was before I had been releasing books, nor had I read anything written on the subject of indie publishing. I quickly started listening to author podcasts. However, I had my own digital marketing and sales consulting company, and my own filter of how I felt I would want something done as a reader. If I read, or heard, advice that went against it, I ignored the suggestions. Not all of my ideas worked, but enough that I got to a point to believe in myself and my own opinions, first.

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Being a self-published author, what has been your most successful marketing resource tool? Producing the next book within 28 days. It bites that I’m behind that … I’ve noticed that releasing often is THE best for me. Fan interaction and getting them to engage with me, and suggest the books to others… But that is a component of story (characters) as well. When fans are willing to tell people in line at the bank about your books, nothing is better. After that? AMS Ads (if I can get them to fire) and Facebook ads because they are ALWAYS willing to spend my money. Facebook is also where I lose most of my money, I think. When Amazon pushes the books, I love the results. However, that is hard to control in any way, shape or form. You came up with the personal mantra, ’20 books to 50k’, tell us about it and what you were thinking at that time. I was at the Pacifica Resort in Cabo San Lucas (I’m looking down at the resort as I type this from a villa in Montecristo Estates) and found out that for a condo in this amazing location (which costs the same as our house in Dallas/Fort Worth

FEBRUARY2018

AN EXCLUSIVE INTERVIEW WITH MICHAEL ANDERLE

How did you keep such a long-running series from getting stale in both plot and character development? I planned for a very long arc, broken down into three major arcs with each book being a stepping stone to the completion of the stories. Each of the three arcs had their own accomplishments towards the main goal, as well. I added characters to books (both the easiest way to keep something fun and the easiest way to cause your stories to spiral out of control.) Paying attention to what excited me as a reader was instrumental (for me) with my writing. When I realized meeting someone knew was a dopamine hit, I did it often. I now understand why some authors implement actions like a Red Wedding where half the characters die. It would be hard for a fan to ask “What happened to so and so,” if I had killed off a bunch of them. It was tempting, so very, very tempting but I never did it myself.

Texas) I would be spending a total of maybe $400 a YEAR in taxes. That same amount in Texas was at least $12,000 a year. So, if I own in Cabo, my monthly taxes would be about $40 a month at most. In Texas? $1,000 and that is before I could purchase a loaf of bread. From a retirement standpoint, the homestead taxes seemed a better deal. Now, I’ve learned that the same amount in Nevada might only be $3,000 a year, but I didn’t know that at the time. My wife was working for an international conglomerate, but I thought… “If I could make $50k a year, I could allow her to retire if she wanted to. It would take a thousand for all costs (if the house was paid off) and another $1,000 for food… I needed about $50,000.) At the time, I had two books out each averaging about $6.00 a day in sales. I created a spreadsheet that showed if I could make $7.50 in sales per book per day then twenty books would net me a minimum of $50k ($54k actually), and we could ‘retire’ my wife down in Cabo. Since I had written both books in about four weeks total, I thought I could get to twenty books written by the end of 2016 perhaps and in 2017, move to Cabo if my wife wished to. I did slow down and did not finish 20 books in the next twelve months, but I came close. I smashed the $50k a year goal, however.

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From that first book begat the wildly popular Kurtherion Gambit Series, with twenty books in the original, and many, many more from the spin-offs. What do you think made them so endearing to their devoted fanbase? “A great cover will net you one fan. Great Characters will net you many more.” Is something I say to explain it. It isn’t the action, the adventure, the hook (for me) that causes fans to re-read, but rather the fact that when life sucks it always feels good to come back to those who you love. It is (for me) about the characters. Having said that, it is great covers, blurbs, and hook which can IMMEDIATELY draw in fans. It’s your first 3,000 words that can lose them.

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INTERVIEWS

You now host 20 books to 50k conferences. Please tell our fellow authors how they could go about attending one of those, and what overall, they could expect to take away from it? Craig Martelle is the actual host of the conferences. The members of the Facebook group 20BooksTo50k mentioned enough times “we should get a conference going” that he said, ”Great, I’ll do it.” The goal is to keep the core conferences cheap, and non-profit so he and I split some of the cost(s), and the speakers bring themselves. He tells me when to show up and what I’m talking about, and we have been hugely blessed with great speakers willing to educate each of us. I’m not sure if we will continue the conferences past the January 2019 in Bali, but we have the London which is sold out in February of 2018. Then Las Vegas again in November of 2018 and Bali as I mentioned in January of 2019. The one thing we (Craig and I) believe is the teaching needs to be SOLID. However, the real benefit is in creating relationships. I am personally still benefiting from relationships created at my first author conference I attended (SmarterArtist in Austin, 2016.) If you have interest in Las Vegas, check out 20booksVegas.com. Read more of this and other interviews at:

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“A thrilling adventure that spans decades. STRONG TO THE BONE combines compelling history and cutting-edge technology, creating a death-grip read that refuses to let go.”

~TopShelf Reviews

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interviews

J.N. Chaney is the Amazon bestselling author of The Variant Saga (B01MRCAMW0), The Renegade Star series (B077RHM2QD), and more. Chaney has a Master’s of Fine Arts in Creative Writing and fancies himself quite the Super Mario Bros Fan. He migrates often and was last seen in Avon Park, FL. Any sightings should be reported, as they are rare. If you would like to stay more up to date with his work, head on over to his Facebook group “JN Chaney’s Renegade Readers” located at www.facebook.com/groups/ 678620228994951. You can speak directly with him, have discussions with other readers about whatever you like, and get all the latest up-to-theminute news on the Renegade Star series and anything else he's working on. You can also learn more about his books at jnchaney.com. Now on to our exclusive interview! Tell us about your newest books, The Renegade Star series? Renegade Star is a series about a smuggler who takes a job escorting a nun back to her home planet. In transit, he discovers she's carrying unusual cargo, which ends up being a young albino girl with strange tattoos. He ultimately has to make a choice. Does he save the two runaways or turn them over to the government for an easy payday? He's in a load of debt, after all, so there's a lot of incentive for him to walk away. With this

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You’re also currently co-writing with Michael Anderle and Sarah Noffke, in the Kurtherian Gambit Universe with the Ghost Squadron Books. What is both the easiest and, the hardest things when co-authoring books? I would say the hardest thing about co-authoring is deciding who does what. Do both of you write together, taking turns on the manuscript? Do you each take different character perspectives? Does one person write the book and the other edit? It's tough to find the right balance that will make everyone happy, but if you can find what works for you, then it can be really rewarding. How do you connect with your readers? I have a newsletter I use, for the most part, but there are other ways. I like to engage directly with fans, so I have a small facebook group I frequently post in. The hardcore fans are there

As a self-published author, you obviously must do your own marketing. What tools have you used that’s been successful? I've been fortunate enough to land several Book Bubs, but I largely stick with facebook ads. Aside from that, a lot of people just seem to find the books on their own.

FEBRUARY2018

AN EXCLUSIVE INTERVIEW WITH AUTHOR, J. N. CHANEY

What was the inspiration behind the series? It started because I wanted to write a space western. Something in the vein of Cowboy Bebop or Firefly, but with a treasure map and a quest to find something. After sitting on the idea for a bit, I realized the ultimate prize could be a planet, which ultimately became Earth. I took a trip to Orlando with my girlfriend, and we were talking about a video game I'd recently played. In it, you meet a shop owner who used to work for the Yakuza, but left when he adopted a baby. The baby had a scar on his neck. The dad decided to get a tattoo of a salamander on his own neck in the same spot to make his son feel better. As we talked about that, I began to come up with the idea for Lex, and how Jace might find her and she would have those strange tattoos on her. The rest of the story avalanched after that, coming together very quickly.

and engaged, constantly replying to posts and getting to know each other. The group is called JN Chaney's Renegade Readers.

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series, I wanted to tell a story about a man finding his family, or whatever that means for someone like Jace. He isn't a hero. He doesn't want to save anyone. He just wants to get paid and keep his ship in the air. It's really all he's ever wanted. When he meets Abigail and Lex, he really has to decide who he is and what kind of person he wants to be, and I think that choice surprises him.

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INTERVIEWS

What do you think is one of the biggest advantages of being a self-published author over a traditionally published one? Definitely the lack of oversight and the ability to publish more than once or twice a year. I wrote six books in 2017. I'd like to do 8-10 in 2018. When you're selfpublished, if you can manage to make a living on it, the sky is the limit. I know people who publish once a year, and I know people who publish 16 books a year. It all depends on how many stories you have to tell. What’s one piece of professional advice you wish you could give to your younger self ? Start writing as soon as you can. I waited until I was 30 to publish my first book. I should have been doing it when I was 23. What can we expect from you after you finish up The Renegade Star series? My next series will be called Star Seed and will focus on a younger character (18 years old). It'll take place on another planet, with almost no space travel, so very different from the current books.

What is one question you always wish you were asked during an interview, and what would be your answer? No one has ever asked what I'm reading. The answer is Red Rising. It's a great book. Another one would be We Are Legion. Check them out if you're into sci-fi. I love both stories. Read more of this and other interviews at:

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FEBRUARY2018 19

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FEBRUARY2018

Please introduce yourself to our readers. My name is Laura Lovett, I write psychological thrillers, am a mother of three, and am a Doctor of Psychology. I run psychology practices in Canada focused on leadership/team development in organizations, and helping people choose and switch careers. For those who are just now meeting you, please let us know a little about your novel Losing Cadence, as well as your latest novel, Finding Sophie. Losing Cadence is about the abduction of a woman, Cadence Weaverly, by her high school sweetheart, Richard White, ten years after she breaks up with him. Richard White is now a billionaire and has created the “ideal” life for them. This novel takes many twists and turns and is set in Montana, California, New York, Oregan and his private Island off the coast of Jamaica. Finding Sophie takes place twelve years later and involves another abduction, set upon a superyacht. The cast of characters include Cadence, Richard, and some new additions. Both books keep readers up late into the night wanting to know what happens! Do you draw upon your experience as a psychologist when writing? Definitely, I draw upon my knowledge of and ability to describe human behavior and motivation. I’m not a clinical psychologist or a psychiatrist, so I don’t work with people like Richard who are extremely ill. But I know enough about humans to be able to describe what it would be like to be caught in this type of obsessive situation, as well as what

Do you enjoy interacting with your fans? If so, please share some ways you do this. I love it. Nothing means more than a positive text, email, or message from a fan who loved the book and recommended it to friends! How much time and money do you put into promoting your books? I put in several hours each week. Some weeks a few hours, other weeks 8 or more hours. It’s heavier around the launch of a book, and with Finding Sophie on a book tour in the coming months it’s busier than usual. As for money, $100s of dollars each month between all my marketing activities. You have a pretty full schedule of book signings. Any advice for independent authors on how they can organize successful book signing events? Signings are challenging; they take a lot of effort to meet and try to engage strangers with the books. I think I’m good at them, but sometimes it’s frustrating when I don’t sell as many as I’d like. But, as my amazing publicist says, all it takes is one person who loves it and spreads the word! I try to limit to threehour blocks as I can be fully energized and not take half my day out for these!

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AN EXCLUSIVE INTERVIEW WITH AUTHOR, LAURA LOVETT

childhood events led Richard to be the way he is. His backstory is showcased as a part of book two, Finding Sophie. Do you write an outline before you start a novel? If yes, explain that process a little. No, I let the story unfold as if I am a reader of it. I like the creative process entertaining me and taking on a life of its own, versus having it all planned out. Although I know a lot of writers who work well off of an outline, and I may try it in the future. But my current process worked well for these two books, or so my readers tell me in their reviews. How important would you say marketing is for a self-published author? Very important! Even for traditionally published authors, it’s all about marketing to grow readership. Social media is essential, as are book signings and other events. Do you have any tips for other selfpublished authors who might be struggling? Talk to others you admire and who have been successful, and learn what has worked and not worked. Attend writers’ conferences to learn the latest tricks of the trade. The book industry continues to change each year, and it’s important to stay upto-date on the latest developments as you make decisions about where to publish (traditional or indie; and if indie, which platforms and supports you’ll need) and where to spend your marketing dollars. What surprises me is how much self-publishing costs and the fact that margins are much smaller on books than one would think. Being a businesswoman in my day job, I try to apply what I know to making this successful. But it’s way different than most other industries.

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INTERVIEWS

Is there a marketing idea that you’ve tried that has yielded impressive results? Would you be willing to share that idea with our readers? The video I have has had great reviews/hits. Mindspinmedia was amazing to work with, and it looks like a movie trailer. It’s on the homepage of my site: authorlauralovett.com and people love videos, so I’d recommend one. Read more of this and other interviews at:

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You can’t help rooting for Suzanne, a truly enchanting character. I couldn’t put it down. ~Pepper O’Neal, author of the award-winning Black Ops Chronicles series

An excellent thriller, well worth the read. ~Geza Tatrallyay, author of the Twisted trilogy

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York publisher, Random House. First, please tell us a little about your experiences as a self-published author.

Mark Reutlinger is the author of the novel Made in China and the "Mrs. Kaplan" mystery series. He is a professor of law emeritus at Seattle University. Born in San Francisco, Mark graduated from UC Berkeley and now lives with his wife, Analee, in University Place, Washington. Please inform us a little about your latest book, Sister-in-Law and what makes it so different from your previous works. Sister-in-Law is, like Made in China, a political thriller, but they are quite different. Made in China conveys a serious message about our dependence on foreign-made goods. I hoped it would create a bit of a dialogue on the issue. Sister-in-Law has no such pretensions—it’s purely entertainment. And it could not be more unlike my “Mrs. Kaplan” cozy mysteries, which is why I use a pen name for it, so followers of Mrs. Kaplan wouldn’t inadvertently pick up Sister-in-Law and be, well, a bit shocked. Cozies have no sex, no bad language, a minimum of violence, and often humor. While Sister-in-Law has minimal violence or bad language, there is a lot of sex. I began it when Fifty Shades of Gray had become so popular, and publishers were asking for more of the same. I wanted to write a book that would use sex not for its own sake, but as a logical part of an otherwise compelling story. Sister-in-Law has the excitement of a thriller with a protagonist for whom sex has dictated the stages of her life. Sex is only the mechanism by which the story unfolds. You’ve self-published, have signed with a small press, and have even managed to get a contract with the well-known New

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Were you successful and how do you gauge success? I think I was very successful, in that I ended up with a well-designed book that I could be proud of. What reviews it received were excellent, and it has led to fascinating conversations with readers, such as at book club presentations. That was most important. But in terms of sales, it has never paid for itself, nor did I expect it to. I would have had to spend considerable time promoting the book on social media and considerable money purchasing advertising to get substantial sales, and I was more interested in writing my next book. How many books did you selfpublish and what are they? Just the one, Made in China. Although a company in Australia has translated it into Chinese and made it available to the entire Chinese-speaking world, so in a way that’s a different book. Is this an experience you would re-visit––why or why not? Not if I had a choice. I know self-publishing has come a long way in recent years, and some authors prefer it, but it’s still much different and to me, less rewarding than having a traditional publisher. You eventually elected to try the traditional route and signed with Random House. Why did you choose to try traditional publishing? First, I did not want to spend again the considerable sum that Made in China cost to

What was the process that you used? I sent the manuscript of my first “Mrs. Kaplan” book, Mrs. Kaplan and the Matzoh Ball of Death, to several agents, most of whom either replied with a form rejection or said they didn’t think an “ethnic” mystery like mine would have a large enough audience. (They turned out to be wrong.) I then looked for publishers who accepted un-agented submissions. Random House had recently started several new digital imprints to address the rise of digital books, and they were accepting submissions from authors. I submitted Mrs. Kaplan to their Alibi imprint, and it was accepted.

FEBRUARY2018

AN EXCLUSIVE INTERVIEW WITH MARK REUTLINGER

Why did you self-publish as opposed to going the traditional route? I sent the manuscript to several agents, but there were no takers. I became impatient and anxious to get my story “out there,” so I decided to just publish it myself. I signed up with one of the many self-publishing companies and paid them to create and publish the book.

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How did you get started? As a lawyer and law professor, I wrote briefs, articles, casebooks, and treatises. When I retired from teaching, I wanted to continue writing, but unlike legal writing, where everything must be absolutely accurate, I was now free to use my imagination, create my own world. When an issue came along about which I felt strongly and which lent itself to an interesting plot, I turned it into my first novel, Made in China.

publish. I also felt that to be a credible author, one had to have the imprimatur of the professionals who are the gatekeepers of the industry. In other words, I needed “street cred.” At least at that time, selfpublishing did not offer any, unless you were one of the few whose book somehow caught fire and became a best-seller. I also had written several law books for major publishers like Little, Brown, and I had enjoyed that experience.

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How long did it take to get a contract? Fortunately, the editor at Alibi loved Mrs. Kaplan and almost immediately offered me a contract. Knowing what you know now, what would you have done differently? Nothing, really. I still would have preferred to have an agent and not be limited in what publishers I could submit to, so I still would have made that effort first. (I now have an agent, so in the future, that shouldn’t be a problem.) What are some of the perks and drawbacks of traditional publishing opposed to selfpublishing, in your opinion? The “perks” are considerable: The publisher pays for publishing the book—editing, cover artwork, printing, distribution, and at least some marketing. (Independents and even some larger publishers these days expect the author to do most of their own marketing and promotion, especially on social media.) Major publishers and some independents offer an advance on royalties. They generally have experienced editors and designers who really know their business. Being traditionally published not only enhances one’s resume, but it makes the book easier to sell. Some bookstores still won’t handle self-published books, especially if they are “print on demand,” as most are. And major organizations like Mystery Writers of America won’t accept self-published

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How does this compare, both good and bad, to the traditional and self-publishing experiences that you have had? In my opinion, there is nothing about selfpublishing that I prefer to publishing with Black Opal. I don’t have out-of-pocket expenses, except perhaps for promotion. I have experienced professionals, themselves authors, helping to make my book as good as it can be. Also, I have the support of other Black Opal authors, who exchange information and share experiences among themselves. Compared with Random House, I feel I am receiving more personal attention, and that my book is a more important part of Black Opal’s business. Furthermore, my contract assures me of all the publishing features I want, without taking more of my rights than necessary. (In contrast, one of the three publishers that offered me a contract for Sisterin-Law refused to put in writing some of the assurances they had given me in our discussions.) The royalty rate is also better. On the downside, there is no advance, and there is less prestige than with Random House. When it comes to marketing and getting reviews in national media, although Black Opal has far more influence than a self-publisher has, it has less than a major publisher. For example, bookstores are more likely to stock books published by Random House than by an independent. So it’s definitely better than self-publishing, but both better and worse than publishing with the Big Five. What was the process used to get a contract with Black Opal? I followed their submission guidelines, sending in my manuscript with a query letter and synopsis. In time I received a nice response offering me a

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What has been your experience with Black Opal so far and would you recommend your author friends to submit their work to them? So far, my experience has been quite positive, and I certainly would recommend them. I’m very pleased with the quality of the editing and the finished product, including the cover artwork. The folks at Black Opal have been easy to work with, open to suggestions and ready with advice, and as I mentioned, many BOB authors lend each other support and encouragement. I feel I’m part of a close family of authors. Of course, Sister-in-Law won’t be launched until March 24th, so there is still part of the process to go, but so far, so good. Having done all three types of publishing, what do you think can be improved upon to benefit the author more in any (or all) of these publishing paths? It would be nice if the major publishers loosened the rules a little to allow authors to submit directly, perhaps during a limited period (as a few already do). When agents, who vary greatly in their judgment like anyone else, are the only gatekeepers, a lot of fine writing may be turned away. For selfpublishing, I would like to see some way to ferret out the scams that take advantage of authors. For small publishers, perhaps contracts could be more standardized, so an author was less likely to inadvertently sign away more rights than he or she realized. Do you favor one of the three publishing paths more than the others, and why?

I would prefer a traditional publisher over self-publishing if given the choice, and all things being equal, a major publisher over an independent, provided I could negotiate a satisfactory contract. But if I couldn’t, at my present stage I would prefer a good independent to a major offering a lessthan-desirable deal.

What is one thing you’ve always wished you’d be asked in an interview, but haven’t, and what’s your answer? I don’t think anyone ever asked me why, as a lawyer and law professor, I don’t write about the law, as most lawyer-authors seem to do. The answer is that I tried it, and I learned an important lesson: An author should write about what he feels, not just what he knows. Many years ago, I tried to write a mystery story featuring a law professor as amateur sleuth, merely because I was a law professor and knew all about law schools and such. It was so bad I never even sent it out. But much later, when an issue came along that I felt strongly about—the risks behind outsourcing almost all our manufacturing to foreign countries—I turned it into a pretty good story. It required a lot of research about manufacturing and recent Chinese history, but it didn’t require knowing any of that in advance. Similarly with Sister-in-Law: I knew very little about escort agencies and call girls, not to mention the inner workings of the White House, but I researched what I had to know. (Strictly academic research, of course.) As another BOB author, Paul Sinor, said in a recent blog, “it’s more important to know about what you write than to write about what you know.”

FEBRUARY2018

Today, you also have a contract with Black Opal Books, a small press.

contract. I asked a few questions about the contract and what I needed to have, and when we were in agreement, I signed on.

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authors. But there are drawbacks. A major publisher has thousands of authors, so although you’re the “flavor of the month” for a short while, they soon move on to the next in line, and you become just a name on their long list. Also, it’s vital to read the publishing contract carefully to be sure you can live with all the terms. For example, I had to give Random House all the rights to “Mrs. Kaplan”—print, digital, audio, etc.—although they were only publishing it digitally. Not having print copies restricted potential sales and made signing events at stores, book clubs, etc. impossible. (In fact, that’s why I decided to find another publisher for Mrs. Kaplan, and why until I do those books have temporarily ceased to exist.). But I knew what I was signing and was glad to do it, for the benefits I mentioned.

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Read more of our interview with Sandra Brown at:

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Crime

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EVERYTHING GREAT CRIME A DELIGHTFULLY TOLD STORY A FANTASTIC STORY NOT FICTION IS SUPPOSED TO BE Alex Rowe, the thirty-something narrator of SOON FORGOTTEN Robert Crais may not raise the stakes quite as high as Rollins, but The Wanted still packs just as much of a punch—literally, given that this outstanding crime-thriller features the sensational duo of Elvis Cole and Joe Pike. This time out, Elvis and Joe find themselves sorting through the morass involving teenager Tyson Connor. A sharp uptick in the boy’s lifestyle from flashing Rolex watches to frequenting posh Hollywood clubs leads his mother to seek out help in determining the source of teenage Tyson’s newfound disposal income. As always in this stellar series, the road twists in unexpected ways, leading Elvis and Joe to a pair of especially despicable villains who seem to have learned their manners from No Country for Old Men’s Anton Chigurh. In the past, Crais has often wielded a lighter touch with this seminal series. Not so here, as the tone is clearly dark, bordering on noir with spectacular results. The Wanted is a relentless and riveting read that is everything great crime fiction is supposed to be.

this story, cannot stop dwelling on a tragedy that occurred during his childhood. As a result, his marriage is falling apart, he cannot relate to his autistic son, and he barely communicates with his sister and widowed mom. When his wife kicks him out, and he loses his job, he realizes he needs to change. To connect with his little boy, he learns to play Minecraft, a video game his boy loves, and little by little they build their own world together. In the process, Alex comes to understand himself and his child and comes to terms with his past. Although this may sound like a dire scenario, Alex is funny and likable, and we grow to love his son, Sam. The book is populated with interesting characters who round out his life, and the entire story is uplifting and poignant. In life, the author is the father of an autistic child, and while this is not his son’s story, his first-hand knowledge of autism and its challenges are apparent. Unfortunately, the descriptions of their Minecraft world were often too much for me. However, I found the story and its characters enjoyable and the narrator a delight.

A multi-dimensional narrative about life’s ups and downs told through the eyes of the various characters living on Reichold street. In late August of 1962, Paul and four of his longtime friends are outside when an unfamiliar car pulls up to the old Cantwell Home. From out of the car steps what initially appears to be an average family, mom, dad, two boys, a girl. It doesn’t take long for those living there to realize that appearances are deceiving. As events in this family’s life unfold, it incorporates the lives of many others in the neighborhood. A raw, gritty coming of age tale, Reichold Street is a powerful anthology of various nostalgic and, often heartbreaking stories. Unforgettable characters that showcase a wide range of humanity, Herron demonstrates true artistry in the ability to encompass every emotion in a hauntingly poignant manner. The unpredictability of the plot twists, combined with vivid scenery and stellar storytelling, ensnares its reader and refuses to let go until the final word is read. A fantastic story not soon to be forgotten.

~Jon Land, TopShelf Reviews

~Rosemary Fifield, TopShelf Reviews

~Kris Miller, TopShelf Reviews

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Historical

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A REAL SENSE OF LIFE IN A TRULY DREADFUL ERA

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HISTORY COME TO LIFE

As Bright as Heaven, spans 1918 to 1926, following a Philadelphia family as they experience the final months of World War I, the ravages of the widespread Spanish flu epidemic, and the long-lasting effects of both events. We become a close observer of three teenaged sisters. Evie, the oldest, is the scholar, practical and level-headed. Maggie, in the middle, is caring and passionate. Willa is willful and possesses a temper; she is no stranger to smashing delicate objects when she doesn’t like the way things are going. Their mother, Pauline, is a quiet woman mourning the recent loss of her infant son, and their father, Thomas, is a hard-working man who is learning his uncle’s trade as a mortician. The unexpected flu deaths of family and friends and the aftermath of war touch them all, and each sister copes in her own way. The book starts slow. But once the flu hits, the pace picks up, and one gets a real sense of what life was like in that dreadful era. The ending is almost too tidy, but the story has enough tragedy that one can simply accept and appreciate the good.

In June of 1900, fifteen-year-old Arnulfo Triana Benavente is working at the mines at La Mina de Ojuela in Mapimi, Durango, Mexico. His father, Juan, has been gone for years as a soldier but has returned with hopeful news. He has become a Guardia Rural and having served three of his four years; he is planning to move his family to Monclova, Mexico with the dreams of a safer life. Unfortunately for Arnulfo, those dreams are shattered when he sees his vengeful boss raping a Yaqui woman. In a fit of rage, Arnulfo kills his boss to save the woman and is forced to leave his village, running to the Sierra Madre mountains to escape an assured hanging him for his crime. It is there he meets Francisco 'Pancho' villa, takes the name of 'Indio', and begins a new life fighting the injustices of Presidente Diaz during Mexico's Revolutionary War. History comes to life in this riveting historical drama based on the exploits of Pancho Villa. A war-torn Mexico is the backdrop as the author accurately describes the atrocities that lead to Mexico's bloodiest era. Endearing characters, vivid battle scenes, and an unforgettable story make Black Sun a captivating journey of love, loss, hope, and redemption.

~Rosemary Fifield, TopShelf Reviews

~Kris Miller, TopShelf Reviews

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Historical

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VIVID TONES AND EXPERTLY CRAFTED DETAIL MAKE THIS MAGICALLY COME TO LIFE Few authors have ever been able to lay claim to a genre. But Kathleen and Michael Gear have taken historical fiction and made it all their own, as clearly displayed in Moon Hunt, the third in their Native American, Morning Star series. All the staples of the Gears’ brilliant, richly drawn tapestries are firmly on display here, once again featuring the Cahokia tribe, the oldest on record on the North American continent. This time out, the story follows a pair of intrepid heroes, Night Shadow Star and Fire Cat, setting off on a quest to find the tribe’s missing god from which they draw their power. That means a desperate trek down into a cave that holds its own deadly secrets. The Gears have reconstructed Moon Hunt’s ancient world with such vivid tones and expertly crafted detail that it magically comes to life in the tradition of James Michener. But they’re much better storytellers, and the result is a tale certain to generate broad appeal, whether you’re a history buff or not. ~Jon Land, TopShelf Reviews

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Your ThrillerFest team is looking forward to a fun and memorable year. We’re excited to announce the following staff members will be returning: Full Page Ad Sandra Brannan as PitchFest Director; Christopher ThrillerFest Graham XII as Art Director; Elizabeth Berry as ITW’s Executive Director; D.P. Lyle, M.D. as CraftFest We’re excited to present a blockbuster line-up featuring: Director; Dennis Kennett as Registrar; Kimberley Howe as ThrillerFest’s Executive Director; Jessica • 2018 ThrillerMaster George R.R. Martin Johns as Conference Coordinator; and Jillian Stein • 2018 Silver Bullet Award recipient James Rollins as Social Media Director. If we can answer • 2017 ThrillerMaster Lee Child questions or help out in any way, please touch • 2017 Silver Bullet recipient Lisa Gardner 2018 Spotlight Guest Megan Abbott base anytime: KimberleyHowe@thrillerwriters.org. •

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Thriller

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PEPPERED WITH SNAPPY, HIGH-OCTANE SUSPENSE A BRILLIANT PSYCH-THRILLER STACCATO PROSE THAT POPS A serial killer is on the loose, and now the case is Cadence Davidson's life was ripped apart years about to land in Sam’s lap in a far more personal ago when her obsessive ex-boyfriend abducted CLEAN OFF THE PAGE way than he could have ever imagined. Deputy her. She was able to escape three months later, With A-List, Dr. Doug Lyle serves up a prescription that’s equal shades light and dark, a canny blend of humor, hijinks and just plain fun. Think classic James Ellroy-like Hollywood gothic relocated to New Orleans when superstar actor Kirk Ford wakes up one morning next to a dead girl whose mob relatives promise to be none-too-happy about her denouement. Enter Lyle’s trusty private eye Jake Longly to weave his way through the tangle before both Ford’s latest movie and his life get shut down for good. The result is one part Carl Hiaasen mixed with two parts Elmore Leonard and garnished with Robert Parker at his best. In Longly, Lyle has crafted a modern-day Phillip Marlowe or Sam Spade, perfect representatives for their age, just as Longly is for ours. His first-person narrative is peppered with snappy, staccato prose that pops clean off the page, making this a series and author you don’t want to miss.

Public Defender, Sam Young has always known he was different than his peers. Sam has the ability to identify the intentions of a person and to even give a nudge in a particular direction if needed. Whether a blessing or a curse, it’s made him one of the best in his field. His expertise is put to the test when Sister Camille Paradisi asks him to help Father Andrada, a longtime friend of his mother’s. A man came to Andrada’s confession claiming to be the killer, just prior to murdering his third victim, which puts Andrada in a tight spot legally. Furthermore, a strange, decades-old diary has shown up, which could have a connection to the killer, and the author seems to share the same abilities as Sam. Part legal thriller, part paranormal mystery, Leibig weaves both past and present seamlessly in this smart tale. Almost Mortal is a combination of complex characters, quick-pace, and high-octane suspense, leading to a downright shocking ending that much like the Sixth Sense, will make you want to start it all over again.

although not before conceiving a daughter. For twelve years Cadence has kept the secret from her daughter. However, due to fears of him resurfacing, she must now confess the truth. Sophie's biological father is a kidnapping rapist and murderer. Their idyllic life is further shattered when Cadence is abducted again, along with her children, in the delusion of creating the perfect family. This muchanticipated sequel to Losing Cadence tops the original in psychological chills, twists, and turns. Captivating characters propel this engrossing story forward, especially – and most surprisingly – the tortured persona of the antagonist. Bearing not only physical scars but emotional from his upbringing, Lovett portrays his mental illness with such an empathetic hand; it's impossible not to feel pity as the lines between good and evil are blurred. Fast-paced, suspenseful, with perfectly drawn characters, makes Finding Sophie a brilliant psychological thriller worth the up-all-night read!

~Jon Land, TopShelf Reviews

~Kris Miller, TopShelf Reviews

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FEBRUARY2018 31

“Delivers... Riveting character back stories.”

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Thriller

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A PSYCHOLOGICAL THRILLER DISTINCTIVE AND WELLCONCEIVED PLOT... AN OF THE HIGHEST ORDER The bar for Jessica Strawser is a bit higher than it EXCELLENT READ FOR THE is for most authors since she cut her teeth editing MORE MATURE READER Writer’s Digest. But I’m happy to report that Not

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I REALLY CAME TO CARE ABOUT THESE CHARACTERS

that I Could Tell finds her not just practicing what she preached but doing so in a manner that makes for a smooth and sultry match for Lisa Gardner. As in Gardner’s books, as well as those of Harlan Coben, something apparently innocuous gives birth to spills and thrills. In Strawser’s latest, that event is something as simple as a lady’s night out—until, that is, one of those ladies turns up missing. That’s easily enough to roil the small, close-knit community of Yellow Springs where things like that don’t happen, as the book’s moral center Clara learns as she battles her own past in trying to unravel the mystery. Not that I Could Tell is a psychological thriller of the highest order, as well written as it is structured. That means the magazine Strawser once edited might well be covering her from the other side and deservedly so.

The deck has always been stacked against Suzanne Dahlstrom. Born to alcoholic parents and raped by her father at age ten–– her mother shooting him dead in a fit of rage before her eyes––Suzanne’s trust in men was shattered by the man she was supposed to be able to trust the most. Today, she’s out for revenge, taking whatever she can from every man she crosses. However, when approached by a powerful Washington insider with a scheme to take down the next president of the United States, she wants no part in it––that is, until she’s offered a $1,000,000 payday. Suzanne is an enchanting creature, neither black or white, enveloping all shades of gray. Boasting a distinctive storyline, wellconceived plot, and captivating characters, Sister-in-Law is an excellent read for the more mature reader.

Jessie’s boyfriend, Chris, has gone missing shortly before high school graduation, and now she is documenting everything as she waits to find out where he is. Written as though speaking to Chris––things like “you would have liked …” or “your mom said …” or “it reminded me of when we …”––it wasn’t long before I felt like I knew both of them well. The author did an excellent job of describing Chris’s personality and attitudes through Jessie’s eyes and her anecdotes about their relationship. Jessie herself is somewhat crude and tough. Her dad is out of the picture, and her mom is a hoarder, making Jessie ashamed of her home and frustrated with her life. She shoots from the hip and doesn’t mince words. Many possibilities exist for why Chris has gone missing. The book has several strong and well drawn peripheral characters that add to the story. I never knew for sure what was going to happen, and I really came to care about both Chris and Jessie. While the plot failed to really wow me, I enjoyed the characters and the wonderful way the author told the story.

~Jon Land, TopShelf Reviews

~Kris Miller, TopShelf Reviews

~Rosemary Fifield, TopShelf Reviews

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USA TODAY BESTSELLING AUTHOR

JEFF GUNHUS

“GUNHUS DELIVERS AN UNFORGETTABLE THRILLER THAT IS THOUGHT-PROVOKING, HONEST AND TRUE BLUE.” —FOREWORD REVIEWS

“...A DELICIOUSLY CREEPY VISION OF A GRIM TOMORROW RENDERED HARROWINGLY PLAUSIBLE.”

“....AN ENGROSSING PRODUCTION INDEED, PACKED WITH SATISFYING INTRIGUE AND UNPREDICTABLE TWISTS AND TURNS.”

—KIRKUS REVIEWS

—DIANE DONOVAN, SENIOR REVIEWER, MIDWEST BOOK REVIEW

RESURRECTION

AMERICA www.jeffgunhus.com