Warren, you have been a part of the
literary scene for nearly half a century.
At the age of 84, you are one of the elder statesmen for the publishing
industry. Where do you see the
book industry heading? As I have
been predicting ever since I first digitalized all my work more than a dozen
years ago, and as I said when I introduced the SONY reader in 2007, as the
first stand-alone reader at the Las Vegas Electronics Show, the publishing
business will morph massively to cyberspace and considerably shrink the number
of stores selling printed books, all of which has come true. What I did not
foresee was the number of self-published books that would hit the marketplace and
offer hard competition for traditionally published books.
What is coming long-term,
in my view, is a massive number of fiction books available on the Net, where it
will be a challenge for any writer of fiction to be discoverable. Even major
stars in fiction will find that they will have to work doubly hard to keep
their brand in the eye of the reading public. Many will eventually lose their
luster. The traditional publishers will not spend the marketing and advertising
money to create new branded authors, although they are hoping, by publishing their
first novels, to test the waters for their future brands. There will be many flash-in-the-pan
authors who will not warrant future investment in their careers. Indeed,
authors of non-genre fiction like myself will be better off investing in their
own branding, especially in today’s marketplace of fading print stores. Being
discoverable as an author will not cut it without finding ways to penetrate the
reading marketplace. This will grow more and more expensive as competition
accelerates. There will be many frustrated novelists with hopes and dreams of
fame and fortune.
You have tried traditional publishing,
Amazon exclusives, and self-publishing.
Which method works best? The publishing method that works best
is the one where the marketing is intense and repetitive. Traditional
publishers cannot afford it. Amazon, too, will hope that their various methods
of discoverability will work for its authors. The joker in the deck of course
will be the mystery of “going viral”. In the end it is always word of mouth
that will boost readership. For the non-genre author who dreams of being the
next Hemingway, Faulkner or Fitzgerald, the stakes are higher than ever. The
literary filters that brought their works to the general public are
disappearing and what is taking their place is too scattershot, too numerous,
too diffused. Information is too massive. Opinions do not have the same power
as they had when media and information was limited. Indeed, the best shot an
author might have of being publicized and discovered is if his novel is adapted
to a mega-hit movie. My conclusion is that the only real hope today for an
author is if he takes the reins of his own career and attempts to find a
marketing solution to attract readers. For a totally unknown author the best outcome
will be the satisfaction of becoming a novelist, a small following among
friends and relatives and a hands-on approach with signings in the locality in
which the author lives. Beyond that, he or she will have to trust to luck and
the prospect of spending a great deal of money for marketing.
How would you describe your body of
work? This is a tricky question. I
write about love, erotic love, father and children love, grandparents and grandchildren
love, love between siblings, and the vast gulf between aspirations and
fulfillment and how it frustrates people who dream but cannot come to terms
with the failure of their dreams. In The
Serpent’s Bite, the female character becomes a monster out of frustration
over her failed obsession to become a movie star, a direct slap at the
celebrity culture. I have always been interested in power and coping with its
loss. A number of my books do not end happily e.g. The War of the Roses, The Serpent’s Bite. In Hollywood I have been
dubbed a “relationship writer,” whatever that means. Actually, many of my books
end with a coming-to-terms with life’s adversity, and reaching a kind of
philosophic calm, accepting life with all its problems, unfairness and
cruelty. My focus is the
human condition in all its joys and failures. Many of my books, including my
mystery series, are written from a female point of view. I am in awe of the
strength of women in general and many of my books show these strengths as well
as their weaknesses. In The Serpent’s
Bite I believe I have created a monstrous female character who gets her
just reward at the end.
Over 50,000 books are published weekly
in America. What does one need to
do to stick out and get discovered? They
need to do exactly what I am doing: Banging the drum as loud as I can. It is hard for today’s author to get
heard and discovered amid enormous competition, less shelf space, short
promotional span, and an avalanche of competition on the internet. I am setting the standard for such an
approach but the outlay of money will do nothing unless there is a substantial
backlist that might benefit the author. In my case the overspending on The Serpent’s Bite is designed to
attract readers to my 32-book backlist. Nevertheless I trust to luck that the
book will find its audience. In my opinion, it will be the harbinger example of
what’s to come in establishing the non-genre writer’s career.
But
discoverability is merely the opening gun. If word of mouth does not kick in
all the promotion in the world will make no difference. Also, when you talk of
50,000 books, you are generalizing. Non-genre fiction is between a quarter and
a third of all books on the Net. I write non-genre fiction, which further
reduces the fiction numbers. Genre writers have the advantage especially if
they are “factory” books, meaning books turned out by Patterson, Cussler and
numerous romance novelists. These writers don’t write their own books anymore.
They supervise their branded names and make enormous sums of money. Romance
fiction is churned out by thousands of writers and follow strict formulas based
on the needs and preferences of their readers. Sorry, that is not my goal or my
interest. For me, the joy is in the work, which is everything. If a reader gets
into my mindset and becomes a faithful reader what more can I ask? When all is
said and done the novel is a one-on-one communication system. I have been lucky
as hell making it a career. But then, one must consider that I did suffer
through endless rejections of my work until I was 45 years old, when I was
finally able to interest publishers. I immediately quit my business interests
to concentrate on my writing career exclusively with single-minded devotion.
What advice would you offer a
struggling writer? I can only give
advice to a “real” writer who puts his work above all other forms of activity.
For him or her, the issue is not necessarily making a living but it is in the
artistry, satisfaction and joy of the process. I do not agree with Samuel
Johnson about only writing for money. A real writer writes because of his
artistic need above all.
Warren, you’ve been married for over 60
years to the same woman. How did
you come to write a book like The War of
the Roses, which is not only about divorce, but the nastiest breakup of all
time? It is the work of the
imagination. Writing novels is creating a parallel world out of one’s
observations, experience, insight and imagination. It is very difficult for
people who do not write fiction to understand. Most people are literal minded
and have no understanding of how the subconscious works. Some believe that
these characters are created by literally basing them on real people going
through these experiences. Not really. They are amalgamations of the writer’s
conscious and subconscious world. Sets and props to indicate locales, just like
the movies, and provide the backgrounds, but the characters are created out of
whole cloth within the writer’s imagination and are as real to the writer as
the people he meets in his daily life.
One of the reasons you are publishing
new books at a torrid pace is that you want to establish your legacy, your
authorial voice. You released five
new books simultaneously in an Amazon exclusive last year. Now you are self-publishing a new book
this fall with plans to release two new books per year over the next 4-5
years. Are people amazed at how
prolific you are? I guess it does
surprise people, but if you write seven days a week for most of the year, your
output is rather startling. When
the input stops, I stop. As Lewis Carrol said, to paraphrase, “Start from the
beginning and go on until the end, then stop.” That is my mantra. When it ends, I will stop.
You already have over two million words
in print. How much of writing
comes naturally to you vs. it being a labor? Do you edit much or do you stick with your first draft? The
secret of writing is rewriting. I rewrite constantly, over and over again until
I am reasonably satisfied. I usually can’t tell if I got it right until I’ve
written one hundred pages or so. It is at that point that I either abandon the
book or slog on.
Everyone has hopes and dreams. In your new book, The Serpent’s Bite, it appears that if unchecked, one’s ego or lust
for success and fame can threaten people and those around them. Is everyone searching for their
victory, even if at the expense of others? Not everyone. But the thirst for recognition is a powerful motivator,
e.g. Facebook. For many people, the thirst for the unattainable is a
destructive force for human nature. We are now deeply immersed in a celebrity
culture and the uncelebrated yearn for the transient ego satisfactions of being
“known by many” and “celebrated”. On top of the charts is the person who longs
to be a movie star and how this longing and obsessive pursuit totally destroys
one’s moral sense. In the case of the woman in my book, she will do anything it
takes, including the murder of her father and brother to achieve what she
believes is her ultimate goal. She is the epitome of evil. Another character in
the book, the illegal Mexican wrangler, will also do anything to better his
position. These characters illustrate the dangers of desperation. It is not
easy to find the balance required to come to grips with compromising one’s
goals and ambitions and reaching some personal truce, the so called “philosophic
calm.”
The
Serpent’s Bite takes its title as a play on the famous William
Shakespeare quote that was uttered by King Lear: “How sharper than a serpent’s
tooth it is to have a thankless child.” Your book reveals two children who believe
they deserve more from a dad who has offered love, guidance, and millions of
dollars. How hard is it to cut off
a child? As a parent, I believe that there is no greater, more
obsessive love than for one’s progeny. As a committed father the protective
role for one’s children is built into the human condition. A child who grows up
without a father is missing a decisive link in his upbringing. A father who
dismisses or ignores his progeny is depriving his offspring of something
profoundly important. It is, of course, a two-way street, as King Lear and
millions of others have discovered. A child who disrespects or dismisses his
parents is also missing out on a profound relationship. I am a father who would
never, under any circumstances abandon his children.
The
Serpent’s Bite deals with the taboo subject of incest. Though you show the dangers associated
with it you also scripted several erotic sexual scenes that, if you forgot for
the moment are between brother and sister, stimulate the reader, leaving one
just as conflicted as the characters.
Do you expect people to be repulsed or engaged by this? Both.
Incest is a recognized and much publicized aberration. There are numerous
novels written with incestuous characters and thousands of porno sites that
offer the subject for erotic stimulants. In today’s world few things are taboo.
Google “incest” or “novels about incest” to see what I mean. But of all the
taboos incest is still looked upon as the worst of all, hence my use of it to
illustrate Courtney’s evil character. In my opinion it is not only legitimate
to discuss but it is probably widely practiced. In the context of my novel it
is just one manifestation of Courtney’s dysfunction.
Your books don’t seem to have happy
endings. Is that contradictory to
what most people expect or want?
Maybe so, but some of the greatest books ever written have not had happy
endings. Life, itself, does not have a happy ending. I can cite hundreds of
books with no happy endings that have stood the test of time e.g. Madame
Bovary, Anna Karenina, etc.
Actually a number of my books end happily, Random Hearts for example, Twilight
Child, for another.
If nothing else, does The Serpent’s Bite, War of the Roses,
and your other books have the reader feeling better about their lives as a
result of seeing these reckless, violent, and angry characters play out lives
of destruction and division? Yes,
people see them as cautionary tales. I cannot tell you how many people have
come up to me to say that The War of the
Roses changed their lives by informing people it is better to compromise
about material things in a divorce than let it get out of hand.
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