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Researching the Habits of Highly Prolific Authors (and I could use your help!)

Researching the Habits of Highly Prolific Authors (and I could use your help!)

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Maxwell Grant writes the Shadow-small

Almost exactly a year ago, I wrote an article here on Black Gate about the habits of prolific authors. The research I did for that post sparked an interest in me that’s only grown. Now I’m working on a book-length study of how some of the great writers of the 20th century managed to write hundreds of books, most of them while hammering away on manual typewriters. There are lots of books on increasing your word count, but none, as far as I know, focus on the actual methods of the most productive writers.

I’ve set myself some limitations. First, to be given a chapter in the book, the writer must have written at least 300 books. They must also have enough biographical material that I can gain insights into their work methods. Also, they must be dead so that I can look at their careers as a whole, they must have been active in the 20th century so their work is more applicable to the modern era, and they must have written in either of the two languages I am comfortable reading — English or Spanish.

At the moment I have the following list: Isaac Asimov, Walter Brown Gibson, Corín Tellado, Marcial Lafuente Estefanía, Lauran Bosworth Paine, Ursula Bloom, Enid Mary Blyton, Barbara Cartland, and John Creasey. Some writers who don’t quite fit the bill but who have something worth quoting are given passing mention. Frank Gruber is a good example. His book The Pulp Jungle is essential reading for anyone who wants to know the inner workings of a true wordsmith.

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More Thoughts on Ghostwriting for a Living

More Thoughts on Ghostwriting for a Living

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Disorganized_books_piling_one_another

I haven’t written this many books, but I’m working on it

Last year I wrote an article about making a living as a ghostwriter. I talked about how a plethora of small presses have created a new pulp era, in which ghostwriters put out large numbers of stories and short novels under house names. It’s a world that rewards hardworking writers who can hit high word counts and deliver in a variety of genres.

That was more than six months ago, and I thought I’d share some more insights I’ve had from the crazy new world of wordsmiths.

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The Public Life of Sherlock Holmes: Cool and Lam are Back!!!!

The Public Life of Sherlock Holmes: Cool and Lam are Back!!!!

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coollam_heatErle Stanley Gardner is best known as the creator of Perry Mason. Mason, of course, was the famous lawyer portrayed almost three hundred times (!!!) by Raymond Burr, spanning three decades of television. But Gardner was a prolific pulpster who wrote far, far more than just Mason stories.

For example, his Ed Jenkins was one of the early hard boiled detectives appearing in Black Mask. And under the name of A.A. Fair, he wrote twenty-nine thoroughly entertaining novels about the mismatched PIs, Bertha Cool and Donald Lam. And that’s who we’re going to talk about today. Make sure you read to the end for some very cool news (No, don’t just jump ahead to there, please!).

Cool and Lam appeared in twenty-nine novels over thirty-one years, with the final tale coming out the same month Gardner passed away.

Bertha Cool, profane, massive, belligerent and bulldog, sat back of her desk, her diamonds flashing in the morning sunlight as she moved her hand over a pile of papers….

Bertha Cool said, “Now, don’t make any mistakes about Donald. He’s a go getter. God knows he hasn’t any brawn, but he has brains. He’s a half-pint runt and a good beating raises hell with him, but he knows his way around.

Donald can find her if anyone can. He isn’t as young as he looks. He got to be a lawyer, and they kicked him out when he showed a client hot to commit a perfectly legal murder. Donald thought he as explaining a technicality in the law, but the Bar Association didn’t like it. They said it as unethical. They also said it wouldn’t work…

‘Donald came to work for me, and the first case he had, damned if he didn’t show ‘em there was a loophole in the murder law through which a man could drive a horse and buggy. Now they’re trying to amend the law. That’s Donald for you!”

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The Public Life of Sherlock Holmes: Get Hard Cased (with Charles Ardai)

The Public Life of Sherlock Holmes: Get Hard Cased (with Charles Ardai)

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ardai_fiftyCharles Ardai co-founded the internet company, Juno. That success gave him the opportunity to start his own publishing imprint, Hard Case Crime, which both reprints forgotten pulp novels and also publishes new novels in the genre. The roster of Hard Case Crime authors is beyond impressive: Lawrence Block, Max Allen Collins, Lester Dent, Erle Stanley Gardner, Stephen King, Wade Miller. Richard Stark, Donald Westlake and many more.

Hard Case Crime has found several “lost” books by some big names, including James M. Cain and Gore Vidal. While Erle Stanley Gardner is best known for Perry Mason, he put out 29 books about a mismatched duo of detectives, Bertha Cool and Donald Lam. The Knife Slipped was to have been the second in the series but it was cancelled by the publisher. A week from Tuesday, on December 6, a veritable treasure goes on sale. Hard Case Crime is printing, for the first time ever, that unpublished Cool and Lam novel. I’ll be writing ab out Cool and Lam right here, next week. But today, I’ve got a Q & A with Charles Ardai!

A never before published Cool and Lam novel. Wow! How in the world did you get your publisher hands on that?

Jeffrey Marks, a biographer in the mystery field who has written about Craig Rice and Anthony Boucher among others, was working on a bio of Erle Stanley Gardner when he came across references to an unpublished Cool and Lam novel among Gardner’s papers. He brought it to my attention, and my reaction was roughly the same as yours: Wow. With the assistance of Gardner’s grandson we got a copy of the typescript from the University of Texas, where Gardner’s papers are held, and I read the thing, hoping against hope that it hadn’t remained unpublished for 75 years for good reasons. And far from deserving to be unpublished, I found it was easily one of the most enjoyable books in the series!

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The New Pulp Era: Ghostwriting, Ebooks, and the Economics of Now

The New Pulp Era: Ghostwriting, Ebooks, and the Economics of Now

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I'm going to say absolutely nothing about that sword.
I’m going to say absolutely nothing about that sword.

A lot of writers and readers are saying we have entered a new pulp era, a repeat of those days when hardworking writers pumped out exciting fiction in large quantities while facing very tight deadlines. The old pulp era died long ago, and was replaced with modern traditional publishing. Under that model, writers usually only came out with a book a year, and if they did more than that it was generally under a pseudonym. Traditional houses seem to have been under the impression that “less is more” when it came to a writer’s output.

Readers disagree. They want more from their favorite authors, and they want it now. Those writers who have come to the top of the new indie publishing revolution tend to be those who write a lot, generally in series, and keep up a consistent quality. Some traditionally published writers such as Guy Haley are moving that direction too. In our interview with him, he talked about how he has to write five novels a year if he wants to make a living at his writing.

Even superstars such as James Patterson are getting in on the game. A post at Non-Fiction Novelist talks about how Patterson’s new project “Book Shots” fits perfectly into the pulp mentality. These thrillers and romances are touted as having lots of action and no padding, just like a good pulp story should. They’re all under 150 pages and cost less than $5. Plus there’s a whole lot of them.

I’m seeing a similar trend in online start-up publishers. My own body of indie published work, while doing OK, is not bringing me enough to live on, so I make up the deficiency by ghostwriting. This is a relatively new venture for me as I shift steadily away from nonfiction writing, but the trend I’m seeing is remarkable.

Ghostwriting always involves a strict written agreement not to take credit for a work, so what follows will by necessity be of a general nature.

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Blogging Marvel’s Master of Kung-Fu, Part Three

Blogging Marvel’s Master of Kung-Fu, Part Three

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Master_of_Kung_Fu_Vol_1_22Giant-Size_Master_of_Kung_Fu_Vol_1_2Master of Kung Fu #22 sees the welcome return of artist Paul Gulacy who came and went a bit in these early issues. The first half of the story sees Shang-Chi set upon by Si-Fan assassins at a Chinese restaurant in New York before infiltrating his father’s skyscraper base of operations. Fu Manchu has captured both Sir Denis Nayland Smith and Black Jack Tarr. Shang-Chi stows away aboard Fu Manchu’s private jet unaware of their destination. Once on the ground, he follows as his father’s minions lead their captives to a cave in the side of a mountain which has been filled with dynamite. Shang-Chi rescues the two Englishmen and prevents the detonation which would have seen Fu Manchu kill his archenemy in the same instant he destroyed Mount Rushmore. Doug Moench, like Steve Englehart before him, has an embarrassment of riches that are largely squandered with insufficient page count to fully develop his narrative. This would soon change, however, and make the series one of the finest published in the 1970s.

Most of Marvel’s Giant-Size quarterly titles were throwaways, much like too many of their special Annual editions, but Giant-Size Master of Kung Fu #2 was a 40-page epic designed to showcase both the character of Shang-Chi and the talents of the series’ writer and artist, respectively. Doug Moench had been harboring a desire to address racism and bigotry directly and a series with an Asian protagonist gave him the perfect forum to do so. Paul Gulacy now had the freedom to display martial arts fighting as well as moving displays of romance and longing relying solely on the power of his images in a string of panels that conveyed storytelling free of words. Even more significant is the fact that Gulacy’s depictions of lust and attraction never pandered to titillation as the artist evinced a mature understanding of the art form’s possibility. The fact that he was strongly influenced by cinema and Steranko’s pop art work of the 1960s take nothing away from the fact that Gulacy was coming into his own as an artist with this title.

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The Public Life of Sherlock Holmes: A Century of John D. MacDonald

The Public Life of Sherlock Holmes: A Century of John D. MacDonald

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MacDonald_WSJIt’s no surprise, given the title of this column, that I’ve written more Sherlock Holmes-related posts than about any other topic. What is surprising to me, given that I know myself fairly well, is that I’ve only done one post about John D. MacDonald. You can read some stuff I’ve written about him over on my own blog, Almost Holmes, here and here and here. But perhaps because I haven’t been able to delve deeply enough into re-reading and analysis, I’ve not come back to him at Black Gate. Until today.

Yesterday marked the one hundredth anniversary of John MacD’s birth. When MacDonald died in December of 1986 of heart-related problems, he was one of the most influential and popular authors in America. Thirty years later, while he is still respected and cited by many writers, including John Jakes, Randy Wayne White and others, he’s somewhat forgotten. Which is both sad, and something that I would like to ponder on for a future post as well.

A quote from Stephen King:

“John D. MacDonald has written a novel called The End of the Night which I would argue is one of the greatest American novels of the twentieth century. It ranks with Death of a Salesman, it ranks with An American Tragedy,”

A quote from me, Bob Byrne (I admit, I don’t quite have the cachet of that King fellow):

“John D. MacDonald is one of the greatest writers of the twentieth century: In any genre. He was a skillful storyteller and a first-rate social commentator.”

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Deities and Demigods of the Word Count: or, How to Write 500 Novels and Still not be Considered Prolific

Deities and Demigods of the Word Count: or, How to Write 500 Novels and Still not be Considered Prolific

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Nice book, but where are the 800 others you lazy git?
Nice book, but where are the 800 others you lazy git?

Last week, M Harold Page posted an interesting article here on Black Gate about achieving a steady word count as a writer, giving some insights into his own practice. He said,

I manage 1,000 words a day at the start and an average of 3,000 words a day once I’m underway. Sprinting – 5,000 to 7,000 words a day; that’s for the last half.

Many newbie writers would screech in horror and say no one can write that fast, while most MFA snobs would turn up their noses and say it’s impossible to write anything of worth at that rate, that writing must be an agonizing process of constant revision and polishing. They’re both wrong, as Page’s own writing attests.

The fact is, however, Page’s speed is rather modest. Mine is about the same, so I’m not knocking him. I know how hard it is to keep up a good momentum while maintaining your responsibilities to family, not to mention the distractions of the Internet and local pub. I’m fortunate enough that writing is my day job, so at least I don’t have a separate career getting in the way of my productivity.

Page and I may both have a bunch of books to our name, but we are mere henchmen, mere spear carriers to the great Deities and Demigods of publishing — the truly prolific. Dean Wesley Smith, who has written well over 100 novels and about 500 short stories and only seems to be picking up speed, recently shared a link to an interesting blog post titled 17 Most Prolific Writers in History. I have a lot of quibbles with this list, as I’m sure you will too, but while it isn’t authoritative or entirely accurate, it’s certainly inspiring and daunting in equal measure.

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Blogging The Insidious Dr. Fu-Manchu by Sax Rohmer, Part Eight – “Andaman — Second!”

Blogging The Insidious Dr. Fu-Manchu by Sax Rohmer, Part Eight – “Andaman — Second!”

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NOTE: The following article was first published on June 6, 2010. Thank you to John O’Neill for agreeing to reprint these early articles so they are archived at Black Gate which has been my home for nearly 6 years and 270 articles now. Thank you to Deuce Richardson without whom I never would have found my way. Minor editorial changes have been made in some cases to the original text.

51Jj9Pe2unL._SX315_BO1,204,203,200_248009“Andaman — Second!” was the seventh installment of Sax Rohmer’s serial, Fu-Manchu first published in The Story-Teller in April 1913. The story would later comprise Chapters 18-20 of the novel, The Mystery of Dr. Fu-Manchu (originally re-titled The Insidious Dr. Fu-Manchu for U.S. publication). Rohmer returned the series to its Holmesian roots by mining Sir Arthur Conan Doyle’s “The Adventure of the Bruce-Partington Plans” for inspiration. Conan Doyle’s case concerns stolen submarine plans taken from Cadogan West while Rohmer’s story involves stolen aero-torpedo plans taken from Norris West. “The Adventure of the Bruce-Partington Plans” was published in 1912, just a few months before Rohmer wrote “Andaman — Second!” and shows that Sherlock Holmes was still very much a model for the Fu-Manchu series at this early stage.

The story starts out with Dr. Petrie in the final throes of fighting his feelings for Karamaneh. He tries telling himself that slavery in the 20th Century is an impossibility, but he cannot doubt Karamaneh’s account of her tragic life of bondage and enforced servitude. Try as he might to convince himself that she is too foreign to his values and culture and that she has been jaded and corrupted by her life and experiences, he cannot deny his heart. The reader’s expectation at this point is that Rohmer will bring the two lovers together once Petrie wins her freedom from Dr. Fu-Manchu. Of course, it is worth remembering that Rohmer delights in breaking with tradition. Happy Endings are never assured in his fiction.

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Blogging Sax Rohmer’s The Insidious Doctor Fu Manchu, Part Seven – “Karamaneh”

Blogging Sax Rohmer’s The Insidious Doctor Fu Manchu, Part Seven – “Karamaneh”

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NOTE: The following article was first published on May 23, 2010. Thank you to John O’Neill for agreeing to reprint these early articles, so they are archived at Black Gate which has been my home for over 5 years and 260 articles now. Thank you to Deuce Richardson without whom I never would have found my way. Minor editorial changes have been made in some cases to the original text.

The_Mystery_of_Dr._Fu-Manchu_cover_1913-227x350karamaneh-1“Karamaneh” was the sixth installment of Sax Rohmer’s serial, Fu-Manchu first published in The Story-Teller in March 1913. The story would later comprise Chapters 16 and 17 of the novel, The Mystery of Dr. Fu-Manchu (initially re-titled The Insidious Dr. Fu-Manchu for U.S. publication). The story opens with Nayland Smith, Dr. Petrie, and Inspector Weymouth preparing a dragnet around the area where Dr. Fu-Manchu is known to have a base of operations. They have no illusion that they will capture the doctor himself, but hope to round up enough of his minions to deal a significant blow to the enemy.

Smith and Petrie are among a dozen Scotland Yard men combing the area. As they pass by a gypsy encampment, Smith recognizes one of the gypsies as a disguised dacoit who is wanted for murder in Burma (where Smith serves as police commissioner). While they fail to apprehend the man, they succeed in capturing the female gypsy before she can escape. The disguised gypsy woman turns out to be the mysterious slave girl who has repeatedly saved Petrie’s life since Smith first involved him in the affair. Rohmer does an excellent job of conveying Petrie’s mixed feelings of compulsion and revulsion when faced with this dangerous and exotic woman.

The reader shares Petrie’s ambivalence towards this complex character. She is beautiful and graced with a foreign otherness that defies precise identification and she has risked her own life several times in order to save Petrie, yet she has also willingly participated in the murder of countless other innocent men. Rohmer makes much of her unabashed stare that few men would be able to hold. Petrie is fascinated with her, but also feels ashamed that the object of his affection is opposed to all that defines a British subject at this point in time.

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