Posts Tagged ‘Giveaways’

Not Another Book Giveaway! Also, Entertain or Impress?

Tuesday, February 1st, 2022
Tough Tender Cover
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Yes, just one week later and it’s another book giveaway.

Hard Case Crime continues its wonderful (to me, anyway) series of Nolan reprints, with two novels to a volume and terrific, movie poster-ish Mark Eastbrook covers. Tough Tender, including both Hard Cash and Scratch Fever, will be published March 22. I have ten advance copies for readers willing to do a review at Amazon (and/or other Barnes & Noble and other review sites). This is USA only and (IMPORTANT) you must include your snail-mail address, even if you’re entered and won before. [All copies have been claimed. Thank you for your support!]

These novels were the last in the original Nolan cycle – all of them (save Scratch Fever) were written for Curtis Books in the early seventies, and later minorly revised when Pinnacle Books picked the series up. Only Bait Money and Blood Money (the first two) saw publication from Curtis Books in 1973. Scratch Fever was written expressly for Pinnacle, and would be the last Nolan until Spree in the eighties. Spree, designed to be the last in the series, has been followed by a “coda” novel, Skim Deep, out last year.

I continue to emphasize the importance of reviews at Amazon in particular. Some of these books – the Hard Case Crime titles and Titan titles – you can find in your favorite brick-and-mortar bookstore. But the likes of The Many Lives of Jimmy Leighton (by Dave Thomas and me, and a book I really love), Fancy Anders Goes to War (I love you, too, Fancy!) and No Time to Spy (the new John Sand omnibus by Matt Clemens and me) can only be ordered online – Amazon probably your best bet.

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As I mentioned in recent posts, I’ve decided to slow down my rate of production. In 2021 I amped things up, and you’ll be seeing the results in the coming months, in part due to this year’s 75th anniversary of the debut of Mike Hammer in I, the Jury. I am hopeful that Spillane – King of Pulp Fiction (the biography by Jim Traylor and me) – will get some special notice. An Edgar nomination is the dream, but Mickey Spillane on Screen by Jim and me, which I remain very proud of, was roundly ignored. Skim Deep got great reviews and was mentioned on not a single “Best of 2021 Mysteries” lists.

I talked a bit last time about books like mine that aim to entertain rather than impress. It’s the books that try to impress (and are often no fun at all) that get the acclaim. Frustrating as that can be, I don’t envy my peers who get the accolades. For one thing, I’ve had my share of honors over the years – maybe more than my share. For another, to be jealous of another writer you have to be willing to trade your book for one of theirs. I might like Angel in Black to have the sales and reputation of The Black Dahlia, but I wouldn’t swap it for a box of Edgars and a boxcar of money.

If writing isn’t about the writer, it isn’t about anything at all.

I mention The Black Dahlia only because a genuine frustration I feel comes from the countless times some well-meaning reader says to me, “You are one of two favorite writers. The other is James Ellroy.”

I usually don’t comment on other writers, and I won’t here, except to say Ellroy is the rare fellow writer I have at times admitted not caring for (his work – personally, our encounters have always been friendly). It just makes a writer’s brain hurt and maybe explode when fans say their other favorite writer is somebody whose work that writer deplores.

But it makes sense that somebody who likes Ellroy’s fiction might like both his and mine. We work the same side of the 20th Century true-crime street, which is enough to attract the same readers. Sex and violence and traditional hard-boiled themes occur in both of us. What somebody like me has to wrap his head around is this: a reader may have the capacity to like two very different approaches to the same subject matter. In fact, a reader should have the capacity to do that.

Writers, however, often have tunnel vision in this area. For me writing is a trial-and-error process. I don’t mean the plotting or the story selection or any of that. I refer to the actual word-for-word hammering it out, the way sentences are assembled, the way paragraphs get put together. On another level, thematic concerns come into play, albeit often subconsciously – world view.

What I am trying to do, in a perhaps stumbling way, is what I’ve been doing all along: attempting to perfect my approach to storytelling. This is one reason why I don’t read much fiction anymore, especially mystery/crime. I’m no longer interested in being influenced. On some perhaps naive level, I am trying to come up with The Way to Write Crime Fiction.

I should be glad that Ellroy’s approach differs so drastically from mine. I should understand that the reader is somebody who goes along Restaurant Row and sometimes eats Chinese and sometimes Italian, and loves both. Nothing wrong with that.

With Ellroy, I have encountered too many smart people who like his work to dismiss their opinions. I have come to accept that I have had a strong element of envy in my reaction to him, because he is more successful in terms of readership, acclaim, earning power, etc. But where he isn’t more successful (and is in no way trying to be) is as the author of Max Allan Collins novels.

Shakespeare said the play is the thing. From this we extrapolate that the novel is the thing – the fiction (short stories and movie scripts, too) a writer creates is the thing. I congratulate any writer who can manage to make a living doing this throughout a lifetime – even me.

Even James Ellroy.

Smart people’s tastes vary. Here is the sentence many consider to be the best first sentence in private eye fiction; it’s by James Crumley in The Last Good Kiss:

When I finally caught up with Abraham Trahearne, he was drinking beer with an alcoholic bulldog named Fireball Roberts in a ramshackle joint just outside Sonoma, California, drinking the heart right out of a fine spring afternoon.

You may like it very much, and you won’t be the only intelligent human who shares that opinion. I think it’s a lousy first sentence, overloaded and too cute and trying way too hard. Really, just horrible.

We’re both right.

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Speaking of right, here’s a lovely review of The Many Lives of Jimmy Leighton from Ron Fortier.

Road to Perdition, the graphic novel, has made a list of the best 110 “thriller books.”

The film is highly regarded here.

And here.

M.A.C.

A Free Quarry Book, Plus Why Reviews Do and Don’t Matter

Tuesday, January 25th, 2022

Here is an interview with me about two upcoming Hard Case Crime titles, Quarry’s Blood and Tough Tender, conducted by the great Andrew Sumner of Titan.

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Quarry's Blood cover
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And now – the first book giveaway of 2022. I have ten advance copies of Quarry’s Blood available to the first ten interested readers. [All copies have been claimed. Thank your for your support! — Nate]

More book giveaways will follow – I hope to get some copies of No Time To Spy to offer soon, and I have on hand advance copies of Tough Tender (which collects the Nolan novels Hard Cash and Scratch Fever), which will be given out possibly next time.

These reviews are extremely important in an era when I am no longer doing signings and haven’t done a convention since Covid came calling. Even brief reviews are appreciated, particularly since there are a handful of apparent trolls out there who want to make sure I can’t make a living during my dotage.

A No Time to Spy review, by the way, accuses you fine people of laziness, concluding: “And by the way most of the positive comments to the Sand trilogy as of today are copy and paste from the Collins blog.” (Feel free to defend yourself in the comments area under that review, which is by Robert Hölzl, who knows he hates all three Sand novels – would you keep reading a series you dislike? – but does not know how to spell my name.)

Just to clear the palate, here is a wonderful write-up from Facebook that just popped up out of nowhere, from Rick Greene:

I love the Quarry novels. They are all fast reads, masterful page-turners that one completes in one or two sittings, wildly violent, wickedly funny, the ultimate anti-hero. As much as I love Quarry – and the Spillane/Collins Hammer novels – I consider Max Allan Collins’ masterwork to be the Nathan Heller series. I’m just more than halfway through these detective thrillers that take real life crimes and revisit them via a fun house mirror. The Heller’s are NOT fast reads – they are dense, complex, deeply moving stories that often leave the reader emotionally shattered at the finale. You have to pay attention and turn the pages slowly. The Heller’s are books to savor, to immerse one’s self in. I’ve said before that the Quarry books are cake and ice cream where the Heller series are a five course gourmet meal. I love them all for different reasons. Collins is my favorite living author… and I hope he goes right on living and writing for a few more decades. Just imagine if Ian Fleming had lived another twenty years – the unusual and complex places he could have taken James Bond as they both aged together. I can’t wait to read about the true last Quarry adventure and to revisit Heller as much as Collins will indulge us with. Bring it on.

This came at a lovely time because (a) the new Quarry book is about to be published, and (b) I have just started writing the new Nate Heller. And the Hellers have always been hard to write, but I find that, at my age, the process may be the same but I am not. I was struggling with the first chapter and then Rick Greene’s nice words came along.

What was really nice about these words is that they were just a heart-felt reader’s outpouring of appreciation – not a review. I feel like I can take Rick’s words to heart whereas it’s dangerous to believe any review, good or bad. And then there’s karma….
Later the same day I read Rick’s celebration of my work, I came upon a current review of (the 39-year-old) True Detective that was patronizing and close to nasty in things it said about my work. I write “bad dialogue,” I’m told, and the reader has to slog through my work, and as a stylist I have all the poetry of the directions on a paint can. I would have shared this condescending thing with you, but I failed when I tried to track it back down via Google.

The review was well-written and not stupid, although – as usual – no proof backing the opinions was provided. How about quoting a few clumsy sentences to make your point, or reprinting a particularly bad patch of dialogue? (By the way, I have been publishing since 1971 and have never before had my dialogue singled out for anything but praise.)

The danger for a writer – and let’s pretend Rick Greene was writing a review and not just a sending me a valentine – is that if you take the good reviews seriously, you have to take the bad ones seriously, too. And doing so will make a real writer – which is to say, a working writer who makes his or her living this way – crazy. I will admit that the day after I read that largely negative True Detective review, I found myself back at work on The Big Bundle, second-guessing every Heller sentence I wrote.

The truth is, many of us in the arts can remember every bad review – can quote from memory reviews dating back decades – whereas the positive ones fly away like tissue paper on the wind. It’s human nature, I guess, but at the same time I know that I have to pay no real attention to any reviews. I am past the point, fifty-one years into my novel writing career, that I can learn much. I do still learn, but it’s incremental, and it comes from trial and effort, not something a reviewer points out or suggests.

The True Detective reviewer clearly considered me a pedestrian stylist. Hey, I think I can turn a pretty fair phrase. But I can guess the writers that this reviewer likes – the ones who are writing to impress, not to entertain. I pick up books at Barnes & Noble or BAM! and read the first paragraphs by writers with reputations as stylists, writers far more celebrated than I ever will be, and what I see is overloaded, overwritten, trying-too-hard bullshit (do not ask for names).

Reviews, as far as my growth is concerned, are irrelevant to a writer who has been working as long as I have. All I know how to do at this stage is write the book I would like to read. Really, I think that should be every novelist’s goal – write a book you wish somebody else would have. Please your own taste and hope enough others out there will have similar enough tastes to keep you in business.

And yet I am doing a book giveaway, soliciting reviews. I don’t do this so that you will tell me how wonderful I am (though feel free to do so). I do it to help sell books, so I can stay in business. To get the word out.

I talk a lot here about how, in recent years, in recent days, I have felt cut off from current popular culture. Today I went over the copy edited manuscript of the second Fancy Anders (Fancy Anders For the Boys) and was told I shouldn’t mention Mantan Moreland or Jap Zeroes. How am I supposed to react to that? As someone who writes about the Twentieth Century, must I clean up that century’s idiosyncrasies and failings? Or do I have a responsibility to depict that century as accurately as my flawed memory will allow?

But the truth is, it’s harder for me now to be accepted in a world of publishing where I am white and old and male. It’s not the marketplace’s fault – it’s just the reality. I am so very, very lucky that publishers like Hard Case Crime, Titan, Neo-Text and Wolfpack still find me a worthwhile addition to their lists. In a world where I have to explain to people who Mickey Spillane and Mike Hammer are, I am damn lucky to still be in business at all.

* * *

Some advance readers of Quarry’s Blood have nice things to say about it at Goodreads.

Check out this lovely piece at Crimereads on Marshall Rogers, who illustrated my brief run on the Batman comic strip.

Finally, has it really been twenty years since Road to Perdition was released?

M.A.C.

Hey Kids – The Last and Biggest Book Giveaway of 2021!

Tuesday, November 2nd, 2021

This is the last book giveaway of the year – ten copies of Fancy Anders Goes to War and ten copies of The Many Lives of Jimmy Leighton. Write me at macphilms@hotmail.com with your order of preference. You pledge to write a review at Amazon for these – I specify Amazon because both books are exclusive with Amazon on Kindle and (for now at least) as physical media…you know, books.

If you hate the book, you are released from your pledge to review it, though of course you may anyway. This is a USA only book giveaway. Be sure (IMPORTANT) to include your snail-mail address, even if you’ve won previously.

Here, by the way, is a link to NeoText and their announcement of The Many Lives of Jimmy Leighton, where you can also buy it.

Anybody out there who reads and likes either of these books, your Amazon reviews are vital this time around. As I mentioned last week, neither book went out to the publishing “trades” – Publisher’s Weekly, Kirkus, Library Journal and Booklist. The reason is boring, so try not to let your eyes glaze over: NeoText is an e-book publisher, and fairly late in the game I convinced them (they are good people) to do print versions as well. These are Print-On-Demand books (and they look great). But “late in the game” means we weren’t able to get them to the trade reviewers on time.

Some of the Internet reviewers and a few newsstand magazines will get copies, though. But obviously it’s vital that my fans (both of you) review these books, preferably favorably, and get the word out.

Dave Thomas and I are doing our best to let the world know about Jimmy Leighton. We recorded a two-part Gilbert Gottfried podcast last week, which should “drop” (God I hate that expression) soon. We have done other podcasts together and separately, and some online interviews, too. Some links will follow at the end of this update.

Dave and I have become good friends, which I can hardly believe, stone SCTV freak that I am. He is a great guy, warm and funny but also with a genuine streak of Bill Needle (SCTV fans will understand). While we met a couple of times (unmemorably for Dave) before, during the writing of The Many Lives of Jimmy Leighton we did not. The plan had been for one of us to travel to the home/locale of the other, before we dug in to the writing – to plot the book, get a synopsis together, in person.

Then Covid came along.

So The Many Lives of Jimmy Lives became a Covid book – developed by Zoom and daily telephone calls (more than once a day, often). Dave did the first pass of each chapter, but called me frequently during the writing – he would read me what he’d written so far, I’d give notes, and we’d kick around where the chapter might go from there. Dave gets bored with just executing the synopsis, so the story became fluid in an interesting and positive way. I have never worked this way, and it was a glimpse into how SCTV and TV writers’ rooms work.

Dave had a bad health scare along the way – not Covid-related, other than the anxiety caused by having to deal with a health crisis when hospitals were overflowing with Covid cases – at a point where we had the first five chapters and a synopsis ready. We had already decided that we would do just that much before taking it out to market.

With Dave in the hospital, quite frankly fighting for his life, I set about to sell our book. I tried a couple of venues where I’ve had some success and got the kind of frustrating responses that longtime pros are used to – glowing enthusiasm and delight leading up to “not right for our list” as the punchline.

I was not prepared for that, though should have been. It is always difficult to sell a genre hybrid, and Jimmy Leighton was exactly that – half contemporary science fiction, half gritty crime novel. I brought my agent on board to try Canadian publishers, because Dave is a national treasure up there – a genuine superstar, as Bob and Doug are among the few Canadian icons. We got nowhere.

My agent was about to take it to other American publishers (only two had seen it) when I mentioned the project to my editor at NeoText, where I had just delivered Fancy Anders Goes to War. He was eager to see the chapters and proposal. The sale came quickly.

The Many Lives of Jimmy Leighton, without text, trimmed
E-Book: Amazon Purchase Link
Trade Paperback: Amazon Purchase Link

Fancy Anders was set up to be published as three novellas, and each – although designed to add up to one book – was a stand-alone. We had brought the great Fay Dalton aboard to do elaborate illustrations for the Fancy novellas, so to give her time to accomplish that, we set up a program whereby the publication of the three Fancy novellas would be staggered over six months at least.

Initially we were going to publish Jimmy Leighton the same way. But first Dave – then I – became concerned that the three sections of Jimmy didn’t each stand alone in the way Fancy did. And we had early on abandoned the idea of illustrations for the book, other than the cover art. So – again – fairly late in the game, we lobbied for NeoText to publish Jimmy as a single book. The novel had been written that way and it began to make sense following that path, not the Fancy one.

It’s cost us reviews, which is (as I’ve indicated) where you come in.

I know I harp on this a lot. But the nature of the beast these days is that you nice people who actually still read books need to support the authors you like with reviews online, particularly at Amazon.

I irritated some readers when I complained about self-professed fans of mine who would (in my view) attack novels of mine that didn’t suit what they wanted from me. On artistic grounds, my hopping around from here to there has a lot to do with me staying fresh and also pursuing various interests, which takes me various places, obviously. But on practical grounds, I write a lot to stay in business and bad reviews from people who only like some of my work, and go out of their way to complain about what they don’t like, costs me money. Worse, it can cost me venues.

This is true for all of us telling stories in the very old-fashioned prose fiction way. Support the authors you like. Don’t just write reviews of my stuff, but theirs, too (I’m fine with me being at the top of your list, though). Even a couple of sentient sentences will do, but longer expressions of delight are good also (very Jerry Lewis cadence there)…even balanced, well-reasoned opinions are encouraged. Those numbers – how many reviews and even just star ratings have been logged – are key for the success of a book, and for an author to continue producing.

Novelists are an endangered species, like the spotted owl. Keep us healthy and fed, would you? Spotted owl is delicious, by the way.

* * *

I’ve had some wonderful comments on my ten-part literary memoir, A Life in Crime. I hope to write a few more entries over time, and eventually collect them into a book. Among the things I did not discuss at length in the series are my adventures in indie filmmaking, comics/graphic novel writing, the Spillane novels (Caleb York deserves a chapter of his own), and a bunch of other stuff.

The serialization of A Life in Crime allowed me to focus on the Spillane biography, which I completed my draft of over the weekend. I still have the lengthy “Spillane Files” appendix to work on, although most of that was already put together by Jim Traylor, who has been working on this project literally since Mickey’s passing in 2006.

This will absolutely be the definitive book on Mickey Spillane – the story of his life, and the story of his life’s work. We hope to send it to our publisher, Mysterious Press, this month.

* * *

I was disappointed in Halloween Kills. The same writing/directing team who did the much superior Halloween reboot stumbled here, sacrificing a political allegory about Jan. 6 and the divisiveness in America to a humorless and unpleasant gore fest. I understand this is the second of a trilogy and I liked the first film enough to give the third one a try.

Barb and I watched Halloween 3: Season of the Witch, which is flawed but very entertaining and underrated. Halloween Kills could have benefitted from this much unloved non-sequel’s strong but fleeting gore, and heavy-handed but effective satire.

In the Halloween spirit, I showed Nate The Final Girls, the 2015 horror comedy that has a group of current teens getting stuck inside an ‘80s slasher movie. It’s somewhat little known but is well-worth checking out, if you are at all a fan of the Halloween/Friday the 13th genre.

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Here’s a great Fan Base interview with Dave Thomas on our novel, The Many Lives of Jimmy Leighton.

Check out the Dave Thomas Appreciation Page at Facebook.

Finally, here’s the Word Balloon podcast with Dave about the book (and his SCTV adventures).

M.A.C.

Not Another Book Giveaway! Plus Covering Ms. Tree

Tuesday, September 21st, 2021
Bombshell, Wolfpack edition cover
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E-Book: Amazon Purchase Link

We have ten copies to give away of the lovely new Wolfpack edition of Bombshell by Barbara Collins and me.

[All copies have been claimed! Thank you for participating, and check back soon for more giveaways. –Nate]

Bombshell is the historical espionage thriller in which Marilyn Monroe meets Nikita Khrushchev on his visit to America in 1959. It has been published previously with Barb receiving top billing, and again under our joint “Barbara Allan” pen name. I’ve been given top billing here to bring it in line with my other Wolfpack titles, but frankly Barb deserves more credit than I do – the novel springs from a short story of hers and reflects her long interest in (and expertise about) Marilyn Monroe.

Again, the main event this week is another chapter in my ongoing memoir, A Life in Crime, which I’ve done for NeoText to help promote Fancy Anders Goes to War, which comes out on October 5, with The Many Lives of Jimmy Leighton (by Dave Thomas and me) coming out October 25.

This week is the story of how Ms. Tree came to be, and includes a fantastic array of Terry Beatty’s cover art (and the covers by guest artists of the DC issues and the current Titan archival collections). It’s right here.

Ms. Tree: The Cold Dish cover
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E-Book:
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Norm Macdonald made me laugh harder than anyone I can think of. His deadpan talk-show delivery of corny groaner punchlines after torturous build-ups seemed at odds with his razor-sharp surprising stand-up sardonic observations that shattered the boundaries of political correctness. With quietly self-amused fearlessness he tested what an audience would tolerate, flirting with the ugliness of dark humor yet consumed by a sunny Canadian decency and integrity. The nasty side of his humor was funny in part because he seemed to have an innate sweetness as well as a sense of his own absurdity.

He was at his peak of popularity when he held the news desk at SNL, with two movies on the way, positioning him to be the next Bill Murray or Michael Keaton. But his gambler’s streak kept him from playing it safe, instinctively knowing that what he had to offer was his willingness to go where he shouldn’t like the class clown who faces expulsion but has one last crack to make about the teacher.

So when the boss at NBC, Don Ohlmeyer, ordered Norm to lay off the O.J. Simpson jokes, and the Michael Jackson digs too, Norm simply smiled that small sly smile and upped the ante. My favorite Norm moments were shared by the victim of those moments, prop comic Carrot Top, who showed real class here by sharing with an audience his own skewering.

Norm only topbilled two movies – Dirty Work and Screwed. Neither was loved by critics at the time, but both capture Norm at his best, in particular the dizzingly bad-taste exercise that is Dirty Work (“Note to self: making love to blow-up doll is not as good as advertised”). And Screwed teams Norm with Dave Chappelle, with Elaine Stritch and Danny DeVito offering delightfully unhinged support.

In this humorless, uptight era, the death of Norm Macdonald is the death of comedy.

* * *

This podcast interview with me becomes available today.

M.A.C.