The Intriguing Case of 'International Crime Month'

If I were a private investigator, this case would have been too easy, the clues laid out like a road map: a number (1E07), a time (2 p.m.) and a shady, underground location (the depths of New York City's Javits Center during BEA). My sources said there was going to be a meeting at which several kingpins of the international crime in translation market would reveal their secrets.

Otto Penzler

Once inside room 1E07, I ran their names through my computer, looking for priors: Otto Penzler (aka The Moderator), proprietor of the Mysterious Bookshop and founder of Mysterious Press, now a Grove/Atlantic imprint; Johnny Temple, publisher and editor-in-chief, Akashic Books; Dennis Johnson, publisher, Melville House Books; Michael Reynolds, editor-in-chief, Europa Editions; Morgan Entrekin, publisher, Grove/Atlantic.

They had gathered as part of International Crime Month, an "initiative featuring internationally acclaimed crime fiction authors, editors, critics, and publishers appearing together in a series of readings, panels, and discussions."

In the true spirit of the genre, Penzler opened with a confession: "I have to admit I have never published a book in translation."

Entrekin recalled that when he first took over Grove years ago, he knew the press had an "illustrious history" with translated works and he wanted to continue that tradition. "I am very committed to publishing literature in translation, and I'm committed to finding more crime fiction in translation."

Noting that "crime fiction has always been a part of what we've done at Europa," Reynolds observed that while initially publishing those novels as part of the general list had been a "noble ideal," more recently "we realized we needed to brand our crime fiction in some way. The result of that decision is the World Noir series. Because Europa considers crime fiction important, "we're engaged in an ongoing conversation with readers and booksellers," he said, adding that many novelists in the genre are exploring important world and regional issues in their work.

Johnny Temple, Dennis Johnson, Michael Reynolds and Morgan Entrekin discuss the "secrets of publishing crime in translation" during BEA.

Johnson agreed. Citing the influence of authors like Raymond Chandler and Dashiell Hammett--whose characters directly engaged post-Depression era issues as their detectives worked cases--he noted that many international crime writers today are "coming from a political point of view and considering socio-economic issues. At some point, the idea of a crime series seemed in keeping with our activist mission.... We're very proud of the International Crime Series list. These are people trying to make the world a better place."

Akashic's city-based Noir Series, featuring stops in Istanbul, Barcelona, Delhi, London, Moscow and many more locales worldwide, has been the "major vehicle" for the publisher's venture into international crime fiction. "It's very convenient for us that we have this series that forces us to publish works in translation," said Temple.

Citing the huge success of Scandavian crime fiction in recent years, Penzler asked whether the panelists had any predictions regarding which area of the world will produce "the next wave."

"You mean one that we're willing to share?" joked Reynolds, and Entrekin said he was looking "everywhere but Scandinavia." Johnson noted that "the success of Stieg Larsson may speak to how unpredictable it is. I think it's going to come down to a unique book lighting a new spark."

Johnson also noted that one of the marketing challenges Melville House faced with its International Crime Series was how mystery/suspense books are traditionally packaged in the U.S. Wanting to make their covers stand out, "We did something much more graphic. One of the chain buyers said they wouldn't buy our books because they didn't look like the others in the section."

Ultimately, marketing crime fiction written in any language must focus on the rewards inherent in just reading excellent books by gifted writers. As Reynolds observed, "I think it's important not to make it look like medicine for the masses." 

Johnson credited Reynolds with conceiving the idea of International Crime Month and described it as "an outreach program to booksellers. Most of us would agree that we live or die with the indie booksellers." A series of events are currently being held at indies, including a crime panel last night at McNally Jackson in Manhattan.

"We'd like it to be annual event. We're in it for next year," Reynolds said, acknowledging that there had been "hiccups" in the 2013 launch, but the lessons learned will help next year. "We're in!" was the unanimous vote among the panelists at the end of the session.

In anticipation of International Crime Month 2014, I've accepted a new assignment that focuses on my key detecting skill: reading. The assignment: a long list of crime fiction in translation to be investigated, with pleasure, between now and next June. Case closed. --Published by Shelf Awareness, issue #2018.

Four Words: Second Location, Location, Location

Imagine attending BookExpo America 10 years ago and seeing this panel listed in the American Booksellers Association's education day programming: "How to Plan for a Second Location." Even five years back, or three, it would have taken a healthy dose of disbelief suspension to conjure the scenario. I choose to interpret this as yet another sign of the fierce will to survive and thrive that the best indies exhibit every damn day. I also have a personal stake in the topic, since I live in an indie-less city (Saratoga Springs, N.Y.) that will soon host Northshire Bookstore's second location.

So I thoroughly enjoyed last Wednesday's session at BEA, featuring a quartet of hardy booksellers who shared the ups and downs of their expansion adventures. Moderated by ABA content officer Dan Cullen, the panel included Michael Tucker of Books Inc. (San Francisco Bay Area), Terry Gilman of Mysterious Galaxy (San Diego & Redondo Beach), Christine Onorati of WORD (Brooklyn and soon-to-be Jersey City) and Alzada Knickerbocker of the Avid Reader, Davis, Calif.

"I came about it from a very different direction," said Tucker, explaining that when he and a few colleagues originally inherited Books Inc. in 1996, there were a dozen stores. A period of drastic contraction followed before they gradually began opening new locations again. Tucker recalled that when they first considered expanding, a primary strategy was to look for high traffic neighborhoods with comparable retail around: "If we were in neighborhoods, they couldn't put 20,000 square foot stores in."

Why expand at all? Sometimes a bookstore simply reaches the point where "you know that you've topped out on sales per square foot," he observed, adding that one of the benefits of expansion was the chance to increase your sales staff base, mixing old with new and often increasing the energy level. Growth also creates room for staff to move up in the ranks, since "opening a new location is the time to promote."

Gilman co-founded San Diego's Mysterious Galaxy in 1993 and a second store in Redondo Beach in 2011. Although the initial year in L.A. was challenging, she noted that "things are hugely better this year" and bravely chose to offer what she called a "cautionary tale" for prospective second store owners, hoping they might learn from some of her miscalculations.
 
"When I thought about the second location, I thought, 'If I build it, they will come,' " she said. "I forgot how long it took us to build a customer base in San Diego." She added that what worked in terms of traffic patterns off the freeway for the first store had the opposite effect in L.A. "Having a building you own is great, unless it's in the wrong location."  

Staffing was also problematic at first. "When I hired my staff, I hired two former Borders managers and gave them full reign. One of the mistakes I made was that I didn't have anyone from an indie store on staff in L.A." Admitting that she could have done a better job training, she said, "I also forgot that two stores would also double my workload.... And the last thing I didn't consider was that I'd be hurting the San Diego store, and I did."

Onorati noted that what she learned from owning WORD "was how important a bookstore's community was." Although she "always swore I would never open another store," relatives in New Jersey who were running a new restaurant campaigned for her to add a second bookshop there.

"Sometimes a location can really make the decision for you," she said. "It couldn't have been better. They just kept at me: 'We just can't let this space go.' It just seemed like an area that was so ready for a store like this." In addition, space limitations in her Brooklyn store sometimes prompted her to think, "Oh, if only I had enough room to do this."

"If we can do what we did in Brooklyn, we'll be fine. If it grows, even better," she said. "I feel like I've worked very hard to build our brand.... With the second store, people know us, people get us. There's a trust level."

For Knickerbocker, the Avid Reader expansion happened "because everything fell into place." There had been a Borders two blocks from her, and after it closed "I was the last indie standing." A 70% increase in her store's sales inspired her to look at the retail environment in downtown Davis, which had lost other retailers selling items like stationery, nature-themed products and toys/games while "we were bursting at the seams."

"So I just put all those together" in a nearby renovated space, half of which now features selected books (cookbooks, travel, game books, home & garden, children's nonfiction) and the other half sidelines. "I did have the resources to do that because of the booming success of my other store."

"I was determined that the stores would have equal stature and their own identity," she said. Although she hired a non-book manager to work with new components, "I made sure the other staff had time in both stores so they could talk about it."

After 26 years in the same space, Knickerbocker said the second location offered a "chance to let the original store breathe," and her "first store is still chugging along. So far, so good."

Right place, right time. And, as Tucker observed, "This is a good time."

Onorati could have been speaking for all of the panelists when she noted: "I think you have to look at this new location as an entity in itself. You have to make sure you're making it a community store, wherever it is." --Published by Shelf Awareness, issue #2012.

BEA Badges? We Do Need Those Stinking Badges

"Badges? We ain't got no badges! We don't need no badges! I don't have to show you any stinking badges!" --from The Treasure of Sierra Madre, a film adaptation of B. Traven's novel.

We will, of course, need our stinking badges when we descend upon the Javits Center next week for BookExpo America. We'll need them to get in, get around and get acquainted. Identity is everything. You may not have thought much about badges as you made your BEA preparations, but here are a few questions to consider:

Why do we wear name badges anyway? The answer seems obvious, but sometimes you wonder if it's clear to everyone at the show (see "badge flipping" below). In addition to getting you into the hall in the first place, a name tag is your ongoing, instant introduction to hundreds of guests at an epic book launch party in a very crowded room.

Pin or lanyard or badge holder? BEA veterans made their choices long ago. Primary issues affecting your decision will be tolerance for holes in clothing (pin), "badge flipping" issues (lanyard) and weight-bearing capacity (badge holder filled with pens, business cards, etc.).

Where should you wear your badge? Standard advice in the business world is that a name tag should be located just below the right shoulder, where it can be easily read when you shake hands with someone. Studies have actually shown that you're 85% more likely to remember a name if you don't have to cross the person's center body line to locate it.

But where do book people wear their badges? Look around BEA. Almost none will be near a right shoulder. The natural inclination is to pin it over your heart, like a corsage, or hang it from your neck on a lanyard or badge holder, industry studies be damned.

Where should you never wear your badge? That's easy. At every show, you'll see a few people (mostly guys) who pin their badges waist-high on a belt loop. There is no polite way to read those badges, so we don't care who you are.

What's the deal with badge flipping? If you're wearing a lanyard, the natural laws of motion will cause your badge to flip constantly to the blank side. You're probably not one of the chosen few everybody recognizes on sight, so a flipped badge effectively renders you invisible. Maybe that's your goal (If so, then why are you even here?), but my advice is to practice badge reflipping until it's as instinctive as straightening a tie. A trade show is no place to project a sense of mystery, unless you're publishing mysteries, though even then we shouldn't have to solve you first.

What is badge surfing? Whether on the trade show floor, at parties or even on the streets of Manhattan (where you'll encounter colleagues more often than you might think in a city of 8 million people), badge surfers are always scanning the crowd waves for gnarly breaks. Even while they talk with you, their eyes wander to passing badges just in case. If you happen to get caught in this social undertow, it's well within the rules of etiquette to replace traditional parting words like "See ya!" with the more appropriate: "Surf up, dude?"

When should you wear your badge? This is a key question for conference and trade show attendees everywhere. The easy answer is at all times when you're in the Javits Center. The tricky part comes when you leave the show.

When shouldn't you wear your badge? I remove mine as soon as I'm out of Javits and never wear it at the hotel or on the streets. But what about after-show dinners or parties? Operating on the assumption (based, I confess on deep personal insecurities we won't go into here) that nobody will recognize me, I always bring my badge along, then let the crowd dictate my next move. If I see familiar faces, the badge stays in my pocket. Among strangers, if more than half of the people are "badged," so am I.

Should you wear your badge on the NYC subway system to spark conversations with local readers? No.
 
Although my trusty Shelf Awareness holder still has last year's badge tucked inside at the moment, it seems anxious to acquire the updated version I'll pick up next week. Hope to see you at BEA. My stinking badge will say Robert, but you can call me Bob. --Published by Shelf Awareness, issue #2003.

BEA Etiquette: What Would Edith Do?

How well did you behave at BookExpo America last year? You have the right to remain silent. Some of you were nice, I'm sure; others were naughty. You know who you are. Or maybe you don't recall.

photo: yahighway.com

National Etiquette Week seems an appropriate time to offer a little advice as you prepare for total immersion in the crowded aisles of the Javits Center, not to mention a crowded city filled with crowded restaurants/bars. The streets of Midtown Manhattan are tough, but BEA can be tougher, especially during the opening hours of the first day, with all the pushing and shoving; the shouting and grabbing; the toe-stomping and elbow-crashing. Oh, the humanity!

So we need some rules. We need to talk about your behavior. I could rain a little Emily Post down on your parade, but let's try historical perspective instead. I refer you to chapter 7 ("Behavior in Public") of my new favorite book, The Etiquette of To-day by Edith Bertha Ordway, which was published in 1913. The guide is probably an appropriate symbol of our industry-in-flux times, since a century after its publication, this digitized version exists in Google Books while bearing a stamp from the University of Michigan Libraries.

"The test of the depth of one's courtesy is found in one's attitude to strangers and the public at large," our new etiquette guru advises, raising a key question:

What would Edith do at BEA?

Getting there: "The dress for traveling should be plain and simple, suited to the need rather than elaborate. The effect of crumpled finery is so very unpleasant that no person of taste will make a display of it in a public conveyance."

Checking in: "The usual good manners of cultivated people, emphasized by the additional restraint which the presence of the public imposes, is a safe standard of etiquette in a hotel."

BEA/ABA conference sessions: "The loud-voiced, aggressive person, whose opinions are alone of vital moment in his estimation, and who will not yield a point in an argument, is much to be dreaded in any company, and effectually brings to an end any general conversation into which he intrudes."

Opening day on the floor: "Pushing, shoving and all like methods of getting people to move out of your way, or of getting ahead of others, are marks of great rudeness, and have a tendency to retard rather than aid one's progress through a crowd...."

Everyday behavior at BEA: "Never show hostility, nor permit people to quarrel with you. The irritability which crowded conditions aggravate makes it necessary to adhere, from principle, to the rule of strict good-will toward all."

Night life: "The considerate person will not enter even a public hotel late at night.... Those who are asleep deserve as great consideration as if they were awake, and more also."

Partying, a cautionary note: "It is not necessary to recognize in society a strictly business acquaintance unless you wish to do so."

Taxis: "In entering a carriage or automobile, one should step promptly, without either loitering or haste."

Paying attention all day long: "Straightforward attentiveness is the attitude of most profit and enjoyment in society.... The habit of a vacant or absent mind in company is a grave fault, and works greatly to the detriment of one's reputation for intelligence, in spite of all else that one may do to establish it."

Dining out, sexist edition: "In business life it is not good form to dine with your employer. This does not include a ban upon those business dinners, where there is a group of people, the majority of them men, with one or two unmarried business women of equal or superior business standing, who meet over the dinner table to talk of business problems."

BEA as an unusual circumstance: "The exchange of visiting cards with strangers, unless under unusual circumstances, is unwise and bad form."

Cell phone etiquette: "To converse in loud tones or talk of personal matters anywhere in public shows great lack of fine feeling and good breeding."

Final hours of the trade show: "It is a mark of good breeding to control or at least conceal one's moods, so that in company one always appears to be content, if not happy. It adds much to the happiness of others to give this impression, and is therefore generous as well as wise."

Etiquette "is the necessary colleague of intellectual ability in winning the farthest heights of success, and makes the plains of mediocre attainment habitable and pleasant," our guru advises. Behave yourself this year at BEA. Don't mess with Edith. --Published by Shelf Awareness, issue #1998.

Silence, Voice & Books on Stage

Although we write about book-to-film adaptations often in Shelf Awareness, bookish theater gets less attention. So let's change that. Book-to-musical productions are hot right now. Matilda, based on Roald Dahl's novel, earned a dozen Tony nominations this week. Currently in various stages of development are musical versions of Alison Bechdel's Fun Home, Jonathan Lethem's The Fortress of Solitude, Roddy Doyle's The Commitments and American Psycho by Bret Easton Ellis.

It's not just musicals. The London production of The Curious Incident of the Dog in the Night-Time, based on Mark Haddon's bestselling novel, won seven Olivier Awards. The Royal Shakespeare Company is adapting Hilary Mantel's Wolf Hall and Bring Up the Bodies. William Goldman has written a new theatrical version of Stephen King's Misery. There's even a Théâtre des Bouffes du Nord production of Michael Ondaatje's The Collected Works of Billy the Kid in Paris.

All giving voice to the written word, and to the complex silence of reading. "As a writer of fiction, it is my job to work through silence, to enter the minds of my characters, to create voices for them, to give them a life that will matter emotionally and intellectually to others," Colm Tóibín writes in an author's note inserted in Playbill for the stage adaptation of his novel The Testament of Mary (Scribner). I saw the production, starring Fiona Shaw, last weekend at the Walter Kerr Theatre in New York City.

Both the novel and play are stunning to me in very different ways, and a perfect illustration of what happens when the voice (as well as silence) in your reader's mind is interpreted by a brilliant actor on stage. I had a similar reaction a few years ago to Vanessa Redgrave's breathtaking performance in Joan Didion's The Year of Magical Thinking.

While reading The Testament of Mary, I'd conjured a woman who was reflective yet fierce in her stillness and captivity, entangled in the web of a developing narrative not of her own conception, immaculate or otherwise. Shaw's Mary is more impatient, unable to rest as she tells her story while moving objects, including herself, about the stage.  

And we are complicit in that story, too, witnesses to her confession as well as traditional portrayals of Mary. Pre-show, the audience is invited on stage to explore the set, with Shaw sitting rigidly inside a glass box, dressed in the colorful robes we recall from depictions of the iconic Madonna in paintings and sculptures.

As the play opens, however, Mary wears the drab clothing of a poor woman and speaks to us in an all-too-human voice--alternately mournful, scared, cynical, funny, angry, yet always piercingly observant. The voice of a mother who has lost her son.

"It is written for a voice," Tóibín has said. "And it is written for an actress' voice. And I had in mind as I was working a voice like Fiona Shaw's voice that would have a huge level of commitment to loss." Both voices--Shaw's and the one I imagined as a reader--now inhabit my mind with equal force. 

Earlier this week, Tóibín learned that even though The Testament of Mary has earned a Best Play Tony nomination, it will close Sunday after just 43 performances due to poor ticket sales.

How did he deal with the loss? "I think dark laughter might be the best way to put it," he said. "And when in doubt, consult Oscar Wilde.... He has a quote--success is merely a preparation for failure. Anyone who works in the arts knows, if you're writing a novel or a play or anything, you have to be ready for someone to say, you're time is up."

He also noted that "about 30,000 people will have seen the play over a 6-week run by the time it closes, with a standing ovation every night. In European terms, that's a huge success. In Dublin I'd be walking around with everyone saying, what an amazing success you've had with your play."

I bought my ticket months ago, when I first learned the play was coming to Broadway. I wouldn't have missed it for the world. Shaw told NPR that while she is "on the stage alone, I suppose what happens is, I feel I'm surfing the story with the audience.... I tell this particular story, and I follow it as I'm in it, and the audience follow it with me. So I do feel a great communion, dare I say, with the audience." This is how it felt to me, too--her voice, her silences, Tóibín's words and, somewhere in there, myself as reader and then as audience. Communion. --Published in Shelf Awareness, issue #1986.