Thursday, September 15, 2011

The Detachment by Barry Eisler

Joe: Barry, good to have you here with an excerpt from The Detachment on the day it goes on sale.

Barry: My pleasure, Joe, and thanks for having me.

Joe: All right, first of all, you know from the Amazon review I did with Blake Crouch and from the edits I gave you how much I loved this book. I think it's your best yet, which is saying something. Hyper-realistic action and story; great political backdrop; completely badass characters doing scary and sometimes weirdly hilarious things. What I want to ask you about here, though, is the process. This was the book that kicked off our online conversation about the state of the publishing industry, which became the book Be The Monkey. You were going to self-publish it, and then Amazon approached you and you went with Amazon, instead. What has that been like compared to your experience with legacy publishers?

Barry: My experience with Amazon has been uniformly excellent. They presented this to me as a hybrid deal, which from my perspective was perfect: the kind of digital split, control over packaging and pricing, and time-to-market I wanted with digital, combined with Amazon's marketing muscle.

Joe: Did you have an editor at Amazon?

Barry: No, Amazon counted on me to hire my own editorial team. And although it sounds like that must have been very different from what I've experienced with my previous, legacy publishers, it really wasn't so different. I've always relied on my wife, literary agent Laura Rennert, to be my first line of editorial defense, and she's a superb editor. Plus I'm fortunate in having a group of family and friends, you among them, who are also top-notch editors. In addition, I now have a business manager, Lara Perkins, who's one of the best editors I've ever worked with. So what I turned in to Amazon was a fully, professionally edited book.

Joe: But how can you get a real editor if you're not with a New York publisher?

Barry: Heh. This is one of those zombie memes that eventually will die from repeated collisions with reality. Look, there are some excellent editors at the New York houses, and it's be
en my good fortune to have worked with three of them. But there are plenty of bad ones, too, and the main thing is that a New York house is not the only place where you can find a good editor.

Joe: Especially as the New York houses lay off staff.

Barry. Yes. There's going to be more and more talent available freelance. Anyway, with some initiative and perhaps some trial and error, you can find a great editor on your own. I'm hardly the only author to have done so.

Joe: What about the other aspects? Copyediting, proofreading?

Barry: Again, I outsourced everything, just like New York publishers do.

Joe: What do you mean?

Barry: Heh. I like your Columbo routine.

Joe: I've been working on it just for you.

Barry: What I mean is, legacy publishers already outsource almost every aspect of the publishing business. Most likely the person who copyedited your last legacy-published manuscript was a freelancer. Likewise proofreading. Likewise cover design. Legacy publishers outsource all of it. So if anyone doubts that these functions are separable from legacy publishers, legacy publishers have been kind in already proving otherwise.

Joe: What about the cover? How did you take care of that?

Barry: The cover for The Detachment was done by the awesomely talented Jeroen Ten Berge. I don't think it's a coincidence that the best covers I've ever had are all for my self-published, and now my Amazon-published, works. Check out The Lost Coast, Paris Is A Bitch, The Ass Is a Poor Receptacle For The Head, and Be The Monkey. Then look at what my erstwhile French publisher saddled me with. Coincidence? I think not.

Joe: How about the marketing?

Barry: They have a comprehensive plan to reach Amazon customers and to reach outside Amazon that's the best I've ever seen. They're just gearing up, and already the book has been as high as #60 in the Kindle store. That was back in July, then it dropped off some, and as of the night before publication, it was at #103 and climbing again. So far they've taken as many preorders as my previous publisher sold digital copies of my previous book in its entirety, and the book isn't even out yet. They know what they're doing and they do it well.

Joe: Any other differences or similarities?

Barry: I don't have to tell you, working with Amazon has been a breath of fresh air. They're smart, fun, creative people, they love to do new things and take risks. They listen to their authors and they know how to execute. Just a completely different philosophy and approach from what constitutes the quasi-monopolisitic culture of legacy publishing, built on treating their providers and their customers extremely well. We should talk more about our experiences with Amazon once they launch the new Konrath/Crouch masterpiece, Stirred. Which, as you know from the feedback I gave you on the manuscript, is fantastic. And by "fantastic," I mean horrifying and hilarious, over-the-top, badass serial killer suspense.

Joe: Thanks for that, and yes, another dialogue would be fun. In the meantime, here's the excerpt from The Detachment, available today exclusively from the Amazon Kindle Store (and in paper in bookstores everywhere on October 18). You can read other chapters, and Q&A with Barry on other topics, at the following blogs:

Chapter 1 - Truthout: The Politics of The Detachment

Chapter 2 – A Brain Scientist’s Take on Writing: The book’s unusual path to publication

Chapter 3 – Buzz, Balls & Hype: The book’s image system

Chapter 4 – Jungle Red Writers: Combining the series worlds of Rain and Treven

* * * * *

Chapter 5

I had nearly reached Ogawamachi subway station, where I would catch a train and examine the items I’d taken from the two dead men, when one of their phones vibrated. I stopped and checked the readout—just a number, no name.

I looked around at the bustling street scene, cars crawling, pedestrians hurrying past me, the sky dark now, the area lit only by streetlights and headlights and storefronts. I pressed the “receive call” key, held the unit to my ear, and listened.

A low voice, almost a whisper, said in American-accented English, “I know who you are. Don’t worry, I won’t say your name on an open line. You took the phones you’re carrying from the two men I was with. It’s okay. I know they don’t need phones anymore.”

The natural question was, Who is this? I ignored it because of its likely futility, in favor of something more relevant.

“What do you want?”

“To meet you. I have a message from a fan.”

“Tell me over the phone.”

“No. If this is going to work, we’ll need to establish our bona fides.”

“Who’s ‘we’?”

“My partner and me.”

“Two messengers?”

“There were four originally, but yes.”

I paused, thinking about the video camera, trying to get my mind around what the hell this could be about. The evening was still sultry and I realized my shirt was soaked with sweat.

“Look,” the voice said, “I wasn’t any more enamored of the two guys you just met than you were. If I had been, I wouldn’t have encouraged them to get so close. I sent them inside twice. I knew you’d see them.”

I wondered whether that was bullshit. But the timing of the call and the calm confidence of the voice suggested I was talking to someone who’d foreseen this, even planned it.

“It’s up to you,” the voice said. “But I have something you’ll want. A unit that was receiving from the two you’re carrying now. Take your time examining them, you’ll see I’m telling the truth. Then, if you want the one I’m holding, we can meet.”

I considered proposing a creative rectal use for the unit he claimed to be carrying, but decided against it. The calculus was the same as for the two giants. I could face this now, tonight, or I could spend the rest of my days wondering who was after me, what they wanted, how far they were willing to go. And let whoever it was answer my questions at a time and in a manner of their choosing, not mine.

“Where are you right now?” I asked.

“If you’re still on foot, we can’t be more than a half mile apart.”

“There’s a coffee shop near the subway station I came out of. I’m assuming you were somewhere behind the two who followed me out?”

“That’s right.”

“You passed it ten seconds after you hit the street. Big yellow sign, distinctive frontage. On the right coming around from the station.”

I clicked off and pulled the batteries from the phones and the video cameras. The timing wasn’t great—if they’d been behind me the whole time, they were closer to Saboru than I was. I would have preferred to get there first and watch from the street. But there would have been disadvantages in proposing someplace farther away, too. First, I would have had to give explicit rather than oblique instructions over the phone. Second, they would have had more to time to set something up, if that’s what this was about. Overall, I judged my chances best if I could keep them on a short clock.

It took me less than ten minutes to get back to Saboru. I made two circuits, the first wide, the second passing directly in front. Sepia lights glowed in the windows but the bamboo plantings made it impossible to see inside. I stood at the dim corner of the street for a moment, looking left and right, considering. The cicadas had gone temporarily quiet, and the only sound was of the suzumushi—bell crickets—Saboru’s centenarian proprietor keeps in a cage by the entrance because he finds their evening music pleasing. I saw no Caucasians and nothing seemed out of place. My guess was, whoever had called me was already inside.

I walked over and went in, my gaze sweeping the softly lit interior. A young hostess offered to seat me and I told her as I continued to check tables no thank you, I expected my friends were already here. The ground floor was about half-filled with an ordinary assortment of after-work sarariman types and loafing college students. There was a quiet background murmur of conversation mixed with J-pop music emanating from speakers affixed to the corners of the low ceiling. No foreigners, nothing out of place. I took the wooden stairs to the second floor. Again, nothing. Then to the basement, squatting as I descended the stairs to get a view of what I was up against before I’d gone all the way down.

I spotted them immediately, in a corner booth, their backs to the brick wall, both big and fit-looking. One, in his thirties, with blond hair and a strong jaw, quintessentially American; the other, about a decade older, with shorter, dark hair and darker skin, harder to place. I wondered which had spoken to me and for some reason sensed it was the darker one. There was something dangerous-looking about him, an explosive quality I could feel from across the room even though he was sitting perfectly still. Their hands were open, resting on the pitted wooden table. A good sign, or at least the absence of a bad one. They kept still and watched me, their steady gaze the only indication there was any connection between us.

I kept moving, sweeping the cave-like room with my eyes, confirming there was no one else here who looked like he didn’t belong. There was another table open in the opposite corner. I inclined my head toward it to indicate they should follow, walked over, and stood by the bench with my back to the wall. I didn’t want to sit in the spot they had chosen, or to offer them a view of the stairs while I was denied it. And I wanted to have a chance to see them head to toe, to watch how they moved, as they had just done me.

They got up and walked slowly over, no sudden movements, keeping their hands clearly visible. We all sat down wordlessly and watched each other for a moment. A waitress came by and handed us menus, which were in Japanese. The darker guy glanced at his, then looked at me with the trace of a smile. “What do you recommend?”

I’d been right: the same quiet, raspy voice I’d heard on the phone. “I hear the house coffee is good,” I said.

He glanced at the blond guy, who shrugged. Their demeanors intrigued me. The blond guy seemed on edge, as he ought to have been, as indeed I was. The dark guy, on the other hand, was incongruously relaxed, and seemed almost to be enjoying himself.

I ordered three coffees and three waters and the waitress moved off. I nodded at the dark guy. “What do I call you?”


I turned my head to the other guy, who said, “Treven.”

“All right, Larison and Treven. What do you want?” The more on-point question, of course, would have been, Who do you want me to kill? But it didn’t matter which route we took. We’d arrive at the same destination.

“We were sent just to find you,” Larison said. “The one who wants something from you is Colonel Horton. Scott Horton.”

The name was familiar, but for a moment, I couldn’t place it. Then I remembered something from Reagan-era Afghanistan, a time that felt to me now, when I considered it at all, so remote it could have been someone else’s life. The CIA had recruited former soldiers like me to train and equip the Mujahadeen who were fighting the Soviets, and though deniability had been imperative, there were a few active-duty military in theater, too, to liaise with the irregulars. There had been a young Special Forces noncom everyone called Hort, whom we’d teased because, despite his obvious capability and courage, he was black, and so an absurd choice for a covert role in Afghanistan. He assured us, though, that this was the point: if he was captured, Uncle Sam wanted to be able to say to the Russians, You think we’d be stupid enough to send a black soldier to blend in Afghanistan? Must have been a freelancer, a black Muslim answering the call of jihad. See how your wars are radicalizing people? What a shame.

I said, “This guy cut his teeth in Afghanistan?”

Larison nodded. “Training the Muj, yeah.”

“White guy?”

“No. Black.”

“Does he go by a nickname?”


Sounded like a match. He must have received a commission somewhere along the way and then never left the military. I estimated that today he’d be about fifty. “And he’s a colonel now,” I said, more musing than asking a question.

“Head of the ISA,” Treven said.

I nodded, impressed. It was a long way from deniable cannon fodder to the head of the Intelligence Support Activity, the U.S. military’s most formidable unit of covert killers.

“And you?” I asked, looking at Larison, then Treven. “ISA?”

Treven nodded. He didn’t seem entirely happy about the fact, or maybe he was just uncomfortable acknowledging an affiliation he would ordinarily reflexively deny.

Larison said, “Once upon a time. These days, I just consult.”

“Pay’s better?”

Larison smiled. “You tell me.”

“The pay’s okay,” I said. “Healthcare’s not so great.”

Treven glanced at Larison—a little impatiently, I thought. Maybe the kind of guy who liked to get right down to business. He didn’t understand this was business. Larison and I were trying to feel each other out.

“And the other two?” I said.

“Contractors,” Larison said. “One of the Blackwater-type successors. I can’t keep track.”

I glanced at Treven, then back to Larison. “So, ISA, a consultant, contractors… That’s a fairly eclectic gang you’ve got there.”

“We didn’t ask for the contractors,” Larison said, turning his palms up slightly from the table in a what can you do gesture. “That was Hort. I guess you could say he… overstaffed this thing.”

“And you downsized it.”

He dipped his head slightly as though in respect or appreciation. “You and I both.”

He seemed determined to let me know there were no hard feelings about the two dead giants—indeed, to acknowledge he’d deliberately sacrificed them. And now he was implying some distance between himself and Horton, too, and implying some commonality between himself and me. I wasn’t sure why.

“What’s Horton’s interest?” I asked.

“We don’t know the particulars,” Treven said. “All he told us was, he’s rebuilding, and he wants to make you an offer.”

“Rebuilding what?”

“I don’t know. Something about an operation you took down, run by a guy named Jim Hilger.”

Hilger. I didn’t show it, but I was surprised to hear the name. In all the times we’d crossed paths, first in Hong Kong, where he was brokering the sale of radiologically-tipped missiles and nuclear materiel, and then in Holland, where he’d been running an op to blow up the port in Rotterdam and drive up the price of oil, his affiliations had never been entirely clear to me. The last time I’d run into him was in Amsterdam, which was the last time he ran into anyone. If Horton had been involved with the late Jim Hilger, whatever he wanted was apt to be hazardous.

“What do you know about Hilger?” I asked.

Treven shook his head. “No more than I just told you.”

Larison said, “I’ve heard of him.”

“Who did he work for? Was he government? Corporate?”

Larison laughed. “You really think there’s a difference?”

Treven frowned just the tiniest amount, and I sensed Larison’s comment made him uncomfortable. I wasn’t sure why. Well, neither was going to tell me more. And, given Hilger’s current condition, I supposed it didn’t matter anyway.

“Anything else?” I said.

Treven said, “Yeah. This thing Hort’s trying to rebuild is going to include a former Marine sniper named Dox, who you’re supposed to know.”

I didn’t respond. I hadn’t seen Dox in a while, but we were in touch and I knew he was still living in Bali. He didn’t need work, but this would probably interest him anyway. It wasn’t a question of money with Dox. He just liked to be in the thick of it.

A part of my mind whispered, And you? I ignored it.

Larison said, “You might want to contact Dox yourself. If you don’t, we have to, and what’s the point of getting more contractors killed?”

Again, I was intrigued by his hint that he didn’t mind what happened to the contractor elements of his team.

The waitress returned with our order and left. Larison took a sip of coffee and nodded appreciatively. Treven didn’t touch his.

I drained my water glass and looked at them. “What does Horton have on you two?”

Neither of them responded. Well, he had something. And now they had something on me.

But then Larison surprised me. He said, “The video recorder is in my pocket. Mind if I reach for it?”

The question was appropriate. In a situation like this one, with someone like me, you want to keep your hands visible. Especially once you’ve established that you’re too smart to reach for something suddenly. The only reasonable inference would be that you’re going for a weapon, and the inference would lead to an unfriendly response.

I gestured that he should feel free. He stood and slowly extracted from his front pocket a unit like the two I’d taken from the giants. He placed it in the center of the table and sat back down. Then he glanced at Treven, who repeated the move, producing an identical unit.

I made no move to pick up the recorders. I’d expected the intent of the initial offer was only to get me to meet them, but now they seemed actually to be following through on it. Give up leverage for free? If they’d been clumsy civilians, maybe I could have read it as a naïve attempt to beget goodwill with goodwill. But neither of these guys was naïve. On the contrary, both of them had the quiet, weighty aura of men who’ve repeatedly killed and survived, an experience that tends to extinguish belief in the power of goodwill, along with most other such happy indulgences.

“There are no copies,” Larison said. “We don’t have anything on you. You want us to get lost, we’ll walk out of here right now. But the next team Hort sends, they won’t give you the video. They’ll use it.”

Probably he was lying about the copies, but I would never know for sure until someone tried to use them against me, and that would happen only if friendlier tactics proved useless. So Larison could be expected to try something relatively subtle to begin with. And so far he’d handled it deftly, I had to admit. You never want to present extortion as a threat: doing so just needlessly engages the subject’s ego and creates unhelpful resistance. Instead, you want to present the threat as though it has nothing to do with you, as though in fact you’re on the subject’s side. Maybe that explained the hints about a gap between Horton and them. It would have been a good way to help me persuade myself that my problem wasn’t with these two, but with someone else. If he was ruthless enough, and I sensed he was, he might even have sacrificed the two giants for the same end.

“Look,” Larison said, “no one can just disappear anymore. Everyone is findable. It’s a condition of modern life. You want total security? You have to disconnect. Live off the grid, remotely, no contact with the outside world. But if you like cities, and judo, and jazz, and coffee houses, and culture, all of which is part of your file, you don’t have a chance if someone like Hort is determined to find you. The only way is to make it so the people who are looking for you, stop looking for you.”

“How do you do that?” I asked, my tone casual.

He took another sip of coffee. “You wait for the right opportunity.”

“Or you make one,” I suggested.

He nodded. “Or you make one. And I’ll tell you one other thing. If you decide to accept Hort’s offer, whatever it is? Charge him for it. Charge him a lot. He can afford it.”

He sounded unhappy as he said the words, even acrimonious, and if I hadn’t picked up earlier on some kind of rift, I couldn’t miss it now. Whatever Horton was up to, I decided it must be important to him, if it was generating animosity in someone as seemingly formidable as Larison.

No one said anything after that. Larison obviously knew when it was time to shut up and let the prospect close the deal with himself, and Treven was smart enough to follow the older man’s lead.

We sipped our coffee in silence. Either this was an impressive piece of theater that included two dead extras, or what they were telling me, and what they were hinting at, was largely true. Horton wanted to make Dox and me an offer, most likely one we couldn’t refuse. He’d made similar offers already to Treven and Larison, who were unhappy about it and looking for an alliance or some other way out, but were also smart enough to keep those particular cards concealed for now. As for copies of the evening’s home video, for now there was no way to know. And for the moment, it didn’t really matter.

For the third time that night, I saw no advantage in waiting. I finished my coffee and took the video units from the table.

“How do I contact Horton?” I said.


Josin L. McQuein said...

Heh. I read the title of the post wrong, and thought it said "The Detachment OF Barry Eisler".

I was afraid this was going to be about how Mr. Eisler had become ill or some such. Glad to see it was my eyes acting up (I hate backlit screens) and all is well.

kathleenshoop said...

Another great post, Barry and Joe. I would love to work with Amazon and hope to someday make that happen, to at least have a conversation with them. Thanks for the excerpt--you've got yourself another sale. I hope it's a big seller for you!

Todd Trumpet said...

It's nice to hear Amazon is handling the "higher end" of ePublishing as well as they're handling, uh, my end.

It gives one something to shoot for!


Nancy Beck said...

Congrats, Barry, and continued success.

And although thrillers aren't what I normally read, I think the cover is awesome. :-) I finally bit the bullet and re-did the cover of the first novella in my series, then decided, what the heck, might as well have her do the other two as well.

(I did it ass-backwards, actually, because I couldn't come up with a cover idea for the third, Demon Daughter, until I found a ready-made cover on an ebook cover designer's site that was perfect.)

Like Todd Trumpet said, the idea of working with Amazon on a win-win deal for both sides is something to shoot for. :-)

Changing Faces

Marie Simas said...

Barry, the cover looks fantastic. And you're right, the French cover is... not so much.

It's such a bizarre time for all of us. Like the Wild West, only with less gunshots and fewer whores (unless you count the Legacy folks). The amount of liquor is about the same, though.

Congrats on the new book, and the deal with Amazon.

Philip Steiner said...

Hi Barry and Joe,

How do you handle payment for outsourcing the editing, proofreading and cover design? Is that an expense the traditional publisher would have covered in "the old days"? From your description, it appears Amazon is shifting the financial burden to the writer, in exchange for possibly higher revenues? Hrmm...

Jude Hardin said...

Congrats, Barry!

SBJones said...

It would be nice if KDP allowed indie authors to set a future launch date like that. Generating pre-sales, hype and traffic to Amazon. Instead it goes live the day you upload it, then hangs in limbo for a day or two before it shows up and people can get it.

billie said...

I saw The Detachment on the Kindle screen on my Amazon home page this morning and thought "how did he pull THAT off?" :)

Congratulations. Looking forward to reading it and also seeing how Amazon promotes it!

I.J.Parker said...

Hi, Barry. Absolutely agree about your Belfond cover. I also have Belfond for a publisher, and overall they've been wonderful, doing things for me that none of my American publishers has done. Most of their covers were good, too, until one year they decided on a change. I write a series set in Heian Japan. They reproduced an early photo of a Geisha for the cover! And it so happens that this particular novel did not contain any material about the ladies of the night. I, too, protested. The next cover was modern but very good.
I now do my own covers, and I also handle the editing. Yes, there are some bad editors at the big houses.

Nancy Beck said...

The amount of liquor is about the same, though.

I like that - who's buying? ;-)

Word verification: unplate

How do you unplate something? Very carefully, I guess. ;-)

robb skidmore said...

Gee Barry, the excerpt is great. I read thrillers every now and then. I'll check yours out.

I like that Amazon lets the author farm out the editorial and cover aspects. Shouldn't these things be under the author's control anyway? Shouldn't the author be able to assemble their own team? And covers are so intimately tied to marketing and sales it makes sense writers should control this as well.

Unknown said...


Just bought it on Kindle - looking forward to the read.

Cheers, Pat.

Barry Eisler said...

Thanks for the thoughts, everyone, and thanks Joe for the Q&A and for running the excerpt.

Josin, glad to know reports of my illness have been greatly exaggerated… :)

Thanks, Kathleen.

Todd, yes, Amazon is a joy to work with.

Thanks, Nancy, and good luck with the new packaging!

Thanks Marie, and I admire your knack for understatement! ;)

Phipster, yes, as for my self-published works, I paid for editorial, copyediting, proofing, cover design, and formatting. A bargain, I think, compared to forking over 82.5% of my revenues forever to a legacy publisher -- especially given the job Amazon is doing to promote the book.

Thanks, Jude.

SBJ, I'm not sure… there might be some advantages to pre-release buzz, stoking appetites, etc… but OTOH, until your book is available for sale, you can't make money from it.

Billie, that's all Amazon. Again, they are kicking ass on the marketing.

IJ, agreed, I liked the Belfond people personally. But for whatever reason, they just didn't know how to package my books and wouldn't take any guidance from me. IME, most legacy publishers have the (unfounded) attitude that they're business experts and authors are greenhorns. This costs them a lot. Unfortunately, it costs us, too.

Nancy, yes, the liquor is critical. Wouldn't be the wild west without it.

Robb, it might not be for everyone, but yes, I *love* being in charge of these things. Could never go back.

Thanks, Pat!

Todd Trumpet said...


If you reply to every comment on the Konrath blog, you'll never have time to write your next book!


Gary Ponzo said...

Congrats, Barry. You're partnering up with a monster.

Phillip Thomas Duck said...

Congrats, Barry. About to one-click now.

I.J.Parker said...

I'm getting ready to partner up with the "monster" myself. Looking forward to it.

Sean McCartney said...

Congrats Barry. I really liked The Lost Coast. I was wondering what you thought the future of YA/Middle Grade will be in the digital age?


Steven Konkoly said...

I'm already reading The Detachment, and it's fantastic. I lived in Japan, outside of Tokyo for two years, and the first few pages grabbed me immediately. This is, embarrassingly, the first Barry Eisler novel I have read...and thanks to Amazon's marketing, I have been waiting for the pre-order to synch to my Kindle for weeks.

Joe and Barry...Thanks for the fantastic insight, as usual.

William J. Thomas said...

Sigh...I just recently started reading Eisler's books. I'm a chronological kind of guy, so I need to read all of them in order. Which sucks since I really want to read The Detachment now, but I'm only in the middle of Hard Rain. Which is only John Rain book #2.

It rocks by the way! And I'm looking forward to reading the rest to catch up. Good thing (as Joe says), ebooks are forever!

Unknown said...

Thanks for another great interview. I'm not writing anymore, but I still love to read your blog.

This interview makes me wonderr what the future of the "demo" or "freemium" model is -- where the first few chapters are given away and the customer pays for the last half of the book. This obviously works best for fiction, where the climax is in the paid portion, but I can see non-fiction of certain types working with freemium, as well.

Why aren't we seeing more of that model?

Selena Kitt said...

only with less gunshots and fewer whores...

Oh I don't know about that. :)

I so miss the Mobi days when we could do pre-orders for Kindle. *sigh* That opportunity seems reserved only for the "in" crowd now.

I would cry foul, but what's the point? Publishing was never fair... at least Amazon is *more* fair than legacy, right?

wannabuy said...

Congrats! Good to see the support Amazon is providing their authors. Who would know better whom to cherry pick from the indie authors? ;)

Now the irony, you point out you're a New York Times best selling author on the cover, but they New York Times wouldn't put an indie book on their list... I seriously doubt an Amazon book either. :(


jeroen ten berge said...

Hey Joe, hey Barry,

Bought an advance reading copy of The Detachment from Richard Katz this morning at Bouchercon (Barry, he asked me to tell you he still loves you.)

Wish you were both here.

To give credit where credit is due, and avoid confusion - the cover of The Lost Coast was designed by Carl Graves.


Mark Asher said...

"I so miss the Mobi days when we could do pre-orders for Kindle. *sigh* That opportunity seems reserved only for the "in" crowd now."

The problem I see is that many indies would put up a pre-order page and then never finish the book or finish it many months later than promised.

bettye griffin said...

I was about to respond to the comments about putting independent books up for preorder, then saw that Mark Asher already said what I was about to...

Russell Brooks said...

Hello, Barry.

Congrats on your release and thanks for bringing John Rain back. I can sleep better at night once again. Any talk on whether there will be a sequel to Rain Fall on the big screen? That would be great.

Russell Brooks
Author of Pandora's Succession

Kimberly Morning said...

Amazing... I was just reading this post and then clicked over to Amazon to order the book, and guess what appeared on Amazon's home page? The Detachment front and center on the Kindle screen posted on the center of the page!

Michael McClung said...

Heh. You wanna talk about bad cover art from a major publisher? I still seethe hen I think about what Random House saddled me with.

(Link that follows is not for the aesthetically sensitive)

Congrat, Barry!

Selena Kitt said...

The problem I see is that many indies would put up a pre-order page and then never finish the book or finish it many months later than promised.

Well in the Mobi days, we had to upload a file. So we couldn't just create a pre-order page, like they've let Joe and others do, without actually having some sort of manuscript/book attached.

Archangel said...

re MMcC and Thagoth... the good part is you have insight and good taste ... you know diff between good and bad cover art, meaning art that conveys what is in the dmn book. Urge you to lean on your publisher to replace cover art for your book, simple to do for Kindle, the beauty of the mechanics in fact that one can change elements. Hang in there. It's an ok cover, but I can tell from looking at your work, not what you want/ deserve. Go kick it

Jon Olson said...

Hey! Great to have another Eisler thriller. I've read a couple of Rains, and Inside Out, great stuff.

Jon Olson
The Petoskey Stone

Anonymous said...

Barry, I see you are currently #11, so it made me wonder if you have access to real-time sales the same as on KDP?

Bella Andre said...

Huge Congrats, Barry! I'm very excited for you! Just bought mine!
:) Bella

Mark Asher said...

Ok Barry, I read your article on Amazon about how to keep your laptop safe in a coffee shop:

avoid the coffee shop entirely (avoid where the crime will occur);
• secure my laptop to a chair with a twenty dollar Kensington security cable (avoid how the crime will occur--it's hard to employ bolt cutters unobtrusively in a coffee shop, or to carry away a laptop that has a chair hanging off it); and
• hope to catch the thief in the act, chase him down, engage him with violence.

Cool and everything, but you can also simply grab your laptop, stuff it into your backpack, and take it with you into the john. I do this all the time. Seems like common sense to me.

Have I just outwitted John Rain?

David L. Shutter said...

Billie, Barry

I did see that two with the Detachment cover, looks like they changed over their home page with the fall fashion, can't find it anymore.

Maybe I'll be so lucky someday, would print that screen shot and frame it.

Congrats again

chris said...

I absolutely have to agree with Barry that some of the most talented book cover artists out there still haven't been discovered. These freelancers pop up occasionally, and I was fortunate to be introduced to two of them, befor they did the work on my latest release

I couldn't believe that the cover was rendered in oil and canvas first, then transfered to a wrap-around lithograph. It was just beautiful--the most beautifully wrought book cover I've ever had done.

The interior artists was hand-picked to render 26 interior illustrations--b/w illos that were stunning and so accurate to the characters that it left me speechless.

My publisher told me that these two artists were had for very, very reasonable amounts, and that part of the deal was that they share Amazon title credit.

Well, I couldn't have been more happier. So, since when does it really take thousands of dollars from a publisher to produce a great, original cover art?

Chris Stevenson

Melissa Douthit said...

Hi Joe,

I wrote a little post on my blog about why I chose to go indie:

In case you want to use it.


chris said...

I'm so inspired by Joe and Barry's comments, I've started my own blog--Guerrilla Warfare for Writers: