Cover Story--and question for you!

HANK PHILLIPPI RYAN:  I need your advice. But first, even though they tell you never to do this, a bit of back story. (The flowers, the last from our garden last fall, are just for decoration.)

I was at my desk in the newsroom a few years ago, and, by mistake, clicked open an email spam. I stared at it, baffled. What it said didn’t make sense. Then--that very instant--I had the idea for my first novel.

That night, I went home and said to my husband: "I've got it. I've know the plot of the mystery I've wanted to write ever since I was a kid.”

Jonathan thought a moment. Smiled. Then he said, “That’s terrific. But, ah, sweetheart? Do you know how to write a novel?”

Newbie me laughed, and said,  “How hard can it be?”

And I typed: Chapter 1.

I soon learned how hard it could be. Ha! But through a process of doubt and delight, the story emerged. PRIME TIME (about secret messages in email spam!) became the first in my series of suspense novels starring reporter Charlotte McNally, the funny, smart, savvy TV journalist who wonders: What happens when a TV reporter is married to her job—but the camera doesn’t love her anymore?

The first cover looked like this. 

Don’t even get me started. But my sheer joy overcame any artistic questions. 

Questions like: Why is she wearing diamond handcuffs? And who is that person, anyway? It doesn’t look like Charlie McNally at all. And what is she kissing? That’s not an Emmy, and it if were, you wouldn’t kiss it.  And if she’s in silhouette, why isn’t her dress in silhouette? 

But I said not to get me started. And I was incredibly happy, whatever. 

And it won the Agatha.

Then MIRA grabbed the series, and re-issued Charlie to much acclaim. 

That cover looks like this. 

Very of-the-time right? Dark. Body part. Don’t get me started. At least it looks like a professional body part.  And, hey, I was still SO thrilled, I didn’t care. (Forgive the bad photos. My name is actually straight.)

That was several years ago. My first thriller, THE OTHER WOMAN (with an PERFECT cover), interrupted the so-far four books in the McNally series--but now, ta-dah, Charlie’s back.

I’m so thrilled to tell you the four Charlotte McNally books will be available in all gorgeous new hardcover and trade paperback editions from Forge--starting with PRIME TIME with a new one every other month this year.

Pant, pant. Back story over. SO. FINALLY the point.

How do I tell people about this? PRIME TIME is not new, but if someone hasn’t heard of it before (and they are certainly legion), it’s new to them, right?  But it’s not calendar “new.” So what does new mean?

And when I say “Charlie’s Back” it’s cute, but it  requires, as you just saw, some explanation. 

Reds and readers, how would you handle the new/not-new marketing case study? Have you ever done this? Have you ever been angered or annoyed by buying a book you've already read? Do I treat these books as new or old or returning or back or available or--what?

And if you saw  the version of PRIME TIME in a bookstore, what would you think?

(And isn't it instructive to see all these covers?)

PS--CONTEST!   If you missed Charlie (or miss her), TIME to get acquainted!  Buy PRIME TIME in any format—and you can enter to win a $100 or $50 or $25 dollar gift certificate to the bookstore of your choice! Yes, you can enter each time you buy. Click here for to see the info, the rules, and enter to win: https://1.shortstack.com/dmSQMz

Reissue of the Novels of Judith Merkle Riley

Judith Merkle Riley, 1992

SUSAN ELIA MACNEAL: Today I'm delighted to introduce Shana Drehs, Editorial Director of Sourcebooks & Sourcebooks Landmark, who's talking about the late (and beloved) novelist Judith Merkle Riley — and the reissue of two of her novels, THE ORACLE GLASS and MASTER OF ALL DESIRES. Judith's books are historical fiction, with strong woman protagonists, wicked wit, and a supernatural twist. 

The original cover of THE ORACLE GLASS

I was lucky to be able to work with Judith in 1992, when I was but a lowly editorial assistant for Pamela Dorman at Viking/Penguin. I clearly remember my first telephone conversation with Judith, going over the contact sheet of her author photos for THE ORACLE GLASS (there was no email then). I was liking more of the smiley pictures, but Judith said, "No, I like the one with the half-smile—that's the right one for the author of a book with witches." And that's the one you see above. 

The original cover of THE MASTER OF DESIRES

Judith made my dorky twenty-two-year-old self feel like a real publishing professional. She took me seriously. I guided her books through the editorial process, yes, as I did with many books — but she always was so kind, so funny, so gracious — I felt (for the first time) like a colleague.

The original cover of THE SERPENT GARDEN

I worked with Judith on the books, THE ORACLE GLASS and THE SERPENT GARDEN. When I left Viking/Penguin, we stayed in touch. She introduced me to her lovely daughter (Elizabeth Riley, now a superstar book publicist) and Elizabeth and I became fast friends.

Judith was a colleague, who also became a friend and a mentor. She was one of the first people I showed a draft of MR. CHURCHILL'S SECRETARY to. And to her credit, she didn't laugh or make paper airplanes out of it, but instead send me constructive criticism, as well as love and support.

There's a lot of Judith in my work. I named Maggie Hope after her character Margaret in her first novel, VISON OF LIGHT. As a good luck charm, I gave my Maggie red hair after her Margaret's red hair — who was a redhead inspired by Judith's daughter and my eventual friend Elizabeth. And Maggie definitely has Judith's sense of humor.

Later, when I got an agent, and then a publisher, Judith guided me through a number of tricky situations, older novelist to debut novelist, mentor to novice, friend to friend.  

Alas, she died before MR. CHURCHILL'S SECRETARY was published, but I dedicated PRINCESS ELIZABETH'S SPY to her. And I still think of her often. So often.

The first cover of Judith's A VISION OF LIGHT

Can you see the family resemblance? (Actually, this is the first time I put it together....)

Alas, her novels went out of print, too, and I was sad — sad and angry she died so relatively young and also sad that her books were gone, too.

Imagine my surprise and delight when I opened up a package last month and saw her books, AN ORACLE GLASS and THE MASTER OF ALL DESIRES, all shiny and new, with gorgeous new covers!

Shana Drehs from Sourcebooks was kind enough to send them to me, and for that I shall be eternally grateful. 

And since they're now back in print, I'm delighted to share them with all of you, Reds and lovely readers. I hope you love them as much as I do.

Now, please welcome Shana, with the story of how she came to (re)publish Judith Merkle Riley's books!

SHANA DREHS: As a reader and an editor, I’ve always been drawn to historical fiction featuring strong female characters who thrive in unusual circumstances or triumph over overwhelming challenges.  Therefore, when I first learned of Judith Merkle Riley and her books shortly after she passed away in 2010, I suspected that I had been missing out on something truly special. 

The new Sourcebook cover of THE ORACLE GLASS

After reading The Oracle Glassfor the first time, my suspicions were confirmed. Judith is beloved by her fans and readers for her lively writing and unforgettable characters, and it immediately became clear to me that her books deserved a wider audience. 

Luckily, I was in a position to help make that happen—and that fact that I work for the largest woman-owned publisher in North America seemed extra fitting, as Judith’s work focuses on extraordinary women whose skills and ambitions often transcend the limitations of their times. Paired with a strong historical fiction program and a history of successfully republishing classic authors and books, Sourcebooks and Judith Merkle Riley’s work seemed like the perfect match.

The rights to two of Judith’s books, The Oracle Glassand The Master of all Desires, were available, and I snapped them up. In The Oracle Glass, the protagonist, Genevieve, escapes her abusive uncle to pursue a lucrative position as a fortune teller, eventually becoming entrapped in the political intrigue of the court of Louis XIV. 

The new Sourcebook cover of THE MASTER OF ALL DESIRES

The Master of All Desires is my particular favorite of Judith’s novels, as it tackles the unlikely premise of a genie-like creature living inside a small, ornately decorated box to show the destructive powers of human desire—while also being, at times, side-splittingly funny. 

We had an incredible response to Judith’s work in-house, and many people commented on not only how well-written the books were, but also how much they enjoyed the humor Judith so skillfully weaves through her writing. Historical fiction is not necessarily a category known for humor, but Judith had a particular gift for telling arresting, historically accurate stories with all the humor, drama, and tragedy that real lives encapsulate.

Of course, having connected so strongly with Judith’s work, my only regret is that I never had the chance to know her personally and to build the kind of author/editor relationship that makes my job so rewarding. Judith is spoken of lovingly throughout the publishing and academic circles in which she was known, and it is clear that she was not only an extremely accomplished writer but also a wonderful person, and I wish I had been lucky enough to be among those who called her a friend and colleague. 

I am so glad, however, that I have had the opportunity to republish two of her wonderful novels and bring new readers to what should truly be known as classics within the historical fiction category. I am confident that just like Menander, the devious genie figure in The Master of All Desires, Judith’s work will live on for generations (although, naturally, in a less disruptive manner!). 

SUSAN ELIA MACNEAL: Thank you so much, Shana! 

Reds and gentle readers, if you could wave a magic wand (Judith would approve!) and bring any book back into print, what would it be and why?