In today’s literary world, there are three significant hurdles to overcome: writing a compelling novel, publishing it, and finally, selling it to readers.
I’ve managed to tick off the first two with my new political-thriller, “The Camelot Trail,” set for release on November 17. Now comes that final challenge.
I find myself reflecting on some recent choices I made in my previous book, “Paper Tigers,” where I portrayed a character I don’t politically align with in a more dignified and witty manner. Perhaps that’s where some of the controversy lies.
It seems like getting your book noticed used to be a bit easier. Back in the day, even smaller publishers had internal marketing strategies. They would organize interviews, nationwide signings, and send out advance copies to niche publications — think Analog for sci-fi, Ellery Queen’s Mystery Magazine for mysteries, and Romantic Times for romances.
But then the internet changed everything. It kind of chopped the reading audience into smaller groups, and the publishing industry has evolved in other ways too.
Seeking Heroes
The early 2000s saw a resurgence in reading, largely thanks to “Harry Potter.” J.K. Rowling’s books drew in readers of all ages, but notably, boys. A Scholastic study from 2006 indicated that 57% of boys aged 5 to 17 had read the series, compared to 51% of girls.
Best-seller lists during that time were dominated by male-focused thrillers and mysteries from authors like Lee Child and Dan Brown. Their audiences weren’t strictly male; many women also gravitated towards these strong alpha characters.
However, over the next decade, both publishing and Hollywood began to view the classic male protagonist as needing some sort of reevaluation.
Eight years ago, I wrote for the American Spectator, noting how the blockbuster “Taken” would likely not be produced if approached today, given its depiction of a heroic white father saving his daughter from traffickers. I ironically suggested that a modern take would likely flip the narrative on its head.
A Shift in Expectations
Take Rachel Zegler’s comments regarding Disney’s updated “Snow White.” She stated, “She’s not going to be saved by the prince… she’s dreaming about becoming the leader she knows she can be.”
This seems to send a message to both girls and boys: You may no longer find the classic fairy tale archetypes in your stories.
But independent publishers still offer those traditional hero narratives.
Interestingly, the publishing world is primarily female. A recent survey showed that over 82% of respondents identified as “cis women.” The Association of American Literary Agents has committed to advancing more inclusive practices, which, while positive, might leave traditional narratives overlooked.
They don’t put up a sign saying “STRAIGHT WHITE MALE HEROES NEED NOT APPLY,” but the message is often crystal clear.
A Counter-Narrative
I’ve authored five books, including what I believe to be a significant work, “Paper Tigers,” centered on two journalists at the Washington Post who learn that chemistry, rather than politics, drives relationships. My Christmas-themed romantic tale, “The Christmas Spirit,” has garnered a loyal readership during the holiday season.
So, why might you not have heard of them?
They were published by smaller independent houses that embrace the themes that larger publishers might shy away from — like charming tough guys and spirited women who appreciate romance.
By 2020, I pretty much resigned myself to the fact that these narratives wouldn’t attract a major agent or publishing house. I took another risk in “Paper Tigers”: I wrote a politically ambiguous character with depth and humor.
This approach might be why the romantic comedy genre has waned, as its traditional structure is increasingly scrutinized.
Back to Basics
This brings us back to “The Camelot Trail.” It’s the second installment in my political-thriller mystery series, following detectives Mark Tristan and Neil Cork. The first book, “The Washington Trail,” began with a seemingly straightforward case involving a woman whose fiancé had left her, but it quickly spiraled into a complex political intrigue.
Political thrillers need to stay relevant, which posed a challenge. Although I wrote “The Washington Trail” in 2023, anticipating the state of politics a year ahead often felt like walking a tightrope.
By the time I submitted my manuscript in October, Aethon Books accepted it and signed me for two additional novels.
But as reality began to mirror the intrigue of political thrillers, I found myself in a tough spot. After turning in “The Camelot Trail,” my publishers hesitated, believing it might be too politically charged to find a broad audience. Their suggestion was to downplay the political themes — a substantial rewrite — or relinquish the rights for the entire series.
A Tough Decision
The premise of “The Camelot Trail” follows the detectives as they protect a British professor whose ideas about chivalry attract hostility from various groups. He finds temporary solace in the U.S., but as a large rally looms, he remains at risk.
The suggestion to tone down the politics would require a complete overhaul, likely missing the Christmas release window.
Looking for another publisher might have led to more delays.
Ultimately, I chose to keep the essence of my narrative intact.
I reached out to World Castle Publishing, the same house that produced “The Christmas Spirit.” They agreed to maintain my original timeline for “The Camelot Trail” and even republished “The Washington Trail” this summer.
And so, “The Camelot Trail” will be available on November 17.
I really need to ensure I can cross that last hurdle now.
