My next guest for Mystery Thriller Week, Jennifer S. Alderson, was a writer by profession before she became a novelist.
Have you been traditionally published (novel, short story, or non-fiction)?
None of my books have been traditionally published. I did work as a journalist and columnist for five years and several of my articles were reprinted in magazines, but that’s a different ball game.
What type(s) of fiction do you most enjoy reading? Favorite recent read?
Travel fiction and mysteries are my preferred genres; books that transport me to exotic lands and feed my curiosity about the world are my favorites. I’m currently reading Fast Track to Glory by Tomasz Chrusciel and it fits my definition of a great read perfectly.
Why did you choose to publish this book independently?I’d queried agents about both of my books and had several requests for partials and even full manuscripts. The response was inevitably that they loved the story and characters, but their list was full or it wasn’t a perfect fit, and they were certain another agent would snap it up. Unfortunately, that never happened. After collecting a drawer full of the nicest rejection letters ever, I decided to self-publish and see what happened. The positive response to both books so far, is overwhelming.
Have you enjoyed the experience / process? Would you recommend Indy publishing to others?
It’s difficult to know, because I’m not sure what kind of marketing or editorial support I would have gotten through a publishing house. I know being Indy means spending an absurd amount of time reaching out to, and connecting with potential new readers. But the freedom I have to choose which editors and book cover designers I work with is quite lovely. I’ve heard too many horror stories from traditionally published author-friends who’ve lost control over the final edit and cover, and were not always pleased with the result.
Give a blurb for your story.
The Lover’s Portrait: An Art Mystery is the story of American art history student Zelda Richardson, who discovers clues to the whereabouts of a cache of missing masterpieces buried somewhere in Amsterdam, hidden away in 1942 by a homosexual art dealer who’d rather die than turn his collection over to his Nazi blackmailer.
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