Barry Eisler and I have a common denominator, a reason our paths keep crossing. That commonality is the amazing and talented Laura Rennert—my agent, Barry’s wife. That makes Laura almost as important to Barry as she is to me. So…Barry and I have shared a few conferences of the Andrea Brown Literary Agency variety, at that hideout lodge in the redwoods of Big Sur. And I definitely knew he was a writer, but I have to admit this: at first I was walking around with my head up my ass and not getting that he was this sort of…Mega-Writer…this legend in the industry. Probably just as well, because now he knows how I’d be treating him if he weren’t. The same. Basically.
I remember my first impression of Barry, as shared with Laura. I said, “He’s funny.” She said, “Yeah. He is funny.”
But somehow this has to morph into an interview, so I’d better start to pressure it in that direction.
Me: Barry, I still remember the day I read that initial conversation between you and Joe Konrath (which you later titled Be the Monkey, and made available for free download). It was shortly after you’d walked away from all that money at St. Martin’s, an event I still refer to as “The Shot Heard Round the World.” I read the whole thing, every word, then closed the web page and thought, “I’m saved. Everything is going to be all right after all.” I was in that classic author’s bind—I had the name, but not the right sales numbers in the right order, and the US publishers (I’m doing fine in the UK) weren’t wanting to take a chance, no matter how much they loved the books, and the industry was falling apart, and goddamn it this is how I pay my mortgage. I was in a box I thought I might never break out of. I wouldn’t have thought of Indie, because of its stigma. But you erased the stigma in one act. In one day. You leveled the playing field, making Indie an option for those who seek it, not just for those who have no other choice. Wow. Listen to me running off at the mouth, and I haven’t even found a question yet.
Here’s the question: I know you took, and continue to take, a lot of crap for the decision to go Indie—and the subsequent decision to go Amazon—with The Detachment. In fact, you seem to take a lot of crap in general, which I interpret to mean you’re flying high enough to draw some anti-aircraft fire. But do you also get sincere appreciation from authors (other than me) for changing the landscape in which they live and work?
Barry:
We have to do an interview? I was so enjoying all the nice things you were saying about me!
At least let me return the favor: when I first met you, all I knew was that you were the writer whose manuscripts Laura devoured in a sitting or two; the ones where she had to make a second pass wearing her editor’s hat because the first time she was completely seduced by the story; the ones where, when I heard her crying over a manuscript, I’d say, “Ah, that must be Catherine’s new one,” the ones she would hand me tearfully saying, “You have to read this passage. It’s gorgeous.” And she was right. And I knew you’d written something like 18 books, and that one, Pay It Forward, had been made into a big movie, so I think I was semi-expecting a diva, and instead you were totally down to earth and funny and fun to hang out with.
Jeez, this is making me miss the Big Sur Writer’s Conference. We need to get back there.
But okay, your question… yes, I’ve taken a certain amount of criticism for some of my business decisions, and I think the reactions are interesting on several levels. First, I think it’s fair to say that my moves haven’t been welcomed in the legacy publishing world, but the reasons for that are pretty easy to understand. The more options authors have, the more competitive companies will have to become if they want to remain viable publishers. When every legacy publisher offers authors the same 17.5% of the retail price of a digital book, authors have to take it. When authors can make double that or more being published by Amazon, when they can make a whopping 70% per unit self-publishing, it puts pressure on legacy publishers to adapt and up their game. And, because they’re composed of humans, and because humans are inherently lazy, legacy publishers would prefer to avoid real competition and instead go on subsisting on monopoly rents.
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Friday, March 16, 2012 at 12:01AM 
I first learned about Swati and her fabulous young adult novel SPLIT when her editor at Knopf (we share the same YA publisher) asked me if I’d consider reading it with an eye for writing a blurb. It was her debut novel, and I know how important the launch of that first book can feel. And be. Which doesn’t mean I would blurb any book if I didn’t love it.
Me: Let’s start with getting your name right. Easy enough in print, but let’s get it right in the readers’ minds, too. 
