Otto Penzler: Four Decades of Rockin’ the Mystery World

By Maria Giordano
Killer Nashville Staff

In the world of mystery writing, Otto Penzler is one of those legendary rock stars.

No, crowds are not chanting his name and throwing their underwear on stage. Still, Otto appears to receive a similar kind of reverence, mostly among other writers. Voices fade away and eyes grow wide when they speak of the owner of the Mysterious Bookshop in New York City and the publisher of some of the most well-known writers in the world.

Penzler, one writer said, is a major influencer in the publishing world and is responsible since 1975 for mainstreaming the mystery-writing genre in America. He has published such best-selling mystery and crime authors as Isaac Asimov, Robert Bloch, James M. Cain, Raymond Chandler, James Ellroy, P.D. James, Ed McBain, Ross Macdonald, Mickey Spillane, and Donald Westlake. The Mysterious Press still publishes today as an imprint of Grove / Atlantic.

But it all started fairly innocently to hear Penzler talk. He arrived in New York in the 1970s as an English major fresh from the University of Michigan. He had been reading some of the greats in college, but needed a break. “I wanted to read something light and more fun, not so challenging,” he said. 

So, he turned to mysteries and discovered writers who were every bit as talented and complex as the ones he had learned about in college, including Dashiell Hammett, Raymond Chandler, and Agatha Christie, to name a few.

Out of this experience grew a love of mystery fiction so deep, he founded a mystery store devoted to the genre, and developed the Encyclopedia of Mystery and Detection, a book he co-authored with Chris Steinbrunner, and for which he won the Edgar Allan Poe Award in 1977.

Success with both enterprises found him in the business full-time and instrumental in the careers of many authors such as Donald Westlake and Ellis Peters. He also continues to edit and write.

Penzler has edited more than seventy anthologies of crime fiction, both of reprints and newly commissioned stories, including the prestigious Best American Mystery Stories of the Year. His 2012 title, In Pursuit of Spenser, was nominated for yet another Edgar Award.

Penzler says pivotal moments in his own career were 1) unlocking his appreciation for mystery fiction and 2) having access to an entire building on 56th Avenue in Midtown Manhattan to grow his enterprise. Another highlight was signing James Ellroy early in his career, he said.

A fast-talking sophisticate, Penzler continues to helm his specialty store now located in downtown Tribecca. As a credit to him, when times changed, so did he. When digital books looked like a train that wouldn’t stop, Penzler adapted. “It looked scary for a while, but then I started with the E-books. I wish I could tell the future.”

Upcoming major projects Penzler is working on include Jack of Spades by Joyce Carol Oates, works by Johan Katzenbach and Thomas Perry, and the continued growth of The Mysterious Press.

According to the Mysterious Bookshop website, Mysterious Press exists in three forms: MysteriousPress.com, The Mysterious Press at Grove / Atlantic, and The Mysterious Press at HighBridge Audio.

The following can be read at www.mysteriousbookshop.com:

MysteriousPress.com

Working in conjunction with Open Road Integrated Media, MysteriousPress.com is converting previously-published works to eBook formats from notable authors like James Ellroy, Donald Westlake, Ross Thomas, Brian Garfield, and Christianna Brand, among others. The press is also publishing original novels by previously published authors and talented newcomers, some of which are available as print editions.

The Mysterious Press at Grove / Atlantic

This press, an imprint of Grove / Atlantic, features new releases from such Edgar Award–winning authors as Thomas H. Cook, Andrew Klavan, and Thomas Perry. 

The Mysterious Press at HighBridge Audio

HighBridge Audio, a leading publisher of spoken word audio, is producing audio books of Mysterious Press’s books, from both the Grove / Atlantic and MysteriousPress.com lines.

On Short Fiction and Evil Masterminds / Author Robert Mangeot

Writing short fiction demands a different kind of mental training. While novels can luxuriate with expansive plots and subplots, short fiction requires jabs and punches. In this week’s Killer Nashville Guest Blog, author Robert Mangeot cleverly tells us how he went from short story unpublished to well-published. And how you can do the same. You simply have to let the masterminds do their job.

Happy Reading!

Clay Stafford
Founder Killer Nashville,
Publisher Killer Nashville Magazine

---

On Short Fiction and Evil Masterminds

By Robert Mangeot

Inside us crime writer folk lurks an evil mastermind. Sure, some days the evil one may seem quiet, but always deep in our imaginations is a dimly lit chamber, walls blanketed in maps with dragons stalking the margins, a desk piled with jumbled notebooks, a shrouded figure clacking away in mad flourishes at the computer keyboard. Your inner mastermind is planning, planning, planning.

As crime writer folk, it’s likely you consider having your creative dark side pointed out as a compliment. And you should. If short fiction interests you, then unleashing that evil dude or dudette might be your call to adventure.

Flash to me outside a Manhattan bookshop, a gunmetal sky over SoHo, and an April mist slicking the rush hour streets: a perfect night for spying. You read that right. Espionage. Except I had only written a short story about spies, and the honor of it landing in the MWA anthology Ice Cold—which was launched that rain-slicked night at The Mysterious Bookshop—was borne of fruitful collaboration with my inner mastermind.

Killer stories require more than lightning bolts of inspiration. In crime writer-ese, a great short story is like a heist: intricate timetable, tricky execution, ticking clock. The story mastermind must identify and adapt to each and every obstacle in order to pull off the job.

Flashback to 2010. Flush with creativity, I had locked myself away to crank out stories. They stunk, every blessed one of them. I know that now, but in those heady days I fired off submissions, certain of a breakthrough.

Not so much.

Fast-forward through a trial-and-error montage of research, critique and useful rejection, add any Eighties arena pop soundtrack at your discretion. What kept me going was my stretch goal—selling a story to a dream market like MWA or Alfred Hitchcock’s Mystery Magazine. Trust me, back then when I said stretch, it meant hyperextension. Whether or not I would ever get the dream acceptance letter, who knew? The important thing was the reach.

Fast-forward again through more rewrite and rejection to enlightenment. Finally I understood my stories, like heists without a getaway plan, they were never coming together. Characters, setting, plot, everything had to be crafted to bring out a connected whole. Poe—now there was an evil mastermind—called this “unity of effect.”

For that I learned to call on my mastermind, which means I also learned to pay as much attention to how I’m writing as to what I’m writing. After all, one story is just one story. My creative process is how I’ll write more and better. And so I’ve developed brainstorming rituals that summon the mastermind. He arrives feisty, demanding sharper ideas and I rewrite again and again and again. He forces me to slash away at the labor-of-love early drafts and darling sentences. The evil mastermind is editing, editing, editing.

Some key lessons from the inner mastermind about killer short fiction; he is five-fold:

The Brain: Amp up the premise until it is distinctively your own. Premises are infinite. Take risks. Have fun with voices, characters, and ideas. The price of a short story idea falling apart is pretty much zero, and if it improves your writing, I’d call that a success.

The Grease Man: Like tumblers falling in a picked lock, work every element into the connected whole. Subplots are for novels, asides for Shakespeare. Keep a short story slick and elegant.

The Insider: Do the research. Amazing next-level inspiration comes from having the context and interrelationships nailed. Also, before ever submitting somewhere, read several issues first. Know the target market cold, its submission requirements and editorial preferences. This is make-or-break with pro markets. No heist goes off without first casing the joint, right?

The Muscle: Short stories are all about compressed vibrancy. Find the compelling narrative voice that does the heavy lifting, especially with mood and characterization. Edit, edit, edit until the deeper story emerges and the words crackle.

The Getaway Driver: Start the story late, well after a novel version would open. Move quick, hit hard and get out fast, with a thematic roar that echoes long after the last word is read.

Simple, right? We crime writer folk understand simple doesn’t mean easy. But for me, that journey is becoming an adventure. The short story is dead? Feels pretty alive to me.

You know what else is alive? Your mastermind. Alive and hard at work somewhere in there, planning, planning, planning your story of the century.

---

If you would like to read more about Robert Mangeot’s books please click here.

Robert Mangeot lives in Franklin, Tennessee, with his wife, pair of cats, and a bossy Pomeranian writing partner. His short fiction has won multiple writing contests and appears in various journals and anthologies, including Alfred Hitchcock’s Mystery Magazine and Mystery Writers of America Presents Ice Cold: Tales of Intrigue from the Cold War. He serves as the Vice-President of Sisters In Crime, Middle Tennessee chapter. Visit his website at robertmangeot.com

---

(Have an idea for our blog? Then share it with our Killer Nashville family. With over 24,000 visits monthly to the Killer Nashville website, over 300,000 reached through social media, and a potential outreach of over 22 million per press release, Killer Nashville provides another way for you to reach more people with your message. Send a query to contact@killernashville.com or call us at 615-599-4032. We’d love to hear from you. Thanks to Maria Giordano and author Tom Wood for his volunteer assistance in coordinating our weekly blogs. For more writer resources, visit us at www.KillerNashville.com)