Witness protection

In The Lie Maker by Linwood Barclay, Boston journalist and novelist Jack Givins is down on his luck. He’s fired before even starting a new job, his car blows up and his publisher rejects his third novel. So Jack is receptive when his literary agent visits with a burner phone that eventually delivers a lucrative job offer: write histories for people entering the US Witness Protection Program. 

“The Witness Security Program was authorized by the Organized Crime Control Act of 1970 and amended by the Comprehensive Crime Control Act of 1984,” notes the program site. “The U.S. Marshals Service has protected, relocated, and given new identities to more than 19,000 witnesses and their family members, since the program began in 1971.” The program provides witnesses with new identification and documentation, initial support that leads to self-sufficiency.

His new employer, Gwen Kaminsky, tough and demanding, repeatedly reminds him that she has a stable of writers. A condition of the new job is that he keep his employer's identity secret. Their meetings are clandestine, and she runs operations out of an office labeled as an import firm. Jack strives to please. After writing and rewriting a profile, he asks to meet the witness and Gwen makes elaborate arrangements, requiring that Jack wear a blindfold.  On the return trip, he asks how thoroughly she had checked him out and how far back she went. 

She explains that, with no criminal record or inappropriate associations with groups on the US watch list, he checked out. Jack responds, noting he found it “one hell of a coincidence that you’d pick someone like me… Someone with more than a passing acquaintance with the witness protection program.”  

Gwen blows up, assuming that Jack is a witness under protection, but he quickly assures her that the witness is his father- a former hitman who testified against his employer who ordered the hits. Michael Donahue left his wife and child when Jack was nine. The mother remarried and changed their names years earlier. Gwen expresses alarm, fearful of being fired, adding “There’s no way I shouldn’t have known this.” Then she asks why he told her. 

“I wanted to clear the air,” Michael explains. "I wanted to be sure there wasn’t something fishy about you coming to me.” He goes on to ask that Gwen help arrange meeting with his father. “I don’t know how to find him, but I figure you do.” 

At one point, Jack learns the subject of his first profile was murdered. But he should have checked the program website: “No Witness Security Program participant following pro-gram guidelines has ever been harmed or killed.”

Jack is surrounded by deceitful characters – including the woman who hires him, the girlfriend who covertly tries to figure out his new employer, a stepfather who consistently has money problems, an agent who misleads about the novel's rejection, a father who abruptly makes brief appearances over the years, lying to protect his son. More than one dies. 

Jack also withholds information, but with time and trust, eventually releases truth in pieces. 

The characters may have flaws, but are earnest and funny, often doing the right thing at the end. Tone and plot are fast-paced and noir. The writing is witty, sharp, excluding unnecessary details. 

Some lies land characters in more trouble. Others are essential for survival.  

Trust

Yellowface by R.F. Kuang is a provocative examination of race relations and career ambitions in the publishing industry that lead to ruthless competition, lying and cheating. More outrageous than humorous, the book garners extra attention by focusing on the publishing industry. 

Athena is a successful author and her former classmate and longtime acquaintance June Hayward is not. Athena is Asian American; June is not. A few years after graduation, the two have a rare get-together when Athena suddenly chokes to death and June does little to save her. June pockets the sole draft of Athena’s latest novel, does extensive revisions and sells it as her own, adopting her mother’s maiden name. “This is what I love most about writing – it offers us endless opportunities to reinvent ourselves, and the stories we tell about ourselves.” Juniper Song becomes the “good friend” who was with Athena during her final moments. “The best way to hide a lie is in plain sight…. I’ve never made a secret of my relationship to Athena… I play up our connections. I mention her name in every interview. My grief over her death becomes a cornerstone of my origin story.” 

 A white woman writing about an obscure part of Chinese history prompts the editing team to worry “cultural authenticity” and getting “ahead of any potential blowups.” June is abrasive about questions and suggestions for a sensitivity review: “Are you saying we’ll get in trouble because I wrote this story and I’m white?” The editor responds, “Of course, anyone should be able to tell any kind of story. We’re just thinking about how to position you so that readers trust the work.” 

 The book is wildly successful and June insists she never lied. “I never pretended to be Chinese or make up life experiences that I didn’t have. It’s not fraud, what we’re doing. We’re just suggesting the right credentials, so that readers take me and my story seriously, so that nobody refuses to pick up my work because of some outdated preconceptions about who can write what. And if anyone makes assumptions, or connects the dots the wrong way, doesn’t that say far more about them than me?” June trusts no one, recalling a philosophy student whom she once dated arguing that the living owe nothing to the dead. “Especially when the dead are thieves and liars, too.” 

 The author cleverly critiques the publishing industry by speaking through a manipulative protagonist: “author efforts have nothing to do with a book’s success. Bestsellers are chosen. Nothing you do matters. You just get the enjoy the perks along the way.” Still, June finds herself missing writing before meeting Athena and making it her career: “suddenly writing is a matter of professional jealousies, obscure marketing budgets, and advances that don’t measure up to those of your peers.” Personality takes priority over content: “You, not your writing, become the product – your looks, your wit, your quippy clapbacks and factional alignments with online beefs that no one the real work [cares] about.”

The industry and readers force writers into narrow genres and roles, “And once you’re writing for the market, it doesn’t matter what stories are burning inside you. It matters what audiences want to see, and no one cares about the inner musings of a plain, straight white girl from Philly. They want new and exotic, the diverse, and if I want to stay afloat, that’s what I have to give them.” 

 Huang also relies on June to criticize ethnic authors who transmit stories that belong to ancestors. Athena once pointed out once that she was ethically troubled by telling stories lived through by her parents and grandparents, worried about “exploiting their pain for my profit” – but not enough to find her own stories: “I remain aware that I can only do this because I am the privileged, lucky generation. I have the indulgence to look back, to be a storyteller.” 

Early on while in school, June relished her friendship with Athena. “For it was so nice to know someone who understood this exact dream, who knew how mere words can become sentences can become a completed masterpiece, how that masterpiece can rocket you into a wholly unrecognizable world where you have everything – a world you wrote for yourself.” But the friendship deteriorates. While freshmen at Yale, Athena turns a confidential conversation about a sexual encounter into a short story. Years later, June observes Athena chat up an American POW from the Korean War at the Smithsonian National Museum of American History – and is blunt with her assessment. “There’s no need to dress it up. We are all vultures and some of us – and I mean Athena, here – are simply better at finding the juiciest morsels of a story, at tripping through bone and gristle to the tender bleeding heart and putting all the gore on display.” Even Athena’s former boyfriend notes, “as time went on all I could think was that she was mining me, using me as fodder.” 

Writers are so hell-bent on keeping up with publishers’ demands that many forget to live life. June frets that she lacks an original voice, capable of only presenting others’ tales. Readers turn pages in horror, waiting for her to get caught – but she is slippery and manages to reinvent herself time and time again, desperate to avoid the mundane lives of her mother and accountant sister: “Living their little and self-contained lives, with no great projects or prospects to propel them from one chapter to the next.” She later admits, “I want my words to last forever, I want to be eternal, permanent; when I’m gone, I want to leave behind a mountain of pages that scream, Juniper Song was here and she told us what was on her mind.” 

The goal is petty, echoing the publishing industry’s embrace of social media and expectations for authors to endlessly build a presence, nurturing popularity and connections with readers. As June points out, “your time in the spotlight never lasts. I’ve seen people who were massive bestsellers not even six years ago, sitting alone and forgotten at neglected signing tables while lines stretched around the corner for their younger, hotter peers…. The rest of us have to keep racing along the hamster wheel of relevance.” 

Unfortunately, social media’s ability to lift or ruin reputations, the pathetic neediness of users, has become a tired literary trope, making these chapters drag. 

In the end, June sets out to write a memoir. “I will craft, and sell, a story about how the pressures of publishing have made it impossible for white and nonwhite authors alike to succeed. About how Athena’s success was entirely manufactured, how she was only ever a token. About how my hoax – because let’s frame it as a hoax, not a theft – was really a way to expose the rotten foundations of the entire industry. About how I am the hero, in the end.” And she hopes that some reviewer might ask, What if we got it all wrong? and, What if Juniper Song is right? 

Juniper Song is a product of the publishing industry, and both have squandered all trust.

In 2014, I wrote more about the publishing industry and readers imposing rigid "purity tests" on storytelling that explores other cultures. 

Quality

I was once a huge fan of mystery novels. My admiration for suspense, intriguing characters, surprising puzzles and thrilling plots led me to center my writing on the genre.


But lately, the genre has been less satisfying. The number of books has exploded - and BJ Gallagher has written about these trends for Huffington Post - and this goes for mysteries, too.

But the quality of books may be in decline. Perhaps I've become jaded, impatient, and I finish only about two out of every three books I read anymore.

The reasons are many. Blurbs and jacket descriptions do not deliver on their promises. Publishers encourage authors to churn out one or more books per year. Some series rely on tired formulas. Authors invest more in publicity than editing, proofreading, storytelling, or research. Publishers, reviewers, fans herd in pursuing big names. Authors no longer allow series to each their natural conclusion, and heirs to a story line hire writers to keep the story going.

The Statistical Abstract of the United States reports that a total of 11,022 books were published in 1950, and fewer than 2000 were fiction. By 1965, the number jumped to more than 20,000 of which 1,615 were new fiction. For 2013, print books by traditional publisher totaled more than 304,000 and the total of non-print books was estimated at more than 1.1 million. The 2014 Bowker release adds, "In traditional publishing, Fiction and Juvenile genres continue to dominate the market."

Reviewers cannot read all books, and bookstores cannot stock all books. Globalization combined with word of mouth ensures that most readers can herd around the same dozen or so book each year.

And even those favorites can disappoint.

Still, readers persist in discovering and new writers and bringing their stories to the public's attention, including The Martian and Still Alice.

Photo of Yale Law Library, courtesy of Nick Allen and Wikimedia Commons.

How we read news

Anyone who loves newspapers hopes that Jeff Bezos can innovate and revive interest in the Washington Post, the newspaper industry and daily habits of reading news. Yet the motivation behind the purchase could be to protect the status quo of the internet rather than innovate. 

You see, it's in the interest of internet titans to protect newspapers. The loss of newspapers as a trusted source of news would eventually weaken most search engines, blogs, investment guidance and many other online offerings. Internet readers who devour news expect articles and opinion essays to be grounded in fact and research.

The news industry has ignored the demand side of the business and customer trends. Pricing models for digital news rely on old habits and not new ones. Newspapers like The New York Times continue to fund news reporting with targeted ads and digital subscriptions that offer access to the entire newspaper for a lump sum. 

But that's not how we read anymore, at least on the internet. Few internet users limit their reading to a single newspaper anymore. Few limit the activity to a half hour in the morning or evening, scanning headlines and then methodically reading most articles. Instead, we scan headlines throughout the day, bouncing about from newspaper to newspaper. And digital news services deliver indices based on our careers, political leanings, and geographic location - and we proceed to read a story from Hong Kong, then one from New York or London, before moving on to India. 

A digital subscription for the New York Times runs about 3.75 per week, or about 53 cents per day (and includes a Smartphone App - annoying for subscribers who don't own smartphones; internet customershave come to expect custom-tailored services and products, and refuse to pay for unwanted "extras," but that's another story ...)  Like many readers, I also want to read stories from the Washington Post, Asia Sentinel, Los Angeles Times, Miami Herald, New Haven Register, Telegraph, Daily Sentinel, Financial Times, Wall Street Journal, Der Spiegel, the Guardian and many more. Of course, the cost of so many subscriptions - offering so few options would add up. Few readers will purchase more than several subscriptions, and a news hound who purchased three subscriptions would feel uninformed.

In the meantime, most newspapers offer a selection of articles for free, and adequate summaries can be found on blogs. And many sites are a source of free opinion essays like Project Syndicate, YaleGlobal Online, Reuters, Bloomberg and more.  Publishers of the New York Times and other newspapers aren't clueless and recognize all this - they should also realize that most subscription offers are absolute turn-offs. Circulation analysts should know, too, how many articles readers actually click, the length of time spent per article, along with traffic sources. I'd guess that plenty of entry and exit sites are other newspapers. Finally, newspaper subscription sites that offer special prices for the first 12 weeks and do not explain long-term pricing are not encouraging or expecting customer loyalty.

If anything, newspapers should find ways to reward loyal, long-time customers rather than gouge them. 

Newspapers must develop pricing models based on customer perceptions of value. Publishers could charge a small fee for each story, perhaps a penny or two, perhaps more for must-read stories. And eventually publishers might even charge a small fee for scanning all headlines. For the most loyal readers, publishers could offer package deals, say 20 articles a month, again for a small fee. Smart publishers would cap the weekly fee at $5 or so, giving those willing to pay that much complete access. 

Yes, each reader will likely read a few articles, but more readers overall will click. With more tailored pricing models, title and content would become more powerful. The number of popular journalists would become more concentrated as some stories are irresistible and many readers would pay.
 
In setting prices, newspaper publishers focus too much on supply and not enough on customer demand. "The theory of price says that the point at which the benefit gained from those who demand the entity meets the seller's marginal costs is the most optimal market price for the good/service."  John Naughton of the Observer touches on this basic economic principal and transaction costs in an article that remembers economist Ronald Coase: 

"If the costs of making an exchange are greater than the gains which that exchange would bring," Coase wrote, "that exchange would not take place and the greater production that would flow from specialisation would not be realised. In this way, transaction costs affect not only contractual arrangements, but also what goods and services are produced. Not to include transaction costs in the theory leaves many aspects of the workings of the economic system unexplained, including the emergence of the firm, but much else besides."

- An online newspaper could distribute work from individual journalists or beats as blogs. Front pages and section content of newspapers are in constant flux, updated minute by minute, defeating the notion of a single newspaper edition. Deadlines come with every passing minute.

-  Editors may invite more readers to contribute articles and opinions, earn and interact – much like Kindle Publishing Platform.

- Advertisers could be given more choice on ad placement, not just with sections but specific articles or journalists. The publisher could also pass along detailed metrics on reader behavior. Online ad sales must offer paying customers more for their money.

- Expect more partnerships. Newspapers already collaborate with Reuters or Associated Press. They could also could collaborate and bundle online delivery services, similar to the distribution of cable television shows.

- The Post may distribute Kindles or other devices to subscribers at a low fee, which would increase dependence on the hardware and expand the market for other services from companies like Amazon. The company's model has foreshadowed such connections, suggested analyst Ben Bajarin in Tech.pinions before the purchase, “Namely, how hardware as an extension of a service may represent the ideal way to consume said service.” 

The best content online depends on newspapers and their journalists. Most stories in broadcasting start out from a newspaper report, and the most informed analysis in television discussions and blogs often relies on the solid, original reporting provided by print publications. Regular, organized delivery of information informs cultural, government, business and social trends, too, often percolating from grassroots reporting. Strong communities are well informed with the help of strong, independent newspapers that are in the business of observing communities, making decisions about what to cover, and pushing readers to venture into new territory and react and think on their own. People who read their local newspapers are smarter consumers. 

The online titans - and citizens - cannot afford for newspapers to go down.
 
The 1891 painting of Woman Reading a Newspaper, courtesy of Norman Garstin and Wikimedia Commons.Garstin was born in Ireland and raised by grandparents. "He first set out to be an engineer, then an architect, and then sought his fortune prospecting for diamonds in South Africa n the company of Cecil Rhodes," notes the bio from Penlee House Gallery and Museum. 

Susan Froetschel is a journalist and author of the novel Fear of Beauty.