Dana Priest and Bill Arkin’s Top Secret America: The Rise of the New American Security State, edited by moi, hit the New York Times bestseller list this week at #14 (and made #6 on the Washington Post bestseller list).
Author & Editor
Dana Priest and Bill Arkin’s Top Secret America: The Rise of the New American Security State, edited by moi, hit the New York Times bestseller list this week at #14 (and made #6 on the Washington Post bestseller list).
Next week it will be a year since the Macondo well was finally killed and sealed safely in it’s tomb of concrete. The media attention paid to all the books about the disastrous blowout last April 20th in the Gulf of Mexico shut down a lot faster than Macondo did. We were quickly on to other disasters, other obsessions, other anniversaries. But out of the blue (so to speak), in the new New York Review of Books dated Sept. 29, comes this retrospective of oil spill/blowout books by Peter Maass. He says some very gratifying things about Fire on the Horizon. He calls it “a rough gem” and “an excellent book that wraps concise explanations of technology into a fascinating story of danger and tragedy on the rig.”
That last phrase is the most concise possible formulation of exactly what Fire on the Horizon was trying to accomplish.
Top Secret America, the Rise of the New American Security State – the expansion and elaboration of the Washington Post series by Dana Priest and Bill Arkin – a project that took up most of my winter and spring, has gotten off to a blazing start days before it’s official publication date. It’s already at 120 on Amazon, and a major Frontline special on it won’t air until Sept. 6. The challenge for this was always to take a groundbreaking and informative newspaper series and make it into something more. A book has to engage and involve a reader in a way a newspaper project never can. The strategy was to back out from the investigative conclusions summarized in the series and approach it the way Priest and Arkin did themselves in two years of reporting; to make it a journey of discovery where the readers reach the disquieting conclusions bit by bit as they feel the massive haunches, the rope-like trunk, the solid mass of the belly of the beast and only slowly realize they are dealing with a mastodon — the uncontrolled, even metastatic growth of invasive, redundant and ruinously expensive security measures, the very overreaction that terrorists count on.
The skeptical take on this book project, which I heard a lot as we labored on it, was that, after the massive three part series in the Post, nothing was left to be said. The very first reader review was very reassuring on that point:
I generally take a very jaundiced view of books that emerge from Washington Post columns I have already read, but this book surprised, engages, and out-performs the columns by such a leap that I have to rate it at six stars (10% of what I read and review), and call it a nation-changing book.
Here’s the early review from Kirkus.
It will be interesting to see where it goes from here.
If you’ve ever asked yourself, “Self, what does it take in the current market to become a best-selling author?” you would be well advised to carefully study the following description, from today’s Times, of the oeuvre of megabestselling author Tim Ferriss: Mr. Ferriss has risen to mass popularity by explaining to readers how to get the most change in their lives for the least amount of effort. His books promise to help readers lose pounds through “safe chemical cocktails” and odd food combinations, gain muscle in a month with only four hours of gym time, produce 15-minute female orgasms, and sleep two hours a day and feel fully rested.
I felt the guide to producing 15-minute female orgasms was particularly inspired, though he might want to try to get that down to FIVE minutes in the next edition.
Hunt fans won’t have to wait until next June for a fix. The Herald has committed to the first Miami Hunt since 2009 for Sunday Nov. 13. This will be a Dave-Tom production, as opposed to the Dave-Tom-Gene Washington Hunts. Though we DO let Gene have the opportunity to trash all our ideas along the way. It should be a very novel Hunt, in that the venue is the public space surrounding the brand new, perhaps not even 100% completed, Florida Marlins stadium, where the Orange Bowl used to be. It’s very dramatic architecturally, and dramatic architecture is always a good inspiration for Hunt puzzles. Plus, as I remember fondly from attending Orange Bowl events, the surrounding neighborhood has EXCELLENT cafe Cubano and mango batidos.
Stay with me here: I promise, this DOES have something to do with writing.
The other day a tennis partner told me that he’d recently reworked his serve. “I was trying to jump when I serve, the way the pros do, but at 37, I’m getting too old for that.”
Here’s the thing: despite the visual evidence above, the pros don’t jump. In order to hit a serve in excess of 125 miles per hour, they have to use the most powerful muscles in their bodies. Those are, by far, the muscles in their legs . So what a pro is trying to accomplish when he is serving is to use his lower body to thrust up, driving the upper body, including the arm holding the racket, into the ball with maximum force. It is perhaps a subtle distinction, but an important one. That their feet leave the ground on the serve is a byproduct of the forces at work, not the point of them. Amateurs who see the pros on TV will see the leap and try to imitate it by jumping first, then hitting the ball. This creates a serve that is almost impossible to time correctly, and does nothing to increase the force of the serve. They jump, then swing. Little or none of the force of the jump transmits to the service motion.
As soon as this occurred to me, I realized its connection to my previous post. I was talking about why it is that when a writer is trying to write powerfully, that writer fails miserably. Good writing is simply the ability to focus on a powerful idea or image and find the most effective possible way to convey it. The power is in the idea itself, and only purpose of the writing is to insure that that power is conveyed fully and succinctly to the reader.
In an almost identical sense, the impressive leap skyward of a great tennis serve is not about leaving the ground, but the ability of that upward thrust of hamstring, quad and calf muscles to communicate power to the swinging arm. In fact in tennis, just as in writing, the less tension and conscious effort in the motion, the bigger the serve.
The August Nieman Editors’ Roundtable is up discussing a terrific story about a 20-something man masquerading as a teenage high school hoops star. Go to: http://bit.ly/qLBbx4
A client sent me a first chapter to a book. I don’t want to say it was awful, but it just wasn’t working on any level. After receiving my critique, the client sent me a long message of explanation. The message was clear, funny, insightful and fun to read. It had me hanging on every word. How do you explain that? Actually, I think embedded in the explanation is the secret principle for all good writing. The root problem with the chapter was that the writer had never figured out what the story was. In the absence of a clear idea, she just tried to WWrite around it. That’s trying to be a writer with two cap Ws, big fancy words, flashy sentence structure, metaphors out the wazoo, with the net result something that is overly cute, trying too hard, and still, since the root problem was not knowing what the story was, meaningless. But when she was trying to explain her difficulty to me, she knew exactly what she was experiencing, which allowed her to do nothing with her writing except attempt to communicate that to me in the best possible way. Since she was talented, the result was everything I describe above. So that’s something to remember: the key to good writing is, first and foremost, actually having something significant and interesting to communicate. Once you have that, forget about everything else but communicating that thing in the most effective way possible. Easy peasy.
The Hunt for Bin Laden single has been the #1 Kindle Single pretty much from it’s launch. It’s also hovered around the #50 range in the entire e-book store on Amazon. What does that translate to in terms of hard numbers of sales? A friend of mine had a #1 Kindle Single that proceeded to stay in the top 20 Singles for a couple of months. He said he was told that the sales were headed for a total of about 10,000. At $2, $3 a pop, nobody is going to get rich on that. But it might just be a form that is only in the early stages of catching on. With the low overhead, including the reduced amount of resources and time that go into a 15,000 word piece (as opposed to a 90,000 word full-length book), it won’t take much more in the way of popularity to make this a very positive development for writers.




Copyright © 2012 Tom Shroder