Retro Interview: Robert J. Randisi

 

An Interview with Robert J. Randisi from August 2008

Robert J. Randisi passed away earlier this week. He was born on August 24, 1951, in Brooklyn, New York. Randisi wrote more than 500 novels across parts of five decades. His first published novel was the mystery, The Disappearance of Penny (1980), which appeared around the same time as his ghost written, Destroyer #40, Dangerous Games, by Warren Murphy. He created the long-running Gunsmith series (and wrote nearly all its reported 466 entries), which is published under his J.R. Roberts pseudonym. Randisi was a versatile writer that wrote in the mystery, thriller, horror, adventure, and western genres. He received a starred review from Publisher’s Weekly for his excellent mystery novel Alone with the Dead, and he was called the “next Louis L’Amour” by author Jake Foster. Randisi co-founded, with Ed Gorman, Mystery Scene Magazine. He founded the Private Eye Writer’s of America (PWA) and created PWA’s Shamus awards, as well as the “Eye”—which is the PWA’s Life Achievement Award. This interview was conducted in July 2008 and originally published at Saddlebums.

First, I want to thank you for taking the time to chat with us Bob.

It’s my pleasure. Always willing to talk about writing and about writing westerns.

I’ve been reading your work, both westerns and mysteries, for seven or eight years and I’m impressed with both the quantity and the quality of your work. My question: what is a typical workday like for you?

I’m usually working on two books at one time, so during the day I’ll work on, say, a western. At some point I stop for dinner. After dinner I watch a little TV, and then I take a nap. After the nap it’s on to the mystery novel I’m working on. I have a TV in my office, so I usually watch while I’m working. Last week I watched all three Magnificent movies on tape while I worked on a western. Also some old Warner Bros. westerns like Cheyenne and Maverick. Then, while working on a mystery I’ll watch some Sunset Strip or Hawaiian Eye tapes, maybe some British mysteries or movies, like Tinker, Tailor, Soldier, Spy, or American films like Harper or Chinatown. I work until about 4 a.m., then read for an hour before going to bed. Up at 11 am, breakfast and start over. Some days errands—like the bank, the P.O.—take me away from the work for a while. Also going out to dinner with friends. But I work every day.

You created The Gunsmith series, which is published under the pseudonym J.R. Roberts. It first appeared in 1982, and there are currently somewhere in the neighborhood of 320 books in the series. Have you written each book in the series? If so, how do you keep yourself interested in the stories and the characters?

Actually, back in 1983 when Berkley bought out Charter books they wanted to bring in a couple of other writers so we could build an inventory and get about a year ahead. So there were a few years there where I did 8 a year instead of twelve. Also, while two other writers were doing some Gunsmiths I was doing some ghost work, or house name work like Nick Carter books, or helping someone else write their series. So it was pretty much a wash there, and when I do a bibliography—like I did last year for the Stark House reprint of my first novel—I don’t mention the ghost work and some of the series work. It all comes out even in the end. I’ve still done over 430 books since 1982. But there are probably about 30 Gunsmiths in that first hundred that I didn’t do. I own them, though, as I own the entire series. Keeping myself interested got to be a problem in the 90’s—not the 1990’s, but when I reached Gunsmith #90. So I started playing some games, like doing some Gunsmiths that borrowed plots from favorite movies, or doing some Wild, Wild West-type stories. I started one Gunsmith with the line, “Her name was Lola, she was a showgirl,” to see if the editor would catch it. They either didn’t, or they did and thought it was funny. So you need to entertain yourself as well as your reader to keep everybody interested.

Since we’re talking about your publishing history, what is the first novel you published? Was it a long time coming, or did you hit print quickly once you decided to write it?

My first novel under my own name was called The Disappearance of Penny. It was a mystery that was published in 1980. (I did a ghost job on a book that came out in ’79). I sold my first short story in 1972, sold my first novel in ’79 on basis of an outline. I’ve sold all my novels that way, have never sold a completed manuscript. I met my first editor at an MWA [Mystery Writers of America] cocktail party where I used to tend bar so that everybody in the room had to come to me, and I’d meet everybody. We got along and I pitched him on the book. He liked it and bought it, and he’s the guy who asked me if I could write westerns, which led to The Gunsmith. So I’d say when I decided I wanted to do novels instead of short stories it took me about two years to get a book of my own in print. And I’ve never looked back. I’ve had a book published every month since January of 1982 (including those ghost and house jobs).

When did you decide you wanted to be a writer?

That happened when I was 15. That was when I not only decided I was going to be a writer, but that I was going to be a full-time writer by the time I was 30. When I turned thirty I had about 12 Gunsmiths under contract, so I quit working to write full time. That was a fifteen-year plan. My second fifteen-year plan was to be a millionaire by the time I was 45. Didn’t work out as well as the first plan.

You have had a long career—you have written in several different genres and published extensively in both novel form and short stories. Is there a specific genre or format you enjoy working in best? If you could choose, would you concentrate on shorter works or novels?

I prefer to write novels, and my first love has always been the mystery. Specifically the hardboiled private eye novel.

It is my understanding that you have written several novels under house names—other than your long running series The Gunsmith. When you write under a house name do you approach it differently than your other work? Do you enjoy writing them, and if you can would you briefly explain how series writing works? Do you have any responsibility for promotion, or does the publisher prefer you stay quiet about your authorship?

First, the Gunsmith name “J.R. Roberts” is not a house name. It’s a pseudonym. That means it’s still mine, I get royalties. When I wrote 6 Nick Carter books in the ’80s I got a flat rate, no royalty. Usually when you write under house names—like the guys who write Longarm and Jake Logan—the publisher keeps quiet about it, so you have no input into promotion. They want the reader to think that “Tabor Evans” is really a guy who writes Longarm. If you look at the copyright page of a Gunsmith, it has my real name on it. So writing under a house name is different than writing your own series. You do the best you can when writing a house name series, but you have more invested in your own. I’ve done some Trailsman books, and I finished out the Canyon O’Grady series (the last seven) and a series called Shelter (3 books when the author, Paul Ledd [Paul Lederer], wanted to quit).

Is there a book, or a few books, that you have written and are particularly proud of?

The Ham Reporter was published in 1985 by Doubleday Books, and reprinted last year by Stark House (as a double with my first book). It features Bat Masterson when he was a sports writer in New York City in 1911, and he solves a mystery with a young Damon Runyon. The first Keough, Alone with the Dead, got a starred review from Publisher’s Weekly. It’s one of my favorites. Also Curtains of Blood, my Jack the Ripper meets Bram Stoker book. (Actually, I wrote that as a “Bram Stoker” novel, but the publisher put it out as a “Jack the Ripper” novel). And a little western called The Ghost with Blue Eyes.

Most writers are voracious readers, and I’m wondering what you read for pleasure?

I read what I write, mysteries, westerns, some science fiction, and non-fiction for research.

Now I want to turn to the western genre specifically. What first led you to the genre?

My first editor—after we did Penny—called me one day and said that his publisher wanted to get into the adult western market. This was 1981. He asked me if I could write westerns. I said yes. I’d never read one up to that point, but I got where I am by never saying “no” to an editor. I went out and bought 40 westerns, one of each in as many series as I could, so I would not repeat a character. I did a proposal for the Gunsmith. First they bought two books, then a third, and then they said they wanted to get it on a monthly basis and gave me a 9 book contract. Nobody ever asked me if I could write a book a month, and I never asked myself. Once I got the Gunsmith I just kept creating series (Tracker, Angel Eyes, Mountain Jack Pike, The Bounty Hunter, Ryder, all published during the 80’s) and writing them, until it got to the point where, in 1984, I wrote 27 novels in 12 months.

What are a few of the western writers who have influenced your work?

When I finally did start reading westerns I read a lot of series, like the Buchanan books by “Jonas Ward.” I really enjoyed the Fargo books by John Benteen (a pseudonym for Ben Haas). I read the Sackett books by L’Amour, and some of the Silvertip books of Max Brand, but my preference ran to reading stuff like Jory Sherman’s Gunn series, or George Gilman’s Edge and Steele books.

If you could bring back the work of one western writer who would it be? Is there a specific title?

I learned a lot about writing adult western by reading the Gunn series. Jory Sherman is a helluva writer, and I saw that I could write good westerns around the sex scenes. I’d like to see those books reprinted.

You also write mysteries, and it seems there has been—both historically as well as today—a significant amount of writers who do good work in both genres. Do you think there is a relationship between the mystery and the western that promotes this crossover, or is it simply the economics of professional writing?

Well, the economics of doing this for a living makes it necessary to write in multiple genres, but there seems to be a symbiotic relationship between mysteries and westerns that appeals to a lot of writers. A lot of my westerns ARE mysteries at the same time. Same can be said for the work of Ed Gorman, Bill Pronzini, James Reasoner and others. There are similarities between the lone gunman (badge or no badge) and the P.I.

The mystery genre is thriving, but many believe the western is in decline. What do you think about the western genre today, and what do you think the future holds for the western story?

I’m afraid that the further we get from the old west the less people are interested in it. That doesn’t happen with mysteries, and is certainly not a problem with science fiction. The young writers of today did not grow up watching western movies or TV, so the interest is not there. There IS work out there for western writers—up to last year I was still writing them for five publishers. Every time one publisher decides to cancel a line, somebody else starts one up. Leisure has proven that there is a market, but I wouldn’t look for anyone other than McMurtry and the late L’Amour to hit any best seller lists. Harper Torch just ceased publishing westerns, and I had done two series for them, The Sons of Daniel Shaye and The Gamblers (these books are just starting to appear). The books made money, but they canceled the line, anyway. Sometimes, they just don’t make “enough” money for the publisher. I’m still writing westerns for Leisure and Berkley.

Okay, now let’s get down to your current work. What is your latest novel?

Lately I’ve been writing mysteries about the Rat Pack in Vegas in 1960. The first was out last year called Everybody Kills Somebody Some Time. It centered around the filming of the original Ocean’s 11. My character is Eddie G., a pit boss at the Sands who the “guys” go to for help. The second book, Luck Be a Lady, Don’t Die, will be out in December of this year. I’m also writing books that combine the mystery with the current Texas Hold’em craze. My co-author is Vince Van Patten, the commentator for the World Poker Tour. The first book, The Picasso Flop, was out earlier this year. It will be out in paper in 2009, as will the next book, The Judgment Fold. I’ve got a new western out from Leisure called The Money Gun; [and] the first in a new series called The Gamblers: Butler’s Wager. Actually now it’s a trilogy. (Leisure has reprinted 3 of the books I wrote in the 80’s as “Robert Lake” and the 4th is coming out, all under my real name. I’m trying to get them to reprint some of my old series, under my real name.) I’m working on the first in a soap opera mystery called The Yearning Tide. My co-author is Eileen Davidson, one of the top actresses in the soap world for 20 years. Right now she’s on The Bold and the Beautiful. We’re doing two books right now, maybe more. It won’t be out till next year. I’ve got a mystery anthology coming out this month called Hollywood and Crime, stories set during the history of Hollywood. And I’m still out there pitching.

Can you tell us about the novel—or any other projects—you are working on now?

Right at the moment I’m working on the 13th Giant Gunsmith novel, and the first of the soap opera mysteries, and I’m about to start the third Rat Pack book.

I have one last question, and I must warn it is a little vague. If you could chose any project to work on, what would it be?

I’d tell you, but then I’d have to kill you. If I mentioned it some wise guy would steal it. I’m enjoying the historical aspect of the Rat Pack books. It was what I enjoyed about writing The Ham Reporter. So I have some other historical mysteries I’d like to do, and some western novels that deal with actual historical figures.

Check out Robert J. Randisi’s books here at Amazon