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The Accomplice by Lisa Lutz PDF DownloadThe Accomplice by Lisa Lutz KINDLEThe Accomplice by Lisa Lutz EBOOKThe Accomplice by Lisa Lutz EPUBThe Accomplice by Lisa Lutz Read onlineThe Accomplice by Lisa Lutz Full PDFBook Description: Everyone has the same questions about best friends Owen and Luna:What binds them together so tightly? Why weren’t they ever a couple? And why do peoplearound them keep turning up dead? In this riveting novel from the New YorkTimes bestselling author of The Passenger, every answer raises a new, more chillingquestion.“Masterfully plotted, The Accomplice is both a keep-you-guessing mystery and a keenly andtenderly observed character study.”—Attica Locke, author of Bluebird, Bluebird and Heaven,My HomeONE OF THE MOST ANTICIPATED BOOKS OF 2022—PopSugar, CrimeReadsOwen Mann is charming, privileged, and chronically dissatisfied. Luna Grey is secretive, cautious,and pragmatic. Despite their differences, they form a bond the moment they meet in college. Theirnames soon become indivisible—Owen and Luna, Luna and Owen—and stay that way even after anunexplained death rocks their social circle.They’re still best friends years later, when Luna finds Owen’s wife brutally murdered. The policeinvestigation sheds light on some long-hidden secrets, but it can’t penetrate the wall of mystery thatsurrounds Owen. To get to the heart of what happened and why, Luna has to dig up the one secretshe’s spent her whole life burying.The Accomplice brilliantly examines the bonds of shared history, what it costs to break them, andwhat happens when you start wondering how well you know the one person who truly knows you.=====================================================================As a young writer, my naiveté about the publishing process nearly led me to financial ruin.Here’s how to avoid my mistakes.The first thing I tell debut authors is this: Assume nothing.If just one person had sat me down when I signed my first book contract and explained howpublishing works, how nothing is guaranteed, and how it often feels like playing RussianRoulette with words, I would have made much sounder financial and creative decisions. Iwould have set a foundation for a healthy life as an artist, laying the groundwork to thrive inuncertainty, to avoid desperation, panic, and bad decisions that would affect me for years tocome.
How would my life be different if a fellow writer or someone in the industry had told me thatthe money I’d be receiving for my advances was absolutely no indication of what I couldmake on future book deals? What pain could I have avoided if they had advised me not tospend that money as though there would be more where that came from? I suspect I mayhave avoided a near nervous breakdown and not come so perilously close to financial ruinand creative burnout. But no one came forward.Let me back up. One of the most respected publishing houses in the world gave me$100,000 to write two books, one of which was already finished, and I was feeling… well,fancy.As a kid who’d once stood in line with her mother to get food stamps, I could not believe thefigures in my bank account.Now, I want to acknowledge the inherent privilege that I hold as a white, educated, middleclassAmerican. The problems I write about here are “struggles” many people would love tohave. They are good problems. Lucky, even. Growing up with a lack of financial literacydidn’t mean there weren’t opportunities for me out there because of my positioning in theworld. I had a leg up, even when it felt like I was in the trenches. Access equals privilege,and I understand that. I try hard to acknowledge my privilege and not be part of theproblem, but didn’t do so explicitly in the original version of this article. Revising is myfavorite part of the writing process, and clearly a big part of my personal life. In fact I wish Icould go back and revise the past six years.I did play it smart, though: I didn’t quit my day job, and wrote a larger-than-usual check tomy student loan company when the advance came through. I didn’t know if this was aonetime thing or not.Each new book is like a weekend in Vegas: Maybe I’ll get lucky, maybe I won’t.But when I sold a trilogy to another publisher the following year for over $250,000 dollars(even now I cannot believe I wrote that sentence and, furthermore, that it’s true), I reallythought I had made it — forever, not just for a moment. Not for this one book deal. Forever.Otherwise, I reasoned, they would never have paid me such enormous sums. Thesepublishers must be investing in me for the long run. I was one of their own.It had happened twice in a row, these six-figures: Surely I had somehow become one of thechosen few. After years of research and struggle to break out in such a ferociouslycompetitive industry, I’d somehow come out ahead.But in that process, I’d somehow missed several critical aspects of the business, and thatwas on me (to some extent). Surely there were writers who had gotten the memo abouthow advances worked, and the ins and outs of publishing. But so much of an aspiringwriter’s life — and so many of the resources available to them — is focused on getting thatfirst book deal. What came after was beside the point.It would also be fair to say that the same energy and drive that had landed me a book dealin the first place guided much of my decision-making process in ways that weren’t alwayshelpful. I reasoned that if I’d achieved the impossible once, why not again? Someone has tobe on the bestseller list, win the National Book Award, have the big movie deal.Did anyone working with me — agency, publishing team — tell me that a sumptuousadvance was not something I should depend on or get used to? Or that, in fact, it’sextraordinarily common in the publishing industry for untested debut writers to be paid large
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