Over at her blog the other day, Sarah Weinman posted a lovely congratulations for my Nero Award.  I was delighted to see it.  But then one of her blog readers followed up the announcement with the sort of comment that always seems to dog me: 

“There were no other nominations? It seems that this year Nero Award just gave the prize to just (one) nominee. And I think there is no any traits of Nero Wolfe mystery tradition in Gerritsen’s work. Hmm….”

“Hmmm” indeed.  (Forget the fact this person was ignorant of the hard work of the Nero Awards committee. )  The message was clear: That hack Gerritsen must be paying off judges again.  Why else would a prize committee throw an award at her? 

I’m reminded yet again of all the snarky comments made about my Edgar nomination, and how my book VANISH was the “wtf?” nominee.  Even the Macavity nomination for VANISH hasn’t quieted the doubters.  

It’s an interesting contrast to the world of romance publishing.  Romance readers seem to be a far more inclusive bunch.  No matter what the sub-genre – historical, paranormal, thrillers, fantasy, or futuristic —  romance readers welcome any and all variations on the love story.  Which may explain why romance is where you find some of the most innovative trends in fiction, and readers who embrace them all.  When THE SURGEON won the Rita award in 2002, for best romantic suspense, all I heard were sincere congratulations. 

So are mystery readers just a particularly cranky bunch?  How does one get into their ”approved” club?  How does one escape “wtf?!” status?  Does anyone ever tell Pelecanos or Connelly that they don’t belong?