An AFP story offers some interesting insight into the publishing industry: The head of the Jane Austen Festival in Bath, David Lassman, sent slightly disguised versions of several Jane Austen novels to eighteen editors. Not only was he rejected by all of them, but only one publisher recognized Austen’s work (in a submission that included the opening sentence of Pride and Prejudice).
This says a lot about the editors who are the gatekeepers to modern literature. Among the major publishers to which these manuscripts were sent was Penguin, whose response, according to the article, was that the submission “seems like a really original and interesting read.”
Alex Bowler of Jonathan Cape, the only editor who caught on, responded, “I suggest you reach for your copy of ‘Pride and Prejudice,’ which I’d guess lives in close proximity to your typewriter, and make sure that your opening pages don’t too closely mimic that book’s opening.”
It’s a depressing story, but if there’s some hope in it, it’s the knowledge that even Jane Austen would have a tough time getting published today (a Penguin spokesperson told AFP that the thinly disguised Pride and Prejudice manuscript “would not have been read”). Which brings me back to the same old lesson: Don’t give up.
I just came across an article in Slate featuring a few good authors and their favorite fonts, which, interestingly, is something that they’ve really put some thought into.
The featured writers express an overwhelming fondness for Courier (thanks to memories of childhood and writing on typewriters). Of the writers listed here, none uses my own font of choice (Times New Roman), though Anne Fadiman writes “in an aggressively foursquare version of Times Roman” and Maile Malloy uses Times for “the look of honesty about it, no stretching or stuffing of page lengths.”
I have to admit that this little piece has made me think more about fonts than I (or any writer) should. We simply need to write. As Andrew Vachss (who uses Courier, by the way) points out, “the writing has to stand (or not) on its own.”
For those of you book lovers who want to see what others are reading — and to share your own virtual libraries as well — check out Library Thing, where you can list or “shelve” your favorite books, start a blog, read and post reviews — and basically immerse yourself among other book lovers in titles cagalogued from Amazon, the Library of Congress, and 70 other world libraries.
Begun in May of last year, Library Thing joins the growing list of networking sites that connect people based on the books they love. You can hold up to 200 books in your library at no cost, and paid memberships are $10 a year, $25 for life.
Plus, Library Thing is working with Random House to offer free galleys in exchange for reviews from members (with plans to expand to other publishers in the fall), another step toward what many publishers are now trying as a way to promote books through “real” readers in addition to traditional book reviewers.
Gather.com has just announced the winners of its First Chapters writing competition, which I wrote about back in January, in which readers vote on the first, second, and third chapters of an unpublished novel — to many, a strange and unconventional way both to run a contest and acquire a book. But now it has produced results: a winner and a runner-up, both unagented and unpublished writers who now have both cash and contracts.
It’s fun to see that the contest succeeded, with 2,676 submissions and the awarding of not just one but two contracts. According to the press release, inner Terry Shaw’s novel, The Way Life Should Be, is a mystery about a modern-day newspaper editor who investigates his best friend’s death in coastal Maine, and runner-up Geoffrey Edward’s novel, Fire Bell in the Night, is a historical thriller set in the antebellum south. The books, to be published this year by Simon & Schuster’s Touchstone imprint, are set to receive addional publicity from Borders.
It’ll be very interesting to see where this new trend leads and how it changes publishing. but most of all, the contest should restore hope for writers who may be daunted by the seemingly impenetrable publishing industry.
We were out of town for a week and missed the big news of Miss Snark‘s retirement. Anyone who has read her blog knows that this is terribly sad news … the only good news (aside from the fact that she is alive, well, and retiring only her blog) is that she will maintain the archives for anyone looking for information about agenting and publishing, as well as gin and George Clooney. On behalf of Metro Writing and all writers, we thank her for all that she’s done to demystify a very confusing industry in a most human way.
For fans, there’s a lovely tribute to Miss Snark on YouTube. Enjoy.
James Frey and his publisher, Random House, agreed to refund up to $2.35 million to readers who felt misled by Frey’s memoir, A Million Little Pieces (see today’s LA Times), in response to several lawsuits filed by readers.
This might be more comforting if it weren’t for the fact that both author and publisher continue to deny any wrongdoing, despite the fact that Frey admitted to both inventing and embellishing aspects of his “memoir.”
Still, it’s a start, and though it’s always a pain to return things, I hope readers do so out of principle. If you are one of these defrauded readers, you have until October 1 to file for a refund — visit the Random House web site for full details.
The New York Times has published a story in its business section about the mystery of what makes a best-selling book (the answer: no one knows).
The article offers a great look at how the publishing industry works (rather, at the miracle that it works at all). Publishers never really know when or how a book might become a best-seller, or why a huge advance and publicity blitz sometimes doesn’t pay off — and they show why it’s impractical do to the marketing research that might give them a few clues.
All aspiring writers should read this article — both for the inspiration (surprise best-sellers) as well as its dose of reality (all those books that only sell a few copies). Take it from the words of those in the industry: “It’s an accidental profession, most of the time” (William Strachan, editor-in-chief, Carroll & Graf); “It’s guesswork” (Bill Thomas, editor-in-chief, Doubleday Broadway); “People think publishing is a business, but it’s a casino” (unnamed editor, overheard by Curtis Sittenfeld, whose first novel, Prep, became a surprise best-seller).
Today’s Wall St. Journal has a piece on Simon & Schuster’s newest marketing strategy — an Internet book channel, Bookvideos.tv, to be hosted on YouTube and other sites, on which authors will talk for two minutes (“about as long as you can watch something on your desktop before your boss catches you,” says the chief executive of the corporation producing the videos) about their lives, how they became writers, and other such behind-the-scenes topics. The channel will focus on only Simon & Schuster authors, though the company seems open to expanding in whatever direction viewers take the most interest.
The channel will launch next month and has committed to 40 author videos, with featured authors including bestselling authors from Sandra Brown and Mary Higgins Clark to Ursula Hegi and Marianne Wiggins. You can check out the videos here as well as on the Simon & Schuster web site.
Today’s New York Times features an article about the losses of book reviewers at newspapers across the country, the Atlanta Journal-Constitution being the latest casualty (it recently eliminated its book editor position). The LA Times and San Francisco Chronicle have also recently reduced the amount of ink devoted to books … and all you local readers of the Union-Tribune‘s already tiny book section may have noticed that your favorite freelance reviewers aren’t getting as many gigs as they used to.
While I agree that this trend is indeed “yet one more nail in the coffin of literary culture,” I also think blogs are fantastic, and that for writers, these bloggers are our friends — our very good friends. They can get an author quite a bit of mileage for many reasons, among them the fact that many emerging writers don’t get reviewed by major newspapers at all, as well as the fact that bloggers have a reach that goes well beyond those who buy books based on reviews alone. And, as the Times points out, “while authors and publishers may want long and considered responses to their work, sometimes what they most need is attention.”
As disheartening as it is to read about decreasing coverage of the literary arts, this debate is entertaining to read, from blogger Edward Champion, who told the Times that “literary blogs responded to the ‘often stodgy and pretentious tone’ of traditional reviews” to Richard Ford, who, though he’s never read a literary blog, said, “Newspapers, by having institutional backing, have a responsible relationship not only to their publisher but to their readership…in a way that some guy sitting in his basement in Terre Haute maybe doesn’t.”
And if you visit Champion’s blog, on which he has posted a photo of a basement in Terre Haute, you’ll see that the debate continues…
Write what you love. Follow your passions. And don’t let anyone tell you otherwise.
These are among the insights and inspiration at one of the fiction panels at this weekend’s Los Angeles Times Festival of Books, the country’s largest celebration of the written word. The 12th annual festival was held at UCLA and drew upwards of 130,000 word lovers (along with their children and pets).
The advice above comes from Chris Bohjalian and Peter Orner, from the panel Fiction: Jumping Off the Page, which also featured Marianne Wiggins and Gary Shteyngart. What was fun about this panel, for me, was hearing about the processes of these writers: that Wiggins and Orner both write in longhand; that Wiggins takes two to three years to think out a novel but writes only one draft; that Bohjalian writes eight, nine, and ten drafts of each book. It was heartening to learn that even a writer like Bohjalian has written novels he will never publish; that it took Orner twelve years to write his novel The Second Coming of Mavala Shikongo; that, in Orner’s words, “first and last sentences are a constant hell.” For writers who make it look easy, it’s comforting to know that for even these authors, writing is anything but.
It was impossible to sit in on all 97 of the panels, of course, but we did our best to visit as many of the 300 exhibitor booths as we could, seeing everything from literary magazines to small presses, as well as testing out the Sony Reader and checking out the new MySpace for literary types: TheYack.com.
Best of all, San Diego Writers, Ink got us there and back on its inaugural trip to the festival, complete with open mic readings and plenty of coffee. Mark your calendars for next year; I already have.
At the Los Angeles Times Festival of Books this weekend, we stopped by the Google exhibit, which was promoting its Authors@Google series. Over the past year, Google has talked with myriad authors — from Hillary Clinton to Martin Amis — and has posted the videos online. Google interviews authors at its Mountain View headquarters as well as its offices in New York, Santa Monica, Ann Arbor, London, and Dublin. Most interviews are up to an hour long — a nice treat for anyone who doesn’t catch his or her favorite author on the book tour. Best of all, one of the Google reps mentioned that Google will be expanding the program, continuing to interview high-profile writers while reaching out to the small presses as well.
You can check out the series at Google, or visit YouTube for the archives. Enjoy.
I got such a kick out of this blog about the language and style choices of Dan Brown in The Da Vinci Code. It’s a very amusing look at precisely what is wrong with the writing in the book — things that for karmic reasons I don’t like to point out myself (but am very glad someone else has).
Remember this: almost as much can be learned by looking at bad writing (i.e., what not to do) as by reading all the great stuff. The trick, of course, is knowing the difference.
San Francisco Chronicle book editor Oscar Villalon wrote a fantastic article on the seemingly neverending debate on truth (or lack thereof) in nonfiction. Inspired by a recent article in The New Republic calling David Sedaris to task for sprinkling bits of fiction into his “nonfiction” essays (rather ironic, if you think about the Stephen Glass debacle, but that’s another story), Villalon questions why we readers put up with fictionalized versions of memoir that insist on being represented as nonfiction. It’s a question well worth asking — and worth answering — and yet all that seems to happen is that writers keep fictionalizing their nonfiction and continue calling it nonfiction.
Villalon brings up the point that nonfiction sells better than fiction, as well as the even better point that it’s a whole lot easier if a writer allows him- or herself to make up events or details rather than toil away to make a piece work using the whole truth and nothing but the truth. But this only takes away from those wonderful nonfiction writers (Adrian Nicole LeBlanc, Mark Kramer, Tracy Kidder, to name a few) whose words you can count on to be not only true but meticulously so.
When I’m in class talking about memoir or creative nonfiction, I make a huge point of emphasizing the importance of truth, down to the tiniest detail. (My students sometimes look at me as if to say, “Duh.”) But clearly some of our most prolific writers are not getting the idea. As Villalon points out, Sedaris told The New Republic that Angela’s Ashes could’ve been fiction and he’d have liked it just as much — yet isn’t some of the beauty and horror of it due to the fact that it’s a true story? Villalon also notes that Augusten Burroughs’ new book comes with a disclaimer stating that his nonfiction book is not entirely true — so why label it nonfiction at all?
Villalon writes, “Fiction is a lie that tells the truth.” And ultimately, he believes, “there’s no excuse for calling a work containing chunks of fiction nonfiction…No excuse, none.” If only every writer — and reader — believed the same thing.
I’ve noticed in our Metro classes a lot of interest in writing young adult fiction — and those of you who are working on such projects will enjoy this Wall Street Journal article (subscription required), “Teen Books Are Hot Sellers, But Formula Isn’t Simple.”
The story details Emmy-winning television writer Larry Doyle’s quest to find a home for his novel, which his agent pitched to editors of both adult and young adult books. With bookstore sales declining, publishers are looking at the young adult market as a potential to increase overall sales. However, while the teenage audience is easy to reach, thanks in large part to their love of the Internet, choosing whether and how to label a book for adults or young adults remains a challenge.
The WSJ reports that Doyle’s book was ultimately sold as an adult title, a choice the author says he’s happy with. After all, it’s easier to get teens to read adult books than vice versa (the article points to examples such as Mark Haddon’s The Curious Incident of the Dog in the Night-time and Curtis Sittenfeld’s Prep). But for those who do want to target the young adult market, remember these two words: Harry Potter.
Today’s New York Times has an interesting feature on the pre-publication book tour and its effectiveness in book sales, particularly for first-time authors.
The industry credits Morgan Entrekin, the publisher of Grove/Atlantic, with the invention of the pre-publication book tour when his company published “Cold Mountain,” preceded by a pre-publication tour that likely had a lot to do with the book becoming a best-seller. And now, as this article explains, many publishers, especially the more independent presses, are hoping to generate the same buzz for new authors.
The Times quotes weary British author Steven Hall, recently in the U.S. for a pre-pub tour for his novel, The Raw Shark Texts, as saying, “You take a writer, the kind of person who wants to sit on his own for three years at a time, and then make them go to a bunch of dinner parties.” But as every author knows, writing today is as much about selling as it is about telling good story.