Perigee Bookmarks

Outsmart Your Genes Sweepstakes

Dr. Brandon Colby, a geneticist who runs a predictive medicine practice that focuses on prevention of disease through genetic technology and author of Outsmart Your Genes, is sponsoring a sweepstakes.  Grand prize and second place winners will receive free genetic testing, including personal counseling on the results, from the doctor's practice.  One third place prize—a copy of the book—will be given away every day until April 23.

The entry form and official rules can be found on Facebook.

 

 
 

In Praise of Women

Posted by author Elizabeth Kerri Mahon

I have a confession to make...

(Come closer. Ah, that's better!) 

I am a flat out, card-carrying history geek.

I can’t help it. I love history—it's like reading a sweeping epic filled with war, kings and queens, love and loss, poverty and riches. But it's the people who make history that I really love, especially the stories of the brave and ballsy women who’ve made waves since the dawn of man: Some naughty and some nice, women who caused wars and brought men to their knees, who stood up for what they believed in even if it meant jail, banishment, or even death, the women who influenced men in the bedroom and in the boardroom. 

Even as an actress, I was drawn to the plays of long-ago writers like Shakespeare, Shaw, and Chekhov who wrote strong, vibrant women who were unafraid to speak up for themselves and buck the status quo. That's why I wrote Scandalous Women: The Lives and Loves of History's Most Notorious Women. While some of the women are household names, I wanted to shed some light on some of their forgotten achievements.

Women like:

Josephine Baker, the Jazz Age Cleopatra who scandalized Paris with her banana dance, worked with the resistance in France during World War II and fought for Civil Rights in America.

 

Emma Hamilton, well known as an 18th-century supermodel and lover of Lord Nelson, was a skilled diplomat, befriending Queen Maria Carolina of Naples, and working to further British interests in the kingdom.

 

Cleopatra, more known for her love affairs with Mark Antony and Caesar,  ruled Egypt singlehandedly for over 20 years, bringing prosperity and stability to the region.

 

Mary Ellen Pleasant, generally less well-known, became one of the richest women in California and worked with the Underground Railroad, but lived a life shrouded in mystery and scandal.

 

It's not just history, it's herstory. March is Women's History Month, but I say that every month should be!

 

 

Video: Evil Cat

Evil Cat comes to life in these videos by author Elia Anie.

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How to Get Started on Your Reinvention

Pamela Mitchell, author of The 10 Laws of Career Reinvention, is a career coach who specializes in helping people reinvent their career path. Perhaps you’ve found yourself at a stand-still in your job, knowing you want to do something completely different but convinced that your current skills would never translate to what you really want to do. That’s where Pamela comes in. She’s helped hundreds of people look within themselves and find the potential to do whatever they want. And just as important, she’s helped them realize that their current skills can be made relevant to any career—whether you’re a lawyer who wants to become a baker, or an accountant who dreams of interior design. Here is a bit of advice from Pamela for getting started, for anyone who has wished they could steer their career in a new direction.

 
Posted by Pamela Mitchell

One of the most common questions is “Is it possible for me to reinvent my career, even though I’ve spent (5-10-20+) years in my current field?” The answer to that question is YES! It is never too late to launch a career reinvention if you know how to do it.

The “how” of reinvention can seem daunting; like standing at the base of a sheer wall of rock, wondering how you’ll climb to the top. But take a page from the playbook of rock climbers: When mapping out a plan to reach the summit, they don’t try to figure out every handhold in advance.

Climbers understand that the question is not “How do I get to the summit?” but “How do I get to the next handhold?” They know that the most important thing is to get on the rock; only then can they plot their next move. By answering the question in front of them, “How do I take the next step?” over and over again, they know they’ll eventually reach the peak.

Like rock climbing, career reinvention is a matter of figuring out: (1) what questions need to be answered, and (2) the order in which they need to be answered. Answering the “how” for your next move, step-by-step, is the way to reach your ultimate goal.  Here are the questions you’ll need to answer on your reinvention journey:

1. What’s my dream career?

When reinventing your career, the first question that must be answered is: “What do I want to do?” Don’t fall into the trap of thinking there’s only one possible career option that will bring satisfaction and fulfillment! Picking your reinvention target is the equivalent of deciding which peak to climb—there are multiple alternatives, all of which can deliver an exciting adventure. You’ll need to identify several possibilities.

2. What about the money?

The second question is a biggie: “How do I fund my reinvention?” It’s tough to focus on career reinvention when you’re worried about making the mortgage! You’ll need a plan to cover your living expenses while you make the climb. Don’t forget to include the costs associated with exploring your new career; you may need to take a class, invest in new business cards, or join an industry organization.

3. How do I get moving toward my goal?

The third question of career reinvention is “How do I take my first step?” Here the temptation may be to dive into action—any action—just to get things moving. Don’t make the mistake of jumping onto the mountain right away by sending resumes and trying to land interviews. You must prepare yourself for the climb; mapping out the lay of the land provides essential data for your ascent.

4. How do I combat my fears?

Here’s a reality check: fear (apprehension, worry, uncertainty—whatever you want to call it) is an unavoidable part of the career reinvention process. Ask 100 people who have successfully reinvented themselves, and 100% will tell you they’ve experienced times—sometimes extended ones—of terror. Similar to hanging on a cliff and looking down, it’s not the feeling that’s the problem, it’s what that feeling causes you to do that matters. Do you experience fear as an opportunity to recommit to doing whatever it takes to reach the summit, or does it cause you to go into freefall? If you make the choice in advance about what you’ll do in that moment, you’ll know what to do when fear shows up.

5. How do I deal with other people’s comments about my reinvention?

Understand that the idea of career reinvention scares many people, not just you! These well-meaning (or not so well-meaning) folk will make it their business to let you know the potential hazards you’ll face should you undertake such a difficult endeavor. They’re usually giving voice to your innermost fears, which is why their comments seem so threatening. But as a general rule these people have never actually reinvented their own career, so they have no experience ascending the mountain you plan to scale. Rock climbers expect people to freak out when they mention their plans. They don’t internalize the fears of “armchair experts”; instead, they talk about their plans with other climbers. Take a page from their playbook and talk about your career reinvention plans only with others who have climbed the same peak.

Catastrophe in Japan: Helping Children Cope and Comprehend

Reprinted from Dr. Charlotte Reznick's E-Newsletter 

"First it was this monster earthquake, followed quickly by the tsunami. Now there's the possibility of nuclear disaster. Normally the effects of a trauma are related to how far away one is. But with TV bringing intense images right into our homes 24/7, we are all affected - our children even more so."

I've written on and given interviews about too many variations of this topic over the last several years. Starting with the 1994 Northridge earthquake in Los Angeles, through the LA riots following the Rodney King verdict, the horror of 9/11, over to Katrina, the Haiti devastation, the Chilean minors, and more. And each time I believe it's important to remind ourselves how to help our children. Here my latest version continues, published in the Huffington Post.....

The emotional effects of watching such a catastrophe can be tremendous.  Children and teens can feel especially helpless when they see these images of the devastation, including homeless and injured Japanese children and orphans on the news. Kids absorb worry and sadness from their parents, or from classmates who have family ties in Japan.

One of the difficulties experienced by parents is that they have not had adequate time to deal with their own reactions when they are called upon to deal with the impact on their children.

Emotional reactions vary in nature and severity from child to child. Their responses to a disaster are determined by age, previous experiences, temperament and personality, as well as the immediacy of the disaster to their own lives. 

If you know a child who is showing signs of stress, worry or fear that may be related to the Japanese earthquake and its aftermath - such as stomachaches, sleeplessness, bedwetting, or moodiness - I'd like to offer some ideas about how to help kids comprehend and deal with such a catastrophe.

Please read the rest of my Huffington Post article for:

*  Tips to Help a Child Cope

*  How Kids Can Help Japan Right Now

    and

*  How Kids Can Help When The Crisis Has Calmed, But Donations Are Still Needed

Please share your thoughts and children's experiences. You can add your comments at the end of this Huffington Post article.

Why Basketballs Are Orange

Posted by author Josh Chetwynd

March is a great month for sports. If you’re a basketball lover, there’s the NCAA Tournament (aka March Madness). For baseball fans, spring training is in full swing, giving supporters of even the lowliest of teams hope that this will be the season that their club finds glory.

I enjoy them both, but this year I’m watching the proceedings with new eyes. Now I look at the ball itself – be it of the basketball, the baseball, or any variety – far more intently. You see, I recently finished writing The Secret History of Balls: The Stories Behind the Things We Love to Catch, Whack, Throw, Kick, Bounce and Bat. Along with the obligatory jokes such an effort has yielded, writing the book did make me appreciate the little (or big) spheres we play with. Dare I say, I have a new found affection for balls (cue snickers).

Whether it be the staples (like the basketball and the baseball), the childhood favorites (such as the tetherball or marbles), the not-so-sporty-balls (think Magic 8 Ball or the stress ball), or even obscure foreign balls (examples: Finland’s pallo or Japan’s mari), each tells a fascinating tale.

So what will I be thinking about this March while watching a Sweet 16 matchup or some rookie trying to make a major league club? I’ll be considering colors. Yep, we may take for granted the basketball’s iconic orange hue or pearly white baseballs, but it could have been so very different.

Basketball potentates were not always thrilled about changing the ball’s look from a long-accepted dark leather appearance. Efforts to go orange started as early as 1935 when Brown University players used prototypes and loved it. Some schools even pulled out a yellow ball and liked it. But officials balked. It wasn’t until 1958, when Butler University coach Tony Hinkle convinced the powers that be to try out an orange ball at the NCAA Finals. It proved better on TV and a new look was born.  (A key rule of ball-making: what TV execs want generally trumps tradition – just ask ball makers in the worlds of tennis, ping-pong, and even the obscure sport of bandy.)

As for the baseball, some early manufacturers believed that red was the way to go. In 1870, a company called Peck & Snyder introduced the “Dead Red Ball.” The blood-colored sphere was supposed to help fielders and hitters follow the orb better than its white counterparts on particularly sunny days. Two minor league teams tried out a yellow ball in 1928 and in the 1970s maverick Oakland A’s owner Charlie Finley pushed for hot orange spheres for night games. Nevertheless, baseball has clung tightly to white.

Admittedly, there are more compelling stories about these and other balls. For example, the basketball’s shape and size was chosen to help instill Christian values and early baseball makers ignored potential prototypes like the cricket ball and made balls with such haphazard items as sturgeon eyeballs and shoe soles. As for other games, there’s the tale about how the Hindu god Vishnu helped the development of golf balls or how changes to the football saved people’s lives or why the red playground ball, is, well, red. But I figure I have to leave some stories for my book to tell!

 

 

And the Winner Is…

Posted by Marian Lizzi

After my recent posts about why I say no thanks to book proposals – and also why I say yes – here’s a case in point, featuring one of our books, Peter Lovenheim’s In the Neighborhood.

Just yesterday, the book was announced as the winner of the first annual Zocalo Public Square Book Prize, and earlier this week it was up for another award (you know what they say about just being nominated).  This little twofer is an impressive achievement that caps a year of praise and good news from many corners (the paperback edition will be published next month).

In the Neighborhood is one of those books that spark conversations. In the past twelve months, it was selected for the Barnes & Noble Discover New Writers program; and it was the basis for pastors’ Christmas Eve sermons, town hall meetings in public libraries, talks at Jewish Book Fairs; and it was optioned by Julia Roberts’s Red Om Films. It was also the subject of my first post for this blog.

And it got a few nice reviews here and there.

Why all the praise? I won’t walk you through all ten reasons I said yes, though I’ll give you the short version: This book satisfies them all.

First and foremost, it is quirky/surprising/memorable. Peter’s book begins with a horrific violent crime that took place a few doors away from his longtime home. The tragic event opened Peter’s eyes to a sad reality: Someone might have been able to help, but most of his neighbors had simply never met.

What Peter did next forms the central message of the book. He decided to meet his neighbors – by asking if he could sleep over. The results are touching, thought-provoking, surprising, sad, and inspiring all at once. They offer a simple – if quirky – blueprint for addressing the isolation that many of us feel in our own communities.

At the very least, it opens the front door, which is a good start.

That’s why we said yes – and there’s nothing better than discovering that readers are saying yes too.

Change Is Afoot in the Great World of Publishing, and This Is Terrifying

Posted by Meg Leder

"If you love books enough, books will love you back."                                                                                                --Jo Walton, Among Others

Lately, I’ve been trying really hard not to get stressed out by the world of publishing.

Example #1: Recently, I was having dinner with a book designer friend who was lamenting the rise of e-readers and what it means for people who cherish books as objects, as well as the designers who meticulously create and lay out these beautiful printed designs. I told her I believe there will always be a market for books as objects, but that the electronic world was potentially opening up the door for even more readers, people who might not ever have picked up a book before, and there was a need for beautiful design in these formats as well. And yeah, the change is scary, but there are potentially really good things coming from all of this change.

Example #2: During this same dinner, a freelance editor friend was asking about Borders, and what their financial difficulties might mean for all of us in publishing—publishers, authors, and readers. I told her that I think there will always be people who want to read, and whether they find their books at Borders or B&N or their local independent bookstore, they will still seek out books. Yeah, the climate is kind of scary, but there are potentially really good things coming from all of this change.

Example #3: The next day, my young adult book club was talking about how much growing up we loved to read Judy Blume books. And someone asked, “Do you think kids will still read Judy Blume, even if she doesn’t talk about texting and the internet and Facebook and whatnot? Will she become outdated?” I said Anne of Green Gables was my favorite book as a kid, and I still related to it, even though I didn’t go to school in a horse-drawn carriage, so yeah, I think readers will respond to Judy Blume books the same way. Sure, the reading world is changing rapidly, but there are potentially really good things coming from these changes. 

During all these talks, I felt brave and confident, bolstered by a belief in the importance of the work we do—that there is an intrinsic human need for books—for stories and instruction—and this need will carry us through this time of change. But honestly, inside, I still felt anxious. Change is unpleasant under even the best of circumstances, and when your livelihood and passion is affected by change, even dictated by it, life feels a bit more daunting.

I recently read a lovely novel called Among Others by Jo Walton. In it, the young narrator, who’s undergone the horrific loss of her twin sister and is confronting the lonely world of boarding school, finds escape and solace in the pages of science fiction and fantasy books. No matter what change is whirling around her, she always has Asimov and LeGuin and Tolkien. Near the end, she writes, “If you love books enough, books will love you back.”

It’s good to hear and remember those words during this time of change. We’re all here—in the publishing world, in bookstores, reading this blog—because we love books. We publish books because we love them, we read books because we love them, we write books because we love them. Even with all of these industry shifts happening around us, those facts aren’t going to change.

And in return, books stimulate our imaginations, they move us to action, they help us solve problems, they entertain us with story. Quite simply, they love us back. Those facts aren’t going to change, either.

So the next time I feel stressed about publishing, I need to remember that whatever the format, whatever the sales venue, whatever the content, readers will always love books. And in return, books will keep loving us.

Why We Say Yes: One Editor’s List

Posted by Marian Lizzi

My previous post seems to have struck a chord with some readers, including a few authors who found it a little…what’s the word...negative.

I will admit, upon further reflection, that I probably shouldn’t have revealed the little trade secret I’ll call SCLUF (“skillful, competent, literate, and ultimately forgettable”). A bit too harsh for author consumption? I apologize. But now you know.

Let’s move on to the much happier flipside. Here’s my personal list of reasons for wanting to buy—or at least bid on—a proposed book.

In some cases, just one of these reasons is sufficient. But of course, the more the better.

1. It has a great hook.  It’s the kind of book that gets people talking. Specifically, sales reps, buyers, bloggers, reviewers, what’s left of the mainstream media, and of course readers (each of whom is now a single-person PR machine capable of tweeting/linking/posting/blogging and otherwise driving interest and sales).

On a related note, it’s worth keeping in mind that we editors are constantly answering the question “So what are you working on?”  Help us be interesting (more about that in #10).

2. It teaches me something new.  After twenty years of editing general nonfiction, I’ve got a lot of little facts in my head (though the early 90s are a bit of a blur). And yet there’s always more to learn. Surprise me.

3. It’s the first. Or the best. Or both.  The editor I worked for back in the blurry early 90s had a knack for finding firsts. Every year she’d return from Frankfurt with an armful of books about trends that hadn’t hit the mainstream US market yet, but were heading our way from one direction or another. Newborn swimming? Vegan baking? Foot reflexology? These books were already successful in other countries—and thanks to this fearless and forward-thinking editor, they were first out of the gate here, filling an otherwise wide-open gap in the market. Many of these books are still in print, in the most profitable area of the publishing business: successful backlist.

Best works too. We call that the category-killer, and every nonfiction editor would like to have a few of those.

4. The author has the self-promoter gene (in a good way).  You know the type. They have friends, and they know how to use them. They have contacts, visibility, outreach, and a touch of the razzle-dazzle. Sure, this skill set can be taught. But if we have to teach you, we’re less interested. Get up to speed first, and then let’s talk.

5. The subject and/or author are particularly web-friendly. This is a variation on the previous point. Maybe the proposal grows out of a popular blog, or Twitter feed, or good old-fashioned meme. Maybe the author teaches online courses, or writes a popular e-newsletter.

Maybe the book would be a natural for digital editions, including enhanced e-books with embedded video, links, or other cool features that readers will want. Do your homework and figure it out for us. We will listen.

6. The subject lends itself to a great physical package. This might seem to contradict the previous point, but in fact they go hand in hand. As books become increasingly digital, print editions need to be more and more appealing. Maybe it’s a gift, an object, a curiosity, a thing of beauty. Or maybe it just looks really good.

7. It features a smart person writing on a fun subject.  This combination is a personal favorite of mine. Some projects—even at the proposal stage—make you feel like you’re having a pint with a favorite professor. (Not in a creepy way.) Or like you’re watching a great TED talk. I will fall for this type of project every time. And I’m not the only one.

8. It’s similar—but not too similar—to books we’ve done well with in recent memory.  Also known as our Strike Zone, our Wheel House, our Bread and Butter. You get the idea. Pointing to recent, meaningful comparison titles, preferably on one’s own list, is perhaps the most powerful tool an editor has. Ask a sales rep and see for yourself.

(Be sure to use this one selectively, though. Every era has its laughably overused comparisons. Here at 375 Hudson Street, we have a lot of love for Eat, Pray, Love…but we don’t want to hear that you’ve written its sequel. Does your comparison pass the say-it-out-loud-without-sounding-ridiculous test?)

9. It has crossover appeal.  Will the book appeal to kids as well as adults? Men as well as women? A core audience as well as a broader swath of curious onlookers? That’s a good thing.

10. It’s quirky/surprising/memorable.  In publishing, as in life, there’s no substitute for being interesting. 

I probably shouldn’t admit this, but being interesting alone can erase just about any other flaw. Lousy track record? Zero platform? Author who doesn’t own a computer? I’m telling you, we’ve seen—and published—it all…because the author and the book were so irresistible. I don’t recommend this Hail Mary, #10-only approach, but I’m here to tell you it can work. We sometimes call this a make book. On paper, it shouldn’t work, but with a lot of effort and focus it can. And it can be the most appealing type of project for those of us with a masochistic streak and a soft spot for life’s long shots. In other words, book editors.

 

So who’s going 10 for 10? Ping me….

And please feel free to link, tweet, comment, argue, and otherwise keep the conversation going.

 

Why We Say No Thanks: One Editor’s Top Ten List

Posted by Marian Lizzi

Despite all the changes taking place in the book business (the good, the bad, and the ugly), one essential part of an editor’s job remains the same: saying no a lot.

It’s not something I enjoy; I hate being the bearer of bad news, I don’t like letting people down, and I realize that even the most unappealing or otherwise unsuitable proposal represents someone’s attempt to become a published author – a worthy and wonderful dream if you ask me.

But the fact remains: We say no a lot. Here’s my personal list of the most common reasons why.

1. Too much competition.  Either real or perceived…but it’s usually real. This includes other books as well as magazines and that little thing called the internet. 

2. Too similar to a particular book already on our list. This is a variation on reason #1, with the added threat of cannibalism. (Yes, we sometimes hope to corner the market on a particular subject, or to build on past success in a particular area…but we don’t need two books on joint custody with a carpenter coming out within a year of each other. Or a decade.)

3. Too small in sales potential. How many people are willing to give up their hard-earned money for a book on this subject? And how many would even think to seek it out in the first place?

4. Too narrow in scope. Also known as Magazine Article Syndrome. How to travel in Slovenia with a toddler. Planning a wedding when you’re over 40 and on jury duty. You get the idea. Rethink your project – or your pitch list – accordingly.

5. Not enough author recognition. Also goes by the dreaded word platform. It isn’t everything. But it’s better than nothing. Most of us at the major houses are generalists when it comes to content; we look for authors who are specialists in their fields – people who have expertise not only in the subject area they’re writing about, but also in how to reach that particular audience. They lecture, they blog/tweet/connect, they publish articles, they are the subject of other people’s articles. In short, they already have a base of fans and contacts that we can build on together.

6. Beyond the author’s capabilities and/or credentials. A variation on reason #5. Sir, you might be the most engaging writer in the world, but I’m not taking pain-relief advice from you. And no one else will either. Did I mention you have no medical credentials? Madam, I’m not so interested in your proposed ten-volume history of the world. Did I mention your only credential is a chiropractic degree?

7. Poorly written.  Seems too obvious to mention, but sadly it is not. I see my nights and weekends slipping away from me. On a related note, please spell foreword correctly (if you’re proposing to have one).

8. Too expensive to produce.  Handmade paper? Die-cut/pop-up/squid ink? We see dollar signs (and not the good kind). 

9. Outside our purview. Every imprint has subject areas and entire genres they just don’t publish. Poetry? Kids' books? Vampire military thrillers? Don’t take it personally. And do some basic research – it’s not that hard.

10. Not remarkable/surprising/ unputdownable enough. This one is the most difficult to articulate – and yet in many ways it’s the most important hurdle to clear. Does the proposal get people excited? Will sales reps and buyers be eager to read it – and then eager to talk it up themselves?   

As my first boss used to warn us green editorial assistants two decades ago (gulp), the type of submission that’s the toughest to spot – and the most essential to avoid -- is the one that is “skillful, competent, literate, and ultimately forgettable.” 

All these years later, I try never to forget that. Even though it means saying "No thanks" a whole lot.