Perigee Bookmarks

How to Get (Happily) Published

This  excerpt from an interview with Perigee publisher John Duff was originally  posted by Splash of Red in The Industry Interviews, Part III.

 
SoR: What are some common mistakes writers make that can put their manuscript in jeopardy of not getting published?

Duff: I could go on for days (hyperbole) on the topic of the most common, egregious, and silly (excessive use of adjectives) mistakes that writers might allow to creep into their manuscripts or proposals. However, the following appear in proposals and manuscripts often enough to raise red flags. While any one of these might not send the proposal to the recycle bin or cause us to cancel a contracted work, they are worth noting:

A lack of a coherent structure: It is particularly important in prescriptive non-fiction that there is a logical flow of information throughout the book. Many proposals that I have seen appear to have been cobbled together from random thoughts that the author has had about the subject matter.

Failure to understand the potential readership for which the book is intended: When I advise writers that I publish “popular” reference, that doesn’t mean that I am expecting to see copious footnotes and lots of $5 words. (Or, in the present economy, $25 words.)  While many authors may be experts in their particular fields, the largest potential readership is not their peer group. Nor am I in the business of publishing a thesis.  Most of the books that I publish need to have some practical application.  (Assuming that they aren’t intended as pure entertainment.)

The reliance on jargon: Because many of my authors are experts in a subject first and writers second there is a tendency for them to rely on the jargon of their trade, which is incomprehensible to the average reader. Worse, readers might assume that this jargon means one thing when, in fact, it actually means something completely different.

And finally, my pet peeve: Use of the incorrect version of “foreword.” I find it hard to get past “forward” when I see it in a table of contents even at the proposal stage. My instinct is to forward it to the recycle bin.  

(And, also, see the following question concerning grammar and spelling. )

 
SoR: How important is having impeccable grammar and spelling compared to having a really great story for a manuscript?

Duff: I am one of the worst offenders when it comes to correct spelling and grammar, although most of my errors arise from my poor typing skills and failure to proofread. However, the lack of attention to good grammar and proper spelling is an impediment for readers. If authors do not have at least a decent command of both grammar and spelling (and don’t bother to proofread their work) it sends a very strong, negative signal to me. To be fair, many of the authors with whom I work are experts in their fields and do not consider themselves to be “writers.” In most of these cases, the expert will engage a collaborator who will have the skills to convey the expert's ideas clearly – and with good grammar and spelling.

Editors do have their pet peeves. One of mine is using a noun, such as impact, as a verb. I will always change it in the manuscript. I have relaxed my position on many other transgressions – life is too short to worry about split infinitives or ending a sentence with a preposition.

Even in prescriptive non-fiction the “story” is important, but the telling of it can’t be obscured by a lack of clear prose that adheres, at least for the most part, to the rules of grammar and spelling.

That said, I will always give authors leeway for self-expression in order to maintain their particular “voice.” 

SoR: How much do you look at education or publishing credits when considering a manuscript for publication?

Duff: In the area of prescriptive non-fiction, the author’s credentials as an expert in his/her field are very important. While many excellent  works of non-fiction have been written by journalists or others who do not have PhD’s or MD’s or the equivalent, this is generally the exception. Readers (and the media) want to know that the author has the authority to speak on the subject.

Publishing credentials are quite another matter. An author’s track record can be critical. If the author’s  previous book has been successful, it makes it that much easier for the publisher to market the new book. And, of course, the opposite is true. Overcoming a bad track record is one of the most challenging things in my field of publishing.

If the author has not published previously, it is not necessarily a handicap. We will look to other factors to launch a book by a first timer. (I will point out the obvious here: many “authors” who publish in a specific category of non-fiction often only have one book in them. Subsequent books in the same subject area tend to be variations on the theme or become overly specialized.  We will often publish several books by the same author in his/her area of expertise but generally expect lower sales from book to book.) 

 

 SoR: While self-publishing has certainly helped the average writer get their work out there, what are the pros and cons versus seeking a publishing house?

Duff: While I am not convinced that self-publishing  has necessarily helped the average writer to “get their work out there” (it has, perhaps allowed them to print copies of their work or to upload it as an eBook), it is worth noting that a publishing house can provide the following:

• a critical eye and editorial expertise that will help authors not only improve their work editorially (with the input of the editor, copyeditor, etc.), but will help the author place their books in the context of what is already published in the field
• thousands of person hours of expertise in every aspect of the publishing process: editorial, design, packaging, selling, distribution, etc.
• an advance, however modest, provides the author with a level of validation (and sometimes freedom) to do their work and underscores the notion that the author does not have to pay for the services that the publisher provides as a matter of course (see above: “every aspect of the publishing process.”)
• a measure of credibility in the marketplace   

 

SoR: If everyone has a platform, what can authors do to set themselves apart?

Duff: Not everyone has a platform, which can be a problem, especially when trying to launch non-fiction. Many people are capable of writing excellent manuscripts, but publishers expect to get a publishable work as a matter of course. What publishers are often paying for is the “platform” that will allow us to reach the widest possible market for the book in the most expedient way. That platform can be as simple as the author being recognized as a top expert in his/her field. Authors may already have a built-in market from their lectures, workshops, training programs, etc. and can reach thousands of potential buyers with a few key strokes. Almost every author in the non-fiction field should have a website, blog, Twitter, or other social media set up that are maintained and promoted. If an author doesn’t know how to set these things up, they should find out now. (Even the savviest author who may be called upon by the media regularly still needs ongoing social media to support their profile.)

 

SoR: Is there a gender bias that goes with genres such as women writing about relationships and parenting and men writing about history and politics, i.e. do readers expect certain genders to be more knowledgeable about certain topics and if so, how does consumer perception like that affect the what you choose to publish?

Duff: For every instance where one could cite “gender bias” there will be another example of how that is negated. Men write prolifically about parenting, relationships, etc. (what one might call the “feminine” subjects, if one wanted to be subject to outrage from certain quarters) and women contribute outstanding works in history and politics (areas of traditional male domination). Even in the category of business (a rather broad term that comprises everything from self-improvement to management to financial subjects) I rather doubt that most editors would factor in the author’s sex when making a decision to publish or not. While I have taken into account an author’s sex when it comes to certain topics it is because I anticipate that readers may wish to hear the points of view of one sex or another on a particular topic.

SoR: When considering a manuscript for publication, how much of your opinion is subjective versus objective and do you consider what will sell over what is underrepresented?

Duff: All opinion is subjective to a degree. The decision to publish is based on (or subject to)  a number of factors: the quality of the work; the credibility (and profile) of the author; the perceived popularity (or otherwise) of the subject matter; the effect of current (and forthcoming) competition (to your point about what is underrepresented); timing; suitability for the respective publisher’s list; etc.  While I hesitate to use the word unique, it does have to apply to each proposal that I see. And so each has to be judged based on the criteria I’ve mentioned above – and many others.

Our goal is to publish books that will sell. Our expectations for sales in the short and long term may vary from book to book, which is often reflected in the advance. But if the books don’t sell, we’ll be out of business – and we will be incapable of contributing to the social capital, which may be considered our higher purpose if one wants to speak in the loftiest terms. I have been disappointed more often than I care to think about concerning the sales of  a book that I was, nevertheless, proud to publish. But when we are looking at the end-of-the-year financials, we expect to be very much on the positive side of the profitability line.
 

SoR: Contracts are commonly made more often than books are published, so how often are contracts broken, for what reasons, and what can an author do about that? 

Duff: To cancel a contract  is rare for me. In fact, to state that “contracts are commonly made more often than books are published” may not be accurate. (There are probably no readily available statistics to support this statement, however.)  The main reason for a contract to be terminated is for non-delivery, that is, the author fails to deliver or to deliver by the deadline.  Most publishers are fairly lenient with authors and will extend the delivery date if the author has shown good faith – and the book is not too time sensitive. If the publisher reorganizes, which is not uncommon these days, and takes a respective publishing program in a new direction, then cancellation may ensue. But this is one of many circumstances beyond the author’s control.

My advice: Deliver a “publishable” manuscript in accordance with the publisher’s  agreement and expectations—on time.

 

SoR: If you could give one essential piece of advice to writers out there, what would it be?

Duff: Don’t quit your day job.

 

About Splash of Red

In  their own words, Splash of Red is  “the literary arts experience. We publish/produce an eclectic variety of the highest quality work & creative projects and our openness has energized a revival in the educational aspect of our field. Our dedication against stagnation fuels our passion to develop the global contemporary literary arts community.”

The Perks of Being a Self-Help Editor

Posted by John Duff

I have long since lost count of the number of books that I have published in the self-improvement category.

I’ve learned many a kitchen secret from Graham Kerr, Jean Anderson and JoAnna Lund, and although I wouldn’t call myself a master in that domain, I manage to put a meal on the table most nights.

I’ve read far too much about living longer and stronger and staying in my prime with this singular result: for the past decade or so I have started my day with a power shake with protein powder and flax meal thanks to a long out-of-print guide to eating according to the circadian rhythms.

And with a half dozen sign language books under my belt, the best I can conjure up is “I love you”—not always the most appropriate phrase in the work place.

All the parenting books have been passed along to my siblings whose children I hope have benefited.

And those volumes dedicated to language – spelling and grammar – occasionally see the light of day when spell check or the online synonym finders fail me.

At the risk of playing favorites, I will take this leap to declare my gratitude for Dan Solin’s series of personal finance books. His  The Smartest Investment Book You’ll Ever Read (2006) saved my financial butt during those years of tumult in the stock market and the resulting recession. Sure I lost a little, but nothing compared to what I might have without the help of his book. We published The Smartest 401(k) Book You’ll Ever Read in 2008 but I, of course, had a year’s jump on this before it hit the marketplace and was able to re-jig my own pension plan to some notable advantage just as things in the financial sector were imploding. In 2009, as I entered my seventh decade of life on earth, The Smartest Retirement Book You’ll Ever Read captured my interest. (It is often said in my professional circles that we publish subjects in which we are personally interested and hope that there are enough consumers sharing those interests to make the investment pay off.) I learned pretty quickly that one can’t start to plan too early for this sort of thing. I encourage my younger staff members to heed the advice that I wish had been available in my 20s and 30s. But still, Dan’s book assured me that late is better than never.

Now, as The Smartest Portfolio You’ll Ever Own hits the market,  I find myself embracing heretofore enigmatic notions of the Fama-French three-factor model (market, size, and value),  the perils of stock picking and marketing timing, the meaning of standard deviation, passive management (which is so much more powerful than the term might imply), asset allocation, and rebalancing. But, what’s most important to me is that my level of anxiety about money is manageable since I don’t find myself subject to the whims of the stock market or succumbing to the dire news that spews forth from CNBC, Fox Business, Bloomberg, and other financial media on a daily basis.

I promise all the other authors who we publish that in future blogs I’ll be sure to tell readers how I choose to be happy, why I know that dyslexia is a gift, how to make wrinkles disappear without surgery, why hoarding starts – and how to stop it, and the countless other self-improvement techniques that have added immeasurably to my life – and to the tens of thousands of readers of their books.

The Last Hurrah for the Printed Book?

Posted by John Duff

At the London Book Fair a panel of distinguished publishers was asked “whether the digital transition in book publishing was an evolution, with publishers adapting over time, or more revolution, in which old powers are swept away quickly, sometimes violently” (as reported by Publishers Weekly). John Makinson, the Chairman of Penguin Group (of which Perigee Books is a member) responded, “I’ve never been to a revolution, but what’s happening doesn’t feel very evolutionary.” He noted that at every step, something dramatic is happening, from different forms and formats, to apps, mobility, and social networking activity, and the “changing character of content” is shifting the role of the publishers, forcing them to learn new skills.

As the publisher of a somewhat quirky imprint within Penguin, I have wondered how our rather eclectic list of titles will not simply survive but thrive.

Over the past few years Perigee has changed. We’ve all but abandoned the broad-ranging reference books that used to be a staple of our list in favor of “popular” reference that features high- and low-brow trivia, books of useless information, and “packaged” content that is meant to be enjoyed and shared rather than downloaded and ingested. While we have not left behind the prescriptive non-fiction which comprises most of our backlist, we’ve certainly tried to adapt to and anticipate a new book selling and book buying environment.

A recent financial statement showed that our sales of physical books were up over last year (and last year was a very good year for the list). But, unlike many of my colleagues’ imprints (and other publishers), our eBook sales, while certainly on the rise, did not jump dramatically as a percentage of the overall sales.

Could it be that the kind of books we publish will be the last hurrah for physical books? It is hard to imagine that anyone is going to leave an eReader or tablet next to the toilet in place of  The Book of Useless Information series, which now occupies this space in countless homes throughout the country. Or can we believe that our enticing craft books—from Extreme Pumpkins to Sock and Glove—could provide the same reader experience in an electronic format as they do in printed book form? Would the eBook versions of Imbibe or Punch or The Lost Art of Real Cooking make as delightful gifts as a certificate to download these books? Can the sheer pleasure of holding the chunky little full-color Learn Something Everyday ever be replicated digitally?

Each of these titles is a testament to the value of the physical book. And what we’ve realized is that even as the shelf space in bookstores shrinks, we are enjoying a very positive reception in the non-bookstore retailers—big box stores, mom-and-pop gift shops, and retailers known more for their hipster fashion or home décor than books. We are able to look at these alternative markets for physical books and fine-tune our publishing accordingly while still keeping our market share among traditional booksellers.  

Even though we might be enamored of the touch, feel, look, and smell of the printed book, we can’t (and won’t) ignore our commercial potential in the digital world. So in our cautious “evolutionary” way, we are using the content of our physical books to create and inspire new products—and to generate new experiences for readers. From amplified eBooks, such as Graham Kerr’s Growing at the Speed of Life, which features video and hyperlinks, to the forthcoming Wreck this App, inspired by Keri Smith’s phenomenal Wreck This Journal, we are, in fact, expanding the readership for our books (or for our content, if you will).  

The thrill of this business in the 21^st century is discovering the potential that technology gives us to reach new readers and to enhance the reading experience—and still enjoy the rewards of publishing the traditional way.

 
 
  
 
 
 

 
  

 
 

 
 
 

 
 

New Year/New You – Again, Already?

Posted by John Duff

It’s a new year and everybody is suffering through and writing about new year/new you angst. There’s nothing new to this at all since people have been making resolutions of one kind or another since we first realized that the earth had, in fact, made one complete rotation around the sun -- or vice versa depending on your science. But today, the phenomenon has become completely commercialized. And publishers are as guilty as anyone, from gyms to food manufacturers to motivational speakers. In fact, getting on those front-of-store NY/NY tables and NY/NY promotions online has become one of the most competitive aspects of the business. Book sales are strong after the holiday season and a lot of the purchases are books that will help us feel better, lose weight, put our finances in order, or simply assist us to start doing something good for ourselves and others or stop doing things that are bad for us.   

However, it is common knowledge—or at least it’s my observation—that if everyone who bought a self help book at the top of the year actually followed the advice in the book, we’d be out of business in short order. But people don’t: They start out with every good intention—they might even actually read the whole book—but the follow through just isn’t there.

I think the main reason for the lack of success is the absence of what is now called a good mindset. This word is popping up everywhere, including in our forthcoming Diet-Free for Life by Robert Ferguson, which is described as “a revolutionary food, fitness, and mindset makeover to maximize fat loss.” That’s quite a promise, especially when you think that this mindset business is probably the key to all successful change.

Each one of the titles that we are publishing at the turn of the year offers great advice for readers concerning diet and fitness, finances, personal empowerment, ending a relationship, or understanding a mental condition. And while they may cover different aspects of life, they all start with changing one’s mindset because how we think about things is vital.

The best self-help books not only offer good advice and a plan to follow, but also show you how to find the inner motivation to get you on track—and keep you there. Sure, it’s appealing to want to look better, feel better, have more cash, or feel like you can accomplish anything. But sometimes we have to dig deeper to find the motivation to keep on keeping on. Each of these books—and others like them—guides readers toward an essential mindset makeover! Now that’s a promise worth $25 (or $14.95 in paperback).

 

The Real Cost of Living

 

 

 

 

 

Diet-Free for Life

 

 

 

 

8 Ways to Great

 

 

 

 

 

I Hate You—Don’t Leave Me

 

 

 

 

 

Making Divorce Work

I’ll Have Mine with a Video and a Few Links

Posted by John Duff

I admit that I have sinned in my heart. Even as I hold my beloved Kindle I am having fantasies about the iPad. It’s not that I am being consciously unfaithful, but since it’s become part of my job to explore new ways to connect content with readers, I am faced with the reality that Kindle just doesn’t support all the functions that I’d like to use in this quest. Sure the Kindle is great for reading the standard eBook, but I’m being told that readers—content absorbers—want more: video, audio, links, and other interactive features. (Frankly I am not even sure what my current model of Kindle is capable of—or what the good folks at Amazon or a dozen other tech companies have in mind to unleash over the next month or year.)

But with visions of iPad in my head, I’ll plunge ahead even though I am painfully ignorant of much of the technological capabilities—and limitations—for enhanced or amplified eBooks and Apps, an ignorance which gives me the freedom to imagine what could be while my more tech-savvy colleagues (and the accountants) tell me what can’t be.

In the world of prescriptive non-fiction enhanced eBooks or Apps, there are not a lot of good role models yet. So, given certain financial constraints (yes, we still have to do profit-and-loss statements for these things), we’ll be as creative as we can and try to imagine what would make our self-help or reference books that much more appealing and useful to readers compared to the paper book or the standard eBook.

When once I was concerned with whether I could afford French-flaps, a second color, spiral binding, or a die-cut jacket (the answer was usually no), now I have to determine how much video can be imbedded without exceeding the capabilities of a reading device (or making for an hour of downloading time). How many color images will the device support? How many links can I use until the reader becomes completely distracted from the narrative? Can the beautiful design of the paper edition be adapted to the fancy new e-version? How much interactivity (fill-in-the-blanks, journaling, and whatnot) will really make this new product useful and irresistible? But we also have to ask how much more will consumers be willing to pay for these enhancements, if anything? And, if we created such an attractive product, will it cannibalize the sales of the other editions? (Do you hear echoes of the fears that standard eBooks would take away sales from the paper editions?) 

These are the questions on every publishers mind—or should be, I guess. But I have decided not to be dissuaded by the uncertainties and find the wisdom in them.

It has always been the role of publishers to try to figure out what readers want. Sometimes we succeed and sometimes not. (I was once told that the rule of thumb for success was akin to baseball: if you have a .333 hitting average you get to renew your multi-million dollar contract. So, if one in three books is successful, you’re golden. Like all rules of thumb, however, I don’t count on this one as a true measure of success.) Sometimes we lead the market and sometimes we follow it. But now, not only do we have to figure out what readers want and need (and develop strategies to let them know that they want it and need it), we also have to determine if our investment in the “extras” will be worthwhile.

The realities will reveal themselves in due course. But for now, my colleagues and I will proceed cautiously and creatively, with the support of our authors who are as keen to learn and explore the new mediums for delivering their respective messages as we are.

 

A Test of Compassion

Posted by John Duff

 

Last week I attended services at a local synagogue to celebrate the baby-naming ceremony for a friend’s daughter. As part of the service the rabbi gave a sermon on the hot topic of the day: the proposal to build a Muslim community center two blocks from the World Trade Center site. This struck home to me in more than one way: I was an eye witness to the destruction of the Twin Towers in 2001 (my office is just north of the site from where I had full view of the towers), and I now live four blocks north of the site (or two blocks away from the proposed community center).

 

The rabbi decried the fact that this issue had become such a political one—with everyone from the mayor to the governor to the President weighing in—and said he felt strongly that this was a religious issue that should be decided by the coming together of representatives of the major religious groups in the city to find the best course of action. (Such a meeting is, I am told, being planned.)

 

The rabbi’s position is that two very important aspects need to be considered. First, and perhaps most obvious, is the Constitutional guarantee of freedom of religion that allows any religious group to practice its faith wherever and whenever it chooses. Second, but equally important, is the notion that virtually all religious doctrines espouse the virtue of compassion. And by compassion, the rabbi pointed out, one is obligated to consider the sensitivities of others, be it individuals or ethnic or religious groups. In pointing out these two considerations, he distinguished between what is “correct” (that any group can exercise its freedom of religion according to the law of the land) and what is “right” (that any one group should be sensitive to feelings and beliefs of others in the exercise of its constitutional freedoms).

 

Since the proposed Muslim center is a two-minute walk from my apartment, I was reminded of the message in Peter Lovenheim’s In the Neighborhood, in which he explored the true meaning of community. His story revolved around a domestic tragedy that very clearly demonstrated how people living in close proximity (even in a well-to-do suburb) can be so unaware of the lives of their neighbors that this disconnect can have dramatic and lamentable consequences. So Peter took it upon himself to get to know his neighbors better and, as a result, came to a deeper understanding of the people around him—and of himself. He developed a much greater appreciation for their circumstances, dispelled some of his own long-held prejudices (and, I dare say, theirs), and developed a compassion for even the most unapproachable of these people.

 

So how does this relate to the question of the day: should an Islamic community center be built within two blocks the World Trade Center site? Of course, it is correct that the members of the Islamic community be able to worship wherever they wish. And it is correct that the community at large not condemn one religious group for the acts of extremists. However, is the choice to build this center so close to a place that has taken on a sacred meaning for so many a test of the compassion of Imam Feisal Abdul Rauf and his followers? In truth, it is a test of compassion for us all.

 

In the Neighborhood by Peter Lovenheim

A Book by Any Other Name

Posted by John Duff, Publisher

 

Next to the cover design, the copy that appears on one of our books—title, subtitle, selling lines, bursts, and/or violators—is probably the most contentious issue that we face in the packaging process.

 

I am reminded of this daily as editors and authors submit copy ideas and I, like Mad Men’s Don Draper (but with much less confidence and no glass of whiskey to fortify me) have to pronounce judgment on the results of their labors. (I recently completed the Mad Men/AMC online Job Interview Quiz, and when it came to making a decision between two ad pitches for Lucky Strike, I chose the response: “Hmm. Neither of these works for me. Next question….” I was offered the position of Senior Partner for that bit of wisdom.)

 

Crafting just the right message can be frustrating, but when the planets align it can be a beautiful thing. Sometimes this process takes a long time to resolve (it is remarkable, however, how few times we’ve had to go to press with our catalog using a tentative title) and at other times it comes together in a flash.

 

The process actually begins from the moment we consider a book for acquisition.  In one recent instance, an otherwise really first rate proposal carried the somewhat cumbersome title of Own the Language, Own the Room. In short order we discovered the perfect title buried deep in the text. The book is a rather brilliant take on how to influence others inspired by expertise from the worlds of politics, media, law, and marketing. The key points—or as they came to be known, the “powers”—that are the framework of the book helped to inform the eventual title, 27 Powers of Persuasion.  Of course, the success of this book will be based on the combination of its editorial content, the publicity that the author and the house can generate, timing, and a little luck. But having a good title won’t hurt either.

 

In the world of prescriptive non-fiction publishing, the secret is simplicity and clarity. The message of the book should be front and center. Why should any reader have to work too hard to figure out whether or not they need or want the book? This is a lesson that we have learned over the years, and sometimes too late. Of course, there are countless exceptions, so that a book such as I Hate You, Don’t Leave Me, whose title could lead you in many directions, can become a classic in the subject area. In this case, borderline personality disorder.  More often than not the books that really work will sport titles like What to Expect When You’re Expecting or The 4-Hour Work Week where the promise is explicit or implicit but not obscured. (See, I can be generous to other publishers!)

 

Of course, among our successes of the past few years have been The Book of Useless Information (and its several follow-up volumes) and Wreck This Journal. Each, in its own way, has a compelling title that entices readers—either because everyone is overwhelmed and fed up with so much useful information or because, at long last, they have been given permission to rip, tear, burn, and generally destroy a book!

 

Now fiction, which I read but don’t publish, is another matter completely…

 

 

Sadly, publishers rarely do market research, so I’ll do a little ad hoc survey and beg for your comments. Have you ever decided against buying a book because of its title even though the subject matter may be of interest to you? Have you decided to buy one book over another on the same subject because of the title?

 

27 Powers of Persuasion by Chris St. Hilaire with Lynette Padwa will be available September 7.

 

 

 

 

 

The Book of Useless Information by Noel Botham is on sale now.

 

 

 

 

 

 

Wreck This Journal by Keri Smith is on sale now.

 

 

 

 

 

A new edition of I Hate You, Don't Leave Me by Jerold J. Kreisman, M.D., and Hal Straus will be available December 7.

The Power of Intention

Posted by John Duff

 

Over the weekend I was reading a proposal for a self-help book that emphasized the power of intention. In other words, no matter what advice is being offered, it doesn’t mean a thing unless the reader intends to follow it—or at least commit to do something about the problem that the book addresses.

 

I was reminded that Intention is the first entry in How We Choose to Be Happy by Rick Foster and Greg Hicks. Foster and Hicks created what they call a “model” of happiness, a model that can, in fact, be applied to a wide range of life issues. According to the authors’ research, there are nine choices that truly happy people make in their lives. The first choice, Intention, is described as “the strong desire to be happy and the commitment to take action. It is the fully conscious decision to choose happiness over unhappiness.” Intention is, in fact, the anchor for the model from which the other choices flow.

 

Having read thousands of proposals for self-help books (although now I alternate between the terms “prescriptive non-fiction” and  “self-empowerment”, depending on the tone of the book and my mood) and edited too many to count, it occurred to me that the singular factor shared by all these books, either implicitly or explicitly, is the notion of intention: If you don’t make the conscious decision that you want to be happy (or healthy or smarter or a better parent or richer), then it’s just so much reading.

 

In this area of the publishing business (and I use the term publishing in the broadest sense of the word to include books, magazines, newspapers, and online publications—anyone that “publishes” advice) we often joke that if people actually followed any of this advice that our readership would, in fact, disappear. Everyone’s problems would be solved and we would be as happy, healthy, and prosperous as we claim to want to be.  

 

I think that the problem is our failure to follow through on the second part of the Foster/Hicks definition of Intention: the commitment to take action. I suspect that many readers (or should I say consumers) stop short of action—or misinterpret the meaning of action assuming that the simple act of buying a book (or reading Oprah’s magazine or clicking onto WebMD) is enough. I really hate to think of the number of people who buy our books but don’t even take the time to actually read them. But I have this image in my mind of tens of thousands (OK, if you count Oprah’s magazines and her recommended books, it’s hundreds of thousands) of consumers clutching their latest purchase to their breasts (or posting their latest discovery gleaned from some website on Facebook), a smile on their faces, and a song in their hearts because they have, at last, found the answer. (Curiously, I also published a book called The Answer, which was, in fact, an intelligent and insightful book of questions, but is now out of print.)

 

Even though we seem to have lost a part of our readership to other media, I still find it gives me a great sense of purpose to publish books that help people understand themselves and the world around them. But, more to the point, show them how to take that next critical step—action.

 

For any reader who truly exercises the power of intention, a good self-help book is not necessarily the ultimate answer, but provides inspiration, a sense of community, and, most important, a roadmap for those committed to find solutions to their problems.     

 

 

How We Choose to Be Happy

by Rick Foster and Greg Hicks

 

 

 

 

 

 

 

 

 

 

Happiness and Health by Rick Foster and Greg Hicks

Coming to Terms with the 21st Century

Posted by John Duff

 

I am a late adopter.

 

Even as my friends and colleagues were flocking to sign up and post the minutiae of their lives on Facebook, I ignored this phenomenon for a long time before making those first tentative keystrokes. And though I eventually figured out how to open a Twitter account, it sat dormant for six months before I clicked on my first “follow” (an author, of course), and another few months before I wrote my first tweet. (I know that the twenty-one people who ostensibly follow me are immensely grateful that I took the plunge.) And then there are the feeds that I have finally allowed to appear on my screen on a daily basis…

 

All the while I’ve been trying to rationalize why I should  be doing any of this. I don’t really need more distractions and busy-work. But I figured there must be some good in all this social media business and constant information flow—and so I determined to learn to use it as a tool for professional—and personal—self-improvement. I have to admit, however, that at the end of a long day, it is my habit to peruse the day’s Facebook entries, tweets, and other RSS (Really Stupid Stuff) feeds and pick up more eagerly on the less meaningful (some might say useless) bits of mental flotsam and jetsam that tend to litter these sites. But every day I renew my intention to focus on posts that I might find professionally useful. Still I have discovered that it is the curious and seemingly useless entries that often lead to some of the most enlightening moments of the day. (I have followed re-tweets to their source and come across the most remarkable thinkers who have, surprisingly, not written books—yet.)   

 

As the publisher of a rather eclectic range of books—aptly described by the tag line of this blog (useful * useless * curious * creative)—I am attracted, like the proverbial magpie, to a wide range of bright and shiny ideas. And so, it seems, are the editors that contribute to our publishing program. It is not unusual for us to be bidding on books about children with special needs or the real cost of living one day and then snapping up a cartoon book featuring Savage Chickens or a memoir about searching for faeries the next. Where once we poured over magazines and newspapers and lunched with literary agents in search of fodder for our publishing program, today we scour the internet, like beach scavengers, looking for ideas, trends, writers, artists, and thinkers, any of which we enlist to meet our needs.  While the internet has certainly challenged the need for many kinds of prescriptive books, which used to be prominent amongst our offerings, we now regularly turn to this medium for editorial inspiration and information as well as knowledge about our potential readers and how to reach them. The mix of the subjects we publish may have changed—with a definite shift to lighter popular reference and interactive books—but our intention is still the same: to educate and entertain. We truly believe that we can still improve our world one book at a time (even if sometimes that improvement is nothing more significant than a good laugh).

 

But, more to the point, we understand that books and the cyberworld can co-exist to the benefit of both. While the majority of the books published are not derived from internet sources, those that are fulfill a unique purpose. They are complements to the respective sites. They provide a means to organize and present the information in a distinctive way and they  provide a tangible object that can be enjoyed and shared. (It is really hard to put an internet site into a Christmas stocking or wrap it up for Mothers or Fathers Day.) Our task is figuring out what will work in book form and what should live (and die) on the internet. It’s not an easy task—but it’s a lot of fun trying to figure it out.

Liberated from the Tyranny of Grammar

Posted by John Duff

 

I recently got a note from my 15-year-old nephew to thank me for a present. Of course, I was impressed that he’d handwritten a card, especially since I know what an agony it is for him to write anything given his long-standing struggle with dysgraphia.

 

Aside from the thanks for the gift, which he is banking to save for something special, he wrote, “I just had my english (sic) exam today and I had to learn proper grammar. After learning grammar I hope I never have to use it again as it makes writing extremely unpleasant. It’s like telling someone how to paint—it stifles my creativity.”

 

This is a kid who’s been writing (on the computer) on and off for years. When he was 9 or 10 he was crafting Star Wars-inspired adventures and, to be honest, his command of “proper grammar” even then was better than most adults. Still, it seems that as he’s gotten further along in school, he’s feeling that the rules and regulations associated with the written word are starting to make this exercise of writing unpleasant.” (Such a genteel word for a 21^st century teenager.)

 

But what I hope he will come to understand is that by having a decent command of grammar, he will, in fact, be liberated. He will know how to express himself in a way that readers will understand – assuming that his readers share a basic knowledge of the meaning of words and punctuation. Perhaps most important, he will have credibility with his readers because he knows the rules—subjects will agree with verbs, punctuation will make the text flow as it is meant to, and so on. And if he chooses to break the rules for purposes of personal expression, his readers will recognize that and appreciate what he is trying to do.

 

His reference to “telling someone how to paint” reminded me of a visit to the Picasso Museum in Barcelona when I first recognized what a superb craftsman the artist was. His early work showed a precocious command of the fundamentals of drawing and painting. It was evident that his “creativity” was not stifled by the rules but, rather, was grounded in the mastery of technique. Because he knew the rules, his later—might one say, more creative—work was all that much more impressive.

 

In the very amusing and informative book Literally, the Best Language Book Ever, Paul Yeager writes, “Daily conversations are so overstuffed with words and phrases that are trite, trendy, grammatically incorrect, inane, outdated, or inappropriately informal that listening is sometimes impossible.”

 

I don’t want my nephew to be a slave to grammar—or, in his later years, become a grammar snob. Grammar should be his servant. If he treats it with respect, he will get the most out of it. And in turn, people will find it more than possible to listen. They will, in fact, enjoy what he has to say because they don’t have to slog through poor grammar, erratic punctuation, and bad spelling.

 

In a few years, when the pain of memorizing grammar rules and punctuation is a fading scar on his psyche, I may send him a copy of Yeager’s book along with So You Think You Can Spell? by David Grambs and Ellen Levine. But right now, both those books would seem too much like homework!

 

In the meantime, his birthday present this year will include a copy of Keri Smith’s Wreck This Journal. Since he’s already determined to break the rules, Keri’s book is a perfect interactive exploration of that place—like a teenager’s bedroom—where creativity and destruction meet.  

 

Literally, the Best Language Book Ever

 

 

 

 

 

So You Think You Can Spell? 

 

 

 

 

 

Wreck This Journal