Perigee Bookmarks

An Editor's FML

Posted by Marian Lizzi

I just had the pleasure of editing a very funny new manuscript based on the website FMyLife.com, which collects painfully honest snapshots of life's awkward, embarrassing, or otherwise disappointing little moments, submitted by readers around the world. If you haven't seen the site, I encourage you to check it out (and I hasten to mention that it's often a teensy bit NSFW.) (And if you don't know what NSFW means, then maybe it's best to just skip the whole thing.)

In the spirit of F My Life World Tour (coming from Perigee next June), I humbly present this list of FML entries from the point of view of a hypothetical book editor. That's right, they're composites—inspired by real moments experienced by me and some of my peers, but...edited a little.

With no further ado...

 

Today, a book that I turned down appeared on the bestseller list. For the fifth week in a row. FML

 

Today I read yet another proposal that misspelled the word foreword. It was a proposal for a writing guide. FML

 

Today one of my authors turned in his manuscript. He met the contracted delivery date—but doubled the word count. FML

 

Today I looked at some financial reports, and I was reminded that the profitability of my books often seems to be inversely proportional to the amount of time I spent editing them. FML

 

Today, I mentioned to a friend that I'm thinking of buying some new bookshelves. She replied, "I love bookshelves—but I never know what to put on them." FML

 

Today, I loaded seven proposals onto on my jump drive to read at home in the evening, in advance of our editorial meeting in the morning. Then I left it on my desk. Along with the key to my locked office. FML

 

Today I heard someone in the industry use the phrase “dead-tree editions.” Without being ironic. FML

 

Today we heard that an account was passing on one of our titles. The reason: “It has too many words.” FML

 

Today I turned down three collections of children’s poetry. We don’t publish children’s books. Or poetry. FML

 

Today, a major newspaper gave one of our books a rave review. And misspelled our imprint’s name. FML

 

 

I’d love to hear your publishing-related FMLs (I think…). Comment below, or email me at Marian.Lizzi@us.penguingroup.com. I’ll share the best ones (that aren’t NSFW, of course).

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 Ones That Got Away: An Editor’s Lament

Posted by Marian Lizzi

Chat up any editor who’s been around longer than the Kindle Fire, and pretty quickly you’ll tap into a deep well of heartache and loss. I’m not talking about the 75-to-1 ratio of straight women to straight men in publishing (that’s for a different post). No, I’m referring to the submissions we loved but lost. They came into our lives, we fell hard for them, and in the time it takes to say “outbid,” “pre-empted,” or “my publisher just didn’t love it as much as I did,” they were gone. And what’s worse, they hooked up with someone else, without a second thought.

In some cases, it was love at first sight. Maybe we even made the first move – reaching out to a favorite blogger, magazine writer, celebrity, or expert. An agent came into the picture, and a proposal was put together. We were included in the submission, perhaps getting an early look or exclusive. It seemed we were headed for Happily Ever After, but then…something went wrong. We couldn’t make the numbers work. The in-house support wasn’t there. The auction (if there was one) got too heated. For one reason or another, we had to part ways.

Or maybe it was a multiple submission – perhaps written by an author we’d never even heard of before. We read. We laughed. Or cried. Or both. We got reads. We got excited. We imagined a bright future together. But then we didn’t prevail.

There are other variations, of course. Maybe we didn’t love the submission at all, and said no thank you right away. Maybe we thought it was a little sloppy. Or overhyped. Or just a teeny bit cookie-cutter. Maybe it just wasn’t our type. We parted ways, and no one got hurt. Until it went on to win a Pulitzer. Or hit the List at #7. Or outsell jeggings at the mall-store chain. Suddenly an old wound is reopened: Why do I let all the good ones go?

In publishing, as in life, you learn to pick yourself up and move on. The acquisitions game is all about finding the right match at the right time, and if we spent too long pondering what might have been, we’d be missing out on the new crop of possibilities – each one another chance to make magic together…or not.

The Gift of Rejection?

Posted by Marian Lizzi

I stumbled upon this wonderful essay by Kathryn Stockett (author of The Help), which appears in a collection called The Best Advice I Ever Got. In it, Stockett describes enduring—and learning from—no less than 60 rejections from literary agents before the novel found an agent and, shortly after that, a publisher.

We've all heard stories of bestsellers that, at first, no one wanted. Harry Potter comes to mind—and I've published a few long-rejected projects myself, including Gavin Pretor-Pinney's The Cloudspotter's Guide, which was rejected by 28 publishers in the UK before finding a home on both sides of the Atlantic. Conversely, like every editor who's been in the business for a decade or two, I've passed on projects that went on to great glory (but let's not dwell on those).

In a way, these slush-to-success stories are like fairy tales for the creative set—and for anyone else who longs for things to finally take a turn for the better. Stockett's story also serves as a reminder for those of us who reject submissions for a living (OK, we publish them for a living, but in doing so we have to reject all but a select few). Within every submission lies the potential for a great success story. It might not be obvious. It might not be "fully baked." It might not be "for us." The potential might not ever be realized—or even have a fighting chance to be. 

But in the same way that a tough primary season makes a candidate stronger, more focused, and more battle-ready for a general election, the submission process, with its ups and downs (OK, it's often mostly downs) can help an author refine a proposal or manuscript in ways that can make all the difference.

If you read Stockett's essay, you'll see that she didn't simply re-submit the manuscript, in its original form, over and over until she found a willing agent.  Nor, for that matter, did she decide to self-publish it as-is. She revised and retooled, with painstaking persistence. In short, she never stopped working to make the book better.

If you're an author who hasn't yet gotten to Yes, think of this trying, humbling process as the best writing workshop you'll ever attend. It will require flexibility, humility, and determination. It will bruise your ego, consume your waking hours, and require you to shift gears and dig deeper at the very moments when you most feel like giving up.

While I can't guarantee you'll have a  mega-bestseller in the end (side note: the movie version of The Help hits theaters August 12), I can assure you that your book, and your writing, will be better for it.

How Publishing Is Like Dating

Posted by Jeanette Shaw

 

One of the most important skills for an aspiring author to cultivate is how to handle rejection, because for most it happens a lot. But writers are not alone in this; editors have to deal with rejection and disappointment as well. I recently lost out on a project that I've had my eye on for more than a year and was crushed not to have the chance to publish this sure-to-be future bestseller. In this instance the deciding factor was money, but I and many of my colleagues have also been in situations where the money was right but the author chose to go with a different imprint anyway. Those are the times when I hang up the phone feeling dejected and just a little hurt, and am reminded once again of how often publishing reminds me of that other exhilarating, sometimes rewarding, often depressing pastime—dating.

 

There's the blind date: an out of the blue email or call between you and an agent, followed by a lunch where you anxiously wonder if you will recognize your dining companion or find yourself waiting across the room from them for 10 minutes before you clue in (which has happened to me more than once, sadly), then an often awkward meal during which each of you tries to put your best foot forward and hope that your publishing interests match up. Sometimes you are a perfect match and the agent happens to be going out with a submission that would be perfect for you; other times you never hear from them again and are left awkwardly running into them at happy hours.

 

There's the crush: a proposal comes in that immediately grabs your attention. This is the one, you think. This book is meant for me. All you can think about is that book. You talk to the author and try to dazzle him with your vision and enthusiasm. You run costs, plan a publication date, are already picturing the cover design and imagining "New York Times bestseller" printed above the title. But then you realize other people have their eye on the object of your affection as well. How dare they? you think. This book is mine. The author loves me! He knows I am the editor for him. Sometimes this is true, and you make the deal and do a happy dance around your office (or is that just me?). He likes me! you think. He really likes me!

 

Other times you lose out. Sometimes it's because of money. Those are the times it's useful if sometimes frustrating to have your publisher, much like a disapproving parent would, give you a reality check and a spending limit. I may have stars in my eyes, but my publisher is clear-sighted and ready to ground me if necessary. Other times it's because the author simply decided to work with a different editor. This is the beauty pageant stage, and you've just come in first runner up. Sadly, even if the winner is not able to fulfill their duties you still don't get to take over the crown. Those are the times I go back over every word of my conversations with the agent and author, and every aspect of my offer, trying to figure out just where I went wrong. Was I too enthusiastic? Not enthusiastic enough? Was my list not impressive enough? Much like trying to figure out why that guy never called you again, this is a futile practice. Some things just aren't meant to be.

 

If you make it all the way through the submission and offer and wind up with an acquisition, you have entered into the honeymoon phase of the relationship, but all too quickly just as in real marriage you'll find that this partnership involves debate, compromise, and occasional frustration. You and your author start to know each other's habits; some days you may be communicating like a charm; others you find yourself avoiding the phone and deleting emails before you say something in the heat of the moment. But in the end you know you have the same goal: you want this relationship to work. You want a successful book. And just like in romance, things don't always work out. But once in a while you find your perfect match. And the nice thing about publishing is, unlike romance, an editor can have more than one perfect match at a time—it's like lawful polygamy!

 

Now if you'll excuse me, I need to go back to reminiscing about the One That Got Away.

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.

 
 
  
 
 
 

 
  

 
 

 
 
 

 
 

A Book Can Change (Save) a Life

Posted by Meg Leder

Note: This is the first in a series of three posts sharing (with permission) noteworthy reader responses we've received.  Read the second and third posts here and here.

Publishing a book requires a lot of breath-holding. Authors write and revise and angst about their projects, and editors acquire and develop and angst about their projects, and then together, we send them out in the world, breath baited, in the hopes that readers will (to misquote Sally Field) “like us—really, really like us.”

Every now and then, though, we are granted the gift of hearing from readers directly. Sometimes, they don’t like us… pointing out grammar errors we missed or facts that seem incorrect. Other times they do like us, commenting on an especially compelling chapter or idea. And sometimes what they write reminds us—editors and authors—that what we’re doing is valuable and has an importance beyond a paycheck or seeing our names in print. This week, I’m honored to share with you (with the permission of the writers), a few reader responses we’ve received. Maybe it will spur you on to take a few moments to write your favorite author about the book that changed your life…

  In response to Wreck This Journal:

 

 

Hello Ms. Smith,

I am a nineteen-year-old student.  just over one month ago, my best friend in the world contacted me one evening because she was planning to commit suicide.  since then, our lives have been more intertwined than ever before, and every single day is quite literally a struggle to survive.

about two weeks ago, I gave her Wreck This Journal.  we had been talking about how every decision is a big decision in times of crisis, and she was in no mental state to make big decisions.  she is, as she describes, an all-or-nothing person, and she takes herself and what she does (she is a musician and a writer) very seriously.  she likes to have things planned and organized, and she hates wasting time, whether that be sitting in traffic or wasting her life, as she sees it. 

I told her that she had to do something deliberately non-"productive" (a term I always use with quotations marks).  the next afternoon I purchased Wreck This Journal and brought it to her.  as someone who has never liked even to crease the pages of her books, I knew that it would be a good exercise for her.  since then, she has slowly been choosing pages to complete, and she has named her journal Job. 

last night I sat with her in her bedroom around 11 p.m. when she literally could not tell me any reason she wanted to live.  I made her write instead of talking; I opened the journal to "Use this page for internal monologue."  this morning I gave her a to-do list that included completing 3 more tasks in the journal. 

it took her nineteen years to get a point where she wanted to end her life, and while one month is certainly not enough time to get away from that point, she is thankfully still here.  and I want to express my deepest gratitude to you for your book, and the comfort that it has given the two of us in these dark times. 

infinite thanks.

 

Check back tomorrow and Thursday when we will share more reader responses.

Top Ten Ways to Drive Your Editor Crazy (Not in a Good Way)

Posted by Marian Lizzi

When I was starting out in publishing, back at the dawn of time, a world-weary young editor let me in on an industry secret: “Editors hate staples.”

It turned out that this young guy was going places (aren’t they all?). Now that the stapler has been replaced by the attachment icon (along with the crazy-making Very Large File and the E-Reader-Unfriendly PDF), there’s a whole new list of things authors do that rankle editors—from minor quirks to major issues.

Don’t get me wrong. I love my authors. I fight the good fight for them every day. But editors are people too, and even the most pathologically patient among us can be Pushed Too Far.

To paraphrase that fictional agent-with-a-heart-of-gold Jerry Maguire, help us help you. And don’t push our buttons along the way. If you exhibit the symptoms of any of the following afflictions, you persist at your own peril.

Wallflower Syndrome.  You don’t blog, tweet, or tumbl? You don’t have a website, or capture email addresses of interested readers? You don’t even read blogs in your subject area, let alone contribute to any? I realize that not everyone is a social-networking addict (like me). But if you’re not part of the conversation, how is your book going to be?

Brainstorm Aversion.  We need a new subtitle/cover image/comparison, and you have no ideas. None? Not one? Zilch? I promise to be gentle. Suggest something.

Promotion Phobia.  You want your book to be a success, but you don’t feel comfortable sending galleys or finished copies to colleagues in the field, fellow authors in your subject area, or your old college pal who’s in a position to help garner some attention. Log-rolling is part of the game, and you’ve got to be in it to win it. Don’t ask us—your editor, publicist, sales reps, marketing director, and others—to be the only ones shaking the trees and calling in a few favors.

Blindsider Syndrome.  Surprise! You’re going on a three-week safari at pub time. You quit your job—you know, the one that gave you a professional credential on the subject you’re writing about. You’re joining the circus. Or maybe it’s great news, but you never mentioned it, and now you need 2500 books air-lifted to some remote location in 15 hours. Three little words: Loop me in.

Author Distraction Disorder.  Of course you’re busy, particularly as your pub date approaches. But there are some basic minimum requirements expected of every author. Still haven’t updated the home page of your website to feature the book? Still linking only to Amazon, to the exclusion and annoyance of, oh, every other account that sells it? Hello? Hi? Over here? This is important.

NYTBR-itis.  It’s great to aspire to bestsellerdom. But not every book will hit “The List” (it’s one of many bestseller lists, of course, but like The Situation, The Donald, and The Facebook, it has been put on a pedestal all its own). If more than 3% of our conversations are about how you can game the system in order to get onto The List, we are diverting valuable resources. There’s more to life—for you and for your book.

Word-Count Amnesia.  The contract says 60,000 words, and you turn in 120,000. Or 30,000. I don’t expect you to be obsessively precise about it, like a high school kid with a term paper, but please try to meet me in the ballpark. On the date that we agreed upon.

Option-Clause Obsession.  No one likes to be left at the altar. So when you ask your agent to submit the proposal for your next book on the very first day you’re contractually able to, even though we are still months away from publication of the current book we’re working on, I start to feel a teensy bit weird inside. I’m not saying you can’t do it, because obviously you can. But whether your goal is to end our union, renew our vows,  or simply get started on your next writing project as soon as possible, it’s important to realize that you’re putting me a little bit on the spot, and without a lot of solid sales information to go on. You might not get the answer you’re hoping for—whatever it is.

Soap Box Addiction.  This is the converse of the Wallflower Syndrome. You have a burning desire to tell the world how big (or small) your advance was, how big (or small) the first print is, how disappointed you are that you’re not booked on the Today show, or you can’t find the book at your local chain store. Don’t hit Publish. Just tell me instead.

The Ghost in the Proposal Syndrome.  This is the sinking feeling an editor gets when a manuscript bears little or no resemblance to the proposal off which it was originally acquired. Specifically, it is much, much worse. Sure, proposals get a little polishing and primping from agents, freelance editors, and others before acquiring editors read and consider them. But no one likes to be surprised by the quality of your work—in a bad way. Make sure you are up to the job, and follow through on the promise of your proposal, in every way.

Phew. I think that’s everything. Almost makes me nostalgic for the days of the Evil Stapler.

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.