Believe it or not, I opened an unsolicited manuscript from a Scientologist today. It didn't say it outright, but I became suspicious when he referred to psychiatric drugs as "toxins" and the use of them on children a crime performed because the parents were "stupid." That was the thesis of his book - children are diagnosed with bogus psychiatric problems - everything from ADD to autism to pyromania - because their parents had bad marriages.
I checked his biography. He was a psychologist (not a psychiatrist) with no clinical experience and had won the Citizien's Commission for Human Rights Award in 2008. Bingo. The CCHR is that Scientology front group dedicated to discrediting psychiatry, lobbying for less screening for emotional problems in schools, and funding bogus studies to present psychiatric drugs as unsafe. Taking my compazine for nausea? NOT a human right.
(Compazine is an anti-psychotic that, in low doses, can treat severe nausea. It's also a drug Scientology spends millions to get proven unsafe even though it's been on the market for years)
I did not write anything in the rejection commenting on this. I made that mistake once for someone's incredibly racist book about Muslims and he called the BBB on my boss. Never making that mistake again.
In an update on the Complex book situation, what apparently happened was Scientology's corporate offices sent "legal letters" to all the major booksellers in the UK, who promptly pulled the book for fear of lawsuit. Whether there's any legal grounds for a lawsuit is completely unknown. Merlin, the publisher, had no idea this was going to happen (the author did, and said he's not surprised). Merlin doesn't do books internationally on its own, and is now trying to sell foreign English-language rights to places like America, where we have free speech. Just not on Amazon, where it's suspiciously completely out of stock and has been since the day it was posted.
I ordered the book from Eason, and they charged my credit card and said they shipped it. EDIT: Apparently you can still find it on their website. They're an Irish store, not UK, so who knows how long they'll have it up, but here's to the Republic of Ireland!
Friday, November 21, 2008
Wednesday, November 12, 2008
A Moment for Grandstanding
I buy a lot of books from Amazon. I'm gonna say, 100 a year. That's a safe estimate. I do a lot of historical research and they sell used history books for sometimes 10% of the cover price. Short of hanging around in libraries a lot (not so good with my super-late schedule and the fact that I'm no longer a college student), this is my option. When the "Amazon is the big bad thing that is going to kill publishing as we know it" articles come out (they're very similar to the ones about 10 years ago about Barnes and Noble), I'm generally in the Amazon camp. So, with all the money I give them, it disgusts me when they do something like this.
About two weeks ago, I read an article on the Times Online about a book called The Complex: An Insider Exposes the Covert World of the Church of Scientology. As it looked interesting, I decided to buy it. Amazon.com didn't offer it yet, so I bought it from Amazon.co.uk. A few days later I received this email:
We are contacting you regarding your Amazon.co.uk order which included the following:
'The Complex: An Insider Exposes the Covert World of the Church of Scientology' (Asin 1903582849)
This item has been removed from sale for legal reasons. We have cancelled your order for this item and can confirm that you have not been charged for it.
This is not the first time publishing has had trouble with Scientology, or Amazon specifically. Andrew Norton's unauthorized biography of Tom Cruise was not published in Norton's native UK by its publisher, St. Martin's Press, because the UK has stronger libel laws than we have in America, and to be honest, it was a pretty libel-y book. In fact, you could make a semi-decent profit for awhile on eBay selling the book to international buyers who couldn't buy it in Britain.
Then sometime in March, there was a bit of a scandal about how all negative reviews of the Scientology bible, Dianetics, were mysteriously disappearing from Amazon's website. When some friends of mine who were users who posted negative comments asked why, Amazon told them their reviews "did not meet the review guidelines set by Amazon.com." They reposted their reviews to more specifically meet the guidelines (only discuss the book and the author, not Scientology in general), and the reviews were posted and then deleted again. Eventually some press got wind of this, and Amazon had to repost all of the negative reviews. Score one for free speech.
The Norton thing wasn't Amazon's fault; the Dianetics thing was. Anyway, I haven't read the The Complex. It's on the way from an independent British bookseller. When the publishing company (Merlin) is an Irish company that when contacted, did not know their book had been pulled from Amazon.co.uk (which no longer LISTS the book, much less claims it's out of stock as Amazon.com does). By all accounts the book isn't libelous - it's just one person's story of his time in Scientology. And it says really, really bad things about Scientology because the guy saw and did really bad things when he was in Scientology. That's not slander; that's an autobiography.
So Tom Cruise suddenly shows up at an Amazon all-hands meeting in Seattle? Does he need to promote Valkyrie to Amazon executives that badly? Is he looking for an internship for a relative? Or is it directly related to them pulling that book by that guy who said he was programmed to kill for Tom?
As if I had another reason to be angry with Scientology, which is currently campaigning to take my live-saving drugs off the market via lobbying in state legislatures through its anti-drug front group, the Citizen's Commission for Human Rights. And now you mess with the BOOK INDUSTRY!?!?
Argh. Rejector SMASH.
About two weeks ago, I read an article on the Times Online about a book called The Complex: An Insider Exposes the Covert World of the Church of Scientology. As it looked interesting, I decided to buy it. Amazon.com didn't offer it yet, so I bought it from Amazon.co.uk. A few days later I received this email:
We are contacting you regarding your Amazon.co.uk order which included the following:
'The Complex: An Insider Exposes the Covert World of the Church of Scientology' (Asin 1903582849)
This item has been removed from sale for legal reasons. We have cancelled your order for this item and can confirm that you have not been charged for it.
This is not the first time publishing has had trouble with Scientology, or Amazon specifically. Andrew Norton's unauthorized biography of Tom Cruise was not published in Norton's native UK by its publisher, St. Martin's Press, because the UK has stronger libel laws than we have in America, and to be honest, it was a pretty libel-y book. In fact, you could make a semi-decent profit for awhile on eBay selling the book to international buyers who couldn't buy it in Britain.
Then sometime in March, there was a bit of a scandal about how all negative reviews of the Scientology bible, Dianetics, were mysteriously disappearing from Amazon's website. When some friends of mine who were users who posted negative comments asked why, Amazon told them their reviews "did not meet the review guidelines set by Amazon.com." They reposted their reviews to more specifically meet the guidelines (only discuss the book and the author, not Scientology in general), and the reviews were posted and then deleted again. Eventually some press got wind of this, and Amazon had to repost all of the negative reviews. Score one for free speech.
The Norton thing wasn't Amazon's fault; the Dianetics thing was. Anyway, I haven't read the The Complex. It's on the way from an independent British bookseller. When the publishing company (Merlin) is an Irish company that when contacted, did not know their book had been pulled from Amazon.co.uk (which no longer LISTS the book, much less claims it's out of stock as Amazon.com does). By all accounts the book isn't libelous - it's just one person's story of his time in Scientology. And it says really, really bad things about Scientology because the guy saw and did really bad things when he was in Scientology. That's not slander; that's an autobiography.
So Tom Cruise suddenly shows up at an Amazon all-hands meeting in Seattle? Does he need to promote Valkyrie to Amazon executives that badly? Is he looking for an internship for a relative? Or is it directly related to them pulling that book by that guy who said he was programmed to kill for Tom?
As if I had another reason to be angry with Scientology, which is currently campaigning to take my live-saving drugs off the market via lobbying in state legislatures through its anti-drug front group, the Citizen's Commission for Human Rights. And now you mess with the BOOK INDUSTRY!?!?
Argh. Rejector SMASH.
Friday, November 07, 2008
Response Times Based on Length
Dear Rejecter,
I sent out queries to 5 agencies on 10/10. I got a request for a full MS on 10/20 (which I was able to email the next day). How long does it usually take to get a response, either positive or negative? I write middle grade fiction and it was approximately 43,000 words long - so a relatively quick read for an adult.
I realize that even requested material has to stand in line & the agent probably has dozens upon dozens of other manuscripts to look through, but I thought that you folks could make a pretty quick negative decision based on the first few pages.
Should I take it as a good sign that I haven't yet received a rejection? Or, should I send an email to the assistant who requested my manuscript and ask how things are going & whether or not they've had a chance to look over my MS?
Just wondering.
I think most people would agree that you probably have solid material there for such a high hit rate and you should not be worried. Nervous, but not worried. Sounds like you're going to get an agent unless your query was horribly misleading.
As to response times, they vary not based on the length of the book but when we get around to reading partials. Yes, we can sometimes reject after 5 pages, but most of the time a partial was requested for a reason and unless the prose is absolutely hideous, we will read until we see a reason to stop (or if you're paid hourly, you will read the whole thing). So if there's been no response, it's because the agent hasn't gotten to it yet. Length is not a huge issue, unless it was 700 pages. Then they might put it off until all the minor stuff was done.
I sent out queries to 5 agencies on 10/10. I got a request for a full MS on 10/20 (which I was able to email the next day). How long does it usually take to get a response, either positive or negative? I write middle grade fiction and it was approximately 43,000 words long - so a relatively quick read for an adult.
I realize that even requested material has to stand in line & the agent probably has dozens upon dozens of other manuscripts to look through, but I thought that you folks could make a pretty quick negative decision based on the first few pages.
Should I take it as a good sign that I haven't yet received a rejection? Or, should I send an email to the assistant who requested my manuscript and ask how things are going & whether or not they've had a chance to look over my MS?
Just wondering.
I think most people would agree that you probably have solid material there for such a high hit rate and you should not be worried. Nervous, but not worried. Sounds like you're going to get an agent unless your query was horribly misleading.
As to response times, they vary not based on the length of the book but when we get around to reading partials. Yes, we can sometimes reject after 5 pages, but most of the time a partial was requested for a reason and unless the prose is absolutely hideous, we will read until we see a reason to stop (or if you're paid hourly, you will read the whole thing). So if there's been no response, it's because the agent hasn't gotten to it yet. Length is not a huge issue, unless it was 700 pages. Then they might put it off until all the minor stuff was done.
Thursday, October 30, 2008
More on Bad Companies
Follow-up question to previous post:
Along the same lines of the question you answered in today's post, what's the best way to unearth information about any given publisher's history with regard to their treatment of authors, how faithfully they honor contracts, how spotty their promotional record is, etc.? I can certainly look them up and ask around, but I suspect many authors are afraid to speak up when they feel mistreated, out of fear that their name will be mud in the larger industry. Are there resources, online or otherwise, that you can suggest? :)
Most major companies - certainly all of the big 5 and most of the larger independents - will be serious about honoring contracts, protecting their/your copyright, and sending you reminders that you've earned no royalties this term with a balance sheet to prove it. They don't want the lawyer hassle of an author suing them any more than the author wants the hassle of hiring a lawyer. The contract is a legally binding document, so they have to obey it. How precisely they stick to every last detail (delivery dates, etc) can vary in the smaller companies, not necessarily because they're unscrupulous but because they're small and know you'll understand and you probably will (I'm talking about companies with three people on the payroll).
There are two things I left out of the above paragraph in answer to your question: promotion and editing.
(1) Editing. What's generally stipulated in the contract is that you and the publishing company both agree on the final text of the book, the one that goes to press. Failure to do - i.e. a major disagreement - usually means a breaking of the contract. This is very rare and mostly for books that might cause the publishing company to be sued, like books on scandals and celebrities. However, to GET to that final project requires editing, and how much the company is going to take the time to do is really up to them, and you're left finish the odds-and-ends. While it's in their best interest to produce a finished work without a ton of typos, misspellings, and inconsistencies, it doesn't always happen. All houses have a final round of editing that's done strictly to get rid of typos and grammatical errors, not address plot problems and factual errors. Those have to be done earlier, and how much is done by you and how much done by your editor depends on how dedicated the editor and/or their assistant is to the book. If you write a book on kingship in the Post-Classic Mayan Period, your editor might not be as much of an expert on kingship in the Post-Classic Mayan Period as you are and if you got some dates wrong, they're probably going to stay wrong.
Funny story: So there was a joke I made in my first book that had the word "Jew" in it. It wasn't an anti-Semitic joke at all, but my editor insisted that I pull it and since no harm was really done to the manuscript if I did, I decided to not argue the point and I rewrote the two lines required to remove it. You have to pick your battles with your editor. For some reason, because she's either disorganized or just a human being, she never implemented the changes into whatever master file she had open in front of her that day, and the joke made it into the published book.
(2) Promotion - This will vary hugely from house to house and book to book. Obviously, you go with one of the major houses, your book will be able to be promoted in ways smaller publishers can only dream of. On the other hand, the major house might not do much promotion, especially for a new author without too much commercial promise. You can easily fall between the cracks at the promotion department of a major house and get next to nothing done on your behalf, or you could go with an independent press that really, really wants to do more promotion but doesn't have the resources to do it. A lot of it's luck. Be very, very nice to your publicist from day 1. Trust me, this will pay off.
To finally answer your question, while you're always safer at a major house, terrible things can still happen to you at any house if someone important in the company doesn't care about your book. As to what companies you can rely on, there's not really a guide, especially with so many imprints and so many editors always moving around. This is the job of an agent - to know where to submit and, if you get multiple offers, where to accept. My boss recently advised her client to take a lower offer (not significantly lower) on the advance of a book because she felt strongly that the editor at the lower offer's house cared about the book more and the book would be treated better and look better on their list. The agent's responsibility is to know what editors are looking for what and when - that's part of where they earn their 15%. They earn 15% on royalties, too, so they want the book to succeed, and if they think it will succeed wildly at a smaller house, they'll advise you to take it there.
There's not really a website that tracks any of this. With all the movement constantly going on in the publishing industry, it would be difficult to have one even if everyone gave it a concentrated effort, and nobody's giving it a concentrated effort. But for plain ol' bad business practices, there's always Preditors and Editors.
Along the same lines of the question you answered in today's post, what's the best way to unearth information about any given publisher's history with regard to their treatment of authors, how faithfully they honor contracts, how spotty their promotional record is, etc.? I can certainly look them up and ask around, but I suspect many authors are afraid to speak up when they feel mistreated, out of fear that their name will be mud in the larger industry. Are there resources, online or otherwise, that you can suggest? :)
Most major companies - certainly all of the big 5 and most of the larger independents - will be serious about honoring contracts, protecting their/your copyright, and sending you reminders that you've earned no royalties this term with a balance sheet to prove it. They don't want the lawyer hassle of an author suing them any more than the author wants the hassle of hiring a lawyer. The contract is a legally binding document, so they have to obey it. How precisely they stick to every last detail (delivery dates, etc) can vary in the smaller companies, not necessarily because they're unscrupulous but because they're small and know you'll understand and you probably will (I'm talking about companies with three people on the payroll).
There are two things I left out of the above paragraph in answer to your question: promotion and editing.
(1) Editing. What's generally stipulated in the contract is that you and the publishing company both agree on the final text of the book, the one that goes to press. Failure to do - i.e. a major disagreement - usually means a breaking of the contract. This is very rare and mostly for books that might cause the publishing company to be sued, like books on scandals and celebrities. However, to GET to that final project requires editing, and how much the company is going to take the time to do is really up to them, and you're left finish the odds-and-ends. While it's in their best interest to produce a finished work without a ton of typos, misspellings, and inconsistencies, it doesn't always happen. All houses have a final round of editing that's done strictly to get rid of typos and grammatical errors, not address plot problems and factual errors. Those have to be done earlier, and how much is done by you and how much done by your editor depends on how dedicated the editor and/or their assistant is to the book. If you write a book on kingship in the Post-Classic Mayan Period, your editor might not be as much of an expert on kingship in the Post-Classic Mayan Period as you are and if you got some dates wrong, they're probably going to stay wrong.
Funny story: So there was a joke I made in my first book that had the word "Jew" in it. It wasn't an anti-Semitic joke at all, but my editor insisted that I pull it and since no harm was really done to the manuscript if I did, I decided to not argue the point and I rewrote the two lines required to remove it. You have to pick your battles with your editor. For some reason, because she's either disorganized or just a human being, she never implemented the changes into whatever master file she had open in front of her that day, and the joke made it into the published book.
(2) Promotion - This will vary hugely from house to house and book to book. Obviously, you go with one of the major houses, your book will be able to be promoted in ways smaller publishers can only dream of. On the other hand, the major house might not do much promotion, especially for a new author without too much commercial promise. You can easily fall between the cracks at the promotion department of a major house and get next to nothing done on your behalf, or you could go with an independent press that really, really wants to do more promotion but doesn't have the resources to do it. A lot of it's luck. Be very, very nice to your publicist from day 1. Trust me, this will pay off.
To finally answer your question, while you're always safer at a major house, terrible things can still happen to you at any house if someone important in the company doesn't care about your book. As to what companies you can rely on, there's not really a guide, especially with so many imprints and so many editors always moving around. This is the job of an agent - to know where to submit and, if you get multiple offers, where to accept. My boss recently advised her client to take a lower offer (not significantly lower) on the advance of a book because she felt strongly that the editor at the lower offer's house cared about the book more and the book would be treated better and look better on their list. The agent's responsibility is to know what editors are looking for what and when - that's part of where they earn their 15%. They earn 15% on royalties, too, so they want the book to succeed, and if they think it will succeed wildly at a smaller house, they'll advise you to take it there.
There's not really a website that tracks any of this. With all the movement constantly going on in the publishing industry, it would be difficult to have one even if everyone gave it a concentrated effort, and nobody's giving it a concentrated effort. But for plain ol' bad business practices, there's always Preditors and Editors.
Wednesday, October 29, 2008
Bad Publishing Companies and Bad Contracts
So I'm not doing NaNoWriMo this year. For the second year in a row, it's because I'm in the middle of other projects. Book #2 is under contract and due, Book 10 has to actually be finished, book 3 needs revision for the end of the year, and after that I've got a novel in another genre to revise for my agent to shop around.
I know, you're all playing the world's tiniest violin. Still, there is a singular frustration of not being able to write whatever I want because I have to revise what I've already written and am now sick of. I've always found revision harder than writing. I'm sure a lot of writers, published and unpublished, feel the same way. On to the questions!
Dear Rejecter,
Sorry for hitting you with an email, but challenged as I am, couldn't figure out how to ask the question on your blog spot. Very helpful blog, by the way, so thanks.
My question:
My first novel was published by a small company is 2007. They did pretty much nothing in the way of editing, promotion, etc., and I have received one royalty statement since May, 2007. My second book, due out this year, is also signed with them. I have been considering legal action to regain the rights to both books, but I have heard this might be wasted money, as many publishers won't touch previously published books. Is this consistent with your experience?
There seem to be a couple questions buried in this, so let me address them:
(1) They are obligated to provide you with royalties as often as your contract designates. If you don't earn any money, they are still obligated to provide statements proving you made no money. Failing to do so can void your contract with them. If you are having problems getting royalties, get an agent. Start emailing around with your problem (published author needs to re-negotiate contract) and I'm sure at least 10 people will jump up to take the free-meal deal there.
(2) If the second book is due but not gone to press (meaning, they haven't started printing copies of the book for sale yet), you can back out of your contract under certain conditions. "Not paying royalties on previous book" is probably one of them. Breaking a contract means you forfeit the advance, if you had one to begin with. Get an agent.
(3) I don't know how "small" this company is or what kind of deal they actually did in promoting your book. Most books barely break even for the company anyway, and very often new authors get lost at big companies and have similar complaints. Let's assume for the sake of argument that they did screw you, and you feel that a better company could do a better job. Well, you're not in a great spot here. Big publishers do love to buy the rights to books from little publishers and are willing to shell out money to do it, on the condition that the book was doing well for the small house and the large house wants to republish it and reap the rewards on owning the rights to an already-edited novel they don't have to work very hard on. Your book didn't do well, so that's not going to happen. My advice, in terms of your writing career, is to write a third book and try to sell it another house. If you really feel compelled to get out of your previous contracts, get an agent, who may then want to edit and re-market the book to bigger companies and might have the capabilities to do that. It's not unheard of. Either way, don't bank on the first two books being the start of your career. Write another one to start your career with.
I know, you're all playing the world's tiniest violin. Still, there is a singular frustration of not being able to write whatever I want because I have to revise what I've already written and am now sick of. I've always found revision harder than writing. I'm sure a lot of writers, published and unpublished, feel the same way. On to the questions!
Dear Rejecter,
Sorry for hitting you with an email, but challenged as I am, couldn't figure out how to ask the question on your blog spot. Very helpful blog, by the way, so thanks.
My question:
My first novel was published by a small company is 2007. They did pretty much nothing in the way of editing, promotion, etc., and I have received one royalty statement since May, 2007. My second book, due out this year, is also signed with them. I have been considering legal action to regain the rights to both books, but I have heard this might be wasted money, as many publishers won't touch previously published books. Is this consistent with your experience?
There seem to be a couple questions buried in this, so let me address them:
(1) They are obligated to provide you with royalties as often as your contract designates. If you don't earn any money, they are still obligated to provide statements proving you made no money. Failing to do so can void your contract with them. If you are having problems getting royalties, get an agent. Start emailing around with your problem (published author needs to re-negotiate contract) and I'm sure at least 10 people will jump up to take the free-meal deal there.
(2) If the second book is due but not gone to press (meaning, they haven't started printing copies of the book for sale yet), you can back out of your contract under certain conditions. "Not paying royalties on previous book" is probably one of them. Breaking a contract means you forfeit the advance, if you had one to begin with. Get an agent.
(3) I don't know how "small" this company is or what kind of deal they actually did in promoting your book. Most books barely break even for the company anyway, and very often new authors get lost at big companies and have similar complaints. Let's assume for the sake of argument that they did screw you, and you feel that a better company could do a better job. Well, you're not in a great spot here. Big publishers do love to buy the rights to books from little publishers and are willing to shell out money to do it, on the condition that the book was doing well for the small house and the large house wants to republish it and reap the rewards on owning the rights to an already-edited novel they don't have to work very hard on. Your book didn't do well, so that's not going to happen. My advice, in terms of your writing career, is to write a third book and try to sell it another house. If you really feel compelled to get out of your previous contracts, get an agent, who may then want to edit and re-market the book to bigger companies and might have the capabilities to do that. It's not unheard of. Either way, don't bank on the first two books being the start of your career. Write another one to start your career with.
Saturday, October 25, 2008
Wannabes Talk About Craft. Writers Talk About Money.
Seeing a lot of queries of novels and biographies set in Alaska right now. You can probably guess why that is.
So it seems that if you want a lot of free books, all you have to do is set up a blog saying you're going to review books and people will send you books. You can even specify genres. Then you don't even have to review the books, or just claim you're really busy and have a long list and the publisher will act all not surprised.
My publicist and I have been working together to send more and more copies to more and more blogs. Sometimes this involves me sending the book myself so it's signed, and then the publisher reimbursing me with new books (but not cash for having spent money on postage, of course). Trying to get paid is like trying to get blood from a stone - that is, if you're not Penn and Teller. Even though my second book is due on the 15th of November and the third due Jan 1st, neither have a signed contract (just a draft of one). If we signed, they would have to pay. I expect they'll drag it out until I threaten not to submit the book or something. I also found out that they pay royalties twice a year, so I won't be seeing my royalties from my first book (which have no exceeded my advance several times over, something I would be more proud of if my advance wasn't tiny) until April 2009.
I'm not whining - I love being published - but it's something you can expect when you're published. Like that famous New York Times Book Review article, "Publish or Perish." Someone in my grad program had it on her office door. Anyone have a scan of that hilarious article?
So it seems that if you want a lot of free books, all you have to do is set up a blog saying you're going to review books and people will send you books. You can even specify genres. Then you don't even have to review the books, or just claim you're really busy and have a long list and the publisher will act all not surprised.
My publicist and I have been working together to send more and more copies to more and more blogs. Sometimes this involves me sending the book myself so it's signed, and then the publisher reimbursing me with new books (but not cash for having spent money on postage, of course). Trying to get paid is like trying to get blood from a stone - that is, if you're not Penn and Teller. Even though my second book is due on the 15th of November and the third due Jan 1st, neither have a signed contract (just a draft of one). If we signed, they would have to pay. I expect they'll drag it out until I threaten not to submit the book or something. I also found out that they pay royalties twice a year, so I won't be seeing my royalties from my first book (which have no exceeded my advance several times over, something I would be more proud of if my advance wasn't tiny) until April 2009.
I'm not whining - I love being published - but it's something you can expect when you're published. Like that famous New York Times Book Review article, "Publish or Perish." Someone in my grad program had it on her office door. Anyone have a scan of that hilarious article?
Monday, October 20, 2008
At least it's not a feel-good Oprah book. Though it seems like she likes books about incest.
Hi Rejecter,
So glad you're back. Congrats on the book doing so well!
So, I'm pitching a memoir, and in my first-draft letter, I say, "this is not some feel-good Oprah book; it's more like [name of snarky, popular author this agent represented]." Is it okay to say your work is like someone else's, or is that amateurish, or a potential set-up for failure? (ie, I say I'm like Author X, agent reads my first chapter, and thinks I'm nothing like Author X.) Should I just leave out references/comparisons to other writers altogether?
thanks,
ms
I'm not going to say, "No, never mention another author and compare yourself to them." There's very few "nevers" in publishing. That said, it's not a good idea. I know a lot of sites and books recommend it and I don't know why they do that, because it always looks tacky to us. If we work in that genre, we're probably already familiar with bestselling authors in said genre anyway, and can make the comparisons ourselves if we want. Let your summation of the book in the query speak for itself.
P.S. I'm logging off tonight for Shemini Atzeret/Simfas Torah, so don't expect your comments to be approved until Wednesday night.
So glad you're back. Congrats on the book doing so well!
So, I'm pitching a memoir, and in my first-draft letter, I say, "this is not some feel-good Oprah book; it's more like [name of snarky, popular author this agent represented]." Is it okay to say your work is like someone else's, or is that amateurish, or a potential set-up for failure? (ie, I say I'm like Author X, agent reads my first chapter, and thinks I'm nothing like Author X.) Should I just leave out references/comparisons to other writers altogether?
thanks,
ms
I'm not going to say, "No, never mention another author and compare yourself to them." There's very few "nevers" in publishing. That said, it's not a good idea. I know a lot of sites and books recommend it and I don't know why they do that, because it always looks tacky to us. If we work in that genre, we're probably already familiar with bestselling authors in said genre anyway, and can make the comparisons ourselves if we want. Let your summation of the book in the query speak for itself.
P.S. I'm logging off tonight for Shemini Atzeret/Simfas Torah, so don't expect your comments to be approved until Wednesday night.
Saturday, October 18, 2008
Back! And On How to Write Real Good
So a combination moving/writing/Jewish Holidays/family emergencies have kept me away, but not for long! Time to answer some old and undoubtedly outdated emails!
I'm a "wannabe" working on his first novel (sci-fi if that matters).
To the point - is it all right/common to start a story with someone other than the main character?
My story starts with a woman (prostitute actually) just learning she's pregnant (doesn't know who the father is yet). Bottom line - the baby is the main character. The pregnancy won't just be backstory. The mother will learn who the father is and go on the run. My original idea was to have her attacked just before the baby is born (mugging). She dies, but the baby is saved and adopted by childless couple who [obviously] have no clue the baggage that will come with this baby.
One member of my critique group says you should always start a story with the main character and that my proposed first chapter should be skipped or a prologue.
The other dilema is that another member of the group suggested that by the end of the first chapter readers will have an investment in the woman and killing her would be a mistake.
Your thoughts would be appreciated.
There is no "right" way to write a novel, though there are plenty of wrong ways. As writers, we all have to learn an important lesson: When you are a writer, people will give you blanket advice about writing and insist you take it as gospel. It will take a long time to figure out their advice was really dumb. I will now proceed to give you blanket advice:
There is nothing wrong with any way you want to write a novel as long as you do it well.
Yes, there are some things to stay away from - bad grammar, bad spelling, plot inconsistencies, having the whole thing be one long run-on sentence, and using multiple 1st-person POVs. That said, there's undoubtedly at least one award-winning example out there of a novel that broke one of those rules. On the other hand, you are probably not going to write one of those rare award-winning novels that break all the rules. Stick to them.
I've read plenty of novels - most of them suspense or mystery - where the character introduced in the first chapter was either a side character, a character who was about to meet the main character, or whom didn't survive to see chapter 2. It was never a problem, except in one case where I found it annoying. There was one urban fantasy author - I forget his name - who would introduce murder victims by spending an entire chapter on an intricate backstory for them, only to have them fairly randomly offed by the magical serial killer at the end of their segment. He would do it at least twice a novel and it was a whole series so by the end I was pretty sick of that little trick, but I knew other people liked it. Also I bought all of his books, so he "won" in that sense.
The people in your crit group are not authorities on writing. If they were, they would be busy rolling around in dollar bills from all the money they made writing that authoritative book on writing, not hanging around in a crit group. Take their advice with a grain of salt.
I'm a "wannabe" working on his first novel (sci-fi if that matters).
To the point - is it all right/common to start a story with someone other than the main character?
My story starts with a woman (prostitute actually) just learning she's pregnant (doesn't know who the father is yet). Bottom line - the baby is the main character. The pregnancy won't just be backstory. The mother will learn who the father is and go on the run. My original idea was to have her attacked just before the baby is born (mugging). She dies, but the baby is saved and adopted by childless couple who [obviously] have no clue the baggage that will come with this baby.
One member of my critique group says you should always start a story with the main character and that my proposed first chapter should be skipped or a prologue.
The other dilema is that another member of the group suggested that by the end of the first chapter readers will have an investment in the woman and killing her would be a mistake.
Your thoughts would be appreciated.
There is no "right" way to write a novel, though there are plenty of wrong ways. As writers, we all have to learn an important lesson: When you are a writer, people will give you blanket advice about writing and insist you take it as gospel. It will take a long time to figure out their advice was really dumb. I will now proceed to give you blanket advice:
There is nothing wrong with any way you want to write a novel as long as you do it well.
Yes, there are some things to stay away from - bad grammar, bad spelling, plot inconsistencies, having the whole thing be one long run-on sentence, and using multiple 1st-person POVs. That said, there's undoubtedly at least one award-winning example out there of a novel that broke one of those rules. On the other hand, you are probably not going to write one of those rare award-winning novels that break all the rules. Stick to them.
I've read plenty of novels - most of them suspense or mystery - where the character introduced in the first chapter was either a side character, a character who was about to meet the main character, or whom didn't survive to see chapter 2. It was never a problem, except in one case where I found it annoying. There was one urban fantasy author - I forget his name - who would introduce murder victims by spending an entire chapter on an intricate backstory for them, only to have them fairly randomly offed by the magical serial killer at the end of their segment. He would do it at least twice a novel and it was a whole series so by the end I was pretty sick of that little trick, but I knew other people liked it. Also I bought all of his books, so he "won" in that sense.
The people in your crit group are not authorities on writing. If they were, they would be busy rolling around in dollar bills from all the money they made writing that authoritative book on writing, not hanging around in a crit group. Take their advice with a grain of salt.
Monday, October 06, 2008
Stacking Books
Moving is hell, but it's a lot worse when you have a lot of books.
After I'm settled in my new, cheaper apartment, I will be back to a regular posting schedule. Until then, I'm going to have to figure out what to do with all these books. My mother spent some time berating me today about how difficult the move was because I seemed to have about 20 boxes of books alone, and reminding me of how nice it was to move my brother, who is less of a reader and more of a "TV'er" so his life, moving-wise, is less complicated. When you read a lot, you collect a lot of books. When you work in publishing, you collect a lot of books. If you like buying books randomly on the street because they peaked your interest and they were a dollar, you collect a lot of books. All of this is great if you own a house and never plan on moving. Not so good when you move around every 1-2 years from tiny Manhattan apartment to tiny Manhattan apartment. Today I was deciding between a bookcase and a kitchen table. There wasn't really a decision to be made - the books couldn't sit on the table - so I'll be eating in my lap until I figure something out.
My books fall into these categories:
(1) History (research for my writing)
(2) History (general interest)
(3) History (gimmick)
(4) Judaica (Mishnah, Talmud, Mishnah Brurah, Sefer Yetzirah, etc)
(5) General fiction I bought with the intention to read
(6) General fiction I was given and told to read, probably by my father
(7) Books I got at a publishing fair, like the BEA, where they hand out a lot of free books
(8) Books I got during my publishing seminar
(9) Books I got at work because extra copies were lying around, filling up the office
(10) Books I bought because I thought I could sell them but I couldn't
(11) Books about writing/publishing
(12) Books about writing/publishing (gimmick)
In other words, I really need to learn to say no to, "Would you like a free book?"
After I'm settled in my new, cheaper apartment, I will be back to a regular posting schedule. Until then, I'm going to have to figure out what to do with all these books. My mother spent some time berating me today about how difficult the move was because I seemed to have about 20 boxes of books alone, and reminding me of how nice it was to move my brother, who is less of a reader and more of a "TV'er" so his life, moving-wise, is less complicated. When you read a lot, you collect a lot of books. When you work in publishing, you collect a lot of books. If you like buying books randomly on the street because they peaked your interest and they were a dollar, you collect a lot of books. All of this is great if you own a house and never plan on moving. Not so good when you move around every 1-2 years from tiny Manhattan apartment to tiny Manhattan apartment. Today I was deciding between a bookcase and a kitchen table. There wasn't really a decision to be made - the books couldn't sit on the table - so I'll be eating in my lap until I figure something out.
My books fall into these categories:
(1) History (research for my writing)
(2) History (general interest)
(3) History (gimmick)
(4) Judaica (Mishnah, Talmud, Mishnah Brurah, Sefer Yetzirah, etc)
(5) General fiction I bought with the intention to read
(6) General fiction I was given and told to read, probably by my father
(7) Books I got at a publishing fair, like the BEA, where they hand out a lot of free books
(8) Books I got during my publishing seminar
(9) Books I got at work because extra copies were lying around, filling up the office
(10) Books I bought because I thought I could sell them but I couldn't
(11) Books about writing/publishing
(12) Books about writing/publishing (gimmick)
In other words, I really need to learn to say no to, "Would you like a free book?"
Tuesday, September 16, 2008
Stocking Books
So it's been awhile, much longer than I would have liked, since I've made a post. Without going all livejournal-ly on you, my life has been crazy, between trying to find a new apartment, health, my two jobs, and my book coming out.
My book did come out (no, I won't tell you what it is). And it did well. Went to second printing in the first week of publication. It's not gonna be on a bestseller list, but nobody's really on a bestseller list. But, healthy sales, beyond expectations, and books 2 and 3 in the series are in contract negotiations.
One of the little-known facets of publishing houses is that nobody actually knows what they're doing. A lot of guesswork is involved in every stop in the process. In my case, the publishing house (no, I won't tell you which one) had a good idea that my book would do better than the others on its list in that genre coming out at the same time, but still underestimated the demand, as did the buyers at B&N and Borders and whatnot. Some of this is the company's fault, for not pushing the book enough at the buying meeting. Some of it is the buyer's fault, but buyers have a really hard job and I'm a first-time author, so I'm surprised they bought as many as they did.
Unlike magazine publishing, where they'll happily print 1000 extra copies than lose a single sale, bookstores don't really like to be overstocked. The books take up space and cost money to ship back to the publishing houses when they don't sell. So it's a guesstimate. The problem is, when the book sells out and they put in for reorder (or they get low and put in for reorder), the order takes a good week to fill at best. Books take awhile to be printed, so if the publisher is clean out, you know, whoops. Which means a lost sale, because people are less likely to buy if it has to be ordered for them, and of course casual browsers aren't going to see it if it's not on the shelf in the first place.
Technically there is a policy that bookstores aren't supposed to stock the book until the actual publication date, which was never a solid date but at some point was September 1st and at another point was September 8th. Only the local bookstore in my hometown, which ordered a whole ONE copy, had it in stock but was unwilling to admit it until my mom told them I was the author, and then they were unwilling to sell it to her because it was August 29th at the time. The reason she'd gone there, other than out of interest, was that it HAD been in the closest Barnes and Noble and all 8 copies sold within a few days, so she didn't have a copy of her daughter's book.
What actually happened was the publishing house shipped the books out in a "staggered" form mid-August, and B&N, Borders, and Amazon decided to just start sellin' and filling orders. No reason to waste space in the storage room. I actually found out my book was on-sale around August 20th because someone emailed me to say they had gotten an email that their Amazon pre-order had shipped early (mine hadn't). So I went to the local B&N and damn, there it was. I have to say, I was very composed. The shouting for joy was minimal. I blame my heavy medication. Stupid dampening of emotions to prevent severe depression.
An amusing thing happened, which was suddenly the publishing thought it might be a good idea to do some publicity for the book, seeing as how it was doing so well within its little niche genre, or at least better than the other books on their list. So they called me up and were like,"So do you want to do a book signing?"
"Have you ever tried to schedule a book signing in Manhattan?"
"No." (this particular publicist hadn't)
"Well, I'm not a former President or Richard Dawkins, so good luck."
The blog tour thing is going very well, though. Basically we sent review copies to a bunch of bloggers who review books, and some of them offered to interview me, and I wrote answers to their questions. It's a bit difficult after the 5th interview or so to keep the material fresh, because there's only so many ways to answer the question, "So why did you decide to write about ___?" But since it's the internet, I figure some people are going to be surfing around and reading multiple websites, so I ought to say something different if I can. I came THIS close to talking about my sword collection. THIS CLOSE. What stopped me is that it's not a very impressive collection. Only one is folded steel and it's only apprentice quality.
I will be back to answering questions soon, as this apartment search thing clears up for me. That or my head will explode from the state of the New York real estate market, and I won't be answering questions.
My book did come out (no, I won't tell you what it is). And it did well. Went to second printing in the first week of publication. It's not gonna be on a bestseller list, but nobody's really on a bestseller list. But, healthy sales, beyond expectations, and books 2 and 3 in the series are in contract negotiations.
One of the little-known facets of publishing houses is that nobody actually knows what they're doing. A lot of guesswork is involved in every stop in the process. In my case, the publishing house (no, I won't tell you which one) had a good idea that my book would do better than the others on its list in that genre coming out at the same time, but still underestimated the demand, as did the buyers at B&N and Borders and whatnot. Some of this is the company's fault, for not pushing the book enough at the buying meeting. Some of it is the buyer's fault, but buyers have a really hard job and I'm a first-time author, so I'm surprised they bought as many as they did.
Unlike magazine publishing, where they'll happily print 1000 extra copies than lose a single sale, bookstores don't really like to be overstocked. The books take up space and cost money to ship back to the publishing houses when they don't sell. So it's a guesstimate. The problem is, when the book sells out and they put in for reorder (or they get low and put in for reorder), the order takes a good week to fill at best. Books take awhile to be printed, so if the publisher is clean out, you know, whoops. Which means a lost sale, because people are less likely to buy if it has to be ordered for them, and of course casual browsers aren't going to see it if it's not on the shelf in the first place.
Technically there is a policy that bookstores aren't supposed to stock the book until the actual publication date, which was never a solid date but at some point was September 1st and at another point was September 8th. Only the local bookstore in my hometown, which ordered a whole ONE copy, had it in stock but was unwilling to admit it until my mom told them I was the author, and then they were unwilling to sell it to her because it was August 29th at the time. The reason she'd gone there, other than out of interest, was that it HAD been in the closest Barnes and Noble and all 8 copies sold within a few days, so she didn't have a copy of her daughter's book.
What actually happened was the publishing house shipped the books out in a "staggered" form mid-August, and B&N, Borders, and Amazon decided to just start sellin' and filling orders. No reason to waste space in the storage room. I actually found out my book was on-sale around August 20th because someone emailed me to say they had gotten an email that their Amazon pre-order had shipped early (mine hadn't). So I went to the local B&N and damn, there it was. I have to say, I was very composed. The shouting for joy was minimal. I blame my heavy medication. Stupid dampening of emotions to prevent severe depression.
An amusing thing happened, which was suddenly the publishing thought it might be a good idea to do some publicity for the book, seeing as how it was doing so well within its little niche genre, or at least better than the other books on their list. So they called me up and were like,"So do you want to do a book signing?"
"Have you ever tried to schedule a book signing in Manhattan?"
"No." (this particular publicist hadn't)
"Well, I'm not a former President or Richard Dawkins, so good luck."
The blog tour thing is going very well, though. Basically we sent review copies to a bunch of bloggers who review books, and some of them offered to interview me, and I wrote answers to their questions. It's a bit difficult after the 5th interview or so to keep the material fresh, because there's only so many ways to answer the question, "So why did you decide to write about ___?" But since it's the internet, I figure some people are going to be surfing around and reading multiple websites, so I ought to say something different if I can. I came THIS close to talking about my sword collection. THIS CLOSE. What stopped me is that it's not a very impressive collection. Only one is folded steel and it's only apprentice quality.
I will be back to answering questions soon, as this apartment search thing clears up for me. That or my head will explode from the state of the New York real estate market, and I won't be answering questions.
Tuesday, August 19, 2008
Vampires Who Fight Crime > Vampires Who Don't
I'm on a brief Forever Knight-fanfic-reading hiatus. Don't ask.
Well, from what I hear, 90% of these old, poorly-archived stories are better and more complex than Breaking Dawn. Publisher's Weekly had an article about people asking for their money back. Why are there so many "Well, I never!" comments in the publishing industry, like books aren't sometimes treated the same way as other products people buy with hard-earned money? I mean if I bought a TV and it didn't work I would return it, and if a book was so terrible I didn't even want it around I would sell it or donate it. Should we, a publishing industry, be surprised when people who don't like our products question our return policy?
Still approving comments. Go ahead.
Well, from what I hear, 90% of these old, poorly-archived stories are better and more complex than Breaking Dawn. Publisher's Weekly had an article about people asking for their money back. Why are there so many "Well, I never!" comments in the publishing industry, like books aren't sometimes treated the same way as other products people buy with hard-earned money? I mean if I bought a TV and it didn't work I would return it, and if a book was so terrible I didn't even want it around I would sell it or donate it. Should we, a publishing industry, be surprised when people who don't like our products question our return policy?
Still approving comments. Go ahead.
Thursday, July 24, 2008
Metered Mail
So we had two cases today where people had sent large reply envelopes to send back their unrequested partials using metered mail. This means that after they found out the weight and price of shipping the partial at the post office, they either had the post office stand the SASE before it went into the main envelope or they had one of those machines in their office that did it for them with red ink on the envelope based on the weight of the package.
The problem with this is, with metered mail you can't send it from a wildly different zip code than the one you metered it at. And because it was over 14 ounces, my boss took it to the post office to mail it, only to be told she couldn't, because it was metered in another zip code.
Long story short, if you're one of those people with a machine that weights and then applies a stamp via a meter and a red stamp thing, don't do it on your SASE. Find out the cost and put that much in stamps on the SASE so we can mail it back to you.
Some agencies don't make the trip to the post office or have an office person who does it for them, and just toss the returns envelopes that would require a trip to a post office because our country doesn't understand how actual postal security should work. So if you send an unrequested partial and it's heavy, don't expect it back, even if you send enough stamps to do so. Not everyone will send it.
The problem with this is, with metered mail you can't send it from a wildly different zip code than the one you metered it at. And because it was over 14 ounces, my boss took it to the post office to mail it, only to be told she couldn't, because it was metered in another zip code.
Long story short, if you're one of those people with a machine that weights and then applies a stamp via a meter and a red stamp thing, don't do it on your SASE. Find out the cost and put that much in stamps on the SASE so we can mail it back to you.
Some agencies don't make the trip to the post office or have an office person who does it for them, and just toss the returns envelopes that would require a trip to a post office because our country doesn't understand how actual postal security should work. So if you send an unrequested partial and it's heavy, don't expect it back, even if you send enough stamps to do so. Not everyone will send it.
Wednesday, July 23, 2008
Working Experience and Vanity Presses
I recently sent off a few agent queries for my romance novel that contained the following biographical paragraph:
"[Cut for privacy by the Rejector, but basically she says she was an editorial assistant at a small press and goes into what she did there]."
Now I'm wondering if "vanity press" is really the right term to use in this case. Vanity presses are demonized by bloggers, but the company I worked for was perfectly harmless. We didn't swindle writers. In fact, we didn't accept any outside manuscript submissions at all -- we developed everything in-house with the help of the artist we were devoted to promoting. At the time that I worked there, we understood ourselves to be a vanity press in the most pure sense: a press devoted to one person's vanity.
Would you mind taking a look at [the company's] web site and letting me know what you think? I'm afraid that in misusing a common publishing term, I have shown myself to be an idiot. If [this press] isn't a vanity press, then what is it?
A side issue is whether or not my experience in publishing is even worth mentioning at all. I have no idea, and I'm almost afraid to ask.
So there are two issues I see here:
(1) You are wondering if you worked for a vanity press. Well, you didn't work for Vanity Press, which was actually the name of a major self-publishing company before the word "self-publishing" existed. When I was 14, I submitted a manuscript to them, not knowing any better, and lo-and-behold, they accepted me. I was on top of the world. Then my mom looked at the fine print and said, "I'm not paying for this" and that was the end of that.
The term has come to main places that make you pay up front for copies printed, as opposed to POD presses where there's a more complex financial arrangement that requires only a set-up fee or no set-up fee at all but takes a larger chunk from each copy and prices the copies very high. POD only exists because the technology to print books quickly exists, and it didn't when I was 14.
Looking at the website, I honestly can't tell for sure, but if I had to guess I would err on the side of "oh look, a small press" and not discriminate. A lot of small, specialized presses like this one have different financial structures (for everyone else, this is a press for books about glassmaking).
(2) I think it's OK to mention you worked for a press unless it was one of those huge, corrupt vanity presses or POD scams like PublishAmerica or Authorhouse. Saying you edited for PublishAmerica is like saying "I have NEGATIVE editing experience, less than people who've never edited." We know those houses exist to make a profit and don't edit their work. If you did legitimate work at a legitimate press, don't worry about the structure and mention it.
That said, the paragraph you sent me that you put in your query was fairly long, and I would cut it down to two lines, max. Editorial experience doesn't make you a good writer; it makes you a good editor. Editing is a useful skill for writing, but it's part of the writing tool set, not the whole of it. In other words, your book might still suck even if you were the CEO of Random House after working your way up from the mail room and through every editorial station before moving to executive positions. So give it a line or two because it shows you know how to edit (and would thus be capable of doing so if we asked) and focus on your novel.
"[Cut for privacy by the Rejector, but basically she says she was an editorial assistant at a small press and goes into what she did there]."
Now I'm wondering if "vanity press" is really the right term to use in this case. Vanity presses are demonized by bloggers, but the company I worked for was perfectly harmless. We didn't swindle writers. In fact, we didn't accept any outside manuscript submissions at all -- we developed everything in-house with the help of the artist we were devoted to promoting. At the time that I worked there, we understood ourselves to be a vanity press in the most pure sense: a press devoted to one person's vanity.
Would you mind taking a look at [the company's] web site and letting me know what you think? I'm afraid that in misusing a common publishing term, I have shown myself to be an idiot. If [this press] isn't a vanity press, then what is it?
A side issue is whether or not my experience in publishing is even worth mentioning at all. I have no idea, and I'm almost afraid to ask.
So there are two issues I see here:
(1) You are wondering if you worked for a vanity press. Well, you didn't work for Vanity Press, which was actually the name of a major self-publishing company before the word "self-publishing" existed. When I was 14, I submitted a manuscript to them, not knowing any better, and lo-and-behold, they accepted me. I was on top of the world. Then my mom looked at the fine print and said, "I'm not paying for this" and that was the end of that.
The term has come to main places that make you pay up front for copies printed, as opposed to POD presses where there's a more complex financial arrangement that requires only a set-up fee or no set-up fee at all but takes a larger chunk from each copy and prices the copies very high. POD only exists because the technology to print books quickly exists, and it didn't when I was 14.
Looking at the website, I honestly can't tell for sure, but if I had to guess I would err on the side of "oh look, a small press" and not discriminate. A lot of small, specialized presses like this one have different financial structures (for everyone else, this is a press for books about glassmaking).
(2) I think it's OK to mention you worked for a press unless it was one of those huge, corrupt vanity presses or POD scams like PublishAmerica or Authorhouse. Saying you edited for PublishAmerica is like saying "I have NEGATIVE editing experience, less than people who've never edited." We know those houses exist to make a profit and don't edit their work. If you did legitimate work at a legitimate press, don't worry about the structure and mention it.
That said, the paragraph you sent me that you put in your query was fairly long, and I would cut it down to two lines, max. Editorial experience doesn't make you a good writer; it makes you a good editor. Editing is a useful skill for writing, but it's part of the writing tool set, not the whole of it. In other words, your book might still suck even if you were the CEO of Random House after working your way up from the mail room and through every editorial station before moving to executive positions. So give it a line or two because it shows you know how to edit (and would thus be capable of doing so if we asked) and focus on your novel.
Monday, July 14, 2008
Amazon Rankings and Ice Fishing
OK, it's time to get something out in the open.
I've noticed that all the pod-caster novelists and POD-ers have this obsession with Amazon rankings, which I can understand. That's why they all encourage people to buy the book on opening day, so it skyrockets the rankings to the top 10, if even for 1/10 of a second, but still, from then on in the promo materials you can say, "the top 10 Amazon hit..."
But does this really work? Do publishers care about gimmicky marketing tactics like this? Can you show me a case where it backfired?
I have to admit that this approach looks more respectable than begging for some 'agent' who may or may not even respond to you to take 15% of whatever you may or may not make. Seems like the new breed of action adventure authors (and it does seems to be mostly in those genres), are eschewing agents altogether, or at least until the asgents solicit them.
First I will point out that mainstream authors can be as obsessed with their Amazon rankings as POD authors. I know I am, checking it whenever I can while my book is in preorder because I know a spike equals a sale and I get all excited. POD people have even more reason to be obsessed because they are, for the most part, not in stores and rely on Amazon to sell their book.
People used to be more dismissive of Amazon. As of 2007, someone told me all internet sales were only 7% of the book market, not that big. Then in early 2008 I heard 17% from someone else, then 23%. The point is, the internet sales are climbing in proportion to stores going down, and while they won't replace stores, they can no longer be dismissed. So if your book is selling well on Amazon, good for you. Be happy about it. It's no small thing anymore.
As for the rankings system, I've been messing with it a bit myself as of late so I can talk about it a little. There have been waves of people trying to analyze the ranking system and figure out Amazon's algorithm, which is a closely-guarded secret. The reason for the waves is that Amazon occasionally changes the algorithm based on people trying to manipulate it or for it to more efficiently reflect sales. In 2005, someone wrote that she got her book into the Top 25 list by buying a book an hour (it is recalculated every hour for high-ranked books, and mostly once a day for above 100,000 numbered books). I tried that, and it didn't work. She wrote that she only bought one copy because she read somewhere else that for an individual buyer, multiple copies are reduced to one for the purposes of ranking to prevent the manipulation of rank by authors. Come to think of it, I don't know why Amazon would care - they just want to sell books, and they're selling books to you, and they're ranking the books by what's sold, so who buys them shouldn't be a huge issue, be it one person buying 100 or 100 people buying one. On the other hand, 100 people buying one indicates popularity over numbers, so again, it's complicated.
I experimented a little (and got flagged by Amazon, who called me and asked me if I wanted a corporate account, as I seemed to be buying so many books that if I had any intention of actually buying them and not canceling my pre-orders, it would be financially cost-efficient to have a corporate account and not just an Amazon credit card like I do) and here's what I found:
(1) Numbers do matter. Buying 100 copies over buying 1 multiple times over a long period of time will artificially raise your rank faster and higher.
(2) Amazon does calculate the ranks about once an hour, but it puts the calculations in effect on about the 40 minute part of the hour. I don't know when it actually does the calculations, but all I know is that the spike would always be around :35 or :40. Otherwise, my book would just slowly depreciate.
(3) Massive canceling of massive orders will result in the rank going back down (meaning, the ranking system takes cancellations into account and doesn't just track orders. It tracks sales)
(4) It is ridiculously, stupidly hard to get your book above 2000. There are 4 million books listed on Amazon, so that shouldn't be a surprise, but it seems to cap at 2000 for some reason. Despite massive orders in a short span of a few hours, I could not get my rank to reflect that.
(5) Manipulating your rank is probably a little unethical, though it's a victim-less crime.
To answer your questions specifically, I have seen ads for marketing, but and I gave them some thought but decided against them. If you have a ton of friends, you can get them to buy the book all at the same time, but it won't do as much to your rank as the ads promise. Also some people are big on "email blasts" where you email people you barely know or random people you got from a list you paid for to buy your book. Having never bought a book from an email blast (and I get a few of them every couple months at my Rejector email), I cannot say this is an effective measure except if you've written a specific book for a specific community, in which case I would just call that marketing and be done with it.
I confess I have paid a service $3/month to track my sales based on my rank, because I am curious, and also because I think it has access to Bookscan and can actually look up sales once the book goes on sale and tell me how many sold. The rank itself does not totally reflect sales - it reflects your rank relative to the other 4 million books on Amazon, so if other books aren't doing as well, your rank will not depreciate as slowly.
As for the agent thing, that's another discussion entirely, but I think that anyone with more than one book should immediately get an agent even if they already have a book contract. That 15% is well-earned, and I say that not just because I work for an agent but also because I have my own agent for my books, and she is severely underpaid for all the work she does for me in my opinion. If you have one book and have an offer, get an agent. She'll take her 15% percent for looking over the contract, but she's not there for that. She's there to sell your second, third, and fourth books, and so on.
Lastly, some people have begun to mention in query letters that they were "an Amazon bestseller." We don't pay any attention to this. It could mean they manipulated their rank to be a bestseller, and it could mean they were a bestseller in a specific category. I imagine it's not all that hard to be a bestseller in the Books ‹Outdoors & Nature ‹Hunting & Fishing ‹Fishing ‹Ice Fishing category. Or maybe I'm just underestimating the number of books about ice fishing.
I've noticed that all the pod-caster novelists and POD-ers have this obsession with Amazon rankings, which I can understand. That's why they all encourage people to buy the book on opening day, so it skyrockets the rankings to the top 10, if even for 1/10 of a second, but still, from then on in the promo materials you can say, "the top 10 Amazon hit..."
But does this really work? Do publishers care about gimmicky marketing tactics like this? Can you show me a case where it backfired?
I have to admit that this approach looks more respectable than begging for some 'agent' who may or may not even respond to you to take 15% of whatever you may or may not make. Seems like the new breed of action adventure authors (and it does seems to be mostly in those genres), are eschewing agents altogether, or at least until the asgents solicit them.
First I will point out that mainstream authors can be as obsessed with their Amazon rankings as POD authors. I know I am, checking it whenever I can while my book is in preorder because I know a spike equals a sale and I get all excited. POD people have even more reason to be obsessed because they are, for the most part, not in stores and rely on Amazon to sell their book.
People used to be more dismissive of Amazon. As of 2007, someone told me all internet sales were only 7% of the book market, not that big. Then in early 2008 I heard 17% from someone else, then 23%. The point is, the internet sales are climbing in proportion to stores going down, and while they won't replace stores, they can no longer be dismissed. So if your book is selling well on Amazon, good for you. Be happy about it. It's no small thing anymore.
As for the rankings system, I've been messing with it a bit myself as of late so I can talk about it a little. There have been waves of people trying to analyze the ranking system and figure out Amazon's algorithm, which is a closely-guarded secret. The reason for the waves is that Amazon occasionally changes the algorithm based on people trying to manipulate it or for it to more efficiently reflect sales. In 2005, someone wrote that she got her book into the Top 25 list by buying a book an hour (it is recalculated every hour for high-ranked books, and mostly once a day for above 100,000 numbered books). I tried that, and it didn't work. She wrote that she only bought one copy because she read somewhere else that for an individual buyer, multiple copies are reduced to one for the purposes of ranking to prevent the manipulation of rank by authors. Come to think of it, I don't know why Amazon would care - they just want to sell books, and they're selling books to you, and they're ranking the books by what's sold, so who buys them shouldn't be a huge issue, be it one person buying 100 or 100 people buying one. On the other hand, 100 people buying one indicates popularity over numbers, so again, it's complicated.
I experimented a little (and got flagged by Amazon, who called me and asked me if I wanted a corporate account, as I seemed to be buying so many books that if I had any intention of actually buying them and not canceling my pre-orders, it would be financially cost-efficient to have a corporate account and not just an Amazon credit card like I do) and here's what I found:
(1) Numbers do matter. Buying 100 copies over buying 1 multiple times over a long period of time will artificially raise your rank faster and higher.
(2) Amazon does calculate the ranks about once an hour, but it puts the calculations in effect on about the 40 minute part of the hour. I don't know when it actually does the calculations, but all I know is that the spike would always be around :35 or :40. Otherwise, my book would just slowly depreciate.
(3) Massive canceling of massive orders will result in the rank going back down (meaning, the ranking system takes cancellations into account and doesn't just track orders. It tracks sales)
(4) It is ridiculously, stupidly hard to get your book above 2000. There are 4 million books listed on Amazon, so that shouldn't be a surprise, but it seems to cap at 2000 for some reason. Despite massive orders in a short span of a few hours, I could not get my rank to reflect that.
(5) Manipulating your rank is probably a little unethical, though it's a victim-less crime.
To answer your questions specifically, I have seen ads for marketing, but and I gave them some thought but decided against them. If you have a ton of friends, you can get them to buy the book all at the same time, but it won't do as much to your rank as the ads promise. Also some people are big on "email blasts" where you email people you barely know or random people you got from a list you paid for to buy your book. Having never bought a book from an email blast (and I get a few of them every couple months at my Rejector email), I cannot say this is an effective measure except if you've written a specific book for a specific community, in which case I would just call that marketing and be done with it.
I confess I have paid a service $3/month to track my sales based on my rank, because I am curious, and also because I think it has access to Bookscan and can actually look up sales once the book goes on sale and tell me how many sold. The rank itself does not totally reflect sales - it reflects your rank relative to the other 4 million books on Amazon, so if other books aren't doing as well, your rank will not depreciate as slowly.
As for the agent thing, that's another discussion entirely, but I think that anyone with more than one book should immediately get an agent even if they already have a book contract. That 15% is well-earned, and I say that not just because I work for an agent but also because I have my own agent for my books, and she is severely underpaid for all the work she does for me in my opinion. If you have one book and have an offer, get an agent. She'll take her 15% percent for looking over the contract, but she's not there for that. She's there to sell your second, third, and fourth books, and so on.
Lastly, some people have begun to mention in query letters that they were "an Amazon bestseller." We don't pay any attention to this. It could mean they manipulated their rank to be a bestseller, and it could mean they were a bestseller in a specific category. I imagine it's not all that hard to be a bestseller in the Books ‹Outdoors & Nature ‹Hunting & Fishing ‹Fishing ‹Ice Fishing category. Or maybe I'm just underestimating the number of books about ice fishing.
Sunday, July 13, 2008
Podcasts
Dear Rejecter,
I know you've posted before your feelings about publishing on demand novels. What is your feeling about novels that the author has decided to self-publish in audio form as a series of podcasts? I'm referring to works available at www.podiobooks.com and author Web sites. A few authors (Scott Sigler and J.C. Hutchins, to name two) have landed publishing deals for their books after they gave them away as free podcasts. In your opinion, does podcasting a work before getting a publisher help or hurt the author's chances of getting published in print? Would you or your boss consider taking on a work with such a history?
Hmm. You know, I've never listened to a podcast. Just never been my thing. My boss has listened to them, when her authors were interviewed and turned it into a podcast, but those were books she already bought.
While I can't directly answer your question with a yes/no, I will say that having your book online is not a writing credential, and that those guys who got deals are probably extreme exceptions to the rules. That and that they also have really good voices and maybe some background in voicework, choral, or radio.
However, it wouldn't HURT your chances of getting into print (though be careful after you sign the contract, because the contract will include audio rights).
I know you've posted before your feelings about publishing on demand novels. What is your feeling about novels that the author has decided to self-publish in audio form as a series of podcasts? I'm referring to works available at www.podiobooks.com and author Web sites. A few authors (Scott Sigler and J.C. Hutchins, to name two) have landed publishing deals for their books after they gave them away as free podcasts. In your opinion, does podcasting a work before getting a publisher help or hurt the author's chances of getting published in print? Would you or your boss consider taking on a work with such a history?
Hmm. You know, I've never listened to a podcast. Just never been my thing. My boss has listened to them, when her authors were interviewed and turned it into a podcast, but those were books she already bought.
While I can't directly answer your question with a yes/no, I will say that having your book online is not a writing credential, and that those guys who got deals are probably extreme exceptions to the rules. That and that they also have really good voices and maybe some background in voicework, choral, or radio.
However, it wouldn't HURT your chances of getting into print (though be careful after you sign the contract, because the contract will include audio rights).
Thursday, July 10, 2008
...Speaking of Academic Protagonists
My boss and I have noticed a wave of queries and partials that mention the words "Dan Brown" at some point. We had a break from them for awhile, but now they seem to be back. I wonder what's up with that. Are all of the people who write academic-based thrillers submitting now because they're on summer break from their university?
Wednesday, July 09, 2008
Fiction by Academics
Dear Rejecter,
The ground is thick with rumors that literary agents HATE novels by academics, and automatically throw queries from such creatures in the reject pile. Any wise advice to aspiring novelists inhabiting the ivy-covered groves?
I can't think of why we would have anything against a good novel written by an academic. In fact, if the subject manner is similar to your academic studies, then it's a boost.
It's true that work by academics can naturally be very dry, because that's the way papers and articles are written, and it's the way we're taught to write. I once was graded down on a history paper for being "too exciting" in college, which was part of my decision not to pursue a PhD in history and instead go into writing. However, this is certainly not true of all academics, and many who write well have sold extremely well, as the non-fiction market is very strong.
The ground is thick with rumors that literary agents HATE novels by academics, and automatically throw queries from such creatures in the reject pile. Any wise advice to aspiring novelists inhabiting the ivy-covered groves?
I can't think of why we would have anything against a good novel written by an academic. In fact, if the subject manner is similar to your academic studies, then it's a boost.
It's true that work by academics can naturally be very dry, because that's the way papers and articles are written, and it's the way we're taught to write. I once was graded down on a history paper for being "too exciting" in college, which was part of my decision not to pursue a PhD in history and instead go into writing. However, this is certainly not true of all academics, and many who write well have sold extremely well, as the non-fiction market is very strong.
Thursday, June 26, 2008
Blogs and Book Tours
Slow on the posting lately, mainly because I've been caught up in two different writing projects on top of work, and my writing comes before my blogging. So, no apologies.
If you have guest blogged for a well known publisher/ editor/ writing celeb or other notable, is it ok to include that under your writing experience?
...Not really? I would say you're grasping at straws here. Unless it's directly related to the manuscript, don't include it in the query.
On the further subject of blogs, I was compelled to start an author blog by the company publishing my first book (no, I won't tell you where the blog is). So far I've used it to post reviews as they start to come in and really nothing else. The publicity assistant also talked about a "blog tour" as opposed to a book tour, which benefits the company because it doesn't cost money, and benefits the author in that it doesn't take as much time.
This is not to dismiss the traditional book tour, though publishers are increasingly turning against them. The reasons are obvious: they're costly, they're inconvenient, and the book store has to order in the copies themselves sometimes and if they don't sell the bookstore gets mad at the publisher (which is never good for the publisher, which needs the bookstore to buy the books to sell them in the first place). Most of all, unless the author is a celebrity, people don't go to the readings and not only does it not sell books but it can turn into a very depressing experience for the author. Rarely do publishing companies make a huge effort to shield their authors from psychological trauma (especially as mild as facing an uncomfortable amount of empty chairs), so it's nice to hear them being altruistic like that.
In the movie Capote, Truman (Hoffman) gives a reading of his then-unfinished manuscript of In Cold Blood to a packed theater of New York Literati. It does make for a lot of nostalgia, and I just found it funny because he's reading from an unfinished manuscript, and later has problems finishing it, so I thought the reading was a bit premature, even for those days. But anyway, nice scene. Slow movie.
The truth is that the art of the book reading, while not dead, is certainly in some kind of state where IV fluids might be required. The only readings I've ever been to were ones I was dragged to in college or grad school because my professor knew the writer, plus one reading because it was between me and the history section at the Union Square Barnes and Noble and Jimmy Carter was the speaker so the Secret Service guys wouldn't let me through. And I didn't stay for the whole reading. Oh, and once in high school because I had nothing better to do.
It was actually a great presentation. Anne Rice was speaking the following week at the same Borders (I believe The Red Violin was coming out), and this author was a run-of-the-mill fantasy author who had written a Forever Knight franchise novel. For those of you who don't remember or never knew because you have a life, Forever Knight was a show about a vampire who was a cop and the whole show was ruined by its really, really terrible ending. Possibly the worst ending for a series ever if not for Sopranos. Anyway, this author realized there was no reason to talk about the book, as we were either going to buy it because we liked the show and showed up or we were there because that's where all the chairs were, so instead she gave about an hour presentation on the history of the vampire myth, and how it entered pop culture. It was one of the most interesting explanations of how we went from burying comatose people at crossroads to Count von Count. I was so impressed by her sheer historical knowledge that I bought the book to compliment her. I never read it. I don't even really remember why I was there in the first place; maybe we just went to the bookstore to kill time before a movie or something.
The point is, if you're a first-time author, or even just an author who is not a former President, you're probably not going to draw a crowd. I like George R. Martin but it doesn't mean I necessarily want to listen to him read a Sansa chapter. People go for autographs, but the modern autograph market has kinda bottomed out thanks to eBay. So, not going on a book tour is probably not just the publicity market being cheap (though they are undoubtedly doing that) but saving you from hassle and time that you could be spending writing your next book.
If you have guest blogged for a well known publisher/ editor/ writing celeb or other notable, is it ok to include that under your writing experience?
...Not really? I would say you're grasping at straws here. Unless it's directly related to the manuscript, don't include it in the query.
On the further subject of blogs, I was compelled to start an author blog by the company publishing my first book (no, I won't tell you where the blog is). So far I've used it to post reviews as they start to come in and really nothing else. The publicity assistant also talked about a "blog tour" as opposed to a book tour, which benefits the company because it doesn't cost money, and benefits the author in that it doesn't take as much time.
This is not to dismiss the traditional book tour, though publishers are increasingly turning against them. The reasons are obvious: they're costly, they're inconvenient, and the book store has to order in the copies themselves sometimes and if they don't sell the bookstore gets mad at the publisher (which is never good for the publisher, which needs the bookstore to buy the books to sell them in the first place). Most of all, unless the author is a celebrity, people don't go to the readings and not only does it not sell books but it can turn into a very depressing experience for the author. Rarely do publishing companies make a huge effort to shield their authors from psychological trauma (especially as mild as facing an uncomfortable amount of empty chairs), so it's nice to hear them being altruistic like that.
In the movie Capote, Truman (Hoffman) gives a reading of his then-unfinished manuscript of In Cold Blood to a packed theater of New York Literati. It does make for a lot of nostalgia, and I just found it funny because he's reading from an unfinished manuscript, and later has problems finishing it, so I thought the reading was a bit premature, even for those days. But anyway, nice scene. Slow movie.
The truth is that the art of the book reading, while not dead, is certainly in some kind of state where IV fluids might be required. The only readings I've ever been to were ones I was dragged to in college or grad school because my professor knew the writer, plus one reading because it was between me and the history section at the Union Square Barnes and Noble and Jimmy Carter was the speaker so the Secret Service guys wouldn't let me through. And I didn't stay for the whole reading. Oh, and once in high school because I had nothing better to do.
It was actually a great presentation. Anne Rice was speaking the following week at the same Borders (I believe The Red Violin was coming out), and this author was a run-of-the-mill fantasy author who had written a Forever Knight franchise novel. For those of you who don't remember or never knew because you have a life, Forever Knight was a show about a vampire who was a cop and the whole show was ruined by its really, really terrible ending. Possibly the worst ending for a series ever if not for Sopranos. Anyway, this author realized there was no reason to talk about the book, as we were either going to buy it because we liked the show and showed up or we were there because that's where all the chairs were, so instead she gave about an hour presentation on the history of the vampire myth, and how it entered pop culture. It was one of the most interesting explanations of how we went from burying comatose people at crossroads to Count von Count. I was so impressed by her sheer historical knowledge that I bought the book to compliment her. I never read it. I don't even really remember why I was there in the first place; maybe we just went to the bookstore to kill time before a movie or something.
The point is, if you're a first-time author, or even just an author who is not a former President, you're probably not going to draw a crowd. I like George R. Martin but it doesn't mean I necessarily want to listen to him read a Sansa chapter. People go for autographs, but the modern autograph market has kinda bottomed out thanks to eBay. So, not going on a book tour is probably not just the publicity market being cheap (though they are undoubtedly doing that) but saving you from hassle and time that you could be spending writing your next book.
Monday, June 16, 2008
The Grumpy Dragon vs. The Rejecter
I finished my first novel over a year ago. I've spent time sending queries to agents with no result. By chance last week, a friend of a friend, referred me to a small, brand new publisher, who wants to read my book. My question is, do you think going with a small, new publisher is a good idea?
Before I address the name she actually sent me, which is kind of hilarious, I will address the question at hand.
So I work for an agent, which means by all rights I should say no immediately. Agents don't like small presses. Their advances are minuscule or non-existent, and their profits are in the crazy land of "don't check the mail for a check anytime soon." Agents don't make money because authors don't make money. Also your book doesn't get a lot of distribution, meaning it has next to no chance of earning back the non-advance on royalties or becoming a bestseller. Ultimately, it's better for your career and your wallet to be with a major press.
On the other hand, maybe what you've written is very experimental, or isn't so great, or is great in a way no one can appreciate (meaning it's very experimental), or you just want to get published, damnit, and you don't want to self-publish. And small presses are legitimate courses to take at this point if you've failed to get an agent. It will count on your publication record more than a POD book. It's not the best of stepping stones but it is one.
Now the press she mentioned was The Grumpy Dragon, which has a worse page layout than the small press I started last year to republish one book, which means the layout is really, really terrible because I started the bar pretty low. I'm not great at .html at like, advanced levels. G-d, I think I even used the same color for the background. Still, I didn't have an MS Paint logo, and I had frames, so I'm up on these people in the realm of creating web pages meant for 1998. They also have an amusing "Where does the money go?" .pdf, which is more basic than anything needs to be. My first "this is sketchy, even for a small press" alarm that hadn't gone off based on the web page design went off in their royalty section. The royalties are way too high. From the looks of it, they seem to be about 35% but vary based on the sale price, which they shouldn't.
The way it works in a major publisher, your royalty rate is a set figure (usually between 7.5-10%) based on a set retail price. Whatever price they choose to set the actual price of the book at - whether it's in the discount bin or it's in pre-order or they're spending $4000 a week to put copies on the front tables at Barnes & Noble - your royalties per book remain the same. The time your royalties change, which will be carefully stipulated in the contract, is when the book starts selling in higher numbers, at which point there will be what's called an "escalation." That means the company has made back it's initial investment and at some pre-set number, usually 10 or 20 thousand copies or so, the royalty rate will jump from 10% to 20%. Other editions - audio, digital, etc - will have different rates entirely.
Without looking at my contract, I'm gonna estimate that for the first 30,000 copies of my book (if it were to ever sell that much) I'll make about $1 a book after I earn back my advance. I think my escalation was at 30k; not 100% sure, just remember it was bad because the press was an independent (but huge) publisher and cried poverty despite all those nice articles in PW about how well they're doing.
ANYWAY. The last, and more terrifying alarm was that there's one book out by the company and it's out through Lulu. Meaning, they didn't actually publish it. They might have looked it over and edited it (I suspect they did), but they didn't publish it. The real work of putting together a bound book and distributing it was done by another company, so going through Grumpy Dragon means you really should have just done it yourself and gone through Lulu yourself unless you are really a horrible editor and want Grumpy Dragon to edit you. Hopefully they won't do your cover art in MS Paint.
(This little tangent was for the general public, not the person with the question, who had a legitimate question and yes, it can be a difficult decision)
Before I address the name she actually sent me, which is kind of hilarious, I will address the question at hand.
So I work for an agent, which means by all rights I should say no immediately. Agents don't like small presses. Their advances are minuscule or non-existent, and their profits are in the crazy land of "don't check the mail for a check anytime soon." Agents don't make money because authors don't make money. Also your book doesn't get a lot of distribution, meaning it has next to no chance of earning back the non-advance on royalties or becoming a bestseller. Ultimately, it's better for your career and your wallet to be with a major press.
On the other hand, maybe what you've written is very experimental, or isn't so great, or is great in a way no one can appreciate (meaning it's very experimental), or you just want to get published, damnit, and you don't want to self-publish. And small presses are legitimate courses to take at this point if you've failed to get an agent. It will count on your publication record more than a POD book. It's not the best of stepping stones but it is one.
Now the press she mentioned was The Grumpy Dragon, which has a worse page layout than the small press I started last year to republish one book, which means the layout is really, really terrible because I started the bar pretty low. I'm not great at .html at like, advanced levels. G-d, I think I even used the same color for the background. Still, I didn't have an MS Paint logo, and I had frames, so I'm up on these people in the realm of creating web pages meant for 1998. They also have an amusing "Where does the money go?" .pdf, which is more basic than anything needs to be. My first "this is sketchy, even for a small press" alarm that hadn't gone off based on the web page design went off in their royalty section. The royalties are way too high. From the looks of it, they seem to be about 35% but vary based on the sale price, which they shouldn't.
The way it works in a major publisher, your royalty rate is a set figure (usually between 7.5-10%) based on a set retail price. Whatever price they choose to set the actual price of the book at - whether it's in the discount bin or it's in pre-order or they're spending $4000 a week to put copies on the front tables at Barnes & Noble - your royalties per book remain the same. The time your royalties change, which will be carefully stipulated in the contract, is when the book starts selling in higher numbers, at which point there will be what's called an "escalation." That means the company has made back it's initial investment and at some pre-set number, usually 10 or 20 thousand copies or so, the royalty rate will jump from 10% to 20%. Other editions - audio, digital, etc - will have different rates entirely.
Without looking at my contract, I'm gonna estimate that for the first 30,000 copies of my book (if it were to ever sell that much) I'll make about $1 a book after I earn back my advance. I think my escalation was at 30k; not 100% sure, just remember it was bad because the press was an independent (but huge) publisher and cried poverty despite all those nice articles in PW about how well they're doing.
ANYWAY. The last, and more terrifying alarm was that there's one book out by the company and it's out through Lulu. Meaning, they didn't actually publish it. They might have looked it over and edited it (I suspect they did), but they didn't publish it. The real work of putting together a bound book and distributing it was done by another company, so going through Grumpy Dragon means you really should have just done it yourself and gone through Lulu yourself unless you are really a horrible editor and want Grumpy Dragon to edit you. Hopefully they won't do your cover art in MS Paint.
(This little tangent was for the general public, not the person with the question, who had a legitimate question and yes, it can be a difficult decision)
Sunday, June 08, 2008
More on Writers and Blogs
So tonight I'll be signing off until Tuesday night for the holiday of Shavout, where we study all night long and eat cheesecake and I try to go through Mishnah in its entirety. Don't expect your comments to be approved between tonight and Tuesday night.
Looking for clarification...
I understand that an author's website should never be provided in lieu of a good query--but would it necessarily hurt the author to include it?
I am building a site for my unpub. novel, because I am a designer and it is fun/easy for me. My hope is--if an agent likes my query and wants to see more, they can do so instantly.
But, is it insulting to even mention it when youre using it as a tool totally independent from your already fantastic query? I don't want it to seem like I'm giving the agent a job to do, but I want to give them instant access if they're interested.
You can include your website address under your name and other information. Directing us to the website, however relevant it is to the book, is irritating. In publishing, time = money and because it's in NY, time = not enough money to pay the rent, so the fact that we're taking some to read the letter and whatever else you sent in the envelope means we're spending money that we're not likely to get back (there's about a .05% chance). So cruising author's websites is not something we do and we don't like being asked to do it.
Aren't we seeing more and more fiction writers who do have platforms, and Mark Sarvas now being another? Aren't publishers operating out of fear and greed desperate for any promotional leg up?
Publishers realize that blog does not equal immediate and/or substantial leg up, unless your blog was already insanely popular for other things. People like to cite the very, very rare examples of people who got a book deal because they had a blog, like Diablo Cody, whose screenplay was largely unrelated to her hooker blog and whose column in EW I don't care for on a writing level, but these people are exceptions to the rule. Do not expect to be an exception to the rule.
Looking for clarification...
I understand that an author's website should never be provided in lieu of a good query--but would it necessarily hurt the author to include it?
I am building a site for my unpub. novel, because I am a designer and it is fun/easy for me. My hope is--if an agent likes my query and wants to see more, they can do so instantly.
But, is it insulting to even mention it when youre using it as a tool totally independent from your already fantastic query? I don't want it to seem like I'm giving the agent a job to do, but I want to give them instant access if they're interested.
You can include your website address under your name and other information. Directing us to the website, however relevant it is to the book, is irritating. In publishing, time = money and because it's in NY, time = not enough money to pay the rent, so the fact that we're taking some to read the letter and whatever else you sent in the envelope means we're spending money that we're not likely to get back (there's about a .05% chance). So cruising author's websites is not something we do and we don't like being asked to do it.
Aren't we seeing more and more fiction writers who do have platforms, and Mark Sarvas now being another? Aren't publishers operating out of fear and greed desperate for any promotional leg up?
Publishers realize that blog does not equal immediate and/or substantial leg up, unless your blog was already insanely popular for other things. People like to cite the very, very rare examples of people who got a book deal because they had a blog, like Diablo Cody, whose screenplay was largely unrelated to her hooker blog and whose column in EW I don't care for on a writing level, but these people are exceptions to the rule. Do not expect to be an exception to the rule.
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