A previous poster asked about The Secret, and if it inspired the current inspirational book phase. I can say that no, it did not. It's just the latest, most awful movie/book in a long succession of awful books that make us hate people's query letters because they think they can write them because honestly, they look pretty easy to write. Well, they're not, so stop it.
As to why The Secret is such a success, the short answer is of course that people are stupid. That's all I was going to write, but then I realized that blogs are meant for long, rambling monologues where the poster insults the readers' political/spiritual/moral beliefs, and that writing about something other than my mystery virus would distract me from the headache that is caused by my mystery virus. Don't start a publishing company.
Self-help and inspirational books have existed since the beginning of contemporary publishing, whenever that was (sometime this century). It exists as a genre because there's a great demand for it, for the most part by bored people who want to improve themselves or their lives, and I support the idea of buying a book about carpentry and building a birdhouse. Sure it'll fall apart next week, but you'll feel better about the crappy Dilbert job you have and feel like you accomplished something, even if the thing was just glued together and your area doesn't have many birds.
Then there's "inspirational" books, a term I take to mean, "at least vaguely-Christian watered-down spirituality, sometimes in the form of old man wisdom." On a certain level I admire a person who can find total happiness in life with a $7.95 paperback on the bargain rack at CVS. It's a lot cheaper than my synagogue membership and this person probably has way more free time than I do. I'm busy trying to figure out if I can put the chili on the hot plate on Saturday morning because the chili is so watery that it might cook the water, which is a violation of one of the 39 labors forbidden by G-d to perform on the Sabbath (as opposed to solid food, which cannot be re-cooked), and this person is at the movies or the theater or riding a bike. Who knows.
On the other hand, most people who turn to the bargain rack at CVS for meaning in their lives are probably in pretty dire straits in terms of finding that meaning. Allow me to sum them all up in one sentence:
If you have a more positive attitude, your crappy life will not seem so crappy, because you have a positive attitude about it.
This does not, however, actually change the quality of your life, as these books lead you to believe. It may, but it depends what you're up against. Cancer, not so much. These sorts of books have a double-edged sword that can cut you, to take the metaphor way too far. If you believe that you will recover from an illness by positive thinking and then you don't, you might come to the very logical conclusion that it's your fault that you're ill because you didn't think hard enough about how much better you were going to get.
You may have guessed at this point that I'm speaking from experience. When I was newly diagnosed with Crohn's Disease a lot of this mind-body shit was shoved down my throat to the point where I actually believed it, and when my surgical procedure did arguably more harm than good and the complication nearly killed me, I thought it was my fault. It wasn't a hyperactive N-protein in my immune system causing inflammation to my lower intestines that was the problem. It was my bad attitude.
When I realized that was complete bullshit, I felt much better - about my life, at least. I didn't actually feel better health-wise, further proving my point.
The problem with The Secret and the reason that it's caused so much controversy is that it takes this basic concept to the extreme of wish fulfillment. There's apparently a segment in the original video on which the book was based in which a woman wishes for a gold necklace around her next, and because she wishes hard enough, the necklace appears. At this point I can't help but think of Patrick Swayze's slimy motivational speaker in Donnie Darko, who turns out to be a kiddie porn addict. At one point in the movie, the gym teacher (who is a devotee) makes the class watch one of the videos and says that all of human experience can be put into the categories of either fear or love, to which Donnie angrily replies:
Donnie Darko: "I just don't get this. You can't just lump things into two categories. Things aren't that simple."
Gym Teacher: "The lifeline is divided that way."
Donnie Darko: "Well, life isn't that simple. Who cares of Ling Ling returns the wallet and keeps the money? It has nothing to do with either fear or love."
Gym Teacher: "Fear and love are the deepest of human emotions."
Donnie Darko: "...Okay. But you're not listening to me. There are other things that have to be taken into account here - like, the whole spectrum of human emotions! You can't just lump everything into these two categories and just deny everything else!"
Needless to say, when the gym teacher threatens him with a failing grade, he replies with something that involves shoving a card up where the sun doesn't shine and earns himself a visit to the principal's office.
The Secret isn't just stupid; it's dangerous. Telling people that they will just get things by wishing for them is only moral if you happen to inhabit a Disney movie, and not one of those ones where the parent of the protagonist dies. The idea does work in some circumstances; if you happen to be standing in the middle of the road on a misty day and wish to be hit by a car, you might get your wish, and then Rod Sterling might step out of the bushes and talk to the camera about how stupid you were.
One of the many professors and doctors trotted out on the video was recently interviewed about the infamous "necklace scene" - to which he replied that it wasn't meant to be "taken so literally" and had clearly no idea the lengths to which Rhonda Byrne was willing to take things to sell more copies of her video. She even wound up on Oprah with her new book. Oprah's a fairly intelligent woman (she's very good at making people feel better about themselves, which is a talent), but she has a tendency to fall for literary shysters.
It's one thing to be a semi-talented writer and speaker who knows how to lump extremely conventional wisdom together into a book and have it be a bestseller. It's another thing to tell people that wishes come true.
For everyone's information, we get submissions like The Secret all the time from people who think they have figured out the secrets of the universe or how to do real magic or the date that Christ is coming back and the exact set of things we have to do to bring him along. We call these people "crazy" and trash their query letters. Sure, a couple of them might be written well enough to sell a bajillion copies to, but we like to sleep at night.
Friday, March 09, 2007
Tuesday, March 06, 2007
Indepedent Publishing
The answer to where I've been is: in bed. Apparently starting your own publishing company while being a full time student and having two other jobs can cause your body to like, collapse for a week. Or two.
Which brings us to our topic, which is self-publishing. Yes, the much-maligned business of publishing your own books using either a digital printer or a POD service. There are three reasons to self-publish:
(1) You have written a body of work intended for a small audience (under 100 people) and just want it bound so that it's easier to read and this audience is willing to spend a lot of money to get it.
(2) You want to reprint a public domain book that has not been printed in a very long time and is very hard to get for a niche audience that you know will buy it like mad, but generally have no plans for mass market.
(3) You are an idiot or a terrible writer with lots of money to blow.
I fell into category number two. I discovered that this book that a group of people (a few hundred) wanted had gone horribly out of print to the point that the New York Public Library only had one copy in the reading room and they wouldn't let me take it out. After some investigation I also discovered that the book had fallen into public domain in the 70's with a lot of other books published between 1932 and 1950 because the original publishers had never renewed the copyright. I decided to reprint it by scanning it in to my computer after photocopying it at the reading room, writing an introduction, and start collecting quotes from digital printers. I would (or will) probably make back the money I invested in the project (roughly $500) and then maybe a few thousand on top of that, much of which would go to charity. The real intent was to get the book back in print. As someone who loves books and collects them, I feel it's sort of a public responsibility to make sure literature doesn't disappear because of circumstance and time.
I decided not to go with a POD press, which would have been really easy in that they would have done stuff like layout and promotion and generally managing the project. They also would have taken most of the profits, and I decided I didn't want that,. Since I work in publishing, I should probably have some idea how to do layout myself anyway, so instead I looked into digital printers, who are willing to do print runs in the 100-300 range for about $5 a book. I charge for shipping and handling, and the everything in between on the cover price (in the $15 range) is profit.
Other than causing a physical collapse from exhaustion, this little (and still ongoing) exercise taught me a thing or two about how much it takes to actually create a book. It's true that the amount an author makes on a book is low. Most of it goes to the publishing company, because no matter how altruistic they are, they still have to pay their employees and they still have to make a profit. And boy, are there a lot of little jobs to pay people for. There's layout, copy-editing, proof reading, buying the ISBN, cover art, deciding on various types of binding, and last but not least, making sure the book does not look like crap or fall apart in anybody's hands. Companies have choices beyond hardcover and softcover. There's paper weight, thickness, and quality. There's the size of the book, which lowers page count but increases the price of binding. There's things like what font to use and how much of the page to leave blank (more white space makes the book look more professional, but raises page count). And then, at the very end, there's me, trying to make sense of all of the options the digital printer's website is giving me. (matte instead of gloss costs more but looks better. How much more? Can I get a new quote for 300 versus 200 copies?)
Oh, and publicity. The biggest job and the one I'm totally unequipped to do, being one person. Thank G-d I'm only doing this for a niche market that I already am in contact with. There's more to it than posting your book on Amazon. In fact, you don't really want to post your book on Amazon. Amazon takes a high commission - higher than bookstores, in fact, which is how it can afford to offer you, the buyer, all of those discounts. Bookstores generally take 50% off the cover price for themselves, while Amazon.com and other websites will take 55%, a very significant difference. It's quite brilliant, actually. They offer discounts and then offer super shipper savings so that you'll buy more books than you originally planned to do, knowing that they'll make it up in bulk shipping as opposed to individual purchases. Also, they take most of the money from the used market. There's a flat rate of $3.49 for shipping on a used book sold through Amazon - Amazon will take half of that, and then a percentage from the price the book is actually being sold for, to the point where the sellers might actually be losing money if the book is very heavy and media mail goes over $2.00.
So, it has all been kind of insane, and will continue to be until I get over the initial hump of selling off my first run (if there even is a second run; I could care less), but now at least I'm back on my feet. Today was a much easier day for me in terms of working at the office because I felt better. It didn't result in more maybes - lots of auto-rejects instead. We're in the middle of an inspirational self-help craze the way we were in a Da Vinci Code-type thriller phase about a year ago, and it's just as annoying, but in a different way.
Which brings us to our topic, which is self-publishing. Yes, the much-maligned business of publishing your own books using either a digital printer or a POD service. There are three reasons to self-publish:
(1) You have written a body of work intended for a small audience (under 100 people) and just want it bound so that it's easier to read and this audience is willing to spend a lot of money to get it.
(2) You want to reprint a public domain book that has not been printed in a very long time and is very hard to get for a niche audience that you know will buy it like mad, but generally have no plans for mass market.
(3) You are an idiot or a terrible writer with lots of money to blow.
I fell into category number two. I discovered that this book that a group of people (a few hundred) wanted had gone horribly out of print to the point that the New York Public Library only had one copy in the reading room and they wouldn't let me take it out. After some investigation I also discovered that the book had fallen into public domain in the 70's with a lot of other books published between 1932 and 1950 because the original publishers had never renewed the copyright. I decided to reprint it by scanning it in to my computer after photocopying it at the reading room, writing an introduction, and start collecting quotes from digital printers. I would (or will) probably make back the money I invested in the project (roughly $500) and then maybe a few thousand on top of that, much of which would go to charity. The real intent was to get the book back in print. As someone who loves books and collects them, I feel it's sort of a public responsibility to make sure literature doesn't disappear because of circumstance and time.
I decided not to go with a POD press, which would have been really easy in that they would have done stuff like layout and promotion and generally managing the project. They also would have taken most of the profits, and I decided I didn't want that,. Since I work in publishing, I should probably have some idea how to do layout myself anyway, so instead I looked into digital printers, who are willing to do print runs in the 100-300 range for about $5 a book. I charge for shipping and handling, and the everything in between on the cover price (in the $15 range) is profit.
Other than causing a physical collapse from exhaustion, this little (and still ongoing) exercise taught me a thing or two about how much it takes to actually create a book. It's true that the amount an author makes on a book is low. Most of it goes to the publishing company, because no matter how altruistic they are, they still have to pay their employees and they still have to make a profit. And boy, are there a lot of little jobs to pay people for. There's layout, copy-editing, proof reading, buying the ISBN, cover art, deciding on various types of binding, and last but not least, making sure the book does not look like crap or fall apart in anybody's hands. Companies have choices beyond hardcover and softcover. There's paper weight, thickness, and quality. There's the size of the book, which lowers page count but increases the price of binding. There's things like what font to use and how much of the page to leave blank (more white space makes the book look more professional, but raises page count). And then, at the very end, there's me, trying to make sense of all of the options the digital printer's website is giving me. (matte instead of gloss costs more but looks better. How much more? Can I get a new quote for 300 versus 200 copies?)
Oh, and publicity. The biggest job and the one I'm totally unequipped to do, being one person. Thank G-d I'm only doing this for a niche market that I already am in contact with. There's more to it than posting your book on Amazon. In fact, you don't really want to post your book on Amazon. Amazon takes a high commission - higher than bookstores, in fact, which is how it can afford to offer you, the buyer, all of those discounts. Bookstores generally take 50% off the cover price for themselves, while Amazon.com and other websites will take 55%, a very significant difference. It's quite brilliant, actually. They offer discounts and then offer super shipper savings so that you'll buy more books than you originally planned to do, knowing that they'll make it up in bulk shipping as opposed to individual purchases. Also, they take most of the money from the used market. There's a flat rate of $3.49 for shipping on a used book sold through Amazon - Amazon will take half of that, and then a percentage from the price the book is actually being sold for, to the point where the sellers might actually be losing money if the book is very heavy and media mail goes over $2.00.
So, it has all been kind of insane, and will continue to be until I get over the initial hump of selling off my first run (if there even is a second run; I could care less), but now at least I'm back on my feet. Today was a much easier day for me in terms of working at the office because I felt better. It didn't result in more maybes - lots of auto-rejects instead. We're in the middle of an inspirational self-help craze the way we were in a Da Vinci Code-type thriller phase about a year ago, and it's just as annoying, but in a different way.
Tuesday, February 27, 2007
Professionalism
Maybe it's some self-conceived notion of professionalism mixed with a genuine sympathy for the first-novel potential author (being one myself), but I like to think that I'm never "in the mood to reject." Today I so barely walked the line on that, thankful that almost everything coming through was an auto-reject (too long, author doesn't know grammar, wrong genre for agent). I was wondering why that was until I went home and discovered I had a 100 degree fever. Mystery solved. I'm only up now because I'm between does of Tylenol.
In lieu of answering questions, which will have to wait, I will say that one of the most confounding things to happen to me at work is to read a partial from a high school English teacher who doesn't know proper grammar. I'm not talking about where commas go - those rules are actually fairly complicated. I'm talking about knowing to start each new speaker's dialogue with a new paragraph, and then using an indent to do so.
I was once in a fiction workshop with a woman who was and had been an English teacher for 20 years. Her story consisted of several long paragraphs in which many different speakers did many different incoherent things. Briefly I wondered if I should bother correcting her, as there was no way she couldn't actually not know the rules herself. I know English teachers. One of my roommates is an English teacher. Instead I politely inquired as to why she had decided to write her story that way, to which she replied something along the lines of, "Well, I really feel that it makes the piece work."
I hate this person. And that's not the fever speaking.
In lieu of answering questions, which will have to wait, I will say that one of the most confounding things to happen to me at work is to read a partial from a high school English teacher who doesn't know proper grammar. I'm not talking about where commas go - those rules are actually fairly complicated. I'm talking about knowing to start each new speaker's dialogue with a new paragraph, and then using an indent to do so.
I was once in a fiction workshop with a woman who was and had been an English teacher for 20 years. Her story consisted of several long paragraphs in which many different speakers did many different incoherent things. Briefly I wondered if I should bother correcting her, as there was no way she couldn't actually not know the rules herself. I know English teachers. One of my roommates is an English teacher. Instead I politely inquired as to why she had decided to write her story that way, to which she replied something along the lines of, "Well, I really feel that it makes the piece work."
I hate this person. And that's not the fever speaking.
Tuesday, February 20, 2007
I Feel Your Pain, Man
Miss Rejector,
What is the time frame for an agent to give a yay or nay for a ms they requested?
I met with an agent at a conference. She requested my full manuscript to be emailed to her, which I did. That was 6 weeks ago. I’m worried that the internet ate my email and she never got it. I don’t want to be an ass about it; I’m grateful she even wanted to see it. But should I contact her? Maybe send a note asking if she got it? Is 6 weeks too short a time?
You can contact her to see if she got it, but she probably has and probably hasn't read it. (Still, it's best to be on the safe side with email submissions) Six weeks, sadly, is not a long enough time for most agents to look at a full. Not that it takes them six weeks to read a novel, but they're not only reading the novel but actually considering taking this person on as a client, which is a major financial endeavor for them. They have to feel sure about it. That takes time.
Or at least, that's what I tell myself as I wait for a response from an agent on my full. I gave my mind four weeks to not get anxious, but man, this is getting brutal now that I'm into the second month.
What is the time frame for an agent to give a yay or nay for a ms they requested?
I met with an agent at a conference. She requested my full manuscript to be emailed to her, which I did. That was 6 weeks ago. I’m worried that the internet ate my email and she never got it. I don’t want to be an ass about it; I’m grateful she even wanted to see it. But should I contact her? Maybe send a note asking if she got it? Is 6 weeks too short a time?
You can contact her to see if she got it, but she probably has and probably hasn't read it. (Still, it's best to be on the safe side with email submissions) Six weeks, sadly, is not a long enough time for most agents to look at a full. Not that it takes them six weeks to read a novel, but they're not only reading the novel but actually considering taking this person on as a client, which is a major financial endeavor for them. They have to feel sure about it. That takes time.
Or at least, that's what I tell myself as I wait for a response from an agent on my full. I gave my mind four weeks to not get anxious, but man, this is getting brutal now that I'm into the second month.
Monday, February 19, 2007
In Which I Misemploy Fishing Analogies
I just stumbled across your blog and slunk through your latest posts and comments and I like what you said about what takes priority in a query letter: your story idea.
It seems like a lot of writers fuss about getting that query letter perfect (credits, how they found the agent, etc. all in the perfect place), when it seems to me that if you get the hook right, then you're going to get a call. You still shoot for perfection on your query letter, but 90% of your time should be in getting that hook dead on.
What do you think?
So it seems we're getting to the point in the blog where I'm getting repeat questions, at least partially. As to why you should try to get everything right in the query - spell the agent's name correctly, don't mention you're a first-time author with five previous rejected novels, don't try to be cute, don't hand-write it over five pages - that's just basic common sense. It's a job interview. Authors like to emphasize that the agents work for them, which is true, but the agent still gets to pick whom they work for, so it is in that sense like a job interview, with some of the elements reversed. And like a job interview, you want to look your best.
That said, it is all about the hook. This isn't entirely true - some credentials will float you into the maybe pile with only the barest summary of your new work - but it's not so much about having a great hook as having a bad one. A bad hook will sink you. Yes, I know hooks don't sink unless someone bites; it's a bad analogy, but my point stands: If your idea sucks, you will get nowhere, and all the fine-tuning in the world won't help that.
It seems like a lot of writers fuss about getting that query letter perfect (credits, how they found the agent, etc. all in the perfect place), when it seems to me that if you get the hook right, then you're going to get a call. You still shoot for perfection on your query letter, but 90% of your time should be in getting that hook dead on.
What do you think?
So it seems we're getting to the point in the blog where I'm getting repeat questions, at least partially. As to why you should try to get everything right in the query - spell the agent's name correctly, don't mention you're a first-time author with five previous rejected novels, don't try to be cute, don't hand-write it over five pages - that's just basic common sense. It's a job interview. Authors like to emphasize that the agents work for them, which is true, but the agent still gets to pick whom they work for, so it is in that sense like a job interview, with some of the elements reversed. And like a job interview, you want to look your best.
That said, it is all about the hook. This isn't entirely true - some credentials will float you into the maybe pile with only the barest summary of your new work - but it's not so much about having a great hook as having a bad one. A bad hook will sink you. Yes, I know hooks don't sink unless someone bites; it's a bad analogy, but my point stands: If your idea sucks, you will get nowhere, and all the fine-tuning in the world won't help that.
Thursday, February 15, 2007
Special Cases of Address
Dear Rejecter,
Another question. In the submission guidelines for a few of the agencies I want to query, their website says, write to the "Submissions Department", instead of any particular agent. In such cases, is it ok to write "Dear Agent" in the query letter, because I don't know which agent to address? Or, if I do get to know the name of a specific agent, is it advisable to write to her (and thus ignoring the submission guidelines)?
In this particular case, it is okay to write "Submissions Department" and not "Dear Agent." In most cases, however, the submissions department is usually defined as the corner of the agent's desk where the pile of mail was dropped in a rush to get to the phone.
Another question. In the submission guidelines for a few of the agencies I want to query, their website says, write to the "Submissions Department", instead of any particular agent. In such cases, is it ok to write "Dear Agent" in the query letter, because I don't know which agent to address? Or, if I do get to know the name of a specific agent, is it advisable to write to her (and thus ignoring the submission guidelines)?
In this particular case, it is okay to write "Submissions Department" and not "Dear Agent." In most cases, however, the submissions department is usually defined as the corner of the agent's desk where the pile of mail was dropped in a rush to get to the phone.
Monday, February 12, 2007
Degrees Needed For Publishing
Hello Miss Rejecter;
I've been checking out your blog ocasionally for a while and lately you've mentioned your studies. I was wondering how important the level of studies and the grades received are in order to become an assistant to a lit. agent. I'm on my last year of a B.A. in English and debating whether to go for honors or not. I'm not very interested in the work they ask for honors but I'll do it if it will make any difference in my chance of getting hired as soon after my graduation as possible. I suppose that since you are working in the industry you must know some people in it, what do you think? Do people with normal/non-outstanding degrees have a chance? Is it harder or easier?
In terms of writing (for future novelists out there) degrees do not matter at all. You don't even have to have gone to college to write a great book. In your case, it's nice to have a degree in English, but don't stress yourself over honors. It's not going to make a difference. When I applied to my first job in publishing all I had was a BA in history. Now I'm going for a useless MFA in fiction mainly because it gives me authorization to teach, should I ever burn out in the publishing world. It will not make any difference, so don't stress yourself.
I've been checking out your blog ocasionally for a while and lately you've mentioned your studies. I was wondering how important the level of studies and the grades received are in order to become an assistant to a lit. agent. I'm on my last year of a B.A. in English and debating whether to go for honors or not. I'm not very interested in the work they ask for honors but I'll do it if it will make any difference in my chance of getting hired as soon after my graduation as possible. I suppose that since you are working in the industry you must know some people in it, what do you think? Do people with normal/non-outstanding degrees have a chance? Is it harder or easier?
In terms of writing (for future novelists out there) degrees do not matter at all. You don't even have to have gone to college to write a great book. In your case, it's nice to have a degree in English, but don't stress yourself over honors. It's not going to make a difference. When I applied to my first job in publishing all I had was a BA in history. Now I'm going for a useless MFA in fiction mainly because it gives me authorization to teach, should I ever burn out in the publishing world. It will not make any difference, so don't stress yourself.
Saturday, February 10, 2007
The Book "Blind Submission"
All of my life, people have constantly been recommending books to me. I don't if there's something in my genetic code that sets off a pheromone that causes people to instantly think of a book I must read or what, but let me tell you that it is extremely annoying. I read books for fun, for school, for research, and for a living. One can safely assume that I am fully capable of creating my own reading list and do not need any assistance.
Since I became an assistant literary agent, people have not been able to shut up about Blind Submission, a thriller about an assistant literary agent being stalked by one of her prospective clients. Not only that, but they would check back in a few weeks (or days) to ask if I'd read it, even though I'd given no indication that I had any interest in the thing. Eventually I gave in and bought it - and at full price, too - and today I actually gave in and read it.
Debra Ginsberg is an author of several books and a professional editor, and according to her website has worked "in publishing" to some extent. I don't doubt this is true, though she gives no indication that she was ever an assistant agent herself, which you think would be kind of crucial to her sales pitch for the book. It's obvious from the text that she does have a thorough knowledge of what a literary agency is like, and there were several minor details that I snickered at because they rang true, but for the most part, this was a work of fiction. I don't think Miss Ginsberg would deny that; she has every right to change whatever details she wants for the sake of the story, but do not assume this is a 100% accurate representation of every agency. If it was, no one would work at a literary agency.
In the novel, Angel (the protagonist) goes to work for the legendary Lucy Fiamma Agency, which is based in California, not New York. All right, that's rare and mainly involves agents who have close ties to Hollywood, but there are plenty of agents in California. I'll bite.
Lucy is a bitch, which drives the plot and makes us all think of the The Devil Wears Prada, to which this book has been mercilessly compared. The humor is mainly in-jokes about publishing. She knows every editor in New York, of course, even though she rarely goes there and is afraid to fly. (Suspension of disbelief kicks in here) Even though she only seems to have one client who published one book, she is fantastically busy. Doing what, I have no idea, because the client stays in Alaska the whole time, so she's not even booking press tours or anything.
Lucy also has four assistants, which is an insanely high number for any agency, and pays them 25K a year as starting pay. That means she shells out 100k a year just to pay her staff, assuming none of them ever get raises (and Angel does - her pay is doubled). In the real world, a busy agent has maybe one full-time assistant working the phones for meager pay and one part-time reader (like me) working for basically nothing per week. If she really needs more help, she'll set up some elaborate internship program to get a bunch of young people to sort her files for free.
You don't want to have a lot of paid assistants working full-time unless you absolutely need them, and I don't know who absolutely needs them. A literary agency is a very nebulous business, with years where the advances are huge and dry years where even their stable authors are churning out nothing that will sell. If you hit a dry year (or a number of them) and you have a bunch of people part-time, you cut back their hours until they get the message. If you have them full-time, you have to fire them, which is awkward (and how I lost my first job. She did give me a stunning recommendation that immediately placed me elsewhere, though). Profits are not steady and agents get really uncomfortable if the money's not rolling in. In other words, Lucy would not have this staff and if she did, she would be in debt.
These extremely overpaid assistants also do multiple reads (and full reviews) on unrequested material, which we never do. We just reject. If it's bad, it goes. My boss doesn't look over my rejections, only the maybes. If I actually wrote why I was rejecting them before doing so, my hours would be tripled, which would be nice for me but a bad business decision.
The really starts when the agency starts getting messages from a person who says they are the next big thing several times through fax before actually submitting their unrequested material. They do not provide any personal information but an email address. Good for a thriller, but at this point we would have rejected this author just for being annoying. We don't want to work with an egomaniac unless they're already bringing the cash in (i.e. at least one client on our current list). A lot of people try to use gimmicks - submitting business cards with only their website address and nothing else, trying to be hilarious by obviously faking a recommendation from a super-famous author, etc etc. We reject all these people. Their prose would have to be Pulitzer quality for us to even consider them, and most of the time, we don't get that far.
As to the book I'm reviewing here, the plot was a little confusing because I was annoyed that I had to read it and therefore was reading it fairly quickly. I was also bothered by the things I just mentioned above to the point of not really caring about the book, but a lot of people seem to like it as a novel, so you might want to go with their opinion.
Since I became an assistant literary agent, people have not been able to shut up about Blind Submission, a thriller about an assistant literary agent being stalked by one of her prospective clients. Not only that, but they would check back in a few weeks (or days) to ask if I'd read it, even though I'd given no indication that I had any interest in the thing. Eventually I gave in and bought it - and at full price, too - and today I actually gave in and read it.
Debra Ginsberg is an author of several books and a professional editor, and according to her website has worked "in publishing" to some extent. I don't doubt this is true, though she gives no indication that she was ever an assistant agent herself, which you think would be kind of crucial to her sales pitch for the book. It's obvious from the text that she does have a thorough knowledge of what a literary agency is like, and there were several minor details that I snickered at because they rang true, but for the most part, this was a work of fiction. I don't think Miss Ginsberg would deny that; she has every right to change whatever details she wants for the sake of the story, but do not assume this is a 100% accurate representation of every agency. If it was, no one would work at a literary agency.
In the novel, Angel (the protagonist) goes to work for the legendary Lucy Fiamma Agency, which is based in California, not New York. All right, that's rare and mainly involves agents who have close ties to Hollywood, but there are plenty of agents in California. I'll bite.
Lucy is a bitch, which drives the plot and makes us all think of the The Devil Wears Prada, to which this book has been mercilessly compared. The humor is mainly in-jokes about publishing. She knows every editor in New York, of course, even though she rarely goes there and is afraid to fly. (Suspension of disbelief kicks in here) Even though she only seems to have one client who published one book, she is fantastically busy. Doing what, I have no idea, because the client stays in Alaska the whole time, so she's not even booking press tours or anything.
Lucy also has four assistants, which is an insanely high number for any agency, and pays them 25K a year as starting pay. That means she shells out 100k a year just to pay her staff, assuming none of them ever get raises (and Angel does - her pay is doubled). In the real world, a busy agent has maybe one full-time assistant working the phones for meager pay and one part-time reader (like me) working for basically nothing per week. If she really needs more help, she'll set up some elaborate internship program to get a bunch of young people to sort her files for free.
You don't want to have a lot of paid assistants working full-time unless you absolutely need them, and I don't know who absolutely needs them. A literary agency is a very nebulous business, with years where the advances are huge and dry years where even their stable authors are churning out nothing that will sell. If you hit a dry year (or a number of them) and you have a bunch of people part-time, you cut back their hours until they get the message. If you have them full-time, you have to fire them, which is awkward (and how I lost my first job. She did give me a stunning recommendation that immediately placed me elsewhere, though). Profits are not steady and agents get really uncomfortable if the money's not rolling in. In other words, Lucy would not have this staff and if she did, she would be in debt.
These extremely overpaid assistants also do multiple reads (and full reviews) on unrequested material, which we never do. We just reject. If it's bad, it goes. My boss doesn't look over my rejections, only the maybes. If I actually wrote why I was rejecting them before doing so, my hours would be tripled, which would be nice for me but a bad business decision.
The really starts when the agency starts getting messages from a person who says they are the next big thing several times through fax before actually submitting their unrequested material. They do not provide any personal information but an email address. Good for a thriller, but at this point we would have rejected this author just for being annoying. We don't want to work with an egomaniac unless they're already bringing the cash in (i.e. at least one client on our current list). A lot of people try to use gimmicks - submitting business cards with only their website address and nothing else, trying to be hilarious by obviously faking a recommendation from a super-famous author, etc etc. We reject all these people. Their prose would have to be Pulitzer quality for us to even consider them, and most of the time, we don't get that far.
As to the book I'm reviewing here, the plot was a little confusing because I was annoyed that I had to read it and therefore was reading it fairly quickly. I was also bothered by the things I just mentioned above to the point of not really caring about the book, but a lot of people seem to like it as a novel, so you might want to go with their opinion.
Monday, February 05, 2007
The Bestseller List, and How I Haven't Read It
One of the pitfalls of telling people you "work in publishing" in social situations is that they almost immediately and without fail ask if you have read the new ____ book and what you think of it. At this point I've perfected the art of either faking it or saying "well, it's on my list, but I've heard that ..." and then I proceed to quote what I read in The New York Times, The New Yorker, and very occasionally, Entertainment Weekly. I read book reviews not only because I have a general interest in what's happening in the market but also because I don't want to sound like an idiot in social situations.
I am a poor student. I make $10 an hour without benefits and I don't work full time. If I bought and read every bestseller, I would be broke. And no, we don't get books for free in publishing, unless you either work for the house that happened to publish that book or work for the agent who happened to represent that offer. Also, I have tastes and interests that might be different from things that sell really well.
Here is what I read last week:
Beowulf (the Burton Raffel translation)
Beowulf: Cliffnotes (hehehe)
The Illustrated Library of Our Colorful World: Asia
Don't Stand Where the Comet is Assumed to Strike Oil: A Dilbert Book
The Confession of Saint Patrick (Howlett's translation)
The Rule of Saint Benedict (Abbot Parry's translation)
About a bajillion short stories for class
Some of those were for research (I write historical fiction), some were for fun, and some were for class. None of them are currently on any bestseller list that I know of. Sorry.
I am a poor student. I make $10 an hour without benefits and I don't work full time. If I bought and read every bestseller, I would be broke. And no, we don't get books for free in publishing, unless you either work for the house that happened to publish that book or work for the agent who happened to represent that offer. Also, I have tastes and interests that might be different from things that sell really well.
Here is what I read last week:
Beowulf (the Burton Raffel translation)
Beowulf: Cliffnotes (hehehe)
The Illustrated Library of Our Colorful World: Asia
Don't Stand Where the Comet is Assumed to Strike Oil: A Dilbert Book
The Confession of Saint Patrick (Howlett's translation)
The Rule of Saint Benedict (Abbot Parry's translation)
About a bajillion short stories for class
Some of those were for research (I write historical fiction), some were for fun, and some were for class. None of them are currently on any bestseller list that I know of. Sorry.
Wednesday, January 31, 2007
Agents Hit By Cars, and Other Minutia
I am clueless about how this writing business works. I got my agent at a conference. She submitted my m/s in last year. In mid-December it went to second reads at two publishing houses. Now it's the end of January. I've heard nothing. I've emailed my agent three times and she hasnt responded. What if she's been hit by a car and is in a coma fighting for her life?!!! Or WORSE...what if my book has been rejected
and she just hasn't gotten around to telling me yet!!
So here are my questions:
1. Why wouldn't an agent return emails to a client who's book was in second reads?
2. Is it wrong to email agent THREE times with no response? I kind of feel like i'm harassing her.
3. What exactly is a second read and how long does it take? In otherwords, when should I give up hope?
4. This is anonymous, right? If you work for my agent, you won't tell her that I would rather see her in a coma than get a rejection letter (ahem. i'm just kidding about that, mostly, by the way).
1. Because she's busy trying to sell your book.
2. Yes, you're bothering her and looking like a pestering client. You don't get to do that without a book that clears $100,000 on an advance. Quarter million and you can bug her about the temperature of the champagne in the hotel where you're staying for your book signing in London.
2. First of all, it takes a good month for an editor to get back to agent sometimes, or even longer. (Two is really the limit) But submitting in mid-December doesn't start the timer. The editor is on vacation or doing all her last-minute things so she can go on vacation. She doesn't get back until January, and then she has to catch up on the things she missed. (Oh, and a second read is what it sounds like. She's reading it a second time)
4. I have no idea who you are. For people who think that I remember names, let me tell you: I do not. I don't remember the names of prospective clients. I don't remember the names of clients. I don't remember the name of that professor I had last semester. I don't remember the names of people I went to high school with, even if they were good friends. I am so terrible at remembering names that you will always be anonymous to me unless we meet and you're wearing a name tag. So don't worry about it.
and she just hasn't gotten around to telling me yet!!
So here are my questions:
1. Why wouldn't an agent return emails to a client who's book was in second reads?
2. Is it wrong to email agent THREE times with no response? I kind of feel like i'm harassing her.
3. What exactly is a second read and how long does it take? In otherwords, when should I give up hope?
4. This is anonymous, right? If you work for my agent, you won't tell her that I would rather see her in a coma than get a rejection letter (ahem. i'm just kidding about that, mostly, by the way).
1. Because she's busy trying to sell your book.
2. Yes, you're bothering her and looking like a pestering client. You don't get to do that without a book that clears $100,000 on an advance. Quarter million and you can bug her about the temperature of the champagne in the hotel where you're staying for your book signing in London.
2. First of all, it takes a good month for an editor to get back to agent sometimes, or even longer. (Two is really the limit) But submitting in mid-December doesn't start the timer. The editor is on vacation or doing all her last-minute things so she can go on vacation. She doesn't get back until January, and then she has to catch up on the things she missed. (Oh, and a second read is what it sounds like. She's reading it a second time)
4. I have no idea who you are. For people who think that I remember names, let me tell you: I do not. I don't remember the names of prospective clients. I don't remember the names of clients. I don't remember the name of that professor I had last semester. I don't remember the names of people I went to high school with, even if they were good friends. I am so terrible at remembering names that you will always be anonymous to me unless we meet and you're wearing a name tag. So don't worry about it.
Tuesday, January 30, 2007
The Mail Pile
I remember when I was applying to colleges and the advisor told me that a certain amount of my application was left to chance. If the admissions officer was reviewing it at 2 am after a long day they might just end up looking at it differently then if it was sometime when they were fresh. I liked to think better of the people in charge of my college-related destiny, and of course, I never found out if that was the case.
Yes, there are agents who admit that they might have rejected you because they were in a bad mood that day, or just too busy to deal with anything but some crisis with the author having a breakdown over attendence at his reading. However, you have no real reason to worry about this. If you have a great query and you send it to 20 agents (and 20 agents would be an absolute minimal - I would shoot for 50 at least), then chances are it's going to get more than a couple hits. Not everyone is having a bad day.
As for me, I'm the mail person, so I don't have bad days. Sure, I have days where I go to work sick, or anxious about an upcoming endoscopy, or nervously waiting for a call from a doctor, or worried about a paper that's due, but that has nothing to do with my pile. I have a responsibility to look at every query independently of the results of that biopsy.
As for where you are on the pile, it actually helps no matter where you are. If you have a great query you'll always end up in the "maybe" pile, but if you have a so-so query that I'm on the edge about, it's actually better to be on the bottom (and why I'm shooting my mouth off about something you have no control of, I have no idea). Every once in a while I have a day with a big stack where just nothing is making it into the maybes. It happened today, but it was nowhere as bad as last week. Last week, for some reason, I was getting auto-reject after auto-reject. I couldn't put them into the maybe pile if I wanted to. Novels that were 20,000 words long. Novels that were 400,000 words long. Religious-themed novels. (We don't handle those) People who forgot to mention their novel in their long letter about how great a writer they were and how many writing credits they had (People do this). Stupid, stupid diet books.
After a while I get sort of desperate. Something's gotta be on that pile. I don't want to give my boss crap, but I also don't want to look too harsh. So I take whatever sounds remotely reasonable and maybe just has a bunch of strong previous creds (published articles in major literary journals, awards won, etc). It'll ultimately get rejected, but at least it's physically sitting there in the pile.
Anyway, that's my slice-of-life useless wisdom for today. As for why I don't post more, sometimes I'm having a slow week and there's not much to say and the questions are coming in slow. Or I've gotten enough personal death threats that I feel bummed. How Miss Snark manages to do multiple postings a day, I have no idea.
Yes, there are agents who admit that they might have rejected you because they were in a bad mood that day, or just too busy to deal with anything but some crisis with the author having a breakdown over attendence at his reading. However, you have no real reason to worry about this. If you have a great query and you send it to 20 agents (and 20 agents would be an absolute minimal - I would shoot for 50 at least), then chances are it's going to get more than a couple hits. Not everyone is having a bad day.
As for me, I'm the mail person, so I don't have bad days. Sure, I have days where I go to work sick, or anxious about an upcoming endoscopy, or nervously waiting for a call from a doctor, or worried about a paper that's due, but that has nothing to do with my pile. I have a responsibility to look at every query independently of the results of that biopsy.
As for where you are on the pile, it actually helps no matter where you are. If you have a great query you'll always end up in the "maybe" pile, but if you have a so-so query that I'm on the edge about, it's actually better to be on the bottom (and why I'm shooting my mouth off about something you have no control of, I have no idea). Every once in a while I have a day with a big stack where just nothing is making it into the maybes. It happened today, but it was nowhere as bad as last week. Last week, for some reason, I was getting auto-reject after auto-reject. I couldn't put them into the maybe pile if I wanted to. Novels that were 20,000 words long. Novels that were 400,000 words long. Religious-themed novels. (We don't handle those) People who forgot to mention their novel in their long letter about how great a writer they were and how many writing credits they had (People do this). Stupid, stupid diet books.
After a while I get sort of desperate. Something's gotta be on that pile. I don't want to give my boss crap, but I also don't want to look too harsh. So I take whatever sounds remotely reasonable and maybe just has a bunch of strong previous creds (published articles in major literary journals, awards won, etc). It'll ultimately get rejected, but at least it's physically sitting there in the pile.
Anyway, that's my slice-of-life useless wisdom for today. As for why I don't post more, sometimes I'm having a slow week and there's not much to say and the questions are coming in slow. Or I've gotten enough personal death threats that I feel bummed. How Miss Snark manages to do multiple postings a day, I have no idea.
Tuesday, January 23, 2007
Follow-up Questions to the Previous Post
Continuing from the last post.
What weight is assigned to previous writing credits?
It depends. If you had a review of that new Italian restaurant published in your neighborhood newspaper, not a whole lot. If you've had a previous book published and then turned into a little-known 80's movie, a lot. Either way, we still have to like your writing.
And what if you don't have writing credits?
If your writing is good, it doesn't matter at all if you have no past experience in publication.
Should we mention if we read their blog or subscribe to their newsletter?
...I guess you could. It might help. It won't hurt.
What weight is assigned to previous writing credits?
It depends. If you had a review of that new Italian restaurant published in your neighborhood newspaper, not a whole lot. If you've had a previous book published and then turned into a little-known 80's movie, a lot. Either way, we still have to like your writing.
And what if you don't have writing credits?
If your writing is good, it doesn't matter at all if you have no past experience in publication.
Should we mention if we read their blog or subscribe to their newsletter?
...I guess you could. It might help. It won't hurt.
Mentioning Clients
Hello Ms. Rejecter,
I have read interviews with agents who mention that they like it when a writer shows they've done their research on them by mentioning a current client of theirs or what types of books they prefer. Is this true? And if so, does it really have any effect on whether or not the agent will want to read more? My dilemma is I'm not sure how to show I've done my research, read books by their clients, etc. without sounding gushy. What's your take on this?
Mentioning a book type they prefer shows only that you own a copy of Writer's Digest. The most hilarious part is when people get it wrong, and say something like, "I know you much you love chick-lit..." when in fact, the agent hates it and has never done it except for that one time because the offer was huge and the writer was especially talented.
Mentioning a client of theirs as being an inspiration to you or whatever is a good idea, and does give you points, but not really a whole lot of points. The biggest "point givers" are (1) your actual novel idea and (b) any writing credits you have. The other stuff is minor.
I have read interviews with agents who mention that they like it when a writer shows they've done their research on them by mentioning a current client of theirs or what types of books they prefer. Is this true? And if so, does it really have any effect on whether or not the agent will want to read more? My dilemma is I'm not sure how to show I've done my research, read books by their clients, etc. without sounding gushy. What's your take on this?
Mentioning a book type they prefer shows only that you own a copy of Writer's Digest. The most hilarious part is when people get it wrong, and say something like, "I know you much you love chick-lit..." when in fact, the agent hates it and has never done it except for that one time because the offer was huge and the writer was especially talented.
Mentioning a client of theirs as being an inspiration to you or whatever is a good idea, and does give you points, but not really a whole lot of points. The biggest "point givers" are (1) your actual novel idea and (b) any writing credits you have. The other stuff is minor.
Wednesday, January 17, 2007
The Exact Formula for Success
So over my vacation I decided to put my money where my mouth was and read up on how the publishing industry works from a more general and financial viewpoint. I've never worked in a publishing house, but I thought, "Well, I have a web log about it; maybe I should find out how it operates."
This was a last-minute decision and I just went to B&N and picked up the publishing book that looked the most professional - The Art and Science of Book Publishing by Herbert S. Baily, Jr. It had a certain air of distinction that the other books on the shelf ("How to Get Published in Thirty Days") didn't quite have.
Five pages into this book, I realize: I do not understand anything about book publishing. This book was so amazingly technical that I don't understand who would possibly read this other than an experienced manager in a publishing house looking to verify his numbers. For example:
What? Man, I'm glad my job is just to read query letters and edit manuscripts. Fortunately the book enables me to answer this question:
I have a question for you. Just something I've been curious about, particularly with the continued "chick lit" craze. It seems if you write about a twenty-something in PR/fashion/event planning/publishing, there is no end to the crap that can end up on the shelves (although let me say, I do read quite a lot of it when trapped in an airport...). So here it is: In your experience, when it comes down to why a book is published, what percentage is based on "good writing" and what percentage is based on marketability?
Since there's no way for me to answer the actual question (I would just have to make up a number - it's to abstract a concept), I'll just reinterpret the question as, "What determines why you choose a book? How can you tell it will be profitable?"
Well, folks. Here it is. The actual formula to determine the profitability of your coming-of-age yarn or your Vietnam memoirs. Are you ready?
...You sure?
Here we go.
I think that should answer any questions anyone will ever have about publishing.
This was a last-minute decision and I just went to B&N and picked up the publishing book that looked the most professional - The Art and Science of Book Publishing by Herbert S. Baily, Jr. It had a certain air of distinction that the other books on the shelf ("How to Get Published in Thirty Days") didn't quite have.
Five pages into this book, I realize: I do not understand anything about book publishing. This book was so amazingly technical that I don't understand who would possibly read this other than an experienced manager in a publishing house looking to verify his numbers. For example:
What? Man, I'm glad my job is just to read query letters and edit manuscripts. Fortunately the book enables me to answer this question:
I have a question for you. Just something I've been curious about, particularly with the continued "chick lit" craze. It seems if you write about a twenty-something in PR/fashion/event planning/publishing, there is no end to the crap that can end up on the shelves (although let me say, I do read quite a lot of it when trapped in an airport...). So here it is: In your experience, when it comes down to why a book is published, what percentage is based on "good writing" and what percentage is based on marketability?
Since there's no way for me to answer the actual question (I would just have to make up a number - it's to abstract a concept), I'll just reinterpret the question as, "What determines why you choose a book? How can you tell it will be profitable?"
Well, folks. Here it is. The actual formula to determine the profitability of your coming-of-age yarn or your Vietnam memoirs. Are you ready?
...You sure?
Here we go.
I think that should answer any questions anyone will ever have about publishing.
Monday, January 15, 2007
Working Hours
Every once in a while, on a bank holiday or a national holiday like MLK Day or Columbus Day, someone asks the question on Writer.net - Are the agents in the office today?
The answer is: Yes. No. Maybe.
An agent's schedule is an increasingly nebulous thing. Certainly, almost nobody works the traditional hours of 9-5pm, Monday through Friday. There's no particular reason to do that. Queries can be read at any time, email means agents can reply at night, and a lot of the business isn't in the office anyway. It's on the cell phone, on a portable laptop, or shuttling from lunch meeting with editor to lunch meeting with publicist to lunch meeting with author. Many agents work out of their home a lot of the time, and have various services where their work phone is redirected to their cell or home phone. Some agents don't have offices at all - or have offices for postal purposes, but they don't really exist. Downtown offices are expensive (easily $1400 a month), but many corporations offer services like providing a mailbox and a phone forwarding service and use of a conference room, so it appears your letter is going to a traditional office setting, when instead it's just being picked up by the agent and brought back to Brooklyn.
The only reason to keep a somewhat normal schedule at all (besides not being a vampire) is because publishing houses do "officially" keep more normal hours. That is, unless the agent knows the editor's private line number or his/her home number. Which the agent probably does.
My first boss used to come in at 11am after working at home for an hour or so. She would check her messages, make a couple important calls, and then leave at 12:30 for a three hour lunch with an editor, which was really little more than a business meeting with food involved and a bill at the end. She would show up again around 3pm, then still be working when I went home at 7.
My current boss has a kid, so sometimes she'll leave if school gets called off (for a snow day or something) and finish her work at home. Other times she'll come in early, go to yoga for two hours in the middle of the day, and then work until about 6.
What I'm trying to say is, you have no way of knowing when we're in the office or not, but it's not really all that relevant. The only time work fully stops is usually Sunday, or a major holiday like Christmas, when even if the agent is available, nobody else in publishing is and the mail doesn't come. The reason we're not answering our phone is not because we're not there. It's because we screen all our calls because most of them will be people pitching their novel on the answering machine, and if we picked up, we might have to listen to them. Send a query.
The answer is: Yes. No. Maybe.
An agent's schedule is an increasingly nebulous thing. Certainly, almost nobody works the traditional hours of 9-5pm, Monday through Friday. There's no particular reason to do that. Queries can be read at any time, email means agents can reply at night, and a lot of the business isn't in the office anyway. It's on the cell phone, on a portable laptop, or shuttling from lunch meeting with editor to lunch meeting with publicist to lunch meeting with author. Many agents work out of their home a lot of the time, and have various services where their work phone is redirected to their cell or home phone. Some agents don't have offices at all - or have offices for postal purposes, but they don't really exist. Downtown offices are expensive (easily $1400 a month), but many corporations offer services like providing a mailbox and a phone forwarding service and use of a conference room, so it appears your letter is going to a traditional office setting, when instead it's just being picked up by the agent and brought back to Brooklyn.
The only reason to keep a somewhat normal schedule at all (besides not being a vampire) is because publishing houses do "officially" keep more normal hours. That is, unless the agent knows the editor's private line number or his/her home number. Which the agent probably does.
My first boss used to come in at 11am after working at home for an hour or so. She would check her messages, make a couple important calls, and then leave at 12:30 for a three hour lunch with an editor, which was really little more than a business meeting with food involved and a bill at the end. She would show up again around 3pm, then still be working when I went home at 7.
My current boss has a kid, so sometimes she'll leave if school gets called off (for a snow day or something) and finish her work at home. Other times she'll come in early, go to yoga for two hours in the middle of the day, and then work until about 6.
What I'm trying to say is, you have no way of knowing when we're in the office or not, but it's not really all that relevant. The only time work fully stops is usually Sunday, or a major holiday like Christmas, when even if the agent is available, nobody else in publishing is and the mail doesn't come. The reason we're not answering our phone is not because we're not there. It's because we screen all our calls because most of them will be people pitching their novel on the answering machine, and if we picked up, we might have to listen to them. Send a query.
Sunday, January 14, 2007
Writers' Conferences
Reading through a few agent blogs, I notice that one or two mention the helpfulness of attending writer's conferences...how true is this?
I'm looking around and haven't found any in my area and even if they were, they are expensive. Is it worth several hundred dollars (plus hotels) in hope that an agent might recognize my query letter a few weeks later?
Writers' conferences are good for a lot of things - mainly, hearing agents talk. Generally, they will not be a huge help in getting you an agent unless you are exceptionally lucky. Seeing as how agents have live journals and web logs these days, I would say that it's not worth your money.
Of course, that's also because I find sitting in a room with a group of fellow unpublished, desperate writers to be the world's most depressing experience. The second is reading any issue of Writer's Digest.
I'm looking around and haven't found any in my area and even if they were, they are expensive. Is it worth several hundred dollars (plus hotels) in hope that an agent might recognize my query letter a few weeks later?
Writers' conferences are good for a lot of things - mainly, hearing agents talk. Generally, they will not be a huge help in getting you an agent unless you are exceptionally lucky. Seeing as how agents have live journals and web logs these days, I would say that it's not worth your money.
Of course, that's also because I find sitting in a room with a group of fellow unpublished, desperate writers to be the world's most depressing experience. The second is reading any issue of Writer's Digest.
Saturday, January 13, 2007
Writers on Interns
Recently I got contacted by an agent with a partial who wanted a full. The request was actually late in coming, she admitted, by a few days. I asked her where her retinue of interns were because I used to work in the same office as her and I happen to know she keeps an insane amount of unpaid Columbia student interns - like, three or four. "They're all on break!" she said. "I'm swamped."
Because, of course, colleges take 5-week recesses that go into mid-January. I'm in grad school and it's the same deal. Because my brother is an unemployed college grad and I'm on break and neither of us care about Christmas, the Rejector family takes their vacation in early January, when the hotel rates are cheaper. (If you have to fly Christmas week, December 25th is a great day to fly) So the interns are gone, home to their families. Even I, a working woman, take my week vacation in January instead of December.
So after taking normal people vacations, the agents return in January to find their assistants gone and the mail piled up. I'm heading back to New York to take care of my boss' pile ASAP. Oh, and there's also phone calls to make, deals to finish, editors to contact, contracts to fax, and planning for some major upcoming bookfairs.
I don't mean to be discouraging to you guys waiting to hear back, but the point of this web log is to tell the truth, and that's it. Don't hold your breath.
Because, of course, colleges take 5-week recesses that go into mid-January. I'm in grad school and it's the same deal. Because my brother is an unemployed college grad and I'm on break and neither of us care about Christmas, the Rejector family takes their vacation in early January, when the hotel rates are cheaper. (If you have to fly Christmas week, December 25th is a great day to fly) So the interns are gone, home to their families. Even I, a working woman, take my week vacation in January instead of December.
So after taking normal people vacations, the agents return in January to find their assistants gone and the mail piled up. I'm heading back to New York to take care of my boss' pile ASAP. Oh, and there's also phone calls to make, deals to finish, editors to contact, contracts to fax, and planning for some major upcoming bookfairs.
I don't mean to be discouraging to you guys waiting to hear back, but the point of this web log is to tell the truth, and that's it. Don't hold your breath.
Friday, January 12, 2007
Writers on Writing
Over vacation I read, along with many other books (mainly history books because I write historical fiction), Stephen King's On Writing. Think what you want about his literary style, his genres, or the overwhelming financial success we all wish we had from our writing, but one of the interesting things about Stephen King is that he can talk about things going on in his life and make them not boring. In Entertainment Weekly he has a column where he will literally spend the whole time going on about some TV show he's really into and I will read it even though I don't have a working television.
Though the book is partially his autobiography and not really discussing writing all the time, he is definitely one of the few writers who can talk about writing and not have me running for the hills. Most of the books on writing out there that I would endorse (beyond grammar books) are by editors, not writers. I suspect this is because editors are trained to analyze why a piece of writing is good or not (it's their job), while a writer just writes.
Most of the books out there are junk. Stephen King only endurses the classic Elements of Style by E. B. White and says the rest are junk. I'm a bit more liberal. Here's my list of suggested books:
Though the book is partially his autobiography and not really discussing writing all the time, he is definitely one of the few writers who can talk about writing and not have me running for the hills. Most of the books on writing out there that I would endorse (beyond grammar books) are by editors, not writers. I suspect this is because editors are trained to analyze why a piece of writing is good or not (it's their job), while a writer just writes.
Most of the books out there are junk. Stephen King only endurses the classic Elements of Style by E. B. White and says the rest are junk. I'm a bit more liberal. Here's my list of suggested books:
- The First Five Pages: A Writer's Guide to Staying Out of the Rejection Pile by Noah Lukeman (a literary agent)
- 78 Reasons Why Your Book May Never Be Published and 14 Reasons Why It Just Might by Pat Walsh (an editor at a publishing house)
- Immediate Fiction by Jerry Cleaver. Man, I wish everyone in my MFA program would read this book, which outlines how to write a basic story.
- How to Write Science Fiction and Fantasy by Orson Scott Card. It has a lot of good general advice, though his section on submitting makes it sound like getting accepted is just another minor activity. I can't blame him; it's been a while since his work was rejected.
Wednesday, January 03, 2007
I'm out. There's not really a better title.
So while the rest of the publishing industry reluctantly returns to work, I head off for vacation. Because of my school schedule, this is the best time, so I'll be away for the next week. I apologize for the slow posting schedule over the holidays, when I was either at work or ... celebrating the holidays?
Happy Non-Holidays to everyone, and all, a good night.
P.S. Try not to reply unless you have something important to say. I have to approve all comments now and they're just going to clog my inbox.
Happy Non-Holidays to everyone, and all, a good night.
P.S. Try not to reply unless you have something important to say. I have to approve all comments now and they're just going to clog my inbox.
Wednesday, December 27, 2006
The "Back In ____ " Sign
So the publishing industry is officially on vacation.
I say officially because last week we were "not in the office" the way Victorian Londoners were "not at home" when they didn't want to entertain visitors. In other words, we generally shut off our phones and spent the week getting around to the stuff that piled up. My boss called up some editors and fellow agents she needed to catch up with (contacts make an agency), now that she had the excuse of the publishing houses being closed to not be busy with them. It was also a week for reading and responding to partials, and cleaning out of the office. This included a couple of embarassing finds ("Uh, I think this requested manuscript arrived in 2005. Yeah, it did. Oops. Should we do something about this?") as we cleaned out the office - my boss is working more from home this coming year, which hopefully will not affect my job because the mail will still come to the office in Manhattan and the phone will still ring there. Many agents have offices in name only in Manhattan, because it's insanely expensive to rent office space here, and the industry has reached a point where agents can really work from home if they own a cell phone and a wireless laptop. This is why a lot of offices offer forwarding services, to make it seem like your agent has an office downtown when really they work out of their home in Brooklyn most of the time.
But this week, we're really gone. I'm only going in once, to handle the week's mail. I'm as frustrated as you guys are - I've got partials sitting at a publishing house and an agency, and I know I won't hear back until the second or third week of January at best. I feel your pain.
I say officially because last week we were "not in the office" the way Victorian Londoners were "not at home" when they didn't want to entertain visitors. In other words, we generally shut off our phones and spent the week getting around to the stuff that piled up. My boss called up some editors and fellow agents she needed to catch up with (contacts make an agency), now that she had the excuse of the publishing houses being closed to not be busy with them. It was also a week for reading and responding to partials, and cleaning out of the office. This included a couple of embarassing finds ("Uh, I think this requested manuscript arrived in 2005. Yeah, it did. Oops. Should we do something about this?") as we cleaned out the office - my boss is working more from home this coming year, which hopefully will not affect my job because the mail will still come to the office in Manhattan and the phone will still ring there. Many agents have offices in name only in Manhattan, because it's insanely expensive to rent office space here, and the industry has reached a point where agents can really work from home if they own a cell phone and a wireless laptop. This is why a lot of offices offer forwarding services, to make it seem like your agent has an office downtown when really they work out of their home in Brooklyn most of the time.
But this week, we're really gone. I'm only going in once, to handle the week's mail. I'm as frustrated as you guys are - I've got partials sitting at a publishing house and an agency, and I know I won't hear back until the second or third week of January at best. I feel your pain.
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