The Tie Breaker

Well.

It's been an interesting week.

As some of you know, I've found myself in new territory this year. I finished the first draft of a novel that I love but that my agent doesn't. My original plan was to put it on the shelf for a while and move onto something else, another novel that I started a few years ago. Instead, I gave the draft to a trusted friend, a novelist who has a lot of experience in the field. He gave it a read and the verdict is in: he loved it. Maybe even a bit more than I'd hoped he would.

We met for coffee and had a long talk about agents. I learned some interesting things. My friend has had the same agent for over thirty years and they've had many disagreements. As one might expect, agents have biases. Depending on the kind of novel my friend turns in, he already has a sense if his agent will or won't like it. Agents also have their own strengths and weaknesses when it comes to editing. My friend listens carefully to his agent's suggestions and if he strongly disagrees, he then turns to his editor as a tie-breaker. Ultimately, my friend decides what stays and what goes.

It was empowering to be reminded that I, as the creator of the work, have the final say. I've generally approached criticism with an open mind and trust that when someone finds a problem with my work there must be an issue that ought to be addressed. I also trust in the expertise of others and think that those who ignore counsel do so at their own peril. And yet there's a time, I'm beginning to see, that maybe you need to trust yourself more.

I received a few great podcast suggestions after last week's blog post, one of them being OTHER PPL with Brad Listi (thanks to MWPA's Joshua Bodwell for the suggestion). Listi is the Marc Maron of the literary world and I've been immersing myself in his author interviews. One that stood out for me is a conversation with Stewart O'Nan. His approach is to work is to be slow and steady and to roll with the punches. Among his more traumatizing moments in the publishing business: the time his publicist left in the middle of a book launch and the time the entire staff of his publishing house was fired. Hearing these stories made my current squabble with my agent seem small. I've been writing professionally for twenty years and yet I'm still so green.

So now that I'm feeling confident, I will ride this wave and dive right in. I will spend the summer taking my friend's and my writing group's suggestions and power through another rewrite. I will "write a little every day, without hope, without despair" as prescribed by Isak Dinesen.

I am back.

10 Questions to Answer Before You Give an Author Interview

When I was getting ready to go on my first book tour oh-so-many years ago, I spent a lot of time preparing for interviews and appearances. I had banners and posters made up for book fairs, created a tour schedule, purchased tasteful clothes and good pens for signings, sent out press releases and mailings, carefully selected and edited excerpts for readings and spent hours practicing reading aloud. In short, I felt I had done everything I could to get ready for the tour.

Unfortunately, I failed to do the most important thing of all--which was to understand my book.

I had thought that working on a manuscript intensely for five years made me an expert on the work. Hardly. It wasn't until I had a live interview for a writing website that I realized how underprepared I was for discussing it. The interviewer typed the very simple question--"What is your book about?" and I completely froze. I stared at the blinking cursor for five long minutes, prompting the interviewer to ask if I was all right.

It's not that I didn't know what my book was about, exactly. It was a novel that spanned forty years and followed two boys into adulthood. A whole lot happened in between, but nothing I felt I could pin down in two sentences. Or at least two interesting sentences. Much of what is appealing about literary fiction lies in the telling more than that concept. Or at least that's what I told myself. As I discovered too late, you still need to have a pitch.

Over the course of the next month or so, as the reviews started rolling in, I started getting a little perspective on what the story was about. Through other people's eyes I began to see themes and connections that I didn't realize were there. I know it sounds strange to be so removed from the story, but sometimes you can be too close to a project to see it properly.

I decided that in order to feel more comfortable discussing my book I needed to approach the story like a reader. I thought about some of the questions I was asked during my first interview and began writing down the answers. Basically, I wrote a report on my own book. I also came up with a list of commonly asked questions that I had often heard asked at readings and answered those, too. Even a question as simple as, "What is your favorite book?" can be difficult to recall in front of an audience. By taking a little time to think about my answers beforehand, I felt much more confident with each subsequent appearance. By the end of my book tour I had my pitch down and I was a bit more relaxed when answering questions.

Here are ten commonly asked questions I try to think about before I do an interview or reading:

1. What is your book about?

2. How long did it take you to write it?

3. Where did you get the idea for the book?

4. What is your writing process? How often do you write?

5. Who/what are some of your favorite writers/books?

6. How did you get published?

7. When did you know you wanted to be a writer?

8. What are your thoughts on self-publishing/print-on-demand?

9. What advice would you give an aspiring author?

10. What are you working on now?  



Share your experiences. How do you prepare for author interviews?

9 Favorite Books for Writers

Looking for a good book about writing? Here are nine books that have resonated with me throughout the years. I keep nearly all of them with arm's reach of my writing desk.


For Beginners

One of the biggest hurdles for someone who wants to begin writing is gaining enough confidence to get started. These three books inspired me to get into the habit of creating.

1. Writing Down the Bones: Freeing the Writer Within by Natalie Goldberg. This was the first writing book I ever read and is a perennial classic for beginners. Goldberg uses gentle wisdom, Zen practice, and anecdotes about life in New Mexico to inspire writers to create without fear.

2.  The Artist's Way by Julia Cameron. This is a great book for those occasions when you want to write but feel stuck. While the tone of the book is a little over-the-top at times, Cameron does a terrific job of unlocking the potential in people who might otherwise view themselves as non-creative types. Even though I read this book over a decade ago, her insistence on daily writing practice and on 'filling the well' by engaging in all kinds of creative pursuits still speaks to me.

3. The Art of Fiction by John Gardner. The minute you sign up for Creative Writing 101, this is the first book on your required reading list. (Or at least that's the way it used to be. I'll assume nothing's changed since the book is still in print.) The book is an introductory course on craft unto itself as Gardner digs deep into literary theory and analysis. It belongs on every writers bookshelf.


For Aspiring Authors

Once you understand the basics, it's energizing to read about successful authors and the creative process.

4. On Writing by Stephen King. Half memoir, half writing manual, King's book has become a modern classic. The story of how his wife rescued his Carrie manuscript from the trash bin and the enormous success that book would bring is riveting, emotional, and well worth a read for those dreaming of literary fame.

5. Journal of a Novel: The East of Eden Letters by John Steinbeck. This book is a collection of letters Steinbeck wrote to his editor as a daily exercise while writing East of Eden. Best to be savored in small bites, it's the kind of book to read at the beginning of a writing session, when you're trying to drum up enough motivation to get to work. Discovering that even Steinbeck had moments of doubt and distraction has a way of soothing the soul on those days when writing feels like a chore.

6. The Writing Life by Annie Dillard. When the work gets bogged down or I have a professional setback, Dillard's lyrical prose puts me back on track. This slim, quiet book is a good reminder to focus more on the urge to create and the discipline of writing than on elusive publishing success.


For Professionals

These books are helpful for writers who are already published or are on the path to publication.

7. How Fiction Works by James Wood. This book is incredibly dense and will be most helpful to those writers who are already familiar with the process of writing a novel. Much of what Wood writes about will seem too abstract for the beginning writer, but it's packed with insight for those with writing experience. It's important to remember that Wood is a critic and some of what he expresses is opinion rather than gospel. Still, I've found it to be an invaluable addition to my library. There is so much to absorb, I recommend reading it with a highlighter.

8. The Savvy Author's Guide to Book Publicity by Lissa Warren. Published in 2008, this book is a bit old and I would love to see a revised edition that includes social media. Still, there is a wealth of information here that will never be out of date--such has how to prepare for media interviews, write press releases, and hire a publicist. The bottom line that echoes throughout the book, and one that any writer should constantly keep in mind, is that authors are largely responsible for their own publicity.

9. Mortification: Writers' Stories of Their Public Shame edited by Robin Robertson. Before you go out on your first book tour, you must read this hilarious collection of most embarrassing moments by 70 well-respected authors. Then, when you're sitting there at your signing, twiddling your thumbs because no one has shown up, instead of feeling sorry for yourself you'll just be glad that you weren't like Margaret Atwood who was forced to sign copies of her book The Edible Woman in the men's underwear department of clothing store. Many of these stories so cringe-worthy and so unbelievably horrible you'll want to throw the book across the room--but you won't because it's just too damn funny.

What are your favorite books for writers?

Agents Are Evil and Other Publishing Myths

The recent dispute between Hachette and Amazon has brought out the publishing industry haters again. I've been reading through some of the comments people have been leaving and are shocked by the number of people who are pro-Amazon and anti-publishing. The issue is complicated and nuanced and as an author whose books are available through Amazon, it would be hypocritical for me to take a stand at the moment--but I reserve the right to do so in the future. As a consumer I have enjoyed Amazon's low pricing as much as anyone, though I will say that the company's recent practices have made me re-think the true cost of underpricing books. From now on, I will be making more purchases at my local independent book store.

What I do want to take a stand on, though, is the constant demonization of publishers and agents. Yes,  over the past twenty years the major publishing houses have consolidated to the point where there are only four major houses remaining. Yes, the bottom line is important to them--and why wouldn't it be? Profit margins have been shrinking. Book stores are closing. People are downloading books for free. The industry is in jeopardy. Contrary to popular belief, books are not cheap to produce. Every book that is published is handled by a managing editor, a copy editor, a fact checker, a book designer, a publicist, and a sales team. Then there's the cost of production and distribution.

Even though money is a big issue at the corporate level, to say that these houses are populated by cynical drones is plain false. I have worked with three different publishers in the course of my career, and every editor I've ever met is an extremely hardworking, deeply passionate, certifiable book geek. Yes, they do edit--though the writer generally has veto power, so if I book seems like it wasn't edited well maybe you ought to blame the author. (Typos, on the other hand manage to slip through no matter how carefully you edit. Quite a maddening experience, to which I can attest.) Editors are very fond of their authors and only take on projects they feel strongly about. I'm sure they all want to find the next THE FAULT IN OUR STARS, but since no one can predict what will be the next big hit, an overall love of the written word is the major motivating factor. Publishing jobs pay too little and the hours are too long for it to be otherwise.

Good agents get paid well, but they earn their keep. I worked at Writers House Agency for six years in the accounting department and have had three different agents in the course of my career (two left the industry). I can tell you that an agent's primary concern is for the author. Period. Contrary to popular belief, they are not shills for publishers. They are not unnecessary middlemen. They act as contract lawyers, editors, mediators, accountants, and career managers. Whenever someone asks me if they need an agent, my answer is always an unequivocal yes. Sure, you can get your work in print without one given all the new methods of publishing these days, but I wouldn't try it. An agent's commission seems like a small price to pay for all the services you get in exchange, plus the time that is freed up for writing instead of negotiating a contract or scanning royalty statements for errors.

I just finished writing a novel and my agent has it right now. He's going to tell me where the weak spots are so I can polish it up before we send it off to find a publisher. As he's reading it, he'll be thinking about various editors who might be excited by this particular story and with any luck, we'll find someone who will want to spend the next year working with me to make it the best story it can be. Then we'll all work together to find an audience for it. And it will be a pleasure to be surrounded by professional people who truly have a love for the written word.

Promises, Promises

Ok, Promising Writers, this post is going to be a major buzzkill. So if you don't think you're in the mood for a reality check, then you may want to duck out now. But if you can handle it--and I think you can--it might be worth your while.

The purpose of this blog is to offer encouragement and advice, but I wouldn't be doing my job if I made everything about the publishing business seem peachy keen, now would I? Every now and again it's important to manage expectations. If you know what to expect, then you aren't so crushed when something unpleasant happens. And it will. It happens to everyone.

Getting published is incredibly exciting, especially for the first time. When I got my first gig as a ghostwriter I was so thrilled I could hardly sleep for weeks. Several years later I developed my own series (ON THE ROAD) that briefly captured the attention of a television production company. I ran on pure adrenaline for months. I count the day my agent sold my first literary adult novel to Simon & Schuster (THE GREATEST MAN IN CEDAR HOLE) as one of the best days of my life.

In the early stages of any deal, there's definitely a honeymoon period when everyone is swooning over your work. Editors and sales staff will praise you. If there is buzz about your manuscript, movie producers might come calling. There might be talk about media appearances, tours, promotions, contests, bestsellers' lists, on and on. It is so easy to be swept up in all the excitement--but don't. I'm sorry to say that much of what is promised or merely mentioned probably will not happen.

So many things can happen that appear to be a sure thing then just dry right up. I once thought I had a twelve book series sold that ended up being cut down to four due to a personnel change in the publishing house. I've been contacted by TV/movie producers who seemed very interested and then never contacted me again. I've heard many publicity campaigns that never came to fruition. One of my foreign publishers thought I might make the bestseller list in that country and my book tanked. I've been told, for sure, that my book was going to be featured in a magazine that virtually makes bestsellers, only to have it cut just before publication. My first big disappointment crushed me for a long time. When the last one happened, I celebrated my 'almost' victory by going out to dinner. I ordered a martini and toasted the magazine that nearly put my name on the literary map.

Cynics like to demonize publishers, but I've hardly encountered anyone in the business that I haven't liked. Nearly everyone I've met is professional, dedicated, and their love of books is very real. So is their excitement when they come upon a project they really love. They, too, can get carried away. They might want to give you all the resources they can to give your book a push, but corporate demands, budgets, and shifting priorities can get in the way. Things just happen. And the truth is, even the best editors really can't predict what will resonate with the public and become a bestseller. A lot of it is largely out of their hands.

So, how can you insulate yourself against disappointment?

Expect the Unexpected. Yes, things will go wrong. To you. To everyone. That's life.

Set Your Expectations Low. It's okay to get excited about potential good news--as long as you keep it in perspective. There's rarely a quick path to wealth and stardom.

Don't Count on Anything Until It's Signed, Sealed, Delivered. Your contract is not valid until it's signed by both parties. Consider any talk of publicity, celebrity blurbs, movie deals, etc. to be merely idle chit-chat until something is actually happening toward that goal. Even then, don't consider it real until it has actually happened. Seriously.

Don't Spend a Dime Until the Check Clears. Tattoo this one on your arm so you don't forget. I used to work in the accounting office of a literary agency and I can't tell you how many authors got themselves in a bind by spending money they didn't have. So what if you just signed a contract for $100,000 advance? It could take months for the publisher to cut you a check. Don't spend a dime until it's actually in your bank account.  And then, if you're really smart, you'll sock away a portion for taxes and save the rest until your manuscript is finished, delivered, and approved. Do you know what happens in that rare instance that the publisher doesn't like your finished work or that you fail to deliver it? You have to give the money back! Not so easy to do, once you've spent it.

Be Grateful. Even when things go wrong, be happy and humble about the things that do go right. Because they will. Many things will go right, things you would never expect. A bookseller might fall in love with your book and spread the word about it. You might win an award. A high-profile newspaper might give you a rave review. A town you've never heard of might choose your book as a community read and ask you to speak. You might become a celebrity in a foreign country.

Prepare yourself. Anything can happen. That's half the fun.

Performance Skills

Recently, had the honor of being one of the judges in a writing competition hosted by my local library. At the awards ceremony this weekend, each of the winners read their work aloud. It was an interesting mix of performances--some of the writers (more than I would have expected) obviously had lots of public speaking experience and were comfortable reading before a crowd, while others looked a little bit nervous and out of their element. Unfortunately, the winner of the category I was judging--fiction--was away at a writers' conference and so I didn't have the opportunity to meet him. His story was read by my friend Emma, a librarian and organizer of the event.

While I'd really enjoyed the winner's story on the page (obviously), Emma's reading was stellar. As she read the piece she was bringing the story alive, elevating it. It wasn't just that the words were being read aloud, they were being read well. Emma was hitting the comedic beats with such impeccable timing that she was taking a sweet, humorous story and making it hilarious. The audience went wild for it.

After trying to figure out how I could hire Emma to do all my future readings, I began to wonder how some of the other pieces we'd heard that afternoon would have come across if she had been the reader. Conversely, I wondered how some of the pieces that were presented by confident readers would have sounded in less capable hands. This really drove the point home for me that author readings were less about the writing and more about the performance.

One of the best readings I've been to in recent years was by Monica Wood, author of WE WERE THE KENNEDYS. While many readings follow a simple format of introduction/10-15 minutes of reading/Q and A, Monica talked about how the book came to be, techniques in memoir writing, and her recent trip to Ireland. She even sang a duet with her husband! She interspersed these anecdotes with five-minute bursts of reading. Truth be told, I don't think she read much at all--just enough to whet the audience's appetite for the book.

The thought of having to perform for an audience probably strikes terror in the heart of most writers--I know it does mine. We are, by nature, a more introverted breed, better suited to sitting alone at our desks than getting up in front of a room full of people. But publicity is part of the job, and with some practice, it can actually be fun.  I took a reading seminar with author, playwright, and actor, Howard Waxman, and here are some of the things I learned:

1) THE AUDIENCE IS ON YOUR SIDE. It's in their best interest to root for you. Think about it--if you do well, they'll be entertained. If you're shaking and mumbling, they'll be squirming in their seats, feeling your pain.

2) YOU DON'T HAVE TO BE SHAKESPEARE. Don't apologize for not being the greatest writer who ever lived. There will always be someone better than you and someone worse. It's not a contest. Simply say to yourself that this is the best work you are capable of at this moment and be proud.

3) BE SELECTIVE. Pick a scene that will sound good out loud. Dialogue, action, and humor all play well to an audience. Long narrative description will put them to sleep. Don't be afraid to edit your scene for brevity, clarity, and time constraints. Don't forget to explain anything in the scene that the audience won't understand out of context.

4) PRACTICE! PRACTICE! PRACTICE! Time yourself. Slow down, then go half that speed. E-NUN-CI-ATE. Exaggerate. Animate. Give each character a different voice. What feels over-the-top to you will most likely just barely register with the audience. A good exercise is to practice reading children's books aloud as if you are reading to a group of preschoolers (or, better yet, find a real group of preschoolers to read to!). Taking an acting class is also helpful.

5) HAVE A FEW ANSWERS READY.  Instill confidence in yourself during the Q and A period by having the answers to the most frequently asked questions ready. At every reading I've ever been to, someone has asked about writing habits, the creative process, favorite books, etc. Know your answer beforehand. Also have a few comments ready in case no one in the audience is brave enough to ask questions.

6) ENJOY THE EXPERIENCE. Think about how lucky you are to have the opportunity to share your work. As nerve-wracking as public speaking is, it's a nice contrast from the lonely work we have to do from day to day. You may even find, with enough experience, that you'll love it.