The One-in-a-Million Monica Wood

Not to sound like too much of a fan girl, but I love Monica Wood. 

Her work is tender and evocative. She gives the best readings. And by all appearances, she's just a decent human being. 

Basically, I want to be Monica Wood when I grow up.

A few weeks ago, I saw that Ms. Wood had a new novel coming out and on a whim I asked her for a quick interview. To my delight, she agreed. Below, you'll find our conversation and a promo video of Monica describing her new book, THE ONE-IN-A-MILLION BOY.

What does your typical writing day look like?

Years ago, every day looked about the same, but my professional life is far more complicated now. I spend a ridiculous amount of time on email, for example, managing the business of a full time professional writer. I usually have a stack of manuscripts that people have asked me to read. So my writing time is ever more precious, and I guard it jealousy. I am naturally a night owl but because I married an early bird my writing time is midday, about 10 until 3. Given my druthers, I would write all night and sleep till noon.

One thing I should mention if any young writers are reading this. I turn off all devices while writing. I don't have internet access on my laptop, which is where I write. Instead, I have a separate computer to connect to the wider world.

I had the good fortune of attending one of your events and it was the most entertaining reading I’ve ever seen. You have a terrific way of engaging the audience. You read just enough to whet the audience’s appetite and then weave in anecdotes and stories from your own life. What are your secrets for giving a great reading?

Experience helps. You learn over time to select not your best stuff, necessarily, but the best stuff to read aloud. Look for a lot of white space on the page; that's a good rule of thumb. Also feel free to heavily edit. The audience doesn't need a lot of context. I have also learned over time an audience would rather have you speak about the book then read at length. I usually read for about 20 minutes in 10 minute segments, between which I talk about different aspects of the book itself or the writing of it.

Last year your first play “Papermaker” was brought to life by the Portland Stage Company an drew wide acclaim. How did it compare to the world of novel writing?

There is simply no comparison between writing a novel and writing a play. 

With a play you need constant input from readers, actors, and a good director. I was crazy lucky to have all of the above. With the play I had all kinds of people rowing the boat with me. What a difference from typing alone in a room. For years. With no input from anyone. Alone. Did I already say alone?

It must be magical to see actors embody your characters.

It is indeed magical, but it requires a huge willingness to let go. Actors are interpreting your words and you have to give them room to surprise you. Some of my favorite moments in PAPERMAKER were quite different from my original intention. Also, every performance is different. I both dread and look forward to seeing the play with another cast.

In your new novel, THE ONE-IN-A-MILLION BOY, you do something rather unusual--you kill off the title character on page two (I don't think I'm spoiling anything here!), yet his character continues to influence the story throughout. Was this your original intention, or did the idea evolve during the writing process?

Most things happen as I am writing, but this wasn't one of them. The challenge for me was to keep the boy alive for the reader throughout the book and I think I accomplished that. The boy appears so often - through lists he composed, recordings he made with his elderly friend, and flashback scenes -- that many readers forget he's dead. This challenge led to some structural quirks that I like.

Another unusual choice is that you never reveal the boy's name--why? 

Every time I started to name him it felt wrong. To name him was to pin him to the earth, but he no longer is of the earth. he does actually have a name but only I, my husband, and my oldest sister know what it is. She named him. 

The cover is gorgeous. Did you have a hand in choosing the design, or was it a complete surprise to you?

Oh, boy, is this ever a long story! I hated this cover with a red hot passion but everyone from sales and marketing adored it. I thought it was too whimsical for the content , and I despised the literal depiction of a boy on a bicycle. My US publisher agreed to alter the cover. But then my UK publisher went nuts over the American cover, their sales and marketing people went nuts, and so I finally caved. And they were dead right, of course: most of the countries publishing this book are using the original cover. Lesson: writers should stick to writing and leave selling to the sellers.

It can be a fine line knowing when to stick to your guns and when to defer to the 'experts'. When it comes to editing, how do you react to those occasional suggestions that seem to come out of left field? 

I have worked with a lot of editors over the years, and very very seldom have I had to put my foot down. I can honestly say that an editor has never given me terrible advice. This is not to say I have never had disputes, but I have always found that the best way to handle differences with an editor is to take a deep breath, step back, and try to see the manuscript afresh. They are frequently right. At the same time, we must not forget that as writers we have the right to say no. Lots of new writers are afraid to say no because they fear alienating the editor. But editors expect give and take. They thrive on it! The world will not end if you speak your mind. 

THE ONE-IN-A-MILLION BOY (Houghton Mifflin Harcourt) by Monica Wood is available in bookstores, now. Click here to access Ms. Wood's tour schedule. 

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.

Stories Are Fragile--Handle With Care

So, I've finally finished the first draft of my next novel. I call it a first draft because it's finally a complete piece, but the reality is that I revise many times as I go along so this is probably my tenth, twentieth, thirtieth draft--who knows? I've lost count. For publishing purposes, though, this is called the first draft. And there will be many, many more to come. 

Still, there is much reason to celebrate. After nine years of trying to write this book while raising twins, I've finally manage to finish it. As a reward I gave myself a week off from writing and turned my attention to friends and household projects I've been neglecting. Now my break is over and it's time to start writing something new while I wait to hear back from my agent. 

Waiting is so painful, but it's a fact of life in the publishing business. Publishing is one of the slowest, most archaic industries around. It takes a lot of time for an agent or an editor read a 400+ page manuscript while handling all the other urgent business that's always cropping up--phone calls, deadlines, meetings. If only agents and editors had USB ports connected to their heads, we could download our manuscripts directly to their brains and the whole process would move along a lot faster. Until that day comes, we writers will just have to learn to have a little patience. 

One of the reasons I find it so hard to wait is that basically my agent is my first reader. I've shared a few scenes here and there when I needed a little boost, but basically no one has seen it or heard much about it for nearly ten years. I feel like I've been holding a burning secret and finally, finally, I can tell someone. 

During my little celebratory vacation, I had a few lunches with fellow writing friends and the topic of sharing vs. not sharing came up. Writers, I think, are given mixed-messages regarding sharing. We often encourage writers to join writers' groups and workshops to get feedback. On the whole, it's pretty good advice. Appreciating and critiquing the work of others strengthens our own work; receiving criticism opens our minds and prepares us for working with editors and handling reviews. There is a point, however, when sharing becomes counter-productive. 

For example, one of my friends joined a writers' group and found that the group wasn't a good fit for her. The members of the group seemed to be on one wavelength and she on another. Thankfully, she had enough belief in herself and her work to recognize that it was best to leave the group instead of becoming discouraged and giving up writing altogether.

Another friend is in the early stages of a novel and has been tempted to show her pages to her spouse. Alarm bells rang in my head when I heard this for two reasons: 1) The most dangerous time to share your work is early on. You're excited about your idea and it's so tempting to tell someone, but in doing so you lose steam. Even simply talking about it relieves some of that built-up urgency that compels us to write, and  2) Sharing a story with a loved one (especially a spouse) is a recipe for hurt feelings. Think about it--who in our lives is capable of hurting us the most? The ones we love. Asking for their approval puts them in a bind. What if they don't react exactly the way you want them to? Even an enthusiastic response might have you questioning their sincerity. Spare yourself the trauma and wait until you're finished the piece and a more objective third party has given you the thumbs-up first. 

Even seasoned writers fall into the "show too soon" trap. A friend of mine who is a published author warned me against the need for early approval from one's agent and editor. He sent a few early drafts to them thinking they would share in his excitement--only to find out they weren't enthusiastic at all. How could they be, when all he showed them was a partial rough draft? Unfortunately, early sharing is often the start of a downward spiral--what you want is encouragement, but what you end up with is indifference. Or worse, disapproval. What a confidence killer. It's hard to finish a piece when you've been crushed by an unfavorable response. 

Do yourself a favor--protect your work at least until the first draft is finished. Avoid even talking about your work if you can bear it. Treat your stories like the fragile things they are. Wait until they're polished and complete and beautiful and then--and only then--show them to the world.

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.