Think like a publisher (plus a few insider tips on industry bad habits)

For an industry that’s in the business of creativity, most publishing houses are actually extremely uncreative. (Caveat: I’m speaking mostly of bigger houses and mostly of nonfiction.)

If you want to get your nonfiction work published on a mainstream press, here’s a few insights into how to think like a publisher:

•Recognize that there is no such thing as a new idea. Editors have seen everything, and any attempt by you to say that you’re doing something that’s never before been attempted or done is only going to make you sound like an amateur. In that vein, do your competitive title research and do it well. The deeper the analysis and the more books you add to your list of comps, the more you’re helping your own cause.

•Understand that what you think is important about your book might not be what a publisher thinks is important about your book. Most editors get into publishing because they love to read, and/or maybe love to write. And most of us probably think we know a good book when we see one---that’s our job, after all. But good writing is not enough. I’ve turned down plenty of memoirs for being too literary, actually. And why is that? Because the longer we’re in the industry the more we’re trained to think like marketing people. I have fallen in love with books that are great reads, but in today’s publishing climate what’s far more important than your talent is proving to the marketing department that there’s an audience for your book. Spend time thinking about marketing. Do not assume that the most important thing about your book is the writing and/or the originality of the manuscript.

•Know that publishers are actually not very good at reaching readers. I know, this might seem like an insane thing to say, but it’s true. Publishers have relationships with media, and every good publicist’s job is to get the word out. Then it’s the media that attracts the readers to the book. Understand that it’s your job to create relationships---through your blog, Twitter, getting out and speaking, organizing events, workshops, etc. Whatever you have to do. The more you can think about your readers early on and identify who they are, the more you’re going to be able to make a case for publication, and then actually sell books once your book is published.


INDUSTRY BAD HABITS
While it’s helpful to think like a publisher, I also think knowing some of publishing’s bad habits helps authors be in relationship with publishers. After all, any one of us in relationship with someone knows that you have to take the good with the bad. So on that note, here are a few things you should know so you’re not surprised if and when it comes up later:

•Publishers ghettoize books. Whether it’s for the Library of Congress or to help local bookstores know where to shelf books, publishers need to categorize---and some categories actually do a disservice to the book by limiting their visibility and appeal. Knowing your category is important because books do get lost because of category. I’ve seen it happen. Bad categories for books include: gay/lesbian; essays; Latino studies; African-American studies; women’s studies. Notice a trend? Yes, publishing (and I would argue that this isn’t necessarily intentional and has more to do with an unwillingness to think creatively) works against women and minorities.

•Publishers copy each other. Every once in a while I feel envious of my colleagues who work for New York houses, if only because I can feel out of the loop out here in Berkeley. That said, most often I feel grateful. Why? Because Manhattan is the ultimate creative bottleneck. If you can get on the inside publishing track in New York, you can have a great writing career simply by merit of who you know. But for the rest of you, all you have to do is follow publishers marketplace for a couple days before you start noticing trends. We’re all buying the same books over and over and over again.

•Publishers don’t make good business decisions. Publishers are notoriously risk-averse, and yet they throw huge money (sometimes) at books for incomprehensible (at times) reasons. Sometimes books go to auction because of the hype (refer back to the insularity of Manhattan publishing and how agents and editors talk to each other about the next sure bet). Unless the author is a celebrity, however, throwing $100,000+ advances honestly doesn’t make sense. A book has to sell through 100,000 copies to break even on a $100,000 advance, and I could come up with a pretty short list of books that have managed to do that. Huge advances are not as common as they used to be, but my personal opinion is that it screws the midlist author with a good book who has the potential to earn out a midlevel ($15,000-$30,000) advance. How? Because ALL the resources are going to the author who got paid $100,000. And if you are that big advance author and your book doesn’t work, watch out. I’ve heard of more than a few authors whose publishers stopped taking their calls.

•Publishers will base your potential sales on sales tracks of other books that may have nothing to do with your book. That’s right! This is why it’s important to think outside of the box when you’re compiling your comparative titles. Anyone who’s worked on a proposal with me knows how much I harp on the importance of comparative (synonymous with competitive) titles. What, those aren’t really synonyms? Exactly! But they’re one in the same where publishing is concerned, so start to think about books that are like yours for ANY reason: voice, scope, category, theme—it’s all fair game.


ON A HAPPIER NOTE
I know some of you have come to rely on my optimism, so here are a few parting thoughts:

1. There are legitimate and good reasons to look within yourself for a greater reason to finish your book than just getting published on a mainstream press. Shopping your book, especially before it’s finished, can be a creative buzzkill. If you’re in the flow and you believe in your work, keep writing!

2. There are lots of signs pointing toward a Brave New World of book publishing. No, we’re not there yet, but many authors are choosing not to get discouraged and just publish their work themselves. If you’ve been reading my newsletters for any amount of time, you know I’m a fan of self-publishing---as long as you have an online presence and a way to reach your readers. This July 19 keynote by Seth Godin speaks to mistakes publishers make (some of which I’ve covered here) and why he thinks authors with audience and platform shouldn’t even bother with traditional publishers. Take the time to listen. It’s a great conversation-starter.

Social Networking: Keeping It Simple

Last month I facilitated a weekend-long writing/publishing workshop in Bellingham, Washington. In workshops I like to gauge the temperature of the crowd to see what concerns and anxieties people have. Our group was 27 strong, so there were a lot of them, but overwhelm and how to juggle new technology/social media was one that stood out.

Lots of writers I work with are concerned with staying on top of social media. We’re talking Facebook, Twitter, LinkedIn, YouTube, SecondLife, and a many many others.  Recently, in a mastermind group I’m a part of, a hardworking entrepreneurial woman in the group was sharing about backlinking her Digg, del.icio.us, Foursquare, and more. I only vaguely understood what she was talking about.

There are writers out there who are tremendously tech-savvy, and of course many others who are not. Most people are drawn to write because they love words, not because they love computers and html. And yet, the power of social media, and the importance of having an online presence and traffic, makes it so that you—the aspiring (or especially published) author—MUST in fact care and tend to your social media. But you can keep your social networking in check.

After all, you might ask, where does anyone find the time? Good question. The majority of the writers I work with are struggling to find time to WRITE. I try to get all my writers (except those maniacs who write every day) to get on a three-by-three schedule (3 hours, 3 days a week). But that’s just for the writing alone. Social media could easily take up that much time or more a week—and for some people it does. (For a great read on being obsessed with being connected, check out this essay by Gary Shteyngart.)

If you want to publish, at least do Facebook and Twitter—and update them. You really can get away with only doing these two, in addition to having your own website. You can link your accounts so that every Facebook post also updates Twitter, releasing you from the burden of double-posting. Later, once you publish your book, you’ll need to make a fan page for it. As far as other forms of social media go, I think it’s important to ask yourself how much time you are willing and able to commit; and it’s not just about time. It’s mental energy being expended into the universe in a particularly deliberate way. I know people who can’t go out to dinner without updating their status mid-meal. If this strikes you as problematic, set a schedule and some ground rules about when and what you’ll post online.

In her recent New York Times article, Peggy Orenstein wrote about the ways in which Twitter propagates life as performance.  She writes:

“The fun of Twitter and, I suspect, its draw for millions of people, is its infinite potential for connection, as well as its opportunity for self-expression. I enjoy those things myself. But when every thought is externalized, what becomes of insight? When we reflexively post each feeling, what becomes of reflection? When friends become fans, what happens to intimacy? The risk of the performance culture, of the packaged self, is that it erodes the very relationships it purports to create, and alienates us from our own humanity.”

This is coming from a self-professed fan of the medium. Everything I’ve read about Twitter suggests that we’re waiting to see its actual capacity to sell things. It’s so much a part of the social networking landscape that it’s not going anywhere, but it still feels like people haven’t quite figured out how to harness its real power—and by power I guess I mean influencing decision-making and consumer choices. Interestingly, the authors of a book I edited called The Choice Effect did a free Kindle giveaway of their book, largely promoted through Twitter. The result: 10,000 copies downloaded. So the viral capacity of Twitter is nothing to bat an eye at; the question is, how do authors (or anyone) get similar results for things that aren’t free?

If you’re working on a book now and don’t Facebook or Twitter, start now. Do consider how connected you want to be, though. Three posts a week is a solid place to start. And keep a check on how into it you get. Try to keep it relevant to your work and/or process. If you start needing to post to Facebook every time you’re doing something fun with your family or friends, you might want to reel it in. After all, there's a name for what you might be setting yourself up for: Internet addiction disorder.

Practice, Process, Publish: July 24 - 25, 2010, at The Chrysalis Inn & Spa

Presents:

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A Summer Writing Workshop: Practice, Process, Publish
July 24 - 25, 2010 at The Chrysalis Inn & Spa

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General Info:

Join Senior Editor and Writing Coach Brooke Warner and Award Winning Writer and Teacher Laura Kalpakian for an intimate and inspiring weekend of workshops, hands-on classes and one-on-one discussion. Take advantage of this intimate opportunity to ask questions and move forward with your individual writing goals.

Saturday, July 24 – 8:30am - 5:00pm
Sunday, July 25 – 8:30am - Noon

The Chrysalis Inn & Spa, Bellingham, WA
$150.00 per person (includes coffee and snacks)
15-minute consultations with Brooke Warner are available on Sunday for an additional $20
For information and to sign up, call Cami at 206.890.8694 or email us at CLOSTMAN@live.com.

Improve your writing Practice:

• Soul searching---defining and redefining your project
• Where to start when you’ve got more than one project in mind
• The importance of structure, scope, angle, and hook
• Writing with “relatability” and universal conclusions in mind
• Getting out of the way so the book that wants to be written comes through
• Creating accountability: schedules, deadlines, and discipline

Learn about the writing Process:

• Effective editing---the right questions to ask as you revise and develop
• Tips for seeing and shaping your work with new eyes
• How to revise creatively throughout the writing process
• Hands on practice with new techniques

Get ready to Publish:

• The dos and don’ts of publishing---secrets of a pro
• Marketing yourself---why you need a platform
• Deconstructing query letters and proposals
• How to stand out from the crowd
• Building relationships with editors and agents
• Digital, self-publishing and the future

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Register Today! Enrollment Limited

Cash, Check, and Paypal Accepted

Contact Cami @ Write on Bellingham:

206.890.8694 or email at CLOSTMAN@live.com

PO Box 29043

Bellingham WA 98228

Workshop Schedule

Saturday, July 24

8:30am - Noon, Practice and Process, Brooke Warner

12pm - 1:30pm Lunch Break

1:30pm - 4:30pm The Writer and Creative Revision, Laura Kalpakian

4:30pm - 5:00pm Day 1 Wrap Up

Sunday, July 25

8:30 am - noon The Inside Scoop on Publishing, Brooke Warner

noon - 3:00pm Individual Consultations Available with Brooke

Guest Bios

Brooke Warner is Senior Editor at Seal Press, publisher of women’s nonfiction books, written for women, by women. Brooke has been in the publishing industry for over ten years and has been coaching and consulting individual writers for the past three years. She specializes in coaching writers through the completion of their book proposals and manuscripts and helping them to identify the best route to getting published. Brooke works with writers across many genres, including writers of nonfiction, from women’s issues to mind/body/spirit, novelists, memoirists, poets, and essayists. Read more about Brooke on her website and see her list of acquisitions.

Laura Kalpakian is the author of ten novels, including The Memoir Club, Steps and Exes, and most recently, American Cookery, nominated for the 2007 IMPAC/Dublin Literary Award. Her stories are published in the UK and USA, and gathered into three prize-winning collections. Her memoirs and essays have appeared in quarterlies and anthologies. She has long taught both Memoir and Fiction classes in Washington.

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The Chrysalis Inn Location:

804 10th Street
Bellingham, WA 98225

Platform versus Passion

This past month I went to back-to-back conferences. One was an entrepreneurial program and the other was Book Expo. At both conferences, I ended up talking and thinking a lot about books. The two conferences exemplified to me two writing extremes: the platform writer and the passion writer. They’re not mutually exclusive. I’d argue that the most successful writers are those who have figured out how to be both. But this is what they look like:

The platform writer wants to have a book to boost their credibility and professional legitimacy. I met a lot of these people at the entrepreneurial conference I went to. They’ve heard they should have a book, that it'll bring in more clients and speaking gigs, make them experts in their fields. A lot of these people just wish someone would write their book for them. They want to be spending their efforts on their business, where there’s real moneymaking potential. In their mind, a book looks good and they want it to be something their proud of, by their identity isn’t too wrapped up in the process or the publication itself.

Then there’s the passion writer. These are the writers I end up talking to at BEA. Because it’s not a good venue to pitch your book, those writers who do pitch books at BEA have generally paid a lot of money or finagled their way in there to get to agents and editors. My heart goes out to these people because they are definitely in the passion category. They care so much about their projects. They’re projects are their babies. Women often use pregnancy and laboring metaphors when they speak to you about their process, and far too frequently these writers are too attached to their projects and don’t understand that good writing doesn’t make up for a nonexistent platform.

So . . .

If you are one or the other of these writers, don’t despair. It’s not a bad thing to be a platform writer or a passion writer. It’s just important to know which you are. Why?

Because if you’re the former then you might want to adjust your strategy a little bit. You might want to hire someone who can transcribe or ghostwrite. You might want to consider self-publishing your first book to get your feet wet and to have something immediately available to your clients. Start with a downloadable e-book.

If you’re the latter, then you might benefit from taking a day off a week from your writing to focus on your platform. Publishing is changing so much, and it’s harder than it’s ever been to get published without a platform. You can build a platform, yes, which I’ve written about in a previous post. But also, importantly, don’t assume that your book is one of a kind. I personally advise my clients to love their books, yes, feel passionate about them, but help agents and editors help you by understanding the books that are similar to yours. And don’t be so tied to your words and your concept that you can’t change if and when someone comes to you with feedback, editorial remarks, or because they want to publish you.

The vast majority of you probably see yourself a little bit in both of these scenarios. And that’s okay. It should be a healthy balance. When you pitch yourself to an editor or an agent you want to be informed. You want to wow. The platform part tells the industry professional that you know what’s up, that you’re worth taking a risk on. (Because unless you have proven book sales from a previous book, you’re a risk.) The passion part tells the industry professional that you’re willing to kick your butt into high gear, that your book means the world to you and that you’re not going to get sick and tired of it (even though you will).

It’s a hard act to balance---to be both kinds of writers. Neither extreme makes for an ideal publishing candidate, and being just in the middle is a lot to ask of yourself. So just feel into which is more true of you, and consider that you might need to focus your energy, your proposal, your attention on the other when you go to present yourself and your book to the world.


Brooke meets up with a skeptical Jon Stewart at BEA:

Until next month.

Brooke

GO BACK TO THE WARNER COACHING HOMEPAGE

Know your hook before you pitch

Thank you for submitting your proposal to Seal Press. Unfortunately, your project doesn’t have enough of a hook or angle for me to be able to truly define what you’re doing to my Editorial Board and sales team. I appreciate your story, but I’m afraid it’s a bit too vague and sprawling for us to be able to pursue your project for our list.

Sincerely,
Brooke Warner
Senior Editor, Seal Press


This is typical of rejection letters I write in my role as Editor at Seal. In fact, there are more submissions than not that fall into this category of too diffuse, too big, too sprawling, too vague—even too common. All writers, but especially writers of memoir, must must understand that they need to define a unique angle in their pitch, cover letter, and/or manuscript.

I hear and read pitches all the time that that do nothing to give me a unique sales handle, nothing to tell me what’s different about their book, or alternately (flip side of the same coin) what’s similar to other books that are on the market. I’ve talked in previous newsletters about the difference between high concept and low concept books, and it’s not so much that you have to have a high concept, but you do need to help the agent or editor you want to publish with make their job easier.

This vagueness happens so often in memoir because memoirists are trying to tackle the landscape of their lives. Unless you're famous, your life story is not enough. Typical submissions might look like: (1) a writer’s life story from point A to point B, (2) a writer’s experience as a mother, (3) a writer’s bizarre set of experiences that led them to where they are today. And it’s a conundrum, because there are writers who get published under these scenarios. After all, #1 could be Eat, Pray, Love; #2 could be Operating Instructions; and #3 could be Running with Scissors. But Elizabeth Gilbert, Annie Lamott, and Augusten Burroughs were/are writers with well-established platforms. For the average writer trying to catch a break, the hook can make or break the deal.

As a case study, I’ll share the example of a memoir I edited at Seal called Loaded, by Jill Talbot. When Jill first approached me with a book idea, she actually proposed an entirely different book. It was going to be coauthored with a friend and the title was South of 30, which the authors described as “a collaboration, a collection of essays, that creates a conversation as well as our own individual ruminations about life as women in our late thirties.” Not a bad concept, but too big? Yes. And ruminations about life? Definitely too vague. I rejected that proposal, but I was struck by Jill’s writing. So you could say she caught a break. I wanted to develop something with her. She was---is---a beautiful writer, and in a follow-up conversation she mentioned she’d been in rehab. It just so happened that I wanted a book about addiction at the time, and she was open to going down that road. And so we developed a proposal together that worked. The angle was clear: addiction. Addiction to alcohol, addiction to men, addiction to troubled relationships. The result is Loaded, and it’s a fantastic book that’s highly literary while still being high concept.

Not all of you will be lucky enough to develop a proposal for an editor who’s really interested in your book, but some of you might. Listen to people who work with books. Have conversations about hook. Look at the books you love and try to figure out if the hook is immediately apparent. Make sure your pitch is clear. The tighter your concept is, the more likely you are to get positive responses. And remember, this doesn’t mean that your writing has to be simple or that the scope of your book needs to be necessary scaled back. Your hook is not the entirety of the book, and it doesn’t need to be. Think of it like CliffNotes for your would-be agent or editor. We want to work with people who help us help them, and a well-defined hook goes way farther than you might think.

A special thanks to Jill Talbot this month for letting me share her story.


Until next month.

Brooke

GO BACK TO THE WARNER COACHING HOMEPAGE