Because I have had a host of doctor's appointments (for myself - thanks, I'm fine - my son and my mother), I have spent hours waiting in doctor's waiting rooms and managed to finish Lisey's Story in record breaking time for me (it usually takes 6 weeks to read a 300 page book and this one was over 500).
I had lunch with a writer friend (yes, someone who writes whom I do not represent) and mentioned that I was loving Lisey's Story but it was one of those crossing-over-into-the-famous-writer's-universe-to-save-someone novels, and he asked me if that was really a fantasy category.
In case you don't know the basic plot, the widow of a famous, popular writer must save herself and her sister by crossing over into the alternate land where her famous husband once went (and brought her) for his inspiration and grounding.
One of my clients, Chris Golden, had written a novel that has a similar plot. In STRANGEWOOD, the father of a young boy must visit his alternate universe to save his catonic son.
And TALISMAN has that element too, but Jack Sawyer is not a writer as a boy or later as a man.
So, I'm wondering if you have read any other novels (or movies) where the writer (or artist or film maker) (or his children or spouse or followers) must gain entry into that alternate universe to save themselves or the world?
Monday, June 18, 2007
Friday, June 8, 2007
Sara Nelson's talk
So I started yesterday off with a 9:00 a.m. writers' conference on the upper eastside, which is the most difficult part of Manhattan for me to get to by pubic transportation (so I was up at 6:30).
Three of the scheduled agents didn't show, but there will still three of us.
I think there were about 75 people in the audience asking the usual questions - what are you looking for, how do I query, do I really have to finish my novel before I send you a query and why don't I hear form you in 24 hours?
This conference made me realize again that many of the established NY agents (who do very few writers' conferences) are still so paper oriented that they actually prefer snail mail queries. They feel it shows that the author took extra care to single them out, write a letter, print and sign it and add an SASE.
I think it shows that someone is working with an out-dated communication method. Email is faster, therefore email is better as far as I'm concerned.
Anyway, after the agent panel, I sat in on Sara Nelson's talk. She explained that when her book SO MANY BOOKS, SO LITTLE TIME was finally published, she worked really hard to promote it, paying out of pocket or piggy-backing promotion on business travel (she is the editor of Publisher's Weekly responsible for dragging it kicking and screaming into the 21st century) for book signings and readings that she set up herself. And still the book did not change the world or her economic bracket.
She said that writing is the only thing that everyone thinks they can do well enough to earn a comfortable living at, when we all know that you can't be a successful painter or a musician without years and years of study.
In reality, being a successful writer means a) getting published by a house that pays you and b) selling a few thousand copies which does not translate into enough extra income to quit your day job. Only a fraction of books (she thought 10%, but I actually think it's more like 1%) make enough to bring in a livable income (because you can live on a writing income in a trailer park in Arkansas, but that's not the fantasy most wanna-be writers have in mind). She also mentioned that at last count something like 200,000 books are published each year, and about a third of them are by the self and on-demand publishers. [FYI about another third are textbooks, so that leaves about 66,600 for what we call trade publishing, which is only 10,000 more than what was being published 20 years ago when I started in the business - and I would bet that that extra 10,000 is composed largely of YA and children's books, which is the one part of the trade publishing industry that does seem to be growing].
It was both an upbeat and reality-based talk, so I was glad to have caught it.
Then I went back to the office for five hours before I taught my class how to write query letters.
Three of the scheduled agents didn't show, but there will still three of us.
I think there were about 75 people in the audience asking the usual questions - what are you looking for, how do I query, do I really have to finish my novel before I send you a query and why don't I hear form you in 24 hours?
This conference made me realize again that many of the established NY agents (who do very few writers' conferences) are still so paper oriented that they actually prefer snail mail queries. They feel it shows that the author took extra care to single them out, write a letter, print and sign it and add an SASE.
I think it shows that someone is working with an out-dated communication method. Email is faster, therefore email is better as far as I'm concerned.
Anyway, after the agent panel, I sat in on Sara Nelson's talk. She explained that when her book SO MANY BOOKS, SO LITTLE TIME was finally published, she worked really hard to promote it, paying out of pocket or piggy-backing promotion on business travel (she is the editor of Publisher's Weekly responsible for dragging it kicking and screaming into the 21st century) for book signings and readings that she set up herself. And still the book did not change the world or her economic bracket.
She said that writing is the only thing that everyone thinks they can do well enough to earn a comfortable living at, when we all know that you can't be a successful painter or a musician without years and years of study.
In reality, being a successful writer means a) getting published by a house that pays you and b) selling a few thousand copies which does not translate into enough extra income to quit your day job. Only a fraction of books (she thought 10%, but I actually think it's more like 1%) make enough to bring in a livable income (because you can live on a writing income in a trailer park in Arkansas, but that's not the fantasy most wanna-be writers have in mind). She also mentioned that at last count something like 200,000 books are published each year, and about a third of them are by the self and on-demand publishers. [FYI about another third are textbooks, so that leaves about 66,600 for what we call trade publishing, which is only 10,000 more than what was being published 20 years ago when I started in the business - and I would bet that that extra 10,000 is composed largely of YA and children's books, which is the one part of the trade publishing industry that does seem to be growing].
It was both an upbeat and reality-based talk, so I was glad to have caught it.
Then I went back to the office for five hours before I taught my class how to write query letters.
Wednesday, June 6, 2007
Agent Panel at Marymount
In case any of you are interested, Jenny and I will be on an agents' panel tomorrow morning at 9:00 a.m. with Dianna Finch, Peter Rubie and Laura Yorke at Marymount Manhattan College on E. 71st Street. They are having a one-day writer's conference that looks pretty good. I'm sure you can google for the details. It is not free.
Tuesday, June 5, 2007
NY Times article on Pitch Slam
Tough Sell For Writers At NY Literary "Speed - Dating"
By REUTERS
Published: June 1, 2007
Filed at 1:34 p.m. ET
NEW YORK (Reuters) - If you think speed-dating is tough, try selling your book to an editor in three minutes.
That's what hundreds of aspiring authors were doing this week at a New York trade fair, and the odds were against them.
Literary agent Peter Miller said there were as many as 15 million wannabe writers in the United States with books to sell.
"If you do the math, it's less than half of one percent of the people that want to get published actually get published," Miller said as he prepared himself for a barrage of pitches.
Among those he gave short shrift was Kathleen Dolan who was selling her self-help book of anecdotes and poems titled "I Need A Face-Lift! (Spiritually Speaking)."
"I make very quick decisions about whether I can make a whole lot of money for you and me," Miller told her, adding that he had a firm rule: "I don't represent porn or poetry."
Larry Tavlor, a retired family practice doctor and a Mormon who came from San Diego to attend the event at BookExpo, was promoting his book "Diminishing Love," which he said presented scientific proof that gay marriage is wrong.
"As lust increases, love diminishes and families are destroyed. And it's related to oxytocin," Tavlor said, referring to a hormone released during orgasm and childbirth.
"So you can't be lusty and loving at the same time?" Miller shot back. "That's what I want to be."
Miller spent the rest of the three minutes questioning Tavlor on the real estate market in San Diego.
WHO YOU ARE MATTERS
Michael Murphy, a former publishing executive who now runs his own literary agency, was a little gentler, though apparently no more interested in Tavlor's book.
"This is a position book," he said. "With a book like this, who you are is as important as what you have to say."
Several dozen agents and editors were taking pitches at Wednesday's "pitch-slam" at the end of a one-day seminar that also included workshops on writing the perfect book proposal.
"Don't feel like you're a failure if you don't come out of here with a contract," Lauren Mosko, editor of writers' guide "Novel & Short Story Writer's Market," told her workshop.
Analyzing a pitch for a book of women's letters about lessons learned in adversity, she said: "It sounds like a really 'nice' book but there's nothing that really grabs me emotionally."
Among the other pitches were a memoir of raising kids in the "hotbed of commercial sex" that is Bangkok, a novel about Internet geeks, a memoir of police corruption, an expose of the adoption system and a parody of Fox cable show "The O'Reilly Factor."
Meg Leder, editor of nonfiction books at Penguin imprint Perigee, said by the end, "Everything's kind of a blur."
"A couple of things stand out that I may not hear about again, which is a bit like speed dating," she said.
One of those attracting most interest from the agents was a petite 15-year-old blond schoolgirl pitching what she called "a survival kit for kids turning into teenagers."
Kiki Freebery came along with her mother, a criminal defense attorney who was pitching her own legal thrillers.
Kiki hasn't written the book yet, or even a full-length proposal, but she said: "I met four people, all of them said they want to see my proposal."
By REUTERS
Published: June 1, 2007
Filed at 1:34 p.m. ET
NEW YORK (Reuters) - If you think speed-dating is tough, try selling your book to an editor in three minutes.
That's what hundreds of aspiring authors were doing this week at a New York trade fair, and the odds were against them.
Literary agent Peter Miller said there were as many as 15 million wannabe writers in the United States with books to sell.
"If you do the math, it's less than half of one percent of the people that want to get published actually get published," Miller said as he prepared himself for a barrage of pitches.
Among those he gave short shrift was Kathleen Dolan who was selling her self-help book of anecdotes and poems titled "I Need A Face-Lift! (Spiritually Speaking)."
"I make very quick decisions about whether I can make a whole lot of money for you and me," Miller told her, adding that he had a firm rule: "I don't represent porn or poetry."
Larry Tavlor, a retired family practice doctor and a Mormon who came from San Diego to attend the event at BookExpo, was promoting his book "Diminishing Love," which he said presented scientific proof that gay marriage is wrong.
"As lust increases, love diminishes and families are destroyed. And it's related to oxytocin," Tavlor said, referring to a hormone released during orgasm and childbirth.
"So you can't be lusty and loving at the same time?" Miller shot back. "That's what I want to be."
Miller spent the rest of the three minutes questioning Tavlor on the real estate market in San Diego.
WHO YOU ARE MATTERS
Michael Murphy, a former publishing executive who now runs his own literary agency, was a little gentler, though apparently no more interested in Tavlor's book.
"This is a position book," he said. "With a book like this, who you are is as important as what you have to say."
Several dozen agents and editors were taking pitches at Wednesday's "pitch-slam" at the end of a one-day seminar that also included workshops on writing the perfect book proposal.
"Don't feel like you're a failure if you don't come out of here with a contract," Lauren Mosko, editor of writers' guide "Novel & Short Story Writer's Market," told her workshop.
Analyzing a pitch for a book of women's letters about lessons learned in adversity, she said: "It sounds like a really 'nice' book but there's nothing that really grabs me emotionally."
Among the other pitches were a memoir of raising kids in the "hotbed of commercial sex" that is Bangkok, a novel about Internet geeks, a memoir of police corruption, an expose of the adoption system and a parody of Fox cable show "The O'Reilly Factor."
Meg Leder, editor of nonfiction books at Penguin imprint Perigee, said by the end, "Everything's kind of a blur."
"A couple of things stand out that I may not hear about again, which is a bit like speed dating," she said.
One of those attracting most interest from the agents was a petite 15-year-old blond schoolgirl pitching what she called "a survival kit for kids turning into teenagers."
Kiki Freebery came along with her mother, a criminal defense attorney who was pitching her own legal thrillers.
Kiki hasn't written the book yet, or even a full-length proposal, but she said: "I met four people, all of them said they want to see my proposal."
BEA for Writers
I always say that a real writer (someone who expects to be published multiple times over their lifetime) should go to BEA at least once in their writing career.
Most writers think this means that as soon as they have a book to sell they should show up at this mega-publishing event where they have a captive audience of 30,000 agents and editors and hand out 10 lb manuscripts (yes, I have been approached by armed writers), proposals and business cards to pitch their wares.
Writers are the last people editors and agents want to see at BEA. Our focus is on selling rights to published books. We have office hours to hear about new books.
So why would I tell you to go there?
The best time for a writer to go to BEA is after s/he has sold her/his first book (preferably before it is published). When you walk through the aisles and aisles of promotional material for other writers' books that will be published in the coming 6 months, it should give you a really good idea of just how small your book is in the overall scheme of publishing and how hard you are going to have to work to stand out in the crowd.
When you are there, you should take notes on what other books or authors in your category are doing to make their books stand out (signings, costumes, bookmarks, scantily clad men and/or women with fliers) and see if you can be inspired for some unique way to promote your book cheaply (or you can pony up the money). Hopefully, you will be able to meet some more established writers (who are signing) and they will be kind enough to say they will read your book for a blurb. Don't forget to get their email address.
You might also get invited to some industry parties. Here you will schmooze. Do not party (meaning do not drink too much). Make sure you meet every reviewer, journalist and assistant editor in the place and get their cards. Write a thank you note as soon as you get home. Put them on your Christmas card list. This is called networking.
If it was worth while (you'll know this by the contacts you made), you might want to do it again and again. If not, you know what you were missing, whether or not you have the personality to do this particular writer dog and pony show, and just how big and intimidating the wide world of publishing is.
And maybe you'll have a little more respect for your agent and editors who have to do this every year on your behalf.
Most writers think this means that as soon as they have a book to sell they should show up at this mega-publishing event where they have a captive audience of 30,000 agents and editors and hand out 10 lb manuscripts (yes, I have been approached by armed writers), proposals and business cards to pitch their wares.
Writers are the last people editors and agents want to see at BEA. Our focus is on selling rights to published books. We have office hours to hear about new books.
So why would I tell you to go there?
The best time for a writer to go to BEA is after s/he has sold her/his first book (preferably before it is published). When you walk through the aisles and aisles of promotional material for other writers' books that will be published in the coming 6 months, it should give you a really good idea of just how small your book is in the overall scheme of publishing and how hard you are going to have to work to stand out in the crowd.
When you are there, you should take notes on what other books or authors in your category are doing to make their books stand out (signings, costumes, bookmarks, scantily clad men and/or women with fliers) and see if you can be inspired for some unique way to promote your book cheaply (or you can pony up the money). Hopefully, you will be able to meet some more established writers (who are signing) and they will be kind enough to say they will read your book for a blurb. Don't forget to get their email address.
You might also get invited to some industry parties. Here you will schmooze. Do not party (meaning do not drink too much). Make sure you meet every reviewer, journalist and assistant editor in the place and get their cards. Write a thank you note as soon as you get home. Put them on your Christmas card list. This is called networking.
If it was worth while (you'll know this by the contacts you made), you might want to do it again and again. If not, you know what you were missing, whether or not you have the personality to do this particular writer dog and pony show, and just how big and intimidating the wide world of publishing is.
And maybe you'll have a little more respect for your agent and editors who have to do this every year on your behalf.
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