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Guide to the Book Deal, Which Includes Ten Articles Packed with Insider Tips and Information to Help You T Navigate the Publication Process

Guide to the Book Deal, Which Includes Ten Articles Packed with Insider Tips and Information to Help You T Navigate the Publication Process

ABCThe toGuide theBook Deal

he essential guide from the authoritative source on everything you need to know about the deal, including an overview of the publication process; how editors work with ; a look at inde- Tpendent presses, commercial presses, and self- ; a breakout of the most important clauses in an agreement; and more.

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GUIDE to 23 UNLIKELY ALLIES An Indie Press and a the BOOK Major House Join Forces to Make a Best-Seller DEAL By Eryn Loeb 6 28 17 ACQUISITION TO THE TWO-BOOK PUBLICATION THE INDIE ADVANTAGE CONTRACT How a Manuscript An Argument for Life Preserver or Becomes a Book Writers’ Taking Charge Straitjacket? By Eleanor Henderson By Johnny Temple By Joanna Smith Rakoff

11 20 32 A DAY IN THE LIFE THE AGENTS SOPHOMORE SLUMP OF A PUBLISHING AND EDITORS The Perils of Publishing a HOUSE SERIES... Behind the Scenes at Second Book Simon & Schuster By Jack Riggs By Michael Bourne

36 47

PAPERBACK THE ONLINE BOOK ORIGINALS LAUNCH How Format Affects Self-Publishing Your Way Reviews and Sales to a Book Deal By Quinn Dalton By Cathie Beck

THE VARIOUS PLAYERS IN A 40 BOOK DEAL—AGENTS, PUBLICISTS, ANATOMY OF AN SALES REPRESENTATIVES, AND AUTHOR AGREEMENT AUTHORS THEMSELVES—ARE An Agent Deciphers the BECOMING INCREASINGLY INVOLVED Most Important Clauses in a Publishing Contract AT EVERY STAGE OF PUBLICATION. By Julie Barer THAT COLLABORATION CAN LEAD TO WELL-PUBLISHED . 42

THE BIG COVER-UP A Writer’s Role in Book Jacket Design By Timothy Schaffert POETS & WRITERS GUIDE TO THE BOOK DEAL

dent and executive editor at W. W. Norton, says she’s met authors at ACQUISITION TO conferences, through recommen- dations by other authors, and has contacted them herself after com- PUBLICATION ing across their work in magazines. But while Norton, the oldest and How a Manuscript Becomes a Book largest employee-owned publisher, also has a “slush pile” of unagented BY ELEANOR HENDERSON manuscripts—mostly “e-mail slush” these days—Mason admits that she can’t recall acquiring a purely unso- licited manuscript. hen an ordinary The Submission Process So unless you find a publisher shopper walks into a It is because the process of publishing with an open submission policy— bookstore and pulls a book is often so complex that many independents such as Milkweed a book off the shelf, writers depend on literary agents Editions and Sarabande Books Wshe encounters it—with its textured to navigate the business for them. are a couple examples, and re- paper, its boldly designed cover, its Poetry is the exception. In most sources such as WritersMar glossy jacket splashed with blurbs— cases, beginning poets can expect ket.com and LiteraryMarketPlace as a fully formed product, fallen from to submit full-length manuscripts .com may be useful in identifying the publishing heavens. But behind straight to editors—either through others—or unless you have contacts the ISBN and that -book smell is contests or during open reading peri- who are willing to put you in touch a story: not just the one told by the ods. Ugly Duckling Presse, a Brook- with editors, an agent is usually the author but the one cowritten by the lyn, –based nonprofit that best way to make that connection. agents, editors, proofreaders, publish- focuses on poetry and translation, Finding an agent can be a chal- ers, art directors, publicists, and sales has virtually no contact with agents. lenging process in itself. Sites such as force who worked together to bring “We generally work directly with AgentQuery.com feature databases the book into the world. As writers, authors,” says Matvei Yankelevich, of agents’ specialties and submission we know that the words between the one of twelve members of the Edito- guidelines, and The Poets & Writers covers didn’t just drop from the sky; rial Collective, a volunteer staff that Guide to Literary Agents, published they were born from years of sweat. oversees all areas of publication, from by the nonprofit that published this What we sometimes don’t know, how- acquisition to publicity. He estimates guide, offers extensive advice from ever, is what happens to a manuscript that about half the books the press agents about how to find and work after we send it off to the publishing acquires are solicited (meaning the with one. Once you discover the gods, and, if we’re lucky enough to get editors seek out projects themselves) right fit, and once you have a manu- a book deal, before it reaches the shelf. and half are unsolicited (meaning the script that you both feel is ready to authors submit manuscripts “over the submit, your agent will send it to a transom”). number of editors, most likely those Eleanor Henderson is the author Fiction and nonfiction writers whose tastes he knows well. of the novel Ten Thousand Saints and editors do sometimes find each If the manuscript is fiction, the (Ecco), which was named one of the other without an agent involved. A agent will usually submit it only top ten books of 2011 by the New York number of independent and univer- after it is complete. Sarah Knight, a Times and was a finalist for the Art sity presses offer contests for novels senior editor at Simon & Schuster, Seidenbaum Award for First Fiction and story and essay collections in says that she’s hesitant to bid on a from the . She is an which publication of the winning “partial” fiction manuscript unless assistant professor at Ithaca College manuscript is part of the award, for she’s worked with the author before. in New York. example. Alane Mason, vice presi- “I’ve seen too many novels fall apart

PW.ORG 6 in the middle or the end,” she says. put on top of my pile. I’m constantly The way an editor makes an offer Most nonfiction books, on the other making these calculations: ‘Oh, I also varies. Sometimes, an editor hand, are submitted as proposals— like this. Do I love it? Can I not put will be so eager to buy a book that approximately twenty to sixty pages it down? Can I imagine a year from she’ll try to preempt it. “A preemptive that include a couple of sample chap- now or eighteen months from now offer,” Mason explains, “is when a ters and a detailed outline of the when we’re publishing it being in- publisher feels that they have a strong remaining ones. Because these man- credibly proud and still excited about sense of what the right price for the uscripts are unfinished, “nonfiction it?’ All those things go through my book is and they’re going to offer it to writers are accorded a great deal of head before I ask to the agent in the hopes that the agent trust,” says Knight. “You’re saying, spend their time evaluating it.” will think, ‘Yes, it’s the right price for ‘I’m betting on the idea and I’m hop- Often the editorial board will hold the book and it’s the right publisher ing the execution will live up to it.’” weekly meetings to consider new and I don’t need to go elsewhere.’” Today whether fiction or nonfic- manuscripts, during which the acquir- But if you’re fortunate enough to tion, agents typically e-mail manu- ing editor makes her pitch in support gain interest from more than one scripts along with a short pitch letter of the book, other readers share their publisher, your agent may schedule to editors, who will most likely read responses, and the team discusses the an auction, in which one house makes them on an e-reader. The transition amount of and marketing re- an offer and the next raises the offer from paper to screen makes it easy sources the company is willing to put until a single house is left standing. to instantaneously circulate those behind it. At some houses, the pub- Mason estimates that, when she manuscripts editors are interested lisher has the final say about whether is attempting to buy a book, she is in acquiring among an editorial to buy a book; at others, the decision competing in an auction roughly half board—a group that includes not lies with the acquiring editor. Ideally, the time. A traditional auction takes just editors, but often those in sales a book will gain broad support from place in a single day, but sometimes, and marketing, too. For Corinna the house as a whole; if not, the editor when auctions occur spontaneously Barsan, senior editor at Grove/At- may end up letting it go. (without the advanced scheduling of lantic Books and former senior edi- But if, after all the deliberations, the agent), they can last for several tor at Other Press, an independent the house is behind the book, you’re days, and these occasions are often publisher in , this one very big step closer to seeing it called bidding wars. During an auc- technology allowed her to quickly on the shelf. tion or bidding war, in addition to the gather feedback from her staff at payment advance, an editor might Other Press of two editors and four The Acquisition Process make other offers to sweeten the publicists, as well as the publisher No matter what, the time that deal, such as an attractive publicity and the associate publisher. In turn, passes between the moment your and marketing plan. says Barsan, this agility enabled manuscript is submitted to editors Not every author chooses the Other Press to better compete with and the moment you learn of its fate highest bid. Before interested edi- larger publishers because she could seems like centuries. But in reality tors make their offers, often the au- make an offer within days of receiv- that period could be as short as a few thor has the chance to speak to them ing a manuscript. days or as long as a few months. “If over the phone, getting a firsthand But, in the days where a large an agent thinks that something is re- sense of each publisher’s plans for publisher, such as Simon & Schus- ally hot and they start getting signals the book and may, instead, choose to ter, acquires roughly two thousand from editors that they also think it’s work with an editor whom he feels titles per year and independents, hot, that people have read it really best understands his vision, a process such as Ugly Duckling and Other quickly and are responding with en- from which the editors also benefit. Press, acquire roughly twenty-five, thusiasm…then you really do have “I want to be sure that I’m on the the manuscript has to be outstand- to act quickly,” says Mason. “How- right page with the author and that ing. “Particularly with fiction,” says ever, some very successful books are the author feels comfortable with the Knight, “it has to be great. It has to those on which there was no action editorial notes that I’m considering,” grab me. It has to be the thing that I for weeks. So it really varies.” says Barsan. “It’s the author’s voice,

7 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

it’s his book, so if what I’m thinking agent, you’ll be glad to hand over The advance, of course, is the main isn’t what he’d like to do, then it might his commission—usually fifteen attraction of the contract. Most pub- not be a match.” percent of your earnings.) “Usually lishers offer this upfront payment to After you do find the right edi- an agent will make clear up front authors as a kind of good-faith invest- tor—and after you’ve shared your what rights they are offering,” says ment, and the decision about how joyful with everyone you Mason. “Agents almost always re- large an advance to pay an author is know—the contract arrives. If tain certain rights, like movie rights based on a number of factors. At some you’re working with a small press, and merchandising rights. Publica- point most publishers run a profit and especially one that does not deal tion rights in other languages and loss worksheet on each title, which in- with agents, the contract may be in other media”—such as audio cludes, Knight says, “how much you very straightforward. In fact, Ugly books—“are a matter for discus- paid, how many copies you expect to Duckling only recently standard- sion. It really depends upon the get out in , how many you ized its contract. “Even up to a few strengths of a particular agent and expect to sell in the two through five years ago we were really working the strengths of a particular pub- years of , and how many e- on a case-by-case basis,” says Yan- lisher.” For example, an agent who books you expect to sell, a number kelevich. “Sometimes there was just has connections with other agents that has been hugely increasing in the a kind of oral agreement. Among in her firm who can represent your last six months.” But some publishers, poets that’s sort of common.” book abroad might prefer to retain including Simon & Schuster, now run At larger houses, the contract world rights, while a publisher that those figures even before making an is often long and detailed, with has an international reputation, such offer, relying on figures for previous clauses dealing with all manner of as Other Press, would attempt to re- comparable titles, in order to make rights. (At this point, if you have an tain them. informed decisions about advances.

PW.ORG 8 At Ugly Duckling, where the from two to six months, Mason es- ARCs often look like finished volunteer editors must apply for timates. , perhaps with one or grants to print their books, advances At Other Press Barsan provided two early blurbs, “galley ” that are in the three-hundred-dollar to her authors with a hard copy of the summarizes the book, and usually seven-hundred-dollar range. At a edited manuscript that contained a a cover design in place. For many larger independent publisher like combination of Track Changes com- authors, seeing their book’s cover is Other Press, advances are in the ments entered in Microsoft Word one of the most exciting stages of the four- to six-figure range. Those and handwritten comments. If she process, bringing them another step figures are comparable to advances was working with a nonfiction man- closer to envisioning the book on the offered by major houses, with estab- uscript, though, her editorial input shelf. In many cases, the author has lished authors sometimes breaking often came long before the manu- some input in the cover design. “Our the seven-figure ceiling—but an script was complete. “What’s nice mission is for the author,” says Yan- outsized advance can sometimes be about nonfiction,” she says, “is that kelevich. “It’s not like we’re trying a curse as well as a blessing. “From a you can work with the author before to create a commercially successful long-term business perspective, I just it’s written to shape the direction of book but a book that the author is don’t think it’s good for any writer to the book.” going to be most proud of, so they get a million dollars up front,” says Yankelevich, who has edited re- have a lot of say and control [in the Knight. “That could change some- cent poetry titles such as The Return various stages], including design. body’s life, but I don’t think that that of the Native by Kate Colby and False We’re not talking to marketing de- kind of advance really is indicative of Friends by Uljana Wolf (translated by partments; we’re talking more to the a career-making book.” Susan Bernofsky), spends much of his author about what kind of aesthetic Barsan agrees. “Don’t be en- energy not on the line level the author wants the book to have.” amored with the dream of a huge but with a broader scope in mind, But at larger, for-profit houses that advance,” she says. “It doesn’t nec- working with authors to arrange do have to consider a book’s com- essarily work in your favor.” An au- poems into a cohesive whole. “Some mercial , often the editor will thor’s sales record is usually regarded people come away sort of surprised by seek feedback on the cover from the as more successful if he earns out his how much editorial work we put into sales and marketing teams, even be- advance and then collects royalties their manuscript,” he says. “I think fore consulting the author. Some edi- than if he fails to fulfill the initial pleasantly surprised in most cases.” tors even consult representatives at investment. And that positive record their major accounts, such as Barnes can lead to a publisher’s greater con- The Production Process & Noble. “In a certain way,” says fidence in the author’s next book. Once the author and editor have Knight, “we depend on them to know worked through their revisions, the their customer. They’re closer to the The Editorial Process manuscript is usually passed on to customer than we are.… You have to Editors can identify many myths a production editor who oversees use all the tools at your disposal, so about the publishing process, but the copyediting, , and I think it’s important to have a good one that they seem most baffled by design. The author will have the relationship between the editors and is the idea that editors don’t edit chance to respond to the copyedi- the salespeople.” anymore. “We definitely roll up our tor’s changes and queries, accepting The purpose of the ARC is to reach sleeves to work with the author and them or rejecting them. The manu- targeted readers, such as prepublica- do a lot of editing, which I love,” script is then typeset, with a designer tion reviewers and editors at long-lead says Barsan. Often the editing pro- formatting the interior of the book, magazines (which schedule reviews cess begins just weeks after acquir- and sent to the author for the first months ahead of the magazine’s on- ing a manuscript. Knight says she pass—another chance to identify er- sale date), as early as half a year ahead works with her authors on as many rors and make minor changes. These of the book’s publication date. Some- as five drafts. Depending on the first-pass pages are what the galleys, times an editor will ask an author to needs of the manuscript, this stage or advanced reader’s copies (ARCs), fill out an author questionnaire to help of the process can take anywhere are printed from. determine audiences for the ARCs. In

9 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

the questionnaire, the author provides fewer and fewer accounts left,” says says. “People have their specialties. information about magazine contacts Knight. “Independent bookstores The marketing specialist is not ed- she might have or local are the opposite of flourishing; we iting the book, and I’m not book- that might be interested in reviewing lost Borders—so [that leaves] people ing the , but I’m really involved. the book, as well as established who are buying books from Barnes I’m giving my feedback on what I authors she knows who might be & Noble and Amazon and then e- think is the right thing to do, and willing to offer a blurb. “I’ll always books. [The industry has] changed they’re giving me feedback. I think come up with a list of potential dramatically in the last six months; that overall the most successful blurbers,” says Barsan, “and the it changed dramatically in the six relationships that I’ve had and the author and the agent will contrib- months before that, as to who the most successful books have been ute as well.” reader is and how they get the book ones where I’m helping the author Finally, while the ARCs are mak- and where they find out about it. So with so many things apart from the ing their way through the world, a even if three years proofreader will take one last look ago I had to think at the manuscript, after which, the about who the author may have another chance reader is and how THE STANDARD PERIOD to look at these second-pass pages. many copies do I At Other Press, editors usually think I’m going to BETWEEN THE CONTRACT schedule about six to eight months sell, now…I have to NEGOTIATION AND BOOK for the production stage. At Nor- think, ‘How many ton, that period is more like ten copies do I think PUBLICATION IS EASILY months. Taken together with the I’m going to sell and editorial stage, the standard period where.” UPWARD OF A YEAR. between the contract negotiation But even with and book publication is easily up- all the bad news, ward of a year—sometimes several editors identify at years if the manuscript is nonfic- least one positive side effect of the manuscript itself.” tion and the author still needs to industry’s economic and techno- “Over the last few years I defi- complete the book. logical pressures: greater symbio- nitely have had much more aware- The season also plays a role in sis among a creative and diverse ness of the market and publicity,” determining when a book will be publishing team. The various play- says Barsan, “and I think for any edi- scheduled for publication, with both ers in a book deal—agents, pub- tor it just enhances the work that you large and small publishers either licists, sales representatives, and do when you have a bigger picture of avoiding or aiming for key dates authors themselves—are becom- how the book you’re taking on and on the calendar—anniversaries that ing increasingly involved at every editing will fit into the market.” might be related to the book, holi- stage of publication. While this For any author who not only days (for gift giving), spring (when sharing of responsibility may be wants to have her book published, debut fiction is often scheduled), due to a forced awareness of the but also wants to get her book into summer (good for “beach reads”), increasingly competitive market, the hands of readers, that’s good and fall (when fiction by established that collaboration can lead to well- news. authors is often scheduled). published books. It’s true, Knight says, that agents For a first-hand account of a bidding The Publication Process are thinking more and more like war, watch a video of author Joanna It’s a long and elaborate journey, and editors. In turn, “the editors are Smith Rakoff describing the process most editors agree that the publish- really encouraged to think like pub- of selling her debut novel, A Fortu- ing industry is under more strain licists, to think like marketing spe- nate Age, to Scribner at www.pw.org today than it was even a few years cialists at acquisition. Everything /content/selling_debut_novel_inside ago. “The reality is that we have is becoming very blurred,” Knight _bidding_war.

PW.ORG 10 ward, heartstring-pulling family saga set in various middle-class neighbor- A DAY IN THE LIFE hoods in and around New York City that most Americans couldn’t find on a map. OF A PUBLISHING Yet the assembled Simon & Schuster brass could hardly contain their enthusiasm for We Are Not HOUSE Ourselves. “Marysue was practically in tears reading it,” Karp explains, Behind the Scenes at Simon & Schuster referring to editor in chief Marysue Rucci, who bought the book for the house. “Everybody who read it in BY MICHAELBOURNE acquisition flipped over it. It’s the only time in my career that I’ve been excited to pay over a million dollars atthew Thomas’s The challenge in front of them for a novel.” We Are Not Ourselves on that particular April morning How to translate in-house enthu- hit bookstores in was that outside of certain gossipy siasm for newly acquired titles like August 2014. Four corners of the New York publishing We Are Not Ourselves into book sales Mmonths earlier, a group of people world, where everyone knows that is the unwavering topic of the Key at Simon & Schuster were seated Simon & Schuster paid more than a Titles gathering and many other around a table in publisher Jonathan million dollars for We Are Not Our- meetings and conversations I sat in Karp’s office on a bright Monday, selves, few readers had ever heard of on over a day and a half at Simon & all working towards getting read- the book or its author. A native of Schuster. The imprint is a division of ers who care about literary fiction Queens, New York, where much of the Big Five publishing house of the primed to read the six-hundred-page his novel is set, Thomas has an MFA same name, which is owned by CBS debut novel. from the University of California in Corporation and is one of the world’s The publishing professionals Irvine and some high-profile friends largest English-language publishers, were gathered in Karp’s well-ap- in the literary world, but he has been with thirty-five imprints publishing pointed space on the fourteenth teaching high school for most of the two thousand titles annually. The floor of the Simon & Schuster past decade and has few other pub- flagship imprint agreed to allow me Building, located around the cor- lications. to attend meetings and speak with ner from the To complicate matters, We Are Not editors, publicists, and marketing ice rink in New York City, for Ourselves is not in any obvious way specialists about the roughly one their weekly Key Titles meeting, riding the literary zeitgeist. There hundred and thirty books it pub- a Monday-morning ritual in which are no boy wizards to be found in its lishes each year. I heard editors air- top editors, publicists, and market- pages, no lovelorn vampires or flesh- ily dismiss submitted manuscripts ing managers discuss how the firm’s eating zombies. A central character (“It’s really beautiful, but there’s not upcoming books are faring in the suffers from Alzheimer’s disease, enough story”) and speak glowingly lead-up to publication and plot how which as the men and women in of acquired titles as varied as Hard best to position those books for a Karp’s office remind one another Choices, Hillary Clinton’s memoir successful launch. is the sixth-most-common killer in of her years as secretary of state, America, and Thomas earned glow- published in June 2014, and How ing prepublication blurbs from best- Champions Think, a self-help book Michael Bourne is a contributing selling novelists such as Joshua Ferris by sports psychologist Bob Rotella editor of Poets & Writers Magazine. and Chad Harbach. Beyond that, due out in May 2015. But no topic though, the novel is a straightfor- that arises during my time at Simon

11 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

& Schuster better exemplifies the At Simon & Schuster, as at most & Schuster and was greeted by power a major publishing house can major New York houses, books first Rucci, Karp, and a roomful of their exert over a writer’s career, and the appear on editors’ radar as pitches, colleagues. “Everybody seemed to risks a publisher takes when it does nearly all delivered by phone or by have read the book and understood so, than Matthew Thomas and We e-mail from literary agents. Rucci, it and could speak about it with a Are Not Ourselves. the editor in chief, estimates that lot of excitement,” Thomas recalls. she sees pitches for roughly three “The emotions were running high imon & Schuster occupies hundred books a year, of which she for me, and I think for Bill [Clegg], an Art Deco jewel box of a ends up acquiring at most a dozen too.... I had goose bumps. I felt like building on Avenue of the for publication. Most reading of if I were to die right then that my Americas, where the com- submissions takes place on nights book would be in the right hands.” Spany’s name is emblazoned in brass and weekends, and since no human Not every editor, of course, can letters above the entrance’s revolving being has enough spare time to read muster this sort of institutional full- doors. Inside, though, past the lobby, three hundred books a year, editors court press for a first novel, nor can the editorial offices call to mind an have to prioritize. Editors are con- every editor rely on hearing about unusually quiet big-city newsroom stantly meeting with agents at lunch the hottest books from agents. A or perhaps the administrative office and at industry events, trading gossip more junior staffer, such as twenty- of a public library: The lighting is and building relationships, so when a eight-year-old associate editor Emily dim, the decor strictly utilitarian; well-known agent calls with news of Graff, spends part of her workweek nearly every surface is covered with a book from a hot new client, editors actively beating the bushes for stacks of manuscripts. Asked if she will drop everything and read that younger, emerging authors. Graff ever crashes on the well-worn couch manuscript first. does receive agent pitches—four or in her office after late nights reading That is what happened with We Are five a week, she estimates—but she submissions, senior editor Millicent Not Ourselves. Thomas’s agent, Bill also scours literary magazines like Bennett looks aghast. “I think that’s Clegg, formerly of William Morris Ploughshares and One Story for prom- been here since they built the build- Endeavor, contacted Rucci a week be- ising writers who might have a book ing,” she half-whispers. “It scares me fore the novel went out on submission in them. When she finds a story she a little.” warning her to “clear the decks” in likes, she looks up the author online Around the office, attire is business order to give herself time to read the and sends off an e-mail. “I try to set casual and are long—very lengthy manuscript. Having worked aside two or three hours on Friday long. Rucci, whose best-known ac- with Clegg in the past, she set aside after lunch when things are a little quisitions range from Chris Cleave’s the time and quickly decided she slower, and I try to write one fan let- Little Bee to Lauren Weisberger’s wanted to buy the book. As it turned ter a week to somebody,” she says. Chasing Harry Winston, is a single out, so did a number of editors at “I’m looking for people who are mother who is up every morning at other New York publishing houses, just starting out, like I am,” Graff 4:30 AM to read for two hours before but once the auction for the book explains. “I want to be sure that I’m her eighteen-month-old daughter entered its second day, Rucci came in charge of my own destiny in a way. wakes up. For her part, Bennett, also in with the top bid. “We just went I also know it takes a long time to a mother of young children, says that in, guns blazing, and kind of scared write a novel, so the fact that I reach during heavy seasons for submissions, everybody away,” she says. out to [new writers whose work ap- such as before industry events like the But it wasn’t only money that pears in] Ploughshares tomorrow and Book Fair, she routinely stays won Rucci the book, says Thomas. it takes them five years to send me in the office well past her children’s The first-time author had been “re- something, I want to make sure that bedtime to catch up on manuscripts. ally bowled over” by a meeting with I’m thinking long-term about my “I was the kid in college who pulled executive editor Jennifer Barth at career.” all-nighters when I needed to,” she HarperCollins, the underbidder The standard knock on editors at explains, “and when it comes down to in the auction, and planned to go mainstream presses, of course, is that it, I still do now if I have to.” with her until he arrived at Simon they’re so busy fielding agent pitches

PW.ORG 12 The team at Simon & Schuster meet in the office of publisher Jonathan Karp (far right).

and shepherding books through the never, ever acquired a book that I did much of the novel fell into place,” publication process that they don’t didn’t edit,” she says. “Maybe there he says. “Whenever she asked me to have the time to properly edit the are people who do that. Maybe there cut a line, I would look at the line and manuscripts they’ve acquired, and are people who think a book is done realize immediately it needed to be after watching editors at Simon & when an agent sends it to you, but I’ve cut. She has a pretty unerring eye Schuster navigate a day of meetings never had that experience. Do I do and she’s generous with her time and and phone calls—and hearing their significant edits? Yes. Have I bought her perspective. It was a much better stories of rising before dawn to catch things that I thought needed signifi- book when she was done with it than up on submissions—one does won- cant work? Yes.” before she got it.” der where they find time to work with In the case of We Are Not Our- Once Rucci finds a book she wants authors. selves, Thomas says he and Rucci to acquire, she passes it around to The editors say they simply make spent three and a half months fine- other members of her team to get the time, mostly outside regular of- tuning the book, mostly via phone their feedback. It is hard to under- fice hours. Rucci says she typically and e-mail, during which time he state the value of in-house enthusi- makes two to three passes through wrote an entirely new twenty-page asm for a manuscript, other Simon & a manuscript with an author, going section early in the book in response Schuster editors say. “It’s not that [an from broader, developmental issues to her suggestions. “She pulled out a individual editor] can’t go it alone, but to narrower, line-editing questions. couple of strings that were loose and it’s advisable,” explains Bennett.

christy whitney “It’s really case by case, but I’ve asked me to resew them, and once I “If you say, ‘I love this manuscript,’

13 POETS & WRITERS POETS & WRITERS GUIDEGUIDE TOTO THETHE BOOKBOOK DEALDEAL

and you give it to ten other people as the marketing group and the sales mutable fact of the book business is who have similar tastes or at least group to craft a message around that that books are long and the people are going to be involved in selling book so that the final reader under- who work with them cannot possibly the book, and it falls flat with them, stands this is something that reader read every title they encounter on a then whether or not your relationship will like, but also the intermediary— daily basis. Thus, books are inevita- to that book is the same as when you the retailer, the e-retailer—will un- bly spoken of in shorthand, most often first read it, it’s probably not the best derstand where to put that book so in the form of an “elevator pitch”—a business decision [to acquire it].” that it’s in front of that reader.” brief summary of the book’s premise, This calls into question the adage, In recent years, with digital pub- its author, and its intended audience— often repeated by literary agents, that lishing on the rise and much of the and for obvious reasons, an elevator “it only takes one” editor to fall in traditional book business in financial pitch containing the name of a famil- love with a book. When an editor ac- straits, more of the responsibility for iar author travels further and faster. quires a book at Simon & Schuster, publicizing and marketing books has At the Key Titles meeting in Karp’s the editor must sell the project up the fallen to authors. But Cary Goldstein, office, the editors and publicists also chain to Karp, who must approve the Simon & Schuster’s publicity direc- discuss One Kick, a new thriller by expenditure for the author’s advance, tor, says the insti- but the editor must also work to build tutional weight a in-house support for the book among major publisher “A NEW YORK the publicists and marketing special- can throw behind ists, who will oversee the launch. a book is too often PUBLISHING HOUSE CAN When an editor does build support left out of the for a book in-house, that enthusiasm discussion about PULL A NUMBER OF radiates outward, prodding publicists the relevance of to alert their media contacts to an ex- mainstream pub- CULTURAL LEVERS THAT citing new title and encouraging the lishing in a digi- ARE LARGELY INVISIBLE company’s marketing and sales teams tal age. “There to go the extra mile. Conversely, if an are a lot of people TO THE GENERAL PUBLIC, acquiring editor fails to build support involved in pub- for a book among her colleagues, the lishing a book AND AS THE EDITORS book will still be published, but the that a reader and publicists may not be as creative in a writer may be AND PUBLICISTS TALK, IT the way they pitch it to their media unaware of,” says contacts, and sales representatives Goldstein, who is BECOMES CLEAR THEY ARE may not be able to devote as much also a senior edi- time to the title in their presenta- tor. “I’m talking PULLING AS MANY OF THEM tions to booksellers—all of which can about every single AS THEY CAN.” make it harder for readers to find out level, from the about the book and buy it. interior design to “Part of the editor’s role, in addi- the copyediting to the jacket design, Chelsea Cain, who recently moved tion to working with a writer, is to to the marketing and positioning, to to Simon & Schuster from St. Mar- be the first advocate, almost the in- the copywriters who are writing the tin’s Press, bringing with her a track terpreter of the book for the market- flap copy along with the editors.” record of six successful crime novels place,” explains associate publisher Of course, building in-house en- and a fan base waiting for her next Richard Rhorer, who oversees the thusiasm for an upcoming title is offering. Nearly four months before imprint’s marketing staff. “[Editors easier when the book has something the book hits store shelves, the mar- have to be able to say,] ‘I loved this going for it beyond an acquiring keting team is able to report to Karp book, I bought it because of X, Y, and editor’s enthusiasm, such as a famous that buzz for Cain’s One Kick is already Z, here’s the reader it’s for.’ It’s our job author or a catchy premise. One im- growing on the social media outlets

PW.ORGPW.ORG 1414 that serve as today’s word of mouth, new authors. This is difficult in part and the publicity team sees early signs because many emerging writers don’t that One Kick will be widely reviewed. hit their stride until their second or This leaves the group with the envi- third novel, but also because at each able task of batting around ideas for step along the way, from publicists articles Cain might write to help pro- pitching article ideas to journalists, mote her book. The novel turns on to sales reps pitching titles to retail an abduction, so perhaps Cain could buyers, no one knows enough about write a piece offering tips on what to a debut author’s work to know if the do when one is abducted. Or could book will find readers. Cain, who has a daughter, write a piece A new author’s path can be made for the “mommy blogs” about being a somewhat less arduous, however, by a mother who writes books that touch premise that can be readily summed on the dark side of life? up in an elevator pitch. Senior editor “She’s in great shape,” Karp de- Sarah Knight notes the example of clares. a recently published acquisition, The Intern’s Handbook by Shane Kuhn, t doesn’t take many hours of the elevator pitch for which she de- sitting in publishing-industry livers with glee: “HR Inc. is a place- meetings and talking to edi- ment agency for interns. They send tors to see why mainstream you to work in Fortune 500 com- Icompanies turn out so many books panies, law firms—the biggest and that look and sound like so many brightest businesses in New York others that have come before. Pub- City. But [HR Inc.’s employees] are lishing professionals develop what not really interns; they’re assassins, Goldstein calls “pattern recogni- and the reason this works is that no tion”—an expertise in how to ac- one remembers the intern.” quire, edit, and sell a certain kind “That’s a book that’s easy to pitch,” of book for a certain kind of reader. Knight says. “It’s easy to talk about, But it’s not just the publishing pro- and it’s doing very well right now.” fessionals. Readers, too, like books What then, she is asked, should a that sound like books they’ve read little-known debut author do with before. Rhorer, the associate pub- a novel that doesn’t lend itself to a lisher, cites market research showing snappy elevator pitch? “Put it in a that readers are fifteen times more drawer,” Knight says, with a rueful likely to buy a book by an author laugh. they are familiar with and like, and “I’ve banged my head against the between 30 percent and 40 percent wall with a couple of really wonder- of fiction readers say they bought ful literary novels” that weren’t easy their most recent book because it to discuss, Knight explains. In these was written by a favorite author or cases, the author has devoted years was in a series they read. “That’s why to writing the book, and teams of breaking out someone who is new is editors, publicists, copyeditors, and so hard,” he says. designers have spent months creat- But name-brand authors like Chel- ing a finished product for publica- sea Cain or Hillary Clinton come at tion. “If you can, try to think what a high price, and to remain viable, it will feel like to get to the end of publishers must continually break out that arc and have a book that you can’t

15 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

explain really well to anyone, and three generations of an Irish Ameri- then it sells thirty-six copies in week can family, could be pitched to Irish one and you’re profoundly disap- American readers. Could the market- pointed,” Knight says. “Maybe avoid ing campaign focus on the novel’s that by writing a book that sounds strong female protagonist without like [something] everybody wants to driving away its potential male read- read, from the beginning.” ership? What about the Alzheimer’s Knight’s comments shed light on the angle? “In terms of the messaging, discussion around the table in Karp’s how hard do we want to hit the Al- office at Monday morning’s Key Titles zheimer’s thing?” Karp asks. “Do we meeting about Matthew Thomas’s We want to get pegged as an Alzheimer’s Are Not Ourselves, which is, after all, a novel? Does that limit our audience?” work without a snappy premise or ob- The clear consensus was that the vious pop-cultural hook. A New York marketing campaign should steer away publishing house can pull a number of from mentioning Alzheimer’s, despite cultural levers that are largely invis- the fact that the disease and its impact ible to the general public, and as the on Thomas’s central characters con- editors and publicists talk, it becomes sume hundreds of pages in the book. clear they are pulling as many of them “When you look at a six-hundred-page as they can. In recent weeks personally book and you read it’s about Alzheim- introduced Thomas to booksellers in er’s, you think—hmm,” notes Rhorer. four cities, and in the weeks to come Eventually, Rucci, who acquired they will arrange lunches for him with the book, steps in with her own vision editors in charge of assigning author of the novel: “It’s about one woman’s profiles and book reviews at major dreams and hopes and how she’s been publications. The attention to detail in a striver and she’s epitomized the whole this process can be breathtaking. Later, middle-class experience of the twen- Goldstein mentions an alert he has on tieth century, and just when her goal his Gmail account that notifies him of and her vision is within reach, a terrible every news article or review mention- tragedy befalls her family and her life ing Irish American author Alice Mc- veers off course. It’s about the heroism Dermott, who was one of Thomas’s with which she responds to this.” teachers. Goldstein keeps a list for This seemed to satisfy the group. future reference, in an effort to track They appeared to genuinely love which critics are interested in novels Thomas’s book, and staked more about the Irish American experience. than a million dollars of their com- Ultimately, though, a literary pany’s money on its success. Still, novel must be its own best ambas- without a previous book or profile in sador, and Simon & Schuster sent the literary world, Thomas entered out an astonishing seven thousand the marketplace an unknown quan- advance copies of We Are Not Our- tity, and after every lever has been selves to build prepublication buzz. In pulled and every ad dollar spent, the the meantime, the executives needed fate of We Are Not Ourselves remains to find a way to talk about the book largely out of its publisher’s control. that wouild help it find its place in the “If it’s going to be an instant best- cultural landscape. In other words, seller, it’s going to come off a rave they needed a good elevator pitch. review somewhere,” Rhorer says. Perhaps the book, which focuses on No one disagrees.

PW.ORG 16 have worked with Johanna Ingalls, THE INDIE our managing editor from near the beginning, to keep our doors open for business. Now we publish more than twenty-five books a year; our list ADVANTAGE is about three-quarters urban literary An Argument for Writers’ fiction and crime fiction, one-quarter political nonfiction. Today’s indie publishing com- Taking Charge munity is in some ways reminiscent BY JOHNNY TEMPLE of American punk rock in 1982. In that era, bands took it upon them- selves to carve out networks that entered the book business culturally healthier business model, would connect the punk scene in through the portal of under- we imagined, would place more value San Francisco to the one in Phoenix, ground rock music. Along on the adventurousness of the music the one in Lawrence, Kansas, to the with Mark and Bobby Sulli- than on the accumulation of capital. one in Washington, D.C., to Am- Ivan, two friends from Washington, Burgeoning punk labels aspired to sterdam’s, to Belgrade’s, to Israel’s, D.C., who, like me, had no experi- provide a cultural counterbalance to to Bangkok’s, and beyond. Working ence whatsoever in publishing, I the corporate heavyweights; a small closely with indie labels, bands did cofounded Akashic Books in 1997. number of giant companies domi- the dirty work of booking their own We had grown up playing in nate the industry (and the book busi- tours and driving in decrepit vans bands together in the D.C. punk ness as well). These behemoths are and sleeping on floors and in parking scene of the eighties, where we were often ill equipped to handle art that lots—hammering out a vibrant (and, inculcated with a simplistic but sen- is not targeted at huge national mar- yes, highly flawed) new underground sible do-it-yourself ethos. The idea kets. Always hunting for hits, they culture where one didn’t exist be- was that hardworking bands, upstart routinely overlook brilliant music fore. A similar grassroots approach record labels (often launched by mu- that may not have mass appeal. to local-scene building—and to the sicians), and dedicated fans could In 1991 three friends and I formed networking between those scenes— forge a vital, idealistic alternative to the band, Girls Against Boys. thrives in indie literature. the mainstream music business. A Though we are largely inactive these Calling upon writers to do more of days, our first CD came out in 1991 their own promotional “dirty work” Johnny Temple is the publisher and and our sixth in 2002. We worked is by no means a suggestion that they editor in chief of Akashic Books. He with independent labels for our first alone must carry this burden. To be is also the cofounder of Brooklyn four albums, touring constantly in sure, it is primarily the publishers’ job Wordsmiths, an editorial and consulting the and Europe, be- to market the books they take on. The company. Temple won the American fore we signed a high-profile deal ideal, of course, is to collaborate with Association of Publishers’ 2005 with Geffen Records, a subsidiary an attentive and zealous publisher, Miriam Bass Award for Creativity in of the Universal Music Group. but the reality for most artists in any Independent Publishing and the 2010 Jay It was the money I received from medium is that little is guaranteed and Dean Kogan Award for Excellence our record deal that gave me the beyond one’s own efforts. (Even close in Noir Literature. He has contributed means to begin Akashic. We mod- friends with “good connections” often articles and political essays to various eled it after visionary, independent fail to come through for artists.) publications. He is also the chair of music labels, like Dischord Records the Brooklyn Literary Council, which in D.C. and Touch & Go Records hen my band was works with the borough’s president to in Chicago. Although Bobby, then preparing to sign plan the annual Brooklyn Book Festival. Mark, left the company early on the deal with Geffen to focus on raising their families, I WRecords, we took

17 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

a close look at the experiences of but we were able to keep moving for- ible, bottom-line imperative of the the bands who had made the jump ward by touring and writing songs major corporate publishers. My own from indie to major before us. As a for the next record (released in 2002 publishing roster has several fine ex- result, we were not exactly shocked by the Delaware-based independent amples. One of Akashic’s best-sellers when the perils of working with a Jade Tree Records). In retrospect, is Hairstyles of the Damned (2004), a huge corporation manifested them- there is no one to blame for the novel told from the perspective of an selves. There was the seemingly label mishaps, because we were fully insecure and lovesick teenage boy. It fated mega-merger; the resulting aware of what we were getting into is the third book by Joe Meno, a cor- layoffs of all the Geffen staff we had when we signed the Geffen contract porate-publishing dropout. It was developed close relationships with; and took the company’s money. also the debut title from our Punk and the weeks of unreturned phone Writers, likewise, should no lon- Planet Books imprint, run by Daniel calls to the label. The “eighteen- ger be shocked when, for example, Sinker, former publisher of the now- month marketing campaign” we their big-house editor takes a better- defunct Punk Planet magazine. had mapped out with the label col- paying job at another conglomer- Joe Meno’s first novel had been lapsed after ninety days…and thus ate—or, perhaps more likely these published by St. Martin’s Press and ended Geffen’s efforts on behalf of days, is laid off—stranding them at his second by ReganBooks, a now- our still-new album. a company where, suddenly, no one defunct division of HarperCollins. Fortunately, we had prepared for cares about their book. This hap- His impressions of these companies this predictable outcome by negoti- pens all the time. Open-eyed artists are best captured on the acknowl- ating a clause in our contract allow- who mind the hazards of their trade edgments page of Hairstyles of the ing us to extricate ourselves when it can be better prepared for the (al- Damned, where he warns publishing all crumbled. With our full creative most) inevitable. corporations: “Be ready, the end is control built into the agreement, Which brings me to (could you nigh.” Ironically, this book was se- Geffen was required—once we de- see it coming?) the advantages of lected by the Barnes & Noble Dis- cided we were ready—to fund the working with independent publish- cover Great New Writers program recording of our next CD. The label ers. For starters, one’s editor at an and outsold Meno’s previous novels strung us along for over a year, dur- indie is often the publisher herself, within several weeks of publication ing which time we submitted to them who isn’t likely to up and leave for and was translated into German, a number of demos of our songs. greener pastures. And if you are Russian, Turkish and Italian. But the executives weren’t hearing square enough with yourself to rec- A common complaint from writ- any smash hits. (At one point, the ognize that a runaway hit is highly ers working with big houses is that company’s postmerger president ac- unlikely, no matter how good your they have no say in their book-cover tually told me, “What I need from book is (just look at the dismal designs. Leaving aside the fact that you guys is verse, chorus, verse, percentages—very few big-house writers should demand cover-art chorus—hit!”) My band mates and books are commercially successful), approval when negotiating their I grew frustrated and finally decided the advantages of being published contracts, I still have trouble un- to enforce our contract: Geffen had by a conglomerate are reduced to derstanding why this is something to either free up the recording bud- a single one: the big advance. Over authors must fight for. Why exclude get for our next album or release us time, indie publishers who manage the author from such a critical aspect from the agreement. The executives to stay in business can develop dis- of his work—the first thing a poten- chose the latter, dropping us from tribution networks that rival those of tial reader sees when she picks up the their roster. Since they were break- the major houses. And independents book? Not every author has a good ing the contract, we came away in are often far more attentive to their visual sense, but I find that most can great shape, with a golden parachute books, and more creative with their at least offer valuable feedback, if not in the form of a substantial payout. marketing, even if their budgets are a solid cover concept. It is creatively Losing over a year of our band’s life smaller. dunderheaded (and commercially late in our career to a battle with Some veteran authors have dubious, since authors know their Geffen was frustrating, to be sure, begun rebelling against the inflex- work best, even if they are not mar-

PW.ORG 18 keting experts) to exclude authors time of her nomination. But the With advances in design software from this process. Nearly every fact is, other than blockbuster hits, and print-on-demand technology, Akashic contract gives the writer few books sell more than a couple book publishing is increasingly ac- full creative control on both the of thousand copies. When a writer cessible to those lacking big salaries, editorial and design levels. What tells you how many copies his book loaded backers, or trust funds. As in should be standard industry practice has sold, you can usually divide the early punk days, when musicians gives writer-friendly independents a that number by two or three to get began creating their own record la- small but important advantage over closer to reality—though this may bels many ambitious, community- the corporate publishers. be a reality of which the writer him- minded authors have launched their So despite a hefty payout up front self is unaware. own publishing ventures: Ugly (which often bears little correlation Once the pitfalls of today’s pub- Duckling Presse, founded in 1993; to sales), the playing field for indies lishing terrain are understood, writ- Featherproof Books, founded in and majors may already be close to ers can readjust their expectations. 2005; and ten-year-old Sidebrow, to level. To be clear, I don’t begrudge Start with a basic truth that is rarely name a few. any author getting (over-)paid with presented in MFA programs and at The mission of Wave Books, a a big advance—in fact, I encour- writers conferences: Five thousand Seattle-based publisher founded in age and celebrate it—but everyone copies sold is a fantastic number, par- 2005, expresses the vision evident in should be honest about what’s going ticularly for a first-time author. This this alternative breed. As publisher on. I could not have started Akashic goes for books published by either of independent poetry, it seeks to Books without the cash that my band indies or majors. (A quick probe of publish “strong innovative work” was (over-)paid by Geffen Records BookScan will show how few books and encourages its authors to “ex- in 1995, but I never confused that pass this threshold.) Those who pand and interact with their read- income with imminent commercial criticized the ership through nationwide readings recording success. committee for nominating Schutt and events, affirming our belief that If you want to deflate the expansive didn’t understand the nature of the the audience for poetry is larger ego of a fellow writer published by beast. and more diverse than commonly one of the big houses, just get ac- thought.” cess to BookScan, an industry here is a new crop of Another publishing entity that marketing device that tracks actual idealistic independent has been breaking the mold for sales via bookstores and other re- publishers taking steps to some years now is Oakland-based tail outlets. Nine times out of ten, revitalize the trade. One AK Press, a collective with an- the BookScan data will burst your Tsuch company is Columbus, Ohio– archist leanings. In addition to friend’s bubble, since agents and ed- based Two Dollar Radio, launched selling books through regular re- itors routinely shield writers from in 2005 by writer Eric Obenauf with tail channels, AK sets up book such numbers. This is understand- his wife, Eliza Jane Wood, and his tables in a wide variety of public able, because the numbers are too brother Brian Obenauf. After read- settings—county fairs, political ral- often depressing. ing The Business of Books by André lies, and rock clubs, among them. Although it is notoriously im- Schiffrin, Eric was inspired to start Reaching beyond traditional ven- precise, BookScan does reveal the his own “idealistic book publishing ues and actively seeking out new au- distressing reality that most books company” because “the concept that diences, young writers and publishers sell in very small quantities—even someone’s perception of a book was are rolling up their sleeves and carv- those that garner positive reviews merely a number in a column on a ing out new networks through which in and the New spreadsheet made me sizzle.” Since literature can be promoted. Publish- York Review of Books. A 2004 Na- then the publisher of literary fiction ing is a tough business, no matter how tional Book Award finalist, Chris- has garnered attention from publica- you slice it, but this may be a blessing, tine Schutt was ridiculed for the tions such as the Village Voice, De- because the love of books remains the fact that her book Florida had sold tails, Publishers Weekly, and guiding principle for almost all indie scarcely one thousand copies at the Literary Supplement. publishers.

19 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

THE AGENTS AND EDITORS SERIES… offers a wealth of information—beyond what’s listed in reference books and databases—about the likes and dislikes and the dos and don’ts of industry leaders. In this series of in-depth interviews, which was started by Poets & Writers Magazine contributing editor Jofie Ferrari-Adler and continues Little, Brown executive editor Michael Szczerban, thefollowing twelve editors, with experience in big houses and small, discuss their approaches to editing, how writers can help themselves navigate the industry, what authors should know about agents, and more. Read the full interviews at www.pw.org/magazine.

CHUCK ADAMS began his career AMY EINHORN is the senior vice in 1967 in an entry-level position president and publisher of Flatiron at Holt, Rinehart and Winston. Books, an imprint of Macmillan. He moved on to Macmillan, then She started Amy Einhorn Books, Dell, where he built a reputation an imprint of the Penguin Random as a brilliant line editor, and was House division of G. P. Putnam’s eventually recruited by Simon Sons in 2007 and published its first & Schuster to work alongside celebrated editor Michael title, Kathryn Stockett’s No. 1 best-seller The Help, in 2009. Korda. In the years that followed, Adams edited and ac- Since then, the novel has gone on to sell millions of copies. quired an extraordinary range of best-selling and award- Einhorn began her career as an assistant at FSG in 1990, and winning books by authors such as James Lee Burke, Susan worked at , , and before Cheever, Mary Higgins Clark, Joseph Heller, Ronald Rea- becoming the editorial director of Washington Square Press, gan, and Elizabeth Taylor. In all, nearly one hundred of and then the hardcover editor in chief at Grand Central Pub- the books he’s edited have gone on to become best-sellers. lishing. In addition to Stockett, the authors published by Amy Adams became an editor at Algonquin Books, the small Einhorn Books include Sarah Blake, Eleanor Brown, Harry literary publisher in Chapel Hill, North Carolina, shortly Dolan, Alex George, Jenny Lawson, and M. O. Walsh. after leaving Simon & Schuster in 2004, and quickly ac- quired Sara Gruen’s best-seller, Water for Elephants, which JONATHAN GALASSI, president and has gone on to become a publishing phenomenon, spend- publisher of Farrar, Straus and Gir- ing a year and counting on the New York Times best-seller oux got his start in 1973, as an intern list with sales of more than two million copies to date. at Houghton Mifflin. Before long he earned a reputation as an adroit LEE BOUDREAUX was an editor and was appointed at for almost ten head of the company’s New York years before leaving to become the office. One early acquisition was Alice McDermott’s debut editorial director of Ecco in 2005. novel, A Bigamist’s Daughter, which he took with him when he She has worked with Arthur Phil- moved to Random House in 1981. Within months of leaving lips, Dalia Sofer, and David Wro- Random House, in 1986, and accepting a job at Farrar, Straus blewski. She is now the head of her and Giroux, he acquired Scott Turow’s Presumed Innocent, the own imprint at Little, Brown. runaway best-seller that propelled him up the editorial ranks.

ERIC CHINSKI worked at Oxford ALEXIS GARGAGLIANO worked at University Press and Houghton Simon & Schuster and Knopf before Mifflin before moving to Farrar, moving to Scribner as an editor in Straus and Giroux, where he is 2002. Her authors included Matt Bon- editor in chief. He has edited Chris durant, Adam Gollner, and Joanna Adrian, Rivka Galchen, and Alex Smith Rakoff. In 2013, she left Scrib-

Ross. ner to become a freelance editor. einhorn, pavlin: christy whitney; boudreaux, chinski, gargagliano, nash: pieter van hattem

PW.ORG 20 THE AGENTS AND EDITORS SERIES…

JONATHAN KARP became pub- JEFF SHOTTS is the executive edi- lisher of Simon & Schuster in tor of Graywolf Press, whose roster 2010 after founding Twelve, an of poets and essayists include Eliz- imprint of the Book abeth Alexander, Mary Jo Bang, Group whose first thirty books Eula Biss, Matthea Harvey, Tony published were New York Times Hoagland, D. A. Powell Claudia best-sellers, including Chris- Rankine, Vijay Seshadri, Tracy topher Hitchens’s God Is Not Great, and Christopher K. Smith, Mary Szybist, the late Tomas Tranströmer, and Buckley’s Boomsday, Supreme Courtship, and Losing Mum Kevin Young. In the past three years alone, his authors have and Pup. Prior to his stint at Twelve, Karp spent sixteen collected two Pulitzer Prizes, a National Book Award, and years at Random House, editing acclaimed best-sellers two National Book Critics Circle Awards. such as Laura Hillenbrand’s Seabiscuit and Matthew Pearl’s The Dante Club. JANET SILVER, who at the time of the interview that appeared in the RICHARD NASH is a strategist and July/August 2008 issue Poets & Writ- serial entrepreneur in digital media. ers Magazine was editor-at-large for He led partnerships and content Nan A. Talese’s imprint at Double- at the culture discovery start-up day, is currently literary director Small Demons and the story app/ of Zachary Shuster Harmsworth aggregator Byliner. Previously he agency. Prior to her tenure at Nan A. Talese, she was vice presi- ran the indie Soft Skull Press. He dent and publisher of Houghton Mifflin, the venerable Boston- left in 2009 to found Cursor and to run Red Lemonade as based house. She’s edited a staggering list of authors, including a pilot for the Cursor project. Jonathan Safran Foer, , Tim O’Brien, Cynthia Ozick, , Robert Stone, Natasha Trethewey, and JORDAN PAVLIN is a vice president John Edgar Wideman. and executive editor at Alfred A. Knopf. She began her career in PAT STRACHAN spent the first 1990 as an editorial assistant at St. seventeen years of her career at Martin’s Press. A year and a half Farrar, Straus and Giroux, start- later she moved to Little, Brown, ing as an assistant and rising to where she worked with Vikram vice president and associate pub- Chandra, Charles D’Ambrosio, Thom Jones, and Katie lisher by editing top-shelf writers Roiphe. In 1997 Pavlin joined Knopf as an editor and such as Joseph Brodsky, Lydia has remained there for the past sixteen years, publishing Davis, John McPhee, and . Over four works by Pauline Chen, , Nathan Eng- in the business, she has edited some of our most lander, Ethan Hawke, Anthony Lane, Ben Marcus, Sue celebrated poets—Donald Hall, Galway Kinnell, Philip Miller, Susan Minot, Julie Otsuka, Ann Packer, Allison Larkin, Czeslaw Milosz, and Grace Paley, to name a

strachan, galassi, and karp: pieter van hattem; adams: charles harris; shotts: sara jorde; silver: webb chappell strachan, galassi, and karp: pieter van hattem; adams: charles harris; shotts: sara jorde; silver: webb chappell Pearson, Maggie Shipstead, and Julie Orringer. few—and an equally impressive roster of prose writers.

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Hiking the Yaak Valley With Novelist Rick Bass History Lessons From an Old-School Publisher Rosmarie Waldrop’s Poetry in Motion Trademark Tips Agent Advice

Jesmyn Ward The National Book Award–winning author faces tragedy in her new memoir CHOOSE YOUR DIGITAL EDITION OF

radic journal, dimly aware that it could be fodder for future writ- UNLIKELY ALLIES ing. “Any writer is going to think about people like [Siegfried] Sas- An Indie Press and a Major House soon, [Robert] Graves, and [Nor- man] Mailer, who went through Join Forces to Make a Best-Seller these experiences and wrote great literature about them,” he says. “I BY ERYN LOEB guess part of me thought, ‘Oh, when I get out I’m going to write a great novel about the .’” At the time, of course, he pon its release, Karl Vietnam as a lieutenant in the Ma- had more immediate concerns. Marlantes’s debut rine Corps. In those days, he ex- “There is no more intense ex- novel, Matterhorn, plains, “boys did the service, and perience that I can think of that garnered praise for then they came home and married lasts that length of time,” he says. Uits vivid, trenchant portrayal of the girls and had the babies. When “But the overall feeling of com- American soldiers in the thick of I signed up, I had never even heard bat, for me, is sadness. You come the Vietnam War. But for more of Vietnam.” He’d joined right out away with memories of the inten- than thirty years, the manuscript of his Oregon high school, but first sity and the excitement—you can’t languished in literary purgatory, served in the reserves under a pro- deny that it’s exciting—but it’s while the author struggled to gram that allowed him to attend just so frightening.” Despite that find an agent—not to mention a college at during fear, Marlantes’s bravery in com- publisher—willing to take it on. the school year and report to boot bat earned him the Navy Cross for Published in 2010 as a collabora- camp during the summers in be- extraordinary heroism; the award tion between the California-based tween; after graduation, he would citation noted his “courage, ag- small press El León Literary Arts still owe the Marines three years of gressive fighting spirit, and un- and Grove/Atlantic, the book— service. Midway through his final wavering devotion to duty in the at nearly 600 pages, including a year at Yale (where a short story he face of grave personal danger.” glossary—owes its existence to wrote earned him the Tunic Prize Soon after arriving back in the people in disparate pockets of the for literature), Marlantes heard United States, he began writing. “I publishing industry, as well as to that he had been awarded a Rhodes typed out, almost manically, about the extraordinary persistence of its Scholarship, for which he had seventeen hundred double-spaced sixty-six-year-old author. “There applied to study politics, philoso- pages of psychotherapy,” he says. SUBSCRIBE TO SUBSCRIBE TO SUBSCRIBE TO were many times I would say to phy, and economics. With sol- Once he’d gotten that out of his IPAD EDITION NOOK EDITION KINDLE EDITION myself, ‘Are you crazy, Marlantes? diers in such high demand, he was system, he realized that his stream- You’ve been powering away at this pleasantly surprised when the Ma- of-consciousness ramblings didn’t ex- damn book for so long. Maybe you rines gave him permission to pursue actly qualify as a literary classic, and don’t know how to write,’” he re- his scholarship at Oxford University. “basically threw the pages away.” The calls, still sounding slightly dazed But once he arrived in England, he writing binge, though, had fixed in by his success. couldn’t stop thinking about his his mind certain details that would

OVER 110 WRITING CONTESTS WITH UPCOMING DEADLINES The book’s genesis began in 1968, friends serving in Vietnam. After prove crucial during the coming SEPT/OCT 2013 ABCPW.ORG when Marlantes was shipped off to only one semester, he decided to join years of rewrites and rejections. “I

THE them. “I saw very clearly that privi- spent a lot of time trying to come MFA lege was getting kids out of serving, to terms with my own war experi- ISSUE Eryn Loeb is a writer and editor in and it was not right,” he says. ences,” he says, both through writ- DEGREES OF VALUE New York City. During his subsequent thirteen- ing and through therapy. As he did, Hiking the Yaak Valley With Novelist Rick Bass month tour of duty, he kept a spo- in the years that followed, he began History Lessons From an Old-School Publisher Rosmarie Waldrop’s Poetry in Motion Trademark Tips Agent Advice

Jesmyn Ward 23 POETS & WRITERS The National Book Award–winning author faces tragedy in her new memoir POETS & WRITERS GUIDE TO THE BOOK DEAL

to consider how he might write about from an easy sell. “Back then it was energy-consulting firm. Building those experiences more construc- like, ‘Oh God, Vietnam. No one’s on that experience, he started his tively and decided it would be most interested in this. Please, we want own business in 1980 to provide freeing to do it through fiction. to forget about it,’” he recalls. “The consulting services for coal, oil, and From the first page of Matterhorn, war was so unpopular, they didn’t gas companies. But his book project Marlantes plunges readers into a want to touch it.” He estimates that was never far from his mind, and forbidding jungle full of lively, con- he sent out about twenty-five que- the real advantage of working for fused, and terrified young soldiers ries, which were all rejected—no himself was that it gave him more trying to find their way—and them- one even requested that he send the time to write. “I would pick away at selves—under incredibly it in between consulting harrowing conditions. As assignments or at night,” we follow them on their he says, trying to im- journey away from and prove the manuscript back to the hilltop fire- and cut it down, since support base from which some of the more practi- the book takes its name, cal feedback he’d gotten their story is anchored was that, at about twelve by achingly specific de- hundred pages, it was far tails that are clearly too long. drawn from the author’s In the mid-1980s, firsthand knowledge: a Marlantes started breakfast of “ham and thinking more strategi- lima beans mixed with cally about selling his grape jelly,” jungle air book, devouring articles so humid that “normal and handbooks with ti- envelopes would stick tles like “How to Write together before anyone the Killer Query Letter could use them,” leeches That Can’t Be Refused!” determined enough to Having regrouped, he crawl up into a soldier’s was ready to send out urethra. “Things in another round of que- the book aren’t exactly ries. But nearly ten years things that I experienced, after his first attempts, but there’s no doubt that agents and editors were those characters are see- still almost uniformly ing things that I saw and Karl Marlantes indifferent. “If anyone experiencing things I did experi- manuscript for them to read. Dis- answered, it was always like, ‘Oh ence,” he says. All the while, the couraged, he put it away. yeah, Vietnam. Hollywood’s al- characters grapple with the di- For most of the seventies, living ready done it: Full Metal Jacket, Pla- lemma Marlantes has carefully laid in Portland, Oregon, Marlantes toon,’” Marlantes says. Adding to his out for them: How do you learn worked as a lumber salesman to frustration was the fact that it was compassion in the middle of a war? support his growing family—he never his writing that was being re- Marlantes started seriously writ- had gotten married in 1972, and he jected—no agent ever even wanted ing the first draft of the novel in 1975, and his wife went on to have four to see it—but the idea behind it. and worked on it for about a year children (the couple later divorced; After having received about fifteen and a half. In 1977, when he began he has one child from his second rejections, he felt too defeated to to reach out to agents and publish- marriage). In 1978, he shifted his keep at it. Over the next ten years,

ers, his subject made the book far focus and began working for an Marlantes regularly revisited his boswell devon

PW.ORG 24 manuscript, but discouragement know who you’re talking to. All the broader perspective as he wrote, kept him from sending it out again friends I just left behind in Vietnam that the world is much more than until the mid-1990s. This time, re- are younger than you are, and I’m the one human being who is seeing sponses to his queries ran along the just your age!’ I began to realize that it and feeling it. I’m always very lines of, “It sounds interesting, but what I wanted to do was reach across picky about that.” could you set it in the Gulf War and that street. I wanted to write to ex- Duane accepted the book, and maybe cut it in half?” Again, fifteen plain myself and my friends.” Marlantes’s deal with El León rejections proved to be the magic stipulated that the press would number that sent him back to the fter years of study- print 1,200 copies; the author’s drawing board. ing the “right” route to compensation would be 120 books. Over the years, Marlantes found publication, Marlantes “I thought, ‘Boy, that’s the best that the rejections could be infuriat- got a break that devi- offer you’ve had in thirty-two ingly contradictory. Once, he was told Aated gratifyingly from the script. years,’” Marlantes says, laugh- that the book had great characters but In the fall of 2007, he sent the man- ing. He remembers Farber telling a weak plot. A few days later, another uscript to his friend Ken Pallack, him, “‘You don’t have to change a rejection letter praised the plot and who had asked to read it simply be- thing if you don’t want to. We’ll said the characters were weak. “They cause he was interested in Marlan- publish it just the way it is.’ But just don’t want to tell you, ‘We don’t tes’s writing. With the manuscript Kit would say things like, ‘Come think we can make money on it,’” on his desk, Pallack got a fortu- on Karl, this is just a little tedious Marlantes says now. While he often itous call from Thomas Farber, a here.’ And she was right.” When felt frustrated and upset by the re- college friend he hadn’t spoken to it came to editing, “almost every- jection, he kept at it. Sending more in quite a while. Pallack knew that thing I did with Karl was of a more queries in the mid-2000s—after Farber was a professor of creative technical nature,” Duane says. The another ten-year gap and further writing at the University of Cali- two worked together to tighten the attempts at revision—brought a fa- fornia in Berkeley, but since they’d book as a whole, and to compress miliar refrain: “Maybe you could set last spoken, Farber told him, he’d some sections. Duane wasn’t con- it in Afghanistan, that might work founded a small nonprofit publish- cerned about the book’s consider- better—and cut it in half.” ing house called El León Literary able length—when it landed on her For a long time, Marlantes says, Arts, which publishes “books that desk, it ran 712 manuscript pages— he didn’t really think about why he seem to be unable to be published which for so many other publish- persevered in the face of so much re- elsewhere in the commercial mar- ers might have been a deal breaker. jection; writing this book was just a ketplace.” Pallack told Farber that At El León, “we don’t judge books part of his life. But recently, prodded he happened to have a promising that way,” she explains simply. by his publicist at Grove/Atlantic, he manuscript right in front of him, “We’re operating with a lower gave it some thought and recalled a and Farber told him to have the burden in terms of the cost per day very soon after he’d gotten back author send it to El León’s then- book than New York City publish- from the war. He was in Washing- senior editor, Kit Duane, who is ers are,” Farber says. “So we have ton, D.C., serving the remainder of now managing editor. some freedom of motion that cor- his three-year Marine Corps hitch Marlantes was dubious. “I said to porations don’t have. But of course, assigned to the Pentagon. Walk- him, ‘Ken, you want me to go down it’s a tightrope act.” Matterhorn was ing down Pennsylvania Avenue to Kinko’s and spend fifty dollars scheduled to be released in May wearing his uniform, he saw a group copying this manuscript about 2009, and in the lead-up Marlantes of students across the street, hold- Marines in Vietnam to send to a sent several of his advance copies ing Vietcong and North Vietnamese woman in Berkeley?’” But his war to some independent bookstores he flags. “They were shouting insults novel turned out to have a broader thought might be interested in car- and swearing at me and giving me appeal than he’d imagined. “I was rying it (without the resources to the finger,” he recalls. “I was just captured from the very first page,” print galleys, the books were part of stunned. I wanted to say, ‘You don’t Duane says. “Karl always had the El León’s sole print run). The staff

25 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

of Annie Bloom’s Books, in Port- and pull the book from Amazon, life to it—but he also knew it prob- land, Oregon, was enthusiastic, and where it had just gone on sale. ably wasn’t perfect. Eventually he asked if Marlantes would be inter- They also agreed (“exceedingly settled on Sloan Harris of Inter- ested in giving a reading. Someone generously,” in Marlantes’s view) national Creative Management, there also told a reporter from the to cover El León’s printing costs whom he praises as “an honest- Oregonian about the meaty novel for the book, and by a local author, and the paper ran they offered the a favorable article about him that press a small cut of spring. Soon after, several other the profits. From MARLANTES GIVES bookstores asked him to come read. there, Grove/At- In the meantime, El León had lantic took over INDEPENDENT BOOKSTORES submitted the book for consider- all aspects of the CREDIT FOR RECOGNIZING ation in Barnes & Noble’s Discover production and Great New Writers program—just publicity. Farber THE WORTH OF HIS BOOK as a long shot, Farber says. The is pleased to see book was getting great reads from El León’s name on BEFORE THE BIG GUYS the selection committee, but its the book alongside members were concerned about Grove’s, and when GAVE IT THEIR STAMP OF El León’s ability to meet the in- he explains that creased demand that would come if his “entertainment A PPROVA L. Matterhorn was selected for special and travel budget promotion: twelve hundred cop- last year—includ- ies wouldn’t be nearly enough to ing the mandatory board meet- feedback guy.” distribute for sale across Barnes & ing for a 501(c)(3)—was $125,” it’s Harris was deeply impressed Noble’s stores, and the small press clear that the deal eased El León’s by Marlantes’s writing, but he simply didn’t have the resources to burden in ways that were vital for admits that Entrekin’s recom- produce a more substantial print its survival. mendation made the book a less run. So the buyers and readers Marlantes was elated. But intimidating prospect. “If I had employed by Barnes & Noble— though he’d now been embraced gotten a manuscript that was including the Discover program’s by two publishers, he still didn’t this long, I certainly would have former director, Jill Lamar, and the have an agent, and he needed one started my reading with some company’s influential lead fiction to help him negotiate the terms concerns for length and prob- buyer, Sessalee Hensley—started of his contract and guide him ably feeling a little overwhelmed spreading the word about their through the publication process. by the undertaking,” he says. “I find. It was Hensley who brought With Entrekin on his side, Mar- will not throw any stones at any it to the attention of Morgan En- lantes no longer had any trouble of the readers who had a shot at trekin, president and publisher of finding representation. “I went this before I did, because I could the venerable publishing house from no one talking to me to an have been among them, unfortu- Grove/Atlantic. Entrekin’s inter- embarrassment of riches,” he says. nately. I had the luxury of getting est was quickly piqued. Entrekin contacted three agents he to read it when I knew the pub- Marlantes’s original con- thought might be interested, and lishers were hot for it.” tract with El León stated that some other agents got wind of the After having such a positive the company had every right impending deal, and also reached editing experience with Duane at worldwide for three years, or out to Marlantes. Although he was El León, Marlantes says he leapt until the run sold out. Meeting basking in the praise, Marlantes at another chance to improve to hash out a deal, Farber and found himself skeptical of some his book. His agent also thought Entrekin agreed that Grove/ agents’ effusiveness. He loved his it was crucial. “I insisted that I Atlantic would buy the entire run novel—he’d dedicated much of his wanted us to go through a very

PW.ORG 26 strong and aggressive editorial Matterhorn was published in process with his new publisher,” hardcover with a first print run of Harris says. “The version I read 60,000—that’s 58,800 copies more was probably 20 or 25 percent than Marlantes had originally longer” than what Grove/Atlan- counted on. And in his contract tic ultimately published. “I really (for one book only) he was thrilled feel it’s a much finer book for all to receive what he describes those efforts.” as “a modest, pretty industry- “I was daunted the first time standard advance.” Truly a col- that I saw the manuscript,” says laborative effort, the final prod- Jofie Ferrari-Adler, Marlantes’s uct benefited from the support of editor at Grove/Atlantic, who is a major New York City publisher now a senior editor at Simon & and a tiny West Coast nonprofit, Schuster. But despite its length, a giant corporate bookstore and a once he began reading, Ferrari- handful of indies, all ral- Adler (who is also a contributing lying behind a book that needed editor of this magazine) found the to fall into the right hands at the story incredibly moving. “I’ve read right time. “You think there’s a a lot of war writing, and with the war between Barnes & Noble and possible exception of The Things the independents—and on some They Carried by Tim O’Brien, I level there is—but this book don’t think I’d ever really felt it wouldn’t have gotten published quite as deeply—the combination without both of them,” Marlantes of absurdity and randomness and says. Barnes & Noble had the le- terror. The book has a cumulative verage and connections to bring power; it really builds.” Matterhorn to a broad audience, Having already been profes- but Marlantes gives independent sionally edited, the book came to bookstores—with their informal Ferrari-Adler in very good shape. networks, their intimate scale, “You could see a little cutting and and their “interconnectedness”— tightening that might help it, but credit for recognizing the worth it was a masterpiece when it hit of his book before the big guys my desk. I felt afraid to mess with gave it their stamp of approval. it. That’s not something I usually The same might be said of the re- feel.” In the course of editing, spective involvements of El León Marlantes sent his new editor an and Grove/Atlantic, too. Excel spreadsheet that mapped out Still, Marlantes enjoys the occa- the original manuscript, showing sional moment of schadenfreude. what he had cut throughout much Once his deal with Grove/Atlan- of the long process and keeping tic was announced, he got a letter track of the balance “between from an agent who remembered color, dialogue, and straight nar- rejecting his book several years rative.” Because the book “is so big back, sight unseen. “It said, ‘I’m and so sprawling,” Ferrari-Adler never going to turn down a book says, “it helped to look at where based on the market again,’” and what we were trimming.” Marlantes recounts. “‘I’m going As a joint venture between to read it first. Would you mind El León and Grove/Atlantic, signing a copy for my son?’”

27 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

THE TWO-BOOK CONTRACT

Life Preserver or Straitjacket? BY JOANNA SMITH RAKOFF

riters m a k i ng the stories sell well. The second book sometimes morph from life pre- their debuts, and is already sold.” server to straitjacket. “Signing a the agents who rep- That freedom from worry, says book contract is like going into a resent them, tend to Jennifer Carlson of the Dunow, bar, sitting next to someone on a bar Wwelcome the two-book contract—a Carlson & Lerner Literary Agency, stool, and saying, ‘Hey, let’s in term that, if you’ve never heard it be- can be great for some writers, but together!’” says Geoff Kloske, vice fore, means exactly what it sounds like: can backfire for others. “Some writ- president and publisher of River- a contract for two books, rather than ers feel more secure if their next head Books. “You don’t always know one. Sometimes both of those manu- book is under contract,” she says. a whole lot about this person. This scripts are written at the time the con- “But others don’t work well under is someone you’re going to be talk- tract is signed. But in many cases only pressure. It depends on one’s own ing to daily—or weekly, or monthly, the first manuscript is complete and approach to deadlines.” Carlson and depending on what stage you’re at in the second consists of fifty pages of partners Henry Dunow and Betsy production—and you better like prose, an outline or a synopsis, and a Lerner represent many writers of them.” Kloske tends to shy away from promise. Often with first-time fiction literary fiction—including Kevin two-book contracts for first-time au- writers, the first book is a collection of Brockmeier, Elizabeth McCracken, thors for this reason. “Signing a two- short stories, the second book a novel. Marisa de los Santos, and Alice Se- book contract is like saying to that Publishers are famously wary of pur- bold—and have done a number of stranger in the bar, ‘Let’s move in chasing story collections—which, ac- two-book contracts for debut au- together and sign a ten-year lease.’ It cording to conventional wisdom, don’t thors like David Schickler, whose might be better to say, ‘If we still like sell—but will often buy a collection if collection of stories, Kissing in Man- each other after two years of living the author is working on a promising hattan, was published by with each other, we’ll sign the lease novel. “Two-book deals are neces- in 2001 (his novel Sweet and Vicious again.’” sary for both parties, the writer and was published in 2004). Most of the Ryan Harbage, a former editor the publisher,” says Dan Conaway, a contracts Carlson has handled have who now runs the Fischer-Harbage former editor at HarperCollins who been first book—collection, second Agency, has similar concerns about is now an agent with Writers House. book—novel. “The feeling is that the commitment a two-book contract “If the publisher doesn’t make a good the story collection paves the way demands from a writer. “If you pub- turn on the stories, there will be the for the novel,” Carlson explains. “It’s lish a book with a sloppy publisher, a potential to earn more money on the nice for the writer when it works, be- publisher that’s asleep at the wheel, a novel. And the writer doesn’t have to cause then the writer is set up for his publisher that maybe has a huge hit worry so much about whether or not or her second book, which can be a with another book and can’t devote difficult thing to write. Ideally, the the time or money to selling your two-book contract gives the writer first book, or who knows what, your Joanna Smith Rakoff’s first novel, more money to live on while writing book doesn’t do well. Resentments A Fortunate Age (Scribner, 2009), the second book, as well as a sense grow. And then you’re stuck with was awarded the Goldberg Prize for of a plan for this early stage of his or that publisher for another book.” Fiction. Her memoir, My Salinger her career.” Harbage also points to the constant Year, was published in June 2014 by But that security—that sense that movement of editors from one house Knopf. a publisher (and editor) is seriously to another: What happens when an invested in a writer’s career—can editor at Houghton Mifflin signs a

PW.ORG 28 writer up for two books, then takes for a completed novel and incom- the first book to protect its investment a job at Little, Brown before the first plete story collection.) through the second book. A publish- book has even been edited? While the mechanics of Casey’s er’s vision tends to be greater across a It’s a common occurrence. “I had experience are not unusual— broader stretch of time.” Debut story one author,” says independent agent orphaned books are generally passed collections, Conaway says, generally Nicole Aragi, “who was orphaned on to another editor—writers don’t sell around forty-five hundred cop- six times—three times for hardback, always find that their new editor pos- ies—which is, essentially, nothing to three times for paperback. He’s with sesses as much excitement about the a major publisher. “It’s harder to gen- a new house now, and when I did the books as did the acquiring editor. eralize about first novels,” Conaway contract I told the editor, ‘You’re not “Much of a book’s success is deter- explains, “but overall one has higher allowed to leave.’” Several years ago, mined by the editor, who conveys her expectations.” Novels, he says, tend to fiction writer Maud Casey landed a enthusiasm to the sales department, sell “slightly better” than collections. two-book contract with Rob Weis- marketing, and publicity, who in turn But what about those first books bach Books, a much-hyped imprint of convey that excitement to booksell- that, for whatever reason, capture HarperCollins that folded soon after ers,” says Harbage. “If the greatest the public’s fancy? The literary de- signing Casey. “I was really worried champion for the book leaves, well, buts that unexpectedly sell a million for about two days,” says Casey, who then…” copies? What if you sign a two- feared that HarperCollins would Despite the risks, Harbage believes book contract and your first book simply cancel her contract. “It felt at that “in reality it’s safer for the writer takes off—are you stuck with your the time like about two years. I had to make a two-book deal.” Why? original advance when, presumably, just called up everyone I know and Well, Carlson explains it like this: if you’d had a contract for only one said, ‘Hey, my dream has finally come “If a story collection comes out and book your second book would have true.’ I thought I’d have to call them gets a mixed reception—and the sec- sold for a king’s ransom? In such all back and say, ‘Guess what: It’s not ond book, the novel, is already under cases, Harbage believes, the money happening.’” contract—then it’s not as though you for the second book can be rene- She didn’t have to make those have to sell the second book based gotiated. “In those circumstances, calls, as her books were passed on on sales figures [for the collection] sometimes it seems like contracts to an editor at William Morrow, that maybe weren’t as healthy as you were made to be amended,” he says. another division of HarperCol- would like.” When editors consider an Anne Edelstein of the Anne Edel- lins. Soon after, her new editor author’s second (and third, and so on) stein Literary Agency, however, left her job, and Casey—who de- book, they’re not just looking at the doesn’t think it’s quite so easy. “If you scribes herself as “the poster child quality of the work; they’re looking make a two-book deal and the first for bad things in publishing”— at how well the previous book sold. book takes off, you’re stuck with the was again passed on, this time to the “One thing a lot of people don’t talk money for the second book,” she says second editor’s assistant, Kelli Mar- about,” offers Harbage, “is that when firmly. Carlson says she’s never felt tin, now a senior editor at Amazon bookstores order books they base the need to renegotiate a contract, Publishing. “My experience was, I their order on the sales of the author’s and Aragi adds to her contracts a think, just the epitome of publish- most recent book. So if your first book bonus clause, which ensures appro- ing today,” Casey says. “But Kelli doesn’t do well, the odds are that your priate compensation to a writer if his was a rare and wonderful editor. We second will do even worse.” That is, or her book takes off. It makes sense: had a great relationship. It worked unless your publisher rallies behind If that first book is wildly successful out.” The novel, The Shape of Things you, bolstering the book. it’s not simply because the book is to Come, was published in “The level of sales for first novels good, but also because the publisher 2001, before the short story col- and collections are generally going did a great job of publishing it. And, lection, Drastic, which was released to be pretty terrible,” points out of course, there are always royalties, in the summer of 2002. (Casey is Conaway. “A two-book deal has the which authors continue to receive an exception to the collection- advantage of ensuring that the pub- from sales once their book has earned then-novel norm: Her contract was lisher is going to work hard through out the advance.

29 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

The phenomenal success stories as a journalist. He’s used to writing not hectic months of weekly flights to of debut writers such as Jonathan under deadline—which means he’s unknown cities and a new intimacy Safran Foer (Everything Is Illuminated) also aware, he emphasizes, that dead- with Barnes & Noble stores across and Jhumpa Lahiri (Interpreter of lines are flexible. “If I feel it’s not ready the country. “I was having to rethink Maladies) tend to be exceptions to the by the date agreed upon, I would sim- all the basic techniques of fiction in rule. And while it seems like we always ply say so and keep working on it,” he developing this story that ended up hear about outrageous sums being says. “When you have a contract, an being ten times the length of anything awarded to photogenic first-time au- enormous number of people are com- I’d written. My longest story was ten thors, in reality most writers’ advances mitted to the project. You have a situa- thousand words; the novel was a hun- are much more modest, more in the tion where your editors and agent say dred thousand. If writing a short story keep-your-day-job vein. “The low end they will be happy to read anything, is a sprint, a novel is a marathon.” for a major house is probably fifteen even if it’s a rough, unpolished chap- In the end, all that writing in hotel thousand dollars to twenty-five thou- ter. You can’t ask for more than that rooms paid off: Oyster was a hit with sand dollars; the high end, seventy- as a writer. All that is left is to have critics and readers alike. Did the tight five thousand dollars to one hundred some ginger and water—as they say in deadline help? Biguenet doesn’t say fifty thousand dollars,” says one edi- Bengali—and begin writing.” so, but he does boast gruffly that he’s tor. “But at those same houses there John Biguenet, a New Orleans “never missed a deadline” in his life. are always the three-thousand-dollar writer who signed a two-book contract As any editor knows, however, many or five-hundred-thousand-dollar with Ecco for a partially completed col- writers don’t possess Biguenet’s pen- advances that media reporters make lection of stories and “any novel that I chant for punctuality, and some fic- mythic, that dog the fears or fanta- cared to write,” has a somewhat more tion writers, warns Edelstein, who sies of unpublished authors.” Smaller stringent approach to deadlines. He favors two-book contracts for non- houses like MacAdam/Cage, Carlson nearly killed himself trying to deliver fiction deals, have problems writing adds, tend to offer smaller advances in his first novel, Oyster, on time—though under contract. “With fiction it’s a most, though not all, cases. surely he must have known that his edi- lot more mercurial. It really depends Indeed, an author’s advance is often tor, Daniel Halpern, would have given on the personality of the writer—it’s not hefty enough to make a significant him more time had he needed it. a psychological thing.” It is, of course, difference in the writer’s life. Siddhar- Although Biguenet, who turned to more than common for writers to get tha Deb, a New York–based Indian fiction from poetry at age forty, had extensions—from days to weeks to, journalist who signed a deal for two never seriously attempted to write a well, years. But the issue, it seems, is novels with UK, found him- novel, Halpern, he says, “seemed to not as simple as whether a given writer self in a bit of a bind with his second believe that I was capable of doing can complete a novel in six months— book. In order to write it he needed it.” When Biguenet’s collection—The or six years—but more a question of to do research in India. He couldn’t Torturer’s Apprentice, published in whether that writer will clam up under afford to travel, however, until he January 2001—unexpectedly took off, pressure. received the on-publication money Biguenet began getting invitations to That said, editors do not generally (the portion of the advance paid out read all over the country. “Because my impose deadlines on writers. Dead- when the book is published) for the deadline for the novel was six months lines are worked out among the edi- first book, which didn’t hit bookstores after the publication of my collection, tor, the agent, and the writer—based until the summer of 2007, leaving him I spent a lot of time in hotel rooms on the writer’s habits and needs. “A less time to complete his second man- with my computer on.” deadline ought to be decided on be- uscript within deadline. (Deb’s first Of course, Biguenet had already fore the deal is done,” Kloske says. “It novel, The Point of Return, was pub- started work on the novel, in the should be part of the discussion. If lished in the U.S. the following March year prior to the publication of the the writer needs ten years, you have by Ecco, a HarperCollins imprint.) collection—but he didn’t quite real- to look at it differently than if he needs But on the whole, Deb loved writing ize how tight his time would be. He ten months. These things do have an under contract, which may well have imagined a six-month period in which impact, and should be considered as an something to do with his background he could work quietly on his novel, overall part of the deal.”

PW.ORG 30 31 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL SOPHOMORE SLUMP

The Perils of Publishing a Second Book BY JACK RIGGS

t’s common for second-year much fanfare by , a working on my second book, so college students to be warned division of Random House. There that’s exactly what I did. by faculty of the sophomore was an extensive tour, showcases While busily touring, I began slump—that period of apa- with distributors, my participation in thinking about my sophomore Ithy that usually results from a stu- book festivals—all of it financed by effort. I didn’t want to write “an- dent’s struggle with continuing on Ballantine. My book received many other Finch” or be known only as as a successful student, gaining the positive reviews in newspapers, was a Southern writer, but rather as an autonomy and independence they featured on radio programs, and I author who could tackle subjects of seek, developing their new identi- even made a small number of tele- any kind. My editor and I spoke at ties as adults and college students, vision appearances. When the Finch length about my next book. I con- and finding their purpose in life. Rises was recognized by the Atlanta fided that I wanted to experiment It is a warning that easily could be Journal-Constitution as a best South- with style and technique, write tailored to address writers facing ern fiction title for 2003. The Ameri- something contemporary and sharp their second book. After all, it’s a can Library Association picked it as edged. My first book had been writ- time in writers’ careers when, once one of the top ten first novels for that ten without an agent or editor ex- the first successful book has been year. It was a Book Sense 76 (now In- pecting it. It was just me, my story, published—and the attention, the dieBound’s Indie Next List) pick that and my hope that I would eventually press, the tour, the promises of December, and the following sum- get it published. With my second greatness have subsided—they must mer, I was awarded Georgia Author book, I wanted the process to be turn to their follow-up. A writer’s of the Year, First Novel, for 2003. different. I wanted my editor to be a sophomore effort is a journey, as new All in all, When the Finch Rises did Maxwell Perkins—someone I could and as difficult as penning a debut, everything I wanted it to do, which send pages to, even incomplete and that carries with it a mirage of sorts: included helping me get a contract awkward pages, who would have the The first taste of success can blind offer for a second novel. patience to help me find the story the author to hazards that lie further I have always considered writing and the strength to fight for my up . to be an art. The business end of work inside Ballantine. That sounds For me, publishing my second publishing was something I gladly idealistic and naive, and I’m afraid novel was much more difficult than left to my agent and editor at Bal- that’s exactly what I was. the first. My debut, When the Finch lantine. I wanted nothing to do Based on our many conversations, Rises, was sold in April 2003 and with publicity, and I figured that my editor eventually offered me a published in hardcover that fall with if Ballantine bought the book, the two-book deal. It scared me because publisher would have the incentive it meant I’d be expected to deliver a to push it with all the promotional book a year to Ballantine. When the Jack Riggs is the author of two novels, weapons that lay at its disposal. My Finch Rises had taken years to com- The Fireman’s Wife (Ballantine agent remained encouraging be- plete. The idea of doubling that Books, 2008) and When the Finch cause she, too, wanted to believe the output in a two-year span seemed Rises (Ballantine Books, 2003). He book would be successful. After the impossible to me, so I asked my agent lives in Atlanta where he is working release of my debut, I was told by to negotiate a good contract for one on his next novel. everyone around me that the most book. At the time, I didn’t know that important thing to do was to start returns on When the Finch Rises had

PW.ORG 32 begun to come in. Returns? What to come in and help me work on this Conroy turning in thousand-page were returns? new book? It was a naive belief that manuscripts and working with an Bookstores, more or less, take the business of publishing actually editor to “find” the book, to craft the books on consignment from publish- allowed for such partnerships—an story from the pages of a first draft, ers, and if those books don’t sell, they editor and a writer working together but in reality rarely does such a re- are returned. From my perspective, to create the next great novel. If lationship exist. Editors today don’t a problem with this system exists: that happened somewhere in a time have the time to work that deeply on There’s very little incentive for book- when publishing was less corporate, each manuscript. stores to try to sell a book that can it rarely exists today. I’ll never know if my original edi- always be sent back! For all the good Long story short: The editor who tor would have rejected my manu- reviews and critical acclaim When the finally took me on would never have script outright or not, but what I Finch Rises was receiving, the returns bought my book in the first place. It did know was that my new editor were higher than Ballantine had ex- was not her cup of tea, and because of wanted nothing to do with it. And pected, which began to dampen the that, because the relationship had no why should she? She hadn’t bought enthusiasm for my next book. As a history, because this editor had ex- it, so there was little vested interest result, the offer my agent negotiated pected something much more similar in seeing it through to completion or was much less than what we had ini- to my first novel, and because I came helping to fix it. It was much easier to tially proposed, but still it was better to distrust her point of view (which kill it than to work on it, so there I than the advance for my debut, so I was really no point of view at all), I was without a book, and with a con- was advised to sign quickly. Confused stopped communicating with her. I tract unfulfilled. There was nothing about returns, and what it all meant, didn’t show her pages, and she didn’t left to do but call my agent and talk I signed a one-book deal to write my ask to see any. This was a critical mis- to her about what we would do next. second novel for Ballantine. take on my part. When I did, my agent quietly told me Random House is a big operation, A year and a half later, on a cold that if I wanted to pursue the publi- and I wanted to write big novels. This February day in 2006, after having cation of this book, I’d have to do it sophomore effort would be, I hoped, turned in the complete manuscript with another agent. She, too, was not my breakthrough book. I was ready weeks earlier, I received a phone call interested in working with me on my to go. In fact I had already written the from my editor. I remember the day failed sophomore effort. first chapter and was quickly mov- vividly: five thirty in the afternoon, These were dark days in my writ- ing forward in the summer of 2004, the winter light slanting into my ing career, a time when I began to when I received an e-mail from my study, the barren ground and leafless question whether I would ever write editor—blunt and impersonal, just a trees that I stared out at while I was again. I stopped talking to anyone, single line from her saying that she no being told that nobody at Ballantine stopped calling my agent, and cer- longer worked for Ballantine and that liked the book. It was “unpublish- tainly stopped communicating with any inquiries about books under con- able.” My editor told me that the Ballantine. Reviewing some of the tract should be sent to her assistant publisher and associate publisher had e-mails that passed between me and (who, it seemed, had avoided the ax). read the manuscript and found it “un- my agent during this time, it is ap- I immediately called my agent, fixable, flawed beyond repair.” There parent that I was on the verge of who told me not to worry. She as- was no negotiating on this, not even a killing my career. From the tone of sured me that Ballantine would place “let’s try and fix this novel.” The ball many of my replies, it doesn’t seem me with an editor who would be a was in my court. Sort of. I was faced that I cared about what would hap- good fit and that the book would be with having to completely scrap my pen to me. I chose anger and isola- written, edited, and published. But, months of hard work. tion over communication, blame and in my mind, the new book was sup- I realized the manuscript had victimization over the reality that posed to be an intimate partnership some weaknesses, but I’d thought publishing is more than an art. It is a between me and my editor. How was my editor would send me notes about business, and a very tough one at that. someone going to replace her? How how to improve them. I had heard After the acclaim for When the could I trust someone I didn’t know great stories about authors like Pat Finch Rises, I came to believe that

33 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

anything I wrote would be published. washed its hands of my contract, still manuscript is approved and produc- In a way, I think the struggle to write wanted to work with me. This time tion begins, the editor is the advocate and publish the first book gave me I tried a new tack—I lied! I told my for that book. She works to ensure that a false sense of entitlement. I was agent that I was indeed writing some- the book is published and marketed as watching others—my friends, writ- thing new and that I would get back successfully as possible. This involves ers who were publishing their second to her soon with some pages. I spent consulting on the timing of the book’s and third efforts—and figured my my next ten days writing the first release and the publicity push behind book was next in line. If I just wrote chapter and a synopsis for the book it. I think my fifth editor worked ex- a story, put something down on paper that eventually became The Fireman’s tremely hard, but her point of entry and turned it in, it would and should Wife. The proposal was accepted into the whole process put her at a be published. and replaced the failed manuscript. disadvantage from the start. While I Of course, it doesn’t work that way. I would remain with Ballantine and was very appreciative of her abilities, Each book carries with it the oppor- complete the existing contract with momentum was definitely lost from tunity for failure. Each book is a huge the new book. I felt a freedom that my having to change editors at this risk for the publisher as well as the hadn’t been there since I had started crucial stage of the book’s publication. writer, especially in today’s economy. my first book. I was again working, Although my original contract Each book has a life in and of itself, and I felt that Ballantine was honestly stated the book would be published with no real connection to past work. interested in me as a writer. in hardcover, it was released as a trade Put more simply, you’re only as good Still, there were hurdles to over- paperback. The decision seemed to as your next book. My sophomore come. The editor who had rejected be made based on the modest sales of effort fell short of my publisher’s ex- my first try at a second book and ap- my first book. Despite pleas to both pectations. I failed to recognize the proved its replacement left Ballantine my editor and agent, there was no importance of hard work, of telling shortly thereafter to take a position way I was going to get a hardcover a good story thoroughly, no matter at another publishing house, leaving release. And the book’s scheduled who was editing the manuscript. my new book orphaned. Over the release couldn’t have been worse. It For months, I took the rejection course of the writing and publishing was published on the next-to-last day personally, and by June 2006, I had of The Fireman’s Wife, I was assigned of the year: December 30, 2008 (five resigned myself to the fact that I had three more editors. Editor number years and three months after the pub- lost my publisher and, by year’s end, three never read or responded to lication of my debut novel). would lose my agent—who had re- my work. She was assigned to me With The Fireman’s Wife there was cently announced that she would be in late November 2006, and my no budget for a tour and little help leaving agenting altogether. Though e-mails show that by March 2007 my in marketing. I logged over seventy- Ballantine had yet to cancel the con- agent was still trying to get answers five-hundred miles on a tour financed tract, I have an e-mail suggesting to her silence. By early April 2007, mostly with my own money. For the they were in the process of terminat- I had my fourth editor, an amazing little help and attention the book re- ing the agreement, and I did nothing woman who helped me in much the ceived, it has still done well critically. to intervene. I doubted my own abil- same way I had imagined editors It was a Target stores Bookmarked ity to be a writer. Was I just “a one- should collaborate with writers. She Breakout book in February 2009, and book wonder”? Had When the Finch made many suggestions and worked Borders selected it as a “nationwide Rises been a fluke? closely with me to refine the draft. I pick.” In June 2009 I was named the I was on the South Carolina coast trusted her completely. By late spring 2008 Georgia Author of the Year for working on the failed manuscript, 2008, the novel was completed. The fiction. tearing it apart, performing an au- day I e-mailed the final draft to be After taking a long, hard look at topsy on what I still believe to be a prepped for publication, my editor my experience, I have come to under- good story, when my agent called to left on maternity leave. stand my role in what initially went say Ballantine was again inquiring My fifth and final editor was new wrong, and I’d like to pass on a bit of about new material. It impressed me to Ballantine, which I think posed advice to those on the verge of tack- that the publisher, which could’ve something of a problem. After a ling a second book. First, do not take

PW.ORG 34 If you run into trouble with your the director of the Africanpublisher while writing your second “I FAILED TO RECOGNIZE THE novel and risk losing your contract, ‘American Resource Centerkeep at communication Howard Univerlines open.- IMPORTANCE OF HARDWORK, OF This is not the time to isolate your- TELLING A GOOD STORYsity, worries self from those who have taken the risk and who have given you money THOROUGHLY, NO MATTERthat creative WHO writing programsto write a book.are Insistnow that in your dan agent- be involved, and ask her to push hard WAS EDITING THE MANUSCRIPT.”ger of losing some of theirfor facultyyour participation diversity. in the process of working it out. Make sure the con- tract you originally signed remains this opportunity for granted. Be sure little or no resources to promoting intact and is honored by the pub- to invest the time and effort to write your book. You have to do for yourself lisher. Insist on an open dialogue so the best book you can. It sounds obvi- because the more the book sells, the you know exactly how the book‘ will ous, but it’s incredibly important and better position you will be in when it’s be published. something authors sometimes strug- time to negotiate your next contract. Remember, you and your pub- gle with when faced with the question Research how to successfully market lisher are partners in both an ar- of whether they have a second book a book and put together your own tistic endeavor and a business in them. Also, understand that you plan with your publisher as a partner, agreement. Both sides are after the must prepare for the worst-case sce- if possible. But be prepared to finance same thing: a good book that will nario in which your publisher devotes a publicity campaign yourself. sell lots of copies.

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35 POETS & WRITERS POETS & WRITERS GUIDEGUIDE TOTO THETHE BOOKBOOK DEALDEAL PA PER BACK ORIGINALS

How Format Affects Reviews and Sales BY QUINN DALTON

hen my agent, readings, conferences, and other Successful debuts published in trade Nat Sobel, sold events—than of my hardcover novel, paperback include David Mitchell’s my novel and first Bulletproof Girl was reviewed in only Cloud Atlas (Random House Trade story collection to one prepublication trade magazine Paperbacks, 2004) and Jhumpa Wimprints of Simon & Schuster, I was, and in no major daily newspapers Lahiri’s Pulitzer Prize–winning of course, thrilled. I was not trou- (although it did receive some re- (Houghton bled at all by the contract provision gional and online coverage, which Mifflin, 1999). stating that, while the novel, High certainly helped). I realize that story Gary Fisketjon, vice president and Strung, would be published in hard- collections tend not to get as much editor-at-large of Knopf cover by Atria with a subsequent critical attention as novels, but I Publishing Group, a division of Ran- paperback release, Bulletproof Girl began to wonder if there might be dom House, credits Picador’s founder would be published as a paperback a downside in going the trade pa- Sonny Mehta (now chair and editor original from Washington Square perback route. I wondered if, when in chief of Knopf) for inspiring him Press. I know I’m not alone in my it comes to marketing dollars and to launch Vintage Contemporaries, dislike for shelling out twenty-five review coverage, paperbacks simply an imprint devoted to paperback re- to thirty dollars or more for hard- don’t stack up next to . prints of contemporary fiction with cover books. I also know that story So I talked with reviewers, select original titles, in 1984. The collections generally don’t sell as agents, editors, and other authors to imprint takes its name from Vintage, well as novels, and I hoped the lower get their perspectives on the advan- another imprint of Random House, price, combined with reader aware- tages and disadvantages of having established in 1954 to publish reprints ness generated by the novel, would one’s book published as trade pa- of nonfiction and literary classics. help sales. perback. My goal was not so much “In the late seventies, nothing was High Strung was released in July to discern which format is better, selling in hardcover unless someone 2003; the paperback came out the because it’s impossible to general- already had a following,” says Fis- following July and included a short ize. Instead, I wanted to understand ketjon, who joined Random House story to promote the forthcoming the distinction. in 1978 as an assistant and became collection. Bulletproof Girl was re- managing editor of Vintage in the leased in April 2005. There was a aperback originals were early eighties. At the time, the al- national tour, albeit small, for High once considered to be a ternative to hardback was the mass Strung, but not for the story col- publishing experiment, paperback, or rack-size format, lection. While I’ve sold more cop- appropriate only for which was mostly stocked in places ies of the paperback original—at Pgenre fiction and largely ignored not geared toward literary fiction— by reviewers,” says Amber Qureshi, grocery stores, drugstores, and air- executive editor at Viking and for- ports. At Vintage, Fisketjon first Quinn Dalton is the author of a merly an editor at Picador, a pub- tried reissuing titles from Raymond novel, High Strung (Atria Books, lisher of trade paperback originals. Carver and Don DeLillo in mass 2003), and two story collections, “But anyone concerned now about paperback. “Sales were solid, but we Stories From the Afterlife (Press the literary ‘legitimacy’ of paper- weren’t going into additional print- 53, 2007) and Bulletproof Girl back originals should look at the ings, and I wasn’t getting any readers (Washington Square Press, 2005). great careers that were launched that I wouldn’t have gotten anyway, or advanced with them,” she says. so I started over with a different size

PW.ORG 36 and cover treatment and a uniform hardcover release, but then the author an all-time high for the industry. look that people would recognize,” received some unexpected news. “My Adult fiction comprised more than he says. Fisketjon applied this new editor called and explained that the 45,000 of those titles. trade paper format to a series of five publisher wanted to go with paper- Even Publishers Weekly, which DeLillo titles reprinted by Vintage back for the collection, because sales leads trade reviewers in terms of between 1982 and 1983. He chose thought they could get more copies circulation (twenty-one thousand) DeLillo because he felt there was an out that way,” he says. and number of reviews (more than untapped readership for his books, Gwyn called his agent, Nat Sobel, eighty-five hundred annually), and because DeLillo had an estab- for advice. Sobel discussed the format can’t keep up with so much output. lished body of work. change with Algonquin publisher Given the three hundred to six When the series sold out and re- Elisabeth Scharlatt. “We decided to go hundred galleys Publishers Weekly quired additional , Fisket- with paper, because they were going editors receive each week, I won- jon felt that a case could be made for to do interesting things with the de- dered to what degree format might adding original titles in trade paper. sign—fold-in jacket flaps and deckle- come into play in selecting which So, in the fall of 1984, the first books edged pages—that we thought would fiction titles to review. But because in the Vintage Contemporaries list work well on the shelf,” says Gwyn. Publishers Weekly reviews books so were published, including original After the switch to paperback, far in advance (titles are assigned titles such as Jay McInerney’s Bright Barnes & Noble ordered more copies for review between three and four Lights, Big City alongside reprints than originally planned. The book was months before publication and ap- of Raymond Carver’s Cathedral and reviewed in Publishers Weekly, Kirkus pear in the magazine two to three Peter Matthiessen’s Far Tortuga. Reviews, and Library Journal, as well months before publication), format Bright Lights, Big City sold out its as in major dailies, such as the Boston is not a factor beyond the fact that first print run in a month, and con- Globe. It was a finalist for the Young they rarely review paperback re- tinued to sell far beyond the pub- Lions Fiction Award, sponsored by prints. Galleys, for the most part, lisher’s expectations. The reprints the New York Public Library. “I was look alike—they’re paperbacks, did the same. happy with the look of the paperback, and most include cover art on the The success of Vintage Contem- and I think it received good coverage,” front and advance blurbs on the poraries spurred other paperback Gwyn says. “Looking back, I think we back, along with a list of market- imprints such as Bantam and Pen- made a good decision.” ing plans for the book, including guin Books, which had done few Sobel agrees. “It’s harder to get tour information and advertising paperback original titles in the past, the [bookstore] chains to take short strategies. While most galleys in- to add more to their lists. Fisketjon story collections rather than a novel. dicate what the final format of the says the rise of trade paper even im- Going the paper route seems to get book will be, Nelson says they have proved hardcover sales. “Trade paper better acceptance.” enough categories to cover without energized the whole fiction scene in distinguishing between trade paper the eighties, and after that, careers here’s no getting original and hardcover, and that could be made with the hardcover around the numbers in story collections are subject to the model again.” book publishing these same criteria as novels. Even as the acceptance of trade days. A study released Library Journal, also a prepublica- paper has continued to grow over Tby R. R. Bowker in April 2012 tion forum, reviews approximately the past twenty years—it is now found that in 2009 publishers re- seven thousand titles annually; the format of choice for most small leased over 1,052,000 titles into about two thousand are adult fic- presses—many authors face with an already glutted marketplace tion, roughly 45 percent of which trepidation their publisher’s deci- (roughly 760,000 of those titles are genre. Former book review edi- sion to release their work in paper- represent print-on-demand titles tor Barbara Hoffert, who now writes back rather than hardcover. Aaron and reprints of texts in the pub- Library Journal’s online Prepub Alert Gwyn’s story collection, Dog on the lic domain). This represents an column and has been assigning re- Cross (Algonquin, 2004), was slated for increase of 87 percent over 2008, views of literary titles for more than

37 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

twenty years, says Library Journal’s Weaver estimates that about 10 no fixed priorities. If my colleagues top priorities include whether the percent of the literary titles reviewed and I think a book is of interest, we author is well known (because li- in Atlanta Magazine over the past few do our best to get it reviewed.” brarians order multiple copies of years—which comprise books either Overall, decisions about which these authors’ offerings and might by Georgia authors or about topics titles will be reviewed appear to be adjust their orders based on a nega- of particular interest to people in more a matter of a reviewer’s audi- tive or positive review) and whether the area (although Weaver says she ence than the format of the book in there has been a big promotional does stretch the definition of ‘local’ question. Prepublication trades, like push behind certain titles (because as much as possible to include books Publishers Weekly and Library Jour- librarians, who do have to address she’s “really excited about”)—are nal, select review titles based not popular taste, will have heard about trade paperback originals. Recently only on their literary merit but also them and will want to know if they’re reviewed titles include My Life in on whether libraries or booksellers good). “And, of course, we love to Clothes (Red Hen Press, 2010) by should stock the title, while con- pick out the next important author Summer Brenner, The Fall by David sumer reviewers recommend books or any book that is truly beautiful Fulmer (Five Stones Press, 2010), to a broad audience of potential read- and moving to read.” and Heart of Lies by M. L. Malcolm ers. Small press offerings and story If Hoffert has never heard of an (, 2010), or poetry collections, which are pub- author, especially a new poet or fic- The New York Times Book Review lished in paperback more often than tion writer, she looks to see where occupies a unique position among in hardcover and generally appeal to the work was previously published. review media. It reviews books at smaller audiences, are more likely to Publication in literary magazines or after publication date for a con- be passed up by consumer magazines and journals suggests to her there is sumer audience, but it also influences and dailies. an audience who will recognize the librarians and booksellers because author’s name, as well as editors who of its national circulation and the iking executive editor have read, liked, and selected the au- relatively high number of reviews Amber Qureshi, for- thor’s work. But format isn’t a big issue weekly—usually about five to ten merly of Picador, be- for Library Journal either, because, as poetry and literary fiction titles, ten lieves that as the trade Nelson says, the editors are seeing to fifteen nonfiction titles, and occa- Vpaperback original earns legitimacy books in galley form. “There are sional roundups of children’s books, in the eyes of authors, reviewers, many fine smaller publishers working mystery, and crime. and readers, publishers can opt to only in the trade paper format, and Like the trades, the Book Review publish anything in that format. “I why would I want to miss those?” says receives mostly galleys, about four or have seen an unprecedented amount Hoffert. “Personally, I wish the entire five months before publication, and of review attention for originals,” industry would go to trade paperback format is not a factor in determining she says, citing Sam Lipsyte’s Home original except for art and reference which titles are reviewed. “We’re not Land and Andrea Levy’s Small Is- titles—books are just so expensive prejudiced in the least against paper- land. “The more positively paper- that neither individuals nor libraries back originals, and indeed are aware back original titles are seen here in can afford to buy all they want.” that many new and foreign writers the United States, the more they Teresa Weaver, former book re- of poetry and fiction are launched in will become as obvious a choice as view editor of the Atlanta Journal- paperback,” says former editor Sam they are in England and on the Con- Constitution and now books editor Tanenhaus. “We not only review pa- tinent,” Qureshi believes. “This is for Atlanta Magazine, has a slightly perbacks but have put them on the clear from a trip to any bookstore, different take, perhaps because her cover.” Edith Pearlman’s latest story from England to Turkey—Japan audience is composed of readers collection, Binocular Vision (Lookout as well,” she says. “Hardcovers are rather than booksellers or librar- Books, 2011), is a recent example. rare and reserved for art books and ians. “The paperback/hardback des- Tanenhaus says his guiding prin- special editions.” ignation really doesn’t mean much ciples in selecting titles for review Qureshi points to more consid- in the age of e-books.” are merit and interest. “There are erations for publishers and authors.

PW.ORG 38 Advances for paperback originals Maladies are held up as trade paper- authors would do well to ask what might be lower in order to maintain back the original director success stories. of the But African other books the house has done in profit margins at the lower price agent Janet Silver, former publisher paper original, whether campaigns point, even though the lower price ‘Americanof Houghton Mifflin Resource Harcourt, Center is are atdifferent Howard for paper Univer and hard-- often leads to higher sales. While quick to point out that she has seen back, the rationale for change in paperbacks generally don’t cost sity,this kind worries of success before, when Pe- format, if there has been one, and as much to produce (though costs nelope Fitzgerald’s The Blue Flower if any difference in review coverage vary based on design), there’s less thatwon the creative National Book writing Critics Cirprograms- is anticipated.” are now in dan- bottom-line wiggle room at twelve cle Award in 1997. “Success with paperback origi- dollars a unit than at twenty-four gerShe of notes losing that, while some sales of mar their- nals faculty is really diversity.a matter of properly dollars. The paperback format ne- gins might not be as strong with branding the list with character cessitates higher sales to make the paperback as with hardcover, the and distinction, which, by exten- same amount of money. Promotion typically higher sales establish a sion, will brand the format,” says budgets are often lower too, so pub- better track record with booksellers. Qureshi. “I think that in order lishers and authors have to be cre- If an author is faced with choos- for a book to work as a paperback‘ ative about promotion. ing between paper and hardback, original, it should be particularly Adam Haslett’s debut story col- or is simply presented with a plan, ambitious in some way, be it stylis- lection, You Are Not a Stranger Here there are some questions to ask tically or thematically. Of course, (Nan A. Talese/Doubleday, 2002), the agent or publisher. “The fact any format, when published with which was a finalist for both the Pu- that there’s a conversation about passion and when the material is litzer Prize and the National Book the best way to publish your book of high quality, can be made into a Award, and Lahiri’s Interpreter of is a good sign,” says Silver. “But success.”

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39 39POETSPOETS & WRITERS & WRITERS ANATOMY OF AN AUTHOR AGREEMENT An Agent Deciphers the Most Important Clauses in a Publishing Contract BY JULIE BARER

e a s k e d agent Julie Barer, who TERMS FOR DELIVERY AND ACCEPTANCE founded Along with stating the date by which you are obligated to turn in WBarer Literary in 2004 and your manuscript and enumerating any additional materials that represents clients such as must accompany it, this clause addresses what happens if you Joshua Ferris, Gina Ochsner, fail to deliver your manuscript on time, or if the publisher deems it Kevin Wilson, and Zoë Fer- unacceptable. (Most advances are divided into three or four pay- raris, to explain the nuances ments, at least one of which is dependent upon the publisher’s of several essential clauses accepting the delivered manuscript.) included in a standard pub- Pursuant to this clause, an agent can negotiate the amount of lishing contract. While few time an editor may take to respond to your manuscript. An agent can also negotiate the amount of time you must be given to revise authors want to imagine the work if the publisher finds it unacceptable (anywhere from potential conflicts when thirty to ninety days) and the amount of information the publisher embarking on an often must give you about why it is rejecting it, as well as the grounds long-awaited partnership on which it can contractually reject it. Most important, an agent with a publisher, problems can negotiate how much of your advance you must repay, and in can arise. It is an agent’s job what time frame, should the manuscript be rejected. This clause to foresee such possibilities, also outlines what happens if the publisher determines that your to make sure not only that book requires a legal read for possible liability issues, including the author’s best interests who pays for the legal read, what changes you may be asked to are taken into account and make and in how much time, and what your options are should that the author is protected you choose not to make those changes. in the worst-case scenarios, but also that the author is given the opportunity to play a major role in the way her book is published. Barer focuses on the fol- lowing seven clauses; she stresses, though, that every COMPETITIVE WORKS clause in a publishing con- This clause specifies when you can publish your next book and what kind of tract is important, and she book is considered competitive with the publisher’s edition. An agent can make recommends that authors sure any performance rights and editions (such as screenplays or television never sign a contract with- scripts) as well as prequels and sequels are protected. (This is also addressed out the consultation of an in the Reserved Rights clause, where an agent can outline all the rights held agent or a lawyer with pub- by the author.) lishing experience.

PW.ORG 40 ROYALTIES ANATOMY OF AN In addition to outlining the advance and how it will be paid (in halves, thirds, or quarters), this clause addresses royalty rates. Royalty rates are the percent- ages you receive on every sale of your book, and they change depending on AUTHOR AGREEMENT the type of sale and edition of the book. While many people know what the standard royalties are for hardcover, paperback, and mass-market editions, An Agent Deciphers the Most Important Clauses your agent also will know the going (and often changing) rates for every other PUBLICATION edition of your book, including audio and electronic editions. She will also know the rates for sales such as foreign; high-discount sales to outlets where This clause outlines the publish- in a Publishing Contract the bookseller receives a higher-than-standard discount from the publisher; pre- er’s right to publish the work as it BY JULIE BARER mium; proprietary editions; and mail order. Your agent can negotiate the rates chooses. An agent can negotiate that pertain to each of these editions to reflect not only the industry standard your right to consult on or approve or preferred rates for best-selling authors, but also any special markets and the cover design, the jacket, the opportunities that might be available for your book. catalogue copy, and the biographi- cal copy on all editions. An agent can also use this clause to ensure that your book will be published by the particular imprint of the publishing house you have made the deal with and in a particular format (hardcover as opposed to trade paperback original) as well as a time frame in which the pub- SUBSIDIARY RIGHTS lisher must either publish the book This clause outlines the rights your publisher is allowed to license to or cause the rights to revert to you, others and what your monetary share of those licenses should be. and if those rights revert, how much It addresses first and second serial rights, audio rights, translation of the advance you may retain and rights, book-club rights, the right to reprint excerpts of your work, even continue to receive as recom- rights to electronic editions and versions (two different things), pense (sometimes only a portion of performance rights, and merchandising rights. In negotiating these the advance, sometimes the whole rights, an agent can ensure that you have approval or consultation advance). on the licensing of these various editions and editorial approval over abridgements or adaptations of your text in certain editions.

OUT OF PRINT This clause defines the term “out of print.” It specifies how many years must go by after pub- OPTION lication before a book can be considered out of Most publishers demand that they be given the first chance to print, and through which channels and in which acquire your next book. An agent can negotiate when your formats a book must be made available in order publisher must be made to consider material from a subsequent to be considered “in print.” An agent can negoti- book—this can range anywhere from thirty days after the ac- ate the specificity of this definition as it applies ceptance of your first book to thirty days after publication of it not just to the availability of printed editions, but and beyond, depending on your preference; how much mate- also to the number of electronic editions that must rial you are required to submit; how much time the publisher be sold over a certain period of time in order for has to make you an offer; and how much time you have to the “in print” definition to be fulfilled, as well as negotiate with the original publisher before submitting the work what steps you can take when you find your book to another publisher if you choose not to accept the original unavailable in the marketplace and which rights publisher’s offer. you can have reverted back to you. An agent can make sure you are entitled to purchase the typeset book “plates” of the book at a discounted cost from the publisher in order to make reselling or licensing those rights to another publisher easier.

41 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

THE BIG COVER-UP

A Writer’s Role in Book Jacket Design BY TIMOTHY SCHAFFERT

hen I discovered told me when I asked him about the Though the list of designer’s online a Polish- relationships between authors and equipment and materials Curl pro- la ng uage mov ie their covers. “But my general feel- vides has dated a bit since his book’s poster for Le Dolci ing is that authors write and design- publication—T-squares, compasses, WSignore, the 1968 Italian bedroom ers design, and what authors have and hog bristle brushes have been farce starring Ursula Andress and to understand is that they’re not replaced by computers, digital im- Virna Lisi, I e-mailed the image to necessarily experts on the market. ages, and expensive software—his Greg Michalson, my editor at Un- The cover should be a handsome or description of the “illogical” rela- bridled Books. I’d just finished writ- arresting piece of work, but it really tionship between designer and au- ing my own Andressian tale of bed needs to operate as a sales tool.” thor remains very much the same. hopping and grown-up party games, Still, most authors—who hap- While the dynamic may vary from and the poster’s illustration— pily relinquish the intricacies of publisher to publisher, in almost a pink-coiffed, bow-lipped woman contract negotiations to agents and every case an author must bal- not-so-innocently shushing us the minutiae of bookstore relations ance his personal vision with the all—captured the loopy spirit of to publishers’ sales teams—have a demands of the marketplace and the novel. Honestly, I didn’t think strong desire to weigh in on cover the overriding opinions of editors, he would be interested. Editors, design. It’s one aspect of the busi- designers, and sales reps. The final I’d come to understand, typically ness that can feel extremely per- product, ideally the visual represen- consider authors to be ill equipped sonal, no matter how pragmatic tation of years of hard work, can be to advise on book jacket design. the cover’s purpose. “Some of the a source of gleeful satisfaction—or Though my editor had politely most difficult moments between an hair-pulling disappointment. asked me for cover suggestions for editor and author don’t arise while my previous books, he’d always working on the text itself,” Michal- he cover of Curtis Sit- made it clear that the final cover son says. “They arise during argu- tenfeld’s best-selling design would be driven by the ments about the cover.” debut novel, Prep (Ran- graphical expertise and marketing In Designing a Book Jacket, a how- dom House, 2005), concerns of professionals, not the to book published by Studio Publi- Tfeatures an embossed image of a sentimental visions of a novelist. cations in 1956, designer Peter Curl provocative pink-and-green ribbon “I would never use a cover that writes, “Illogical though it may belt around its midsection. The an author just hated,” Michalson seem, a certain impatience with au- image has come to be so closely as- thors in general is often shown by sociated with Prep that it’s hard to the publisher’s production depart- imagine the book wrapped in any Timothy Schaffert is the author ment and only the more eminent other jacket. But the book would not of five novels, includingThe Swan are consulted where the jacket is be wearing such a fashionable acces- Gondola (Riverhead, 2014). He concerned. No doubt the reason is sory had the author not voiced her teaches in the English department that the author, expert as he may be opinion during the design process. at the University of Nebraska in in his own craft, may well have only “There were initial ideas that I felt Lincoln and is the director of the a very limited understanding of the did not work, and Random House, Downtown Omaha Lit Fest. problems of design, reproduction, God bless them, killed those ideas. I’d and selling.” said about some ideas, ‘I would never

PW.ORG 42 buy a book with this cover, and I’d really rather not have my own book THE FINAL PRODUCT CAN BE be one I wouldn’t pick up in a store,’ and I’m lucky they listened to that,” A SOURCE OF GLEEFUL SATISFACTION— Sittenfeld says. OR HAIR-PULLING DISAPPOINTMENT. The first cover concept for Prep featured an ivy-covered stone wall, with the book’s title on a gold plaque. “I was worried this cover was a bit static and not at all femi- had imagined. The cover photo of you’ll get authors who end up show- nine for a book about a girl,” she a woman in a convertible, meant to ing it to every member of their fam- says, “and with my name, the av- suggest a drive through a southern ily. I had someone show it to their erage reader would assume I’m a countryside, was even taken in New psychic, and the psychic didn’t like man.” After Sittenfeld saw a maga- Jersey. the color.” zine article about ribbon belts titled “I didn’t think Gods in Alabama was Despite friendly gestures toward “Get Prepped,” she sent it on to her that funny,” Jackson says. “I thought authors, however, Gall acknowl- editor simply because she thought it was a darker book.” The cover, edges that competition for the the headline was amusing. “I think with its stretch of blue sky and the book buyer’s eye ultimately drives she interpreted my sending the ar- title drifting in pastel hues among the process—and determines the ticle as a suggestion, and the next the clouds, may suggest a sunnier final product. When designing the thing I knew the art department disposition than Jackson conceived cover for Tom McCarthy’s novel had come up with this cover. I would for the novel, but she is nonethe- Remainder, published by Vintage in never have expected that, but I love less ecstatic about designer Anne 2007, Gall worked from suggestions it. Of course, after the book was Twomey’s interpretation. “The cover from the author, who believed it published, I heard all these absurd couldn’t be more different than how I should play off the title’s humorous overinterpretations about the belt thought it should look, but Anne just reference to remaindered books— being an invitation for the reader to caught something about the novel.” unsold books, sometimes abused ‘deflower’ the book’s protagonist, or Twomey, vice president and creative and battered, returned by booksell- the fastened belt being symbolic of director of Grand Central Publish- ers to publishers. “So we had this the exclusivity of the novel’s board- ing, went on to design covers for two cover done that was slightly crin- ing school setting.” of Jackson’s subsequent novels (the kled, and I also wanted to do some- Indeed, readers are inclined to in- cover of her latest, A Grown Up Kind thing with repetition, so that’s why terpret the image on a book’s cover of Pretty, published by Grand Cen- we repeated the title,” says Gall. “I as an extension of the text inside, tral in 2012, was designed by Eliza- like to try to do things that we’re so it’s no wonder authors feel so beth Connor, art director at Grand not really supposed to do. So we invested in design. Like most new Central), and Jackson says she’s been embossed all the little crinkles in novelists, Joshilyn Jackson had happy to keep a low profile through the book. It looked pretty cool.” looked forward to working with an the design process. The cover was approved and art director on her first book jacket, If more authors shared Jackson’s publicity materials prepared. Then and she had a number of details in hands-off approach, John Gall’s Gall hesitated. Because it was a mind she imagined becoming part job as art director at Vintage and paperback original, Gall says, he of the design. Though the attractive Anchor Books would likely be a felt that the cover “was a little too jacket that eventually graced gods lot easier. Gall says the designers quiet” to compete in the visually in- in Alabama (Warner Books, 2005) at the Random House imprints are tense paperback marketplace. So he likely deserves no small amount “pretty respectful” of the author’s changed the cover. He kept the rep- of credit for the novel’s prominent vision of a book. “Some authors are etition of the title, but introduced placement in bookstores, it bore great, or what I consider great, be- an eerie shade of blue, referencing little resemblance to what Jackson cause they love the cover. And then a moment in the book that involves

43 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

leaking windshield wiper fluid. It’s major publications. was fun—and since [he] loved it, my difficult to know what role the cover Novelist Elizabeth Evans has pub- suggestion for how the cover might has played, but the book, with more lished novels with both small presses look became the cover.” This col- than thirty-eight thousand copies and large publishers, and she has lage style was also used on the spine, in print, has been a big word-of- designed her own covers for both. and proved so distinctive that Evans mouth success, and has garnered received calls from friends after the reviews in New York magazine, the novel showed up in an episode of Sex New Yorker, the New York Times and the City—the book was visible on Book Review, the Los Angeles Times, a shelf in the background of a scene in the San Francisco Chronicle, and the Carrie Bradshaw’s apartment. Believer. The fact that Chip Kidd designed the cover for his novel The Cheese alt W h i t m a n Monkeys, published by Scribner in didn’t have an art 2001, should come as no surprise. director like Gall. He’s associate art director for Knopf When he first pub- and is considered by many to be not Wlished Leaves of Grass, in 1855, he just one of the leading designers of chose the stamped floral design his day, but one of the most influ- that framed the book’s title him- ential in the history of book-jacket self. Whitman is among the many design. Kidd’s design became so authors who, by invitation or neces- detailed (and called for a jacket so sity, have designed their own cov- complex that it would have to be put ers. Evelyn Waugh came up with When Evans saw the planned art- on each book by hand) that Scribner the jacket designs for the first edi- work for her first book, Locomotion, finally informed him that some ele- tions of his novels Decline and Fall published by New Rivers Press in ment of the design had to go—the (Chapman & Hall, 1928) and Vile 1986, she felt it was out of sync with per-book cost would have been pro- Bodies (Chapman & Hall, 1930). In the book’s content. “I offered a paint- hibitive, given the terms of Kidd’s 1937, J. R. R. Tolkien’s publisher ing of mine that is actually described contract. invited the author to provide one in the title story,” she says. “New Riv- “I was freaking out,” Kidd says. of his own illustrations for the first ers liked it, and the amount saved by “Nothing can go. It’s like saying the print run (fifteen hundred copies) of not using the illustrator—my work bottom can of a pyramid of cans in . In 2000 Faber and Faber being offered for free—allowed them a supermarket has to go—the whole published new editions of Milan to make a beautiful color cover.” Kundera’s books that featured cov- Evans offered her artistry again thir- ers designed by the author himself. teen years later, after seeing the cover and Kelly Link call the concepts for her novel Carter Clay shots on their covers, but they’ve (HarperFlamingo, 1999). Though also published their own work (with Evans liked the initial designs, which McSweeney’s Books and Small Beer featured “black-and-white shots of a Press, respectively), and their work hulking guy receding up the high- would likely garner attention with way,” she was hoping for something even the dullest of dust jackets. more complex. The hardcover edition of Eggers’s “To show [my editor] what I had How We Are Hungry, published by in mind, I made a collage of photos, McSweeney’s in 2004, features a cut-up playing cards, simple black cover, yet it was re- clippings, scientific drawings, coins, viewed by , the and a gorgeous hot-pink wrapper San Francisco Chronicle, and other from a bar of Chinese soap. That

PW.ORG 44 thing will topple over, at least in my perimpose some very pretty serif, design: Don’t explicitly depict a head anyway. We ended up renego- letter-spaced type, preferably white, book’s characters on its cover (un- tiating the royalty rates so I could thereupon. It’s become every bit as less, of course, it’s a movie tie-in keep it all. Which was fine with me clichéd as any other genre’s covers.” edition, in which case it’s more than and obviously okay with them.” Indeed, a glance at the women’s desirable to place, say, an image of The cover of The Cheese Monkeys Brad Pitt on the cover of Chuck was printed just as Kidd had envi- Palahniuk’s Fight Club). Even Peter sioned, but with the tables turned, Curl, the author of the aforemen- the designer-turned-author learned tioned 1956 how-to book, warned that a good book jacket—even one of the various disasters that can by a top designer—does not neces- result from neglecting this advice, sarily translate into sales. “Often citing his own mistake in creating people will come to me, and it’s not a clean-shaven cover portrait of a that they articulate it, but it seems book’s main character, “when in clear early on that they think that fact he should have a luxuriant mid- simply because I’m going to work Victorian beard!” on their book jacket: (a) It’s going to Kidd says that an early version of be good; and (b) the book will sell,” the jacket for ’s novel Kidd says. “And that’s just not a guar- House of Meetings (Random House, antee. Since I’ve published my own 2007) featured the faces of two novel, I can hold it up as the primary men that Amis claimed didn’t look example. If I couldn’t make my own enough like how he imagined his book an instant best-seller with my fiction pages of Barnes & Noble’s characters. So Kidd worked with jacket, there’s no guarantee I can do Website, populated with titles such Amis to find images that would be it for you, whoever you are. I think as Michael Lee West’s Mermaids in more suitable. “It is precisely for the jacket plays only a small role in the Basement (legs), Lauren Weis- this reason that it’s rarely a good whether a book is going to be a suc- berger’s Last Night at Chateau Mar- idea to show a character full-on in cess or not.” mont (shoes), and Fannie Flagg’s I the face,” Kidd says. “It can also Still Dream About You (cityscape), rob the readers of the experience he members of Reader- confirms Templer’s theory. of building in their heads what the ville, a now-defunct This reliance on conventional characters look like. There’s a lot online forum for read- images may have evolved from a to be said for leaving it to one’s ers and writers, had long-standing, unwritten rule of imagination.” Tdiscussed and critiqued book Author Max Barry would likely jacket design from the Website’s agree. He says he’s never been more launch in 2000 to its suspension opposed to a cover design than in 2009. But Readerville founder when a designer tried to portray one Karen Templer says the conver- of the characters in his novel Syrup sation slowed down over time as (Viking, 1999), which he published the marketplace became riddled under the name Maxx Barry. “My with cliché. “Literary fiction— beef was that they’d put a guy on particularly midlist ‘women’s fic- the cover who was meant to be Scat, tion,’ much as I hate to use that my hero, and in the entire book Scat term—has now settled fairly firmly is never described physically, for on tropes of its own,” Templer what I felt was an important rea- says. “You take a really lovely stock son,” Barry says. “And not only had photo—especially a landscape or they depicted him, they had used cityscape, legs, or shoes—and su- their marketing manager, who was

45 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

closer to forty than twenty, and had combed his hair into this ridicu- lously conservative style and given him glasses and—argh, I can’t even think about it. I made my case, but the publisher essentially said, ‘Well, Things an Author we think this is right.’” Can Do to Facilitate The Polish movie poster I sug- gested my editor consider for the the Design Process cover of my novel Devils in the Sugar 10 Shop does depict a woman’s face, but Ask your agent about “jacket ages that would be expensive to gain considering her Peter Max–like trip- 1 consultation.” Written into the rights to reprint, they’ll likely be piness, her blue eye shadow and out- your contract, this stipulation doesn’t ignored. rageous bouffant, she really couldn’t necessarily allow you to be involved be mistaken for Ursula Andress— in the design process, but it can give Change your perspective. Look nor does she resemble any particular you additional leverage if faced with 6 at the cover from a marketing character in the novel. Ultimately, a cover you hate. Don’t expect to get perspective. Though it may not be the my editor decided not to use the jacket consultation, however. Most cover you dreamed of, would its design exact image I e-mailed to him. In- publishers would rather proceed catch the eye of the consumer? stead, graphic designer Kathleen without it. Lynch commissioned an illustra- Don’t conduct a marketing sur- tor to recreate the image from Ma- Ask to see the final cover. Even 7 vey. But if you do consult your ciej Zbikowski’s original drawing. 2 if your contract doesn’t grant friends and family about the cover, keep Lynch experimented with contem- you jacket consultation, your editor the findings to yourself. Your designer porary typefaces for the title, but will likely want to show you the cover doesn’t care what your shrink thinks ended up taking a retro approach, before it goes to print. But be sure to of it. incorporating a version of the post- ask about this early in the publishing er’s original lettering. “I prefer to process; the jacket is sometimes de- Trust the designer to do the job stay as close to the original concept signed and printed soon after the book 8 well. Designers are artists as well as possible,” Lynch says, “because is accepted. as members of the marketing team; when you start to deviate from that their eyes are trained to produce cov- it gets muddled.” Consult with your editor. Ask her ers that are attractive to booksellers, So the cover looks almost exactly 3 how involved you’re allowed to be reviewers, and readers. as I’d imagined it, which produces a in the design process. At some small new kind of anxiety—the sense of my presses, authors are invited to take an State any objections clearly and having stepped deliberately, an un- active role and are sometimes even ex- 9 concisely. Present yourself as a witting author, into the complicated pected to come up with cover concepts. well-informed and professional writer, maw of marketing. In the world of not an emotional one. publishing—where art and market- Collect images. Start a file of ing attempt, implausibly, a graceful 4 those that you think would work Know when to concede. If dance—neuroses can be expected well for the cover and e-mail them to 10 you’ve signed the contract, the with every step. But, as Sittenfeld your editor. It’s not uncommon for a publisher has final say. No one wants says, “I try not to get too wound up designer to take an author’s visual cues. your book to be saddled with a cover about it because I’m a lot more in- you despise, but the publisher may still vested in the writing than the cover, Keep your suggestions simple. disagree with your opinion. Look on and freaking out about your book 5 If your suggestions involve costly the bright side: Maybe there will be a cover is, all things considered, a nice or impractical frills, or call for im- redesign for the paperback edition. problem to have.”

PW.ORG 46 of a publishable book. I knew how a publishable author walked and talked, THE ONLINE and so I knew that Cheap Cabernet was publishable. I also knew that I was the only one who knew it. No one else BOOK LAUNCH really cared. Any of this sound familiar? Self-Publishing Your Way to a Book Deal I began thinking: What if I built a Website, threw a “Cheap Caber- BY CATHIE BECK net, Vino for Every Vixen Online Book ParTay!” from my home of- fice in Denver, and created promo- tional pages on Facebook, Twitter, ere’s one way to resulted in rejections and, after my and LinkedIn? What if I picked tell the story: I self- agent’s prodding, the decision to do a launch date, set up an Amazon published my mem- a major rewrite. page, and made sure every breath- oir, Cheap Cabernet: A year later, major rewrite in hand, ing soul I’d ever encountered not HA Friendship, and threw an online my agent sent the manuscript out only bought the book on launch day, book-launch party on October 6, again. For a year we got the usual but acted as a bookselling soldier 2009, because I wanted a shot at a “Love this voice” responses along and got friends and family to buy commercial book contract—period. with the “When she writes some- copies? A noticed I was sell- thing else let me know” rejections. What if Cheap Cabernet went pub- ing a respectable number of books, And so we both quit. lic, so to speak, on a Tuesday, say picked up Cheap Cabernet, and held In May 2009 a friend—who October 6, 2009, a workday when a three-house auction. Voice, an admittedly knows squat about agents and publishers are not on fam- imprint of Hyperion, won and pub- publishing—forwarded to me an ar- ily vacations or on holiday? And what lished the book in July 2010. ticle that had appeared in a business if hundreds of agents and publishers Here’s another way to tell it, the magazine. The article profiled Elle saw a meteoric rise of Cheap Cabernet real story: I was a weary, bitter writer Newmark, an author with a story on Amazon’s sales rankings—and with a ten-year-old book manuscript much like mine—that is, she was a one of them reacted? festering like an open sore on my writer with a manuscript that had So began a five-month, all- upstairs-closet shelf. Parts of the won regional awards and an agent who consuming, self-publishing book- manuscript had won an award from couldn’t sell it, and she had endured launch campaign that took a manu- the Denver Woman’s Press Club, and years of wondering why the hell any script from obscurity to being named I’d been lucky enough in 2004 to get of us bother. Then she self-published a Denver Post Books best-seller, a a terrific New York City agent to take The Book of Unholy Mischief (originally Women’s National Book Associa- it on and try to sell it. A first round titled “The Bones of the Dead”), and tion Great Group Read selection, a of submissions to “all the houses” subsequently scored a book deal with Midwest Independent Booksellers Washington Square Press. Association featured book, a finalist That magazine article, which I for the Books for a Better Life Award, Cathie Beck is a Denver-based worked hard to quick-read and then and a Target Stores Emerging Au- journalist and the author of the dismiss, lingered in my brain. I was thor selection. memoir Cheap Cabernet: A Friendship. a book reviewer at the now-defunct It took eighteen months from the She is currently the Wine Wench Mountain News. I’d published inception of the idea to the signing columnist for ColoradoBiz Magazine a number of short stories and had of the book contract. It wasn’t easy and on radio station KUVO in taught literature at a couple of univer- and it wasn’t cheap. It was exhausting. Denver. sities. I’d won journalism and fiction But I wouldn’t want to change one awards and I knew the characteristics minute of it.

47 POETS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

nce I’d decided to designer, two thou- give Cheap Cabernet: sand dollars to a Web- A Friendship one more site designer, eight “I DECIDED TO shot at getting sold to a hundred dollars to Omajor house, I made a series of deci- obtain the services of SPEND ABOUT TEN sions. The first was how to get my pay-for book review- book packaged, printed, and into ers, fifteen hundred THOUSAND DOLLARS my hands. I researched the options. dollars to an editorial- SELF-PUBLISHING AND Printers just print books; book pub- administrative assis- lishers, on the other hand, print and tant, one thousand LAUNCHING THE BOOK.” usually offer some degree of market- dollars to print books, ing. That’s a critical difference—just four hundred dollars wanting the thing printed versus for plastic wineglasses with the title every single extraordinary marketing wanting it printed along with some imprinted on them (“marketing col- effort I could imagine. I asked a friend help getting it on the streets. I just lateral” in today’s business-speak), to work on the cheap—for a percent- wanted it printed. one thousand dollars for office sup- age of my book’s sales, with no guar- My research led me to Amazon’s plies such as nice paper for the press antee of a number—as my assistant, print-on-demand service, Create­ releases, and five hundred dollars editor, gofer, and staunch supporter. Space. I opted for CreateSpace for a few for postage. The rest got eaten up in I researched author Websites to try reasons: I wouldn’t have to ship books God knows how many skinny lattes to figure out what worked for them to Amazon’s warehouse, let alone try to soothe my hardworking soul. and what did not. And since I’d run a to manage those shipments. The price I made a large chart on my of- boutique public relations agency from was right too. My book cost about six fice wall including all the elements my home office for years, I decided to dollars a copy, wholesale, to print. of the campaign and a timeline. behave as if I were my own paying That was in the range of any printer That chart took into account all public relations client. That meant or book publisher I researched. I really the time and resources that would that, for all intents and purposes, just wanted my book sold on Amazon, go into building a Website and a Cheap Cabernet was a product coming so having Amazon’s own print-on- media list, compiling marketing from a small-business owner who was demand service made it seamless. materials, as well as about a dozen paying good money for some serious Buyers saw “ships immediately” on other individual yet intertwined bring-it-to-market efforts. my Amazon page and never knew the efforts. Attention to detail made all the book didn’t print until they purchased Did I mention that I made most difference. Fortunately, I’m psycho it. It was efficient and cost-effective. of it up? The author in the magazine about detail. For example, press I decided to spend about ten thou- article that spawned my project had releases are the standard vehicle sand dollars self-publishing and taken a book-marketing class, which, for dispensing information to edi- launching the book, an amount that, though it obviously helped her, I felt tors and reporters, and they require if all was for naught, wouldn’t send me missed pieces of a potentially success- writing, editing, distribution, and to debtor’s prison. This is not a small ful online book launch that I deemed follow-up—all of which I was more amount of money, of course, and not critical. Social media was one key ele- than happy to tackle. The way I saw everyone wants to or is able to spend ment (missing in her campaign) that I it, press releases are a sales tool re- this (or any) amount of money on a planned to utilize. Facebook, Twitter, quiring an aggressive push and mul- self-publishing book launch. But I LinkedIn, and other Websites and fo- tiple reselling efforts. (“Will you do made a business decision: This was to rums with large built-in audiences—I a story?” “This would make a great be a hard-core marketing effort, and used them all. bit in your next column—no, re- that requires a budget. “All-out effort” and “spare no ex- ally.”) The ten-thousand-dollar invest- pense”—of time, energy, and, to an During the months leading up ment broke down, roughly, like this: extent, money—were the themes to October 6, 2009, I wrote beauti- five hundred dollars to a book-jacket of my book launch. I wanted to try ful press releases and asked another

PW.ORG 48 public relations pro, whose work I ad- book-review outlet ForeWord Re- I care to admit, I compiled a list of mire, to be the “contact” on my press views, and Kirkus Indie, a pay-for Websites that potential readers of my releases, as I felt it more professional review service offered by Kirkus memoir might visit on a regular basis. than putting my own name on press Reviews. I paid about four hundred By Googling “women wine books,” releases about me. dollars for each of them to indepen- for example, and “sassy women read- I also decided that, despite the dently review my book. I also asked ers” and “wine books chick lit,” I refusal of major book-review pub- Patti Thorn, former Rocky Moun- filled an Excel spreadsheet with lications to critique self-published tain News books editor, for a profes- Websites that, after a quick perusal, books, I wanted at least two credible, sional, objective, and honest review seemed like they had audiences who’d well-respected book reviews. At the of my book. appreciate Cheap Cabernet. time I launched my campaign, a cou- A couple of book reviews later, I then approached the owners ple of pay-for book reviewers fit that I had excellent blurbs (or excerpts) of those sites with a pitch: Would bill. Pay-for book reviews are a rela- from those positive write-ups, which you help me promote my new book tively new entity in book publishing. continue to populate a “rolling bar of on your site if I put your URL on And thanks to the Internet and to endorsements” on my Website and the Cheap Cabernet site? It was a the widely growing self-publishing in my press releases. plea for a mutually beneficial “co- movement, their numbers are grow- I also decided to query editors of marketing” effort. About two dozen ing and gaining respectability. Websites whose readerships might Websites went for it. I helped drive I Googled “pay-for book review- like my work to see if these out- traffic to their sites, and they helped ers” and found Clarion Reviews, a lets would support Cheap Cabernet. put Cheap Cabernet in front of their pay-for service from the traditional Spending more hours Googling than readers.

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4949 POETSPOETS & WRITERS & WRITERS POETS & WRITERS GUIDE TO THE BOOK DEAL

One of the venues I found was Yes, the project generated a lot of partners, to the friends and fam- WOOF (Women Only Over Fifty), details to keep track of, a lot of min- ily wanting to buy the book, and to a Website and blog run by Diana ing for appropriate Websites, a lot of any social-media “friends”—of not Black. I e-mailed her and asked if pitching to those Website owners, purchasing Cheap Cabernet until the she might read Cheap Cabernet and, and then a lot of follow-up, but the morning of the book’s launch. Why? if she liked it, write about the book concept is simple: You help me launch Because I wanted all purchases to on her blog and mention the launch my book by promoting it to your ex- happen that morning on Amazon in in her e-newsletter and on her Face- isting readership and I’ll promote you order to (I hoped) dramatically raise book page. In return, I offered to to my growing one. the book’s sales ranking. Amazon put her Website and blog address ranks overall book sales on its site, on all my e-mail communications rom the early summer of as well as within categories, such as promoting Cheap Cabernet, as well as 2009 to October 6 of that memoirs, and updates that informa- on my Website. Black is also a book year, all of these efforts tion every hour on the hour. It took author, and she offered to give one took place. Together they only a few hundred sales, made dur- free chapter of her book to anyone Fbecame a cacophony of online book ing about a two-hour window on the who bought Cheap Cabernet. I got promotion that systematically and morning of October 6, to escalate about twenty other sites to make the increasingly built buzz about Cheap Cheap Cabernet’s sales rankings. At 6 same exchange with me, so all those Cabernet and (as was my hope) cre- AM my memoir was ranked at some Websites promoted my memoir and ated an audience ready to buy the awful number like 1,386,491 in over- were included in my promotional book the morning of its launch. all book sales. By late morning, it had e-mails, e-newsletters, and social- It was critical that I stress the im- reached No. 67 in overall book sales media posts, and on my Website. portance to everyone—to all Website rankings and No. 12 in memoirs. All

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PW.ORG 50 morning it jockeyed for that position with Madeleine Albright’s memoir, Read My Pins: Stories From a Diplo- mat’s Jewel Box (Harper), which was thrilling to watch. What You Need to Know But it wasn’t the thrill I was after. I wanted agents who might represent It takes passion. If you’re not com- friends and family to catch your con- the book and book publishers who mitted with all your soul to launch- tagious enthusiasm and at least buy a might publish the book to witness ing your book, I recommend you copy of your book—maybe even talk Cheap Cabernet’s rise on Amazon. wait until you are—or be satisfied it up among their own friends and ex- I’d carefully researched hundreds of with a milder response to your cam- tended family. You’ll need someone literary agents and publishers to find paign. You can do any or all of this who believes in you and will listen to the best match for my book. I built a halfway, but what worked for me was how your campaign is going and actu- mail-merge note in Outlook and put pulling out all the stops. I firmly be- ally care. If you can afford a little bit the e-mail addresses of all the most lieve that if I’d taken a shortcut on of administrative help, get it. Rome likely choices into a spreadsheet. All any step, I would not have attained wasn’t built in a day—and it wasn’t morning long I sent Cheap Cabernet’s my goal. built by just one person either. remarkable Amazon sales-ranking rise to all those agents and publishers. Be authentic. I know that my per- Make sure your manuscript is per- I attached a screen shot of my Amazon sonality isn’t for everyone and I don’t fect. Is the writing up to snuff—letter rankings and pasted them into those care. You either like me or you don’t. I perfect, with no grammatical, spell- e-mails. decided to gamble that enough people ing, or technical errors whatsoever? Over the next three weeks, two would like me to make my personal- Would you give it to any professional dozen book publishers and nearly ity my brand. My book has my per- anywhere and be proud? Then you’re as many literary agents asked me sonality, my voice—and it’s a strong ready to self-publish and work to se- to overnight my book to them, personality and voice—oozing out of cure a book contract. If you don’t feel which I immediately did. Two it. I felt I must put myself out there this way about the book, fix what’s of those packages found their uninhibitedly, without fear of criti- broken first. mark—the one I sent to my per- cism, and with abandon. I committed fectly suited publisher, Hyperion/ to being real and hoped that didn’t Are you capable of being patient Voice, and the one to my equally per- make me any less appealing. if nothing happens for a while— fect dream agent, Dorian Karchmar perhaps ever? This was a hard place at the William Morris Endeavor. Spend money. This one’s hard be- for me to get to. I needed to know And you know the rest of the story. cause we often don’t have any. I didn’t. that if I was down several thou- It is a dream. It is glorious, and a bit What I did have was a little credit card sand dollars that I was going to be unbelievable. space. I set a budget for spending that okay. I needed to know I wouldn’t But the moral of the story is this: wouldn’t make me feel bankrupt. It be haunted by the months of effort, You can be a weary and bitter author was ten thousand dollars. For this the lost income, the money spent, who feels that striking a book deal kind of money I believed I could ac- or the disappointment of still hav- is a Herculean effort that grants re- complish everything I needed to do. ing no book contract. I realized I sults to only a favored few. Or—with I have no regrets. would be okay. I might have taken a bit of sweat, some time investment, six months to recover from doing a well-written manuscript, and, yes, a Ask for help. Don’t even think you all that work and ending up with lot of good fortune—you can put you can do a bang-up, super-duper book- my self-published version and little and your book among those so-called launch campaign by yourself. You’ll more. But ultimately, I knew if I gave lucky stars. No one said it was going need Web partners who will help it my all and it didn’t work, I could to be easy, but then reaching for the you promote your book. You’ll need move on and write another book. stars rarely is.

51 POETS & WRITERS CLASSIFIEDS

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