Month: July 2009

Choosing A Freelance Editor: What You Need To Know

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This post, from Alan Rinzler, originally appeared on his The Book Deal blog on 7/2/09.

In the increasingly difficult competition to get published, writers know they must put their best foot forward by sending out only a professional, polished, and persuasive new proposal or manuscript to any prospective literary agent or publisher.

Many authors have come to understand the value of objective help before taking the plunge, and I don’t mean from family, friends, or the local writing group. Such support is valuable to have close at hand, but even with the best of intentions, it’s not as useful as professional feedback and guidance.

Full disclosure:  I’m an Executive Editor at Jossey-Bass/John Wiley & Sons and I also work privately as a developmental editor with selected authors.

But I’m not the only such practitioner, and not necessarily the best one for you. There are plenty of other developmental editors out there.

Ask for referrals from authors you know and from agents and editors you meet at writers conferences, expos, or book store signings. It takes hustle and discernment.

Some independent editors have websites that list their services and former clients. If authors are listed, you can try to get in touch with them through their agent or publisher. The authors may be happy to endorse their editors and may well want to lend a helping hand to a fellow writer.

I recommend you be very careful when evaluating and making a final choice. Here are some of the primary considerations I think are important when selecting an editor.

Evaluating a freelance editor

• Professional Status

Is this individual a developmental editor? A developmental editor works with a writer to improve the basic concept of the book, the way it’s focused and structured, the style and attitude of the narrative voice, whether it’s fiction or non-fiction.

In a non-fiction book they’ll help clarify and organize the ideas and information. In a novel, they’ll work on the plot, characterizations, dialogue, visual description, and literary style.

It’s important to distinguish developmental editors from copy editors, who take a manuscript that has already been developed and correct the spelling, grammar, punctuation, and in some cases fact-checking.

Ask about the editor’s educational background and experience. A developmental editor is likely to have a vitae that includes a degree and perhaps graduate studies in literature or a related subject.  It’s also very helpful to have in-depth experience as an editor working with a broad variety of authors in real-world commercial book publishing.

• Track Record

Has the editor worked on books that have been published successfully?  Your prospective editor should be able to provide an author list of published titles that you can examine.  Did the authors acknowledge the editor in their published works?

Ask the editor to provide references and endorsements, and be sure to follow up.

• Compatibility

Don’t be shy. Get in touch with a prospective editor directly. If you live nearby, make an effort to meet. If that’s not feasible, have a good phone conversation. It’s important to see how they respond and to hear their voice, to establish a relationship you can trust and enjoy.

You don’t have to love your editor but it helps to like one another and have an open, honest channel of continuing communication. A good fit is important.

Humor and compassion also go a long way in forging a productive relationship!

• Accessibility

If your candidate is slow to answer emails or never returns your phone calls, that’s a bad sign, a harbinger of future problems. Being busy is normal; being absent or invisible for long periods of time is not acceptable.

 

Remember: It’s your book

Once you’ve narrowed your search or made an actual choice, I always advise authors to establish the ground rules up front and take an ongoing proactive role in protecting their interests.

Good developmental editors subsume their own egos and enter the world of the writer’s consciousness. They’re not writing their own book but helping you create the book you want to write.

Read the rest of the post on The Book Deal blog.

Offering A Kindle Edition Can Increase Sales By 25-35%

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This post, from Joe Wikert, originally appeared on his Publishing 2020 blog on 6/29/09.

The latest issue (July/August) issue of Fast Company magazine features an excellent cover article about Amazon and Jeff Bezos.  As I read through it I highlighted a few excerpts and made a number of notes:

Recently, Bezos claimed that Kindle e-books add 35% to a physical book’s sales on Amazon whenever Kindle editions are available. Put another way, for every three print copies of, say, Malcolm Gladwell’s "The Outliers" the site sells, it also sells one Kindle e-book — or about 25% of total sales.

This felt like an overstatement to me…till I sat down and checked the numbers.  It’s true, at least for the top several titles I looked at from our O’Reilly list.  Quite a few of the books I looked at had Kindle sales that represented anywhere from 20-30% of the total Amazon sales.  The key point: If you’re a publisher, you need to get your content into this platform.  Authors, if your publishers don’t already have your content available on the Kindle, when will they?  As much as I hate the Kindle’s closed nature there’s no arguing with the results.  Of course, publishers are also free to sell Kindle content direct to consumers, just like we do at O’Reilly.

Jeff Bezos is trying to do to book publishers what Steve Jobs of Apple did to the music industry. With its iPod and iTunes Store, Apple carved out a largely virgin market so fast that it was able to wrest control of the digital-music distribution system and thus dictate what the record labels could do.

I’ve occasionally been concerned about this but I’m not sure there’s much to fear after all.  I’m seeing more and more e-storefronts popping up every week and even though the Kindle is pretty popular it hasn’t been the runaway success the original iPod was.  Even the iPhone itself is a worthy competitor to the Kindle.  Ironically enough, I think it’s when Amazon fully opens the Kindle platform that we’ll have to worry the most about this.  That will probably have to happen at some point, but Amazon doesn’t seem to be in any hurry, so relax…for now.

Should that happen, book publishers would have more to fear than just being squeezed. Amazon could phase them out completely, treating them as the ultimate middlemen orphaned by a new technology.

Forget about Amazon.  Any publisher that isn’t already worried about this in general is asleep at the wheel.  With all the great self-publishing services out there and the ever-growing importance of social media and author platform it’s crucial for all publishers to determine the value they add to the ecosystem.

In some ways, book publishing operates like one of Joseph Stalin’s five-year plans.

This statement made me laugh out loud.  Literally.  It’s painful to admit but true that some publishers still try to lay out 3- and 5-year financial plans.  This, in an industry where most have had a hard time coming close to their latest annual and even quarterly forecasts.  Ugh.

Here’s a doomsday scenario put forth by Richard Curtis, a literary agent and founder of E-Reads, an independent e-book publisher…

The rest of this excerpt would be pretty long, so let me summarize by saying that Mr. Curtis is concerned about Amazon using their BookSurge service to print all the copies they’ll sell.  Is that really scary?  We’re talking about a more efficient model!  If the unit cost (after factoring in the transportation savings) is less than an offset printing of those copies, why wouldn’t the publisher want to do it this way?  If anything, it’s a wake up call to the brick-and-mortar stores out there to figure out what value they add to the model.  Instant gratification.  Check.  How about beating Amazon at their own game though and offering print-on-demand of an infinitely long title list at the individual store level?

Read the rest of the post on Joe Wikert’s Publishing 2020 blog. Also, if you’d like to offer your work in Kindle format but have no idea how to do it, see "IndieAuthor Guide To Publishing For The Kindle™ With Amazon’s Digital Text Platform™ And MS Word™ 2003 Or Higher", written by Publetariat founder April L. Hamilton and offered for free download on her website. 

POD Publishing: Why Do It? And … Why Not?

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This post, from Mel Keegan, originally appeared on The World According To Mel blog on 2/14/09.

Writing has been likened to bashing your head against a wall — with one exception: it’s not so great when you stop.

I guess this is because writing is in your blood, something you do because it’s … what you do; and the fact is, you’ll do it whether anyone is reading what you write, or paying you, or not!  Writing is a vocation, like religion, medicine, the law.

Publishing is a different can o’ worms (or kettle of fish, if you prefer). Publishing is like jabbing yourself in the foot with a sharp stick. In terms of the pain and anguish you’re inflicting upon your anatomy, it’s about the same … but it can actually do you more physical damage! Let’s face it, if you give your head a good enough bash on the wall the first time out, you’re going to knock yourself right out — and I ought to know! I did this last week! (See also Gay novelist, battered and fried.) Technically, you could jab yourself with a sharp stick enough times to do a whole lot more damage —

Which is where the publishing analogy becomes utterly perfect. Publishers are gluttons for punishment, especially the self-marketing variety. They could stop anytime. But, do they? No. We go on, bashing our heads (and jabbing our feet) when we know that every single day we’re going to be up against unutterable rubbish like this:

Six reasons that self-publishing is the scourge of the book world.

…and I cannot tell you the degree to which this article is wrong in its sweeping statements. The blood boils. Consider this:

1. No one vetts self-published books, allowing even the most puerile piles of crap to adopt the guise of polished, professional prose.

Point one: Mr. Tom Barlow, you must stop generalizing on this first line. All self-published works are not the same, and some are vetted to destruction point. Some will be proofread many more times, by more pairs of eyeballs, than could plausibly be assigned to them by "small" publishing houses who can’t afford a large enough editorial staff to do a proper job. (Point two: drop the alliteration. It makes you sound like an over-inflated idiot.)

2. Self-publishing kills the drive for writers to improve their craft. The artificial, undeserved success they will achieve will trap them in mediocrity.

This is such utter piffle, I was speechless for a moment. Mr. Barlow, who told you this? You were sold a priceless line of BS. The drive to improve one’s craft is born in a writer, and continues to flow in his or her veins irrespective of whether they’re published (slim chance) or not.

Editors do little to inspire writers to improve, because the process of editing any but the bestselling author is so robotized, so impersonal. You mail your manuscript in; a year later you get the galleys back, and a few days to read through them. You have no real idea of what was done to the work, or why, you just check it for errors and mail it back as fast as humanly possible.

And what gremlin whispered into Tom Barlow’s naive ear, that a self-publishing author of a "puerile pile of crap" is going to achieve any kind of success whatsoever? Does he think books sell themselves? Does he honestly believe readers will buy a book without having read at least 10% of it as a free download, seen the cover at full-size, and read numerous reviews, either online or in the print media?

Any copies sold, anywhere, any time, are the result of massive amounts of hard marketing work by the author, and before it could start, said author had to have a real, solid work to go out there and sell. The rubbish he’s describing exists — by the wagonload — on Amazon, on Lulu, and "wherever books are sold." The point he’s missing is this: "puerile piles of crap" DO NOT SELL COPIES. Their authors do not enjoy success, artificial or otherwise, and what traps them in mediocrity is their own — mediocrity.

Read the rest of the post on The World According To Mel blog.

Publishing And The Black Swan

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This post, from Glenn Yeffeth, originally appeared on the BenBella Books blog on 4/20/09. In it, he applies Nassim Taleb’s Black Swan theory to publishing. The Black Swan theory posits that rare and unpredictable events can have a huge impact in whatever aspects of life and commerce they occur. Publishers, Yeffeth says, can apply some specific strategies to proactively minimize their exposure to "negative black swans" while maximizing opportunities to take advantage of those even rarer, "positive black swans" .

The Black Swan, by Nassim Taleb, is the best book on statistics I ever read. OK, that may sound like faint praise. But the book is one of the best books I’ve read in years. Brilliant, eccentric, and prescient, this book speaks to me in particular because of my stint in the PhD program in finance at the University of Chicago. I dropped out for exactly the reasons Taleb discusses in the book – the more I learned about mathematical finance, the more I realized how disconnected it was from reality (full disclosure: I also sort of sucked at higher math). If you haven’t read it, you want to, especially if you are in publishing.

The essence of Taleb’s theory is straightforward. Rare and unpredictable events, he theorizes, have an enormous impact on business, finance, on life in general. This might seem to be unexceptional, except that all of statistics, economics and finance (to name a few areas) are based on the assumption that this isn’t true. Everything you’ve heard about the normal curve or law of large numbers, or even the concept of an “average” is based on the idea that once you have enough data – say over a hundred data points – you basically know what’s going on in terms of risky events, that your average is going to be stable etc. The whole idea of finding an average from data, for example, goes out the window if one observation (once you already have lots of observations) can radically change your average. Yet in real life this happens all the time (half the growth in the stock market since WWII, for example, happened in 10 days).

Some businesses are negative black swan businesses. They seem to be making more than they really do make, because they are exposed to rare, but huge, downside risks (think banks and reinsurers). Publishers are exposed to some negative black swan risk (i.e. bankruptcy of major distributor or retailer) but, in general, publishing is a positive black swan business. The rare events can make publishers a lot of money. In fact, without the rare events (i.e. Harry Potter, Da Vinci Code) they barely make any money at all.

The essence of black swans is that they are unpredictable; if they were predictable they wouldn’t be black swans. No one knows they are coming, although everyone can see their inevitability in retrospect. Consider the numerous retroactive explanations for the success of Harry Potter, when, in advance, the original novel was rejected by every publisher that saw it but one, and that one (Bloomsbury) paid 2500 pounds and printed 500 copies. No one saw it coming.

So the solution is to design your publishing house so as to maximize your exposure to positive black swans and minimize your exposure to negative ones. Easy, right?

Not so much. It’s tricky to figure out exactly what to do about Black Swan theory, but here are a few ideas to start with:

  1. Have a healthy respect for what you don’t know. Your management processes will pressure you to predict how each book will do, and allocate resources accordingly. Don’t confuse this with the idea that you know what will happen. Allocate a bit more resources to your small books, and a bit less to your big ones, because you are less sure of what is small and what is big than you think.

Read the rest of the post, which includes 9 additional Black Swan ideas, on the BenBella Books blog.

Leaving Out The Parts People Skip

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This post, from Robert Gregory Browne, originally appeared on his Casting the Bones site on 6/26/09.

One of our best American writers, Elmore Leonard, has famously said that he tries to “leave out the parts people skip” when he’s writing. Anyone who has read a Leonard novel knows that they are lean, move quickly, and certainly don’t require any skimming.

But what exactly does that mean?

People start skimming when they lose interest. When they want you to get on with things. When they’re not as engaged by the story as they should be.

So how do you keep them engaged? I have a few ideas:

Keep your prose style simple and economic and clear

You can certainly be clever and artistic, but never sacrifice economy and clarity for the sake of “art.” Much of that art, in fact, is writing in a way that the sentences and paragraphs and pages flow from one to the next, giving the reader no choice but to hang onto every word.

And clarity is always important. If a reader is confused about what is going on, she may well give up on you.

Don’t bog your story down with too much description

Descriptive passages can be quite beautiful, but your job is to weigh whether or not they’re necessary. Are they slowing the story down?

One of my favorite writers of all time is Raymond Chandler. But when I read his novels, I sometimes find myself skipping entire paragraphs. Chandler seemed to have this need to describe a room or character in great detail, and while that may have been part of the job is his day, I think it’s much less important now.

Gregory MacDonald, the author of the Fletch books, among others, once said that because we live in a “post-television” world, it is no longer necessary to describe everything. We all know what the Statue of Liberty looks like because we’ve seen it on TV. We’ve seen just about everything on TV, and probably even more on the Internet.

So, I think it’s best to limit your descriptions to only what is absolutely necessary to make the story work. Meaning: enough to set the scene, set up a character, or to CLARIFY an action.

Let’s face it. Saying something as simple as, The place was a dump. Several used syringes lay on the floor next to a ratty mattress with half its stuffing gone is often more than enough to get the message across.

If you can, describe a setting through the eyes of whatever character controls the scene (meaning POV). If you include the description as part of that character’s thought process, colored by his or her mood or personality, the description then becomes much more dynamic and also reveals a lot about that character.

One man’s dump, after all, may be another man’s paradise. And showing how a character reacts to a place is much more interesting than a static description.

Read the rest of the post on Casting the Bones.