Archive for the ‘Interviews’ Category

Tawni Waters on Beauty of the Broken

October 1, 2014
tawni headshot

photo copyright Joe Birosak

beauty of the broken coverEvery once in awhile, you read a book that grabs your heart and won’t let go. It doesn’t happen very often. When it does, it stays with you forever. For me that book is Beauty of the Broken by Tawni Waters, released this week by Simon/Pulse. I suppose you could say this is a YA lesbian coming of age novel. But that’s a little like saying Moby Dick is a book about fishing. It’s the story of Mara, a 15 year old girl growing up in a small town in New Mexico in a family that raises the meaning of “dysfunctional” to a new level. On the first page, Mara’s drunken father smashes her beloved brother, Iggy, with a two by four causing permanent brain damage. The stakes are raised when Mara  finds herself falling in love with the new girl in a town where lesbians are considered “abominations”. The scene describing Mara’s recognition of this first love is one of the most memorable portrayals of that universal experience I have ever read.

Early readers have characterized Beauty of the Broken as “heart wrenching”,  “devastating”,  and “unforgettable”.  And, indeed, when I read it, I found myself finishing the book at 3 AM and sobbing like a baby. But it’s also a triumphant and  life affirming book and one that gives a universal message of the virtue of human courage. Beauty of the Broken is an astonishing book.

Today we are going to interview Tawni Waters and talk to her about her creative process.

Andy: Tawni, can you tell us a little about how you conceived of Beauty of the Broken.

Tawni: Honestly, I didn’t conceive of the novel.  I conceived of a character named Mara, a brilliant, tormented girl who was dealing with some really ugly abuse, trying to come to terms with her identity in a hyper-religious small town.  It’s so cliché, but I swear, I didn’t invent this thing.  Mara told me her story, and I wrote it down.  She was that real to me.

I didn’t originally write Mara as a lesbian character–that part of her emerged slowly, as I was writing later drafts of the book.  She would wax poetic about Xylia [the new girl in the school], and finally one day, I said, “Hey, wait.  I think Mara is in love with Xylia.”

Beyond wanting to write a story about this character who just grabbed hold of my heart , I wanted to write a book about the struggle between love and dogma.  I always say, “If your dogma is stronger than your love, you are in danger of atrocity.”  Mara’s sexual orientation only heightened the themes that were emerging as I wrote the first draft.

Andy: When I read the book, I knew on the first paragraph that it was special. But you wrote it years ago. Why did you wait so long to try to get it published.

Tawni: Because I thought it sucked.  Not really.  Actually, I thought it was good in the early years.  I tried to publish it, but when nothing came of it, I stuffed it in a drawer and forgot about it.  I’d take it out and dust it off every once in a while.  But for the most part, I let it lie fallow.  It was nothing more than a faint memory by the time I sent it to you, believing you’d think it sucked too.

Andy: How has the book changed from your first draft.

Tawni: Where do I start?  In the first draft, Iggy [Mara’s brother] remained lucid throughout the book and died in a war.  Xylia was his girlfriend.  Mara and Xylia’s love affair didn’t really develop until late drafts of the novel.  In the early drafts, they were just close friends.

The only thing that has remained constant during the various drafts is the Stonebrook family dynamic and Mara’s character and voice.  Everything else was a crapshoot.  You know that Stephen King quote, “Kill your darlings.  Kill your darlings.  Though it break your egocentric little scribbler’s heart, kill your darlings.”  Well, I’m a professional darling killer.  There are probably a thousand pages of Beauty of the Broken lying on the cutting room floor.  Very little of what I wrote made the final draft.

Andy: People are just beginning to read BOTB. The reactions by readers is unbelievably emotional. The book seems to be touching them in some deep place. Can you describe that and maybe explain it?

Tawni: I was talking to my students about this subject today.  I told them a story from my life–the death of my beloved father–in all its gory detail, and almost cried as I was telling it to them.  I wasn’t trying to manipulate them emotionally, nor was I trying to cry.  I just let myself be vulnerable and honest.  I let myself feel the emotion of the memory.   Because I was so deeply invested in my story, they all became emotional too during the telling.  Then, I told them that the intensity and emotional connection I displayed during that telling is where they have to go if they want to touch readers in a deep, true place.

Part of this probably goes back to my dramatic training.  I was an actor for years, so I think sometimes my acting bleeds into my writing.  I know how to authentically emotionally connect to artistic material.   But beyond that, I just have a gift for living in the moment, for really feeling things.  (I call it a gift now, but ask me if it’s a gift after a couple of glasses of wine, or after some cruel creature has broken my heart.)

Ultimately, I think that people respond emotionally to my writing because I am responding emotionally when I write.  I am giving them an authentic, vulnerable piece of myself.  I think our society often conceives of art as this thing that elevates an artist over her audience, but I think of it as a bridge that connects equals.  The first storytellers were connecting with their clans around campfires.  I don’t put a literary method on the page.  I put my heart on the page.

Of course, I’ve taken years to hone my craft, so I’ve learned how to go back and clean my heart up after it’s on the page.  This is important too.  Hearts are pretty, but they’re sloppy sometimes.

Andy:  I like Nietzsche. In his Birth of Tragedy, he talked about Greek tragedy as being a combination of the rational spirit of Apollo with the ecstatic sensibility of Dionysis. The words of the play being Apollonian and the music, the chorus, being Dionysian. I see this same dichotomy in the creative work of writers, particularly writers like yourself who seem so in touch with an inexplicable creative spirit. It seems to me that stories come to you almost effortlessly, but then you need to do the hard work of perfecting them.  Can you tell me about this?

Tawni: You had me at Dionysus.  Really.  I’m a sucker for all things Greek.  I think for me, creative writing requires two distinct processes.  During the first, I let down all my walls, write whatever comes into my pretty little head.  I barely lift my fingers from the keyboard.  I don’t censor myself.  I just let whatever wants to be written–good, bad, or ugly–make its way onto the page.  I think of creating a literary work of art as being something like creating a sculpture.  You can’t make a sculpture without clay, so during the first draft, you are just throwing clay in a box.

But during the second draft, the second process, you are really starting to shape the clay.  You are cutting out the ugly stuff.  You are moving things around.  You are killing the hell out of your darlings.  I have great reverence for art, so I take my darling killing seriously.  If the writing isn’t masterful, it hits the cutting room floor.  And I don’t stop at a second draft.  I worked on Beauty of the Broken on and off for fifteen years, so you can imagine how many drafts went into hat.

Andy: Barnaby, New Mexico is the small town where Mara lives. The spiritual life of the community is dominated by Reverend Winchell a fire and brimstone preacher, who sees homosexuality as an “abomination”. Your father was a clergyman. I don’t imagine he shares any similarities with Reverend Winchell.

Tawni: Actually, my father, the late, great Timothy John Hackett, was the antithesis of Reverend Winchell.  He was the most loving human being I have ever known, and if I can be remembered as being even a tenth of the human being he was, I’ll be happy with my life’s accomplishments.  He was the one who taught me unconditional love, who taught me the difference between a loving God and cruel religion.  I deliberately dedicated this book to my parents, saying they taught me the way of love, so that no one would ever confuse them with Reverend Winchell.  I feel like I owe everything that is good in me to the influence of my wonderful parents.

I actually based Reverend Winchell on a preacher I heard once in Roswell.  He screamed, “God hates fags!” from the pulpit.  I sat there trying to pick my jaw up off the floor, utterly astounded that there were people in the world who were that dark and closed-minded, and outraged that he was foisting his bigotry and hatred on God.  If you’re going to be that stupid, dude, at least take responsibility for it.  Don’t drag God into your idiocy.  (That preacher had a big truck.  I think he was compensating for something.  I’m just saying.)

Andy: Beauty of the Broken has been characterized as a lesbian coming of age story. As I said at the beginning, that doesn’t begin to do credit to the book. But that’s a big part of the story, Mara’s discovering her attraction to Xylia. Are you a lesbian? Is this a story that is mostly going to resonate with lesbians? Or is there something more universal here?

Tawni:.  As I said, I didn’t set out to write a lesbian novel.  I set out to write a story about the battle between love and dogma.  Mara’s character emerged as a lesbian, but that was secondary to her humanity, as well it should be.  Anyone’s sexual orientation should be secondary to his or her humanity, yes?

Am I a lesbian?  Every time I tell people I have written a lesbian coming of age novel, they ask me this question.  The answer is no, I am not a lesbian.  I am not a huge fan of labels, at least not for myself.  I believe firmly in love.  I believe love–true, selfless love–is holy in all of its manifestations.  I love who I love, regardless of the package they come in.  I am a love-ian.

Andy: Tawni, that’s a good note to leave on. Tawni is going to be doing events at various venues throughout the country. Here are a few:

October 4: Changing Hands Bookstore, Tempe, Arizona

October 18: Bookworks, Albuquerque, New Mexico

November 7: Book Passage, Corte Madera, California

November 10: Rosemont College, Rosemont, Pennsylvania

 

 

Laura Fraser Talks about Shebooks

July 26, 2014

Fraser-cropToday we are going to interview Laura Fraser, co-founder and editorial director of Shebooks, a new publishing company devoted to promoting works by women authors and journalists. Shebooks publishes short e-books, either by subscription at Shebooks.net (you download a free app for your tablet or smartphone from the app store) or individually, from Amazon, Barnes and Noble, or Kobo. Shebooks is a new model for publishing, inconceivable only a few years ago. I think of it as sort of a hybrid that mixes up characteristics of traditional book publishing, long form magazine publishing, and self-publishing.

Check them out at http://www.shebooks.net

Andy:  Laura could you tell us something about yourself and the work you did before founding She books?

Laura: I’ve been a freelance writer for 30 years. I started in journalism and published many magazine articles. My first book, Losing It, was an expose of the diet industry. My next book, An Italian Affair, was a NYT-bestselling memoir. My latest memoir is called All Over the Map.

Andy: What made you decide to start Shebooks?

Laura: Even for someone like me with a fair amount of success in the publishing and magazine worlds, it was becoming increasingly difficult to make a living. The space for long magazine articles had shrunk in women’s magazines, and the top shelf long-form magazines publish mostly men, even in 2014. That means fewer intimate memoirs about women’s lives. My last book didn’t sell well, so I became unattractive to the publishing world. Even with a NYT bestseller under my belt, it was like, “What have you done lately?” So I wanted to create a platform for women like me, essentially, where we could write high quality work and get it published.

Andy: In this day and age, do you really think there is still that much bias against women in the media? I work with hundreds of book editors. These days they are almost all women. It wasn’t always like that. Comment?

Laura: There’s a huge bias against women in longform journalism. Just go to vida.org, the organization of women in literary arts, and look at the statistics on men being the vast majority of writers published in The New Yorker, The Atlantic, Harper’s, etc. There is a bias toward what I would call external rather than internal stories, and women are more likely to write about internal adventures. Any broad stereotypes about male and female writers, of course, can’t be applied to everyone, but I think it’s fair to say that women’s experiences are under-represented in magazines in particular because so many more men are published. It’s less of a problem in the book world.

Andy: Tell me a little more about Shebooks’ publishing program. You aren’t like a typical book publisher. Most books are more than 60,000 words. Your books are a lot shorter. Why?

Laura: Digital publishing gives us an opportunity to publish things at the length they ought to be. Right now, there is a vast middle ground between, say, personal essays and a book. There are a lot of stories that should be told in less than the 80,000 words it takes to fill a physical object called a book. That’s why so many memoirs feel padded. I want to make a t-shirt that says “No padding.” Digital gives us flexibility. Also, people read digital on the go, in the little pockets of their lives. Many of us still like to curl up with a hard cover book, but if I’m traveling or commuting, I read on my device. I want to read high-quality stories rather than watch cat videos.

Andy: Ever thought about putting some of the best writing into an anthology? I think that would be cool.

Laura: Yep.

Andy: You have published two of my favorite clients: Mary Jo McConahay and Meghan Ward. Both memoirs. What other genres are you seeking?

Laura: Short memoirs are our sweet spot. We also publish journalism that isn’t very time-bound, as well as fiction. There are very few places to publish novelettes or novellas.

Andy: What’s the difference?

Laura: About 20,000 words.

Andy: Do you have any opinion about the big issues that are being debated in book publishing right now? Tell me what you think is the future of big New York publishers? Do you think self published books are the answer? Given the number of self published titles that sell in the high “two figures”, I’m not sure it is all it’s cracked up to be.

Laura: It’s all about flexibility and finding the right platform for your message. Sure, it’s great to go with a legacy publisher if you’re one of the 1% of authors they’ll pay attention to. Self-publishing still has the patina of being not good enough for the big houses. But that’s changing. As with digital vs. paper publishing, it isn’t an either/or situation.

Andy: It seems like Shebooks is kind of a hybrid. Something in the middle. Can you tell us about this?

Laura: We are a highly curated collection of short e-books. We’re closer to a legacy publishing model than self-publishing. We pay close attention to quality, to copyediting, to design. But we give our authors a 50-50 revenue split, which gives them incentive to help publicize the books. They make more; with legacy publishers, it’s about an 85/15 split. So we’re not like self-publishing at all, though there is less barrier to entry for a good writer who hasn’t sold a lot of books. The fact that we are a subscription service means that we don’t have to be hit-driven like the legacy publishers. We can publish a lot of beautiful little books and they don’t have to be bestsellers.

Andy: Any thoughts on the big bad Amazon.com? They have certainly been a windfall for ebook publishing. Do you think that maybe they are becoming too powerful though?

Laura: Amazon takes a 30% bite of everything anyone buys on their site. That leaves precious little margin for anyone else. You can’t just bitch about Amazon, though; it’s a big reality, so you have to work with it, or do a workaround so you can make money—as we’re trying to do, by subscription from our own e-reader app, leaving Amazon out of the picture.

Andy: Ok. Let’s talk about your Netflix-like subscription model. Describe that and tell me how it’s working.

Laura: We have a growing library of short e-books, publishing at a rate of 2 per week. When you subscribe, you get access to our whole library. When you stop subscribing, poof, they’re gone. Right now we have 60 short e-books in our library that you can’t find anywhere else. Yes, Amazon has more, and so does Oyster, but we’re like a boutique where you can walk in and know that everything is quality.

Andy:  Since Shebooks is so different from traditional book publishing, how do you go about promoting it? Who’s your audience and how do you reach them?

Laura: We’re still figuring all of this out, but of course we rely a lot on social media. We are also doing deals with women’s magazines and brands to help leverage our brand. For instance, we had a memoir contest with Good Housekeeping which brought Shebooks in front of 25 million readers. We’re doing more partnerships like that.

Andy:  Shebooks are available at the usual online venues, but you are also selling them yourself. What is working the best for you?

Laura: It’s financially better for us if people subscribe directly from our website so Amazon doesn’t take a big bite. But we’re happy to have people read our books wherever they find them.

Andy: How can writers submit to you?

Write@shebooks.net. We take only well-written, polished submissions of about 10,000 words, give or take. My sole criterion as editorial director is that I have to feel compelled to keep reading!

Interview With Authors Guild General Counsel, Jan Constantine

April 30, 2014

constantineToday we are going to speak to Jan Constantine, general counsel for the Authors Guild.

The Authors Guild is the largest and oldest organization representing authors in America. I love the Authors Guild, and as an agent, I am proud to be a member.  It is an amazingly robust, sometimes even militant, advocacy organization that fights for the rights of all writers. They engage in numerous activities including lobbying Congress on copyright and book piracy issues and advising writers on how not to get taken advantage of by publishers. In this brave new world of the Internet, where tech gurus tell us that “information wants to be free,” The Authors Guild fights for the quaint notion that the work of the writer, like all work, has dignity and deserves to be compensated. Everyone reading this blog should join. It’s only $90 a year.  Check out their eligibility requirements.

Andy: Jan, welcome to “Ask the Agent.”  I think the $90 membership fee for the Authors Guild is a pretty good investment for any writer. Can you tell me what that buys you?

Jan: Absolutely, Andy, and thank you for having me.  One of the things our members find most useful is our Model Book Contract.  It’s a manual that goes through a publishing contract clause-by-clause.  For every provision, we provide members with what we think of as a “model” clause, and then next to the model clause we provide a running commentary educating authors about what exactly is at stake in each part of the publishing contract.  It’s a very empowering tool that gives authors the knowledge and insight to successfully negotiate with publishers.

Andy: As an agent, I have to negotiate book contracts all the time, and I find the Model Contract an indispensible reference. Not to put too fine a point, a book contract is an asymmetrical agreement where the publisher agrees to give the author a pathetically small amount of money in exchange for the author’s intellectual indentured servitude for the term of the copyright. The Model Contract is a great tool for helping the author avoid the pitfalls. Of course the Model Contract and  representation by a good agent is even better. Can you just tell us a few of the issues in a book contract  that authors should be watching out for?

Jan: Our Model Contract advises authors to be wary of a number of one-sided provisions that are often present in publisher’s boilerplate forms.  One to look out for is a so-called “joint accounting” clause, which provides that any money the author might owe the publisher under contracts for other books can be deducted from payments due to the author under the current book contract.  Our position is that each publishing contract and book should be treated as a separate venture.

Non-competition clauses, if broadly-worded, can also be troublesome. Most book contracts have non-competition language that restrains the author from publishing a “competing” work.   We counsel authors to define a “competing work” as narrowly as possible, especially if they think they might write subsequent works on the same or a similar subject.

Another potential hazard is  the “satisfactory manuscript” clause, also present in most publishing contracts. It can be unfair to authors if it allows the publisher to reject the manuscript for any reason at all.  You don’t want a publisher to be able to reject your manuscript just because of a change in market conditions or a perceived shift in readers’ tastes.  You want to insert some sort of objective standard here, such as a clause stating that your manuscript must be “professionally competent and fit for publication.”

Those are a few issues that come to mind.  The bottom line is that a publishing contract is a joint venture between author and publisher.  A well-negotiated contract should reflect their mutual investment in each other.

Andy: So, Jan, what else does the Authors Guild do?

Jan: Of course there’s our lobbying, which you mentioned in your introduction, and our lawsuits.  Members also receive our quarterly Bulletin, which covers the publishing industry from the author’s perspective, and they have access to legal services, such as contract reviews and intervention in publishing disputes, at no cost.  Then there’s the Author’s Registry, a not-for profit that secures foreign royalties for U.S. authors.  All members are automatically enrolled.  Since 1996 the Registry has distributed more than $22 million to authors.  We have a program called Backinprint.com which lets authors sell their out-of-print books as print-on-demand paperbacks.  We offer web services that allow authors to build full-featured websites.  We host in-person and phone-in seminars to educate authors on all aspects of their profession.   That’s a long list.  We like to think that membership is a great value.

Andy: And you get all that for $90 a year!  Let’s talk about “information wants to be free.”  This cliché seems to express a kind of ethos going around the Internet. It’s exemplified by “Wikipedia.”  It’s a world where all people are experts and where people’s intellectual work is accordingly devalued and not worthy of compensation.   Do you care to comment on this?

Jan: Well, I think Wikipedia may not be the real enemy here.  That’s a situation where people are donating their expertise with no expectation of financial compensation.  We’re more concerned with piracy—theft—making copyrighted works available for free, in violation of the author’s right to distribute her work and her right to make a living from her work.  And yes, this type of piracy does seem to be encouraged by those who rally behind that slogan, “information wants to be free.”  But you know what?  That’s only half of it.  They get that slogan from Stewart Brand.  But what Brand was talking about was this tension that won’t go away.  Information wants to be free, he said, because it’s so cheap to distribute now.  But on the other hand, he said, information wants to be expensive.  Why?  Because it’s so valuable to the recipient.  And this is a tension that is embodied in our nation’s copyright laws in a very productive way.  The author has exclusive rights, sure, but there’s also fair use, and exceptions for schools and libraries, and the fact that copyright doesn’t last forever.  It’s a tension that’s expressed in the Copyright Clause in the Constitution, and it’s a tension acknowledged by Congress every time it brings different stakeholders to the table to discuss what needs to be changed in our copyright law.

Andy:So what kinds of things is the Authors Guild doing to combat piracy?

Jan: Well, I just mentioned Congress.  The Authors Guild has been working with legislators and private companies for years to develop a more comprehensive solution to online piracy.  Two bills proposed in 2012—SOPA and PIPA—would have done something to diminish Internet piracy, and we supported them.  Search engines and Internet service providers are profiting daily from linking to and hosting pirate sites, and the  Digital Millennium Copyright Act, the 1998 law that addresses this problem, is doing little to stop them; the Copyright Alert System is doing little to stop them; and they certainly aren’t policing themselves.  For example, an international recording industry group recently announced it sent its 100 millionth piracy notice to Google—with no noticeable demotion of pirate sites in search results.

Andy: I hear a lot of people who seem to think book piracy is no big deal. I think it’s stealing and no different from shoplifting books from a bookstore. What do you think? (That’s a rhetorical question, obviously.)

Jan: We couldn’t agree more.  The only difference is the extent to which this type of theft is accepted, or at least ignored.  And that seems to be at least in part a result of the “information wants to be free” ethos.

Andy:  One of my pet peeves is Amazon.com. It seems to me that they have cultivated a notion that books cost too much, that e-books have a kind of inherent value of about $2.99. I don’t think this price recognizes the value added that goes into a professionally written and published book. Can you explain why books, electronic and paper, might merit a higher price?

Jan: The real problem is that Amazon is selling books at an artificially lowprice.  A look back at Amazon’s tactics over the years makes it very clear they’ve always used books as a loss leader.  Amazon has sold print books at a loss for years in order to drive its market share.  It’s doing the same thing with e-books.  It’s an artificial market.  This shields it from competition with any but the biggest competitors and makes it incredibly difficult for brick-and-mortar bookstores to enter the e-book market. And you’re right, the danger is that consumers get the notion that the inherent value of a book is cheaper than it actually is.

Andy: Recently the United States sued Apple and the major publishers for trying to fix prices. The publishers lost. The Authors Guild was supportive of the publishers in this instance. How come? Shouldn’t we be encouraging free market competition?

Jan: Well, our position was that the strategies pursued by Apple and the publishers were increasing competition.  Apple and the publishers were offering a new model for the sale of e-books, where Apple would act as the publisher’s sales agent, with no authority to discount e-book prices.  In the two years after this new “agency model” was introduced, Amazon’s share of the e-book market fell from 90% to 60%.  Barnes & Noble introduced a tablet to compete with Amazon’s Kindle during this time.  Brick-and-mortar stores began partnering with Google to sell e-books to their customers at the same price they were being sold from Amazon.  These look to me like the effects of a free market.

Andy: Jan, thanks. This is just a small sampling of what the Guild is doing. You should check out their website and blog.

Author Mary Mackey Interviews a Celebrity Agent (That Would Be Me)

April 25, 2014

Mary Mackey, AuthorToday I am reprinting an interview by myself and Mary Mackey originally published in her fabulous writer’s blog: “The Writer’s Journey.” Mary  is a bestselling author who has written six volumes of poetry including Sugar Zone, winner of the 2012 PEN Oakland Josephine Miles Award for Literary Excellence. She is also the author of thirteen  novels some of which have appeared on The New York Times and San Francisco Chronicle Bestseller Lists. Mackey’s novels have been translated into twelve languages including Japanese, Russian, Hebrew, Greek, and Finnish. Her poems have been praised by Wendell Berry, Jane Hirshfield, Marge Piercy, and Dennis Nurkse for their beauty, precision, originality, and extraordinary range. ”     Her newest book,  a collection of her poetry entitled Travelers With No Ticket Home was published this spring by Marsh Hawk Press.

***

Mary: Andy, you’re a famous, successful agent. Given this, I suspect the most common question people ask you is: “How do I get an agent?” Let’s answer that one first. Could you please tell us in two sentences or less what writers need to do to get an agent? Also, I’m sure people will want to know if you are currently accepting clients.

Andy: You get an agent the old fashion way,  by having a fantastic, original idea for a book  and a brilliant writing style.  I have a blog that explains the steps you need to take to find an agent.  Check out my Eleven Steps To Finding An Agent. And yes, I am actively seeking new clients. I want query letters by email. You can send them to:  andyrossagency@hotmail.com.

Mary: Before you became an agent, you owned several bookstores including Eeyore’s in Cotati, California, and Cody’s Books on Telegraph Avenue in Berkeley.  Tell us about your early experiences as a bookseller. How did you get into the business? What did you love about it?

Andy: I got into it for all the wrong reasons. I was a graduate student in European history. I liked to hang out at bookstores.

Mary: How did you come to buy Cody’s Books?

Andy: Like most of my important decisions in life, it was pretty impetuous. I was visiting my friend, Neal Coonerty, who owned  Bookshop Santa Cruz. He told me that Cody’s was for sale and that I should consider buying it. I told him probably not. It was daunting.  I was only 29 at the time, and Cody’s was already a legendary bookstore. I wasn’t sure I had enough knowledge or confidence. The next morning he asked me again if I would consider it. Again I said, “no”.  But as I was driving home, I decided I would do it.  A month later, I owned the store.

Mary: What were the best things and the worst things about being a bookseller?

Andy: Well, everybody I know has the fantasy of owning a bookstore. Being surrounded by books.  Wow! But when I think back on my 30 years at Cody’s, I realize that a lot of my time was spent on pretty mundane stuff. The bad plumbing on Telegraph Avenue comes to mind. And I was never very good at supervising employees. I was always trying to make people happy, and I never seemed to be able to.

Mary: When you owned bookstores, what was your best-selling book?

Andy: Probably my best seller was Bill Clinton’s memoir.  It helped that he came to the store to sign it.

Mary: How did you make the transition from bookstore owner to literary agent?

Andy: It was another impetuous decision, but one I never regretted. I had been a bookseller all my adult life.  When I left Cody’s in 2007, I thought that I was probably cut out for sacking groceries at Safeway.  I woke up one morning and decided I’d make a good  literary agent. At first I was worried that I didn’t know anything about it. But then I realized that I’d been learning the job for 35 years. Being a bookseller all that time was pretty good experience for being an agent. Most agents come out of publishing. I have the advantage of having spoken to book buyers all my life.

Mary: How is your relationship to authors different at present than it was when you were selling their books?

Andy:  Now I’m working at the other end of the literary food chain. I’m involved much more in creative work. I like that a lot.  The process of writing, particularly writing fiction, is a mystery to me and really quite miraculous. When I first decided to become an agent, I thought that my main job would be making deals. But I spend much more time working with authors and helping them polish their book. It’s tough getting published. You can’t submit a project unless it’s perfect.

Mary: What are the major problems you see in the work of clients you decline to represent? In other words, what do writers need to do to make their books better and more saleable?

Andy: That’s really the $64,000 question. Publishing has changed dramatically in the last 30 years. I saw that happening at Cody’s, and I’m seeing it now as an agent. Most of the commercial publishers have been bought up by multimedia conglomerates. The pressure to produce huge profits is intense.  The word that keeps coming up in publishing is “platform,”  which means you have a recognized national or international  authority  in the subject you are writing about or you have the kind of celebrity that gives you the  ability to garner media attention. I like to tell people that platform means  you either have an endowed chair at Harvard or you are sleeping with Oprah’s hairdresser. Platform is less important with fiction.  But the hurdles are even more challenging. The writing has to be exceptional. But that is only the beginning. Almost all the novels that are submitted to fiction editors have been heavily vetted by agents. Most of them are good. Publishing decisions tend to get made based on marketing rather than aesthetic considerations. A literary fiction editor might look at 300 novels a year. They will probably decide to publish 10.

Mary: What is your favorite book of all time?

Andy: Probably War and Peace.

Mary: What are you reading right now?

Andy: Something trashy. I’m too embarrassed to say.

Mary:  What books by your clients are coming out in the near future?

Andy: Sometimes its better to be lucky than smart in this business. But it’s  even better to be both. The most recent book I represent is Water 4.0 by David Sedlak published by Yale University Press. It’s the most important book yet published on the challenges of drinking water. The book was released the week Governor Brown declared a drought emergency in California.  Bloomsbury Press has just released Beasts: What Animals Can Teach Us About the Origins of Good and Evil by Jeffrey Moussaieff Masson. It’s a profound and important book, one that will have a huge impact on the way we think about animals.  Also Sourcebooks has just released Shooting Stars: My Life as a Paparazzi by Jennifer Buhl. Definitely the most fun book I have ever worked on. Also one of the funniest. She was recently interviewed on Entertainment Tonight. I have three magnificent novels being published this fall. I can’t wait.

The Life of a Paparazzi. An Interview With Jennifer Buhl

March 24, 2014

ShootingStars_123013_final-shortquote

 C’mon. Admit it. Every time you’re in the line at Safeway, you can’t help taking a discrete peek at the  tabloids. Gotta get your fix on celebrity tittle-tattle. What’s with Brad and Angie’s breakup? Is Lindsey in trouble again? How’s Kirstie’s diet working? Today we are going to interview Jennifer Buhl, author of Shooting Stars: My Unexpected Life Photographing Hollywood’s Most Famous,  published this week by Sourcebooks.

For 3 years, Jennifer was a paparazza (that’s feminine singular for paparazzi)  in Los Angeles, one of the 5 women in a profession that has always been  driven by testosterone. By the time she left, she was one of the most successful  in the business. Her pictures of the stars have been published worldwide in the major tabloids and celebrity gossip venues. Her photographs of Paris Hilton clutching a bible and of Kristen Stewart smoking pot with her boyfriend the week of the opening of Twilight have achieved iconic status.

Of all the books that I have represented, I think Shooting Stars has been the most fun to work on. It’s filled with breathless chase scenes, sly humor, and an inside look at the real life of the celebs that is surprisingly respectful, given the bad rap on paparazzi these days. Jennifer is always a part of the story without ever hijacking the story.  She  conveys the enthusiasm and fun of the chase. But this book has a larger virtue as well. It’s a lot more than just a slick Hollywood tell all. More than any book I have ever read, it brings out the way celebrity works in our culture.

Jennifer stopped papping several years ago when she had a child. She lives in Boulder where she works as a photographer specializing in family photos which are stunning.

Oh, and if you want to make a movie based on Jennifer’s life as a pap, contact me.

Buy the Book

 Andy Ross:  Jennifer, let’s get right down to the nitty-gritty:  do the celebs want to be photographed?

Zac Efron

Zac Efron

 

Jennifer BuhlWithout a doubt, there is a symbiotic relationship between paparazzi and celebrity.  At some point in most careers, the stars want it and need it.  Being compliant with the paparazzi can skyrocket a no-name to fame.  I watched Zac Efron and Miley Cyrus, Katherine Heigl and Hayden Panettiere go from unknown to super famous within a few months because they were available to the paparazzi and they let us photograph them.  Most celebrities who are in the tabloids every week are there by choice.  Period.  You do not need to feel sorry for them. That said, I think celebrities want to live like normal people.  They want to pump their own gas, they want to eat out, they want to go to the grocery store.  — Well, I’ve never seen Paris Hilton at the grocery store, but most of them do. So there usually comes a point when a celeb is what we call ‘savaged’ so much by the paps that they just can’t take it any more, and they burn out. We expect that.  No big deal.  Without photos, we go away pretty quickly.

Andy: You have some wonderful (and hysterically funny) digressions where you offer advice to the stars about how to either avoid or attract paparazzi.  Can you share a few tips with us?

Ashton Kutcher

Ashton Kutcher

Jennifer: When a star stops wanting to be photographed, the easiest, most polite, and most importantly, effective way to rid herself of paparazzi is to ‘cover.’  She can get out of her car with her hand in front of her face, with an umbrella, with a book. She does that 3 times in a row, and I’ll tell you, we’re not going to be sitting outside her house because we’re not going to make any money. That’s how the big celebrities — Jennifer Aniston, Ashton Kutcher — avoid getting photographed. And there are lots of other ways to avoid us:  Take taxi’s, not limos.  Buy a house on a busy or parking-metered street – you’ll be much harder to ‘doorstep.’  Park your car in your garage, not in your driveway – we won’t be able to tell if you’re home, so we’re less likely to wait on you.  If you must fly into LAX, come in at night and not on American Airlines.

Andy: In spite of the bad reputation of paps (at one point, you describe paps as buzzards feeding on carcasses of celebs), what comes from reading your book is a very different and much more complex dynamic.  It seems almost like a delicate pas de deux.  Can you describe this a little?

Jennifer: I like that, a duet.  It’s true, we dance together – literarily, on the street, and figuratively, which is of course what you meant.  I was usually shooting the stars, not watching the paparazzi, but occasionally when I did – and it was a seasoned celebrity and a seasoned pap – it was actually really beautiful.  A dance.  A tease.  

Andy: Who are some of the stars that are “pap friendly?”  How do they manage the relationship for their benefit?

Jennifer: Lots and lots love paparazzi.  Most of the stars you see over and over in the tabloids work with us.  To stay hot, they must.  Reality show stars – the Kardashians, the Bachelors and Bachelorettes – they often get paid a percentage of their photo sales.  Then there are stars like Jessica Simpson, ones who get what they need out of us when they needs it. In the beginning, young blood is always on board – Miley loved us when she started to become famous.  And still seems to!  Matthew McConaughey clearly had his time with us.  

Andy: And what about the pap averse stars?

katy Perry

katy Perry

Jennifer: There aren’t as many of those as you might think.  Julia Roberts and Kate Bosworth, in no universe will they ever like us.  Probably Kristen Stewart is in that category, too.  Most stars – Katy Perry, Reese Witherspoon, Eva Longoria, even Halle Berry – are fickle and love us when they need it, hate us when they don’t.  But isn’t that the way life is?

Kristen Steward

Kristen Stewart

Andy: Tell us about your shot of Kristen Stewart smoking pot.

Jennifer: I shot Kristen a few days before the first Twilight came out.  No one knew her.  I had to look her up before I went to her house that morning.  She and her boyfriend were sitting on her parent’s front stoop, a few feet from the street, smoking a pot pipe.  I think she was 18.  She had no idea I was there.

Andy: What stars did you like as people? And what about those who were just douche bags?

Katherine Heigl

Katherine Heigl

Jennifer: I lived in Los Feliz, east Hollywood, a great eclectic neighborhood which has become a hotbed for celebs.  So mostly the ones I got to know were my neighbors.  Adrian Grenier of Entourage. Most of the Grey’s Anatomy cast.  Katherine Heigl, I loved.  My shots made her ‘tabloid famous’ in just a few months.  That helped her career for a long while. As a pap, you could tell so much about these people – following them around all day long – to the grocery, the gym, the manicurist.  And the good ones, the good people, weren’t necessarily pap-friendly.  They didn’t ‘give it up’ all the time.  But that was OK. Some of my favorites were Miley and Zac.  Gwen Stefani and Gavin were great. I loved Britney Spears in a motherly kind of way.  I wanted see her be OK – we all did.  And she seems to be now. Cameron Diaz, Drew Barrymore, Jen Aniston were awesome only because they were so smart.  They understood the media and they were fun to watch.  Even though they were very hard to get.

Andy: Jennifer, true confession.  My knowledge of tabloid culture consists of the 10 minutes a week I spend in the checkout line of Safeway.  One of the things you said in the book was that the tabloids want positive pictures.  But what I see is something quite different:  horrible images of people at the point of death, fat stars on the beach with close-ups of their cellulite and butt cracks, Brad and Angie breaking up every week.  Lindsay Lohan being skanky.  Am I missing something here?

paris magJennifer: OK, these stories might make the covers – and they might be what you remember – but open the magazines and most of the printed shots are of beautiful people looking beautiful.  And mostly women.  Women read the tabloids, and we want to see what female celebrities are wearing, how they’ve done their hair, what their kids look like, who they’re dating and how skinny they are.  We want to be them, or at least live vicariously through them.  When you take a picture of a celeb looking bad, it’s usually only picked up by the international press.  Europe is different.  But America’s trash is things like celebrities’ botched surgeries, body “problem areas,” breakups and makeups, and baby rumors.  Pictures of drugs, cigarettes, rumors of adultery are almost never shown.  There are exceptions – reality show people, stars who “trash” themselves (for example, Miley Cyrus at the moment could fall into that group), but for the most part, celebs who posture themselves as “family” are portrayed that way.  Under no circumstances will the media “out” someone.  Even if there are pictures.  Which there are.

Andy: Did you ever witness or experience incidents of violence between the paps and the celebs?  We see some pretty sensational stories about that.

Jennifer: Rarely do the celebs confront us.  They are rightly scared of “video.”  Usually they leave it up to the police, people on the street, their bodyguards.  And remember, they’re often on our side.  Seal did threaten to “bitchslap” me once, and Casey Affleck, Ben’s brother, grabbed my camera.  But that was because he isn’t a big celeb and didn’t really know how to react.  Most of the violence in our business is pap on pap.

Andy: Let’s talk about money for a minute.  How much can you make as a pap?

Jennifer: Twenty years ago, a good pap was making half a million.  When I was in the biz, four years ago, I often grossed 10 or 12 thousand a month.  Now, most paps will max out at 3 to 5 a month.  Don’t become a pap now.  It’s not worth it.  Too many pictures on the market, and the magazines don’t pay like they used to.

Andy: What kinds of pictures draw big money and what kinds are less desirable?  What stars bring the best money for a picture?  Or the worst?  And why?  And what was your biggest money photograph?

Matthew McConaughey

Matthew McConaughey

Jennifer: Big shots nowadays make you about 5 to 10 thousand over a period of a year.  Those are often bathing suit shots.  McConaughey, I made loads of money on his Malibu shots.  And Jessica Alba I once shot in a bikini and did very well.  Other lucrative photos are ones that have a story associated with them, or they are rare and hard to get.  For example, Britney Spears shaves her head.  Rihanna after Chris Brown wacked her.  Kristen Stewart cheats on Rob Pattinson. Those weren’t my shots, but the photographers made bank.  Besides bathing suit shots, my big hits were Paris Hilton carrying the Bible.  Kristen smoking pot.  Justin Chambers – Alex on Grey’s Anatomy – with his five kids made me great money.  Justin isn’t a big star, but every time the mags wanted to talk about him and his family, they’d buy that shot.  Mostly, a shot will make you a few hundred though.  If you make a thousand, you’re very happy.  

Andy: I know you got out of the business when you had your baby.  But did you like it?

Jennifer: At first, I loved it.  And I knew from day one that I would write a book.  I had to.  I couldn’t not.  It was an unbelievable world that no one understood – not even Hollywood.  I was one of about six women among hundreds of men.  And by the end I had become very successful, but the job had also become dark and oppressive yet terribly mundane for someone who fed off challenge.  And I was ready to spend time doing the thing I wanted most in life:  being a mama.  Which is what I’ve been doing – and loving it!

Andy: Was it as fun being a pap as it was for me to read the book?

Jennifer: Spying, celebrities, chases, shooting, loot – for an adrenaline junkie, everything is here, and yeah, it was crazy fun.  Papping was the hardest job I’d ever had, but far and away the best.  It was rewarding and insanely exciting at the same time.  But there was a big dark side – sometimes it was like I was working for the Mafia.  Perhaps not quite as dangerous, but dangerous enough.  The competition was insanely cruel.  And the police were, well let’s just say, not altogether fair.  And then, my desire for a family began to trump any professional dream that I might have had.  When I did get pregnant, it wasn’t the way I dreamed it would be. But life is never how we dream it’s gonna be.  And maybe that’s OK.  I wouldn’t trade it.

 

Jeffrey Moussaieff Masson On What Animals Teach Us About Human Evil

March 5, 2014

Beast-HC jeff and benjyToday Jeffrey Moussaieff Masson will be talking to us about his new book, Beasts: What Animals Can Teach Us About the Origins of Human Evil, released this month by Bloomsbury Press.  Jeff has been writing about animal emotions for 20 years. His books, When Elephants Weep (1996) and Dogs Never Lie About Love (1998) have each sold over 1,000,000 copies. Jeff is one of the most brilliant people I have ever had the honor of knowing and working with.  His intellect is both passionate and  wide ranging. Last year, when I visited him at his home in Auckland, New Zealand, he commenced to spend 3 days  ranting at me about the flaws in Hannah Arendt’s concept of evil. (Apparently the fine people of New Zealand don’t have strong feelings about this topic.)

Of all Jeff’s books about animals, this one seems to get to the heart of  the moral boundaries that separate humans from animals. Jeff begins with an observation that illustrates the  puzzle that this book will seek to solve. He says: “There are two major predators on the planet with the most complex brains in nature: humans and orcas. In the twentieth century alone, one of these animals killed 200 million members of its own species, the other killed none. Why?”

ANDY: Jeff, we wrestled with the title of this book for years. And I think we are both pretty happy about it. There seems to be some irony in it though. Can you explain what you mean by “beasts”? How do expressions we use about animals show our basic misunderstanding?

JEFF: Too often, in order to insult somebody, we say that he behaved like a beast, or an animal.  I was reading Into the Whirlwind by Eugenia Ginzburg, about the terrible gulag prisons, and came across this:  “I have often thought about the tragedy of those by whose agency the purge of 1937 was carried out… Step by step as they followed their routine directives, they traveled all the way from the human condition to that of beasts.”  Think of all the times we describe humans in order to demean them as some kind of animal.  So we call someone vermin, a worm, a snake, a wolf, a blood thirsty beast (my favorite), an ape, a bitch, or a pig.

ANDY:  As in many of your books, you try to contrast the peaceable kingdom of animals with the horrors of human behavior manifested throughout history.  But there are numerous examples of animals doing violence to humans and to each other. Perhaps you are overstating your case.

JEFF: They do violence to us and to other animals, for sure.  But not to the extent that we do violence to them and to one another.  The disparity is just mind boggling.  I don’t see animals as saints (human saints are not saints either), but they don’t seem driven to, for example, exterminate all members of a different clan of tigers, elephants or crocodiles.

ANDY: Whenever I tell people about your thesis, they always bring up the example of chimpanzees as animals that seem to engage in gratuitous violence. Isn’t this contrary to your ideas?

JEFF: Yes, to some extent.  In the book I go into this in some detail.   Jane Goodall is the first person to notice the violence of chimps and she would also be the first to acknowledge it is simply not on the scale of human violence.  I guess it’s so shocking because so unexpected.  We expected chimps to be more like, well, bonobos!  They are a different species of chimpanzee, just as closely related to us as the other, but completely peaceable.  They have been studied, but not yet in the same detail as the more violent chimpanzee.  They are led by females, and this may be why (I mean why they are less violent AND why they have been less studied!).

ANDY: One of the themes you talk about here and in previous books is that animals, unlike humans, have no sense of  “other”. To a dog, another dog is just a dog, not a different species. But for humans, the idea of “other” has created all sorts of horror. I’m fascinated by your anecdote about “the last Kantian in Germany”. Can you relate that to us?

JEFF: Yes, it is one of my favorite anecdotes, and it’s true.  And it’s deep.  Emmanuel Levinas, the Jewish French philosopher and survivor of the Holocaust, was in a labor camp for officers on the outskirts of the city of Hannover.  When they were marched out of the camp they were treated with contempt, and looked down upon as “vermin,” not even human.  With one exception:  a stray dog who found his way into the camp.  Each day, when the prisoners returned to their camp in the forest, the dog would greet the line of men with great excitement and friendliness.  He was always delighted to see them.  He was there in the morning when they were assembled, and  “was waiting for us as we returned, jumping up and down and barking in delight.”  “For him,” Levinas notes, “there was no doubt that we were men.” Levinas immortalized the dog later with the title of the last Kantian in Nazi Germany.  This dog, like  the great philosopher, Immanuel Kant, and all dogs, understood that humans are an end in themselves, and not a means to an end.

ANDY: This book audaciously takes on the nature of human evil by contrasting our behavior to that of animals. But you also give the devil his due. Humans have a kind of compassion that we don’t find in the animal world. Why is that?

JEFF: I don’t know, but it’s true.  No animal has become a doctor specializing in humans, or built a hospital to take care of humans.  We can mobilize hundreds of other humans to search for a lost dog.  Individual dogs will search for us, but they wouldn’t implore other dogs to join them.  I’m sure everyone can think of examples of this human quality of compassion, including, of course, thousands of people in the animal rights movement.  Some of us, raised as carnivores, go vegan.  No other predator species in the wild has ever foregone meat for moral reasons!

ANDY: Jeff, one last question. At the end of the book, you take on the ideas espoused by Steven Pinker in his controversial work, The Better Angels of Our Nature. He argues that human violence in the modern world has declined. You disagree. Will you comment?

JEFF: I have an appendix in my book where I address this question at some length. Apart from his distorted version of prehistory, surely it is odd, in a book arguing that violence is decreasing all over the world, that there is little or no mention of Srebenica, the Rwandan genocide, Pinochet in Chile, the junta in Argentina (or Brazil or Greece); no entry under colonialism, the former Yugoslavia, Haiti, Dominican Republic, or Zimbabwe’s Robert Mugabe; and only one mention of Mussolini and two of apartheid, and with virtually no discussion of the violence in places such as Guatemala.

 ANDY: On March 9 at 1 PM, Jeff will be appearing at Book Passage in Corte Madera in conversation with Daniel Ellsberg. This is an event you don’t want to miss. Two towering intellects who have spent their lives trying to understand how evil manifests itself in human history. You really need to be there.

 

Bill Petrocelli -Bookseller and Novelist

November 11, 2013

circle of thirteenpetrocelliToday we are going to interview Bill Petrocelli, co-owner of the legendary Book Passage in Marin County. Bill has recently written a novel, The Circle of Thirteen that has just been released by Turner Publishing to rave reviews. Lisa See said of it: “In The Circle of Thirteen, Bill Petrocelli has created a story that flashes forward and backward through time, creating a futuristic world that bears some striking similarities to today. The Circle of Thirteen is a true celebration of the power of women in the face of great odds.”

 Andy: Bill, thanks for letting me interview you on “Ask the Agent.” We’ve been friends for a long time as booksellers. Probably more than 30 years. And we fought all the great fights together defending independent bookstores against the corporations. But you never told me that you wanted to write a book. When and why did you decide to write The Circle of Thirteen?

Bill: I guess I’ve always thought of myself as a writer, more than anything else. Although I’ve been heavily involved in bookselling for many years, during that time I managed to write two non-fiction books as well as a lot of articles.  As to The Circle of Thirteen, I began thinking about that story six years ago. And once the idea formed in my head, I couldn’t let it go.

Andy: The novel is bold and unique in structure. It’s sort of a science fiction novel, but not really (even though it takes place in the future). You structure it with flashbacks, but both the “then” and the “now” take place in the future as well. I don’t see that very often.  It’s a political novel with a strong feminist message that addresses real issues of today. Weren’t you trying to keep a lot of balls in the air? It must have been pretty hard to shape the story.

Bill: It takes place in the future, but I don’t really consider it science fiction. Probably it should be called “future fiction” – or maybe even “speculative fiction.” The idea for the book was to look at the expanding role of women and the potential backlash against them. I decided to set the story a couple of decades into the future, because I thought that would give me the best setting – really, a better perspective on things.

The challenge was to find a time that was far enough removed from the present to get away from day to day politics but still be close enough to seem relevant to the present moment. I decided that I couldn’t write the story in the form of a saga – a story with just one event after another – because I needed to maintain the tension and keep the important elements of the story at the center of things. That’s why I decided on one main narrative line that occurs over a period of two weeks with a series of flashbacks that feed into that story.

Andy: And that  raises the question of how to write flashbacks in a future setting.

Bill: You’re right – that’s a big challenge. And you’re the one who first pointed that out to me several  years ago. After we talked, I went back and reworked the story to try to do two things. First, I wanted to make sure that all of the transition signals were clear – dates, places, and all that. Readers needed to know where they were at any given moment.

The second thing, I believe, was even more important. I had to be relentless in maintaining the point of view of the narrator at key points in the story. I re-wrote most of the book so that it was the first-person voice of my principal character, Julia Moro, who is the Security Director for the United Nations. So when the flashbacks occur, they are  mostly told through her recollection. That allowed the reader to listen to her re-counting of earlier parts of the story with just enough information to get the feel and texture of what happened.

Andy: When I left bookselling, I became an agent, and   started working at the other end of the publishing food chain. It was pretty eye opening for me. What have you learned from this experience? How has it made you view the process of publishing differently?

 Bill: I’ve learned all kinds of things that I hadn’t really focused on before. A lot of it has to do with timing. How much lead time do you need for submission? For editorial feedback? For book promotion? Each of these things operates on its own calendar, and they’re quite different than the calendar that booksellers follow.

Andy: Book Passage is probably the most marketing driven bookstore in America. You have events practically every night. You have classes being taught by famous writers, book fairs, writers conferences. It’s a real three ring circus (in the best sense). Now you have to market your own  book to bookstores. How has your own bookselling experience helped you do this?

Bill: My experience in the book business has helped a lot – there’s no way to deny that. Mainly, my years as a bookseller have given me an entrée into bookstores. It’s also made it easier for me to talk with the people who report on books and bookselling. The people at the blog: “Shelf Awareness”, for example, have been incredibly helpful.

But even with all that, I’ve had to do a lot of the same things that other authors have to do. I have a wonderful agent, Lisa Gallagher, who helped open a few doors at key moments. But I’ve had to create my own website, hire a publicist – and even work with a publicist who specializes in book blogs.

Andy: You’re also a legendary figure in retail bookselling. Is that helping you get the book into the stores? What are other booksellers saying about it?

Bill: Legendary? I don’t know about that. If anyone is legendary, it’s my wife, Elaine, who really understands bookselling as well as anyone in the country. But I do know other booksellers, and I’ve gotten a lot of nice support for the book from many of them.

Andy: When I first became an agent, I avoided representing fiction. Now I have dipped my toes in it. It’s really tough to sell. There are a lot of good writers out there who can’t find publishers. Publishers are making their acquisition decisions based on marketing, not aesthetics. And they will tell you that most of their fiction titles aren’t selling. Any thoughts why?

Bill: Now that I’ve been promoting my own novel, I have a better idea why it’s  so difficult. It’s different than promoting a non-fiction book. With  non-fiction  you can talk about your credentials on the subject, you can stress how important the book is, and you can focus your message to specialized audiences. But none of that is true with fiction. You can talk all you want about your book, but until someone reads it they don’t know how good it is. The real test is the quality of the writing.

Andy: Any thoughts about how to get these books to readers better?

Bill: I have no secret formula for making it easier. I think the only answer is to get as many advance reading copies in the hands of booksellers, other authors, and prominent people – anyone who can read it and give a positive blurb that can then be used in marketing.

Andy: Ok, Bill. Here’s the $64,000 question. I couldn’t help notice that your book is for sale at Big Bad Amazon and almost as Big and Bad Barnes and Noble. Want to share your discomfort with us?

Bill: I have no discomfort with that. I want the book sold through as many places as possible, but I haven’t done anything to encourage sales through Amazon or through the chains. I’m trying as hard as I can to get people to buy it through their local independent stores, In fact, if you go to my website at http://www.williampetrocelli.com, you will see that my buy-link goes directly to the websites of about forty independent bookstores. I’m hoping that more authors will pick up on this idea and link to the independent stores whose support for their books is so important.

Andy: Are you working on your next novel?

Bill: I am, but I put it aside while I’m been trying to promote The Circle of Thirteen. Every now and then I find those characters talking to me, though, asking me where I’ve been. I need to get back to it. It’s a different kind of story, but hopefully it will be just as provocative. One of the characters is a bookseller, so that should give us something to talk about next time.

Bill will be speaking and reading from The Circle of Thirteen at the following venues:

Tues. Nov. 12, 7 PM. Powell’s Books, Portland, Or.

Thurs. Nov. 14,  7 PM. Bookshop Santa Cruz, Santa Cruz, Ca.

Sat. Nov. 19, 7 PM. R. J. Julia Books, Madison, Cn.

Wed. Nov. 20, 7 PM. McNally Jackson, New York, NY.

Sun. Nov. 24, 11 AM. Miami Book Fair, Miami, Fl.

Michele Anna Jordan on Food and Food Writing

September 7, 2013

jordan picVinaigrettesNew200Today we are going to talk to Michele Anna Jordan about food writing. Michele is a James Beard Award winning author and food and wine writer.  She is the author of 18 cookbooks. In 1989, she was voted Best Chef in the Sonoma County Art Awards. She lives and writes in Sonoma County where she pretty much has sewn up the title of  “Sonoma food guru”. Her new book, Vinaigrettes and Other Dressings, was published this year by Harvard Common Press. Right now, it’s the best selling book on salad dressing in America.

Andy: Michele, you’ve been writing cookbooks now for nearly 25 years. How has the market for these books changed during that time?

 Michele: Readers don’t seem to have changed much. They still want what they did when my first book came out, which is to say good recipes with clear instructions accompanied by interesting stories and a context that is both broad and deep. Readers like context–not just culinary, but also geographic, historical, emotional.

But getting a book into a reader’s hands has changed in big ways. Advances are a fraction of what they were a decade or so ago. More of the marketing and promotion work is put onto the author. Some publishers do nothing or next to nothing to promote the book once it’s published. Publishers expect the author to provide photographs and other materials to the publisher free of charge. The kind of high quality food photographs you see in cookbooks can be very expensive to produce.  With my first book, I was offered $2000 for testing expenses. That never happens now.

Andy: Has anything gotten easier?

Michele: Yes.  I no longer print out a 500-page manuscript and send it off by FedEx.  Nearly everything, except for final galleys, is done by email. Of course, that means no more “It’s in the mail” excuses to buy time, either. With my most recent book, nearly all the editing was done digitally.  Quality photographs are, for the most part, much easier to produce these days too. All this speeds up the process and gets  the book to the marketplace more quickly than in the past.

Andy: It seems like celebrity chefs are a bigger part of the food world than ever. How does The Food Network and food TV play into this? How is it manifested in the book  publishing world?

Michele: Chefs and cooks were once simply physical laborers. Early cookbooks were written by doctors and then Fanny Farmer and the Domestic Scientists came along  at the end of the nineteenth century and began to codify home cooking.  This codification also lead to over-manipulation of foods and attempts to deny both appetite and the pleasure we take in eating. This had a pretty devastating impact on the American palate.

Andy: So when did all this start to change?

Michele: Stay with me here a minute, okay?

Fast forward to the Gourmet Revolution of the late 1960s and early 1970s, when the back-to-the-earth movement coincided with increased European travel and a re-emergence of pleasure as a pursuit. Alice Waters, herself not a chef but an inspired restaurateur, rode this wave to fame and fortune. In her wake came all that we see today: Restaurants as havens of the best food, chefs as elevated celebrities, home cooks — by definition inferior. Vanity cookbooks–coffee-table books that tell a chef’s story or  a restaurant’s story and offer recipes put together by a kitchen staff of a dozen or more sous chefs — became a huge industry. This all received an enormous boost when The Food Network finally took off.

Andy: So how did putting it all on TV change things?

 Michele: It’s  made cooking a spectator sport,  passive entertainment for a huge portion of the population.  It’s left us feeling disempowered, in the sense that the Food Network makes us believe that it requires some sort of  magical talent  to make great food. I find this sad, since the real skill of a professional chef is management and consistency, the ability to put out plate after plate of reliable food day after day. You don’t need this skill to be a fabulous home cook. You just need to make fabulous food.

Now, back to the codification and over-manipulation of food. Thomas Keller of The French Laundry is often heralded as the best chef in America or even the world. I use him as an example because he’s probably the best known of his ilk. But if you look at his food, it’s over-manipulated to the degree that it is more of an intellectual exercise than a sensual pleasure. He and others like him have brought cooking back to where it was for the Domestic Scientists, who took great pleasure in creating such things as “all white meals,” in which everything was cut quite precisely and cloaked in white sauce, frosting or such so as to disguise it entirely. Pleasure and its handmaiden, appetite, were the bane of their existence. This newest version of their aversion to appetite has had a pretty devastating effect on the American palate.

Anyone interested in this part of our culinary history must read Perfection Salad by Laura Shapiro.

Andy: Michele, explain that a little more. I went to the French Laundry, and the food was delicious. Are you saying it doesn’t taste good?

Michele: I feel like Thomas Hardy after the publication of Jude the Obscure, when he said he’d be a fool to stand up and be shot (he was referring to his decision not to write any more novels). but here I go, I’m standing up.

In all honesty, Keller’s food doesn’t always taste good. When I was there about a year and a half ago, a couple of things were good but not great, some things were mediocre and a few things were not good at all–but most things looked lovely, in a very symmetrical, constructed and often clever way. And I found certain elements offensive. For example, a tower of eight white plates and saucers elevated an espresso cup full of what was said to be carrot soup. Eight plates! All I could do was think about the poor dishwashers and the water they’d need. And the soup? It was hot carrot juice with a leaf of tarragon. I love purity of flavors and the showcasing of single foods grown and harvested perfectly but hot carrot juice is a bit disgusting.

Andy: Yuck!

Michele: Most presentations were like this, cerebral, ostentatious, pretentious and, in the end, not about the food.

What most offended me were  the four dessert courses, each one with several highly manipulated elements. I felt infantilized and, really, just wanted another lamb chop or some such, since there really wasn’t all that much on the savory side. I was embarrassed, too, because neither I nor my companion wanted all those sweets–they were cloying and a bit candy-shoppish. We just pushed them around on our plates so our waiter would think we’d eaten.

And the bill! It was $668 for lunch for two, which included just two glasses of sparkling wine and one glass of pinot noir. Two people could fly to Hawaii and back for the cost of one mediocre, forgettable lunch.

Andy: Boy, I hope your partner grabbed the check! Ok, let’s say that I’m getting started in cooking and I want to have one book that tells me all I need to know. It used to be The Joy of Cooking. Does that book still reign supreme? Or is it just a well established name brand? What are some good alternatives?

Michele: I think the 1974 edition of The Joy of Cooking remains an invaluable resource. The 1964 edition is excellent, too. The 1997 edition, not so much. But nothing has replaced it. Some have tried but none have succeeded, not so far.

Andy: That’s very interesting. How are the editions different? Have they changed because of food trends?

Michele: Yes, the 1997 edition was too  trendy. A group of well-known chefs did the revisions and there was more focus on professional techniques, flavors and ingredients than previous editions, which have so much down-to-earth kitchen wisdom. As soon as I looked through it, I realized it was not going to become a classic. And it hasn’t.

 Andy: So now I have my one standard book. And I want to build a modest cookbook library. What are the next 10 titles that I should buy for my kitchen shelf (after I purchase Vinaigrettes, of course)?

Michele: This is a personal question that depends on your food preferences, how much time you like to spend shopping and cooking, etc. I read cookbooks for inspiration, and I recommend them for this purpose too.  So this is a very personal list that represents a wide range of cuisines. The first book is one I always recommend. Sadly, it is out of print, though you can find it fairly easily on line. It is brilliant but overlooked and underrated.

Unplugged Kitchen by Viana LaPlace

Fish Forever by Paul Johnson

Vegetarian Cooking for Everyone by Deborah Madison

The Art of Simple Food by Alice Waters

The Classic Italian Cookbook by Marcella Hazan

The Italian Baker by Carol Field

The Art of Mexican Cooking by Diana Kennedy

Bistro Cooking by Patricia Wells

Arabesque by Claudia Roden

The Original Thai Cookbook by Jennifer Brennan

Andy: You can get hundreds of thousands of free recipes on line. Just look at Epicurious. Why would anyone need to buy a cookbook any more?

Michele: When it comes to free on-line recipes, it’s a jungle.  So watch out for those pretty but poisonous plants. I frequently peruse the major recipe web sites to see what’s there and I’m appalled by what I find: poorly written and untested recipes predominate. A lot of them absolutely will not work. There is no consistency when it comes to seasonality or quality. Randomness rules. Sure, you might find a recipe you like. But there will be no context, no relationship. Nothing is vetted; there’s no central voice.

A good cookbook has been vetted on many levels. Recipes are tested. There’s a voice, a point of view, at the center of it all. There’s context and, in the best of them, there is depth. A good cookbook is like a friend who joins you in the kitchen. It’s a relationship, not a one-night stand.

Andy: When I think of regions that are important in the food world in California, the places that come to mind are Napa and maybe Berkeley. Last time we talked, you said something surprising.  You believed  Sonoma County is much more important now than either of those places. Care to elaborate?

Michele: I could write books on this topic. Oh, wait, I have! Sonoma County has always been much more important when it comes to food than either Napa or Berkeley. Berkeley has plenty of claim to fame, of course, and launched the Gourmet Ghetto and the food revolution and gave us L.  John Harris, Alice Waters, Les Blank, Peet’s Coffee, Acme Bread, Kermit Lynch Wine Merchant and so much more. It spread the gospel. But look at early Chez Panisse menus: They are filled with foods and wines of Sonoma County.

Napa has a singular focus, wine. It is a long inland valley with temperatures that rise as you head north. It was easy to spread the gospel of Napa because there was a single story, which Robert Mondavi told exquisitely well. The walnut and  cherry orchards and other farms and ranches mostly disappeared as viticulture eclipsed everything. There are plenty of high-end restaurants with world-wide reputations in Napa, which makes sense, given the wine business. But this is about dining, not about cooking or farming or ranching. Napa produces some food, yes, but it must reach beyond its borders for most of its raw materials. The first place they reach out to is Sonoma. Attend any farmers market in Napa County and you see dozens of vendors from Sonoma County.

Sonoma County has five major valleys, with dozens of microclimates within these valleys. It has a seacoast. Our history of farming and ranching extends back to the 1800s, when an olive oil industry thrived here and Luther Burbank called it the chosen spot of the entire planet, as far as nature is concerned. We have some of the country’s finest dairies and the cleanest milk in America. We have extraordinary cheese makers and yogurt producers. Pastured eggs and poultry, the best lamb in the US, glorious duck, succulent grass-fed beef, delicious pork and goat, all come from our ranches and farms. We were pioneers in mesclun, the salad mix that is now everywhere. In the early 1980s, high-end restaurants from Honolulu to New York City had Sonoma County mesclun on their menus. Several local foods–the Gravenstein apple, the Bodega Red Potato, the Crane Melon and Dry Jack Cheese among them–have been taken onto the “Ark of Taste” by Slow Food.

There is a long history of home cooking here, too, with a patchwork of influences that include Portuguese, French, Italian, Swiss and German immigrants. More recently, Asian immigrants have had an impact on the region, too, especially on our agriculture.

According to several recent polls, Sonoma County is the top destination for wine travel, for wine and food travel and for food tourism. Healdsburg has been named one of the ten best small towns in America.

Frankly, I thought this would happen sooner than it has. My first book about Sonoma County food came out in 1990 and my second, a revised and expanded edition, came out in 2000. Both were ahead of the curve by several years. But now, Sonoma County is on the national and international stage, as it should be. It’s both a satisfying and a worrying development. We need to protect and preserve what we have, one of the finest agricultural environments in the world.

Andy: Michele, thanks so much for this. As usual, you are brilliant, provocative and refreshingly counter-intuitive. Gotta go now and make some of your delicious salad dressing from Vinaigrettes.

Beth Kephart on Writing Memoir

August 29, 2013

Handling_the_TruthFINALFINALbeth2Today we are going to talk with Beth Kephart about writing memoir.  Beth is the author of Handling the Truth: On the Writing of Memoir published this year by Gotham Books. She is the author of five memoirs, one of which was a finalist for the National Book Award. Beth teaches creative non-fiction at The University of Pennsylvania.

Andy: Beth, there are a lot of books out there about the art and craft of memoir writing. Why did you decide to write Handling the Truth?

Beth: Handling emerged somewhat despite myself. I was full of this love for the young people I meet and teach; I wanted to celebrate them and what they taught me. I grew intent, too, on sharing my thoughts about the many memoirs that have inspired and instructed me and to liberate this much-tarnished form from some of the damaging mythology. Finally, I felt compelled to save others from the mistakes I’ve made, and to offer cautions.

Andy: Let’s start with the basics. What’s a memoir? Or to clear up a prevailing misconception, how is memoir different from autobiography?

Beth: I think it’s so much easier to define memoir by what it’s not, which of course I do in the opening pages of the book.  Memoir is not a chronological recitation of a life. It’s not therapy. It’s not an accusation. It’s not a boast. It’s not fiction. It’s not gossip. Memoir is a search to understand the human condition—to tell a personal, resonating story. Memoir writers look back with empathy—toward themselves and toward others. They fabricate nothing on purpose. They know what to leave out. And they recognize—explicitly and implicitly—they are not the only ones in the room. Their readers matter, too.

Andy: In my work as an agent, I get pitched a lot of memoir. There seems to be an endless number of projects dealing with dysfunctional families, surviving cancer, interesting travels to exotic places, and the like. You mentioned in the book that Neil Genzlinger called memoir “an absurdly bloated genre.”  And my experience with publishers is that they are pretty cynical about these well-mined themes. Aside from an appreciation of good writing style, do you really believe there’s anything new and important to say about some of these overworked subjects?

Beth: I think we have to stop imprisoning memoirs in marketing categories. The minute we start to think that we are writing an illness memoir, say, or a grief memoir, is the minute that we’ve lost sight of the bigger possibilities of the personal story. It’s never just about what happened. It’s about what it meant. Memoirists must continue to look for new structures, new ways of asking and answering the big questions. Look at what Joan Wickersham does in The Suicide Index, for example. That is a book about the aftermath of a father’s suicide. And it is a story you’ve never seen told like that before. It’s a story that makes you think newly on a familiar topic, precisely because Wickersham has been inventive with structure and smart about elisions and inclusions.

In the end, someone will categorize Wickersham’s book as a suicide memoir—perhaps. But it’s clear that she wrote it with bigger ambitions in mind. It’s clear that she was not suffocated by a label.

Andy: You speak at length in the book about honesty in writing memoir. There’s a tension between telling your story accurately and shaping a story that is artistically true and aesthetically pleasing. Can we really remember a dialogue that took place twenty years ago. Do we really recall our feelings about visiting Gramma’s house for the first time?  How much are memoirists permitted to invent? Or maybe just fudge a little bit?

Beth: I’m a pretty big stickler for telling the truth, as much as possible. I don’t believe in the deliberate fudging of facts, the rearrangements of time, the reassignments of characters, the remapping of locales. You start making it up on purpose and you’ve lost the heart of the matter. Memoir writing is, in some ways, like writing a villanelle or a sonnet. You are bound by the rules of what happened, by what you remember, by what you can research (don’t forget, memoir writers, about the power of research to help support the telling of story). The truth constricts your work. It also shapes it. Find a way. Don’t make it up. And when you don’t remember, just say so. Your credibility matters.

Andy: Sometimes I tell an author that their memoir might work better as a novel, a roman á clef. But writing a novel is very different from writing memoir. Do you have any advice to writers who are undecided about which path to pursue?

Beth: Read books that fall on both sides of the line. Vaddey Ratner, in writing In the Shadow of the Banyan, recreated her childhood but also gave herself room to change some of the personal details. Everything in that book comes from a known experience, from something lived throughout the Cambodian genocide. And yet Banyan is a novel. Ratner never lies, but she still writes from a pure, authentic place.

Writing fiction is just as important and personal an enterprise as writing memoir (I write both). But be clear about what you are doing. Count the trade-offs and decide.

Andy: But even if you are writing memoir, the story has to be compelling or else no one will read it. When I get a rejection from  an editor (which happens far too often), one of the standard explanations is that there is no “narrative arc.” Well, real life doesn’t always correspond to a classic 3 act narrative structure. What’s a memoirist to do?

Beth: Stop thinking chronologically. Chronology can be—not always, but sometimes—the death of memoir. It locks people into saying this happened, this happened, this happened. It can be claustrophobic. Be inventive. Study Howard Norman or Rebecca Solnit. See what they make of their lives. See how they selectively shape the interesting stuff and leave out all the filler.

Andy: In my work with authors, particularly those who write memoir and fiction, I’m always amazed at how little perspective they have. Characters and scenes that have been living in the heart and mind of the author for years may leave the reader cold. And as you said, the reader is always in the room.  I tell my clients that the reader is king and is usually unforgiving. If the first page is boring, the reader will throw the book down and never pick it up again. That seems particularly challenging to memoirists. After all, everyone’s life is a hero’s journey. Why should we care about someone else’s?

Beth: We only care if it speaks to us in an inclusive fashion. We only care if the right questions have been asked. The celebrity memoir is often exclusionary, and in fact, the celebrity memoir is often (not always!) not a memoir at all but an autobiography. Patti Smith and Diane Keaton are celebrities, but they’ve written true memoir—they’ve made their life stories relevant to the rest of us by wondering out loud about the nature of love, the nature of relationships, the nature of fidelity to another. Edna O’Brien is a celebrity author, but her “memoir” is less a memoir than a recounting of events and famous people/places. We are all just people in the end. A memoir’s purpose is to lower gates and open doors. Boring books are self-inflating, self-congratulatory, and, ultimately, self-isolating. If we are boring someone at a cocktail party, we are also likely boring them with our memoirs.

Andy: You write a lot about style in memoir. You have, for instance, a whole chapter on weather. I’m sure you’re aware of the fact that writers seem to look down on the weather these days. Edward Bulwer-Lytton’s immortal “It was a dark and stormy night” is often considered the worst first line in all of literature.  Were you trying to tweak a few noses  at the literary snoots when you wrote that chapter?

Beth: I’m not writing about style so much as writing about ways of remembering our lives. Too often people stare at the events of their lives and don’t stop to think about the ambiance or mood, the meaning, the possibilities in all that “background” stuff. I’m not suggesting that memoirists go out and fill a book with storms and sunshine. I am saying, use everything you’ve got, every sense, to find your personal story. And then figure out what it means, and what is worth keeping. And sometimes weather will signify. And when it does, recognize the opportunity.

Andy: You distinguish between real memoirs and “pseudo memoirs.”  I’ve never heard that expression before.  In your analysis a pseudo memoir is not the same as a bad memoir. Can you discuss this a little?

Beth: Ha! I love the question. Pseudo memoirs are half steps toward the truth. They speak of lives that have not been fully explored, examined, wrestled with. Bad memoirs are bad memoirs. Badly written, badly structured, and published for the wrong reasons. Sometimes all a pseudo memoirist needs in order  to write a real memoir is more time and more reflection.

Andy:  And here’s the $64,000 question: what’s your favorite memoir?

Beth: Can’t do this! Handling the Truth discusses nearly 100 memoirs, many in detail. So there is the first memoir I loved (Natalie Kusz’s Road Song) and the one I most often teach (Michael Ondaatje’s Running in the Family) and the books I’m still discovering now (Howard Norman’s I Hate to Leave This Beautiful Place). But come to my house. See all my shelves and boxes. I’m in love with a lot of books.

Thank you so much, Andy, for these thoughtful questions. I hope anyone who wants to learn more and to read about some memoirs that aren’t in my book (some additional exercises, some additional essays) will consider visiting my blog, www.beth-kephart.blogspot.com, or buying the book.

Andy: And thank you, Beth. As I said earlier, in the business of book publishing, it’s pretty easy to get cynical and discouraged about memoirs. Every once in awhile, you need to remember about those great ones that changed your life. Your book was an inspiration. Oh, yes, and by the way, I just wanted to say that my last book deal was for a memoir. Yes!

Nina Amir on How to Market Your Book

August 20, 2013

nina1-150x150Today we are going to interview Nina Amir who  will offer us  some tips on how to market your book on the  Internet.  Nina is  a writing  coach who motivates writers to  create   publishable  books and  to enhance their  careers as authors.

She is the  author of the bestselling How to Blog a Book: How to Write, Publish and Promote Your Work One Post at a Time (Writer’s Digest Books). She is also a  nonfiction editor, proposal consultant, author, and blog-to-book coach with more than 34 years of experience in the publishing field. She is the founder of “Write Nonfiction in November”, aka National Nonfiction Writing Month. Her new book, The Author Training Manual, 9 Steps to Prepare You and Your Book Idea for Publishing Success (Writer’s Digest Books) will be released in February 2014.  You can get a free strategy session with Nina on blogging, blogging a book, writing a book, achieving results, or  editing at  http://bit.ly/NA15free.

A good portion of my time as an agent is taken up with crafting book proposals. As you know, a book proposal is a highly structured business plan for your project which will convince the publisher that your book is important and that you know how to reach your audience. Publishers require a “marketing” section of the proposal laying out how you intend to promote your own book. I’ve written some blog posts on the subject. Most of my clients are, at best, intimidated and usually flummoxed in writing this section of the proposal. .

Once the book is out, the author learns the hard truth that publishers never promote the book as much as they imagine and usually stop promoting it a month after publication.

Andy: Nina, thanks for coming here today. Do you agree with my assessment above?

Nina: Yes, I do. For some reason, aspiring and published authors seem to cling to the outdated idea that a publisher will do the hard work of promoting their book for them.  That’s why writers often want to become traditionally published. But that’s  not a good  reason to pursue this publishing route.  If you want your book to succeed, you will have to do the same amount of work to promote your book whether you self-publish or traditionally publish. And the work begins long before your book is published.   You need to start building your platform at least three years before publication date, if not longer.

Andy: When I do get the marketing plan from the author, it’s usually pretty predictable. He will put up a book website; he will blog (maybe); he will set up a page on Facebook and perhaps Twitter. Publishers aren’t particularly impressed by this. Can you give us some tips about each of these  social venues and tell us how to make them rise above the conventional.

Nina: Well, you can blog a book. Many bloggers with huge readerships have landed book deals because they unwittingly test marketed an idea for a book. Later, an agent or acquisitions editor saw the potential for a book based on the material in the blog.  They then decide to repurpose the content of the blog into a book.  But also you can blog your book—or a good portion of it—from scratch. By this I mean plan out your book and publish it post by post on your blog. If you gain a large readership or subscriber base in the process, you can prove to a publisher that you have a great idea for a book—and a built-in readership.

Andy: But Nina, one of the big causes of rejections that I get is that publishers are skittish about taking on material that is already available for free on-line. Can you comment on this?

Nina: Some publishers don’t want “previously published” works.  But many are happy to have material that has been test marketed successfully.  If you do this correctly—following the plan in my book, you will have left out some material so the publisher has about 20% or more unpublished material to include in the book. Plus, you will edit and revise what was on the blog to improve it. This makes it “new” to some extent. You can also point to the many “booked” blogs that have been best sellers, like Julie & Julia, Stuff White People Like, and so many more.

Andy: What about Facebook and Twitter?

Nina: Your Facebook page can be used like a forum, especially if you write nonfiction. You can create courses around your book and drive your class  participants to the page. You can offer tips and advice there and generate discussions—real engagement. Your Twitter account can be used for a Twitter chat of some sort or for a tip series.

In other words, you must use your social media, including your blog, as a way to build more than just a following. You need to build a community and a brand. There must be name awareness. You have to see yourself as more than just the author of a book, and all you do—your blogging efforts, social media efforts, speaking, etc.—must build your visibility into an author brand as well as a platform. What this does is show that you have business savvy. Publishers are looking for good business partners, not just authors. Business people know how to sell books; more often than not, authors do not.

Andy: Since publishers rarely have the time, inclination, or money to reach out beyond the usual sending out of press releases, what else can the author do at the time the book is released.

Nina: I highly recommend a virtual book tour. Everything you do on the Internet makes you and your book more “discoverable.”. That means when someone searches on Google, using some sort of keywords or search terms related to your book, he is more likely to find you on the first Google search engine results page. So write a series of guest blog posts for bloggers in your category or niche. This could include having them interview you or review your book. Do 15-30 posts over the course of the month when you release your book! And land some Internet radio shows or podcasts as well, so you aren’t just doing a blog tour but a true virtual book tour.

Andy: Nina, there are so many blogs online. Give me some practical tips on how an author can sort through them and select the ones that make a difference and avoid the “moms-at-home” blogs.

Nina: You can do research. Check a blog’s ranking at blogcatalog.com or at Technorati.com. Go to Alexa.com, where you will find a single digit page rank a well as a global rank that can be in the millions. You want to blog for sites with page of 3 or above and with a global page rank in the six figures. You can also do Google research; almost every category has had one or more sites compile a list of the top blogs on a particular topic.

Andy: What about sending out press releases?

Nina:  Definitely. You can send them out to online and print publications. And you can contact local radio  and televisions shows personally. If you write nonfiction, I like to use ExpertClick.com to highlight my expertise to journalists and send out press releases that reach them as well as the general public. It’s less expensive than some services. There is a yearly expense but you can send a lot of releases for one fee. (Use my name to get $100 off…)

Andy: What else should authors be doing at publication time?

Nina: Optimize your Amazon Author Central page. I go back every now and then to see what else I can add, and I’ve still not done everything possible. You can:

Add video,  add Twitter feed, add blog feed, share speaking events, create discussions, get reviews.

The last one is very important. Reviews can really help a book succeed.

Use Youtube and other easy video and photo options, like Instagram.  And don’t forget other social media, like Pinterest and Google+.

Andy: Should they be looking for a freelance publicist or consultant? Some of these people charge a lot of money.

Nina: I used a publicist and thought it was a waste of my money. But then I found  someone to help with one of my two blog tours, and that was well worth it.   That person found bloggers willing to either interview me, have me write posts for them or write reviews, so I didn’t have to do the research or contact them. She coordinated the dates and made all the arrangements. I just had to turn in the posts to the bloggers on time. This was much less work than doing it myself.

Andy: Thanks Nina. If you want to find out more about Nina’s ideas and how they can help you promote your book, you should buy: How to Blog a Book: How to Write, Publish and Promote Your Work One Post at a Time.


Follow

Get every new post delivered to your Inbox.

Join 526 other followers