Posts Tagged ‘writing’

Bad Pitches

October 9, 2014

I have written a number of blog posts on query letters. All of them get plenty of reads and shares. There are people who charge a lot of money to coach writers on how to write effective query letters. It seems as if every issue of Writers Digest has an article giving lists of tips on making the perfect query that will land you a 6 figure advance. I don’t think query letters are difficult to write. There are only about 9 things you really need to know. I have also said many times and continue to believe that a bad query letter won’t kill a good project and a good query letter won’t help a bad project.

All that being said, it’s important to remember that agents get dozens of query letters every day and tend to skim through them quickly. You need to have the right tone, to provide the relevant information, to avoid verbosity, and to sound professional. Here are some particularly bad pitches I see frequently along with some commentary by me.

“This is a fiction novel.” [Editors don’t like redundancy in writing. Agents don’t like redundancy in query letters. Rather say “This is a novel, or this is a work of fiction - and maybe include the genre as well.]

“This is a non-fiction novel” [More common than you would imagine and a particularly clueless pitch; one that elicits squeals of laughter when agents bring it up with each other and with audiences.]

“I know you probably won’t want to represent this book, but here goes.” [ It’s really a very convincing pitch. The writer has given a compelling reason for me to reject his project. If the writer doesn’t have confidence in his book, then why should I?]

“I’ve already been rejected by 25 agents, but here goes.” [Similar to the previous. Most agents are aware that writers make multiple query submissions and that is perfectly ok. You don’t have to call attention to how many rejections you have received, though.]

“There is nothing like this book that has ever been published.” [ This is the opposite of the examples above. It’s one of the worst pitches you can make. It sends the message that you have delusions of grandeur and will be a difficult client to manage. And it also raises the reasonable question of whether there is, perhaps, a good reason why such a book has never been published.]

“I am wondering if you might possibly be interested in considering….” [ Literary throat-clearing like this in a query letter is indicative of literary throat-clearing in the text of the project. It’s horrible style. Better would be “I am submitting” or “I am submitting for your consideration”]

“Because you represent NAME OF A GREAT SCHOLAR, FAMOUS POLITICAL JOURNALIST, etc, I thought you might be the right person to represent my work of erotic women’s fiction.” [This bad pitch needs no further comment.]

“I am looking for an agent to represent my film script.” [It's ok if the agent you are querying represents film scripts, but most literary agents don’t or else they work in collaboration with an entertainment agent.]

“I am submitting to you because you represent” GENRES THAT I DON’T REPRESENT.” [Similar to the previous bad pitch. Do your research and make sure you are sending projects to agents specifically interested in the genre of your submission.]

“I am looking for a New York agent who….” [A particularly hateful pitch to me. First of all, I have a big chip on my shoulder about “New York agents”, because it no longer matters whether the agent is in New York or elsewhere. Second of all, the author needs to do his research and find out if the agent is, in fact, a “New York agent.” Many of us are not, thank God!]

“I submit for your consideration my Literary-Commercial novel with YA possibilities.” [There are numerous variations of this. Although there are times when a project can only be described as cross-genre, frequently this pitch is simply indicative of the fact that the writer can’t decide who his audience is.]

“This book is bound to make a great movie.” [ I’ve never known an author who didn’t think his novel would make a great movie. And that’s ok. But you can probably leave it out of a query letter. Most book and entertainment agents are probably better suited for deciding if a story is a good bet for film adaptation than the author. It also sends a message that the writer may have delusions of grandeur.]

“Oprah/Terry Gross will love this book.” [Another indicator of delusions of grandeur. Avoid mentioning Oprah at all.]

“This book is like Eat, Pray, Love meets Malcolm Gladwell.” [These books are the most often cited comps. Realistically your book is not going to sell as well as Eat, Pray, Love or the works of Gladwell. And realism is a very important virtue in a writer.]

“This book is like Eat, Pray, Love meets Kant’s Critique of Pure Reason.” [I don’t particularly like this kind of blah blah meets blah blah kind of pitch. But some agents do. So if you are going to do it, try to at least make the comparables intelligible. Otherwise it’s just name dropping.]

“This is a combination diet book/ memoir” (or any other combo that includes a memoir). [Sneaking a memoir into a book of another genre is almost irresistible, and there are some rare instances where it makes sense. But if you aren’t, in fact, writing a memoir, it might be a good idea to leave yourself out of it. If you are writing about, say, how to discipline your child, the reader is looking for answers for themselves, and is likely not interested in your life experiences, fascinating though they may be.]

“This book was previously self-published, but I want to have the marketing power of a commercial publisher behind me.” [It is unrealistic to expect that a commercial publisher is going to put lots more resources into promoting your book than you already have as a self-published author. What is true, though, is that you are more likely to get review attention or get placed in a bookstore if your book is commercially published.]

“This book was previously self-published and had very good sales.” [Normally when I look into this further, I discover that the writer’s idea of “very good sales” means about 500 copies, which is to say it had not very good sales. You need to be honest in this business. Probably best to tell the agent exactly what those sales were. But even if your sales were very good, if you were selling your e-book for 99 cents or, as is often the case, giving it away for free, it isn’t all that impressive a pitch.]

This book will sell millions of copies.” [Delusions of grandeur.]

“Anyone interested in women’s health will buy this book.” [I see this frequently in book proposals. You need to be able to distinguish between an “audience” and a “demographic”. There are, for instance, about 4 billion people in the world interested in women’s health. In all probability, most of them will not be reading your book.]

“This book is side-splittingly funny.” [Humor is difficult to write and very subjective. This pitch is another indicator of delusions of grandeur. I have represented a number of books that to me actually were side-splittingly funny. But I failed to sell them, because the acquisition editors didn’t “get” it.]

“This book is darkly comic.” [I hear the pitch for “darkly comic” a lot. To me that usually means “not particularly funny”.]

I have written about pitches and query letters in a number of blog posts. You can check these out:

How to Pitch to an Agent
The Art of the Pitch
The Best Query Letter Ever Written
9 Tips for Effective Query Letters

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

 

 

The Best Query Letter Ever Written

August 4, 2014

tolstoyRecently I attended the Taos Summer Writers Conference.  It was fabulous and I urge everyone to check it out.   I taught a class  in which the participants workshopped their query letters. Most of the queries were too long. The writers tended to delve into too much detail in the plot summaries. A number of people also wasted precious space – in the words of one of the students – “sucking up to the agent.”

A query letter is typically in three parts. The first paragraph should state the name of the book, the number of words, and the genre. You should try to use terms of art that are common in book publishing. It sends a message that you are serious and know the territory. In particular, avoid characterizing your book as “a fiction novel” and, for pete’s sake, don’t characterize it as “a non-fiction novel.”

The second part of the query is the so-called “elevator pitch.” You should briefly describe the story and why it is important or memorable.

The final section should be a short paragraph enumerating your qualifications to write the book. Be sure to mention previous publishing history, awards, and what you do in your real life. If your previous books are self-published, make that clear.

I get about twenty unsolicited queries every day. I try to look at them and get back to the writer in a timely manner. But that means I have a very limited time to think about each one. I prefer queries to be short, maybe 400 words or less. That means you need to make every word count.

As an exercise, I decided to compose the perfect query letter. I gave myself  an almost insurmountable challenge, to create a  query for the longest book in the western canon and to make the elevator pitch in six sentences. Here it is, my masterpiece (the query letter, not the novel):

***

 I am submitting War and Peace, a 350,000 word work  of historical fiction.

 War and Peace is the  epic story, written in a realistic style,  of Napoleon’s invasion of Russia and how 3 characters, members of the  Russian nobility,  live their lives or die in the course of the novel.  In addition to the dramatic and interrelated stories of  Pierre Bezukhov, Natasha Rostova, and Prince Andrei Bolkosky,   I also bring in themes that try to explain how the events in the narrative help us to understand the inexorable truths of history. Some of the memorable secondary characters are  real historical figures, notably Napoleon and the Russian general, Kutuzov.  My description of the climactic Battle of Borodino is so realistic that  the reader can almost smell the gun powder.

The book has received enthusiastic praise from some of the most distinguished novelists of all time. Thomas Mann said of War and Peace that it was “the greatest ever war novel in the history of literature.”   John Galsworthy has called War and Peace “the best novel that had ever been written.”

I am a published novelist, author of the best selling novel, Anna Karenina that has been translated into every major   language in the world and adapted for film multiple times, most recently in 2012 from a screenplay by Tom Stoppard starring Keira Knightly and Jude Law.  I have also written works of short stories, philosophy and social criticism.

The manuscript is complete and available at your request.

Count Leo Tolstoy

 

 

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!

How Not to Freak Out and Get Humiliated When Pitching to Agents

February 22, 2014
San Miguel de Allende

San Miguel de Allende

I just got back from the writers conference at San Miguel de Allende. The city was voted the number one travel destination in the world by Condé Nast Traveler. And I would rate this writers conference number one in the world as well.

As usual, I took a lot of pitches from writers. As usual, they were pretty nervous when they sat down. And probably some were pretty disappointed when I told them I didn’t want to represent their book.  As usual, a lot of talented people showed me some  good writing, but  I knew I wouldn’t be able to sell it to a publisher.  Of course, nowadays there are lots of alternatives to mainline commercial publishing. And  writers are exploring these alternatives.

When it comes to rejection, I’m a real wussy. I don’t think I could ever pitch my writing to an agent. I’m amazed at how courageous writers are, and I always feel shame when I know that I have hurt someone with a rejection. In my job, I get  plenty of rejection letters from editors  in response to my submissions. I estimate I have received over 5000 in my few years at this job. Sometimes it seems a little like my social life in high school.  (See my blog post on Publishers’ Rejection Letters From Plato to Hitler.)

Many of the pitches at San Miguel were for memoirs and novels. Here’s what I can tell you about  how publishers evaluate these genres. So many of the published memoirs are driven by celebrity. These are,  in reality, book-like glitzy packages, usually written by someone other than the putative author. For those of you who like that kind of book, I refer you to Kardashian Konfidential, St. Martin’s Press (2010), written by God only knows who. For the rest of us, it’s almost impossible to find a publisher for a personal memoir. Certainly there are some examples of family memoirs that have succeeded. The Glass Castle by Jeanette Walls comes to mind. Or The Liar’s Club by Mary Karr. These books rise to the level of high literature. They’re  the exceptions though, and I can only imagine the difficulty they must have had finding a publisher. I’ve represented some very good memoirs. Yes. As good as The Liar’s Club. I couldn’t get them published. No dishonor. Just disappointment.

Similarly with fiction. And I have written about this as well in a previous blog post. Literary fiction is especially difficult to get published for the simple reason that it rarely sells enough to be a profitable venture. Most editors evaluate 200-500 novels a year. All of them have been heavily vetted by agents. Most of them are good enough to get published. An editor may acquire 10. And the rejection is usually based on marketing, not on aesthetics. (“This book is too dark for book groups.”  —  “This book seems too quiet.”) As a result I only represent a few novels a year. Most of the greatest novelists of our time have experienced these kinds of rejections.

Some agents are nice guys and have a warm and fuzzy vibe. Others may seem dour, forbidding, arrogant, or world weary. If you are fearful of laying yourself  wide open to an agent, here’s what I recommend: Don’t even try to pitch your book. It’s probably more effective  sending an agent a query letter and a sample when they get back to the office. Instead, just ask them some questions. Agents know about the publishing process and the market, and you can learn a lot by having a conversation with them. Ask them what they are looking for when they read a memoir or a novel. Ask them what turns them on and what turns them off.  Ask them for advice about finding the right agent. Try to find out what agents and editors are talking about with each other. Ask them what grabs their attention in the first paragraph. The information will be invaluable. And you won’t have to suffer the indignity of a face-to-face rejection. Of course, ask them at the end if you can send them a query and submission. More than likely they will put it at the top of their queue.

Most writers who attended the conference at San Miguel de Allende, most writers who pitch to agents at any conference, aren’t going to find a home with a big New York publisher. But it’s important to remember that the writing, itself, is the end, not the means. It’s the journey that counts. And a few people  will reach the end and receive the gold cup.  More likely though you will slip on a banana peel ten feet from the finish line. Ah, but what a trip it’s been. How much you must have grown in the process.  Writing is a profound journey of discovery. Publication, well, it’s  a business transaction.

Nobody said it better than Ann Lamott in Bird by Bird. She tells us:

“…publication is not all it’s cracked up to be.  But writing is. Writing has so much to give, so much to teach, so many surprises. That thing you had to force yourself to do — the actual act of writing — turns out to be the best part. It’s like discovering that while you thought you needed the tea ceremony for the caffeine, what you really needed was the tea ceremony. The act of writing turns out to be its own reward.”

Do Editors [and Agents] Edit

November 18, 2013

When I first decided to become an agent, I had an image of my job as being something between  a  real estate broker and a judge on American Idol.  It hasn’t  turned out that way at all. I find  most of my time is devoted to shaping and editing book proposals and manuscripts. In other words, I’m an editor.

The conventional wisdom you hear at literary cocktail parties is that editors no longer edit. It’s not true, and we’ll get to that in a minute. But what is true is  your book better be perfect when it goes to the publisher, because the acquisition editor is not likely to spend a lot of time visualizing how to reshape a flawed project. Well, ok. I’m sure when Sarah Palin presented her editor with a real stinker of a manuscript, HarperCollins did some significant editorial work; although, as they say, “you  can’t make a silk purse out of a sow’s ear.”

I just read a fascinating essay in Publishers Weekly by Marjorie Braman, who was an editor at several of the large publishing houses for 26 years. Recently she left publishing to devote herself to freelance editing.  The title of her piece is: “What Ever Happened to Book Editors?”  She says some pretty damning things about the role of editors (and of agents)  in commercial publishing today.  Listen to this:

 “A publisher once said to me, almost in passing, ‘We don’t pay you to edit.’ The real message was: ‘Editing is not crucial. If you’re an editor, what matters is acquiring.’ After I’d left in-house editing and was being courted by an agency, the owner/agent said to me, ‘Remember, you can’t sit in your office and edit.’ In other words, ‘If you’re an agent, what matters is selling.’ One thing these comments imply is that editing is no longer the editor’s main function; editing is done on your own time….

“I’d been through a lot of upheavals in the business, and one of the more insidious, but telling, things I’d seen happen as publishers cut back on staff was the expansion of the role of editors. Need a copywriter? No, we’ll get the editor to write the flap copy. Is the art department understaffed and overloaded? No problem, the editor will come into the art meeting cheerfully armed with ideas.

“Need a blurb for the book to get the sales department excited? The editor…  will get just the right quote from just the right author (whom she’s never met, but for whom she somehow has a home address). It’s a snap. Oh, and bring some publicity and marketing ideas to the launch meeting, too, while you’re at it. And that’s what editors get paid for. It’s fun, but it’s not editing. Working with the authors—which most editors love to do—has become something the editor must do ‘on the side.”

This is not what I expected when I first became an agent. As a bookseller on the outside, I imagined the structure of publishing as a kind of a dualism: the creative side (writers and editors) and the business side (sales, financial, and executive). Or to cite the old cliché, “publishing is the marriage of art and commerce.” Well, according to Marjorie Braman, it’s become kind of an S&M relationship with commerce holding the whip.

Maxwell Perkins

Maxwell Perkins

When we think of the editor as literary hero, we always come back to Maxwell PerkinsA. Scott Berg wrote a brilliant biography of him in 1977, Max Perkins: Editor of Geniusthat helped cement his iconic status.   Perkins was an editor at Charles Scribner from 1910 until his death in 1947. He worked with some of the greatest writers of the  century; but he will always be remembered as the man who edited F. Scott Fitzgerald, Ernest Hemingway, and Thomas Wolfe. It’s probably safe to say that Perkins’ role in the creative life of these three geniuses was fundamental to the masterpieces that each of them created.

There is the famous story of Perkins’ work with Thomas Wolfe, a great writer but one without discipline. In Wolfe’s first book, Look Homeward Angel, Perkins induced Wolfe to cut 90,000 words (about 300 pages) from that novel.

My experience with editors is a mixed bag. Although I haven’t worked with anyone like Perkins, there have been some who have done  brilliant and detailed editing and have made good books into great books. There have also been the other kind that Braman describes.

So that leaves me having to do a lot of editing. This is particularly true with fiction. Fiction is hard to sell, and there are many talented writers out there. So everything that I submit has to be perfect. And, yes, a good acquisition editor will then make it more perfect. Editing didn’t come easy for me. In my career as a bookseller, I spent much more time opening boxes than shaping imaginative works.

What I found astonishing when I started working in fiction was how little perspective the author has. But after all, why should she? The stories and the characters have been living in her mind sometimes for years. These characters have probably taken possession of the consciousness of the author. But what does the reader think? An author doesn’t have a clue. That’s where I come in.

There is  a concept in Zen Buddhism called “beginner’s mind”.  It means one should approach a subject with no preconceptions, techniques, or methods. In his book: Zen Mind, Beginner’s Mind, Shuryu Suzuki describes it perfectly.  “In the beginner’s mind there are many possibilities, in the expert’s mind there are few”.  So when I start to edit a manuscript, I try to put myself in the role of  the simple reader who is, after all, the only person who really matters. I read the manuscript out loud and listen to my voice and try to think what the reader thinks. Am I bored? Do I believe this character? Do I care? Can I visualize this scene? Does the dialogue sound natural? Is the language powerful or clunky? Readers are unforgiving. If they get bored, hate the character, find the story improbable, anything where they fall out of that trance-like state that we call “willful suspension of disbelief”, the reader will throw the book down and never pick it up again. (And probably tell all her friends not to bother to buy it.)

As I’ve gotten more experience working with fiction, I find that I’m losing that ineffable quality of the beginner’s mind. I’m becoming more mindful of things like, point of view, how back story is managed, voice, overuse of literary clichés,  the kinds of things people learn about at writers workshops and conferences. Craft.  And those are important too. But I  still always want to put myself in the role of the reader. That’s what’s crucial.

Editing has been fulfilling for me. Sometimes I feel like I have made an important contribution to the creative process. Maybe I’m not Maxwell Perkins. But when an editor calls me up and says, “I want to make an offer on this book. It’s brilliant!”, it makes me feel pretty good.

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.

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!

Flaubert’s Kettle

June 24, 2013

“Human Speech is like a cracked kettle on which we tap crude rhythms for bears to dance to, while we long to make music that will melt the stars.” – Gustave Flauflaubertbert,  Madame Bovary

 

I see a lot of writing coming over the transom from people who seem smitten by metaphorical imagery. Unless you can write it like Flaubert, I recommend finding another way to depict whatever it is you are trying to describe. The metaphors and similes I see usually don’t work that well. When you start using these figures of speech, it’s easy to fall into cliché. (I advise writers to “avoid metaphorical imagery and clichés like the plague.”) Editors and agents tend to view this kind of writing as characteristic of the novice and a sign of the writer’s insecurity. Like you’re trying too hard. You don’t have to model yourself after Ernest Hemingway or Raymond Carver. But still… to paraphrase Freud, sometimes the best way to describe a green tree is to just call it a green tree.

Sometimes I Really Do Discover Writers at Conferences

May 25, 2013
Tawni Waters

Tawni Waters

The first time I met Tawni Waters was  at the  San Miguel de Allende Writers Conference this February. I  was  participating in  the workshop on “voice” given by Dinty Moore. At the end of the class, Dinty asked us to do an exercise, to write a short piece  and read  it to the class. Just before my turn to speak, a woman in back stood up to read what she had written. That was Tawni. It was electrifying and astonishing, particularly given the fact that we only had ten minutes to write it. When I stood up, I was nervous. I’d never given a public reading of my own writing. What made it worse was  having to follow Tawni. I felt as if I was the guy who had to give the speech after Lincoln at Gettysburg.

I returned to Oakland to find Tawni’s manuscript for her literary novel in my email. When I started reading it, I could tell right away that she had talent  — a lot of talent. But for a number of technical reasons, I didn’t think I could sell it. She asked me, almost apologetically, if I would look at another novel that she had written some years before.

When I started reading  Gold Dust, I knew at the end of the first paragraph  this was something  special. As I continued, I became more excited with every page. But I also kept waiting for the other shoe to drop. That usually happens with novels. They sort of peter out after about 50 or 100 pages. But Gold Dust just kept getting better and better, until late at night, when I reached the end, I  was crying like a baby.

When I told Tawni this was an amazing young adult novel and I wanted to represent it, she was excited to find an agent, but she didn’t realize the novel was YA. It’s the story of a teenage girl growing up in a small town in New Mexico, living with a violent and abusive father, and, at the same time,  discovering  she is a lesbian. The town is dominated by a fire and brimstone minister, who is particularly homophobic. The book tells how the heroine, Mara Stonebrook,  finds the courage to triumph over these obstacles.

We sent it out and started getting lots of interest from multiple publishers. Last week we sold it to Simon/Pulse, one of the most successful and prestigious YA imprints. They are thrilled with it. So am I.

Tawni Vee Waters is a writer, actor, college teacher, and gypsy.  In 2010, she won the Grand Prize in the Solas Awards Travel Writing Competition. Her travel essay on San Miguel de Allende was featured in The Best American Travel Writing 2010.  She teaches creative writing at Estrella Mountain College in Phoenix.  Her young adult novel, Gold Dust, is being published by Simon/Pulse in Spring, 2014.

 


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