Hiatus

As you may have noticed, lords and ladies, I haven't quite been bringing my "A" game the past couple of months. Between increased responsibilities at work and a host of other demands on my time, I'm afraid I'm going to have to put Pimp My Novel on indefinite hiatus.

Not to worry—nothing terrible has happened/is happening. It's just that there are only so many hours in the day, and I know I'm not going to be able to do a consistent or good job with this blog once the Publishing Giant reawakens in September.

It pains me to write this, folks, since so many of you have been here since day one. You've encouraged me to write about the industry, shared with me (and your fellow writers) your tips, advice, stories, works in progress, successes, and setbacks, and I want to thank all of you for your time and generosity over the past two years. Seriously, y'all are the best.

So: thank you. Hopefully I'll be seeing (read: posting for) you again soon.

Stormageddon

No round-up today, mes auteurs—we New Yorkers are all preparing for Hurricane Irene. We'll (hopefully) be back on Monday, and for those of you in Irene's path, stay safe and stay dry!

An Open Letter to the Industry

Dear everyone: please, please stop asking me to fax things.

The publishing industry gets made fun of enough for its technological prowess—or, really, lack thereof—as it is. Please let me scan documents and e-mail them to you rather than force me to rely on a fax machine that is, in all likelihood, older than I am.

While we're on the topic, please let me use e-mail, cloud-based services, and flash memory devices to move information from one place to another. There is no need for me to write a PowerPoint presentation to a DVD. There is no need for me to print something out so I can fax it to you (this is happening less frequently, but really, it shouldn't be happening at all). There is no need for me to print something out so I can mail it to you when I could scan and e-mail it instead.

I understand that you're used to paper. There are many purposes for which I prefer paper, too. But the transfer of time-sensitive information is not one of them.

Speaking of! What are we doing chasing news stories with physical books, folks? By the time we set up, print, and distribute the book in question (assuming it's already been written, which is a big assumption), the public interest—and therefore the opportunity to make a sale—has passed. E-books, I say, or nothing.

Not that I'm an unapologetic advocate for the e-book, but I think this particular realm of publishing is an area in which the Internet will almost always do better. Many topical books need to be electronic in order to get them out in a timely fashion.

All of this to say, then, that time is money, and the less we do things because it's the way we've always done them and the more we look toward more efficient ways to get our stories out there, the better off we'll all be.


P.S. It's been over two years since anyone asked me for anything on a floppy disk. Keep up the good work.

The Summer Slowdown

Your queries have been met with silence. Your agent has inexplicably vanished. Your editor has departed for parts unknown. What gives?

The answer: it's summer.

The publishing industry doesn't exactly go into hibernation during the summer months, but it's fair to say that business slows down substantially between Memorial Day and Labor Day. Aside from physical production, everything winds down a bit: offers from agents, acquisitions from editors, &c, &c. It's sort of the calm before the storm of the holiday season (October through December).

If you're currently submitting a manuscript, don't be surprised if it takes longer than usual to hear back. Not only is there an industry-wide downtrend in acquiring new work, but the majority of publishing professionals take vacation during the summer months, meaning that at any given time a large percentage of available staff are out of the office. Even if your agent is around, if (s)he depends on his/her assistant to filter submissions and that assistant is in Cancún for the week, you probably won't be hearing back about your novel for at least that long.

My advice? Spend the summer writing. As I've mentioned before, I waste spend my non-publishing, non-blogging time as a poet, and since most literary journals and magazines are affiliated with universities, they either close submissions or are much slower in responding during June, July, and August. I take this time to recharge my batteries, burn a little well-deserved vacation, and write/rewrite in preparation for the autumn submission period.

What about you, mes auteurs? Are you submitting now? If not, how are you spending your writing-related time?

Publishing Time

I was reading an article in The New Yorker awhile back by a foreign correspondent in West Africa who introduced to me the phenomenon of "African time." This consists of a much more relaxed attitude toward scheduling, punctuality, and time in general across many African countries than is traditionally found in the United States.

In case you're curious, there is such a thing as "publishing time," and it's similar in some respects. An editor might sit on an e-mail for two weeks even though it could be answered in five minutes; an assistant might take a week to read a partial even if (s)he could reasonably get to it in an afternoon; a marketing or sales manager might take several days to post materials to an internal website even though it could probably have been done much sooner.

A lot of this is the result of the kind of prioritization and reprioritization that is endemic not only to publishing, but to any major corporate enterprise—some projects just keep getting pushed back. Some of it, however, is due to the nature of the business.

Publishing—at least in general, and at least below the very top echelons of management—is not a fast-paced business, and the sense of urgency and desire for efficiency you might find in the offices of an investment bank or law firm don't generally exist, simply because publishing doesn't generally attract the sorts of people you often find in those fields. Couple that with the overworked staff of smaller publishers and the bureaucratic red tape of the Big Six, and it's no wonder you haven't heard back about that royalty check question you posed a month ago.

Publishing professionals are not inefficient or lazy, but a combination of multitasking/prioritizing and the culture of the industry means that it may take awhile for your e-mails to be returned, your manuscript to be read, your questions to be answered. Be patient, but don't be afraid to send reminders or request something a second time if your initial query is met with a protracted silence. We're not ignoring you, I promise! We're just busy. And a little strange.

Market Update

It's been awhile since I've talked about what seems to be selling, mes auteurs, so below are the five categories I've noticed particular growth in over the past few months.

Keep in mind that (1) these are based on a healthy mix of data and anecdotal evidence, and (2) these are my thoughts on what seems to be selling now, not what will necessarily be popular in a year (the earliest your book would come out, assuming it's acquired in short order).

Graphic novels. It's likely these are seeing a bump because summer is superhero movie season, but it's pretty clear that this category is up from earlier this year. And (according to BookScan) it's not just properties with movies out/forthcoming, such as Thor or Green Lantern, so if you happen to be a graphic novel type of guy or gal, this is good news for you.

YA apocalyptic fiction. This (to my mind, anyway) was probably touched off by Suzanne Collins' The Hunger Games in the same way vampire mania was touched off by Stephenie Meyer's Twilight series, but I feel like I'm seeing an awful lot of end-of-the-world scenarios (Harold Camping's failed Rapture prediction and the New Age folks' Mayan 2012 nonsense notwithstanding).

Weird diet books. I've seen everything from "only eat raw foods and if you eat a cooked vegetable you will die" to "feel free to eat your weight in bacon." Some of this is probably seasonal—while a ton of diet books come out in January, I figure there's always a beach season bump—but I feel like I've been getting an earful about Paleolithic diets, raw food diets, Mediterranean diets, and no- or low-carb diets for months.

Thrillers/horror novels. While I still firmly believe the mass market paperback is on its way out, sales appear to be holding steady in this format for thrillers and horror novels (not so much straight mysteries, for some reason). Again, it's beach season, and I imagine anyone without a Kindle is buying a stack of inexpensive paperbacks for the beach or pool.

Romance. A perennial favorite, romance is probably doing well for the same reasons as the aforementioned thrillers—it's generally inexpensive and great for beach or poolside reading. Romance readers also tend to buy repeatedly and generally buy more books per purchase than other readers, so the effect may be amplified by those kinds of consumer habits.

That's all I've got for today, cats & kittens. What books have you been hearing about/reading about/seeing everywhere lately?

This Is My Shocked Face

Hot on the heels of yesterday's post about the greater e-book market, word has it that HarperCollins is attributing their drop in paperback sales to sales of e-book editions, reporting that "the mass-market paperback is the thing we're going to cannibalise most."

British spellings of "cannibalize" notwithstanding, let me just say: I'm 0% surprised by this.

I feel for you, J.E. Medrick (see yesterday's comments), but as I've said before, I just don't see how the mass market format can survive over the next five or so years.

The mass market paperback offers the following:

· Low price point;
· Relative portability;
· Higher disposability (readers are more willing to chuck a mass market paperback than a trade paperback or hardcover);
· Wide availability (book stores, grocery stores, department stores, drug stores, &c).

The e-book offers the following:

· Low (on average) price point (and getting lower);
· High portability;
· High disposability (though you wouldn't need to, since e-book files occupy no physical and very little digital space);
· Wide availability (at least in the United States).

Additionally, both formats are dominated by adult (as opposed to children's) fiction and cater to similar audiences (middle-aged women).

I think once the price of e-readers (specifically the Kindle) consistently drops below the $100 mark, mass market paperback sales will start taking a real beating. To my mind, the only barrier to the complete cannibalization of mass market paperback sales by electronic books—in the United States, anyway—is the price of the e-reading device; remove that, and there's no reason to keep the mass market around. Print runs of any real quantity will rapidly become a waste of money, and I don't think anyone would really want a POD mass market paperback when they could just as easily get a POD trade paperback.

While I do think the mass market will physically exist for longer than five years, I think that existence will be limited to personal libraries and used book stores.

What do you think, ladies and gentlebros?

Three Cups of Baloney

That title actually grossed me out a little more than I expected. My apologies.

In case you haven't heard, mes auteurs, it's looking like Greg Mortenson may have made up a lot of stuff in his books, Three Cups of Tea and Stones Into Schools, and now Jon Krakauer is calling him out on it. (You can download Krakauer's .pdf book, Three Cups of Deceit, for free for a limited time.)

The problem of partially fabricated memoirs isn't new to the industry; you probably remember Margaret B. Jones' Love and Consequences, which was found to be totally fraudulent not long after it was published, as well as the much more infamous "memoir" by James Frey, A Million Little Pieces, which was also (much) less than honest (the Daily Beast mentions both here).

Now, the allegations of fiscal misappropriation against Mortenson aside—as I think that's a very different, and far more serious, question—do you think it matters if the/a story is true or not? Does "memoir" mean "fact," or does it mean "how I remember it, which may or may not be super true"?

If this seriously offends/bothers you (it seriously offends/bothers me), what do you think publishers can do to remedy the situation (besides the easy and vague answer of "do a better job of fact-checking")? What actions should be taken against house and author, and should/how can we differentiate between memoirs that are "mostly true," "somewhat true," "fraudulent," &c &c?

Theories, questions, and diatribes in the comments!

Here Be Dragons (Rerun)

Meetings abound, mes auteurs, so it's a rerun for you today. Happy spring (it's official!) and see you later this week! — E

Episode: "Here Be Dragons"
Originally aired: Monday, October 11th, 2010

I wrote a post last April about myths and misconceptions in the industry, mes auteurs, and I think it's once again time to put a few rumours and unfounded fears to bed.

Onward! (Again!)

· You have to spend money to make money. Aside from incidental costs like paper, printer ink, and postage (and that's only for agents who still don't accept e-MSS), you shouldn't have to pay to submit your work. Let me say that again: no legitimate agent will charge you to read your manuscript or to represent you. Period.

· You have to know someone to get published. This one is sort of true, but let me re-emphasize: if your writing isn't good enough and you're not Justin Bieber or Lindsay Lohan or Kanye West, it doesn't matter who/how many people you know—you're not getting a book deal. Knowing someone greases the wheels; it doesn't build the machine.

· You don't have to promote your book; publishing houses have publicity and marketing teams for a reason. Unless yours is one of the publisher's lead titles, you're going to have to do some of your own legwork. Midlist authors at large houses and most authors at smaller houses have to be willing to do at least some self-promotion in order to give their books the best possible chance in the market. If you're asked to do podcasts, blog tours, physical book tours, readings, signings, or bookstore events, it's in your best interest to do as many as possible.

· E-books and self-publishing are going to make publishers, agents, and editors obsolete. It's true that the industry is changing rapidly and that, à mon avis, the Publishing World of Tomorrow will require fewer employees and companies. Roles will unquestionably change. But as long as people are willing to pay to read books, you're going to have people to sell them, manage their brands (i.e. you), market them, and make sure they're as strong as possible before publication. The future is not a bunch of people uploading their just-finished MSS to Amazon for immediate review and sale.

· Amazon is going to kill the independent/second-hand book store. While I can't say for sure this is 100% false, I'm very confident that Amazon will not kill independent, local, and second-hand book stores; there's no substitute for their ambience, knowledgeable staff, and propensity to stock hard-to-find titles. In fact, should Amazon manage to kill brick-and-mortar chains (which I think is the likelier scenario), indepedents might undergo a resurgence/renaissance of sorts. Think of it this way: chains are the dinosaurs, indies are the scrappy mammals, and Amazon is the asteroid.

That's all for today, meine Bros und She-Bros. Questions in the comments!

Terms to Know: Returns (Rerun)

A small blast from the recent past, mes auteurs. Round up on Friday and a return to the topic of marketing/brand management on Monday! — E

Episode: "Terms to Know: Returns"
Originally aired: Tuesday, November 23rd, 2010

It's been awhile since I've gone back to the basics, mes auteurs, so today's post is on that bête noire of the publishing world: returns.

The book business differs from most other commercial enterprises in that stock sold by the content provider (publisher) to retailers (book stores) is 100% returnable: if a book store can't sell its stock to consumers, it sends it right back to the house.

This is a holdover from Depression-era economics designed to get retailers to take books under circumstances they normally wouldn't (i.e., by drastically reducing, if not totally erasing, their exposure to risk). With the exception of a very small number of select retailers ("special markets" that don't sell books as their primary product), all retailers are allowed to return unsold stock to the publisher.

What does this mean for you, dear authors?

Well, assuming you earn out your advance, it can (partially) explain why it takes publishers awhile to calculate your royalties, as the returns reduce their gross sales (billing, or the money they made by selling stock to retailers) to net sales. If your royalty structure takes this into account, the publisher needs to wait for returns to come back before issuing you a check.

Occasionally, a publisher will even withhold money against future returns in a kind of escrow account, which means that money that is technically yours won't be paid out until returns are calculated several months down the line.

Granted, the problem could be "fixed" by moving the industry en masse back to a firm sale model (that is, no returns), but even if something like that could be done (which seems doubtful—see below), all it would mean would be a sharp reduction in stock for début and midlist authors like yourselves. If you force the stores to take on their own risk in today's bookselling environment, they'll simply cut their orders for anything that isn't a sure thing (read: James Patterson and Sarah Palin).

The good news is, cats & kittens, that it soon won't matter whether physical books are returnable because the market will shift principally to e-books over the next decade. Problems pertaining to physical books that plague today's publishers and retailers—warehouse space, shipping and return costs, physical co-op, &c—don't and won't apply to e-books, so returns will become a thing of the past and you'll get your royalty statements faster. Some of you who have successfully published e-books already know this.

In short: yes, returns are a pain, and yes, the industry has been running on an outmoded and inefficient sales model for the past 80 years. At this point, however, it isn't worth changing: as e-books become the primary format for the written (and read) word, the issue will become more or less moot.

That said: if you're planning on publishing a book this decade, plan on getting a call from your agent at some point asking if you'd like to buy your returned/remaindered units at cost. And don't be surprised if your royalty statements, should you get any, take their sweet time arriving in your mailbox.

Tomorrow: Thanksgiving festivities begin, meine Autoren, so I'll be taking a short break. We'll be back with the return of genre sales breakdowns on Monday, November 29th!

Tip o' the Week

I've been re-reading Emerson, cats & kittens, and this quote of his caught my attention over the weekend: "The way to write is to throw your body at the mark when your arrows are spent."

Writing is work, folks. More than that, writing is hard work, it's getting up early and staying up late, it's sacrificing doing other fun things to put another few hundred or thousand words to paper, it's spending money on printer ink and postage and conference fees when you'd rather spend it on mega sweet vacations, it's applying for fellowships and retreats when you'd rather be watching reality TV, it's spending time on your on-line platform or reviewing proofs or perfecting your backlist of e-titles on Amazon instead of hanging out with friends.

Writing requires commitment and discipline even more than it requires talent. The hungrier writer will outperform the more talented writer nine times out of ten. If you don't want to be a writer more than you want any other professional goal, odds are you aren't going to make it very far.

This isn't to say that writers don't have families or personal lives or other hobbies and interests; they have all these things. They simply want to be professional writers badly enough to put in the requisite time and effort to improve their craft and make the necessary connections. If you want to be a writer, you'd better be willing to put in all the work and jump through all the crazy hoops. If you want to be a writer, you have to be good enough and smart enough and dedicated enough. And you've got to be lucky as hell.

Nothing worth doing or learning comes easily, dear readers, but if that were the case, you wouldn't get any satisfaction from doing or learning those things. Keep working, keep reading, and keep writing, and your efforts are bound to pay off in some respect sooner or later.

Tomorrow: a lesson on special markets!

This is Why You Always Meet Your Deadlines (Rerun)

Meetings abound this week, mes auteurs, so I'll be posting reruns today and tomorrow. Enjoy!

Episode: "This is Why You Always Meet Your Deadlines"
Originally aired: Thursday, September 2nd, 2010

In case you hadn't heard, Yahoo! sports columnist Adrian Wojnarowski (say that three times fast) has been sued by Penguin Books for failure to meet his deadline regarding a book about former North Carolina State University basketball coach Jim Valvano. The original manuscript delivery date? August 1, 2007.

Wojnarowski was originally offered a cool $400,000 (of which he received $140,000), but his repeated delays caused Penguin to reduce the total advance to $325,000. Now, over three years later, they've canceled the book and are taking Wojnarowski to court to recover the $140,000 they already paid him.

I wish I could say this kind of story was uncommon, but honestly, the only unusual aspect is the filing of a lawsuit. Books are delayed by months (sometimes years) all the time, and failure to meet deadline (sometimes more than once) is not unheard of. I think, however, that publishers' patience is particularly short in the midst of the recession, so I wouldn't be surprised if they were to become even less lenient about missed deadlines, particularly for books bought for six- or seven-figure advances.

The reasons for delays can range from author laziness to the publisher's disapproval of various drafts (that is, sending them back for rewrites) to changes in current events that warrant substantial revisions (generally affecting only nonfiction). Remember, too, that most advances are cut into pieces: often one installment is paid on signing, another on receipt of the manuscript by the publisher, and occasionally a third on or around the date of publication. If you're getting $400,000 and you've already gotten $140,000 just for signing a piece of a paper, one can see how your motivation might be temporarily shot.

That said: this business is slow enough as-is, so as début writers who always want to make the best of impressions, it's in your collective best interest to get your manuscripts and revisions delivered on time. Always be professional, always be on time, and always ask your agent or editor if you have any questions about deadlines, timelines, or any of the other myriad -lines to which you might be subject.

And Never the Twain Shall Meet

Note: Guest posts have already started trickling in, cats & kittens! Send yours before Monday, 12/27 at noon!

In the sales department, dear authors, we are beholden to two masters: publishers and buyers. The publishers are the folks in-house producing the books to be sold to book stores; as you've probably already guessed, the buyers are the ones at various retailers who are buying them. Publishers have one number in mind when creating a book to sell, and buyers have a (usually somewhat different) number in mind when they're buying.

When a book is acquired, a P&L ("profit and loss") statement is run, which (among other things) tells the publisher how many copies of the book they'll have to sell to break even given a certain advance to the author and a certain price point for the book.

Once this number is hashed out, a series of goals is created for each retailer (based on the P&L and selected comp titles). The major chains are assigned a goal, on-line retailers get one, independent booksellers, &c &c. The sales force then reviews these numbers and adjusts as necessary.

What this means, mes auteurs, is that the sales force is not ultimately charged with coming up with the highest number for a book, but with what they believe is the right number. Sometimes the publisher is disappointed because they think the sales rep's number is too low; sometimes the buyer will disagree with a rep because they believe the rep's number is too high. It's a delicate balancing act, and getting the two teams into the same ballpark is occasionally tricky.

What helps? Well, buyers are swayed by a lot of things, but chiefly they're concerned with publicity for the book in question, comp/previous title sales history, and the price. More publicity hits almost always help, especially confirmed appearances on talk shows or serious review attention (now shifting away from newspapers and toward bloggers). Good comps are, as I've said, important, as they also have a lot of influence on the final number.

As regards price: interestingly, a high price point will discourage a buyer from taking a large quantity, but a low price point won't necessarily encourage him or her (unless that low price point is communicated on the cover, say with a mass market edition that has a "Now $4.99!" starburst on it).

If you're ever unclear on your sales figures, you should feel free to ask your publisher (via your agent) about it (approaching the sales force directly is not a good idea). Knowing a little bit about the sales process for your first/previous book can be a big help to you when positioning and pitching your second/subsequent one.

Terms to Know: Returns

350th post! Hooray! — E

It's been awhile since I've gone back to the basics, mes auteurs, so today's post is on that bête noire of the publishing world: returns.

The book business differs from most other commercial enterprises in that stock sold by the content provider (publisher) to retailers (book stores) is 100% returnable: if a book store can't sell its stock to consumers, it sends it right back to the house.

This is a holdover from Depression-era economics designed to get retailers to take books under circumstances they normally wouldn't (i.e., by drastically reducing, if not totally erasing, their exposure to risk). With the exception of a very small number of select retailers ("special markets" that don't sell books as their primary product), all retailers are allowed to return unsold stock to the publisher.

What does this mean for you, dear authors?

Well, assuming you earn out your advance, it can (partially) explain why it takes publishers awhile to calculate your royalties, as the returns reduce their gross sales (billing, or the money they made by selling stock to retailers) to net sales. If your royalty structure takes this into account, the publisher needs to wait for returns to come back before issuing you a check.

Occasionally, a publisher will even withhold money against future returns in a kind of escrow account, which means that money that is technically yours won't be paid out until returns are calculated several months down the line.

Granted, the problem could be "fixed" by moving the industry en masse back to a firm sale model (that is, no returns), but even if something like that could be done (which seems doubtful—see below), all it would mean would be a sharp reduction in stock for début and midlist authors like yourselves. If you force the stores to take on their own risk in today's bookselling environment, they'll simply cut their orders for anything that isn't a sure thing (read: James Patterson and Sarah Palin).

The good news is, cats & kittens, that it soon won't matter whether physical books are returnable because the market will shift principally to e-books over the next decade. Problems pertaining to physical books that plague today's publishers and retailers—warehouse space, shipping and return costs, physical co-op, &c—don't and won't apply to e-books, so returns will become a thing of the past and you'll get your royalty statements faster. Some of you who have successfully published e-books already know this.

In short: yes, returns are a pain, and yes, the industry has been running on an outmoded and inefficient sales model for the past 80 years. At this point, however, it isn't worth changing: as e-books become the primary format for the written (and read) word, the issue will become more or less moot.

That said: if you're planning on publishing a book this decade, plan on getting a call from your agent at some point asking if you'd like to buy your returned/remaindered units at cost. And don't be surprised if your royalty statements, should you get any, take their sweet time arriving in your mailbox.

Tomorrow: Thanksgiving festivities begin, meine Autoren, so I'll be taking a short break. We'll be back with the return of genre sales breakdowns on Monday, November 29th!

Unfair Use

In case you haven't been on the Interwebz in a few days, mes auteurs, here's the scoop: Gawker published an excerpt of Sarah Palin's forthcoming book, America By Heart, and Mama Grizzly got super mad. She had a judge issue an order for Gawker to take down the leaked pages, and now Palin and Gawker, llc will face off in court on November 30th.

Now, according to Ben Smith of Politico, it does look like Gawker may have been in the wrong: apparently Harper & Row Publishers v. Nation Enterprises, 471 U.S. 539 (1985) establishes a precedent for this sort of thing (dealing with the then-unpublished memoir by Gerald Ford, A Time to Heal). It even seems that Palin could use the avenue of discovery to retaliate against the "lamestream media" that has been "criticizing her" for so long.

The thing is, meine Autoren, after having read the four-balance test of fair use under Title 17 of the United States Code, I really don't see why Gawker's use of Palin's words doesn't fall under the protection of fair use. (Disclaimer: I am not a lawyer.) The four-balance test for fair use basically asks these questions:

1. What's the purpose of the use? This seems, to me, to fall under news reporting/criticism, which is protected.

2. What's the nature of the copyrighted work? This is where (I think) you could make the argument that fair use doesn't apply because the work is unpublished—except that 17 U.S.C. § 107 actually says, "The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors."

3. How much of the work was reproduced? In this case, a few pages out of a 304-page book. No biggie.

4. Will reproducing this work hurt the market for the book? I can't see how it would; if anything, it will add to Palin's exposure and increase her sales, potentially with an audience who generally finds her insufferable (i.e. most people who read Gawker).

It seems to me that Gawker should be able to print those excerpted pages with or without Palin's permission, and I don't really see why they should lose their case next month. Then again, the precedent of Harper & Row Publishers v. Nation Enterprises, 471 U.S. 539 does sort of complicate things, so I may not have all the facts here.

What do you think, mes amis? (Particularly you lawyers in the audience.)

The Other NBA

For those of you that missed it (either in person or via the #nba10 Twitter hashtag), the 61st annual National Book Awards were presented last night in New York City. While yours truly was neither a winner (they have yet to institute a blogging category) nor an in-person attendee, I had fun following via the Interwebz and am pleased to announce this year's winners:

Lifetime achievement award: Tom Wolfe (whose speech apparently went on forever).

Young people's literature: Mockingbird by Kathryn Erskine (NOTE: while her writing may be superb, her website is an example of what yours should not look like). (Other finalists: Paolo Bacigalupi, Ship Breaker; Laura McNeal, Dark Water; Walter Dean Myers, Lockdown; Rita Williams-Garcia, One Crazy Summer.)

Poetry: Lighthead by Terrance Hayes. (Other finalists: Kathleen Graber, The Eternal City; James Richardson, By the Numbers; C.D. Wright, One with Others; Monica Youn, Ignatz.)

Nonfiction: Just Kids, Patti Smith. (Other finalists: Barbara Demick, Nothing to Envy: Ordinary Lives in North Korea; John W. Dower, Cultures of War: Pearl Harbor, Hiroshima, 9-11, Iraq; Justin Spring, Secret Historian: The Life and Times of Samuel Steward; Megan K. Stack, Every Man in This Village Is a Liar: An Education in War.)

Fiction: Lord of Misrule, Jaimy Gordon. (Other finalists: Peter Carey, Parrot and Olivier in America; Nicole Krauss, Great House; Lionel Shriver, So Much for That; Karen Tei Yamashita, I Hotel.)

Suffice it to say, I have four more books to add to the "to-read" pile, including the new Hayes (of whom I'm a big fan, & was rooting for to win—not that I didn't/don't love the other finalists). If anyone's interested, my picks were: Terrance Hayes (poetry), Barbara Demick (nonfiction), and Nicole Krauss (fiction). (I don't read enough children's literature/YA to have an informed opinion.) Congrats to all, however, winners and finalists alike!

What about you, meine Autoren? What do you think of the finalists/winners and their books?

Thanks, Nathan

As many of you by now know, mes auteurs, Nathan Bransford is leaving the industry. As he announced on Friday, Nathan has left his position as an agent with Curtis Brown and is now installed as a social media strategist for CNET. (See here for extensive media coverage.) This is what happens, dear readers, when you have INFINITY BILLION BLOG AND TWITTER FOLLOWERS. Seriously. Take notes.

In all seriousness, though, I'd like to take a moment/this blog post to thank Nathan profusely for all the help, advice, information, and kind words he's offered over the past several years. His blog has been indispensable to me since 2007 and was instrumental in my decision to work in the industry; in fact, it's because of Nathan that PMN even exists.

I know all of you, too, have come to depend on Nathan's daily posts for help crafting your query letters, industry news, and encouragement in the face of rejection, and while he's not closing up shop and will continue to post about the industry, it's still a little sad knowing he won't (at least in the foreseeable future) be representing you and your work. As for me, I'm sure I can find someone else to hawk Bros and Vampires and More Bros: Also Some Zombies and Explosions. But it won't be the same.

So in honor of Nathan's nigh-decade-long tenure as a literary agent and his impossibly helpful blog—Prithee, Inform Me, meine Autoren: what's your all-time favorite Bransford blog post? Your most oft-quoted Nathanism? The piece of advice that time and again has helped you put your rejection letters behind you and your keyboard in front of you?

My favorite is Digging for Mushrooms. I'm not sure why—I guess I just like the extended metaphor. Also books. Also mushrooms.

What about you?

NaNoWriMOhNotAgain

It's that time of year, mes auteurs! Small flaming gourds, people extorting you for food on your very doorstep, and ghoulish apparitions in the night can only mean one thing: NaNoWriMo is (almost) here.

In case you're not familiar, NaNoWriMo (or "National Novel Writing Month") is a project created by Chris Baty just over ten years ago that dedicates the month of November to writing novels: simply, if you compose 50,000 words between 12:00 am on November 1st and 11:59 pm on November 30th, you "win." And who doesn't love winning?

I wrote about NaNoWriMo last year and got an interesting array of comments and responses. Many were to disabuse me of the notion that a large number of NaNoWriMoErs send queries regarding their 50,000-word mss (hint: 50,000 words does not an adult novel make) to agents, thereby contributing to the global surplus of form rejections. And perhaps they were right; if you, dear readeurs, are any indication, virtually nobody does this.

And yet people do do this. For every few people NaNo-ing just to have fun, or to get a start on that novel they've been putting off, or just to see if they can do it, there's probably someone (based on the anecdotal evidence in which I've been awash for the past few years) who just queries with what they've got. Or, I imagine, sometimes just sends the whole ms along, since if their mentality predisposes them toward sending unfinished/inadequate work to industry professionals, they're probably not super good at following directions (i.e. query before sending a partial or full).

This is a bit of a muddled post, meine Autoren, so in kid-tested, mother-approved Bullet-O-Vision™—

What I am saying:

· NaNoWriMo is fun, entertaining, and a good way to get yourself writing on a regular schedule.

· While this is neither Chris Baty's nor NaNoWriMo's fault, the project encourages a lot of terrible writers with too much time on their hands to churn out dreadful Frankensteinian monsters with which they proceed to pester literary agents, editors, friends, and family. Being literate does not make one a good writer. Not everyone is or can be a good writer. Sad, but (à mon avis) true.

· Granted, a lot of these people are probably writing terrible novels anyway, but anything that encourages them further gives me heartburn.

· Just because you can write 50,000 words that more or less make sense in a month does not mean you're cut out to be a writer.

I realize I'm very much preaching to the choir here.

What I am not saying:

· That NaNoWriMo is terrible. (Because it's not!)

· That you shouldn't participate in NaNoWriMo. (Because, if you've got the time, why not?)

· That you shouldn't use ideas/passages/chapters written via NaNoWriMo in future works. (Good ideas are good ideas!)

· That you should submit the entirety of your NaNoWriMo work to agents. (See above!)

· That no one has ever sold a novel they wrote during NaNoWriMo (but the numbers are small indeed).

What think ye, gentle readers/writers/viewers/collaborators?

Here Be Dragons

I wrote a post last April about myths and misconceptions in the industry, mes auteurs, and I think it's once again time to put a few rumours and unfounded fears to bed.

Onward! (Again!)

· You have to spend money to make money. Aside from incidental costs like paper, printer ink, and postage (and that's only for agents who still don't accept e-MSS), you shouldn't have to pay to submit your work. Let me say that again: no legitimate agent will charge you to read your manuscript or to represent you. Period.

· You have to know someone to get published. This one is sort of true, but let me re-emphasize: if your writing isn't good enough and you're not Justin Bieber or Lindsay Lohan or Kanye West, it doesn't matter who/how many people you know—you're not getting a book deal. Knowing someone greases the wheels; it doesn't build the machine.

· You don't have to promote your book; publishing houses have publicity and marketing teams for a reason. Unless yours is one of the publisher's lead titles, you're going to have to do some of your own legwork. Midlist authors at large houses and most authors at smaller houses have to be willing to do at least some self-promotion in order to give their books the best possible chance in the market. If you're asked to do podcasts, blog tours, physical book tours, readings, signings, or bookstore events, it's in your best interest to do as many as possible.

· E-books and self-publishing are going to make publishers, agents, and editors obsolete. It's true that the industry is changing rapidly and that, à mon avis, the Publishing World of Tomorrow will require fewer employees and companies. Roles will unquestionably change. But as long as people are willing to pay to read books, you're going to have people to sell them, manage their brands (i.e. you), market them, and make sure they're as strong as possible before publication. The future is not a bunch of people uploading their just-finished MSS to Amazon for immediate review and sale.

· Amazon is going to kill the independent/second-hand book store. While I can't say for sure this is 100% false, I'm very confident that Amazon will not kill independent, local, and second-hand book stores; there's no substitute for their ambience, knowledgeable staff, and propensity to stock hard-to-find titles. In fact, should Amazon manage to kill brick-and-mortar chains (which I think is the likelier scenario), indepedents might undergo a resurgence/renaissance of sorts. Think of it this way: chains are the dinosaurs, indies are the scrappy mammals, and Amazon is the asteroid.

That's all for today, meine Bros und She-Bros. Questions in the comments!

It's Who You Know

There's something I've learned in my time on the sales floor, mes auteurs, that I think not only applies to sales, publishing, and/or writing in general, but to life: up until a certain point, it's all about what you know. After that (and I think most people cross this line earlier than they think), it's all about who you know.

You do your research. You learn the basics and mechanics of writing. You write a terrible novel. You learn from it. You write a pretty good novel. Maybe you even write a stellar one.

You do more research. You learn how to craft a query letter. You figure out which literary agents represent the kind of work you're producing and you send them that query letter. You personalize your queries and you follow all directions to the letter.

At this point, you've more or less exhausted the what portion of your knowledge.

To be fair, this filters out a substantial number of people: you'd be surprised how many queries (or attempts at queries) agents receive from people who (1) are functionally illiterate, (2) know nothing about the publishing industry or how it works, (3) are crazy, (4) are unable to follow directions, (5) haven't actually finished the novel they're pitching, &c &c. You're reading this blog, though, so chances are slim that any of these apply to you.

The number of people trying to sell a novel these days, however, is so unimaginably huge that even with all the hacks and lunatics filtered out, you're still facing long odds. Knowing what can only get you halfway there, if that. Now you've got to know who.

Caveat: thousands of writers are discovered/find representation every year without knowing a soul in the industry. They've never attended a conference, workshop, or seminar in their lives; they're just truly fantastic writers who found agents with whom their work resonates. The odds of this, alas, are astronomical. You should, à mon avis, endeavor to improve them.

Maybe you have a great relationship with a professor and she offers to show your short stories to her agent; maybe your best friend has an agent and he thinks your work would interest her, too; maybe your uncle's former roommate is an agent and your uncle offers to hook you up; maybe an agent you pitched your novel to at that conference last month wants to see a full MS.

The possibilities are endless, and when you aren't writing or reading, you should be thinking about networking: specifically, think of people you know who can help you further your career. No one sells their book solo; take the time to cultivate relationships that can get your foot in the door down the road, and your odds of one day seeing your book in (e)print will rise more than you might think.