discussions

On Feeling Helpless

~ SarahLaPolla

In November, I wrote about why I might go quiet from time to time (here). For the most part, everything I said then is still true. I still feel lost sometimes, and I still don’t know what will happen next. I’ve read the history books and I know where this could end, but despite everything, I’m still an optimist.

 

When I signed in to write this, I was sort of stunned that my last post was my end-of-year query stats from December. I have been quieter lately, but I didn’t realize how much. I could have sworn I posted something in May or June. I’ve signed in to write drafts of new posts and then never finished. They’re still sitting there. They’re mostly about writing tips and publishing, of course, and someday I’ll post them when it feels like that’s what I should be writing about again.

 

Mostly I’ve been feeling helpless. In January and February, it felt like everyone I knew was taking a sabbatical to become full-time activists. We marched, we donated, we wrote letters, we called our representatives, we attended rallies, and then little by little we realized we couldn’t keep up that pace forever. We focused on work again and things started to feel normal. We’d still press pause and hold our breath during crucial votes in Congress, and we’d still donate and call our representatives, but we could work again. Uninterrupted. We could tweet about books and self-promote and make jokes again. And it felt nice. Like maybe it wouldn’t be so bad after all as long as we all stay engaged.

 

After what happened in Charlottesville, the culmination of all the things we feared would happen after he got sworn in, I feel helpless again. I’m having earnest conversations with friends about how to stop white supremacists. I’m watching centrist and apolitical friends slowly fall for the “both sides are bad” rhetoric. I don’t know what to do.

 

Switching gears slightly.

 

Almost every writer I follow on Twitter has been tentatively peeking out to whisper “is it OK if I promote my book?” I’ve watched giveaways come and go, cover reveals get a few Likes, and thought to myself “man, I hope the intended audience sees that.”  I try to promote my own clients too, and feel that same level of guilt. Is it OK to be self-serving right now? Is it OK to enjoy something and want to share that joy? Is it OK to do these things in hopes of getting sales and pre-orders? Because that’s why we do them, right? This is our job. We shouldn’t feel guilty about taking pride in our work and expecting income from it.

 

So, I’m giving every writer permission to tweet, blog, instagram, etc. to promote your books. Post happy things. But stay engaged and learn to read the room. If every person in your feed is focused on something else, maybe schedule that self-promo tweet for a time people will see it.

 

As for me, and going back to my own helplessness, I’m trying to take my own advice. I recently tweeted that I get easily overwhelmed when I can’t fix everything (hey, anxiety, hey!), but eventually I remember I can do something and that’s OK too. So, what can I do? Focus on what I can control.

 

What I want to do: Remove all Confederate statues and replace them with memorials to victims and/or monuments to people of color who served this country.

What I can do: Represent marginalized writers and diverse stories. Their books can be those monuments. Normalize different races, religions, gender identities, & sexual orientations by giving white/straight/cis readers familiar stories with unfamiliar perspectives. Embolden marginalized readers by showing them their stories matter, and that they are more than their struggle.

 

I can’t fight individual sexists, but I can help combat the patriarchy to prevent future sexism. I can’t change the minds of every white supremacist, but I can challenge white supremacy and sacrifice my white privilege to do it.

 

Sometimes what I do is going to feel so small and pointless that I’ll feel helpless all over again. Maybe that will happen to you too. But I’m putting this in writing as a way to move on, and serve as a reminder to anyone reading that tiny things add up. It’s also OK to do your own thing. You’re not alone.

 

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(sorry, couldn’t resist)

Shark Infested Waters

~ SarahLaPolla

Welp.

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How was your week?

I have nothing to add about the election that hasn’t already been said. I am still grieving Hillary’s loss and it’s clouding my ability to fully process his win, but I’m getting there.

The last time a president won by the skin of the electoral college, I was 16 years old. I was used to feeling helpless about the world around me. I was politically aware as a teenager and I tried to be politically active in my 20s. I marched in a few protests against the Iraq War, donated to causes I believed in, and was outspoken among friends and family. And maybe that is being politically active, but it’s the activism of a young white woman who would never be truly effected by any failed efforts.

To many, this isn’t the New World Order. It’s been reality for quite a while. This isn’t comforting, but it is sobering. To me, it’s Kafkaesque. It’s a world I knew existed, but refused to believe could gain power and become legitimized. I’m more connected to other perspectives and worldviews than I’ve been in the past. Social media is a large part of this, but it’s also my own maturity and ability to interpret what I couldn’t see before. And I still feel so naive. There is so much I still need to learn and understand. This blog post is not going to be the thing that does that. It’s my bare minimum of moving forward and becoming a member of society again. I have clients to represent and work to do, but first, a few things.

1) Hi. I’m Sarah. I’m an introvert with sporadic bouts of depression and anxiety. Everyone grieves differently, but people like me often need to grieve alone – and silently. You may notice that a lot of people you follow on Twitter or Facebook have announced they’re “taking a social media break.” I’m one of those people. I promise, it’s not to cut ourselves off from reality or ignore those effected most. The word “introvert” became kind of trendy in the last couple years, and I’ve even had people ask me if “it’s really true” that we need to “recharge.” Yes, it is. And that’s just after a night of socializing with friends. What I think is less understood is that introverts don’t only need to recharge after a night out. Coupled with depression and anxiety, my own mind is sometimes beyond the restorative power of taking a yoga class or having a glass of wine. Sometimes I need to cut myself off so that the noise in my head doesn’t multiply any more than it will on its own.

2) I am an optimist. My first instinct is to give people the benefit of the doubt. Sometimes they don’t deserve it and I end up disappointed. But, this is who I am and I like this part of my personality. Despite where we’re heading, I’m holding onto two things:

  • She won the popular vote. Even with low voter turnout, she won the popular vote. The majority of Americans did not sign up for his ideology. There is hope in this knowledge, and I am clinging to it.
  • The calls/texts I’ve received and made in the last week have reminded me of the good around me. Whether it’s in depth conversations about what happened, or just a random heart-emoji to say “I’m thinking about you,” I’ve felt incredibly lucky to have people in my life who are smart, engaged, and care.

3) Since I always try to relate my blog posts to writing and publishing… let me say this: Before Tuesday, my biggest mental occupation was that a few writers were disappointed in a comment I made about #ownvoices. (Remember when I said I have anxiety? Sometimes things like that keep me up at night too.) On Wednesday, I thought of how I had planned to elaborate after the election, but I became too numb to think. Then I thought, MY GOD WHAT DOES IT EVEN MATTER NOW ANYWAY!? But, it does matter. Maybe not on a grand scale, but here’s what #ownvoices means to me:

  • I made a comment that some Pitch Wars entries were using a loose definition of #ownvoices. This is because my own definition of #ownvoices has always been limited to societal marginalization. i.e. Other than stigmas and internal struggles, how does society treat you? Do you get paid less? Are you subject to discrimination in a way that puts your livelihood at stake? Are you more likely to be the target of violence?  In some of the Pitch Wars entries, it wasn’t always clear the main character was marginalized at all, even if the author pointed out how they, themselves, were. That’s because we live in a society where white is the default. Straight is the default. Able-bodied is the default. Status quo is the default. If a character isn’t that, but it’s not specified on the page, that default wins.
  • I’m usually vocal about wanting to see more #ownvoices queries in my inbox. My agent bio on the Bradford Lit website explicitly states I want to see books that challenge the status quo. I mean this now more than ever. The authors and projects on my list do this – sometimes in obvious ways, and sometimes in very subtle ways. I am proud of the list I have so far, and am SO ready to grow it from here. We can write and create and help sway the conversation through art. As small as I can feel, I do have a voice, and I’m in a position to raise other voices. Sometimes it might feel pointless, but I am going to take advantage of what I can.

4) I’ve dealt with feelings the same way since I was 14 years old – listening to a lot of Ani DiFranco. Whether it’s my crush not liking me back, my parents not understanding me, not knowing what I want to do with my life, or feeling like the world as I know it is about to become very, very scary – music and art and words have been there for me. I can’t offer any final words of inspiration because I truly don’t know what will happen. I still haven’t fully processed everything myself. But, I’ll leave you with Ani for now and hope we can continue this conversation another time when things look a little clearer.

I’ve had a lack of information
I’ve had a little revelation
I’m climbing up on the railing
Trying not to look down
I’m going to do my best swan dive
Into shark infested waters
I’m going to pull out my tampon
And start splashing around
‘Cause I don’t care if they eat me alive
I’ve got better things to do than survive

There is No Feminist Agenda; Only Zuul

~ SarahLaPolla ~ 10 Comments

You may have heard the news this week that the much-talked about Ghostbusters reboot finally has its all-female cast. I love this cast. Love, love, love this cast!

Of course, there are differing opinions about this movie.

Since the Internet is full of terrible people, I’ve seen some Men’s Rights Activists’ tweets about how this movie is going to dismantle the sanctity of their childhood memories and why do feminists have to ruin society all the time?

Since the Internet is also full of wonderful people, I’ve seen several supportive tweets already hailing the movie as a feminist achievement and waving the Girl Power flag proudly. This is where I needed to pause.

I will admit, I do not like reboots in general. They usually mean that instead of producing an original screenplay, Hollywood opted to dip into the same well because it’s easier money. But! If they were going to do this at all, I’m happy they went with an all-female cast. I’ll end up seeing it because it’ll probably be good, but it won’t be Ghostbusters. You can’t recreate that no matter how good the new cast is. So why not just make a new comedy about women fighting paranormal elements? Men In Black meets Ghostbusters, but with women. You’re welcome, Hollywood.

Anyway.

Hating this movie because it stars women makes you an asshole, and I have no time for that nonsense. Praising the movie as “feminist” feels misguided though. It reminded me of the issues I had with Bridesmaids being hailed as the best movie ever even though it was just a regular comedy (I elaborated on that here: Never A Bride.) It’s great that Hollywood green-lit an all-female reboot, but let’s not kid ourselves into thinking this counts as feminism.

Asking women to fill the shoes of beloved, iconic figures stacks the odds against them right from the start. If the all-female reboot is successful, it will be a huge step forward. My fear, however, is that it will create a surge in remakes, not necessarily new roles created for women. And, again, let’s not fool ourselves. We shouldn’t have to accept sloppy seconds as an “achievement” in feminism. Much like the recent remake of Annie being designated Black Annie, “Female Ghostbusters” doesn’t exactly make me feel like an equal, let alone someone’s first choice. It’s a lazy approach to diversity. Give me a character that wasn’t established by a man first.

As always, everything relates to writing, which is why the Ghostbusters talk has made me think a lot about my own slush pile. Many queries I receive begin with lines like, “Because you’re seeking strong female characters…,” which I think is great. I also love a good re-imagining of a classic or fairy-tale, but I end up rejecting 99% of the ones I receive. That’s because their “strong female character” isn’t really as dynamic or three-dimensional as they think they are, and their “re-imagining” is just a retelling.

[Digression: When agents and editors say “strong female character,” we mean strongly written. If she also happens to literally kick ass, that’s cool, as long as there’s more to her than that.]

Like a Hollywood reboot (a good one, anyway), re-tellings should be more than simply rearranging scenes in the same story we already know. There should be a reason this story needs to retold for a modern audience. Why are you writing it? What’s your approach? What makes it unique and relevant?

Gender-swapping is fun and can add a different perspective to a familiar story, but I see too many “re-imaginings” that rely on gender-swapping as its only twist. This holds very little appeal to me. The most common I see are Beauty and the Beast, but the female character is the beast; or a typical paranormal romance set-up, but the girl is the vampire who gets a shy boy to love her. Nothing about the stories themselves have been updated or changed. I need more than that to impress me. And I definitely need more than that to convince me the novel is somehow feminist just because it’s not not feminist.

And don’t get me wrong. I love a good gender-swap. Just make sure that’s not all you’re relying on. Feminism is not using the Find & Replace feature and changing Jim to Jane. It’s about creating roles for women, making us in control of our own narratives, and acknowledging that women’s stories have just as much merit as a man’s.

The Cool Table

~ SarahLaPolla ~ 6 Comments

If you read this blog, then you probably also follow me on Twitter. I’m a huge fan of Twitter. I encourage every writer, editor, agent, and wannabe intern I meet to join and embrace it. It’s where the publishing community hangs out – our collective water cooler – so obviously if you want to be part of that world, that’s where you need to be. (Note: This is not the first time I’ve had thoughts about social media on this blog.)

As much as I advocate for Twitter, I’ve noticed a growing trend that goes against everything I love about social media for writers. New writers, particularly the ones who joined Twitter specifically to meet people and learn about the industry, are accidentally falling in with a bad crowd. This “bad crowd” often has good intentions, but they’re who I refer to as The Cool Kids.

Transition.

When I was in high school, my BFF-at-the-time and I used to call the popular kids “Air Quotes” because every time we’d mock their “cool” status, we’d put air quotes around the word “cool.”

The “Cool” Kids in the online book world are a little different, but can still be just as misguided and destructive. These Cool Kids, as stated above, usually mean well, but sometimes end up doing more harm than good to new writers who become convinced they need to be a Cool Kid too. (Ironically, the Cool Kid syndrome is most prevalent in YA writers, who often try to defy social hierarchies.)

Hint: You don’t need to know a secret handshake or be part of “in” crowd in order to succeed in publishing. Watch out for these “Cool” people who may lead you to believe otherwise:

Cool Kid: The Blogger
Why They’re Dangerous: No credentials are needed to start a blog.

Not all bloggers write reviews, and not all blogger-reviewers write smart reviews. The danger of The Blogger comes from those who simply call themselves bloggers without putting in the work or building an audience. Yet, to writers just starting out, it’s hard to tell the difference, and can get outdated or incorrect information. The Blogger ends up being in a position of power for writers who want to learn about the industry from people they assume are experts.

I have a blog (obviously), as do many agents and writers, but I do not consider myself a blogger. The type of blogger I’m talking about isn’t just someone who writes blog posts. I’m talking about the ones who spell their title with a capital B. The Blogger who holds pitch contests every two months just to get hits, and posts query advice despite not being agented or published. These are also the Bloggers who feel slighted when they get rejected from NetGalley.

At BEA a few years ago I was in line for the bathroom with a few of these Bloggers. They complained loudly about how they were rejected by the publisher for a coveted galley and couldn’t believe they had to wait in line with a bunch of commoners. One turned to me even though she didn’t know who I was or that I worked in publishing. “My blog has 500 followers. It’s not like I’m just some random person!” she told me. I shrugged and left to find a different bathroom.

Here’s the truth of modern society: Everyone is online. Being a blogger in the publishing/writing world may have been impressive 10 years ago, but today it’s practically expected. Being online doesn’t entitle anyone to anything anymore, and it doesn’t necessarily mean The Blogger has industry knowledge or connections.

What does entitle bloggers to things now? Having a good blog. Having a large, loyal, and consistent readership, and being well-known among the literary community. Publicists know that bloggers aren’t going to have the same reach as the New York Times, and they take that into account, but they still need to believe the blog is a respected voice in the industry.

Here are some non-agent/editor, capital-B Bloggers and blog-like sites I particularly enjoy:

Jane Friedman
The Rumpus
The Millions
Bookslut
Smart Bitches, Trashy Books
Stacked
Book Riot
YA Interrobang
YA Highway
The Daily Dahlia

Cool Kid: The Twitter Darling
Why They’re Dangerous: They’re your best friend… until they’re not.

Raise your hand if you have ever been personally victimized by The Twitter Darling.

The Twitter Darling knows everything and everyone. They may not be bestselling authors, or even well-known outside of the Twitter and blogging community, but they have made themselves Very Important People To Know. The Twitter Darling tweets approximately 100 times a day and will RT and promote the shit out of you because that’s what supportive BFFs do.

Twitter Darlings keep up with industry news and trends. They are Bloggers-with-a-capital-B who never get rejected from NetGalley. They are close friends with a few industry folks and get invited to publishing parties. They have the power to invite you to sit at the “Cool” Table, and if you’re already cool, they will convince themselves it’s because of their influence and acceptance of you.

If you’re friends with the Twitter Darling, congratulations, but remember to stay true to yourself. Because the thing about Twitter Darlings? They have the power to kick you out of the “Cool” Table. Reasons might include: Not being agented, not having a book deal, not being published by what they consider the “right” house, not acknowledging the Twitter Darling’s greatness, and not wearing pink on Wednesdays.

They can be wonderful allies and friends, but they can also create unnecessary pressure to be just as “Cool” as they are.

An important thing to keep in mind about being “Cool” is that agents and editors Do. Not. Care. We want to work with good writers and people who act like professionals online and offline. If you’re “in with the in-crowd,” that’s fine too, and it may even be beneficial to your career. Just remember there is no standard of “Cool,” and you should never, ever let yourself feel “less than” for not measuring up to a false deal.

Cool Kid: The Fanboy/Fangirl
Why They’re Dangerous: Their contagious enthusiasm may end up being your downfall. 

The Fanboy/Fangirl is usually on the periphery of the book world – aspiring authors, recent grads working as booksellers or interns, bloggers, etc. We like them and support them. Until they cross boundaries.

A “fanbase” is not something I expected to have working in publishing, and it’s also something that makes me super uncomfortable. My authors are the one who deserve fans. My job title is “literary agent” the way others are “teacher” or “accountant.” Yet, an increasingly disturbing thing I’ve noticed is that some writers equate my job title with being a celebrity. This is not healthy or helpful.

I’m happy so many people seem to find my tweets and blog posts amusing, helpful, or interesting, but the Fanboy/Fangirl takes this appreciation to a whole other level. I’ve had “fans” come up to me at book events and conferences to say they love me. Not “I like your Twitter account” or “I really loved your client’s book,” but rather “OMG I love you!” Um.

Think, for a minute, how you would react if a stranger came up to you and declared their devotion. Police might get involved. Or at least a very cautious, slowly backing away. I’ve seen agent-friends ambushed in similar fashions.

I don’t respond to everyone who tweets at me. I do, however, recognize names and have developed friendly relationships with writers who have reached out to me online. Most times it’s because our personalities mesh or we have the same sense of humor, and that comes in handy if they also happen to write in a genre I represent. What never works, though, is pretending you already know me, being argumentative for the sake of attention, or responding to Every. Single. Tweet.

What’s dangerous is that otherwise sane writers have asked me if they should care more about “agent gossip” or be more familiar with editors online even if they’ve never spoken to them before. They somehow get convinced that the super enthusiastic Fanboy/Fangirl is the one doing it right simply because they’re doing it the loudest.

(An aspiring author and blogger who respects industry folk without Fangirling over them is Charlee Vale, who wrote this necessary post expanding on this concept.)

Cool Kid: The Debut Author 
Why They’re Dangerous: Their “inspiring” Twitter feed could make other writers have nervous breakdowns.

This is a tricky one because the real “danger” of The Debut Author lies in how you handle them. I love debut authors. I buy their books, support them, and have quite literally devoted my career to creating more of them. The Debut Author doesn’t always know the damage they do, and I’d wager that 99.9% of them don’t mean to cause any damage at all.

Twitter is a great community for writers as long as everything shared is taken with a grain of salt. Comparisons are inevitably made, and in the age of social media, broadcasting why your news is the best news can cause other writers to question their own accomplishments, or lack thereof. You should be 100% proud of your achievements, which is why I’m not telling The Debut Author to stop tweeting their Agent Success Stories, Deal Announcements, Film Options, or anything else positive and amazing.

What I am asking is for other writers to stop drawing comparisons. Celebrate your friends’ good news without secretly resenting them. Step away from social media and clear your head and remember that the only thing you need to focus on is what’s right for you and your career. Your agent loves you just as much as The Debut Author’s agent loves them. Your “dream editor” is out there too.

No one’s timeline is going to be the same, and success doesn’t come in one size. Your modest debut may not compare to The Debut Author’s 6-figure multi-book deal, but you have more than one book in you, and a writer’s “breakout” novel is rarely their debut. So, relax, be happy, and get offline if you need to.

(By the way, agent Carly Watters had an excellent post on this topic. Bookmark it for your own sanity!)

All of these Cool Kids have one thing in common, and that’s their ability to make writers feel less than what they are. Don’t let them convince you there’s one way to do things, and be aware that most of these Cool Kids aren’t intentionally causing harm. Embrace social media, but remember to be yourself, stay sane, and be open to new online friends who are supportive and understanding. If they start to make you feel like you should sit at a different table, then go sit somewhere else and leave them behind.

Writing for the 21st Century

~ SarahLaPolla ~ 15 Comments

I represent Adult fiction and YA & MG fiction, but I talk more about the latter. I know I do this, and it’s not because I don’t have a lot to say about Adult fiction. It’s that YA, and especially MG, are still new. They are still evolving. Adult genres get redefined every once in a while, and audiences grow, but mostly, adults are adults and their writers know who they’re writing for.

I talk more about YA because the category itself is known for jumping from trend to trend, being super enthusiastic and supportive, yet misunderstood (and often disrespected) by mainstream literary culture. Its target audience can relate, and they aren’t known for standing still either. Adults age at a much slower pace. The difference between a 32 year old and a 36 year old is barely a blip compared to that of a 13 year old and a 17 year old. Sometimes writers laugh when I say things like, “this character should be 16 instead of 15,” as if one year could possibly make that much of a difference. But when you’re a teenager, it can and it often does.

With adults, whether they’re 52 or 27, they have at least one thing in common: they can look back on their adolescence. Teens can’t. They only know the here-and-now. This is one of the main reasons I love YA and want to bring more of it into the world. Teens are full of possibilities. They have more ahead of them than behind them, and their stories often reflect that.

A less idealistic reason I love teens, though, is their ability to see through adults’ bullshit. They know when they’re being pandered to. They know when you clearly don’t understand them. They know when you don’t care about their lives – meaning, their actual lives and not the silly melodramatic ones adults think they have. Teens are tricky and they are wonderful. If you’re choosing to write for them – and not just about them – then you should know why you’re doing so.

When I read submissions, I see writers succeeding in storytelling and realistic characters and good ideas… what I see failing in MG & YA lately is setting. It’s not hard to see why. Setting is generally only considered when physical place has a major focus. What I see writers ignoring more and more is that setting also refers to time. Contemporary/realistic fiction is becoming very blurry, time-wise, and doesn’t feel as authentic. We’ve gotten so used to each decade being “similar enough” in the late 20th century that it seems we’ve failed to notice it’s over.

Recently I tweeted a reminder to MG and YA writers that made many writers feel “old.”

@sarahlapolla · Aug 26: MG/YA writers: If your pub date is 2015 or 2016, no one in your target audience was born in the ’90s. Use this info while you write. [1/2]

@sarahlapolla · Aug 26: Think of the world they were born into, how they are growing up, & keep in mind what concepts/politics would be irrelevant to them. [2/2]

My point is that the 21st century is a teenager now. What’s more, it has a shorter attention span than its predecessors. It’s not going to slow down and wait for writers to catch up.

So, who are the teens living in this century? Why is our late 20th century mindset no longer cutting it?

Today’s teens are not 20th century teens in a way that goes deeper than simply pop culture and fashion. Plot and character should be the first things you have in mind when you sit down to write, but once you know what those are, go back to that question of why.

Why did you choose to write for teens? Why will today’s teens care about this story? Even if you write historical fiction, there should be a reason you think modern teens will connect with the time and story you’ve chosen. Otherwise, why make it MG or YA? The reason you chose to write for this audience should be based on more than YA being popular in publishing right now. Think of who your audience is and what they care about. More importantly, remember what they don’t care about.

There’s a huge difference in cultural and political attitudes from the 19th century to the 20th. Think, for example, how folks growing up in 1890 differ from the folks who came of age during the Roaring ’20s. They’re only one generation apart, and yet seem like a completely different world if you look at the history books. This is where we are now. The new century has taken shape and 20th century attitudes are becoming less and less relevant. For an American audience, a big part of that shift is because of the very tangible life-changing event that kicked off the new century, 9/11.

Want to go back and watch 9/11’s influence on pop culture? Aside from the many “post-9/11 novels” that came out around 2005-2008, and our desire to bring back superhero movies in a big way, take these examples of my two favorite shows:

– The West Wing was largely about the staffers of a liberal president who never went to war, and who’s biggest problem was that he didn’t disclose an illness before the election. After 9/11? Bartlett becomes increasingly more willing to take strikes on foreign land, the show itself becomes darker and more high stakes, and suddenly “the day in the life of a White House staffer” wasn’t a strong enough premise to compete against the real world drama of the early ’00s.

– Buffy, the Vampire Slayer is full of ’90s optimism, fashion, and attitude; it was often campy along with clever, and full of righteous heroes who believed the world was worth saving – a lot. By Season 6 (after 9/11 happened in real life), Buffy no longer knows who she is or what world she’s even trying to save anymore. The whole season is about feeling lost and hopeless. By the end of Season 7 (when we 1st invaded Iraq in real life), the Scooby Gang goes to war, refers to it as such, and is aware there will be casualties.

What those TV shows became are how shows now begin – dark, gritty, in need of an anti-hero because all the “real” heroes have left the building. The real world influences pop culture all the time, and it often defines a generation in the process. We’re not as lost as we were in the early ’00s, but life didn’t go back to how it was either.

The teens reading YA only know about 9/11 from history class. Imagine what your perspective of government, global politics, and even just day-to-day life might be like if you didn’t remember September 10th.

Someone on Twitter asked what I meant by “concepts/politics” in my tweet, and, in addition to major world events, I mentioned race and gender. I used the “Long Duck Dong” Syndrome of ’80s movies as an example. Movies geared toward teens are by no means perfect, and definitely not always politically correct, but overt racism is no longer mainstream comedy. Nor is language used to hide rape references, like in movies like Porky’s and Revenge of the Nerds. For every “boys will be boys” attempt in modern teen movies, there’s a smart, sassy girl ready to shoot them down and make them the butt of the joke. 21st century teens still see horrible socioeconomic disparities, gender roles being challenged and disputed, and racial equality taking leaps forward and backward at the same time, but they also hear more voices who were previously silenced because of changing attitudes and social media. (The 21st century is, after all, still a teenager… it has a way to go before it reaches mature adulthood.)

These are ideas that go beyond whether your character uses a cell phone or still says, “totally buggin’.”

We don’t all need to be scholars or philosophers. I still want fun, commercial stories about teens being teens, and I am a firm believer that teens are teens are teens. Meaning, their circumstances and perspectives change, but they don’t. Not really. That’s another reason why I love YA. I don’t need to be a 21st century teen to remember what it felt like to be a teenager. The heart of your stories – the emotional arcs of your characters – should be timeless. That doesn’t mean you can ignore a changing world that influences how your audience relates to your novel.

Another reason I’m elaborating on these tweets is because a lot of replies had to do with pop culture, which I understand. There were jokes about not mentioning certain bands or making their characters accidentally wear outdated styles. These are things to keep in mind when you write, but don’t give them more power than they’ll actually have on your reader. At the end of the day, these things are superficial. Teens might roll their eyes, but they’ll keep reading if the story is compelling enough.

That said, using too many outdated references can absolutely set off a teen’s bullshit detector. Sure, they can Google that band from the early ’00s and, yes, they’ve heard of VCRs before, but do they care? If they look it up online, will their understanding of the book as a whole really be effected? Probably not. So why risk interrupting the narrative? When I tell my authors to delete certain references, it’s not because I think teens won’t understand them. It’s because I know the reference isn’t really for them.

Besides, those superficial references are easy to fix anyway. You don’t need to study modern teens or be up-to-date on the latest trends. You just need to remember when it’s OK to be non-specific and embrace fiction. You’re writers; this shouldn’t be difficult.

For example:

  • “Low-rise skinny jeans” = jeans
  • “Smartphone/”cell phone” = phone
  • “Facebook” = social media site with a cute name you made up
  • “Taylor Swift” = pop star

See? Easy.

Honestly, unless your plot is heavily dependent on whether your main character tweets, listens to Justin Bieber, or uses their phone, you probably don’t need to call attention to it at all. The best uses of setting are the ones you barely notice because you’re already fully immersed in it. Trust your reader. They will assume your characters do “normal teen things” even if it’s not directly written on the page. Don’t over-think it. (I mean, it’s not like you’re writing an episode of The Vampire Diaries or anything.)

As writers, you don’t need to envision the future, or even make a comment on it, in order to write about the present. We (writers, agents, and publishers alike) just need to remember what the present is and respect who is going to build the future from here.

On Being a Real Writer

~ SarahLaPolla ~ 34 Comments

I’ve been thinking about labels lately. How one gets one and whether they deserve to have it. Specifically, I’ve been thinking about the label of Writer and whether it applies to me.

Most readers of this blog know that I write, though it’s not something I’m pursuing professionally for now. For now. Maybe someday. It’s the “maybe” that makes me hide from the label Writer.

Aren’t Real Writers supposed to seek publication?

I have an MFA in creative nonfiction, and this tends to come up a lot when I’m at conferences or do interviews for blogs. I’m an agent and I have an MFA and “do you still write?” is the question I always get. My answer is usually self-deprecating, or when I’m feeling confident, I say something like, “Yeah, kind of.”

My nonfiction of late has been this blog and few stray pieces I’ve never submitted. I’ve instead completed a draft of a YA novel, and have two more YA projects that aren’t even half-finished. Writing is important to me. I care about the characters I create and I know I created them for a reason. Sometimes I need to write. I think about writing more than I talk about it, and I talk about it more than I do it. All of my projects remain unfinished.

Aren’t Real Writers supposed to finish at least one thing even if it kills them?

There’s always something to blame.

I’m an agent and my clients come first. Then requested material and queries come first. Then going to conferences and networking events and being so exhausted all the time comes first. Then reading for pleasure comes first because it’s rare I get the opportunity to do so. Then Twitter comes first and “keeping up with industry news” that quickly turns into who else watched Supernatural last night. Then having a social life and maintaining friendships comes first. Then eating and sleeping and just being quiet comes first.

Writing isn’t something I’ve made a priority. Part of that is because I know I’m not on a deadline. I’m not a Real Writer. I’m not published, nor am I really trying to be yet. My career is my focus, and writing will be second to that.

Aren’t Real Writers supposed to put writing ahead of everything else?

My professional and personal life is surrounded by Real Writers. I’ve sat listening to them talk about their process and how torturous it all is. I’ve read tweet upon tweet, countless blog posts, on how hard writing is. Beautiful, poetic posts that make me believe that whoever could talk about writing in such a way must be a Real Writer. Not someone like me. Certainly never someone like me, who wouldn’t be able to wax poetic about anything with a straight face, let alone the writerly mindset. If only I were a damaged soul who needed a creative outlet because my own mind simply cannot contain the multitudes of my depth.

But no. A Real Writer is someone else. Not someone like me who has never viewed writing as something set on destroying my very essence. For me, writing is just a thing I do.

I write or I don’t write. When I do, it is hard and I push myself when it gets harder. Then I stop. Sometimes I don’t pick up my pen again (yes, a pen) for weeks. When I reach a point of transcribing to my laptop, I usually get struck by a fresh wave of inspiration and type for hours. Then I stop.

Aren’t Real Writers more prolific than that?

I’ve joined writer’s groups, rented houses for self-imposed writing retreats, studied my craft, and found my voice. I did all the things Real Writers do. I read all the things Real Writers read. I appreciate the same words that Real Writers connect with. Yet all I feel is distance between myself and Them.

I’m a writer because I write, but I don’t know if I’ll ever consider myself as a Real Writer. As I think more about labels, I’m beginning to think it doesn’t matter. I never took myself seriously as a writer because I thought being a Real Writer was more serious than it is. But if I’m always the one to mock my own creativity, why should I expect anyone else to take me seriously?

My goal is to embrace that writing is a part of me too, even if it’s a part I buried for a while. 2013 was supposed to be the year I “got back into writing,” a promise I’d been breaking since I received my MFA in 2008. The difference this year was that I did finish that novel; I did start writing again and treat it as more than just “something I used to do.”

Maybe 2014 will be the year I stop caring whether I measure up to Real Writers’ standards – or at least what I imagine their standards for Real Writing are. Maybe only then will I let myself believe I, too, am one of Them.

Tell me, fellow writers – was there a moment where you realized you’re a Real Writer? Or do you also run from the label?

Socialized Media

~ SarahLaPolla ~ 9 Comments

One of the most common questions I get from non-publishing friends is “Why do you have so many Twitter followers?” I get this from publishing friends too, I guess. The answer is, I don’t know. I try to be informative without being bland, and sometimes I take a break from publishing and tweet about my commute or TV shows. I have no idea which side of my Twitter personality people have responded to most, but I hope it’s a combination of the two.

I can’t really offer a guide on how to gain Twitter followers because:
1) Who am I?
2) Everyone uses Twitter differently, and I won’t assume you want to use it identically to the way I do.

Knowing how you want to use social media is probably a good first step in gaining followers. But other than that, I have no idea how to make people follow you. (Don’t be boring? Give them cookies?) What I can provide, however, is a list of things I see people do on Twitter that make me want to unfollow them, or even block them.

Tweeting too much.
If you have less than 1,000 followers but have tweeted over 80,000 times, I am suspicious of you. It’s not that what you’re saying is “bad” necessarily, but it means one of two things:
1) What you are saying is not effectively building an audience.
2) You have no interest in building an audience, and are treating Twitter as a sounding board for whatever pops into your brain.

Not having a Twitter avatar/not tweeting enough.
People like following humans on Twitter! Make friends by eliminating the Lifeless Twitter Egg and tweet at least once once a week. Also make sure your tweets say more than “I don’t know how to use Twitter” or “I don’t tweet enough.” Because… why are you even there? No one forced you to join. No one should join a social media site if they have no intention of using it.

Only promoting your book.
I’m cheating with this one a bit because I, personally, instantly mark these people as spam. So, I never really see this on my feed. If a writer pitches me their book via Twitter (when it’s not for a pitch contest) or sends me a link to their Amazon page, I click on their profile and 99% of the time, they’ve sent almost every other agent on Twitter that exact same message. THIS IS NOT MARKETING. It’s spam. Similarly, writers who don’t have books of their own will spam Twitter feeds another way – by only talking about their friends’ books. Like all book promotion, this, too, should be limited.

Not having a clue what you’re talking about.
This is obvious, but sometimes I see industry folk (usually newbies who are eager to impress) and authors discuss “publishing” and realize they don’t actually understand the business. I’ve been an agent for 3 years and worked in the industry for a little over 6 years. I’m no longer a “newbie” but I certainly have a lot left to learn. I’d like to believe I’m smart and capable of being the “rock star” I’m sometimes referred to online, but I’m not… yet. So, when I don’t understand something, I do not tweet about it. And if I do this by accident, and am called on my bullshit, I curl up into a ball and die; I do not keep tweeting and being all indignant about my lack-of-knowledge.

Streams of consciousness that turn into floods. 
Similar to tweeting too much, tweeting too often and not staying consistent is also something that makes me click Unfollow. For example, using Twitter to talk to about an article you read, and quickly realizing it’s going to take about 5 or 6 tweets in a row to get your point across. THIS IS NOT A BAD THING. Nor is taking time to respond to others who add to the conversation. What does look unprofessional is when someone turns my feed into this:

“This topic merits discussion. Here’s a link _______” [2:22pm]
“Here is Opinion #1 why this topic matters” [2:24pm]
“And Opinion #2” [2:25pm]
“@follower1 I agree because of reasons!” [2:28pm]
“I have to bring my cats to the vet today. Sooooo sad.” [2:29pm]
“@follower2 Oh, I disagree. Did you not see that link?” [2:30pm]
“My book has a pub date!!!! Please pre-order it from Amazon!” [2:31pm]
::SEVERAL RETWEETS ON VARIOUS TOPICS IN A ROW::
“I’m so excited for fall to start. Pumpkin spice latte season, y’all!” [2:32pm]
“@follower2 Let’s keep arguing about that other thing for a while. Does anyone even remember what I posted before?” [2:33pm]
“Here’s an adorable kitten GIF. Because Mondays, right?” [2:35pm]
“Did you all watch Breaking Bad last night? OMG!” [2:36pm]

I see this often, not just from writers, but from agents and other industry folk. There’s nothing wrong with any of the above-mentioned tweets individually, but spewed out in a 15-minute chunk is a problem. Yes, you should have variety in what you tweet about and engage in conversation and let your followers know about any new developments with your book. But, basically, chill out. Space out your tweets and understand that not every thought you have needs to be shared. The information you really, really want your followers to know will end up getting buried. Usually when I scroll through my feed, and I see the same person appear 10 times in a row, I’ll just read whatever their most recent tweet was. Because… ain’t no one got time for that.

Too. Much. Information.
Revealing how much of your personal life you share online is, of course, up to you. If you’re using Twitter as a tool in your professional life, however, be smart about what you say. Do we need a live-tweet of the birth of your child or a Vine of your colonoscopy? NOPE. If we learn your children’s names, do we necessarily need to know them as well as our own family?

Granted, I’m skeptical of how “social” every single website has become, and given the actual physical attacks on literary agents that have made the news, I’m about one step away from living in a bunker. I’m also just as much of an introvert online as I am in person, and for me that means needing my privacy. I understand not everyone is like that. But, if you do share, remember not to over-share and make things uncomfortable. Don’t be that guy at the party who brings a pleasant conversation about books to screeching halt because all he wants to do is publish a book to prove he is good enough, mom, and why doesn’t anyone love him, I mean, really. Twitter shouldn’t count as your weekly trip to church, therapy, or be a substitute for coffee with your real-life best friend.

I’ve said before (on Twitter) that social media is like a cocktail party – fun and casual and not as buttoned-up as the office – but some networking and shop talk will occur, so don’t get too drunk. Any actual business (e.g., pitching your book, information about submissions, following up on queries, etc.) should be saved for the office, aka “email.” Now, go forth and make smart social media choices!

The Year of Self-Publishing

~ SarahLaPolla ~ 6 Comments

Whether you’re still on the fence with how you feeling about self-publishing, or if you’re 100% for it or 100% against it, it would be hard to argue that 2012 was not the year self-publishing became a legitimate force in the market. This has been brewing for a couple of years (see: Amanda Hocking and John Locke), but 2012 – with a little indie book called 50 Shades of Grey and a “New Adult” sub-genre trying desperately to prove itself – we’ve seen several headlines that have read something like “Former Self-Published Author Lands 6-Figure Deal.”

The thing is, there are plenty of self-published authors who are perfectly happy to remain self-published authors. The headlines we see are about self-published authors becoming traditionally published, and that’s where I think other writers have been getting confused about how self-publishing should work. To the self-published authors who have enjoyed your experience and have no plans to go traditional unless a 6-figure deal lands in your lap, feel free to ignore this post. Or, if you do have plans to get an agent and try for a traditional publisher, just not with the book you self-pubbed, you can ignore this post too.

To the other writers out there who think that “Self-Pub to Traditional Deal” is the norm, pull up a chair.

I have no beef with self-publishing. I find it to be a separate entity from traditional publishing, with some notable titles crossing over from both sides. Mostly, I think the two can co-exist peacefully and separately. (It’s sort of like the Blue-Ray to traditional’s DVD. Each provide a way for you to be entertained. For consumers, having another source to get content is a good thing… made even better when they don’t have to choose and can use both.)

That’s why it’s disheartening to get so many queries for books the authors have already self-published. While agents have had more success with getting self-pubbed books sold to traditional publishers this year, it’s important to keep in mind that all of those books were the exceptions – not the rule.

Turning a self-published book into a traditional book deal still takes:
1) huge sales figures (over 5,000 copies sold at the very least)
2) a healthy online presence
3) glowing reviews from major publications (think Kirkus; not just someone with a book blog or a writer-friend, unless your writer-friend is Stephen King).

If you have all three of these things, chances are agents are going to find you and you don’t need to query. If you have one or two of these things, then query away and hope for the best. If you don’t have any of these things, it’s not the end of the world, but query a different project entirely.

Self-publishing has proven itself to be lucrative and viable, and the stigma of it has drastically lessened. I include myself among those who turned up their noses at it, and I’m proud to say I’ve changed my mind because writers have made it impossible for me not to. (Woo!)

But I’m still wary when I see writers – too many writers – query me with their self-published books. Despite my evolving opinion, the original reasons I didn’t like self-publishing end up rushing back to me. I have to wonder why the writer self-pubbed in the first place. Was it out of frustration with rejection? Did they think a self-pubbed book would get my attention? Or were they misled to believe that self-pubbing before querying is now the norm?

Don’t let success stories change your mind about your own career path. Remember that no one ever writes front-page articles about all of the people who don’t win the lottery. Stay true to what you want out of your writing career, and if you end up changing your mind about the best way to reach your audience, then be smart about how you make that switch. If you read about how a certain self-published book got a traditional book deal, you’ll rarely find it was because the writer queried an agent with that same project before it was ready to be seen.

Shady Business

~ SarahLaPolla ~ 29 Comments

So, earlier this week via The Twitter, agent (and author!), Mandy Hubbard mentioned her distrust of new agents who have no publishing background. This started a conversation, which I participated in, about the merits of these agents and start-up publishers who claim to be legit.

The thing is, many of these new agents and start-up publishers (usually digital-only publishers) aren’t aware they’re not legit. They have the best of intentions. They’re people who follow the industry closely and, because of the transparency provided by blogs and Twitter, they think they have enough information to start their own companies. Yes, everyone has to start somewhere and some of these newbies do succeed and prove their worth. Most of them, however, don’t help an author rise to any level beyond what the author could have done themselves.

When I started at Curtis Brown, I was an assistant and only an assistant. I also kept up with industry news and market trends, but mostly I was an apprentice at an established agency where I had several agents to learn from. Before that I was an intern at a different agency and read the hell out of the slush pile. Reading the slush pile and writing reader’s reports for agents seems like busy work, but here is what I learned from it: In my first year as an intern, what I put in the “yes” pile was usually not what the agent would have said yes to, and more importantly I learned why. My experience is very, very common among agents at my level and those at the levels above mine. Reading someone else’s slush pile is a very helpful rite of passage.

If I took on clients within that first year of working in publishing, nothing I took on would have sold, I wouldn’t even have seen a contract until it was my own client’s, and I would not have known how to negotiate in my author’s best interest. Every agency is different in terms of when they let assistants take on clients, but those decisions are always based on “is this person ready?” New agents who don’t have that kind of experience in publishing, but just want to take on clients to “help authors get published” don’t get that feedback or education. This is why, despite their good intentions, they end up hurting authors.

New agents at established agencies, or those who have publishing experience elsewhere, are hungry to build their lists and you should definitely query them. Put them at the top of your lists, actually. But pay attention to the backgrounds of these new agents too. If they don’t have the backing of an established agency, then Google deeper and ask the following questions:

1. Do they belong to the AAR (Association of Authors’ Representatives)? Note: Not every agent needs to join the AAR and I know a few at established agencies who have not joined, or just recently joined. However, if you’re on the fence about an agent and their credentials seem suspicious, not being a member of the AAR could be a dealbreaker.
2. How long have they worked in publishing? If they weren’t always an agent, what did they do before? Editor at a major house? Marketing or sales representative (meaning, they know what booksellers buy and would probably be a good agent because of it)? Were they an assistant or intern at an agency that’s respected in the industry?

3. How long have they been agenting? It should not be the same amount of time they’ve been in publishing. If they are just starting out, who do they work for? What type of agency is backing them up? 
4. What have they sold? If they’re new, this won’t be as relevant because they may not have many sales to their name yet. In this case, ask new agents where they see your book in the market. Hardcover/trade paperback vs. mass market vs. ebook only? These things matter, and knowing which format will work best for your book is something a good agent should be able to tell you. 
5. What types of publishers have they sold to? Check Publisher’s Marketplace to see an agent’s sales history. Note: Not every agent reports their deals, but new agents usually do because they are still proving themselves. So, look them up. Are they only selling to the types of publishers you could have submitted to yourself? Or do they have a few Big 6 and larger, respected indie publishers in their sales history too?
6. Are they just a lawyer? Agents are like combination lawyers and managers, and you need those skills to be good at your job. The difference is that a lawyer has no personal stake in whether your book does well (they’ll get paid either way) and their ability to read legal language rarely extends to book contracts, which is a different animal. If you self-publish or use a small press without an agent, make sure you get someone to read over your contract who is a literary lawyer. People who know legal jargon, as intelligent and educated as they are, aren’t going to have the same expertise when it comes to publishing.

I also mentioned start-up publishers above. If you choose not to get an agent – either because you’re going to self-publish or use smaller publishers who take unagented manuscripts – then you need to be extra careful. Like I said, start-up publishers can turn into legit publishers who are good at what they specialize in. They’re often digital-only, at least at first, and tend to focus on a specific genre to build up a successful niche market. Note: This is what a good start-up publisher will do. Be wary of small presses, digital-only publishers, or start-ups who want everything and anything. Usually this means they haven’t created a solid business model or know the best way to publish different types of books.

If you’re unsure about whether to sign that contract or submit to that shiny new publisher at all, don’t be afraid to ask the publisher the following questions:

1. Do you content edit or just copy-edit? Copy-editing is ridiculously important, but so is editing for the content itself. Will your book get Big 6 treatment at a small press? It won’t go through as many revision rounds and maybe only one set of eyes (as opposed to several you get at large houses) will see it. But, that doesn’t mean you don’t deserve a professional editor with a skilled eye who will make your book the best it can be.

2. What is your marketing plan for my book? They should have one, and it should involve more than a Facebook ad. 
3. Where are your books sold? If the publisher is digital-only, ask them what platforms they use and if your book will be available on multiple reading devices. If they do print books as well, ask them if they’ve ever been sold through Barnes & Noble (the physical stores) or independent local bookstores (unlikely, but worth asking).
4. Will any part of this process cost me any money, other than the royalties you will earn on my sales? Answer: NO! NO, NO, NO! If a publisher wants you to pay them, run away. They are a scam. Real publishers pay you for the privilege to publish your book. 
5. How much are you taking in royalties? The answer to this question varies, but what you’re really asking is “are you doing enough for my book to warrant taking over half my earnings?” Because if they’re only doing the bare minimum and you’re not seeing a significant return in your sales, you could have self-published and kept almost all of your royalties instead.
6. What’s the deal with your subrights department? Subrights matter. It’s how you earn back an advance faster and audio, film, serial, and foreign rights are how you get your book in more places. Most small or start-up publishers won’t have a significant presence in the film world, but if they are going to call themselves a publisher, they should be aware of foreign markets and work with specific agents or scouts to sell your book abroad.

If any of these questions make a publisher nervous, don’t use them. These are simple questions they should not only answer, but be proud to tell you. Of course, they are trying to woo you. Tell you what you need to hear. So, go a step further and research:

1. Go to sites like Preditors and Editors. Find out what other books they’ve published. Have they had success in your genre? Do they have any specialties? A good publisher has standards.

2. Where have their books actually been sold? Can you find them anywhere other than Amazon?
3. Do they have a Publisher’s Marketplace page with reported deals? Note: This does not necessarily make them legit (as is more eloquently stated in this blog post by legit agent, Victoria Marini). But! It at least gives you a starting off point to see what types of deals this publisher has made. 
4. Who are their other authors? Contact them directly to ask about their experience. The publisher should also willingly give you their authors’ information if you can’t find it online. If they don’t, then that’s another red flag and you should be suspicious of them.

Yes, this is a lot of work. It’s less work if you have an agent, but if you don’t want or need an agent, be prepared. It’s incredibly tempting to sign a contract because YAY BOOK DEAL!!! You’ve been waiting forever for this. All those rejections were piling up and you were getting so frustrated and ready to quit, but OMG this publisher sees the brilliance of your book and finally all is well in the world! Yes, of course you will want to sign immediately. This is what shady publishers and shady agents are counting on.

This whole process is hard. Whether it’s you looking for a good agent or agents looking for a good small publisher (we use them too!). An easy way out only makes it harder in the long run. My job is to protect authors’ rights and make sure their books are getting the treatment they deserve. Which is why agents like Mandy and Victoria, and me, and every other agent I know get so impassioned about these lovely people who want to do good, but probably aren’t ready yet.

Long blog post is over. To sum up, research like it’s your job! Because it is. Now, let’s hug it out.

When Bad Books Happen to Good Writers

~ SarahLaPolla ~ 11 Comments

I recently sat on an “Ask the Agent” panel in which a writer anonymously asked, “Why do so many bad books get published while so many good ones get rejected?”

My first thought after hearing this question was “whoa, someone is bitter.” Then I quickly realized it wasn’t an unreasonable question. In fact, it was a pretty good question. Being on the business side of things, I sometimes forget how certain book deals must look to the writers struggling to get their work noticed. The thing is, I roll my eyes as often as you do when I see celebrity book deals, bestsellers in dire need of editing, and mediocre work from popular authors who no longer worry about “building their audience” (not naming names, but we all know they exist).

What’s important for writers to remember is that the publishing industry, at least a large percentage of it, is full of book people. We studied English lit, think of authors as rock stars, and have a deep appreciation for the written word. So why do we (sometimes) allow mediocrity to take precedent over masterpieces? The answer I gave on the panel was that the terms “good” and “bad” are subjective – which they are – and that literary writing does often get overlooked for more commercial writing, but it doesn’t necessarily make commercial writing bad. 

All of that is true, but the longer version of that answer is…

Good and bad don’t mean the same on the business side as they do on the writer’s side, but more on that later. For the purpose of this blog post, I’m going to focus only on commercial and genre fiction because the success of literary fiction is always dependent on the quality of the writing. Commercial fiction isn’t. Not always. Which is why seeing what becomes a bestseller can be frustrating to writers trying to publish their first novel. 

In our insular world of publishing blogs, author Twitter feeds, and writer’s conferences, it’s easy to forget that we are a minority. Reading anything off the bestseller list has long-been considered “for nerds.” If we could only sell books to people like us – the book people – then I think writers wouldn’t have as many complaints about “bad” books.

But publishing is a business. Like any business, we need to look outside ourselves and find a product that will sell to a wider audience. Most people just want to be entertained. Sometimes that means sacrificing stylized prose. Other times it means you get to have high quality writing and the type of story that hooks a majority of consumers. When the latter happens, we do a happy dance.

Big blockbuster novels are like big blockbuster movies – high concept plot, not a whole lot of character development, and maybe some sexy times. It’s “entertainment for the masses,” but is it bad? Not even a little bit. It’s actually the opposite, and this is where writers – like the one from that panel – can get confused.

In the publishing world, “good” doesn’t always mean “well-written.” We want it to, and it’s what we always look for first, but it’s not the only thing. It can’t be the only thing. We’d all be out of jobs. Well-written books are well-written books, but “good” books have a broader definition. In publishing terms, “good” means that a book connected with its intended audience, and maybe even crossed over to reach a wider audience. Or, put more simply, good = successful.

A “bad” book can still be well-written. Bad is when a novel fails to find an audience, even if everyone involved in producing that book believed in it. Some books just don’t hook an audience, and to the publishing industry that can mean some pretty bad things, such as:

1) The publisher took a loss by not earning back the advance it gave the author.

2) The publisher may not invest money in the author’s next project to avoid the same results.
3) The book gets poor reviews, which hurts not only the author’s reputation, but also their agent’s, editor’s, and publisher’s.
4) Too many “bad” books in a row may lead to an editor not wanting to work with that agent anymore, or a publisher not wanting to take chances on that editor’s projects.

In other words, a lot is riding on your book finding an audience and being liked.

Don’t worry though. The pressure gets taken off of you because of what the outside world calls “bad” books. When we give Snooki a book deal instead of an up-and-coming debut author, do we sell out? Of course. Integrity can’t always pay the bills, unfortunately. Super Big Commercial Bestsellers are often, as their name suggests, publishing’s version of commercials. They bring in enough revenue to pay those bills and give us enough leftover to take on the smaller, beautifully written projects you bring us. We call these our passion projects because we love them and need to bring them into the world, but we know it’s unlikely that book will be discussed on Dr. Oz (you know, for example…).

The writer on that panel wasn’t asking about well-written commercial novels, but I want to take a minute to recognize that not all commercially successful novels are poorly written. Most of them are very well-written! Creating entertainment for the masses is still an art form, and being able to write commercially is a hard skill to acquire. Not all talented writers are able to hit all the right notes in their market the way a commercial writer can. A few of these Big Novels aren’t well-written though. I won’t pretend they are. Those are the ones that author was referring to, and I understand the frustration.

The publishing industry never looks for poorly written books, but for various reasons we do allow them to slip through. If your novel was rejected or didn’t sell well, don’t get angry at the bestseller list or blame the publishing industry. Instead, look at why those other books are selling. Books never sell because they are poorly written. There’s always something else that readers are connecting with. Find out how to bring those elements to your own writing, but stay true to your own writing style, and never think for a second that in order to be big you need to be bad.