Sandra Shares a Word

Hey, now that Chip's off sunning himself in Maui, I figure it's a good time to jump in and answer a few questions. I'm Sandra Bishop, the other agent at MacGregor Literary. 

Here's one from Angel: "It seems like the books that do well and are worth reading are those which are big surprises. Is it really possible to set out to write a breakout novel? Don't breakouts just happen because a publisher decides to get behind a book and doggedly promote it until it gets noticed?"

There's some of that going on in publishing -- Chip wrote about the practice of "Making a Book" not too long ago. But that, obviously, is out of a writer's control. I'm guessing what you really want to know, Angel, is how to write a book publishers are willing to get behind. 

For those who don't know, literary agent Donald Maas wrote a great book in which he goes into the why's and how-to's of writing a breakout novel. In his book, Maas covers the reasons, mechanics, and philosophies behind doing so. It's worth a read, and definitely worth the money. If it's mechanics you want, go get his book. But I'm guessing you're not necessarily asking about mechanics with this question. We get this a lot in many different forms, and most people seem to be asking, "Is it really possible to make it big as a writer, and should I bother spending my time trying?"

Here's my short answer to that question: If you're crazy enough to try, go for it. Seriously. Publishing is a crazy business in which to try and make a living. But if you're willing, and have talent, and the energy to keep after it without losing your marbles, more power to you. Lots of people talk about and work at writing, but never really get down to honing the craft. The thing is, we can plan and strategize and project all we want, but we work in a creative field where the tail pretty much wags the dog (meaning the customers ultimately decide what's successful and what's not). That's why, ultimately, the credibility of the industry rests not in the hands of marketing folks, nor on the shoulders of publicists or booksellers, nor even pub boards and (thank the Good Lord) agents. It rests in the sweaty palms and hunched up shoulders and aching behinds of the authors who care enough about their craft to learn and practice and write and rewrite until they produce material worthy of giving the dog something to wag about. (Sorry -- runaway metaphor.) 

We may all think we know what readers and editors want, but then something gets picked up or pushed through that defies convention and surprises us all, and we're all left scratching our... er, heads, and wondering "why don't more people write like that?" You know of which books I speak -- those I call genre busters: Anne Lamott's "Bird by Bird" or Donald Miller's "Blue Like Jazz," Lisa Samson's "Quaker Summer" (no, it's not an Amish knock-off, folks -- you should read it). I'll even venture to add "The Shack" by Paul Young to the list, though I have to confess I'm one of the six people on the planet who has yet to read it. 

My guess is, though, the reason it broke out is because it shares something in common with the others I mention. The secret mix of ingredients that set it apart and cause the kind of stir and lasting impression every author dreams of. You ready? Excellent writing, unique voice, a compelling story, and a commitment to the craft. I'll venture to say not one of these authors set out with a plan in place when they wrote their book. I'll bet they didn't do plotting spreadsheets first (not that such things are bad) or work out a complete outline (again, not a bad step in and of itself), nor did they call every one of their friends to ask "what do you think of this idea?" before beginning (note the absence of my remark about this not being a bad thing). They just sat their butts in their chairs day after day (or night after night) and chipped away at their masterpiece until their fingers cramped up. And they didn't submit it until it was polished and ready. 

No amount of longing to be a great author will get you there. If that's what you really want -- to write a breakout book -- then you have to be wiling to  drain yourself every day and get up and do it again the next and the next until you've created something worth the fuss. 

That's my take. 

-Sandra 

Comments

[Angela Meuser]

Thanks for your insight, Sandra. I think each of the books you mention are going to challenge the reader in a new way. Make us think. Show us that we are capable of great, and we are also capable of horrible. Not give us a chance to forget the experience. And I'm guessing each of these books changed the writer just as much (if not more than) it changed the reader. There is vulnerability and risk involved in writing such a novel. It's so much more than a story--more than a just a book. And that's why they break out.

[Robbie Iobst]

Thank you Sandra for the reminder about hard work and perseverance. As an author with big dreams, I know it starts with me, alone, just myself, no one else, in a chair with a laptop willing to write and write and write. Making the decision to go back to that chair and write some more is difficult if I forget the real payoff is the process and not a long line screaming my name to sign my new best seller. But the dream is nice :0)

[Jim MacKrell]

Sandra, sage advice and completely in keeping with the current bill d'affair of what the agenting and publishing industry thinks of it's self. In the mean time the business is changing so rapidly that all of the 'wonderful insight's" that were germane just minutes ago are out dated. In my experience I pitched a game show to the VP of Programming Lin Bolen at NBC. Lin said, " this is a great show, and one that is as good as anything we have on the air or are going to put on the air, however, I am looking for shows that will make three years from now. The Literary Agenting Business may not last three years from now with out a complete makeover in template.

[Eva Ulian]

I like your take, Sandra.

[Brandt Dodson]

It rests in the sweaty palms and hunched up shoulders and aching behinds of the authors who care enough about their craft to learn and practice and write and rewrite until they produce material worthy of giving the dog something to wag about

Amen, Sandra!

[Pam Halter]

I agree, Sandra, that we need to keep our butts in the chair and fingers on the keyboard. We should work hard to learn the craft and become the best writer we can be. However, many books that make it big (like The Shack, The DiVinci Code, etc.) are not good, craft-wise. And Joe Reader has no idea. It makes me wonder why I work so hard to learn, attend conferences & workshops and participate in blogs or writing groups.

I've come to the conclusion that I need to work hard for myself. I'm not satisfied with weak writing in my manuscripts. I want to tell a great story with interesting characters. I want my fellow writers to respect me. So, I may not write a run away book, but I will be happy with myself and what is more valuable than that?

Happy sunning, Chip!

pam

[Courtney]

Sandra, I am one of the other six people who've yet to read "The Shack." But I completely appreciate what you're saying. So often when people do "break out" they're even left wondering why... I think it's hard to predict sometimes what people are going to latch onto...

So, I guess the only thing to do is to get caught up in our own stories. And figure out how to write them WELL!

Thanks for the reminder! :)

And I'm so jealous that Chip is off sunning.

[Carla]

Good debut post, Sandra! Thanks for the encouragement and challenge to keep on keeping on.
One thing that stands out for me is that in the books you mentioned, the authors write with a refreshing honesty and transparency that connects with readers. A high mark worth shooting for.
And I haven't read the Shack, either. I wonder who the other three are :-)

[Jenny B. Jones]

YAY, Sandra! Awesome advice.

[Lynn Rush]

Nice advice, Sandra.

Pressing on. **smile**

[Susan Meissner]

Nice to hear from you, Sandra. Excellent perspective on a persnickity prospect - the elusive breakout novel. Good thing I love dogs. . .

And runaway metaphors
Sooz

[Sam Pakan]

Nothing wrong with runaway metaphors. Some of the finest litracha in the English language is fleshed-out, extended metaphors.

[RefreshMom]

Good to hear your voice added to the blog Sandra! I think you're right. Many of those who've written "break out" books sat down to write the book that they couldn't NOT write. Where it went from there wasn't orchestrated by a marketing team (often the marketing team didn't even see the value in it until the sales were out from under them) or any of the other big publishing players. Good writing (or a good story; best, often both) met with good timing and people who caught on quick enough to ride the wave once it took off. Much of that can't be planned or orchestrated, and our job as writers is to do the first part to the best of our ability and get it seen so the rest can happen.

[KR Dial]

Sandra, you're a good read, just like Chip.

[Kellie Gilbert]

Nice to hear from you, friend. Good blog post.

[Pam Halter]

Carla and Courtney, I haven't read The Shack and am not planning to. Something about it makes me feel uneasy.

[Leigh DeLozier]

Thanks for the post, Sandra, and for the reminder of what's behind all those wonderful books: an author with a dream, a story, and the persistence to work at it until it's right. :-)

Happy writing, everyone!

[Serena]

I've had the "Shack" forcibly handed to me, an "intervention" done in which everyone in the room told me I absolutely HAD to read it--and still it's lain on my shelf looking up at me for the past month. I've read the first few pages, laid it down. Picked it up again. Laid it down. My husband says its fine as long as I don't mind yet another feminized version of Jesus. (I do.) So glad I'm in good company here. (Congrats on your debut blog, Sandra. Would love to see more--with or without Chip on vacation.)