Chip MacGregor .com

Defining a Packager

Hope everyone is having a great holiday weekend. For today's post, we have a question from Gladys. She asked, "Are compilers (Allison Bottke, Chicken Soup, etc.) considered packagers?"

Nope. Let's define terms. Somebody who requests stories from you in order to create a compiled book on a theme (God Allows U Turns, Chicken Soup, etc), which they then sell as a manuscript to a publisher, are compilers.

A packager is somebody who creates the entire book for the publisher. They come up with the concept, hire the writers, get the work done, design the interiors, create the cover, and complete the entire book for the publisher. Normally at the end of the process, the packager turns over a disk that has the entire book on it -- not just the text, as an author would do, but the entire book, complete with page spreads. All the publisher has to do is hand the disk to their printer and push a button. (And sometimes the packager will even have the books printed, so the publisher is simply purchasing pre-printed books.)

Some of us have done packaged books before. I have done it with more than one magic book (that is, books of card tricks for magicians -- PLEASE don't write to me with your concerns about card tricks being the tool of Satan). I concepted the book, wrote it, solicited tricks from other magicians, created the interior, hired the artist and approved the interior drawings, worked with a cover designer to create the cover, edited the whole mess, got bids from printers, and got the books printed and shipped. I then sent a couple sample copies to distributors and sold the entire print run to a magic distributor, who got them into retail stores. In a way, I was my own publisher (but I didn't actually sell them, so really I was just the packager).

Most publishers do packaged books at some point. The benefit is that they get a completed book that requires almost no editing effort, very little creative energy from the team, no time from the art department, etc. All the publisher has to do is to slap the cover of the book into their catalog and sell it.

Packaged books in CBA have basically focused on themed gift books, devotionals, and general inspirational titles. Usually packaged books are high design (that is, they have a lot of interior design elements), and they often are high concept (a line of books around a theme; books aimed at very specific audiences; a one-event type of gift book).

The downside of packaged books has been that they often have a sameness to them, and they sometimes have less than stellar writing. They are not generally author driven, but concept driven, so the publishing house isn't building an author platform with these books. Because they are not driving a particular author, there can be a bit of a flatness to the voice (in my opinion). I suppose one could argue they rarely have great depth, but they exist to inspire or encourage a reader, not to educate readers on systematic theology -- in other words, you get what you pay for, and readers aren't paying $9.99 for "Hugs for Moms" and expecting Brennan Manning.

We've all seen a million little packaged projects: God's Little Instruction Books,Sunshine for Grandma, God's Roadmap for Grads, etc. Each book follows one concept and is intended for a specific audience. We're starting to see some new directions from packagers, particularly with things like Bible studies and books aimed at the teen market. There is also a trend toward books aimed at business professionals.

Does that make sense?

What do I do with my OOP book?

I've had several people write to ask if it's realistic to think they can take their old, out-of-print book, and make it available again themselves. (That is, to self-publish it, rather than trying to sell it to another publishing house, since that's become well nigh impossible.) I thought I should bring in an expert, so I ask my friend Jeff Gerke to respond to some questions on this topic. Jeff runs Marcher Lord Press, a publisher that produces and sells books through a publish-on-demand format. 

Jeff, how can an author who owns the rights on their own out-of-print (oop) book self-publish? 

We're living in the age of the small publisher and niche publisher. Most of the larger publishing companies haven't realized it yet, but a revolution is underway in book publishing that is akin to the YouTube revolution. With small presses--including print on demand (POD) operations--now anyone with content can produce professional-looking books and get them directly to the consumer who wants them, via the Internet.

In 2006 I began my investigation into POD as the technology I would use when I launched my own small Christian publishing company, which I did in 2008. Now that I see how easy and inexpensive it is to produce excellent-quality books through print on demand, I don't see why everyone isn't doing it.

The first question to ask about this author is probably, "Does she have all the files? As in printer-ready PDF for the cover, spine, and back cover? Typeset and printer-ready PDF of the interior?" If so, then she really is ready to go. Those are the only two files she'll need to supply. In that case, I'd have her use LightningSource (www.lightningsource.com). They're who I use for Marcher Lord Press. They're terrific. High quality books, excellent customer service, fast processing of orders, reliable shipping, reasonable rates.

Is it expensive?

It's been a couple of years since I signed up with them, so I don't remember if there were fees on the front end. I suspect there's some fee for getting set up with them as a publisher. But it would've been under $200, I think. Then there are lots of forms to fill out. When all the setup is done, uploading a book for printing is easy and relatively low cost. It's $40 to upload the interior PDF and another $40 to upload the cover PDF. If you want to generate a proof of the new title (which I recommend), they do that for $35, I believe.

Then the book will be available for printing and your writer friend can order as many or as few as she wants. Unit costs are based on pagecount, of course, so a trade paperback book of 200 pages or fewer might cost ~$5 to print, while a book of 700 pages (which I'm actually doing now!) can run about $10.50/unit. Then there's always a $1.50 handling fee. And then UPS shipping.

LightningSource will get the book listed with Ingram and Amazon, so that pretty much covers the bookstores. They'll also (for an additional fee) place the new book in some kind of catalogue that supposedly exposes the book to...I dunno...bookstore buyers and libraries, maybe? Not sure.

What other expenses are there?

Your friend will also need to buy an ISBN. You can get them from Bowker. They can be bought individually or in groups of 10 (which is what I do) or 100. And she'll need to register the book with the Copyright Office, which, if you do it online, is like $35.

I am signed up with LightningSource to be a digital download publisher, but I've never actually used them for that. I don't produce e-books, after all. Whatever e-publishing I do I do through Amazon/Kindle directly or off my own online store page. So I can't speak about how well LightningSource does on that, but I know they do it and I suspect they do it as well as they do everything else.

If your author needs editing, typesetting, and/or cover design, there are countless people in the industry who can help with that. And really, no author should produce a book that hasn't been seen and reviewed by someone else -- an outside editor who can see the problems and make changes. For that matter, I can help her with that personally. I'm doing all three now. If she needs copyediting help, for example, there are plenty of freelancers out there.

Another option, if she needs all that, is to use a company that packages a bunch of services together. If she's a CBA author, for example, she could go to someone like BelieversPress. I'm a service provider with them (editing and typesetting). It's like a food court for Christian publishing freelancers. You can get editing, publicity, covers, typesetting, printing, sales, the works, through BelieversPress. 

So since you're here, what can you tell me about Marcher Lord Press?

How much page space do you have? [grin]

Marcher Lord Press is my indie publishing company. We produce only Christian speculative fiction--science fiction, fantasy, supernatural thrillers, vampire, alternate history, end times, superhero, spiritual warfare... Or, as I like to say, anything weird. (From a Christian worldview, anyway.) We launched in October 2008 with three novels and are now on the cusp of releasing our fourth list, on April 1. Our novels have been reviewed in Publishers Weekly, Library Journal, the USA Today faith and fiction site, and more.

The name of the press comes from the marcher lords in medieval history. On the border between two countries -- England and Wales, for instance -- the boundaries were contested and barbaric. The English created a series of castles on that borderline, called the marc or march, to maintain the perimeter and protect the homeland from invasion. The knights who held those castles of the march were called marcher lords.

When it came time to name my company, I turned to the idea of the marcher lord. I loved the connotations of a brave knight holding a keep on the borderlands, the tip of the spear against the enemy -- and the bastion from which civilization could extend outward. Plus, I just love knights and castles. My company logo shows a brave warrior standing defiantly, flag planted in the ground and flapping fiercely in the wind. "This far; no farther," the warrior seems to say. 

As a Christian SF/fantasy company we're out on the fringe in a number of ways, but that fits with the imagery of the marcher lord...and my penchant for being the rogue indie out doing his own thing. Come check us out at www.MarcherLordPress.com. Maybe you have it in you to be a marcher lord author yourself. And certainly there is someone in your circle who would love a fantasy or science fiction novel as a gift.

Guest Blogger: A First-time Author Shares Her Story

Chip asked me to tell the story of how I got published. Here’s the thing: I have the world’s worst memory when it comes to things like timelines. Maybe all writers are the same. Maybe just women. No idea. Regardless, consider this my official disclosure if dates and details are a little fuzzy or a year or two off here or there. But I think I can recount the gist of how this all worked out for me.

In 1997, I had the brilliant idea that I might be able to be a stay at home mom if I could actually bring in some cash. Writing had always come easier for me than most, so me being the genius that I am knew that this would be the way to bring in some fast, easy, cash. Ahem, yeah, well…

So, for the next six months or so I wrote everything from greeting cards, to articles to short stories, poetry, and my personal favorite—rhyming children’s books with strong morals featuring talking fruits. I sent this little gem to all the best New York literary agents in fancy, twenty-four point font, wondering how I would ever decide which agent to allow the privilege of representing Anna Banana.

Needless to say I collected quite a pile of form rejection letters. I cringe to think that some of my earliest work is probably framed above some agent or editor’s desk just for laughs. Despite my stupidity, laziness, and lack of knowledge in the publishing world, I did manage to get my first pay check six months in for a magazine article. I was a published author!

I had a little more luck over the years which followed—a few articles, but not a whole lot. In 2003ish, a girl at church was talking to the congregation about writing her second novel. My mouth dropped. She was just seventeen! If she could do it, surely I could. With all the know how I used to launch my rhyming fruit books, I set about penning my first novel.

In six weeks I had my first novel. I took this masterpiece, (which was so good it needed no editing,) to sell at the Blue Ridge Christian Writer’s Conference. It was at this conference that I picked up my first copy of Self-Editing for Fiction Writers, a book that would teach me a thousand times more than I previously knew about editing. I also met my critique partner Ane Mulligan, who I half suspected was insane. Turns out she is, but pleasantly so, and together with Jessica Dotta, the three of us have remained critique partners for the last 6 years.

It was at this conference that I also met the man who would become my agent, Chip MacGregor. He scared off a lot of people with his brash frankness, but I saw a truth teller. I pitched him that first novel. He blinked at me a few times, smirked a little, then said, “Gina, I’m with Alive. We’re the top agency in the business. I’m really not looking for authors who are just starting out….in fact, I’m a little surprised that you’re pitching me.”

Ouch. Undaunted, Chip and I prayed together before I left that appointment and I’d made a friend. With the help of Self- Editing and my new critique group, I spent the next year or two editing that first novel, and learning the basics of the craft of writing. After that, I wrote my second, third and fourth novels, all suspense. All of the novels I wrote came close to publication, but somewhere between an editor’s interest and the publishing board meeting, interest waned and rejection after rejection . . . after rejection followed.

Through all these years, I ran Novel Journey, wrote, edited, mentored and was mentored. I attended many writer’s conferences, built relationships in the industry and learned all I could about the business. I had several agents who weren’t quite right for me and then at an ACFW conference Chip announced he was starting his own agency. He also made it clear that he was interested in representing me. Chip and I were friends, our philosophies lined up and I knew he was very good at what he did, so the partnership was a no-brainer.

Over the following months, I would get calls from Chip every now and then making sure I wasn’t planning on jumping ship just because it was taking us a while to get a contract. I think we were both concerned we were letting the other down during this time. Chip always kept my spirits up by letting me know he believed in my writing and that I would get published eventually because “greatness will out.” I think he represented me close to two years before I was contracted.

In 2008 I think, I started reading things like Memoirs of a Geisha, Peace Like a River, Jane Eyre, Watership Down, etc., and thought that maybe I was writing in the wrong genre. I wasn’t sure, so I figured the only way to find out was to try writing something a little different.

 I presented a third-person medical mystery to Chip along with a few chapters from my first-person women’s fiction novel about a young mother dying of cancer. I asked Chip which one he thought we ought to pursue. He said, “They’re both good and I can probably sell either, but Crossing Oceans seems like your true voice.”

That was it. I knew he was right.

At the ACFW conference that year, two editors asked to meet with me. Normally, I’m the one stalking them, so this was way different for me. They both had some suggestions on improving my story. One editor was on fire for it. The other, was really more passionate about seeing me get published because she thought I’d done so much to help others. In the end, one pursued me and my story and that passion is what won out at the end of the day. I sold my novel before it was completed. It’s rare to do it, but we did. Not only that but Chip scored me an advance that far exceeded my expectations.

Long before I understood that Tyndale was really going to publish Crossing Oceans, Chip knew. He kept congratulating me before we’d even had an official offer. I trusted him, but was afraid to get my hopes up. Finally, he called me when I was at work in the hospital nursery, surrounded by crying babies, nurses and doctors. Via cell phone, he said, “Gina we have an offer. It’s okay to scream now.”

I had to sit down. The whole nursery grew quiet as everyone listened in. My coworkers knew I’d been at it a long time. I spilled a few tears, so did some of them. That night, I couldn’t get anyone on the phone. Not my critique partners, not my family, no one. I couldn’t tell anyone that after ten long years of rejection my dream was really going to come true.

At least I get to tell you. That’s my story.

 

Gina Holmes’ first novel, Crossing Oceans, will be released by Tyndale Publishers on May 1. 

The Trends in Fiction

Cecily wrote to ask, "Can you tell us the latest trends you're seeing in fiction?"

Happy to. This is coming straight from my experience, so another agent, or an editor at a particular house, may be seeing different trends. My thoughts...

--The continued growth of romance -- particularly historical romance. Let's face it, last year the publisher who saw the biggest growth was Harlequin, and they did it in a down year for most publishers. The fact is clear: readers in a bad economy like to escape by reading romance novels. You can roll your eyes if you want to, but it's the truth. (And yes, I'm happy to say I represent some excellent romance novelists.) 

--Thrillers aren't selling like they used to. They're far from dead, but the whole CIA/24/CSI thing has been fading. James Patterson and other bestselling novelists can still move large quantities, but once you move away from the bestselling authors, it's much slower (and, frankly, much harder to place a new novelist). 

--There is a renewed interest in Americana, particularly during sunnier days. We're seeing interest in the Victorian and Edwardian periods, for example (um... assuming it's fair to use British terms for American history). That seems to be a trend away from seeing so many wartime sagas -- perhaps a reflection on our fatigue with the never-ending war in Iraq. 

--We've seen a lot of growth with fiction that surrounds historical events. Not a retelling of the events, but of stories that touch on history. So, for example, we're not seeing novels that re-tell the assassination of President Lincoln, but we ARE seeing novels that have to do with people who were in the vicinity, or who knew John Wilkes Booth, or who were at Ford's Theater, or who were part of the chase to catch the conspirators, etc. Again, not so much focused on the event itself, but on characters who were influenced by the event. 

--Literary fiction is definitely a growth category in American publishing. Take a look at any bestseller list, and you'll see a lot of literary fiction. Not only that, but many of the books have a clear spiritual thread -- something I don't see many people recognizing or reporting on. 

--One of the most-reported growth trends has been in paranormal fiction. And while we see a lot of YA titles (Stephanie Meyer et al), much of the growth in adult paranormal novels has been of the "erotic"  stripe. 

--If you separate paranormal from fantasy & speculative fiction... well, for all the talk about the huge growth we're going to see in fantasy titles, I'm still not seeing publishers buy or sell much spec fiction. I know that pains all the fantasy writers, but the fact is it's still a fairly narrow niche. Speculative readers are devoted, and there are more than there used to be, but overall the industry isn't viewing this as the next big thing. 

--I see mixed signals in the horror category. Some think it's up; others think it has run its course. I don't have a firm opinion one way or the other. 

--Of course there has been huge growth in the Christian/inspirational category over the past 7 or 8 years. The incredible growth has slowed, making some think religious fiction is hurting, but that's just not true. Christian fiction is still a HUGE category, and there is still growing interest from those houses who were late to jump on board during the heyday. So while, yes, we're not seeing the big growth in titles that we did a couple years ago, compare the number of titles and the number of genres and sub-genres to what we saw just three years ago. 

--One of the most visible areas of growth in the inspirational category has been Amish fiction (or "bonnet novels"). Some people have said that it's going to fade out, but I don't believe it. I think it has established itself as its own sub-genre. What Bev Lewis started and Cindy Woodsmall followed has turned into its own category of fiction. That sort of thing happens sometimes -- consider Louis L'Amour creating the giant interest in westerns, or Edgar Allan Poe basically establishing horror fiction. People are still buying it, so it has clearly found its audience. 

--A trend among CBA houses seems to be a pulling back -- moving away from some of the edgy themes in order to focus on the safer, tried-and-true CBA story. This is possibly due to the economy and our desire for security and simpler times, or it could be the normal ebb-and-flow of publishing interests among readers. 

--And a very strong trend is the growth of small presses, including those who only provide e-book versions of novels. Publishing is going through a huge transition, and with change comes new opportunity. Some new, smaller houses can be more nimble, and they are rushing to create books that are aimed at the new technology. Some of them will survive, some will no doubt see great success and become large corporations (that are perhaps no longer as nimble), and some won't make it through next month. At the same time, we're seeing large publishing houses make a commitment to the new technologies -- even if it may not be as quick or as complete as some writers would like. But the sprouting up of new companies is a good thing for writers. 

--And any discussion of trends wouldn't be complete without mentioning the growth of e-books and the shifting desires of readers to see books in other formats. I don't think ink-and-paper books are going away any time soon -- most every reader still loves printed books. But I've got three kids in their 20's, and all of them are comfortable reading a book on a screen -- even an iPhone screen. That tells me when their generation is in charge, the e-book will be a core business, not a side business. It will be a major part of every publishing decision, not simply a sub-rights discussion. 

By the way, I'm teaching a seminar in Atlanta next weekend entitled WRITING BESTSELLING FICTION. My co-teacher is bestselling author Susan May Warren, and we're going to be exploring how an author can move beyond just writing another novel, and create a book that has all the qualities of a bestseller. We'll be talking about plotting, characters, structure, themes, dialogue, scenes, and the importance of things like the hero's journey and the inciting incident. We will have some specific time devoted to writing romances and suspense novels, and Susan has some great things to share about finding your writing voice. We'll close by talking about selling your book, creating a proposal and query letter, and we'll offer some face time so each participant can talk about their manuscript. We're meeting at the Embassy Suites in Atlanta, and as I noted the other day, I think there is space for two more, so if you'd like to join us, check it out at www.themasterseminars.com. 

The Two Biggest Things

On this blog, I am frequently asked about trends and future issues. I can tell you two of the biggest things happening in publishing hit this week, and you need to know about both of them..

First, Apple had their big press conference to introduce the iPad. Okay, get over the name jokes ("Yes, the iPad is small and light, but can you swim in it?"). In a few months, nobody is gong to be joking about the iTampon. Frankly, this is a GREAT product. Some people are criticizing the iPad for (1) not multi-tasking, (2) not having Flash, (3) not having a camera, (4) not having them all be 3G... but those criticisms are overblown. The iPad is a combination e-book, netbook computer, and portable photo display. It has a touchscreen keypad, is great for surfing the web and watching movies, and will simply be the best e-book reader on the market. For those of us who travel, this is fabulous, because we can now leave our heavy laptops at home. 

And the cost for an entry-level iPad is $499 -- not cheap, but fully half the cost everyone was projecting. Apple has a history of making new products like this work, and I think this one is going to work in a big way. In fact, word is the folks at the Apple press conference specifically held off talking about the e-book capabilities of the iPad until last, because they feared that one application would overshadow everything else. And... it will. Jeff Bezos at Amazon is looking at the future, comparing this to his Kindle, and recognizing that he's in a tough place. Amazon has dedicated themselves to the Kindle, which is a good product that is dedicated to one thing -- reading books electronically. But the iPad allows you to read books AND watch movies AND surf the web AND check your emails AND keep all your photos close by. And, of course, it's got Apple behind it, pushing to make sure you know it's cool. 

If you want to see what all the talk is about, visit: http://www.apple.com/ipad/#video

Second, there was a huge battle taking place in the e-book market. This also relates to Amazon, and if you're a writer, to your future. Let me offer a bit of background. The folks at Amazon want to rule the world. They really want to wipe out the competition to their Kindle for e-books (and there's nothing wrong with that -- every agent would prefer to represent ALL good authors, and every publisher would rather OWN the bestseller lists). The problem is that Amazon has forced a bad deal onto publishers, and therefore onto writers. They want to list all their e-books at a retail price of $9.99, and then keep 70% of the income. That means the publisher, who has invested money in editing, copyediting, interior design, marketing, and a thousand other things to get your book to consumers, is making almost nothing. And, frankly, it means the writer is making even less. Some of the publishers (notably David Young, CEO at Hachette and my old boss) has made it clear they can't live with that arrangement. Amazon is taking some of the best books and making them loss-leaders, which isn't terribly helpful in a 90/10 business like book publishing. 

So last week the folks at MacMillan announced they couldn't live with it any more. They stated there was a price they needed their books sold at. (This is unusual. I mean... if you create shoes and sell them to Sears, you don't have too many concerns what Sears charges consumers so long as you get paid, right?) In this case, everyone in the writing community was cheering MacMillan. The company simply made a point that they need to be able to make money in order to stay in business, and they offered a very clear note to Amazon, that in essence went like this: "List the books for what we suggest as a retail price, and let consumers decide whether to pay that or not."

Amazon's response? They stopped selling MacMillan books. In what can only be described as a nakedly political move, they took all the "buy" buttons off books published by MacMillan. If you had a MacMillan book on your "wish list," it disappeared, without explanation. If you had downloaded sample chapters to your Kindle, those were gone. You could still buy a book through a third-party seller, but not directly from Amazon. That meant even bestsellers (such as Andrew Young's fascinating but repugnant tell-all on Sen. John Edwards, THE POLITICIAN, which ranked #9 on Amazon's bestseller list) was no longer for sale by Amazon. 

Um... let's just say that was a bit of a reach by Mr Bezos and his minions at Amazon. Publishers made it clear they weren't going to be pushed around (especially with Steve Jobs and the Apple team ready to launch an e-Book store). Authors, who you would think couldn't live without Amazon, came down squarely on the side of MacMillan -- insisting it wasn't fair to simply de-list all MacMillan books. And literary agents made it clear they wanted the longterm health of the industry to take precedence over short-term sales. 

So Amazon announced they "will have to capitulate," and made noises about how unfair it all is, and complained that "MacMillan has a monopoly over its own titles" (a laugh-out-loud statement, coming in the face of Amazon's own clear desire for an e-book monopoly). If you listen to the folks at Amazon, they make it sound like they've just got the best interests of consumers at heart, and those terrible publishers are ruining it for them. My response: "Yeah, I'll cry all night." 

Look, sometimes you just have to take the good of the industry-at-large into consideration. What MacMillan did was good for ALL writers. And other publishers are going to jump on board. We'll look at a breakdown of the actual dollars earned in a few days, but for now, THIS is where the biggest news of publishing is happening. 

The Direction of Christian Fiction

Denise wrote to ask, "What's the most important thing I need to know about publishing?"

Well, this morning I opened up my email today, and received a message that began: "If you could give me ten minutes of your undivided attention, the information you're about to view will CHANGE YOUR ENTIRE LIFE." 

Well. I certainly could use my entire life changed. (For example, I'd like to be able to dunk a basketball.) But it turns out the author isn't going to make me taller or more athletic, nor is she going to help me glow in the dark or see God. She just wants me to look at her manuscript. And, unfortunately, it's not for a book. It's a play. And, um... we don't handle plays. And it's a "gospel play," though I don't know if that's really a genre. AND the writer is not only looking for an agent, but for "investors."

People wonder why agents and editors sometimes get cynical about projects in their mailbox? This is why. It's like the people who write to tell me about their poetry. I don't represent poetry. There's no way for an agent to make a living selling poetry. Even if I LOVE your poetry, I won't represent it. 

So while the details of my answer to Denise's question might change from day to day, the basic answer remains the same: Learn the industry. Every few days I get a proposal from someone that has been sent to a bunch of agents. We'll all be listed in the "to" line, sort of the publishing equivalent of asking for a date to the prom by posting an ad on Craig's List. A ten-minute search on the topic "how to prepare a query letter" would have helped this person understand that it's bad form to cc every literary agent in America. (Unfortunately, it seems whenever I've tried to educate writers about this practice, they're always cranky. I wrote to someone recently and said, "This is the wrong way to go about getting published. Spend a few hours researching how to do this before you send something out." The response: "And you call yourself a Christian!")

Sandi wants to know, "Do you read the comments people make after your blog posts?" 

Absolutely. I try to read all of them, and I try to respond back to the person, though I'll admit I don't get to everyone. On my last post (which had to do with a list of great books writers should read), the comments were wonderful. Insightful, strong suggestions for other books, good notes about the books I had listed. I find this to be a conversation, and I learn from others.

It's funny, but I've noticed we've been getting strange spamming stuff as comments in older posts lately. I got this sentence last week: "It's not so simply to make a the best already written essays, preferably if you are busy. I consult you to notice buy essays and to be free from query that your work will be done by custom writing service" (no, there was no punctuation on the end of that crappy sentence). Um... I don't even know what that means, though I suspect the author is trying to sell college essays. But who buys from a person who can't even write a coherent marketing sentence? Yikes.

On a favorite topic, Lisa wrote this: "Are you worried about the direction of religious fiction?"

Concerned? No. I'm excited about the direction of Christian fiction. Lisa, you may want to explore the new directions of religious fiction. Start with some authors like Charles Martin, or Lisa Samson. Take a look at Claudia Burney, or read Susan Meissner. Pick up some books from Elizabeth Musser and Penelope Wilcock. You'll discover contemporary stories that deal with the bigger questions of life, not simplistic views with a slapped-on Bible verse. There are all sorts of new directions CBA fiction is heading -- thrillers, romance, historical novels, literary fiction, you name it. 

Some of the discussion regarding recent CBA fiction is that it's moved away from its roots. I don't agree with that -- I think it has expanded, which is exactly what happens to a movement as it grows and develops. That's not a bad thing. I could argue that, at one time, CBA fiction offered a santized and unrealistic perspective of art. I'm not opposed to doing nice, sweet books (in fact, I represent some of those very titles). But think of it this way: If I were a songwriter, would I always have to write a song that had words praising God? Couldn't I write about love or friends or struggles or the beauty of the Oregon coast? If I were a painter, should I feel constrained to only do religious art -- Christ on the cross, the Last Supper, the glory of His return? If I were an actor, is it imperative I only take roles that allow me to be a good guy, a redemptive character? No. This is art, and we're allowed some significant leeway in our artistic calling.

Frankly, I think a lot of the talk about fiction needing to be clean and holy is overblown. Some of the best novels I've ever read have characters struggling with their choices, not always acting redemptively, sometimes making bad decisions. It's the struggle with those choices that offers depth and insight and value to my reading. (And, to be fair, sometimes I read merely to be entertained, so I want action and fun and interesting characters -- and I don't see much in the Bible that condemns that desire.)

In all honesty, I feel there is a certain theological perspective, and accompanying behavioral mores, that are sometimes promoted as "good fiction" in CBA, while things many evangelicals are not comfortable with are being discarded as worldly and evil. And I find that a shallow perspective of literature. Art is about letting go, reaching out, and stretching boundaries. The current fear much of the culture has toward rigid evangelicalism is that it's turning into modern day phariseeism -- i.e., "If you do THIS, you're a Christian; if you do THAT you're not. If you believe THIS, you're a Christian; if you can't check the correct boxes on our theological chart, you're not a Christian." That's not how I view the faith. I especially don't want my faith evaluated by a list of behavior I don't do. (Maturity isn't found simply in refusing certain things, but in actively doing good.) What's odd is that some people are raising this about fiction at a time when the church is growing in new directions, embracing grace, and understanding that the world needs more than behavioral platitudes and bumper-sticker thinking. So here I am (a Talbot Seminary grad and an ordained pastor), struggling with the direction of modern American evangelicalism and the desire to limit artistic expression. I'm pretty conservative in my theology, but I see the art of writing as stretching beyond the safe boundaries of an ultra-conservative American church.

So let's end with something much more fun. My son sent me this link, which is a hoot:  http://www.11points.com/News-Politics/11_Most_Painfully_Obvious_Newspaper_Articles_Ever

Take a look at the sort of insightful writing you can find in America's newspapers! (My favorites: "Homicide Victims Rarely Talk to Police" and "Death is Nation's Top Killer.") Take a peek and share a laugh with me. 

Not Going it Alone ...

 

I don't watch much television, but both my husband and I enjoy shows on National Geographic about climbing Everest. He usually comments on the enormity of the feat and is astounded by the risk and courage and pure adventure these climbers exercise on their way to the top. I shake my head and marvel that, for the sake of a few minutes of human glory, these intrepid souls risk their very lives.

I’ve asked my husband, “Would you do it, if you could?” His usual response? “Maybe. But I wouldn’t even know where to start.”

I’m simultaneously glad to think he would consider such a thing, and relieved that he’s really not motivated to try. I mean, I like to think we both have adventurous hearts, and that we’d be mutually supportive should either of us choose to pursue such an endeavor (as if!). But where he looks at the mountain and sees the eventual glory and reward that would make it all worthwhile, I consider the toll it would take and realize there is no way he - or anyone - could do such a thing alone. I'd have to commit in some way.

Don't get me wrong. If he wanted to climb Mt. Everest (heck, if he wanted to climb the ladder and take down the neighbor's Christmas lights), I'd do whatever it took to help make it happen. Help him break it down into small, doable steps. That's my strength. I keep him moving forward; he keeps me looking up, remembering to consider the big picture. I’m guess you could say I'm his Sherpa when needed, and vice-versa.

Do you have a Sherpa in your writing life?  A spouse willing to encourage you regardless of the sacrifices? A writing partner who understands the costs and keeps you moving forward regardless? A critique group committed to helping one another get in condition? Maybe, if you're ready, you have an agent who believes in your talent and is moving along with you step by step.

If not, perhaps this should be the year you find someone to help keep your eye on either the big picture or the next small goal, depending. Someone to hold you up when your knees buckle in exhaustion. Someone to keep you thinking about the importance of your personal goals when you risk losing motivation because you realize there is a line of people before you waiting for their turn to stand on top of the world.

Or perhaps someone to give you perspective and help you see that you even if you’re not ready for Mt. Everest, there are plenty of other shorter mountains and hills which might make sense for you to attempt first.

When it gets tough; while you’re wrestling to find the best way to add layers to your novel, researching statistics for your nonfiction work, tightening your dialogue, adding depth to your characters, reorganizing your outline, developing a twister plotline, or double checking that you've made the strongest word choices,it might be helpful to remember that right now, someone is waiting their turn to approach the peak of Everest, potentially having just conquered Hillary’s Step, and ascending, step by grueling step, the last 100 feet to reach their long planned destination.

I can't begin to imagine what that must be like. But, unless I've missed something, I don't think anyone has ever done it solo. The first recorded climbers to reach the top, Sir Hillary and Tenzing Norgay (who, by the way, for years refused to reveal which of them stepped on the peak first), certainly didn't do it alone.

Writing may not be as difficult or life changing a feat as mountain climbing. But, it is still a difficult one which is often regarded as a solo endeavor. In the end, though, I think it's important to remember that it really doesn't have to be.

Just something to think about while the snow flies and the winds of winter howl about us.

Happy Climbing!

Sandra

Questions about the Publishing World

A bunch of quick questions and answers on the world of publishing today...

Mike wrote to ask, "Would you recommend an aspiring writer attend a seminar like 'Story' by Robert McKee?"

Absolutely. I think attending a good writing seminar or conference is one of the best investments a newer writer can make.

Tim wants to know, "What do you make of Kirkus Reviews closing down?'

Hate to see it. If you haven't heard, Nielsen Business, the owner, is not only shutting down Kirkus Reviews, but selling off Adweek, Billboard, and The Hollywood Reporter. Kirkus has been around since the Great Depression, and while it had a reputation for savaging a lot of books, it was also an influential source for writers and publishers. But reviews have moved to the web, so that's the place to go if you want info on books these days. 

Wanda asked this: "Are digital books going to ruin the book publishing business?"

Nope. They're just the latest form of books. I would note that this week some of the big publishers (Simon & Schuster, Hachette, and Thomas Nelson) announced they would delay some of their e-books until after the hardcover has had its own sales season. Some reviewers saw that as a mistake, as though publishers were caving into author and agent demands. Baloney. They're doing it to try and bring perspective back to the industry. Amazon does everything in secret, demands exclusivity, and has been no friend to authors with its financial demands. Everyone is waiting to see what happens when Apple releases their e-reader next year, since word is they're going to be much more publisher-friendly. 

Marvin asked, "What is the best website you read?"

There are several, and I've mentioned them in the past (Mike Hyatt, Rachelle Gardner, NovelJourney, Writers Digest, Absolute Write, Publishers Marketplace, etc). But let me steer you in another direction... If you come to this site and you've got a church background, by all means check out Stuff Christians Like. It's one of the ten-most-read religious websites in the country, and it's a hoot. The author, Jon Acuff, has a book coming out with Zondervan next spring, and people have already ordered thousands of copies... for a book that is five months away from being printed. Amazing stuff. Funny and insightful, and the author is being asked to speak at conferences everywhere. Check it out at www.stuffchristianslike.net

Amy wants to know, "Is the market glutted with YA fantasy right now?"

There's certainly a lot, and most of it fueled by TWILIGHT (for a market that, in my view, was begun by the success of the Harry Potter books). So, yeah, there's a lot of YA fantasy right now. A glut? Depends on your perspective. As long as it keeps selling, there's not a glut. 

Timothy asked, "Does the movement of traditional publishers into self-publishing mean that the publishers are all destitute?"

No. But this economy sucks, and books, which traditionally have been recession-resistant, have been hit hard. Publishers are in business to make money, and the technology and distribution of books has changed significantly in recent years. So some of them (notably Thomas Nelson and Harlequin) have announced they're opening up a self-publishing division. (And, in case you're wondering, MacGregor Literary is in business to make money as well. If I saw an idea that could produce good income, and I thought it fit with my skills and the vision of my company, I'd have to explore it as well.) Correction: Michael Hyatt, the president at Thomas Nelson, wrote to say they are NOT delaying the release of e-books.

And some notes from the world of publishing...

--I think it's cool that David C Cook Publishing is starting a debt-relief plan to help out small Christian retailers. You don't see THAT sort of ministry-minded thinking in this business very often, so it should not be overlooked. 

--The Prayers of Agnes Sparrow is number 6 on the Kindle bestsellers list... which is amazing since the book was one of the first novels ever released by Abingdon Press, the book publishing arm of the United Methodist Church. Library Journal just named this novel from Joyce Magnin as one of the top five Christian books of the year, so Abingdon is giving it away FOR FREE. If you've got a Kindle, drop by Amazon.com and download it. (If you don't own a Kindle, they've even got a free software download that will let you put it on your computer. How sweet is that?!)

--And as long as I'm bragging about the authors I represent, I want to add that Ann Tatlock's The Returning also made the LIbrary Journal list. So TWO of the top FIVE Christian novels this past year are books we represented. Time to celebrate! 

--Wayne Pollard is a cartoonist who creates a funny world where people discuss books over their coffee cups. If you're unfamiliar, check it out at: http://boscafelife.wordpress.com/

Got a question about writing and publishing? Send it in and we'll offer you an answer. 

Precisely why I don't blog much ...

... because I should be working on getting proposals out and answering phone calls and emails. But, here I am instead. Wondering why on earth I threw my opinions out there in there in the first place.

First, let me say I realize we need to change our blog setup so people realize when it's me, SANDRA writing. I'll work on that.  For now, you get to read my words in orange.

Regarding yesterday's blog, I began posting comment replies but they got too long, so consider this a group reply.

I want to clarify that expressing whether or not I approve of TN's decision was not the intention of my post yesterday.  Who really cares whether I approve or not? I certainly wasn't trying to shake my finger at Michael Hyatt. Frankly, I don't know the man, but I do respect his position, and I'm smart enough to know (and humble enough to admit) that he's someone with a lot of influence who has the capacity to make or break careers. Or at least bend them.

My pointing out "what's behind the curtain" had more to do with my frustration about the whole farm team analogy. It just didn't fly for me.

Thomas Nelson's decision to add self publishing to their product line was their choice to make. It's a business model which is different from what's always been done. Does the fact that Nelson and other traditional publishers are stepping into this ring threaten the status quo? Absolutely. Do I respect their courage to at least step out and try something new? Yes, as a matter of fact I do. Am I jumping up and down in excitement about it? Uh, no.

I'm sure this decision wasn't considered lightly. Business ideas are sometimes conceived in a vacuum, but rarely carried out in one. My guess is that the seed of this idea started with a simple question like "how can we continue to move forward and mitigate risk?" For Nelson, this was their answer. Is it the right answer? That's the million dollar question, isn't it?

I realize from Thomas Nelson's perspective, this new division simply offers authors a new choice to make in regard to how they pursue publication. It's a service in exchange for a fee. And it's not like TN is going to go out and hang authors upside down to shake spare change from their pockets. Whether authors choose to buy this service is their choice.

Still, it's needs to be said that good authors work and sacrifice long and hard on their product before presenting it for consideration and this move doesn't make the road to publishing shorter or easier for them. It makes it steeper, bumpier, and harder to navigate.

For most authors, traditional publishing is still the end goal. In CBA, Thomas Nelson has long been considered the brass ring. The stamp of approval. Validation and evidence that an author has earned their way to the top and is deserving of respect as a Christian author. And I believe that respect is something which should be earned. Not available for purchase.

Face it, there is the potential for folks to let their desire to see their name on the spine of a Thomas Nelson book override their motivation to do the work. And, conversely, there is also the potential for TN to let their desire to make money override their motivation to hold to their standards. I'm not accusing. I'm just saying this looks like it has the potential to be a slippery slope and this concerns me.

Obviously I wasn't asked for my opinion on any of this. And as I was talking with another agent this morning, we agreed that it's easy to criticize and point fingers at other people's solutions without offering suggestions or alternatives, so here's mine:

Want a farm team? Go for it. I think it's a great idea. Start a new non-advance, higher royalty division - and perhaps use the Westbow imprint for just such a thing. This would still raise the commitment required from authors without lowering the bar. Help authors who are willing to commit to making the product a success, then spend the money that would have gone into an advance to help the author with marketing. I've done a couple deals this way with other publishers recently, and I have to say, I feel fine about it. There was nothing in it for me upfront as an agent, but in both cases, they are projects I believe have the capacity to not only make money down the road, but also make a difference in the long run.

Just an idea. Conceived in bit of a vacuum, I'll admit. Feel free to discuss. I've got work to do.

Sandra

So ... Self-Publishing is the New Black?

Sandra here.

Who doesn't see much point of getting into topics just to stir debate. Not afraid of conflict. I just don't see the point of adding another voice to what is destined to become an overcrowded, noisy room.

Okay. So, Thomas Nelson is starting a new self-publishing line. That's interesting. A sign of the times, perhaps. Something to watch and a new topic to discuss at writing conferences, debate on blogs, squawk about with retailers. We'll see. I have my opinions about it, but frankly, it's not my business. Literally. It's not my decision to make. Last time I checked, I didn't own Thomas Nelson.

I respect Michael Hyatt and the other fine folks at Thomas Nelson. And I'm positive they (and their shareholders and/or corporate suits) all put much thought and consideration into this decision. My guess is that they're expecting flack and have steeled themselves (and have pre-written press releases waiting) in preparation for it.

However. Ahem ... pitching this new venture as a "farm team" to authors? Excuse me?

That is a giant, sticky, wad of hooey, man.

Look. I know the lines between what once worked and what will work in the future are blurring and that we all need to do what we can to A) keep publishing viable and relevant and B) figure out a way to keep the pipeline of books strong so we can keep spreading the word and doing what we love. 

Call me cynical, but I'm thinking the motivation behind this decision might have something to do with the fact that opportunities to profit from books are growing slimmer by the second. Or is that just coincidence?

Thing is, there really is nothing new under the sun.

Back in the late eighties when I worked in the marketing department of a major CBA publisher, it was standard fare to gasp when authors held out for larger advances or asked that the publisher spend a few dollars on advertising, tours, publicity. "Greedy authors. Don't they understand Christian publishing is a ministry?"

Then the wall fell. Big hair started giving way to grunge. And agents began coming onto the Christian publishing scene (another gasp).  Soon after, the veil of ministry this and other Christian publishers were hiding behind was pulled away and Christian authors were suddenly encouraged to get over it and begin thinking of writing as a business. Hmmm...

At its core, publishing is a business whose end product happens to be the packaging of free expression and creative thought.

It is a capitalistic, money making venture. With some exceptions (Gideon comes to mind) it always has been. Still is. And there's nothing wrong with that.

Thomas Nelson's attempt to legitimize their venture into self-publishing by pitching it as place for them to cultivate and find professional authors is, at best, a stretch. Do they really need to start their own self-publishing venture to do this when there are others who this exact thing already, and do it well?  Go ahead and do it -- just call it what it is.

I don't follow baseball, but (and someone correct me if I'm wrong) aren't farm teams peopled by amateurs looking to work their way up the ranks to the pros? And aren't they typically supported (at least minimally) by the parent clubs or ticket sales? I'll admit I'm not exactly sure how farm teams pay for the gas to get from game to game, but I'm pretty sure it doesn't come out of the pockets of players. And are they expected to invest their own money in order to dress just like the big boys so fans and spectators can't tell the difference? I don't think so.

Seems to me that calling this self-publishing venture a "farm team" is an attempt to hide behind a curtain again, and mask the reality that this is a business venture and a way to mitigate risk. Trouble with that is those of us who have been around awhile can see that there's money behind that curtain.

Not that there's anything wrong with that.

Sandra