June 10, 2011

The slush pile of old, where my first book was discovered, was an actual tall stack of unsolicited manuscripts. They were read by lower level publishing staff called “first readers.” We thought at the time that the slush pile was huge–hundreds of manuscripts piled up.

Today slush piles have gone electronic–and backed-up inboxes may hold many, many more manuscripts than that. Why the big change?

What Happened?

Several things led to the demise of the traditional slush pile, says children’s author Chris Eboch in “The Modern Slush Pile” (Writer’s Guide to 2011). [With permission, much of this post is adapted from her article.]

Before computers, printers and copy machines, you typed every copy individually. It took forever–and writers then were much more careful about targeting appropriate markets. But now, with the push of a button, technology allows massive multiple submissions, and authors often target publishers using a scatter gun approach. Result? Overload at publishing houses.

“First readers” are gone too. Staff cutbacks took care of them. There’s no one there anymore to open the slush, enter the title and author and date into a book, and later read the manuscript and return it (with the appropriate letter) or pass it along to an editor.

Where’s the Slush Now?

Slush–those manuscripts waiting hopefully for someone to read them–have shifted locations.

• Agents have much of the slush in their inboxes now. Many of the new agents are displaced editors who were victims of cutbacks, and new writers are sending much of the unsolicited material to these new agents.
• Editorial consulting companies receive some of the slush too, but they charge for their services (while reputable agents don’t.) Just be sure to check the credentials of those who are offering their “expert” advice. One company (Stephen Roxburgh’s namelos) is highly respected. Other companies, however, promise way more than they can deliver, and their “expert” advice may be from someone who has never published or has little editorial experience.
• HarperCollins has a “virtual slush pile” at Authonomy.com where authors upload manuscripts, readers read them (for free) and vote on them, and then editors read the top rated manuscripts. A few do get published.

Getting Out

Thirty years ago, you had to wait your turn for a first reader to get to your manuscript. It would happen eventually–in about three months. Now, because of the higher volume of submissions everywhere, it helps if you get noticed in order to get your manuscript read.

How do you do that? Chris Eboch had these suggestions:

• Submit queries with a personal note of some kind (like maybe you read an article by the agent or read some books they represented).
• Attend conferences and workshops to meet editors and agents, and get permission that way to submit to otherwise “closed” houses.
• Membership in professional organizations like the Society of Children’s Book Writer’s and Illustrators (SCBWI)
• Volunteer at conferences–you may drive the agent or editor around or get to eat lunch with them, giving you a chance to get to know them. Your query will mention that connection and get a closer look.
• Network with other writers (or, in other words, make friends with writers.) After you make some sales, such friends often recommend each other for projects. I’ve done it for books I didn’t have time to write, and I’ve received work several times because a writer friend recommended me for a series project.
• Social networking helps, as long as you have time to actually participate in groups, list servs, discussion boards, and forms.
• Some contests have a prize which includes a contract and publication.
• A master’s program in fine arts can open publishing doors. Editors and agents have come to realize that authors with an MFA graduate with books that are high quality and may even be ready to publish. 

Some Things Never Change

The nature of the slush pile has changed. Ways to get noticed in the slush pile are now numerous. One thing, however, hasn’t changed at all.

And that’s how you get from the slush pile to an editor’s desk to a bookstore. Quality is the key. In the end, that’s the only thing that will sell your book. Quality of idea–and quality of writing. “Write a good book,” says Cheryl Klein, Senior Editor at a Scholastic imprint and author of Second Sight: An Editor’s Talks on Writing, Revising & Publishing Books for Children and Young Adults.

You don’t have control over electronic slush piles or the economy or the changes in the publishing industry. But you do have control over the most important aspect of your career–the quality of writing.

So focus on that. Write a good book.

(* “The Modern Slush Pile” by Chris Eboch is only one article of thirty-three articles in Writer’s Guide to 2011. The book covers these topics: Markets, Style, Business & Career, Research, Ideas, and Contests & Conferences.)

April 28, 2010

Last week I received this question in my email from a blog reader: “I wonder with the proliferation of print on demand companies reducing the need for inventory, providing on-line marketing capabilities, and the writer keeping a higher percentage of the book profits, what in your opinion, is the best route to go and why?”

 If you read my other comments on self-publishing in “The Four D’s” or “Publishing Confusion,” you probably guessed that I am negative about self-publishing. [Do read those articles-there are links to various websites where you can become more informed-and warned.]

Some of my opinion comes from personal experience: none of my 35 books were self-published. Some of my opinion comes from seeing writing friends and students get burned by false promises. (Yes, the writer gets to keep a higher percentage of book profits, but often those profits are miniscule. Fifty percent of a meager amount is still a pittance.) And some of my opinion comes from what I’ve heard agents and editors say (their negative perceptions of self-published books and authors.) I’m afraid that in at least nine cases out of ten, self-publishing turns out to be a very disappointing (and often expensive) experience.

Good Option for Some

Are there times that self-publishing something makes sense? Definitely so. Perhaps you’re a frequent speaker for a national organization like MOPS (Mothers of Preschoolers), and you speak to large audiences many times per year. If you have a nonfiction book that this group would love, then a print-on-demand book (POD book) could be a good idea. You have a built-in audience and credibility as an expert through your speaking. (I’ve heard of many professionals-from agents to landscape gardeners-who’ve been able to sell hundreds of books when they speak at conferences.) But they had credibility first-and a built-in large audience for their books. 

My One Experience with Self-Publishing

For the above reasons, I decided to e-publish a couple of $7 e-booklets this month. [See "Don't Re-Invent the Wheel."] I had the credibility first. Most of my published books are novels, so “50 Tension Techniques” was easy to put together from a workshop on that subject that I’ve done at many SCBWI events. And since eleven of my published books are mysteries, I had the credibility for “Writing Mysteries for Young People.”

And my built-in audience? I’ve had a website for many years, a blog for four years, and already had friends on my Facebook and Twitter pages. Everything was already in place for “e-sales.”

And (this is key to me), it was almost free to set up. I just added information pages to my website and blog. (If I had used PayPal instead of ClickBank, it would have been totally free to e-publish them, but my Google research turned up a lot of disgruntled PayPal experiences, so I opted to pay the one-time $49 ClickBank fee.)

What About Self-Published Fiction?

Self-published nonfiction out-sells self-published fiction by an enormous margin. Few people starting out as novelists have a speaking platform where they can sell their books. Few have a huge following online-and you must have if you expect to market your novel online. Otherwise you are stuck marketing the book from the trunk of your car, begging a few small bookstores to stock your self-published novel (the chain stores won’t), and arranging your own autograph parties and signings where you will probably sell fewer than a dozen books.

With self-published novels you won’t have the kind of support you get when published by traditional publishers. [For example, my latest publisher has nine of my books on their website, which I'm sure gets a lot more hits than my website! They have separate pages for the mysteries and the devotionals.] In addition, the four mysteries and one devotional are all getting new covers in May and another “publicity push” from the publisher. Traditional publishers can do that-they have whole publicity and promotion teams who work on such things.

Publicity and Promotion

When you self-publish, remember that you are the publisher (or you pay for it), the art designer (unless you pay for that service too), and your book’s publicity/promotion/sales team. Most of the on-line promotion packages that self-publishing companies want to sell you are things you could do for yourself for FREE.

And unless you already have a big following, your sales will be minimal. Most self-published books are way over-priced. Why would a stranger take a chance and buy a novel from an unknown self-published author when the same money will buy him a famous name author’s novel? Once self-published authors have run through their friends and family members, the pickings are slim when it comes to sales.

Be Extra Careful

If you are considering self-publishing, please thoroughly research the pros and cons first. Do Google searches on “self-publishing scams.” For each company that wants to “publish” your book, Google them. Contact other authors they’ve “published” and ask about their sales and what the “extra services” (like editing, marketing, book jackets) cost them. (Remember: with a traditional publisher, all those services are free to you and done by whole teams of professionals: editors, publicists, sales reps, promotion, etc.)

Do not let your blind faith or impatience to publish make you naïve. Take time to get your facts. Self-publishing is very risky business for an author. Except in rare cases (like those mentioned earlier), I can’t recommend it.

February 13, 2009

Yesterday my critique group met for its weekly meeting. While we do include food and fun, it doesn’t take us long to get down to business. Manuscripts come out, the timer is set, and we’re off.

My critique group grew out of a Jane Yolen workshop fifteen months ago. Our weekly critique group has proved remarkably helpful to me in my desire to write more. I’ve tried critique groups before, and they’ve always fizzled out. This time, however, the group is made up of four serious writers. At the meetings we each read a chapter to critique, and the meetings last between three and four hours. It has been very helpful for a couple reasons.

a) Accountability: We are each expected to take our critique time seriously and show up each week with work to critique. Knowing this–and knowing that the other three women will be there with their chapters–has kept me writing on three projects this year. I’m making steady progress, and the critique group’s advice has been invaluable. Each writer raises different questions and makes different suggestions for change and improvement.

b) Time invested: All of us are busy, and to give up one whole afternoon per week to critique forces us to work hard during the week on our projects. None of us wants to show up with less than our best work. It would be wasting our time–and everyone else’s.

I think one key to a successful group is finding other writers equally committed to working and improving and growing. If you’d like to find such a group, “Writer’s Critique Groups: where to find them” on Harold Underdown’s Purple Crayon site gives valuable advice. A good place for children’s writers to find partners for manuscript exchanges is SCBWI (the Society of Children’s Book Writers and Illustrators).

If you want to join or form such a group, but you’re not sure how to critique, see the five articles on the process of critiquing at Writing-World.com

Yesterday morning, I wrote almost four hours in order to have my chapter ready for critiquing in the afternoon. Would I have worked that hard yesterday otherwise? No. So if you’re having trouble setting personal deadlines and keeping to a writing schedule, consider joining a critique group–or forming one of your own. It will help you write more–and you’ll have fun doing it!