Category Archives: chat


Blog ’bout blurbs

It seems that most book covers nowadays sport a blurb or two from well-known authors, but do you know who the first authors were to introduce the world to the blurb?

I didn’t think so. It was Ralph Waldo Emerson and Walt Whitman (the former blurbing about the latter), according to this piece by NPR. The article touches on the origins of the blurb and its efficacy in persuasiveness. It’s certainly worth reading it in its entirety. Personally, no one has ever told me that they picked up a book because of the blurb on the cover, but the fact that booksellers appear to be taking them into account says something.

In fact, that blurbs have greater traction with publishing professionals behind the scenes rather than consumers in bookstores speaks to their continued pervasiveness. Because the truth is that it’s increasingly difficult to make a book stand out to the general reader, and if there’s even a chance that a blurb might cause a consumer to take a closer look, you take it. Same goes for generating any buzz you can pre-publication and arming your sales teams with as much firepower as possible.

What do our readers think? As a reader, do you take blurbs into account? How important are they to you as a writer?


Collapse of the Kindle?

E-readers like Amazon’s Kindle have forever changed the publishing world, but are we seeing the beginning of the end of the e-reader? Amazon has been getting its fair share of bad press lately, and now it can apparently add declining Kindle sales to its list of troubles.

I absolutely loved Jennifer Maloney’s piece in The Wall Street Journal, and in my opinion, I think she is right: the phone will drive future book sales—not the e-reader. With our increasingly mobile lifestyle, convenience and the ability to multitask are king, and our phones afford us both. I bought the iPhone 6 Plus, in part, so I could take advantage of the huge screen and read whenever I had a moment, which is exactly what I’ve done. My Kindle has been useless ever since (and to be honest, I think I lost it but don’t really care). Carrying around a phone and an e-reader seems counterproductive when just one can easily accomplish the task.

I’m very curious to see how publishers take advantage of this burgeoning trend to package books for the mobile phone. Amazon’s dominance in the book and e-book marketplace began, in part, because of the Kindle and the necessity for a complete book buying ecosystem to accompany the e-reader. Amazon’s Fire phone was a bust, so what does it mean for the retail giant as Apple, Google, and other players continue to flesh out their bookstores and build up lively reader communities for phone readers?

How do you read e-books? An e-reader? Tablet? Smartphone? Over someone else’s shoulder? Oh, and this drinkable book is amazing. Just another reason why print books are best.

How fast can you read?

There is SO much out there that I want to read and so little time to read it all. It’s one of the universe’s sick jokes. I thought Ken Kalfus summarized it perfectly in the beginning of this piece for the New Yorker.

So wouldn’t it be great if we could squeeze all that reading into our schedules? If we could read a page by just glancing at it? There’s no shortage of speed reading books and websites that claim to be able to drill this skill into you. And of course there are apps that help you speed read too.

A lot of these sources relay a lot of the same information. Focus and block out all distractions. Don’t read sentences more than once. User your peripheries and track your place with a finger or pointer. Don’t vocalize the words in your head, which I am pretty sure is impossible NOT to do.

These are all good tips, but do any of these sites offer any substantial improvement? While I can’t answer that definitively, I can point you to this Slate speed reading piece about the plausibility of speed reading and information retention rates.

So what do our readers think? Any tips you’d like to share?

Take the test here to see how you stack up. I got 567 wpm (and 3/3 answers). Challenge extended.

The art of storytelling

The story matters. But so does the way you tell it. Just learn from this 23-year-old who has been writing a memoir on Instagram.

There are so many great things to love about this story. Sure, I appreciate the beautiful photos and well-written captions, but I admire the sheer ingenuity most of all. Fact: a new memoir is published every 38 minutes. Don’t fact-check me on that, just trust me. There are a lot of memoirs out there. Another fact: not many of them are written using the medium of a photograph social media platform, with carefully curated shots posted a year later, a completely different practice than the usual immediacy and spontaneity of picture posting.

Short stories and even entire novels have been written on Twitter too, but what technology gives, technology also takes away. Algorithms generate news stories and a scary amount of written content that you would never suspect. Don’t believe me? Then take this test.

The point is this: technology has changed everything and will continue to change everything, for better or worse. There are an unimaginable number of ways to spread stories now. Get creative and find a way that is uniquely you. Otherwise computer algorithms may as well write your story for you.

Also, I just wanted to include a quick update on one of my earlier blog posts. In March 2015, I posted a blog about censorship and China being named the guest of honor at BEA 2015. Want to see what that all amounted to? This was the result.

Characteristics of a great thriller

Publishing is trendy—as in, it’s an industry dominated by trends, like pretty much every other industry. It’s not hard to understand why. Demand for books in a certain genre increases. Publishers acquire more books in said genre. And right now, thriller is that genre.

Thrillers have always sold, but Gillian Flynn’s GONE GIRL hit the big screen last year and demand for the genre grew. THE GIRL ON THE TRAIN by Paula Hawkins enjoyed some serious pre-publication buzz and came out of the gates at a full sprint this January. It’s been at, or near, the top of all bestseller lists since. Renee Knight’s debut, DISCLAIMER, comes out in a week, and it has drawn comparisons to both GONE GIRL and THE GIRL ON THE TRAIN. And on the eve of the London Book Fair this year, a professor at Oberlin College saw his debut thriller go for 7 figures in a two-book deal!

So clearly thrillers are hot. But what makes them great? What differentiates a top tier thriller from an average one? What do you think? Sound off in the comments.

Oh, and if you think you’ve written a top tier thriller, do send it my way. I wouldn’t hate reading it…


A call for more sports literature

As some of you may know, I’m a little into sports, and as a fan of the Mets, Nets, and Jets, things are looking surprisingly good. The New York Mets own the best record in baseball, at least for now (probably won’t last…or will it?). The Brooklyn Nets beat the Atlanta Hawks last night to tie up the series at 2 games apiece against the best team in the Eastern Conference (though their chances of advancing are still small). And with the offseason moves the Jets have made, they are, in my opinion, just a decent quarterback away from being potential playoff contenders (a tall order, I know).

So, with that said, I’d like to request/plead for sports-related queries. If you have a novel or nonfiction work on sports, I would love to take a look at your material.

Fair warning: books about sports are tough to sell for a very simple reason: the market. Publishers won’t buy a book that they cannot definitively say will appear to X number of readers or Y demographic. It’s no secret that women tend to read more than men, and it also isn’t a secret that men tend to be more interested in sports than women. Except that—and this is a secret—neither are true. Well okay, maybe the former is, but I have male friends who read voraciously and female friends who bleed red and blue (NY Giants, NY Rangers).

Sports are universal. There is a market. And when books about sports work, they really, really work. In fact, they often work themselves onto the big screen. Yeah, I’m looking at you FRIDAY NIGHT LIGHTS by H.G. Bissinger, MONEYBALL and THE BLIND SIDE by Michael Lewis, and SEABISCUIT by Laura Hillenbrand. Oh, and novels can work too—case in point: THE ART OF FIELDING, Chad Harbach’s wildly successful debut and one of my favorite novels in recent years.

Notice any commonalities between any of those books mentioned above? They’re great sports stories, told beautifully, and aren’t really about sports. Query me if you think your book fits the bill.


Globalizing the literary landscape

Hey readers! Today I’m pleased to share a guest blog post from our bright and insightful intern Christa Angelios:

From Mallory Ortberg’s poem “Male Novelist Jokes” to Junot Diaz’s comment in the New Yorker on his MFA program – “that shit was too white” – it’s no secret that the world of literary classics is awash in a lack of diversity. Culturally diverse authors often assume pseudonyms or use initials to make themselves fit in more with what they see as expected of them – because they’re worried the sales numbers will be too low if they use their given names. They’re worried that the American public is simply not interested in hearing their stories, cultural stories.

There are, of course, authors who are pushing against this formulaic assimilation, and proving that diversity does not equal diminishing numbers. Khaled Hosseini’s wildly popular novel, THE KITE RUNNER; Matt de la Peña’s critically acclaimed piece, MEXICAN WHITEBOY; and Junot Diaz’s hailed work, THE BRIEF AND WONDROUS LIFE OF OSCAR WAO, all attempt to diversify the modern literary landscape. Fortunately, my schools have not only respected diversity, but encouraged it. In high school, during my sophomore year, we read Jhumpa Lahiri’s INTERPRETER OF MALADIES along with a selection of short stories by Amy Tan, Sherman Alexie, and Junot Diaz. Diaz came to read at my high school that year, before which the administration begged him to keep his audience in mind and to tone down his presentation and after which the administration stood mortified when he chose to read some of the most colorful stories he had hand. Teachers were torn between admiring his bold rejection of censorship and finding his gall appalling. But despite the fact that the administration cracked down on a lot of smaller spoken-word performances after that, we still read works that broadened our cultural literary palate.

In college, I discovered that folklore held my literary heart. Celtic mythology, Grimm’s tales, and Russian skazkas could entertain me for a lifetime. And when I began writing culturally informed work, taking up the mission Chimamanda Ngozi Adichie expressed in her TED talk to prevent a culture from being distilled into a “single story,” my professors felt compelled to ask the question: what gives you the right to be writing about a culture that isn’t your own? My father is from Egypt, after all, so I have a rich ethnic history to draw from to which I could “appropriately” lay claim, and I admit that Ancient Egypt and the Arab Spring have captured my interest and imagination. But I count myself among what ethnically Indian author Pico Iyer, who feels he has not earned the “right” to call himself Indian because he didn’t know enough about the culture even if it was his ethnicity, calls an increasingly multicultural group for whom “home” is more of an intangible and ongoing project than a place. With no indication that globalization will be slowing down any time soon, what happens when our world becomes full of people who are of every nation – then whose “right” is it to lay claim to a nation’s culture?

These are not questions that the literary world can continue to ignore. Diversity should be recognized and celebrated across the board, not separated out into its own genre of “ethnic” work. In an interview with RonReads, young adult author Jenny Han said of her choice to include diversity in her work, “I want my books to look like the real world, and the real world is populated by all kinds of people.” It’s time the American literary landscape began reflecting the real world, too.


On censorship

I don’t often think on the topic, but a recent New Yorker article, coupled with the recent announcement that China is the guest of honor at this year’s BEA Global Market Forum, pretty much demands a philosophical blog post today.

Office politics plays a role in publishing, same as in any other industry. In China, it’s Party politics.

Peter Hessler’s piece in the New Yorker not only sheds some light on the Chinese publishing industry and the extent to which it is controlled by the government, but it also begs an interesting question—one to which I don’t have a confident answer.

Should authors allow their work to be censored if it means bringing their book to a new market and a fresh audience?

I don’t know. As Americans, our freedom of expression valued as highly as it is, our initial reaction is: absolutely not. After all, allowing your manuscript to be censored can be seen as passive endorsement of government propaganda. But when the alternative is not being published, can you really deny an entire country of people your ideas? Change is often incremental, and many publishers in China are doing an admirable job working around the realities of censorship to bring fresh, sometimes controversial literature to the Chinese people.

What do our readers think? Does anyone have experience dealing with such issues?


Tips from writers, for writers

Stephen King’s  short story, “A Death,” was this week’s fiction in the New Yorker, so naturally I started thinking about how I still have to get around to reading 11/22/63 and ON WRITING. Then I started thinking about how a lot of writers seem to enjoy giving advice about writing. But is any of it any good? The answer is yes: Yes, writing tips from established writers can be very, very good.

Here’s some of the best advice I’ve come across:

99% of great writers will tell you that their first drafts are rambling, incoherent pieces of s!@*. The other 1% are lying. (Full disclosure: I haven’t finished crunching all the numbers yet, so I’m ballparking here.) Editing and rewriting are such vital components to crafting a story, but first you need to put your ideas down on paper. You can’t shape what’s not there. If you haven’t read Anne Lamott’s BIRD BY BIRD, do so. Now. It will revolutionize your writing process.

John McPhee’s “The Writing Life” column in the New Yorker is a goldmine of wisdom. His tips on how to develop the structure of a story are particularly helpful. Few writers place such importance on structure as McPhee. Few writers have also had as prolific a career.

You ever hear of this guy Ernest Hemingway? I hear he’s good. He was also a proponent of simple, direct prose. Cut out all ornamentation. If a word isn’t necessary, lose it. He also said that writers should never describe an emotion—they should present the situation/action in a way that evokes the emotion in readers. This is  difficult to perfect, but it’s something all writers should strive to do.

What are your favorite tips from writers? Let us know in the comments.

Tell us how we’re doing

A while back (a year, maybe more—my conception of time is shockingly horrible, bordering on nonexistent), Sharon did a blog post asking for feedback from our readers. What we heard was eye-opening to say the least.

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All of it was informative and very helpful—and I believe it led to a better year in blogging for DGLM and our readers. So I will do so again here. Let’s call it our year-end review.

What do you guys enjoy about our blog? What keeps bringing you back for more? What would you like to see us do differently, do better?

This is your chance for some input. Our readers are important to us, and we want to blog about what you want to read about. So please, don’t hold back. What’s on your mind?