Category Archives: opinion

4

Good music

With apologies to Miriam for shamelessly ripping off her recent blogmy life has revolved around two things recently: work and music. As some of you might know, I used to sing and play guitar in a few bands back in the day, and I spent a couple of summers as a camp music counselor as well. Even majored in music in college, though I think that says more about my school’s lax curriculum than my musical abilities…

Anyway, my musical endeavors these days consist of screwing around on Garageband and playing for two boys who occasionally tolerate Daddy singing weird songs about bowling skinheads and some guy named Alex Chilton. But back in in December, a choice guest spot backing up the Manhattan School for Children’s winter hootenanny rekindled the performance itch, and so tomorrow I’ve got my first real gig in years–I’m playing 4 songs for my oldest’s kindergarten class. Needles to say, I’m terrified!

Okay, what does any of this have to do with books? Well, as I’ve written before, I do love rock bios and other books about music, and I’ve had the good fortune to place a few music-related titles as well. But it’s a tough market, especially for anything not written by or about an aging 60′s rock star. Yes, books about punk, jazz, classical, even hip-hop occasionally end up on the Big Six’s lists, but it’s hard to think of many that have broken out in recent years the way Keith Richard’s LIFE did–the numbers for PLEASE KILL ME, OUR BAND COULD BE YOUR LIFE or THE BIG PAYBACK pale in comparison.

So, like non-baseball sports books, is this a case of publishers not knowing or reaching their audience, or are 60s fans the only ones who buy books en masse? Of course the 60s inspire a lot of writers, but to the exclusion of other eras? Does gender play a role? Or is it simply that the music book category is so small that it takes a major celebrity to sell a book in serious numbers?

Well, I’d love to hear thoughts, because I do want to sign more music books across the board. What kinds of music books do you read and why? Are there any subjects, genres, or people you want to read about? What are your all-time favorites?

And if anyone wants to send good vibes my way tomorrow around 8:30 a.m., I’ll take them! I hear these kids today can be a pretty tough crowd…

2

Love is an open door

Does the title of this post sound familiar? If you’re a parent of young kids, I’m sure it does–your kids have probably been singing it ad nauseum for months now…

Yep, I’m talking about Frozen. Actually, we’ve been talking about Frozen quite a bit here at DGLM over the past couple of weeks, trying to wrap our head around why it’s such a cultural phenomenon and whether there’s a book in it. Of course, anything that involves The Mouse would be hard to get an insider’s POV, but I’d love to know more about how the story evolved and how they thought about their audience.

Because while Frozen is clearly, even transparently, targeted at girls, boys love it too–just ask the New York Times!  I can personally attest to it as well, with daily requests from my two sons (ages 5 and 3) to “play Frozen music” and an Elsa doll taking her place of honor next to the Star Wars figures and Matchbox cars. And as much as Dad keeps hoping they will “let it go” and start singing something else, I don’t see this obsession ending anytime soon…

Okay, what does this have to do with books? Well, it’s long been a truism in children’s book marketing that girls will read books with boy main characters, but boys will only read about boys. And so while books with boy main characters tend to be marketed with less regard for gender (Harry Potter pops to mind immediately), books with girl mains are often pitched much more directly to girl readers, especially “girly” ones like Fancy Nancy, Pinkalicious, Eloise, etc.

But with that, are the children’s marketeers giving our boys short shrift? My sons love Eloise, Ladybug Girl, and Olivia, who has gotten progressively “girlier” over the years. Granted, I already had these books on the shelf from my editor days, but we’ve also taken Fancy Nancy out of the library at their request. And when I talk to parents of boys in my oldest’s class or check out their bookshelves on play dates, I usually see some evidence of books that aren’t “meant” for their boys.

Now, of course my anecdotal evidence is flimsy at best, but I’m curious, dear readers: if you’re a parent of young boys, do they like books with girl main characters? Do they ever get Frozen-level obsessed? And if so, how do the books get into their hands? It’s a question for me as an agent, too, in terms of how I pitch certain projects–it’d be great to be able to say a girl main character will appeal to boys if there’s a way to back it up. So, please, lemme know!

 

0

I like reading YA and I don’t care who knows

I’ve always felt secretly awkward of the fact that I love young-adult fiction. I mean, can you blame me? Just look at how the phenomenon of adults reading YA has been dissected.

With so much analysis aimed at those of us adults who read YA, we needed a hero, someone to stand up and say nay, it’s not weird. And then I came across this game changer from John Green. (Who else?) And now I’m not hesitant to admit it. I love reading YA. I want to shout it from a mountaintop.

Do you qualify as a YA addict? Gotta love the shout-outs to Richelle Mead and James Dashner…but don’t stop your YA reading list there! Many of our clients are doing awesome things in YA!

Now, to get to the point of this post, I’ve been searching for a series that can live up to the recent ending of, what is scientifically speaking, the best YA series of all time: The Wheel of Time. Any suggestions? Anyone? Bueller?

0

A long time coming

One of the many things I love about book publishing is that the life of a book can be much longer than one might think. Generally speaking, from a publisher’s point of view a book’s “life” runs about three years–that’s when the business office usually runs their final post-mortem on a book’s performance. Yet even three years down the line (or more), things happen that can boost a book’s sales and give it new life on the shelf, and those surprises are gratifying in so many ways.

Case in point: When I was an editor at Putnam, I had the great pleasure to debut Royce Buckingham, whose DEMONKEEPER made a nice little splash in MG circles. However, it wasn’t as big as Putnam hoped, and his next novel didn’t do so well, either. So when it came time for Book 3, Royce and I felt he had to try something different. Thus, he came up with THE DEAD BOYS, which was much darker and scarier than his previous books, but in my opinion, the best thing he’d written by far.

As you might have guessed, THE DEAD BOYS totally tanked, despite some good reviews. But then some funny things happened: first, DEMONKEEPER became a huge hit in Germany, to the point that his German publishers asked him to write sequels in English solely for translation into German. It’s hard to quantify how much this helped raise Royce’s profile stateside, but it certainly didn’t hurt!

And then, THE DEAD BOYS quietly chugged along, particularly in Royce’s home state of Washington, where he does his share of school visits and other local promotion. The result? THE DEAD BOYS just won the Washington State 2014 Sasquatch Award, for which it was nominated by local librarians and voted on by kids across the state–four years after it was first published!

So, great news for THE DEAD BOYS–validation for a book that should have been “dead” by now, and I’m sure it will be followed by the sales boost that accompanies state awards. But more to the point, it’s just one of the many examples of a book whose life was extended beyond expectations, and I feel like it’s good for authors to keep these stories in mind when faced with dwindling royalty reports or out-of-print notices. You just never know–especially if you put in the work!

1

Royalty rate questions from the interns

I’ve looked over so many royalty statements that sometimes it’s easy to forget that not everyone understands them. And believe me, there are times when royalty statements are very, very hard to understand. But I realized the necessity of this post when going over royalty statements with a few interns, and they had the same basic questions I first had.

How do publishers determine royalty rates?

Fair question. The answer is that they don’t. Not alone, at least. Royalty rates are outlined in the author’s contract, and if the author has an agent, it’s his or her job to negotiate the terms of this contract on behalf of their client, including the royalty rates. This also partially answered their second question.

Are hardcover royalties handled differently than e-book royalties? And what about audio royalties?

Well, yes, they are, and kudos to the interns for inadvertently asking a contentious question concerning a longtime issue in the publishing industry ever since the ascent of e-books. Although all royalty rates are outlined in each individual author’s contract, the industry standard generally dictates a royalty rate around 10-15% of the list price (retail price) for hardcover editions of a book–7.5% for trade paperback and 8%-10% for mass market. E-book rates hover around 25% of the net, meaning 25% of the publisher’s profits. Although the latter might seem more beneficial for authors, e-books are priced lower than print editions and have significantly lower production costs, which if we were to do the math, results in less earnings per unit.

And if considering a wide range of royalty rates for multiple editions of a book isn’t enough, many contracts have royalty escalators and different rates for exports, foreign sales, and subsidiary rights.

Confused yet? Want to know more? Well then let me hear your thoughts: post your question in comments section!

8

Eventful

For some reason behind the book table is always my preferred spot at Greenlight readings.

Wayne Gladstone reads at Greenlight Books in Brooklyn

 

I’ve been thinking a lot lately about author events, having been to four very different ones in the last several weeks: first Wayne Gladstone’s two readings for his hilarious and heartfelt debut novel Notes from the Internet Apocalypse at Corner Bookstore and Greenlight Books, then two book launch parties, one for Aaron Starmer’s new middle grade series The Riverman, which took place on a river cruise around Manhattan; the other for Christopher J. Yates’s debut, a psychological thriller called Black Chalk, at University Settlement not far from where the book is partially set.  Each event had a different spirit and in some ways different purposes, and in each case the setting of the event and the personality of the author really contributed to making it feel like it perfectly suited the book being celebrated and enjoyed.

 
I must admit, I don’t go to many author events purely as a spectator (all of the above are DGLM clients), but it’s nice to have a moment to sit back and celebrate the results of all the hard work that goes into bringing a book to fruition.  Even handier when the author, his/her agent, and his/her editor are all in the same vicinity and can do so together.

I should know which skyline that is (NJ? BK? Manhattan?), but I don't.

Aaron Starmer (in red near the right of the photo) reading from The Riverman

 
I think the logistics of book events are challenging: beyond the well-attended reading series (of which there are a number in NYC), the ones at industry conventions, and the signings for major bestsellers, they’re not terribly likely to sell many books to people who weren’t going to buy them anyway and often are populated by people close enough to the author to already have a copy.  And an event that’s more of a party than a sales opportunity is likely to get pretty costly for the author, without much (or any) chance of return on that. The conventional wisdom is that book events don’t sell books and tours aren’t worth it, and as a former bookstore cashier I know firsthand how few copies of books are sold at most signings. 

That cover photo projection is a very nice touch.

Christopher J. Yates reading from Black Chalk

But I do wonder if there are things more authors can and should do that would make book events more beneficial to them and to readers.  Certainly stores that have multi-writer reading series (like the one Wayne participated in at Greenlight) are helping to introduce people to the fans of others, and this is something the self-published author community has strongly embraced as well with very large multi-author signings.  And I’ve personally found that an author event that happens well after publication—though this is logistically tougher to justify or achieve—is likely to be more appealing to me, because I have little interest in attending author events for books I haven’t read by authors I don’t have a professional relationship with.  For example, I’ve seen Colum McCann twice, once for Let the Great World Spin well after publication, which was magical, and once for Transatlantic right when the book came out that really didn’t do anything for me.

 
Do you ever go to author events? If so, what draws you in?  If not, what’s keeping you away?  What would you like to see more of?  Have you ever been to one that really blew you away?  Have you seen any creative strategies that you’ve taken note of for yourself?

 

1

An Immodest Proposal

My life changed forever when I came across this little piece.

Of course! It all clicked into place with this helpful little checklist.

Do I have a tendency to overanalyze things? You betcha!

Do new places and experiences give me anxiety? Uhuh.

Are my expectations too high? I’ll answer that question with one of my own. What’s wrong with holding out for that someone special who has the body of a supermodel and personality of a saint halfway through canonization, but, you know, who is still living?

Has it been said that I like neat resolutions? Well, sure. I mean, who doesn’t? The “How I Met Your Mother” series finale sent me into an absolute tailspin last night. How could they do that with

***SPOILER ALERT***

The next thing I knew it was 2 am and I was outside and cold and had apparently wandered into traffic. And I don’t even watch “How I Met Your Mother.”

How could it be, you ask, that someone as amazing as me has had a few dating problems? Simple: I’m a book lover.

Does any of this sound familiar? Has reading ruined your life or storytelling given you unrealistic expectations and the inability to cope with loose ends?

Then, for our own well being, I prescribe that we stop reading, starting now.

THE END

(Afterword for those still reading despite my proposal: if this doesn’t work we may have to eat our children. Let’s call that Plan B.)

6

Book orphans

About two months ago, one of my clients turned in the manuscript for her new novel after having worked on it for several years.   She was a bit nervous but also very excited as this was the first novel she was publishing with her new publisher.  About a week after she submitted the material, I had a note from her editor that she was leaving the publishing house and, in fact, leaving publishing altogether.  She said that she would be editing the book on a freelance basis, but that the shepherding of it through the publishing process would not be her responsibility.

Needless to say, this was pretty devastating news to my client.  As I mentioned, this was a new publisher for her.  She had published five novels with her previous publisher and during those years had been edited by at least five different editors—each leaving the house or the business.  Now she was experiencing being “orphaned” again.

I made a couple of phone calls and as it happens the publisher of this particular house has promised me that he will be looking after my client himself.  Though he will not be doing the actual editing, he will be guiding the novel’s publication and so we’ll keep our fingers crossed that, with his help, this book will be a huge success.

It’s true, though, that the saga of the orphaned book is a real one and, in this age of downsizing and publishing mergers, it could well become a more frequent phenomenon.  This makes the agent’s job all the more important as we have to ensure more than ever that our clients and their work are well looked after and that their books are published well.

Last summer, another one of my clients had his book published after it had been transferred during the writing process to five different editors.  That story did have a happy ending.  The book’s final editor was totally devoted to the work and, in my opinion, his editorial suggestions made it even better.  The reviews have been phenomenal and the sales have been solid.  Equally as important, I have an author who was well satisfied with his publishing experience in the end.

But this is a tricky road to follow and it is important for the agent to be vigilant and take special care.  I found this piece in GalleyCat, which covers the topic and which, interestingly, quoted yours truly

So, I wonder, if your book were orphaned, what would you do?

2

One-on-ones

Readers, I would love to get your feedback on this one: What do you think is the most productive format for one-on-one meetings at a writer’s conference? I ask, of course, because I attended a conference this past weekend, where I spent most of my time in one-on-one meetings with authors.

Over the years, I’ve done all sorts of configurations: one-on-ones and roundtables; 5-minute slots, 10, 15, and so on; MSS in advance, no prep, 10 pages, and so on again. This time out, the meetings were half an hour, and we were sent 40 pages in advance. And as much as I hate to say it, on the whole I don’t think they were particularly productive.

40 pages is a funny length–much longer than what an author would probably send on submission, yet not really enough to give a full snapshot of a MS–while half an hour is a ton of time to talk. And with that, it seemed like the chattier authors got bogged down in a lot of details and small points, with not enough time to discuss the big picture, while at the same time, the sessions for those who sat back and listened tended to run way short, even with some question time at the end.

So, unfortunately, it was a bit of a frustrating day, and I worry that I didn’t give the authors the help they were looking for. However, the organizers are asking for feedback for next year, so I’d love to hear what works best for you and try to change things up–any thoughts?

1

Write where you know

“Write what you know” is probably the most contested piece of writerly advice out there. Yes, writing what you know gives you authority and a personal approach; no, writing should be about discovery and taking readers to a new place.

So I was intrigued by a profile of the novelist Chris Pavone from yesterday’s Times , which highlights how his new thriller is set in the publishing world, a world that, according to the article, is a rare setting for a novel, especially a thriller, because it’s “too cerebral, too dominated by meetings, too absorbed by reading manuscripts and filling out profit-and-loss reports to make riveting fiction.”

Now, Pavone’s justification for such an ostensibly boring setting is that, “Any setting can be a good setting for a novel.” But in reality, it’s a classic case of write what you know, since Pavone served as a longtime nonfiction editor at Clarkson Potter. And not that there’s anything inherently wrong with that–clearly Pavone’s book focuses on the classic thriller tropes of action and suspense, rather than the drudgery of acquisition paperwork!

But it did get me wondering about setting in general, and whether it’s more constructive to place a story in a world with which you’re deeply familiar, or whether an exotic locale or industry is more helpful, especially for thrillers, as the article suggests. Personally, I’m not really sure–I’m usually drawn to thrillers that avoid NYC or DC as a home base, but then again, so many thrillers set abroad follow the same old trajectory of a former agent in exile forced back into action.

Where do you fall on the divide? Set the book in a world you know, or a world you don’t? And how does familiarity with the setting (or lack thereof) inform your plot?