publishing – Page 11 – Patricia J. Parsons

Maybe you shouldn’t be a writer

Posted on 15 Jul 2014 by Patricia J. Parsons

[Excerpted from Who Will Read Your Book? The Unknown Writer’s Guide to the Realities of Writing & Publishing forthcoming from Patricia Parsons]

This is worth considering. If you want to be a writer, and are considering who you are as a writer, it might be a useful exercise to consider all the reasons you shouldn’t write a book. If you do this and at the end still believe that you should write your book and work to get it published, then you’ll be stronger as you move through the process.

Lots of people have put together lists of why you shouldn’t write. For example Susannah Breslin, writing in Forbes online, suggests the following three reasons you shouldn’t write: (1) you’re not good at it; (2) it’s too hard; and (3) it’s too hard to make money.[i] These are all valid points in my view. What’s so interesting is that in a later post, she says that her short piece on why you shouldn’t be a writer is the one that readers hated most.[ii] It seems those who want to write a book don’t want to be told the reasons why they shouldn’t pursue it. But you do need to hear this before you move forward.

Blogger Karen Yates has a few more ideas about why you shouldn’t write that book. She suggests that you back away from that computer if (1) you want to write because you think it will be fun or easy; (2) you want to write because you have a lot of Twitter followers; (3) you think the topic is one you think you can sell even if you’re not passionate about it; (4) if you can’t take criticism (she says editorial: I think you need to have a thick skin in general); and/or (5) you’re not willing to promote your book.[iii] Again, these are all good considerations.

After a couple of decades of writing books myself, I’ve determined that people should write if they want to: what they shouldn’t necessarily do is publish. If you want to write, remember that it will be a difficult process, but go ahead regardless of what anyone tells you. Then take that manuscript and put it away to read in your dotage. Don’t try to sell it to a publisher, and under no circumstances should you self-publish it. That is unless you remember the following which are my personal reasons that should give wannabe writers pause.

Do not publish your writing even one of the following statements applies to you:

You’re writing as a form of catharsis. That’s what your private, personal journals are for.
You’re writing because you’re angry about something. At least don’t publish anything until the anger subsides and you can look at the matter more objectively.
You’re writing on a topic only because you think it will sell. If you are not passionate about it, it’s not worth writing about.
You don’t believe that writers read. Any published writer worth his or her salt reads a lot and reads widely.
You aren’t willing to do the research that will be necessary regardless of genre.
You aren’t willing to work to continually improve your writing.
You think that you’ll simply sit down in front of the computer and the words will flow.
You can’t stand revising.
You don’t have a thick skin.
You spend more time talking to others in person and online about your writing than you do writing.

Once you have looked inward and can honestly say that none of these statements applies to you, it’s time to get on with finishing your book.

[i] Susannah Breslin. Why you shouldn’t’ be a writer. Forbes online. http://www.forbes.com/sites/susannahbreslin/2012/06/12/why-you-shouldnt-be-a-writer/

[ii] Susannah Breslin. Why you should be a writer. Forbes online. http://www.forbes.com/sites/susannahbreslin/2013/03/30/why-you-should-be-a-writer-2/

[iii] Karen Yates. 5 reasons you shouldn’t write that book. http://goo.gl/S8L05l

Book publishers, Pitching books, Publishing

The ‘Dreaded Rejection’: Scourge of the writing-publishing cycle

Posted on 24 Jun 2014 by Patricia J. Parsons

[The following piece is an excerpt from my upcoming book Who Will Read Your Book?: The Unknown Writer’s Guide to the Realities of Writing & Publishing]

We’ve all been there: we’ve all been rejected for something. Perhaps you didn’t get into your first-choice college or university. Perhaps you tried out for a play and didn’t get the part. Maybe you applied for a job and didn’t get it – even after a fantastic interview. But that’s life, isn’t it? Why then do writers seem to feel especially slighted when agents or editors pass on their work?

My own work has been rejected numerous times by agents, publishers, and I suppose by readers who decided not to buy the books for whatever reason. But I’ve also had successes – that first publisher said ‘yes’, I received the odd royalty cheque so some readers have said ‘yes’. What do these rejections look like? And how do you cope?

In my view, rejections come in three packages: the total-lack-of-response rejection, the form-letter rejection, and the almost-form-letter rejection. Let’s look at each one in turn.

The total-lack-of-response rejection

I think this is the most frustrating kind of rejection – because you’re never sure when it has kicked in. In my experience, this happens most often with literary agents. Publishers will usually at least send you a form letter. When a publisher’s or agent’s web site says, “If you haven’t heard from us within three months, you can consider that we’ve passed on your project,” I see red. Although it is true that publishers are swamped with queries and manuscripts from wannabe writers, it seems to me that the writers who took the time to contact them at least deserve a form-letter rejection. After all, if you’re a publisher or a literary agent, you signed up for this.

Providing even a form rejection would allow the writer to move on. This kind of rejection is especially galling when they have also asked that you not submit to more than one publisher at the same time: the multiple submission. The time it then takes to move on is unacceptable. This is just disrespectful.

The form-letter rejection

The form-letter rejection is so ubiquitous that some writers paper their walls with them. In the old days (and still today for some dinosaurs of publishers and agents), the submission requirements would indicate that you were to provide a SASE (self-addressed-stamped envelope) with your submission so that they could send you a photo-copied form rejection. Not for a single moment did I believe that if they really intended to accept my manuscript they would object to footing the bill for a stamp, or even better, a telephone call.

These days, the form-letter rejection is really in the form of a form-email. It goes something like this:

“Thank-you for your query. While we feel that it might be a worthwhile project, we don’t think it is right for us. Good luck.”

What’s interesting about this, is how when tweaked a bit, it can make you believe you have received a personal note of rejection, when it’s really a form. But don’t kid yourself.

The almost-form-letter rejection

Just a tweak here and there, and you have the and the almost-form-letter rejection, which sounds like a personal note, but is what the agent or publisher always says to soften the blow. In fact, that is the purpose of this kind of a rejection: to make you feel less bad about being rejected. Here are several I received from agents about a current book project:

“Dear Patricia Parsons: I appreciate the intention of this work but regret I simply don’t think I would be the best match. Best of luck. Sincerely, RR

Or how about…

This isn’t right for me, but thanks and good luck. Best regards, MH

Or…

Dear Patricia, Thank you for the opportunity to review your project. While I appreciate that you thought of me for your work of nonfiction, I’m not sure that this project is the best fit for me. Thank you again, and best of luck in finding the right literary agent for your work. Best, Maria

So, the work just wasn’t a good fit. I feel better now. Not really. There is nothing in any of these to suggest that the work is good, bad or indifferent. And I wouldn’t expect it to say that. What you need to understand about these rejections is that they do not reflect any kind of assessment of the value or quality of your work whatsoever. They simply mean the agent doesn’t want to represent you.

Occasionally, you do receive a much longer letter from an acquiring editor whose interest was, at least, momentarily piqued. These are much longer letters that often even suggest other publishers or agents that might be a better match or who might actually be looking for your kind of work. If you don’t receive a note that is longer than three or four lines, understand that it is what they always say – even if the work is a piece of crap and they think so.

So, you might wonder why editors and agents do this. Sometime editor Jenn Glatzer put it this way: “…when…we…would like to be honest with the writer, some of us bite our tongues anyway. The reason? Not all writers know what it means to be a professional. And not all of them can take criticism. Whenever I sent constructive criticism with a rejection, I knew there was about a 75% chance I’d hear nothing back (which was fine), a 5% chance I’d get a quick “thanks for your consideration anyway” (which was nice), and a 20% chance I’d get an argument (which was not fine).^{^[i]}

It would never occur to me to respond to an editor in any way – especially not in an argumentative one. In the future, I might want to submit a different project for one. The second reason I wouldn’t is that it would be a waste of my precious writing time. Just don’t do it. (Go to the endnote and read her entire blog post – it’s worth it.)

If you want some more information and another perspective on interpreting what publishers and agents really mean in their rejection letters, you’ll enjoy reading the Writer’s Relief online post titled How to interpret rejection letters from literary agents and editors.^{^[ii]}

If editors or agents are truly besotted by your work, they’ll say so, and they’ll ask for more. Continued rejections, however, should make you re-examine your work before running screaming into self-publishing. Once you’ve determined that it’s truly your best work, then go for it — take control and self-publish.

[i] Jenna Glatzer. Why you get form rejection letters. http://www.writing-world.com/life/form.shtml

[ii] Writers’ Relief. How to interpret rejection letters from literary agents and editors. http://writersrelief.com/blog/2011/01/how-to-interpret-rejection-letters-from-literary-agents-and-editors/

Book promotion, Self-Publishing

Who will buy your book?

Posted on 17 Jun 201417 Jun 2014 by Patricia J. Parsons

Someday I hope to write a book where the royalties will pay for the copies I give away. — Clarence Darrow

Oh how I empathize with Clarence Darrow. I cannot tell you how many books I’ve given away over the years, and these days of the hideous deluge of ‘free’ eBooks as promotional tools makes the problem even worse. I often wonder how many of other writers’ relatives and friends actually buy their books.

My family, for example, largely feels that they are entitled to receive free copies of my books. Well, with the most recent one, I decided that this wasn’t going to happen anymore. Even my 91-year old mother didn’t get a copy (to be fair, I really didn’t really want her to read it – to much *sex*). The only family member who actually received a hard copy (and that was after he downloaded and paid for an e-book) was my 25-year old son who was one of my final editors. His keen eye and firm grasp of the English language made him an ideal beta reader for which I paid him. The least I could do was to give him a copy of the book when he was home from London last weekend.

Then there are all those other copies we give away. And this refers equally to my books (and your books) published by traditional publishers and the self-published ones. These are the review copies.

There is little doubt that review copies are important, however, it can get out of hand. In addition it seems to me these days that we need to be vigilant that a so-called reviewer does not feel obligated to be a bit less critical of a book that he or she has received gratis. (Although some bloggers seem to think that a free book might end up as a more critical review. Not sure why.)

When I wrote the piece When is a book review not a book review? I was thinking about these kinds of issues. So, we need to consider carefully how many books we give away for free in the hope of acquiring a positive review.

And then there are those free book giveaways that started this rant. There is little doubt that giving books away can help you to accrue new readers: sometimes, readers who would otherwise pass over your books might try them and like them, then return to buy future offerings. So that seems like a good investment in marketing. We need to be very mindful, however, that if as writers we don’t value our work, we can hardly expect others to value it either. In fact, many readers are just as likely to troll the online bookstores seeking only free books, never returning to your work when the book is not free. There is no actual hard data on either of these situations although you’ll find plenty of anecdotal stories extolling the virtues of giving away your work.

It would be my greatest wish that writers value their work. I often wonder if writers who don’t value their work know in their hearts that it isn’t really that good. There is a difference, however, between the writing a book specifically for yourself and to give away to others, and one you hope to sell. This is the kind of book you may write simply hoping that a few others might benefit from it in one way or another.

It is quite a different matter to work hard on a piece of writing that you hope readers, unknown to you at this point, will buy, read and appreciate. This is the kind of work that we have to stop giving away so freely.

So, fellow writers, keep a very careful count of how many copies of your work you give away and the return on that investment. I’d love to know how it has worked for you. Perhaps we can build a database of information. There are marketing reasons to give your work away, but that needs to be balanced by a sense of value. Tread carefully.

It might be worth remembering what Jules Renard once wrote:

“Writing is the only profession where no one considers you ridiculous if you earn no money.”

Now I think I’ll surf over to Amazon and set up a free book giveaway and see what happens!!

For a few different perspectives on this issue, here are some ideas from other sources:

Why Successful Authors Are Giving Their Books Away for Free http://www.huffingtonpost.com/simone-collins/why-successful-authors-ar_b_4115300.html

Why publishers should give away eBooks http://www.roughtype.com/?p=1573