Just when you expect things to settle down, something happens to kick it into high gear. Lately there's some changes going on over at WiDo Publishing that are moving and shaking the organization.
Among other things, our managing editor Kristine Princevalle is leaving, and I will be taking a larger part in the day to day operations of the business.
A year ago, we took on an intern, who is now working as a paid editor. With all of this, I am looking to find one or more new editing interns.
This is a part-time, unpaid internship, with the work and communication done electronically, requiring skills in proofreading, copy editing, formatting a manuscript for typesetting, and familiarity with Microsoft Word's editing features.
Anyone who's interested can email me at Karen@widopublishing.com and we'll talk from there. It's a great opportunity to learn more about the publishing business and to possibly work into a paid editing position with an up and coming small press with big plans.
I'm excited about these changes. Feeling a lot of pressure some days, but that's what keeps us kicking, right?
Showing posts with label editor. Show all posts
Showing posts with label editor. Show all posts
Saturday, March 10, 2012
Monday, May 23, 2011
The Business and the Art: Or the Love/Hate Relationship Between Writers and Publishers
(Disclaimer: This post isn't to focus on any particular publisher and/or author. It's just how things often play out when creative types and business types work closely together.)
Writers want to have their manuscripts accepted for publication. Yesterday would be fine. Publishers are too busy to acknowledge an email submission, or to answer queries, or to make a decision anytime before next year.
Writers want to get the book out as soon as possible. Publishers want to make sure the timing is right, the editing is done, the cover works, the promotion plan makes sense.
Writers want creative control to realize their vision. Publishers know what sells.
Writers like to name characters according to their own personal reasons. Publishers don't want too many names beginning with the same letter or sounding alike. Publishers will change character names with a heartless stroke of the find and replace key. Writers will have heart failure when they see their beloved Anna turned into Justine.
Writers get attached to the particular name they gave theirbaby manuscript. Publishers say, "No, that title doesn't work. We are changing it."
Writers tend to fall in love with their own words. Publishers are more than happy to kill their darlings.
Writers know this book will be a bestseller, if only the publisher will get off his butt and promote. Publishers know this book will be a bestseller, if only the writer will get off his butt and promote.
Writers need publishers to edit, design, print and promote, while financing the entire process. Publishers need writers to create, rewrite, revise some more, refine, keep revising, and promote, while worrying that their investment in this project may never be recovered.
Publishers want to release something that people will pay money to read, then tell others about it so they can pay money to read it, too. Writers want to write something that people will pay money to read, then tell others about it so they can pay money to read it, too.
The artist head and the business head simply tend to approach goals from different directions. A bit of tolerance and understanding go a long way to create a positive, productive working relationship. And remember, when things get stressed and don't seem to be working out-- communication is the best policy. Communication with the party involved, that is, not with the rest of the world.
Writers want to have their manuscripts accepted for publication. Yesterday would be fine. Publishers are too busy to acknowledge an email submission, or to answer queries, or to make a decision anytime before next year.
Writers want to get the book out as soon as possible. Publishers want to make sure the timing is right, the editing is done, the cover works, the promotion plan makes sense.
Writers want creative control to realize their vision. Publishers know what sells.
Writers like to name characters according to their own personal reasons. Publishers don't want too many names beginning with the same letter or sounding alike. Publishers will change character names with a heartless stroke of the find and replace key. Writers will have heart failure when they see their beloved Anna turned into Justine.
Writers get attached to the particular name they gave their
Writers tend to fall in love with their own words. Publishers are more than happy to kill their darlings.
Writers know this book will be a bestseller, if only the publisher will get off his butt and promote. Publishers know this book will be a bestseller, if only the writer will get off his butt and promote.
Writers need publishers to edit, design, print and promote, while financing the entire process. Publishers need writers to create, rewrite, revise some more, refine, keep revising, and promote, while worrying that their investment in this project may never be recovered.
Publishers want to release something that people will pay money to read, then tell others about it so they can pay money to read it, too. Writers want to write something that people will pay money to read, then tell others about it so they can pay money to read it, too.
The artist head and the business head simply tend to approach goals from different directions. A bit of tolerance and understanding go a long way to create a positive, productive working relationship. And remember, when things get stressed and don't seem to be working out-- communication is the best policy. Communication with the party involved, that is, not with the rest of the world.
Thursday, May 6, 2010
The Joy of Editing a Brilliant Writer
Last year, my publisher asked me if I would consider taking on a few editing assignments. Well, sure, why not? And lucky me landed one that is probably the easiest editing that could have come my way.
This manuscript was a rewrite and resubmit. It originally was over 100,000 words, with a story line that should have been YA but veered into adult territory. The acquisitions editor wanted to know if the author would rewrite and resubmit it as a YA adventure and get it below 100,000, the ideal being 80,000. The author was willing and eager to do so.
The resubmitted manuscript got passed around and approved, and I was so excited to get to be the editor! It's a fantastic story. I want to talk about it but I can't. I've been editing this week and really getting into this story. He's done an incredible job with his second rewrites. It's down to 80,000 words, the narrative goes at a fast, exciting pace and I just can't wait to see this in a book!
The author lives on the East Coast, so who knows if I'll ever get to meet him. But he's a super-talented guy who deserves every success with his writing career!
This manuscript was a rewrite and resubmit. It originally was over 100,000 words, with a story line that should have been YA but veered into adult territory. The acquisitions editor wanted to know if the author would rewrite and resubmit it as a YA adventure and get it below 100,000, the ideal being 80,000. The author was willing and eager to do so.
The resubmitted manuscript got passed around and approved, and I was so excited to get to be the editor! It's a fantastic story. I want to talk about it but I can't. I've been editing this week and really getting into this story. He's done an incredible job with his second rewrites. It's down to 80,000 words, the narrative goes at a fast, exciting pace and I just can't wait to see this in a book!
The author lives on the East Coast, so who knows if I'll ever get to meet him. But he's a super-talented guy who deserves every success with his writing career!
Thursday, March 18, 2010
Today--Writer or Editor?
Today I'm going to the BYU Publication Fair in Provo to represent WiDo Publishing as an editor. Along with another WiDo editor who is also a writer. So today I guess I'm an editor. We'll be meeting writers who may be anxious about:
*the pitch
*the submission
*meeting an editor
*their talent or not
*the company-- would WiDo be a good fit for them
*rejection
So today I'll be an editor. But I'm also a writer who's been there. (Well, not at a conference or a fair like this, lacking opportunity AND guts.)
So today of all things I hope I will be kind. And pleasant. And not let the fatigue and boredom show on my face. Hmm, that doesn't sound very nice, does it? I'll work on that.
*the pitch
*the submission
*meeting an editor
*their talent or not
*the company-- would WiDo be a good fit for them
*rejection
So today I'll be an editor. But I'm also a writer who's been there. (Well, not at a conference or a fair like this, lacking opportunity AND guts.)
So today of all things I hope I will be kind. And pleasant. And not let the fatigue and boredom show on my face. Hmm, that doesn't sound very nice, does it? I'll work on that.
Tuesday, March 16, 2010
No Weak Voices!
Just read M. Gray's review of Fallen on her blog. She didn't like the voice, and that got me so riled up about the issue of voice that I just had to write a post. I couldn't even wait for my last post to get to 23 lol, I have to write it NOW.
We've heard it a hundred times: Voice is of utmost importance in good writing. One of the key elements the agent or editor will look for in a submission is voice. It must be strong, clear, vibrant and true. Writers may labor over the query letter, writing long involved plot summaries, and miss what really helps to sell themselves-- voice. If your voice comes through in a query, you're way ahead of the game. Then if the narrative voice is strong and clear in the first few paragraphs of the submission, good chance the editor will keep reading.
We all recognize voice when we see it, hear it, whatever. There are certain blogs I never miss because I love the voice. There are authors I want to read again and again because I love their voices. Sophie Kinsella is one. Agatha Christie. Judy Sheehan. Stephen King in Misery-- loved the voice in that one. Voice is often easier to identify than to create in our own work, yet it's what must be mastered for one's writing to go anywhere.
Nothing frustrates me more in my reading than a weak voice. Weak voice = weak writing. Weak writing = huge disappointment to Moi. Not to mention the big question-- How did this person even get a contract in the first place?
Oh, well, nothing we can do about that. Better to work on our own skills than worry about how so-and-so got the big advance, right? So. How to make our voice stronger? There's really only one way-- write, write, rewrite and write some more. Okay, there's two ways-- read, read and read some more. And read lots of genres, not just your own, not just your favorite. Find new authors, find new voices. And keep on writing until your own distinct voice is strong and clear.
We've heard it a hundred times: Voice is of utmost importance in good writing. One of the key elements the agent or editor will look for in a submission is voice. It must be strong, clear, vibrant and true. Writers may labor over the query letter, writing long involved plot summaries, and miss what really helps to sell themselves-- voice. If your voice comes through in a query, you're way ahead of the game. Then if the narrative voice is strong and clear in the first few paragraphs of the submission, good chance the editor will keep reading.
We all recognize voice when we see it, hear it, whatever. There are certain blogs I never miss because I love the voice. There are authors I want to read again and again because I love their voices. Sophie Kinsella is one. Agatha Christie. Judy Sheehan. Stephen King in Misery-- loved the voice in that one. Voice is often easier to identify than to create in our own work, yet it's what must be mastered for one's writing to go anywhere.
Nothing frustrates me more in my reading than a weak voice. Weak voice = weak writing. Weak writing = huge disappointment to Moi. Not to mention the big question-- How did this person even get a contract in the first place?
Oh, well, nothing we can do about that. Better to work on our own skills than worry about how so-and-so got the big advance, right? So. How to make our voice stronger? There's really only one way-- write, write, rewrite and write some more. Okay, there's two ways-- read, read and read some more. And read lots of genres, not just your own, not just your favorite. Find new authors, find new voices. And keep on writing until your own distinct voice is strong and clear.
Friday, January 29, 2010
Pitching your story face to face with editors
It's a great opportunity when you can pitch right to an editor, possibly even a decision-maker, and submit your manuscript, query or sample chapters in person. It's also frightening because the wrong approach may ruin your chances. No pressure lol! Really though, you only get a few minutes to get your message across, so you want to make the most of it!
Coming up is the BYU Publishing Fair in Provo, Utah, that I and another WiDo editor are going to attend, to meet authors and take manuscripts. Thinking ahead, and remembering a couple other times when we met with authors seeking publication, I thought I'd summarize a few tips.
1. Smile, make eye contact and don't cower. We're just people, too, and probably as scared of you as you are of us.
2. Prepare a pitch, or what I like to call a "me in 30 seconds" for your story. Time it at home and practice until it's smooth and polished. Make every word count and don't repeat yourself.
3. Start by telling the genre, and whether your story is character-driven or plot-driven. Word count is helpful, too. If plot-driven, give a quick plot summary. If character-driven, tell us what makes these characters remarkable. DO NOT spend twenty minutes giving every minutae of your ms.
4. You can also do a "me in 30 seconds" for yourself. Mention if you're previously published, won contests, have a masters degree in creative writing. Anything that makes you stand out from the crowd or that shows experience in the writing business. Mention that you're a heart surgeon, a retired police detective, you raised eight boys--something that suggests you might have a story in you.
5. Please don't ever say "This is my first novel." Instead say, "I've been writing since I was ten. I'm an English major from the University of Chicago. Published in my college literary magazine." Always say what makes you look polished and professional, not a like a beginner who just finished NaNoWriMo and is turning in the results.
6. If the publishing fair or event has no limits on submissions, go ahead and turn in chapter samples of your completed manuscripts. These are preferable to query letters. You being there is your query, so you want to take full advantage of the opportunity and hand the editors something more than a query or plot summary. Like the first three chapters or even a full ms.
These types of events can be intimidating, but also helpful and instructive. Even if you don't end up with a publishing contract, it makes you more polished and effective for the next time!
Coming up is the BYU Publishing Fair in Provo, Utah, that I and another WiDo editor are going to attend, to meet authors and take manuscripts. Thinking ahead, and remembering a couple other times when we met with authors seeking publication, I thought I'd summarize a few tips.
1. Smile, make eye contact and don't cower. We're just people, too, and probably as scared of you as you are of us.
2. Prepare a pitch, or what I like to call a "me in 30 seconds" for your story. Time it at home and practice until it's smooth and polished. Make every word count and don't repeat yourself.
3. Start by telling the genre, and whether your story is character-driven or plot-driven. Word count is helpful, too. If plot-driven, give a quick plot summary. If character-driven, tell us what makes these characters remarkable. DO NOT spend twenty minutes giving every minutae of your ms.
4. You can also do a "me in 30 seconds" for yourself. Mention if you're previously published, won contests, have a masters degree in creative writing. Anything that makes you stand out from the crowd or that shows experience in the writing business. Mention that you're a heart surgeon, a retired police detective, you raised eight boys--something that suggests you might have a story in you.
5. Please don't ever say "This is my first novel." Instead say, "I've been writing since I was ten. I'm an English major from the University of Chicago. Published in my college literary magazine." Always say what makes you look polished and professional, not a like a beginner who just finished NaNoWriMo and is turning in the results.
6. If the publishing fair or event has no limits on submissions, go ahead and turn in chapter samples of your completed manuscripts. These are preferable to query letters. You being there is your query, so you want to take full advantage of the opportunity and hand the editors something more than a query or plot summary. Like the first three chapters or even a full ms.
These types of events can be intimidating, but also helpful and instructive. Even if you don't end up with a publishing contract, it makes you more polished and effective for the next time!
Monday, January 25, 2010
Need Agent-- yes or no?
I know nothing about the agenting process since I got published quite by accident through a small, start-up press.
Agents scare me. It's the gatekeeper before an editor will even talk to you. Gatekeepers scare me-- they're meant to keep people away, not welcome them in. (Okay, a lot of stuff scares me, but that's another story.)
However, it is possible to get published without an agent. Don't let anyone tell you otherwise. Small, regional or niche presses will often accept nonagented submissions. I know, I researched enough of them. Course you have to do your homework. You've got to "meet their needs," "fit their niche," and all that. You have to be able to take rejection....argh!! But that goes without saying. If you can't take the heat, stay out of the kitchen. (I'm glad blogging wasn't around when I was first trying to get published, or I would've just done this and forgotten about submitting, thus avoiding rejection.)
Remember Marty's dad in Back to the Future? He wrote sci fi stories and when Marty told him they were good enough to get published, he cringed and said, "I don't think I could take that kind of rejection." That's why I always avoided agents-- because I couldn't take that kind of rejection. I used to check publisher guidelines and only submit to those with "nonagented submissions okay." I didn't want to get turned down by an agent before I even made it to the editor-- way too much rejection for my fragile psyche!
Now that I'm older, and published, my skin is a bit tougher. I'm not afraid of publishers anymore, or editors, or bookstore owners. I got the best compliment last week from a bookseller, who said that reading Uncut Diamonds was like talking to someone over the back fence. I like that, because it's how I intended the novel to be, shows she gets it. I wanted it to be like someone dropping in on this family and being part of their lives for a time. ANYHOO, so I'm no longer afraid of any of them because I've gotten to know them and to understand they're just people doing a job. And yes, the compliments do help!
Except for agents. I'm still afraid of them. Who are you most afraid of in the publishing industry? Agents, editors, publishing CEOs, booksellers, readers, reviewers? Or is fear not even part of your vocabulary?
Agents scare me. It's the gatekeeper before an editor will even talk to you. Gatekeepers scare me-- they're meant to keep people away, not welcome them in. (Okay, a lot of stuff scares me, but that's another story.)
However, it is possible to get published without an agent. Don't let anyone tell you otherwise. Small, regional or niche presses will often accept nonagented submissions. I know, I researched enough of them. Course you have to do your homework. You've got to "meet their needs," "fit their niche," and all that. You have to be able to take rejection....argh!! But that goes without saying. If you can't take the heat, stay out of the kitchen. (I'm glad blogging wasn't around when I was first trying to get published, or I would've just done this and forgotten about submitting, thus avoiding rejection.)
Remember Marty's dad in Back to the Future? He wrote sci fi stories and when Marty told him they were good enough to get published, he cringed and said, "I don't think I could take that kind of rejection." That's why I always avoided agents-- because I couldn't take that kind of rejection. I used to check publisher guidelines and only submit to those with "nonagented submissions okay." I didn't want to get turned down by an agent before I even made it to the editor-- way too much rejection for my fragile psyche!
Now that I'm older, and published, my skin is a bit tougher. I'm not afraid of publishers anymore, or editors, or bookstore owners. I got the best compliment last week from a bookseller, who said that reading Uncut Diamonds was like talking to someone over the back fence. I like that, because it's how I intended the novel to be, shows she gets it. I wanted it to be like someone dropping in on this family and being part of their lives for a time. ANYHOO, so I'm no longer afraid of any of them because I've gotten to know them and to understand they're just people doing a job. And yes, the compliments do help!
Except for agents. I'm still afraid of them. Who are you most afraid of in the publishing industry? Agents, editors, publishing CEOs, booksellers, readers, reviewers? Or is fear not even part of your vocabulary?
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