Roy Miller's Blog, page 301
January 12, 2017
HBG CEO Michael Pietsch Speaks at BIGNY President’s Night
The Book Industry Guild of New York held its annual President's Night event at the Penguin Random House headquarters in New York on January 10. This year, the featured speaker was Hachette Book Group CEO Michael Pietsch, who spoke on his four-decade career in publishing, innovations in the industry, and what he refers to as the "great flattening," or the industry-wide struggle to keep revenues from flatlining in an era that shows a pronounced lack of industry sales growth.
Pietsch laid out for the audience his history in the publishing industry, from his start as an intern at David R. Godine in Boston to his 12-year stint as publisher of Little, Brown to his appointment as CEO of Hachette in 2013. Over the course of the address, Pietsch stressed the importance of marrying the literary side of the industry with the financial side—a lesson he first learned at Scribner in 1979.
"I remember very vividly the moment my boss said to me, 'Your credit is good here,'" Pietsch said. "And I understood for the first time that an editor is an investor who is being trusted with somebody else's money. We all think about editing as the task and interaction with the author, but you're an investor on behalf of somebody else whose money is entrusted to you."
After his time at Scribner—during which he edited a posthumous Hemingway manuscript—Pietsch spent stints at Harmony and Crown before joining Little, Brown. There, Pietsch said, he really began to understand the financial underpinnings of the industry.
Pietsch's appointment as HBG CEO in 2013 was a rarity in the industry since publishers rarely end up in that role. Pietsch noted that he believed his promotion to CEO was in part due to the unusually powerful position authors now hold within the American publishing industry, and the unique relations editors typically have with their authors. Since Pietsch took over as CEO Hachette has made a string of acquisitions,highlighted by the purchase of the Perseus publishing arm last spring. Given the flat market, acquisitions are the most effective way to grow and add scale, Pietsch observed.
Despite the turmoil in the industry caused by the explosion of e-books,Pietsch praised Hachette's commitment to the print book, which he believes is "indestructible." "We felt confident that print was here to stay," he said, in reference to Hachette's decision to invest in third-party distributors. "We made a big bet."
Pietsch also pointed to the origins of innovations in the industry, noting that the greatest recent innovations in the book business, superstores and e-books, were created by retailers—Barnes & Noble and Amazon, respectively—and not publishers. He is enamored with the increased marketing ability that comes with targeted marketing, transforming what was once a "blunt instrument" into something more precise. He also sees the furthering of global publishing as vital to continued growth, and singled out children's publishing in particular as giving him hope for the future.
When asked how he would advise young people entering publishing, Pietsch highlighted three areas: learn the financial side of the business (he is preparing a finance curriculum for his company currently); learn the full life cycle of the book, and pay attention to what those around you do to help it along; and know the basics of writing and communicating.
It would not hurt, he noted, to understand that publishing is a very time-intensive field. "It's a days, weeknights, and weekends business," he said.
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Paul Laurence Dunbar House: Poetry Spotlight
For this week’s poetry spotlight, I’m going to focus close to home–or at least, close to where I grew up and will always call home. Since I grew up in and around Dayton, Ohio, let’s take a look at the Paul Laurence Dunbar House.
By the way, I appreciate the poetry spotlight ideas people have sent my way. Keep them coming at robert.brewer@fwmedia.com with the subject line: Poetry Spotlight Idea.
*****
The 2017 Poet’s Market, edited by Robert Lee Brewer, includes hundreds of poetry markets, including listings for poetry publications, publishers, contests, and more! With names, contact information, and submission tips, poets can find the right markets for their poetry and achieve more publication success than ever before.
In addition to the listings, there are articles on the craft, business, and promotion of poetry–so that poets can learn the ins and outs of and seeking publication. Plus, it includes a one-year subscription to the poetry-related information on WritersMarket.com. All in all, it’s the best resource for poets looking to secure publication.
*****
Paul Laurence Dunbar House
Paul Laurence Dunbar was a poet, novelist, and playwright born in Dayton, Ohio, to former Kentucky slaves. Born in 1872, Dunbar grew in fame with his dialect poems, though he also wrote traditional verse. In fact, my favorite rondeau is Dunbar’s “We Wear the Mask.”
The Paul Laurence Dunbar House is located on 219 Paul Laurence Dunbar St. in Dayton, Ohio. It is open on Fridays, Saturdays, and Sundays from 10 a.m. to 4 p.m., and admission is free for both children and adults.
In 1936, the Ohio General Assembly made the Dunbar house the first state memorial in Ohio to honor an African American. The Paul Laurence Dunbar House opened to the public in 1938. A capital improvement project completed in 2003 returned the Dunbar House to its appearance at the time when Paul Laurence Dunbar and his mother, Matilda, lived there from 1903 until he died in 1906.
The house features many of Dunbar’s personal items and his family’s furnishings, including his bicycle (built by the Wright brothers); the desk and chair where the poet composed much of his work; his collection of Native American art; and a ceremonial sword that President Theodore Roosevelt presented to him.
*****
Robert Lee Brewer is the editor of Poet’s Market and author of Solving the World’s Problems. Follow him on Twitter @robertleebrewer.
*****
Check out these other poetic posts:
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LitHub Daily: January 12, 2017
TODAY: In 1976, Agatha Christie dies.
The dystopian narratives of the Trump regime will come along soon enough: On the literary trends of the Obama years (autofiction, fables of meritocracy, novels set in the recent past, and the trauma narratives.) | Vulture
“Trump is patriarchy unbuttoned, paunchy, in a baggy suit, with his hair oozing and his lips flapping and his face squinching into clownish expressions of mockery and rage and self-congratulation.” Rebecca Solnit on our President-elect. | London Review of Books
“Without the filter of posterity, a poet of post-privacy looks just as forgettable as everyone else.” On the co-evolution of poetry and technology. | Real Life Magazine
The sun, see, same as it gives life, also takes it away: An excerpt from Aura Xilonen’s English debut, The Gringo Champion. | Words Without Borders
“There is, at the very least, the creative, the act of making.” An interview with Dawn Lundy Martin. | The Rumpus
I am quitting a boy like people quit smoking: A short story by Marie-Helene Bertino. | Electric Literature
On the books that do well internationally and in translation, and some theories as to why (Donna Leon’s: “Europeans read less crap.”). | The Guardian
The drDOCTOR reading series and podcast will now be publishing a literary magazine. | drDOCTOR
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There Are Only Three Kinds of Books (And They Aren’t What You Think)
The lesson I’ve learned from a career in writing is that there are only three kinds of books that authors write: arm stretchers, retina wreckers, and hair pullers. Because it’s not what books are about, but what it takes to write them.
I have written a dozen books covering all sorts of subjects and ranging from short to encyclopedic lengths. A couple of them took just under a year to write, and others took several years. Almost all were published by the major houses. With this range of experience, I have come away with my own views on the trials and tribulations of shaping words into book-length prose.
An arm stretcher is a book in which not a huge amount of effort is needed. I won’t say it’s a breeze to write, because I don’t think any book-length work is a cruise down the river. But an arm stretcher—so named because after each writing session the author should smugly stretch out his or her arms as if to say, “Oh, I love the writer’s life”—is a relatively easy endeavor as book writing goes, which is to say you’re only climbing Mount Rainier instead of Mount Everest.
An arm stretcher may not require gobs of research or years of toiling in the trenches, so some authors are always on the lookout for ideas that would make for an easy book—you know, just to fit them in every once in a while between the retina wreckers and hair pullers. Literary novels certainly don’t fit into this category, nor do full-length biographies, ancient histories, or multivolume encyclopedias.
Retina wreckers involve tedious writing and research day after day, month after month, sometimes for years, and can leave a weird residual effect on eyeballs. These books require painstaking verification of facts, tremendous organization of thoughts, fastidious construction of sentences, and more rewriting and polishing of sentences than most readers would imagine. The hazards of writing a retina wrecker are that it can leave the author bleary-eyed, or if the author wears corrective lenses, it can result in a change of prescription (and not for the better).
Hair pullers should be avoided like the bubonic plague, unless you get an eight-figure advance or are desperately out to prove something to the world. They’re four retina wreckers rolled into one, and they can do you in. They take so long to write that you become a hopeless prisoner of the word trade, unable to imagine the day when you’re set free. They drain you, take a toll on you, become an obsession. You eat with them, walk with them, take them to bed with you. They jeopardize your sanity. When you’re writing one of these, you forget what it’s like to have a real life. Having fun, oh, that’s just a memory. They can cause you to develop neurotic tendencies such as twitching, blinking, or pulling the hair out of your head.
What all these types of books have in common is that they’re mirror grabbers. You are curious about what you look like. Do you still have your hair? Are you able to smile? How are your teeth? Any more wrinkles? So you reach for your pocket mirror. You look, you inspect—you may even want to have a conversation with the only person you know who understands you, so you talk to your image in the mirror.
And yet with all the hardships in writing books, there’s no question as to why writers relentlessly ply away at their trade. Of course, other authors understand, but not all civilians do—civilians referring to spouses, children, relatives, friends, neighbors, and acquaintances who think we’re gluttons for punishment, since they just don’t get that creating is something we have to do, regardless of the economic return. Because we not only love to write, but we have a glimmer of hope that our work can bring joy to people, or educate them, or help them in some way, or even change the world.
Writing can surely be hard and laborious, but as writers, we’re willing to do whatever it takes to get the job done.
Harvey Rachlin is a lecturer at Manhattanville College in Purchase, N.Y.
A version of this article appeared in the 07/11/2016 issue of Publishers Weekly under the headline: Arm Stretchers, Retina Wreckers, Hair Pullers
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AAP Taps Maria Pallante to Succeed Tom Allen
The Association of American Publishers today announced that former U.S. Register of Copyrights Maria Pallante will succeed Tom Allen as President and CEO. Pallante will officially begin on January 17. AAP said Allen would stay on to help with the transition until the end of January.
In an interview, Allen, who took the AAP post in April of 2009, told PW he was eager to begin his retirement.
“It’s been a fascinating job, and I’ve loved it,” Allen said. “But on the other hand, I want to go fly-fishing, and I want to spend time with my grandchildren.” Allen’s contract, which was extended two years ago, expired at the end of 2016 and his retirement had been long-planned.
With her strong background in IP law and policy, leadership experience, deep connections in Congress, and some connections to publishing, Pallante is a seemingly perfect fit for AAP—and her appointment owes to some serendipitous timing. In October, Librarian of Congress Carla Hayden unexpectedly removed Pallante as Register of Copyrights, a post she’d held since 2011. That move was met with shock and dismay in the content industries, including publishing, where Pallante was seen as a strong ally.
Prior to joining the U.S. Copyright Office, Pallante served as intellectual property counsel and director of licensing and branding for the Guggenheim Museums. Earlier in her career, she worked briefly for the Authors Guild, and the National Writers Union.
“Maria is a creative, forward-thinking leader who has earned the deep respect of members of Congress as well as intellectual property experts around the world,” said YS Chi, chairman of the AAP board of directors, in a statement. “The Board believes she is an excellent choice for president and CEO as she brings to AAP considerable expertise in many of the issues facing the publishing industry.”
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Wednesday Poetry Prompts: 379 | WritersDigest.com
For today’s prompt, write a dream poem. So many things happen in our dreams–or, at least, my dreams. Of course, if you don’t have dreams, then write a poem about a dream job, dream relationship, dream vacation, or some other dream situation.
*****
Revision doesn’t have to be a chore–something that should be done after the excitement of composing the first draft. Rather, it’s an extension of the creation process!
In the 48-minute tutorial video Re-creating Poetry: How to Revise Poems, poets will be inspired with several ways to re-create their poems with the help of seven revision filters that they can turn to again and again.
*****
Here’s my attempt at a Dream poem:
“dream poem”
my psychic told me i was a poet
& when i told my psychologist
he asked me to explain my dream
poem. i had never considered
what my dream poem might be
& told him as much to which
he replied, “how can you write
that which you do not dream?”
& he had a point, i thought,
so i went home & spent all
afternoon trying to figure out
what my dream poem could be:
i thought it should be easy
to write but still give me
a sense of accomplishment
& when i told this to my
poetry support group
they all laughed & said
there’s no accomplishment
without a struggle &
they were right.
so the next day, i saw
my psychic & told him
i had a dream i was
not a poet & then
i asked him to give
my money back.
*****
Robert Lee Brewer is Senior Content Editor of the Writer’s Digest Writing Community and author of Solving the World’s Problems (Press 53). He loves to write poems about his dreams.
Follow him on Twitter @RobertLeeBrewer.
*****
Find more poetic posts here:
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January 11, 2017
LitHub Daily: January 11, 2017
The Best of the Literary Internet, Every Day
TODAY: In 1843, “The Star-Spangled Banner” lyricist Francis Scott Key dies.
20 short novels to read overnight, in the comfort of your bed. | Literary Hub
Eva Hoffman on how to combat boredom and loneliness (hint: art). | Literary Hub
Writing as lifestyle good: on MFAs and money. | Literary Hub
A gathering of writers in resistance: go to an anti-inauguration near you. | Literary Hub
Five books you may have missed last month. | Literary Hub
Roxane Gay and Madonna discuss their disdain for bad wine, being motivated by art, and The Beautiful and the Damned. | Harper’s Bazaar
Keep your damn Hobbit: Marlon James has released information about his epic fantasy series, the Dark Star Trilogy. | Entertainment Weekly
On the “perils publishers face as they tailor their publishing plans to reflect volatile new political realities” and the future of conservative imprints under Trump. | The New York Times
“I’ve been influenced in one way or another by the moment in which I’m living, and by nearly everything surrounding me, from lousy magazines to television to political propaganda.” An interview with Marcelo Morales. | BOMB Magazine
On the conversation surrounding Joseph Boyden’s identity, in which “questions asked of Boyden [are seen] as persecution of him.” | Jezebel
“The book came from my desire to write about teenagers as I knew them to be, not as I saw them being portrayed in media and pop culture.” An interview with Lindsey Lee Johnson. | Electric Literature
Librarians on the strangest things they’ve discovered in books (a whole taco, multiple accounts of raw bacon, laminated marijuana leaves, etc.) | Tin House
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When a Bookstore Is Also a Safe Haven
We’re on mountain time here in Salt Lake City, so on 9/11 we woke up early to the news of the towers falling in New York. After a stunned conversation with my husband and a quick cup of coffee, I drove directly to our store, as did all our booksellers, knowing instinctively that we had to be open on time. And we were mobbed, not because people wanted to buy books but because they needed a place to be; they needed a place where they felt safe, to talk about and digest what had happened, to express their own shock and fear, yes, but also to listen to others talk, to hear what others were feeling—and thinking—about what had just happened and what it meant.
The same was true when the U.S. invaded Iraq; when hanging chads decided a presidential election; after Sandy Hook and Columbine and Boston; after the shooting here in Salt Lake City, in Trolley Square; and after St. Louis, San Bernardino, Paris, Mumbai, Istanbul, Orlando, and now Dallas.
This new world we find ourselves in isn’t a known world. Even after we hear who the bombers or shooters are and what may have motivated them, there is so much left unexplained, so much at once terrifying and puzzling. Where better to go for answers, or, if not answers, shared bewilderment, than to an independent bookstore?
Because of the books, yes; because of the history on our shelves that lends perspective to whatever is happening currently; and because of the novels that delve into the human experience and teach empathy. But independent bookstores are more than the sum of their books. They’re safe havens, centers of community where people go to see friends and neighbors—or strangers who are interesting to meet and talk to—but they’re also refuges populated by booksellers who are not just interesting, and interested, but empathetic. Why? Because of their reading, certainly, but also because we booksellers look for the quality of empathy when we interview, and because after we hire, we continue to train for it, wanting new booksellers to reflect the goals we have for our stores: to be warm, welcoming, accepting.
Readers by definition, good booksellers are also open-minded, able to recommend books on any subject and openly discuss issues of gender and politics and the rearing of children, among others. At our best, we create a safe place to wonder, to express an opinion, and to seek the opinions of others, whether from books or one another. In my bookstore, the King’s English, we used to have a bench by the counter where customers could sit to write checks or talk. We called it the confessional bench because when the store was quiet customers would sometimes settle in and literally bare their souls to us, not because they needed advice but because they needed someone to hear them—although often such conversations did, in the end, result in advice, in the form of books.
So, yes, bookseller-to-customer empathy creates a safe environment. But so does the reader-to-reader connection in our stores. This connection is fostered by the warm, welcoming atmosphere we try to create, and also by the physical space of the stores themselves, with their shelves full of books and privacy for intimate conversations. During rush times, there’s the camaraderie of long lines of book-bearing people exchanging titles, gossip, the headlines, and so on. Bookstores are not just community centers but places where many views of the world are expressed, where authors speak on every subject imaginable, where education and activism are emphasized (as when, after Orlando, booksellers nationwide helped the ABA to create book lists on LGBTQ issues, while Left Bank Books in St. Louis organized a 2,000-person rally in less than 24 hours), and where a seemingly infinite number of books provide escape or help us understand what cannot be escaped.
More inclusive than many churches, more communal than cultural events where people share an experience rather than a conversation, more intimate than a bar where opinions can be met with jeers or worse, independent bookstores are, I’ll say it again, safe havens. They are places where questions can be asked and answers found—whether in conversation or in books that try to make sense of the unthinkable (Mischling, due out this September), shed light on the intolerable (Just Mercy, 2014), or bridge the unbridgeable (A Fine Balance, published 20 years ago, does exactly that). Books are beyond wonderful, and so are independent bookstores: communal in the best sense of the word.
Betsy Burton, cofounder of the King’s English bookstore in Salt Lake City, is the current president of the American Booksellers Association.
A version of this article appeared in the 07/18/2016 issue of Publishers Weekly under the headline: Bookstores as Safe Havens
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Scribd Ends Comics Subscription Service
After launching the category with much fanfare in early 2015, Scribd, the e-book subscription service, has quietly ended subscription access to comics and graphic novels.
Scribd launched the comics category in early 2015 with 10,000 titles from such comics publishers as IDW/Top Shelf, Archie Comics, Dynamite, Zenescope, and Boom! Studios (although none from the big two American comics publishers, Marvel and DC). The category offered a wide variety of content from superhero comics to indie graphic novels.
Scribd appears to have ended the comics service sometime in December 2016. In a statement to PW, Scribd confirmed that the comics subscription access has ended:
“We launched comics in 2015, and while we were excited to bring new content to our readers, few actively took advantage of them. We will be focusing our efforts on enhancing the experience surrounding our other great content types including books, audiobooks, magazines, and documents.”
"We alerted comic readers of the news via email in early December," the statement continued. "We understand that this news is disappointing to comic readers. This was a difficult decision, and we hope that they’ll explore the rest of what Scribd has to offer in the coming months."
Initially Scribd called the launch of the comics subscription category “explosive for us, with the biggest response and fastest adoption we’ve ever seen.”
Nevertheless, the popularity and growing consumer dominance of Comixology, Amazon’s digital comics marketplace, probably sealed the fate of Scribd's subscription comics service. Currently subscription access to digital comics is offered via Comixology Unlimited, Marvel Unlimited, Archie Unlimited, and Comic Blitz, a smaller subscription service that launched in October 2015.
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14 Literary Agents Seeking Middle Grade Contemporary Fiction NOW
Sometimes it’s difficult to pinpoint which are open to submissions at any given time. So with that in mind, I’m creating some new vertical lists of agents seeking queries right now, as of early 2017.
This list is for contemporary middle grade fiction.
All the agents listed below personally confirmed to me as of early 2017 that they are actively seeking contemporary/realistic (i.e., not science fiction or fantasy or speculative) middle grade novel submissions NOW. Some gave personal notes about their tastes while some did not. Good luck querying!
1. Elizabeth Copps (Maria Carvainis Agency)
Notes: “Seeking issue- and character-driven MG fiction with a touch of humor/quirk. Contemporary settings a bonus.”
How to Submit: Send queries to mca [at] mariacarvainisagency.com, and take a look at the agency’s full submission guidelines here.
2. Lauren Speiller (Triada US Literary Agency)
Notes: No specific notes given.
How to Submit: Send queries to lauren [at] triadaus.com, and take a look at the agency’s full submission guidelines here.
3. Wendi Gu (Greenburger Associates)
Notes: No specific notes given.
How to Submit: Send queries to wgu [at] sjga.com, and take a look at the agency’s full submission guidelines here.
4. Katie Grimm (Don Congdon Associates)
Notes: “Looking for literary, magical, and contemporary middle grade with a classic feel that can delight and push readers outside of their experiences and empower them in their own lives.”
How to Submit: Take a look at the agency’s full submission guidelines here.
Check Out These Great Upcoming Writers Conferences:
Feb. 11, 2017: Writers Conference of Minnesota (St. Paul, MN)
Feb. 16–19, 2017: San Francisco Writers Conference (San Francisco, CA)
Feb. 24, 2017: The Alabama Writers Conference (Birmingham, AL)
Feb. 25, 2017: Atlanta Writing Workshop (Atlanta, GA)
March 25, 2017: Michigan Writers Conference (Detroit, MI)
March 25, 2017: Kansas City Writing Workshop (Kansas City, MO)
April 8, 2017: Philadelphia Writing Workshop (Philadelphia, PA)
April 22, 2017: Get Published in Kentucky Conference (Louisville, KY)
April 22, 2017: New Orleans Writers Conference (New Orleans, LA)
May 6, 2017: Seattle Writers Conference (Seattle, WA)
May 19–21, 2017: PennWriters Conference (Pittsburgh, PA)
June 24, 2017: The Writing Workshop of Chicago (Chicago, IL)
Aug. 18–20, 2017: Writer’s Digest Conference (New York, NY)
5. Patricia Nelson (Marsal Lyon Literary Agency)
Notes: No specific notes given.
How to Submit: Take a look at the agency’s full submission guidelines here.
6. Jennifer De Chiara (Jennifer De Chiara Agency)
Notes: No specific notes given.
How to Submit: Send queries to jenndec [at] aol.com, and take a look at the Jennifer’s full submission guidelines here.
7. Carrie Pestritto (Prospect Agency)
Notes: “I’m particularly on the lookout for diverse and upper MG.”
How to Submit: Send queries to carrie [at] prospectagency.com, and take a look at the agency’s full submission guidelines here.
8. Jill Corcoran (Jill Corcoran Literary Agency)
Notes: “Looking for both commercial and literary MG as well as authors and author/illustrators.”
How to Submit: Send queries to jill [at] jillcorcoranliteraryagency.com, and take a look at the agency’s full submission guidelines here.
9. Natalie Lakosil (Bradford Literary)
Notes: No specific notes given.
How to Submit: Send queries to queries [at] bradfordlit.com. (Queries sent to Natalie’s personal email will be deleted.) Take a look at the agency’s full submission guidelines here.
Writing books/novels for kids & teens? There are hundreds
of publishers, agents and other markets listed in the
latest Children’s Writer’s & Illustrator’s Market.
Buy it online at a discount.
10. Christa Heschke (McIntosh & Otis)
Notes: No specific notes given.
How to Submit: Send queries to chquery [at] macintoshandotis.com, and take a look at the agency’s full submission guidelines here.
11. Peter Knapp (Park Literary & Media)
Notes: No specific notes given.
How to Submit: Send queries to queries [at] parkliterary.com, and take a look at the agency’s full submission guidelines here.
12. Bibi Lewis (Ethan Ellenberg Literary Agency)
Notes: No specific notes given.
How to Submit: Send queries to agent [at] ethanellenberg.com, and take a look at the agency’s full submission guidelines here.
13. Bill Contardi (Brandt & Hochman Literary Agents, Inc.)
Notes: No specific notes given.
How to Submit: Send queries to bill [at] billcontardi.com, and take a look at the agency’s full submission guidelines here.
14. Hannah Fergesen (KT Literary)
Notes: “I’m especially looking for contemporary MG and magical realism, with extra points for STEM themes/stories that don’t revolve around elaborate SFF plots. Also looking for MG nonfiction, particularly biographical/historical stories.”
How to Submit: “For submissions, I ask for a query and the first three pages.”
Take a look at the agency’s full submission guidelines here.
Writing a novel for children? Literary agent
Mary Kole, who runs the popular KidLit.com
website, has a new guide out for writers of
young adult and middle grade. Pick up a copy
of Writing Irresistible Kidlit and get your
children’s book published.
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