Michelle Witte's Blog, page 7

Classic bandaids

I was really excited after reading this brief bit of news from Shelf Awareness this morning—

[image error]—until I realized I'd misread it. Skateboards are boring. But bandaids with Penguin Classic covers? Yes, please! So to make a pitch to the people at Penguin Classics, I offer my suggestions for extremely awesome bandaids featuring some of the great Classics book covers. (In addition to the excellent selections above.)

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*Credit for all these covers obviously goes to Penguin.

**No need to mock my poor Photoshop skill, 'kay?

Some Very Wise People Discuss Publishing

A roundup of some very smart things said by very wise people regarding traditional vs self-publishing, plus related topics.

"Indie Publishing" – A Meditation on Words and Their Meanings

Jarek Steele of Left Bank Books discusses the recent misnomer of vanity presses calling themselves "indie publishers."

Takeaways:

"Left Bank Books hosts some events for self published authors because we believe in the writer, the book and the privilege of  asking a reader to spend a few hours of their time reading a story."

"Calling self publishers like Lulu and others 'Independent' is a misnomer.  It's like calling your pot dealer an independent pharmacist.  There are no quality controls, no support from professional publishers, no support from bookstores."

Cherish the Book Publishers—You'll Miss Them When They're Gone

Eric Felten of the Wall Street Journal on how readers will be the ones sorting through the slush pile if traditional publishers disappear.

Takeaways:

"It's only natural for those locked out to despise the gatekeepers, but what about those of us in the reading public? Shouldn't we be grateful that it's someone else's job to weed out the inane, the insipid, the incompetent? . . . They provide some buffer between us and the many aspiring authors who are like the wannabe pop stars in the opening weeks of each 'American Idol' season: How many instant novelists are as deluded as the singers who make with the strangled-cat noises believing they have Arethaen pipes?"

"No doubt there are geniuses languishing in obscurity. Who knows how many great books are just waiting to be discovered? But are we really more likely to find them once the publishing pros have been handed their hats and shown the door? I rather doubt it."

The Truth About Book Editors

A MediaBistro article on the video blog posted by John Green (Looking for Alaska, Will Grayson, Will Grayson) discussing his thoughts on his book's editor. Note: The discussion on editors starts about 1 minute into the vlog.

Takeaways:

"The assumption that editors exist primarily to fix grammar errors is really incorrect. . . . I also think it's incorrect when people think that the main reason editors exist is to censor your work or to somehow make it worse."

"While I'd like to think that writers are more important that editors, the truth is we may not be. . . . There's a reason that The Great Gatsby and The Sun Also Rises were edited by the same guy."

Has the time of the community bookstore passed?

Why did the little independent bookstore I opened fail? I've avoided this subject for a good six months now, afraid to take a look back at the past year to see What I Did Wrong. There's a very important reason I was afraid: because I was asking the wrong question.

When I first embarked on this adventure, it was with the "knowledge" that communities need indies. I put that in scare quotes for a reason. What I though was a truth was actually a perception. It was the perception of many people I knew, all of whom cherished the same things I did: literature, community, education, and a host of other good things.

There are a lot of things start-up business owners are told to assess before opening, but the largest is customer base. What the business folks imply but don't directly come out and say is this: Do people WANT your service/product or do they NEED it? The answer to that, I'm realizing now, is what directly affected my store's success and subsequent failure.

Americans aren't the best judges of what they want or need. Take, for instance, entertainment. People are willing to spend large amounts of money on certain types of entertainment, but nothing on others. The reasons for that have developed over millennia, but needless to say, movies and video games take up the largest percent of the spending dollars while books and the arts account for very little anymore. In most American minds, TV shows and movies are NECESSITIES. Netflix has capitalized on this perceived need, offering access to all of the shows and videos a person could ever want.

Books and various arts, on the other hand, have suffered in recent years, and are now relegated to WANT. Many people won't pay for books anymore because they've simply grown accustomed to borrowing them from the library, from friends, from school.

And so bookstores, libraries, theaters, and museums are relegated to the role of LUXURY. We'd LIKE to see the ballet, but we HAVE to see the new Johnny Depp film. So we happily hand over $10–$20 to see a movie in cinematic 3-D but balk at paying more than that to see something in real live 3-D up on stage. Need vs. Want.

Now is the part where I had these two things confused. When I first decided to open a bookstore, I narrowed the focus to kids and teens. Kids NEED books to become educated and learn creativity. The store I created would have a welcoming atmosphere, becoming a gathering space within the community and providing literary and educational services and opportunities to local families. I still consider this a NEED.

The general public, however, is increasingly viewing this as a WANT; something nice to have but not necessary to living a fulfilling life. Most of the people I told of my efforts said something along the lines of "That's what this area NEEDS." I took that to heart. Of course the community needs what I want to offer them.

I was wrong. Or at least I was wrong in the assumption that when people recognized that it was a NEED, they would be willing to spend some of their hard-earned cash at the store. After all, they NEED it.

What I didn't realize is that perception is king when it comes to spending money. Most people never saw it as a NEED; more, it was a cute little WANT that would be nice to visit if they ever had a spare moment. The problem is, not enough people found that moment of spare time to stop by, and even fewer of those people thought of books as NEEDS. In essence, I had created the perfect little place to sit, relax, and browse FOR FREE. They didn't have to pay to browse or enjoy the atmosphere, so they took the free WANT and spent their money on other entertainment NEEDS.

Another aspect to this is how people subconsciously consider it a WANT to have locally owned independent bookstores,  but a NEED to get books cheap. There are many reasons this has happened, but for now I'll narrow it to the largest two.

Culture of Free: I can't remember the first time I went to the library. That's probably because I've been borrowing books there before my earliest conscious thought. In those days, it was my mom taking out books and reading them to me. Later, it became my very own library card, which I could use with abandon. And none of it cost me a dime. At that young age, taxes and community services didn't mean anything. All I knew is that I wanted to read, and I could do it all I wanted at the library. That isn't a bad thing because we NEED libraries as a society. All I'm saying is that with the introduction of FREE at such a young age, we become addicted to acquiring knowledge and finding entertainment without paying a conscious price for it. When we become adults, it can be hard to break from that habit and spend money on a book we'd LIKE but don't NEED.

The other big cause, which also receives a great deal of the blame—earned or not—falls into the realm of the Culture of DISCOUNT. Walmart, the business we all love to hate, filled the world with the concept of CHEAPER. It's not that we want to buy junk; no, we want to buy quality goods but get them cheaper than anywhere else. We won't pay full price for anything; it must all be at a DISCOUNT. Then Amazon entered the world with its religion of CHEAPEST of all from the comfort of your own home. No need to venture to a store. Click a few buttons and get it CHEAPEST—with FREE shipping. The world of CHEAP has reached its pinnacle. (At least I pray this is the peak of the cheapness curve. I don't know if society can survive if we push it much further.)

Now here's the key to the culture of CHEAP, which brings us back to the principles of WANT vs NEED: People are not willing to spend as much on a WANT when they know they can find it much cheaper somewhere else. Hence, an independent bookstore is a purveyor of EXPENSIVE WANTS, otherwise known as LUXURY. It feels good to spend on LUXURY every once in a while, but for the most part, we adhere religiously to DISCOUNTS and CHEAP.

That, then, was the fate of my bookstore before I'd even started, and I doubt it's something I would have ever realized had I not gone through the process of opening—and closing—Fire Petal Books. Sadly, I see the LUXURY of indies fading much too quickly for the good of our culture, though stalwarts will still fight on.

That's not to say I won't support my nearest indie whenever possible, but at 30 minutes from my home—passing one Costco, two Sam's Clubs, at least half a dozen chain bookstores, and innumerable Walmarts and Targets along the way—the voyage becomes one of LUXURY.

And so I, too, have become victim of the CHEAP plague. Without the income a business would have provided, I'm forced to make each penny bend and twist into unimaginable contortions. I WANT to purchase all of my books from indies, but in my current situation it is an impossibility. I'll never give up reading, and so for the next while I'll be forced to spend my money on NEEDS like food and housing while subsisting on the library's proffered FREE. What I WANT and NEED are at odds, just like it is for so many others. Right now, that's how it has to be.

Michelle Witte opened then later closed children's bookstore Fire Petal Books in Centerville, Utah, during 2010. She currently works as a freelance writer and editor.

Slush Day #1

Dear [agent],

Seventeen-year-old guitarist Meridian Ashton longs to return to Paris, or flee to New York, anywhere she might land a record deal, but a horrific accident at her cousin's gymnastics practice prevents her from hopping a train. Fourteen-year-old Natalie's divorcing parents are about as tuned in as Meridian's mother—who abandoned her to write travel articles in Kenya—so Meridian promises her she'll stay in Fernsgrove until Natalie masters her new prosthetic leg.  Essentially, she damns herself to the suburban-Massachusetts hell where her lapses into French earned her the nickname Madame la Freak. Formidable. <Why would she lapse into French? You mention "return to Paris" but we have no idea why or how long she would have lived there. Is she French?>

The girls retreat to Harvard Square in nearby Cambridge for the summer, where it's easy to hide from their nightmares amongst the living statues. Natalie searches for a new passion while Meridian makes connections with the other buskers. There's even a boy hanging around who admires her eccentricities. Maybe she can wait to run after her dreams.

Or maybe not. A knifing at one of her gigs endangers Natalie, so at school Meridian neglects her music to become unobtrusive. It works so well that her mother decides she's lost drive. Her solution? An application to a Parisian conservatory. Once again, Meridian's bags are almost packed when there's a change of plans. One of her Harvard Square friends wants her to play a gig in New York in front of his producer—the day she's supposed to leave for France. It's choice between the city of her dreams and the performance of a lifetime, and either way she risks hurting the one person who has backed her up through it all.

BACKGROUND VOCALS is a 81,000 word contemporary YA novel told from the points-of-view of two strong-willed girls. It will appeal to fans of Holly Cupala (Tell Me a Secret), Kody Keplinger (The Duff) and Jennifer Donnelly (Revolution). I am an MFA/MA candidate at Simmons College, a member of SCBWI and an active participant on YALITCHAT.org.

 

The writing style is fine but with all of the details and "hers" in the synopsis, I haven't a clue about what's happening to whom. It sounds much too hyperbolic right now. There is a nuance to the text, but that comes at the cost of clarity. So take a step back and cut out everything that isn't necessary to get the concept of the story across. One great way is to follow the journalism standby of the 5 W & H:

Who: Cousins Natalie and Meridian.
What: I'm really not sure what the major conflict is in this story. Meridian trying to find a place while Natalie wants a friend while she heals?
When: Contemporary.
Where: This one's tricky. We know the main setting is Cambridge, but are the girls in high school? How do Paris, New York, and Kenya fit in? I'd suggest cutting it down to Paris and Cambridge for simplicity's sake.
Why: Really not sure
How: ?

Below is my take on how it could be simplified to make the query clear and impactful:

Seventeen-year-old guitarist Meridian Ashton longs to return to Paris or flee to the music scene of New York City, but her cousin's horrific accident prevents her from hopping a train out of Massachusetts. Natalie, only fourteen and now missing a leg, needs more support than her parents can offer, so Meridian promises she'll stay until Natalie masters her new prosthetic leg.

The girls retreat to Harvard Square in nearby Cambridge for the summer, where it's easy to hide from . Natalie searches for a new passion to replace her shattered leg while Meridian finds kinship with the Square's many buskers. When Natalie is nearly killed during a knifing at one of Meridian's gigs, Meridian .  Meridian's bags are almost packed when she is forced to choose between

BACKGROUND VOCALS is a 80,000 word contemporary YA novel told from the points-of-view of two strong-willed girls. It will appeal to fans of Holly Cupala (Tell Me a Secret), Kody Keplinger (The Duff) and Jennifer Donnelly (Revolution) <because of the girls' ?> . I am an MFA/MA candidate at Simmons College.

I'd suggest simplifying even more. What the query needs is just enough voice and detail to attract attention without getting bogged down by confusion.

Best of luck with it!

Slush Day contest

Call me crazy, but I actually miss the days when I would look through slush as an editor. It's fascinating to see all of the books and stories out there waiting to be discovered. Since I'm weird—and bored today, this being the more dominant factor—I'm hosting a Slush Day contest.

Basically, anyone who either posts their query letter in the comments (if you're up for public critique and feedback) or emails it to me (if you'd prefer feedback privately) will get their query letter critiqued. Every query I receive before midnight my time (7 pm Eastern Time) will receive a critique, though I can't guarantee it will be today, depending on how many submissions I receive.

The prize? The best query (or more if I so decide) will also get a critique of the first 10 pages of their manuscript.

So post QUERY ONLY in the comments below if you're up for public scrutiny. I'll make each crit into a separate post, so you could also receive feedback from the public at large, if they're so inclined. If you're a bit shy and prefer private feedback, email QUERY ONLY to slushday@belletrinsic.com .

Rules: 1 query per person. Query letter only. Any genre, fiction or non. No revisions of critiqued will be reviewed. Winners and prizes awarded at my discretion. No queries received after 7 pm Eastern Time will be reviewed. I'll offer feedback throughout the day but no guarantees on when I'll get to yours. I'll amend the rules as I see fit (i.e. if I realize I left out something really important).

If you're curious about my credentials, you can find details here. Please note: I am not an agent nor do I currently work for any agency or publisher, so submitting a query here won't get you anything other than helpful feedback.

Also, I'm not into snark when offering critiques, so you don't need to worry about being mocked. If you're up for public crit, I'll be patrolling comments to make sure a positive tone pervades. (Don't make me use the delete button!)

Can we still be friends?

After the somewhat recent hullabaloo that was #yamafia, I've been thinking a lot about how I approach book reviews. I love reading and then sharing my thoughts on books, not just with friends, but with pretty much everyone. I've been known to hand sell books at the library and bookstores I frequent. It's not that I'm going to shut up about books, but as a part of the larger kid lit community, I'm evaluating my place as a reader, editor, writer, and reviewer.

The biggest concern I have, especially since I work with individuals in publishing, is how to say I didn't love a book without making it seem as though I hate the author/agent/editor/publisher/reader who does.

Really, it's not even that I fear professionals will misunderstand what my reaction to their book means. More, I want them to understand that a single book has no real bearing on what I think of their talent, their hard work, their ideas, and their execution of them. If I didn't like a book or felt it had a lot of weaknesses, I'm not making judgments about them as people or professionals.

Listen, some of my very favorite authors have written books I did not like. At all. For a long time Paulo Coelho's The Alchemist was my favorite book evar. I still love it, but I've grown to love other books as well. But I also read I Sat Down by the River Piedra and Wept soon after falling in love with Alchemist, and I must say I'm still confused by aspects of it. I found it an utterly bizarre book and didn't enjoy it at all. Does that mean I hate Coelho's work and would never be able to work with his editor or agent because not liking Piedra means we're horribly matched? No. How can that even compare? I didn't like that one title, but I've gone on to thoroughly enjoy several of his other books.

Another, perhaps more kid lit, example is Neil Gaiman. I adore him as a person and as a writer, and I would love to work with anyone on his team. Seriously. But I am not a fan of Coraline. It creeped me out when I read it years ago. First book of his I read, actually. If I'd thought about it too much before picking up The Graveyard Book, I might not have just because the other had seemed so bizarre to me. I'm so glad I didn't because Graveyard is one of the most beautiful pieces of writing I've ever encountered.

The fact that I didn't like one of his books means nothing in the long run. Nothing.

So as a reviewer, I'm realizing that, though I may not like a story or series or even a certain writer's style, it doesn't mean I won't be able to work with that author/agent/editor later, unless . . .  Yes, there is an unless. Unless the author/agent/editor lets that get in their way.

Now this is the biggest thing here. It makes no difference to me, but it may well be a deal-breaker for someone else. I have to accept that. For the most part, though, I think people realize that it is good to have others who don't agree with us 100%. It's a good thing if someone says, "I really don't see this. Let's try something else." That's exactly what the agent and editor did after acquiring the project. It's how they got the book to where it is now. Just because a reader doesn't agree wholeheartedly with that vision doesn't make them incompatible; it makes them human.

So if you disagree with my reviews, or are hurt that I didn't like what you or your authors wrote, please remember this:

It means nothing about how I feel about you as a person, whether friend or colleague.
It has no bearing on my respect for your work or your opinion on books.
I'm not judging your entire career based upon this one book.

Here's what it does mean:

I'm an individual with different tastes. That fact should make our relationship/partnership more dynamic and interesting.
I love debating books. I want you to debate them with me.

That really sums it up. I want to have huge discussions, maybe even borderline arguments, because you love books and I love books but I love it even more when we can share books.

So, please, if I don't like a book that you worked so hard on, can we still be friends? And maybe even colleagues?

Ah crap!

Shut the front door! Look what I just found:

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