July 9, 2018 § 7 Comments
By Donna Talarico
It’s conference season! Wait. I think it’s always conference season. There’s always something happening, from coast to coast—and beyond. The literary and publishing world is filled with events of all shapes and sizes where we can learn, share, network, explore, and grow. And if writing isn’t your only job, your other industry(ies) may also offer some amazing professional development opportunities.
I’ve been attending conferences since 2006 as part of my marketing career, and I fell in love. Hard. I adore conferences so much that I now run one. (It’s called HippoCamp: A Conference for Creative Nonfiction Writers.)
To help you prepare for your next conference as an attendee or speaker, I’m sharing some tips on how to make the most of your event, from how to stay organized to how to stay healthy.
Take Notes…. By Hand
Research shows we often remember things better when we write them down vs. typing. I’m a big fan of hand-writing notes. If you’re a visual learner like me, you can also doodle in the margins or format your pages in a way you like for better recall. (Example: I use a lot of arrows and circles when I take notes.) By all means, jot down your ah-ha moments the best way for YOU, but consider going back to analog. Plus, you’ll have a tangible memory of your time at your conference!
Get Out of Your Comfort Zone
One of my favorite conferences each year is called HighEdWeb—or, Higher Education Website Professionals—and I’ve been fortunate enough to be a speaker at this event each year since 2011. My first HEWEB, as we call it, I heard a piece of advice at the conference orientation: to go to a session I’d never think of attending. Now, for a conference like this one, the subject range is really broad, from highly technical to content, so there may be more to choose from, topic-wise, than a niche, writing-related conference. But still, peruse the schedule and find something that gets you out of your comfort zone. You may surprise yourself by what you learn—and what new inspiration you leave with.
As a professional marketer and content writer, at web conferences I’d gravitate toward the “word stuff,” but now I always take in at least one technical session so I can expand my horizons. I may not ever be a die-hard programmer, but at least by exposing myself to content from brilliant folks outside my specialty, I can learn a little more about “how the sausage is made” and meet people I may never have met.
Take Breaks & Unwind
I’ll admit that when I present at a multi-day conference, I often sit out the session before my talk so that I can have a “zen moment” before I go on. (I don’t like missing conference content, so if it’s a one-day event, I might not skip a time slot…) I found that when I’d race from one session to get to mine on time, I’d be flustered, winded even. So, I now take a moment for myself to regroup. If the event is in the same hotel I’m staying in, I’ll go to my room and not exactly meditate, but just spend some quiet time so I can be focused and ready to engage the crowd. Otherwise, I’ll find a quiet place, such as a sitting area in a far-off nook.
Whether or not you are speaking or volunteering at a conference, it can be helpful to take a breather from the action. To decompress. To reflect. At HippoCamp, we realize people may need some downtime, so starting in 2017, we introduced a Relax & Recharge room that has some tables, chairs, couches, and chargers. People can escape to this room to recharge themselves and their devices. Many conferences, in fact, have started creating “introvert corners.” So be involved in the conference as you can—that’s why you’re there!—but take care of yourself.
Participate in the Back Channel
This is my favorite one. I should have put it first, but I wanted it to be a gem in the middle of this post. Twitter, I think, is what made me fall in love with the conference community. Or maybe it was conferences that made me fall in love with Twitter? I’m not sure which came first. But back in 2008 when I worked for an ecommerce company and we were exhibiting at the Internet Retailer conference in Boston, I did my first live-action Twitter contest. To this day, at Association of Writers and Writing Program Conference, I toss out trivia questions as part of the Hippocampus Magazine booth (with prizes.) That’s on the exhibitor side. For the attendee side, the back channel can be a wonderful place, long before the conference even takes place! I’ve seen friendships blossom on the HippoCamp hashtag (this year, it’s #hippocamp18), and then get to witness people meeting each other in real life for the first time at the event. (To help facilitate this, we put Twitter usernames on badges when they’re provided at registration!) It’s even better when I see the conversations continue after the conference.
During the conference, though, you can use the hashtag to share nuggets of wisdom from speakers—we also put speaker Twitter handles on the program to make it easy to quote them. Some people I know even use Twitter as a way to take and save notes.
I do firmly believe you should be present at a talk and pay attention to the speaker, but tweeting a few times during a session is acceptable in my book. After the conference, then, people can look through the hashtag to see what happened in sessions they didn’t attend. An active back channel is an amazing way to bring people together, to show the amazing things happening, as well as get people “watching at home” excited about the event too.
Hydrate & Take Your Vitamins
Self-explanatory and obvious, I know… but especially if you’ve flown into the event from another time zone, you may already have some adjusting to do. I know many people, myself included, who always feel a little off after traveling. (If not a cold, at least a little fatigue!) So, stay hydrated and healthy! Maybe pack some Emergen-C or Airborne.
Be Positive & Cordial
One of my favorite graphic t-shirts says, “Work hard and be nice.” It’s a fitting shirt for how I like to live life and, well, it’s also a nicely fitting shirt because the fabric is so cozy. Along the lines of that t-shirt saying, one thing I hear often about HippoCamp, from in-person feedback or post-conference surveys, is that it’s a warm and welcoming environment. I love that our conference exudes friendliness, and that’s thanks to our attendees! Each conference begins to have its own personality and vibe, and I am so proud of what we’ve cultivated together at ours.
I’ve attended conferences—in various industries, not just writing—where the environment wasn’t as nice. No matter what event you’re attending, you’re bound to find a differing opinion, a session that wasn’t what you expected, a dessert bar that didn’t have something you liked, or something else you weren’t 100 percent sure about. However, to help make whatever conference you’re attending to remain on the “nice side,” I encourage you to save any useful critique for after the event, such as in private post-conference surveys or notes to the organizers, rather than turn to your neighbor or to Twitter to vent in a stream-of-conscious-y kind of way simply because negativity can be infectious. (For example, I’ve seen some hurtful things posted about conference speakers at an event or too, and this negativity bothered me.) Instead, in general conversations and the back channel, try to be positive to one another and keep that uplifting spirit going. I think doing so adds to the energy of any event!
Find Your “One Thing”
Back at my first HighEdWeb, I also heard the line: “find your one thing.” While you will leave a conference with lots of great ideas and new information, it can also be overwhelming to have so much activity in that brain of yours. So find that “one thing” you want to focus on first. What is your number one takeaway? This is not to say you can’t implement various things. Rather, set some short- and long-term goals.
Stay in Touch
Keep the conversations going, online or off. If you exchange cards (yes, many writers still have amazing paper business cards, and I love them!) or emails with someone, follow up. Even if it’s just a quick, “Great to meet you at Conference XYZ! Please stay in touch!” One of the most rewarding things about running a conference is seeing what develops between people after the event. Book ideas. Assignments. Workshops. Just lots of collaboration between people who didn’t know each other yet. And that, my friends, is why conferences are such a good investment. It’s not just about taking in X-mount of hours of classes or meeting ABC instructor. It’s about EACH OTHER. We try to help facilitate this at HippoCamp with a conference Facebook group, at least to get people started before they take conversations offline, where the magic really happens.
Everyone conferences differently. These are just some tips I’ve learned along the way that have helped me make the most of my professional development events, and many of them which I tried to use as a conference organizer to enrich the experience for my own attendees. Feel free to share your own conference tips in the comments!
Donna Talarico is an independent writer and marketing consultant by day, and she also is founder of Hippocampus Magazine and its books and conference divisions (Books by Hippocampus and HippoCamp.) She loves greasy spoon breakfasts and road trips, lives in Lancaster, Pa., and has work in The Writer, mental_floss, LA Review, and others.
June 29, 2018 § 48 Comments
By Lynette Benton
Many writers, perhaps most, believe that publication of their books would represent a badge of accomplishment and acceptance, an event that would bring them fame, catapult their lives into new and desirable directions, or at least validate the talent, time, and energy they invested in their manuscripts. Rejections of their work by agents and publishers can have a shattering effect upon them. I point out to them that the publishing world’s misjudgments are legion; note the many rejections of Kathryn Stockett’s The Help, which went on to best sellerdom and box office success; Tinkers, by Paul Harding, the 2010 Pulitzer Prize fiction winner, which the big publishing houses declined; the 22 rejections for Joseph Heller’s Catch-22, the 12 for Harry Potter. Sometimes the letters accompanying the rejections even contained snarky comments about the writer, the manuscript, or both.
Though I sympathize with their pain, it’s impossible for me to relate to it because rejections don’t upset me. Sometimes when my work is rejected I actually think it’s the publisher’s loss, not mine. Believe me, this isn’t arrogance. Like other serious writers, I generally feel my writing comes up short of my vision. I work like hell on it, and do everything I can to improve it, including carefully considering feedback from freelance editors and writer-friends. I think my writing’s good, but not as drop dead good as much that I read or as I want it to be.
But I have little interest in publishing my full-length manuscripts. I just finished a collection of essays I worked on for three years. I should be arranging them into an appealing order. I should be pulling out my list of publishers of similar collections and possible agents, and querying them, even though I know it’s difficult to get a collection of essays published. But the urge to write the essays was the propelling force behind the project, not the urge to publish them. The itch has been scratched. Anyway, plunging into the query frenzy would take away from the time, creative focus, and just plain mental fortitude I need in order to produce. To submit, I’d have to suit up for a distracting stint in the Twilight Zone.
The same holds true for the two memoirs I’ve written. One of them is long-since complete after eight years of work. When an excerpt was a finalist in a contest four years ago, an agent agreed to read the entire manuscript; I’ve yet to send it to her. My other memoir needs editing. But I suspect that after I’ve revised it, I’ll lose interest in taking any further steps. The thought of strangers reading my books, even enjoying them, gives me an unpleasant, curiously weighted feeling in my midsection. I don’t welcome the exposure and publicity—no matter how mild—of publication. Publicity, for this introvert, is noise, or perhaps like being bitten by barracudas. In any case, my memoirs aren’t going to make me famous, unless it’s through lawsuits.
And yet, writing isn’t my hobby. It’s my profession, my very identity. So I know my lack of effort to publish the memoirs seems an appalling, inexcusable waste, writing them an indulgence. It’s just that I believed those stories needed to be told, if only to myself.
For me, the writing is the reward. Nothing’s true, valid, or even comprehensible until I write it, whatever it is. It calms the chaos, salves the deepest psychological and emotional lacerations. It’s the infallible healer that makes everything all right. Recently, I was in the middle of my usual nightly routine: eat, brush, floss. Somewhere along this familiar route, a deep inexplicable sadness assailed me. It was not only terrible but mysterious for one who isn’t given to depression. Frozen, with the floss still stretched between my hands, I searched my mind for a cause. Nothing came up. I reached for my mechanical pencil, and wrote: “Sudden depression just hit. No idea why.” And just like that, I felt fine again. For me writing represents relief. The fantasy writer Jeff Goins describes a similar experience:
“The other day, I was feeling depressed and didn’t know why. My emotions were all out of whack… So I turned to the only activity that makes sense when all seems lost. Writing.”
I don’t fear failure or rejection when it comes to writing, never have. My feelings of writing success are independent of others’ opinions. If I’m pleased with what I write, I don’t care what an agent or publisher or audience thinks. Writing is the one area of my life that’s all mine to judge.
And yet, I’m hoping Brevity will accept this essay for the blog. Why? For one thing, I have no problem submitting my short works for publication. Over the years I’ve had a fair number of them published—at least 20—not without my share of rejections. But the rejections didn’t undermine me. As long as I’ve said what I wanted to say, as best I could I’m satisfied, even if no publisher is interested in it.
If the folks at Brevity say “no,” I’ll be okay. I own my self-worth—at least in my writing life. No publisher or agent can to take that away. As Maya Angelou said: “There is no greater agony than bearing an untold story inside you.” I’ve done the work and, right now, for me, that’s enough.
Lynette Benton is a published writer and writing instructor. She guides others in writing about their lives or families. Her essay, “No More Secrets and Silence,” about how she wrote her memoir, My Mother’s Money, won first prize in the contest sponsored by National Association of Memoir Writers and She Writes Press. It was also anthologized in the collection, The Magic of Memoir: Inspiration for the Writing Journey. Her work has appeared in numerous online and paper publications, such as the Brevity blog; Women Writers, Women’s Books; and local newspapers. An excerpt from her memoir was a finalist in a 2014 memoir-writing contest. Visit her web site, Tools and Tactics for Writers or connect with her on Twitter @LynetteBenton.
June 18, 2018 § 11 Comments
By Maddie Lock
Three years ago I fell in love with Rebecca Solnit. It was at the start of my re-decision to become a writer. A bibliophile with a BA in English and high hopes to make my mark as a writer, I had allowed myself, many years ago, to be distracted by the business world. As I reached a definitive age and had acquired all the things that society says you need in life— a career, family, home, things to fill the home, a second home, vacations, and so on—I woke up one morning and said “enough.” Actually, it was “ENOUGH!”
Let me tell you, it shook life up; my marriage, my business, my circle of friends all had to come second for now. I sat down to write, allowing the strained and shaken pieces of my life to settle in.
I began with a children’s book about a dog who wants love and understanding. I self-published and won a small award. Encouraged, I wrote a few fiction stories which didn’t excite me or anyone else. Then, a friend gave me a book, a memoir, that in my brain begat fireworks. Now dog-eared, filled with yellow highlights and notations, spine struggling to hang on to worn-out pages, I keep it close to me as a talisman when I write.
The Faraway Nearby was a revelation to me. It fired receptors of desire and weepiness no other book had ever done. I wanted to write like this! When I finished the book, I immediately read it again. And again. And began my first essay.
It was about a trip I had taken recently, a solitary two weeks, off-season, on Monhegan Island, isolated from people but enfolded by nature. Into the essay I poured the story of my life changes and conflicts that had sent me away, of my husband’s confusion at the changes in me, the pulling away from the business I had worked so hard to build, the practice of meditation and study of Buddhism, and, mostly, my desire to be alone. It was a masterpiece in the Solnit style: meandering, contemplative, exploring the intricacies of life, revealing bruises and broken parts, threads reaching out and over and beyond, only to meet up again for a new revelation. I couldn’t wait to send it out for publication.
I googled the top nonfiction journals and, since I knew it would be snatched up immediately, I chose just one to submit to. I received a form rejection via email—about two weeks later. Shocked, I tried another top publication; another quick rejection.
I was devastated. I stuck my 5,500-word masterpiece into My Documents and simmered. I began my second children’s book. Every few weeks I picked up The Faraway Nearby, opened it randomly to read a few pages before my eyesight became bleary from tears and I tucked it away again.
I signed up for an online writing class: Writing the Personal Essay. Once again, convinced of accolades, I submitted “Sojourn in Solitude” as my first project. Like Ralphie in A Christmas Story, I envisioned a stunned and ecstatic review from my teacher. With a flushed face I opened up the highly-anticipated critique, and…cried. Honestly, I did. Although carefully worded, the message was clear: boy, do you have a long way to go. It also told me there was potential.
As with any skill, to be good requires hours and hours—10,000, it is said by many—to become a master at anything. So I began writing. And writing. And I’m still writing, because, according to the statistics, I’m looking at seven years at four hours a day before I can clearly see what my skills are.
I have this fluttery feeling I’ll still not be writing like Solnit; her meandering and my meandering share a big difference: her brilliant mind knows where the maze is taking her and can illuminate the path, whereas my only-adequate mind stumbles around, relying on hope and determination to find snatches of brilliance. An online teacher gently suggested a sizable gap between my writing skills and my reading tastes.
In the worn-out copy of Solnit’s beautiful book is a torn-out inside flap from a paperback copy of Paul Coelho’s The Alchemist. I use it as a bookmark. At the top is a quote: “To realize one’s destiny is a person’s only obligation.” I use this as encouragement.
And I’ll keep on writing, tallying my hours. I’ll call it practice.
German born and American bred, Maddie Lock fell in love with words as she learned the English language. Now a semi-retired business partner, she is putting her BA in English to good use. Lock has published an award-winning children’s book, has essays published in Gravel and Narrative Map, lamented about her writing obsession on Brevity Blog, and is working ardently on a memoir about her scattered roots.
June 12, 2018 § 6 Comments
Clickbait much? Here at Brevity, our Shameless Self-Promotion Department loves this terrific talk on applying for grants, cultivating patrons, and other sources of funding for your projects and your writing life.
Getting financial support isn’t exactly no-cost—grant applications are time-consuming and crowdfunding takes real planning and dedication. But with an understanding of the process and what appeals to public, private and organizational funders, chances are you’re going to be able to drum up some cash for a project that needs more support than you can give it alone.
Jane Friedman, author of The Business of Being a Writer, gives this great (free!) webinar for the Alliance of Independent Authors, about the nitty-gritty of writing grant applications, key steps in setting up crowdfunding campaigns, and other sources for financial support. At 33 minutes, it’s a great listen while you’re getting ready for the day or commuting this morning. If you’re a visual learner, her slides are clear on the major points, too.
Two major takeaways:
…Writing a grant is telling a story. It should have a plot [this is where I am now and where I want to go], a protagonist [me, and since the panelists don’t know me, I have to create a memorable character], stakes [this is why you should care], and a strong theme [this is the significance it will have in the world].
…most successful crowdfunding campaigns are funded 25-33% in the first 24 hours, and by donors who have been cultivated in advance.
Getting financial support isn’t a mystery or reserved for a special few. You can do it, too, with a little planning and a chunk of prep work. Jane lays out how and what to do—and even if you aren’t ready to apply for a grant or start a Patreon, she gives great, specific advice on how to present who you are and what you do to your own community and your professional world.
Allison K Williams is Brevity‘s Social Media Editor and a big fan of free money.
Literary Greatness at the Expense of Female Suffering: On Junot Diaz, David Foster Wallace, and Laurent Cantet’s The Workshop
June 6, 2018 § 23 Comments
By Zoë Bossiere
On the morning Junot Diaz’s essay, “The Legacy of Childhood Trauma,” was published in the New Yorker, Carmen Maria Machado sent this tweet out to her followers:
Hi! Today, please meditate on how easily we accept women’s pain as collateral damage in men’s self-discovery.
— Carmen Maria Machado (@carmenmmachado) April 10, 2018
While she made no mention of Diaz in her replies, many writers knew who she was referring to. That week, article after article would celebrate Diaz for his bravery while literary circles whispered about the possibility that his essay was actually part of a strategy to lessen the eventual blow of being outed, #MeToo style, by the women Diaz claimed to have hurt in the decades following his abuse. In just under three weeks, the same outlets who had originally praised Diaz for his candor would publish new articles reporting that several women, including Machado, had come forward and accused him of misogyny and sexual misconduct.
Machado’s tweet calls attention to the long-held belief that a man’s artistic journey is more important than the women he might hurt along the way, and that abuse is sometimes a necessary evil of the creative process—the basis of “good,” “real,” or “authentic” art.
To cite an older example, David Foster Wallace famously credited his obsession with Mary Karr as the driving force in writing Infinite Jest, stating, somewhat crudely, that the book was “a means to [Mary Karr’s] end, (as it were).” Wallace continues to be taught and celebrated today despite Karr regularly reminding us about the terrifying patterns of abuse she endured in the 1990s, including Wallace stalking Karr and her family members, violently kicking her during an argument, and, once, pushing Karr from a moving vehicle. His behavior is (under) documented in his biography, and well-known among writers contemporary with Wallace and Karr. Unlike in Diaz’s more recent case, Wallace’s abuse is not a revelation to the public, but an example of bad behavior consciously ignored. As readers, how do we reconcile love for our favorite books with the terrible acts of the men who wrote them?
This was the question still fresh in my mind when I went to see Laurent Cantet’s The Workshop at an independent movie theatre. As a composition instructor and a creative writing student, I was excited to see what looked like an excellent addition to the genre of French-language films celebrating the power of classroom community and rising above prejudice through writing—like Cantet’s previous film, The Class or Phillippe Falardeau’s Monsieur Lazhar.
**Warning, Spoilers Ahead**
The Workshop stars a writer named Olivia, who mentors a group of teenagers through writing a collaborative novel set in their town, La Ciotat. But one student, a troubled young (white) man named Antoine, continually disrupts the class, penning gratuitous murder scenes and taunting classmates with his willfully racist opinions about the Bataclan and Nice massacres. Despite Antoine’s perceptible lack of redeeming qualities, Olivia seems to have complete faith in him, citing his “potential,” and unsuccessfully attempts to unmask Antoine’s machismo façade, encouraging him to express himself to the group.
Olivia learns that La Ciotat, once defined by its now-defunct shipyard industry, has few opportunities for young people like Antoine who are looking for stable work. In this regard, one could draw parallels between La Ciotat’s empty yards and the small Appalachian towns decimated by the United States’ once thriving coal industry. The same palpable despair, misplaced anger, and directionlessness expressed by some young men in those communities are present in Antoine’s character, which serve as a kind of raison d’être—if not a justification—for his extreme beliefs and aggressive behavior.
At home, Antoine is shown to spend his free time playing computer games, watching military recruitment clips, and listening to the French equivalent of alt-right propaganda videos on his laptop. His other hobby consists of stalking his instructor, taking covert videos of Olivia swimming and reading without her consent or knowledge, and studying them later on his computer alone.
If this alarming behavior weren’t enough, the situation takes a turn for the worse when Olivia asks Antoine for an interview on the pretense of researching for a character in one of her novels, which she uses as an opportunity to grill him on his political leanings. Antoine storms out and returns later with a handgun. He forces Olivia at gunpoint to drive him to a secluded location in the dark, refusing to answer her questions about what his motives are or what he wants from her. At one point she tells him, her voice quavering, “I’m really getting afraid now.”
When they arrive at a cliff overlooking the ocean, Antoine sits on the rocks and tells Olivia, after a tense moment of silence, that she is free to leave. Once she is gone, he throws the gun into the ocean, symbolizing, perhaps, a change of heart. He arrives at the workshop the next morning (Olivia having not called the cops, apparently) and reads a letter to the group stating that even with no job, no friends, and an uncertain future, a man should still consider himself lucky to be alive. He leaves, and the film cuts to a scene some months later where Antoine is working on an ocean barge, a smile on his face.
This last scene makes The Workshop a perfect cultural example of how easily the abuse and terrorization of women becomes redeemable in service of a man’s journey to self-realization and fulfillment. Olivia, though a successful novelist, is largely a flat character, functioning as a female sounding-board for Antoine to bounce his male angst from without any real-world consequences. She always allows him to speak in class and patiently listens to his ideas, no matter how violent or vitriolic his rhetoric. She sometimes calls him out on his more racist statements, but only on the grounds that he is intentionally provoking the class and she finds it “exhausting,” rather than due to any moral objection of their content. Perhaps most pointedly, she disregards her own personal safety as well as that of her other students when she chooses not to call the police and report Antoine’s behavior.
With the support of Olivia’s character, Antoine can evolve from a bored, lonely teenager with no sense of direction to a happy, productive young man working on a boat. This outcome would be wonderful if he hadn’t subjected an entire classroom of peers to his violent outbursts and threatened to murder his teacher in order get there. Just like too many powerful abusive men in our world, the consequences of Antoine’s actions in The Workshop never seem to catch up to him. And we, the audience, are supposed to be okay with this: to excuse Antoine because he’s young, or lonely, or feels hopeless about the future. Who hasn’t felt those things at one time or another, the film seems to suggest; we are all human, and we make mistakes, do things we’re not proud of, hurt other people.
I see this same logic in those who exonerate Junot Diaz for his past behavior on the grounds that he was horrifically abused as a child, or David Foster Wallace because he struggled with mental illness for most of his life. Knowledge of these hardships provide context for the choices these men made, but it certainly does not exempt Diaz and Wallace from the consequences of making them.
Still others excuse these men on the basis of their literary genius. Could such nuanced sexist characters like Yunior and Orin Incandenza have been written if not for the abuse the women in these men’s lives suffered? Maybe not. But what do we lose in the absence of characters like these, borne of somebody else’s hurt? Some might argue that these works contribute to the greater canon of literature, but in the era of #MeToo, how much is “good” art actually worth? One woman’s trauma? Two? At what point does the value we place on the literature these men produced absolve them of the hurt they’ve caused? Of the suffering these women have endured?
We’ve been having a lot of conversations lately about “the artist versus the art,” especially in television and film with Louis C.K., Bill Cosby, Woody Allen, and so, so many more. Now the movement has come to literature, and it’s time to make a conscious choice about who we read, and why. Because the truth is that a man isn’t born into literary greatness. Greatness is ascribed by the value we readers choose to place on certain works, and the world is full of art worthy of our attention.
And while writers like Junot Diaz, David Foster Wallace, and Sherman Alexie may be some of the first men whose place in the literary canon is challenged on the basis of their character, it is important to anticipate that they will not be the last. To use Carmen Maria Machado’s words, we don’t have to accept women’s pain as collateral damage in men’s self-discovery. As readers, we don’t have to promote the work of abusers, even well-regarded and widely-anthologized ones. We can choose instead to listen to voices whose art does not come at the expense of others’ safety and well-being. To those who have endured hardships and have chosen to rise above their trauma rather than to perpetuate the abuse they suffered. As readers, we can choose this. We should.
Zoë Bossiere is a doctoral candidate at Ohio University and the Managing Editor of Brevity: A Journal of Concise Literary Nonfiction. Works and significant life events can be viewed at zoebossiere.com or @zoebossiere
May 31, 2018 § 10 Comments
On Tuesday, we talked about publishers soliciting authors in the guise of a publication offer.
That’s not a book deal. That’s a (slick) commercial for their services.
But for some authors, “hybrid” publishing works. Could it be right for you?
Old-school vanity publishers know their terrible reputations, and many have rebranded as “hybrid.” They charge authors a “contribution” that pays their costs and a healthy profit margin. They don’t care if your book sells—they already made their money. You may end up with cartons of unsold books, text badly or not-at-all edited, dreadful covers, crappy page design.
True hybrid presses offer a legitimate package of publishing services. It costs more than self-publishing—they still profit before selling your book—but you’re not doing it all yourself. Hybrids can provide a smoother publication process, bookstore placement, reviews, and some of the legitimacy of an imprint.
Is hybrid right for you? Well…
1) Do you want a long-term writing career?
“At least I’ll be published” is the worst possible reason to go hybrid. Low first-book numbers make it harder to sell a second book. It’s better to be a debut author than one who’s sold under 10,000 copies—publishers want a positive track record or no track record at all.
Going hybrid, at least one of you thinks you won’t sell many copies. If the publisher thinks you’ve written a bestseller, they don’t need your money. If you think you can do better, pursue traditional publication or explore self-publishing.
But if you’re up for tenure, a reputable hybrid press gives you a resume credit. If you’re launching a public-speaking career and selling books after every motivational speech, you’re busy marketing yourself—let them handle cover design and proofreading.
2) How much energy do you have for marketing?
Even Big-Five published authors end up marketing their own book. But hybrid (and small independent/university) presses often lack media contacts. Does your potential publisher display at industry events like the Frankfurt Book Fair or BookExpo America? Do they have readings or signings at regional book festivals? Do they have a list of radio station managers to contact? Check their social media for links to author interviews and reviews in national media. If they can’t market your book in places that cost money or connections to enter, they aren’t doing anything you can’t do yourself.
If you’re newsworthy in a way related to your book—you just summited Mount Everest without supplementary oxygen or Sherpas; you gave six organs as a living donor; you’re a former child actor just out of rehab—then marketing isn’t your obstacle. Hybrid away!
3) Are you in a hurry?
Traditional publishing takes time. Your book comes out much faster with hybrid or self-publishing—sometimes at the cost of lower-quality editing, design and printing. But good hybrids have an established editing and design pipeline to scoot your book right through. If you’re dying of cancer or facing a major book-selling event next month, you may want to pay for publishing.
4) Do you want your book in bookstores?
Traditional presses can get your physical book on a shelf. Bookstores have near-zero desire to carry self-published books, so that’s where an imprint helps.
Go to your favorite bookstores and check for books by your potential hybrid press. Give titles and ISBNs and ask a clerk they’d stock those books or only special-order them.
Ask the hybrid press about returns and the retail discount. If it’s not “we take returns” and the industry-standard 55%—red flag!
5) What’s the royalty split?
Self-publishing, you control the price and get all the profit. Traditional publishing trades a chunk of the net for marketing and reputation. Hybrids take what you agree to give them…on top of the money you paid to publish. Before buying their package, make sure you’re OK with your percentage.
6) Do they want subsidiary rights like audiobooks, TV/movies, or foreign sales?
Red flag. These should stay with the author who pays to publish. It’s unlikely the press will market these rights anyway, and they don’t have enough skin in the game to demand a percentage.
7) Will they edit? What are the editors’ qualifications?
Is your book really done? Like really, really done? Is there still a nagging feeling in your heart that it could be better? Ask what kind of editing will be done, and by whom. “Our in-house editor proofreads” is not the same as helping your prose sing and your story hang together.
8) What are their actual, printed books like?
Order a couple titles. Is the paper thinner than you expected? Do you see typos, blurry print, bad layout? Is the cover art just plain ugly? Pull out books in the same genre from your shelves and make a table display. Do the hybrid books belong?
9) Due diligence!
- The Independent Book Publishers Association has set guidelines for hybrid presses. This is the bare minimum of legitimacy.
- Search the publisher name + “scam.” Search again on Absolute Write (make a free account for better info).
- Check Writer Beware, a wonderful resource that details bad-faith agents and publishers.
- The Science Fiction and Fantasy Writers of America have a list of what to watch out for when approached by a publisher.
- Read Jane Friedman’s The Business of Being a Writer for a greater understanding of the industry.
Going hybrid might be the right choice for you. But go in with your eyes open. Hybrid publishing is not a “book deal,” it’s a package of services you purchase. Make sure you’re getting your money’s worth.
Allison K Williams is Brevity‘s Social Media Editor. This summer she’ll be at Cedar Ridge Writers Series, VCFA’s Postgraduate Writers Conference, and Hippocamp. Come say hello!
May 29, 2018 § 12 Comments
You open your email, and O frabjous day! A publisher has come calling! They’ve seen your work in a literary magazine and wonder if you have a chapbook, or would like to be in their anthology. Or you didn’t win a contest, but your work “shows merit” and “deserves to be published.” Maybe you wanted a faster process than querying agents, or figured your work better suited a small press, so you cast out to a few publishers, and one has bitten.
You read a little further. This publishing house “considers work for both traditional and hybrid publishing.” If your book is seen as better suited to a hybrid deal—perhaps due to “the difficulty in placing the books of new or untried authors, as well as the general increased competition in publishing today”—the publisher feels “that it may be necessary to ask for a contribution from you.”
Maybe it’s even right up front: We’re a hybrid press. Our package costs $XXXX, and you can add on additional services at $XXX, $XXXX or $XXXXX.
The email is reassuring. Someone has recognized the quality of your work. After all the hype about “platform,” someone wants your book based on your writing. You don’t have to hit 10,000 followers or make mailing-list spreadsheets. It’s a relief.
But most of the time, it’s not true.
Not (technically) a scam or a fraud. But a well-designed system to separate hopeful authors from hard-earned dollars, waste their time and leave them with unsold, often un-edited and poorly-designed books.
Remember the old saw about things that seem too good to be true? That maxim goes hand-in-hand with another cliche: You can’t cheat an honest man. You can only sell a five-dollar diamond ring to someone who thinks he’s ripping you off.
Writers who seek hybrid publishing “deals” aren’t grifters. But they are to some extent sidestepping the work of getting published. Submitting and pitching to small magazines, medium journals and mass media. Blogging/newsletter-ing to build their core audience. Going to readings and events, collecting names and emails. Being a literary citizen. We’re all looking for a lucky break, and lightning may well strike, but it usually strikes while we’re in the middle of the process. The process that sets us up to be able to sell books once we do get that publishing deal.
Most authors who pay to publish end up doing the real work anyway. Pounding the pavement to get their book in a few stores. Emailing the target audience (key demographic: “everyone I know who has ever read a book”). They’ll do that work with a larger cash investment than traditional publishing and far less potential monetary reward than self-publishing. Their copyright may end up in the publisher’s hands—the publisher who may also now own all their subsidiary rights.
Remember that part about “the process that sets us up to be able to sell books”? Memoir, creative nonfiction and self-help are hard to sell without “platform.” Basically, the number of people who will buy your book or spread the word about it. Platform can be:
- social media followers (10,000+ real followers who engage with your posts)
- a speaking career (at major events where books can be sold)
- group membership (i.e., a nationwide service club or large religious organization; a class of people like “patients suffering this disorder”)
- writing articles or essays about the book’s subject matter, and publishing them in medium-to-major mass media or significant literary journals
- a public career like radio show host or TV presenter
Without platform, a traditional publisher doesn’t want to buy the book because they can’t sell the book. It’s also hard to self-publish without enough people to sell the book to. Unfortunately, so many books come out each year that, without a built-in audience, it’s rare for readers to discover and purchase any single book. Novelists still market hard, but for some there’s an existing base of blogs, reviewers, and genre fans to help the book get momentum and word-of-mouth. Nonfiction books by non-famous people are usually not newsworthy, so the writer needs an existing audience who will spread the word and buy the book themselves.
One of the things you can do to start momentum for your work is to revise sections of the book as possible magazine or newspaper articles, and seek publication in mass media. You can also turn chapters into self-contained essays to submit to journals. Whether you end up with a traditional publisher or a self-supported plan, getting your work out there will help future sales, and help you gauge your audience. Memoirists who publish a “hot essay” (the legendary venue is Modern Love, but there are plenty more places) often get offers from traditional publishers, or have agents seek them out.
Legitimate publishers have writers beating down their doors. Unless a writer recently did something very newsworthy, made a big splash with an essay, or regularly speaks at large events, publishers don’t come to us. We go to them. Self-publishing is totally legit, but you can coordinate it yourself, and publish with Createspace, Lulu, Smashwords and/or Ingram. That’s more work, but usually costs less, and you make all the money and keep all the rights.
Sometimes a true hybrid publishing deal can be the right choice for some authors. On Thursday, we’ll talk about what a good hybrid deal looks like, why you might want one, and questions to ask the publisher.