The publishing stories worth reading this week:
Publishing a Cookbook: Editors and Closing Day (Rachel and Polly of Thriving Home): This is a fun one for you! My authors, Polly and Rachel, give a great behind-the-scenes look at what really happens when we’re selling a book at auction. If you’ve ever wondered how a cookbook deal gets made and what happens when many publishers are interested, this is the perfect read for you.
The Effortless Effort of Creativity: Jane Hirshfield on Storytelling, the Art of Concentration, and Difficulty as a Consecrating Force of Creative Attention (Maria Popova of Brain Pickings): “In the wholeheartedness of concentration, world and self begin to cohere. With that state comes an enlarging: of what may be known, what may be felt, what may be done.”
Can Serialized Fiction Convert Binge Watchers Into Binge Readers? (Lynn Neary for NPR): I love this idea of tapping into the popularity of binge watching and bringing it to books, but I’m not sold on the idea that a book = an episode. Actually, I think a chapter = an episode. People are already binge-reading when they can’t put down a book and race through it quickly. If anything, serializing a book (chunking it into sections and releasing them one-by-one) is the opposite of binge-reading, which requires you to have back-to-back access to the whole book/series.
A Key to Writing Books that Sell and Sell and Sell (Chad R. Allen): I’m often asked what the correct balance should be between storytelling and practical information in a nonfiction book–here’s a great explainer on this from Chad Allen!
Collards And Canoodling: How Helen Gurley Brown Promoted Premarital Cooking (Nina Martyris for NPR): “The Single Girl’s Cookbook sold close to 150,000 copies. But how did an editor who couldn’t cook and who described herself as a ‘grown-up anorexic’ end up writing a cookbook? She didn’t. The recipes were ghost written by cookbook author Margot Reiman. Gurley Brown simply added the garnish.”
A Zen Method to Handle Rejection
Do you know the one thing I hate about my job? I hate writing rejections. I hate it, hate it, hate it. Please have me do anything else, including contract review, as long as I don’t have to say “no” to someone’s hard work.
The very thought of writing rejections makes me miserable. Because I know how hard some people take them—I see it with my own authors. I see the self-doubt and blame that springs up around a “no, thank you,” and I hate the very thought of afflicting that on someone else.
But I do it. And I do it because I believe in one thing: the best yes. Every time I say no to something that’s near-perfect for me, I’m saving room on my list for that project that’s 100% perfect for me. And I’m protecting my time for my authors, who deserve to have me there for everything they need.
That’s also how editors see it. That’s how sales, publicity, marketing, and everyone else who weighs in on an acquisitions decision sees it. We can only make magic when the very thought of a book makes us come alive. Otherwise, we’re doing a disservice to the author and the reading public by putting something out into the world that we’re only somewhat excited about.
And here’s a secret: Everyone in this industry gets rejected. It’s not just writers, I promise! An editor can have a book she loves rejected by her team. A marketing manager can have her new ad campaign denied from on high. A publicist can get hundreds of rejections (usually in the form of silence) from a press mailing. Agents and authors can get rejected by editors, and editors can get rejected by agents and authors.
There are thousands of things that can go wrong or get blocked by anyone along the entire acquisitions chain. Rejection is in the undercurrent of any media industry, and it’s the cardinal rule for anyone who creates and shares their work: you will get rejected. You’ll get stomped on; you’ll get battered; you’ll get tough.
Yet too many people let these disappointments destroy them. So let me say it now: I’m not going to let that happen to you. I’ve coached dozens of authors through rejections, and I know that how they handle it is what separates the career writers from the hobbyists.
If you’re serious about your work, you know there’s no Plan B to fall back on, no other career that will be good enough. The only way onward is through the wilderness of rejection. Here’s how I would coach you through each step along the way:
