The Writer-Editor Relationship, Part 2: Five Things Writers Wish Editors Knew—and Followed

May 25, 2016April 4, 2020 / thealiennextdoor / 5 Comments

Cedar log (photo by Nina Munteanu)

In my previous article, “The Writer-Editor Relationship, Part 1: Editors Preparing Writers,” I focused on clarifying expectations between editors and writers from the editor’s point of view. Part 2, this article, focuses on this same relationship from the writer’s point of view.

Clarity of expectation, honesty, and mutual respect are key features in a productive and successful writer-editor relationship. Writers expect editors to inform them if their expectations are out of line, and writers rely on editors’ honesty and transparency to let them know if they are comfortable with the task being asked of them. This, of course, is predicated on the editor’s full understanding of what that task is; again, it is the responsibility of the editor to determine the scope of work from the author—just as a doctor will ask key questions to diagnose a patient. If an editor has reservations, caveats, or limitations with the project, these should be shared upfront. Honesty is always best, and it should start right from the beginning so that mutual respect is cemented.

Below is a list of five things that writers wish editors knew—and followed.

Edit to preserve the writer’s voice through open and respectful dialogue

Losing your voice to the “hackings of an editor” is perhaps a beginner writer’s greatest fear. This makes sense, given that a novice writer’s voice is still in its infancy; it is tentative, evolving, and striving for an identity. While a professional editor is not likely to “hack,” the fear may remain well-founded.

A novice’s voice is often tangled and enmeshed in a chaos of poor narrative style, grammatical errors, and a general misunderstanding of the English language. Editors trying to improve a novice writer’s narrative flow without interfering with voice are faced with a challenge. Teasing out the nuances of creative intent amid the turbulent flow of awkward and obscure expression requires finesse—and consideration. Good editors recognize that every writer has a voice, no matter how weak or ill-formed, and that voice is the culmination of a writer’s culture, beliefs, and experiences. Editing to preserve a writer’s voice—particularly when it is weak and not fully formed—needs a “soft touch” that invites more back-and-forth than usual, uses more coaching-style language, and relies on good feedback.

An editor colleague of mine consistently accompanies her edits with the question, “Does this change preserve your meaning?” This prompt both focuses on “voice” and reminds the writer that the editor is considering it, which fosters a nurturing environment of mutual respect. Editors who are not familiar with working with writers in the early stage of their careers may wish to defer to one who is more experienced.

Editors also need to consider how the author’s narrative voice harmonizes with the standard in the author’s targeted genre and niche market. Pursuing respectful and open dialogue about how the author’s voice fits or doesn’t fit that standard is another responsibility of a good editor and one an author will come to rely on—particularly early on in their career.

Understand—and embrace—the market and genre of your writer

Writers are often told to write what they know. This edict applies equally to editors: edit what you “know” and understand. Each form of writing—from literary and genre fiction to journalism, the memoir, and technical writing—encompasses an overall style, culture and vision, associated language, and even “jargon” that is important to understand to succeed with readers. Even writers who subvert the trope need to first understand what they are subverting, and so does the editor.

I write and edit science fiction and fantasy. I do it very well, because I have a passion for it and I intimately understand its world and language, including where the boundaries lie and where the risks—and sublime nuances of originality—also lie. I worked as a scientist for over 20 years and have published papers in peer-reviewed journals, so I am comfortable editing technical and scientific papers. I live that world. On the other hand, I do not read, nor do I understand or care for, the horror fiction genre. Not only would I do a lousy job editing a work of horror, but I wouldn’t provide the discerning editorial advice to best place that work in the horror market. It is in the area of market niche that one editor will shine over another based on their familiarity with, and current activity in, that industry sector. This is ultimately what writers are paying for: the multi-layered understanding of the editor that comes with a full embrace of that world.

Editors should ensure a good fit and the best chance for success by not taking on work in a genre with which they are neither familiar nor comfortable. Think of the author. Which leads me to the next point:

Be honest and practice moral integrity: Don’t take on a writer’s work unless you like and believe in it

When I was starting out as a writer with my first novel, I shopped it around to many agents, hoping for representation. While the book was eventually published with great success, many agents had rejected it. Literary agents take on clients and shop their books to publishing houses. They usually charge a percentage of the take and are not paid (if they are good agents) until the book is sold to a publishing house. Payment, therefore, is predicated on success. In many cases, an agent would respond with good things to say about my first manuscript but would not take it on, citing this common phrase: “It just didn’t excite me enough.” I was initially puzzled by this response. If they liked it, why didn’t they take it on? But “I like” isn’t the same as “I’m excited.” I soon realized the importance that excitement played in the agent’s business. They were my advocate, after all. If they weren’t eager about the book, how could they sell it to someone else? And if they couldn’t sell it to someone else, how could they get paid?

While the editor is usually paid up front and/or upon deliverable, they fulfill a similar role: that of advocate. If an editor takes on a writer’s work without enjoying it or believing in it, they are much less likely to do a good job. And both lose when that happens.

When we just do a job for the money and not for the passion of doing something well, we run the risk of losing on all fronts. We run the risk of being dishonest in our assessments and then doing a shabby job. And then losing our reputation. Be an advocate and be honest; sometimes, that means saying “no” to a project and explaining why. The writer will benefit and will thank you for it—if not right away, then eventually.

Edit professionally and appropriately to promised deliverable

In my capacity as writing coach, I have met with several writers who have complained that their work had been insufficiently or inappropriately edited. This can occur for several reasons: (a) lack of time; (b) incompetence; or (c) inappropriate match-up.

Lack of time

As a writer, I once experienced an insufficient copy edit by a freelance professional editor. In fact, this particular editor was a good editor and had impeccably edited a previous work of mine. When I submitted my “edited” work to a beta reader, he pointed out many places that my copy editor had missed. A few is OK, but she’d missed many. From subsequent correspondence, I deduced that my editor had been overrun with other projects and had skimmed mine a little too fast. Unfortunately, this was unacceptable, given that I’d agreed to pay her a professional rate for a specific deliverable: a copy-edited, proofed, and publication-ready manuscript.

The ultimate message here for editors is, don’t take on a writer’s work and make promises of delivering until you know what you’re getting into and know that you can do it in the time you suggested. Honesty is best here. If you are too busy to meet the specified deadline, say so and refer the writer to another respected editor if they can’t wait. And don’t worry about “losing” the client—you haven’t. But that editor I mentioned in the previous paragraph did.

Incompetence

Unfortunately, most editors who are incompetent are unaware of it. One of my professional writer-editor colleagues at SF Canada invoked the Dunning-Kruger Effect (“at a certain point, people who really don’t know something don’t know that they don’t know it”) to share her story of what passes for editorial input in “an age of homonym errors.” She suggested that some self-appointed editors are convinced they have significant skills but allow a large error rate.

This is where organizations like Editors Canada become invaluable. Editors Canada certifies editors for skills in various editing fields and forms (that is, structural-, stylistic-, and copy editing and proofreading). If you are a professional editor with certification, ensure that you make this known to the writer; many writers not only don’t understand the various editing forms (for example, copy editing vs. structural editing), they also don’t necessarily recognize competence until after the job is done—when it’s too late.

Inappropriate match-up

This is similar to point 2, which talks about matching writer and editor through genre and market. A good fit also includes temperament, schedules, communication style, and other considerations that will affect the editor-writer relationship and the natural progress of the project. As editor, I have encountered a few clients whose communications with me created tension and misunderstanding. We mutually agreed to terminate our arrangement early on, which saved much tension and grief. The transparency of the relationship allowed us to recognize the mismatch early on and attend to it before it became problematic and wasted both our time and efforts.

Keep the relationship—and language—professional and respectful

Without necessarily expressing this, the majority of writers—particularly beginning writers and, by default, indie/self-published writers—seek a professional editor who will treat them with respect. What this translates into is the use of professional language, tone, and behaviour. Writers aren’t looking for an editor to be their “friend.” Writers are also not looking for a professional editor to validate their work or them as people. Writers seek professional editors to give them honest and helpful advice that will help them create the very best work they can for eventual publication.

Simple. Not so simple.

As an editor who is also a writer (who gets edited a lot), I provide rationale as much as I can for the suggestions I make to writers. This helps establish and maintain a respectful and collaborative relationship between author and editor through the use of professional language, tone, and behaviour. Think of it as a doctor-patient relationship; I’ve dropped doctors like hot potatoes who are not willing to sit with me as an equal and discuss their prognoses. I want to know why, and ultimately, it’s my decision. The editor is an expert, but so is the writer.

The writer-editor relationship is foremost a professional one. As an editor, I feel it is my duty to promote integrity and respect with the writer, and this hopefully within a safe and nurturing environment for the achievement of mutual excellence.

This article was copy edited by Nicole North.

Nina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

The Writer-Editor Relationship, Part 1: Editors Preparing Writers

April 27, 2016April 4, 2020 / thealiennextdoor / 1 Comment

Spalting patterns on decaying log (photo by Nina Munteanu)

As indie publishing soars into new heights and successes, writers are looking more and more to freelance editors to help them create works of merit that will stand out in the market. Whether this process is seamless and productive or fraught with difficulties relies on the relationship established between editor and writer—at the outset and throughout.

The writer-editor relationship—like any relationship—works best when communication between parties is transparent and clear. What ultimately drives misunderstanding—or its corollary, harmony—is “expectation” and how it is met. Clarifying expectations on both sides is paramount to creating a professional and productive relationship with few hitches.

Realizing Expectations

Indie authors often come to editors with unclear and, at times, unreasonable or unrealistic expectations on services. Many writers know very little about the kind of editing we do and the different levels of effort (time and associated fee) required. They do not understand the difference between “copy-editing” and “structural editing”, particularly as it pertains to their own work. In fact, many indie writers don’t even know what their MS requires. This is because of two things: 1) they can’t objectively assess their own work, particularly in relation to market needs; and 2) many authors have not sufficiently considered their “voice” or brand and matched it to a relevant target market. Both of these will influence how the writer comes into the relationship and the nature of their expectations.

It is best to be “up front” with everything, from understanding a writer’s work and market expectations to establishing your fees, your time, and the nature of your services. This is why a savvy editor will ask for a one to several page example of the author’s writing prior to offering their services and finalizing the nature of a potential relationship. Such an exchange may, in turn, include a sample of the editor’s work for the writer to assess. This exchange helps clarify the process for both parties.

A savvy editor will want to establish with the author the following things prior to taking him/her on as a client and embarking on the actual editing task:

The nature of the writer’s work: a writer’s work should harmonize with the editor and achieve a good fit; e.g., I edit fiction and non-fiction; however, I do not edit horror, because I simply can’t relate to it and don’t care for it. More on this below.
The author’s expectations and target market: this is key to establishing the kind of editing required for the author’s piece. Is it good enough to just copy-edit or will the piece require substantive edits to succeed in the identified market? This often requires open and frank communication between editor and author.
Nature and time of submission: on which the schedule is based.
Schedule and deadlines for deliverables: based on the editor’s realistic timing (including other work) and the nature of the editing job (to be established by some reliable means).
Nature of communication: form and frequency; partly to ensure that the writer does not abuse the communication stream with a barrage of emails, e-chats, phone calls, etc.)
Nature and cost of deliverables: e.g., use of track changes; inclusion of summary letter; follow up meetings, etc.
Mutual agreement on fees, fee structure and payment details: what, how and when.
Inclusion and nature of contract: this may include an NDS, if desired.

By clarifying these, you and the author create a new set of realistic agreed-upon expectations.

Fitting Writer with Editor

The right fit for editor and writer includes more than harmonizing genre, writing style, and content. The fit includes personality. A professional editor and colleague of mine recently shared on our list-serve about his experience as both a freelance and publishing house editor. The editor shared that a majority of writers responded to his edits with comments like, “finally, someone who just comes out and plainly tells me what’s wrong!” However, others complained: “why are you so mean?” The editor admitted to using humor liberally in his assessments and was described by one of his clients as “playfully harsh.” While the work of this editor is no doubt impeccable, the added humor may not be a good fit for some writers, particularly those who are not highly confident in their work.

Knowing your own brand of editing and being up front with it is part of achieving a good fit with a writer and can avoid huge headaches down the line for both of you.

Toward Honesty & Moral Integrity

I and some of my editing colleagues have run across several cases of indie writers who have come to us with “already edited works” that they believed only needed proofing or minor edits, but in fact called for substantive editing and story coaching to fulfill market requirements. The previous editor had either done a poor job of editing or the author had done a poor job of incorporating the edits. Either way, I was now in the position to inform this author, who had already spent several thousand dollars on edits, that his work required more than a “trim job off the top” to meet the standards demanded by the market.

My colleague suggested that it is unethical to copy-edit a manuscript that obviously requires structural editing or has serious “story” problems. I’m inclined to agree. The key lies in the expectations of the author and his/her intended market. This is where the editor’s knowledge of “matching work to market” becomes a critical part of the relationship with the author, whether you take him/her on as a client or not. I talked more about this in a previous article on Boldface, “The Moving Target of Indie Publishing: What Every Editor (and Writer) Needs to Know.” Honesty is best. Following the path of moral integrity may not put food on the table; but it will maintain your reputation as an editor of quality, which will keep the roof over your head.

Below is a mock email of a general response to a writer’s inquiry for help on their MS:

Dear Alice,

Thank you for your interest in my editing services. I am still taking on clients and would be happy to help you.

In your initial letter, you included a brief description of your story. It sounds intriguing and interesting. Science fiction is my passion (I’ve published nine SF books so far).

Before we proceed, I need a few things from you to ensure we are a good fit and to help me do the best I can for your project. First, can you please send me a short sample of your work (2-3 pages) and a very short summary. From this I’ll be able to confirm the kind of editing that best suits your project. For the kinds of editing/coaching services and associated fees please refer to this page on my website: xxxx.

Can you also answer the following questions?

1. (If they haven’t included the genre or a short premise, I ask them for one).

2. How do you intend to publish this book (traditional, indie, self-publish)?

3. Who would you say is your intended audience and market?

4. Is this book a stand alone or part of a trilogy or series?

5. Is the book complete (first draft or more)? If not, how much is written?

Based on this, I will suggest the kind of editing (and coaching) required to best fit your needs. This may be one or a combination of the following: 1) an evaluation/assessment at $xx/page; 2) copy-editing (with some substantive editing) at $xx/page; or 3) story coaching at $xx/hour. As outlined on my webpage (xxxx), I provide digital commentary (line by line) in your manuscript (in Word through track changes) accompanied by a summary letter with recommendations. You can find examples of what I do on this page of my website: xxxx.

Once I’ve determined what services best suit your work and you are in agreement with the service and fees, I will draw up a contract for you and I to sign. The contract will stipulate a reasonable schedule that you and I can agree on for the process and deliverables.

Once the contract is signed by both of us, I would ask that you send me your material along with Paypal payment for the first half of the agreed total fee by the date marked in the contract.

I look forward to hearing from you.

Best Wishes,

Nina

The Moving Target of Indie Publishing: What Every Editor & Writer Needs to Know

April 18, 2016April 4, 2020 / thealiennextdoor / 1 Comment

Decaying cedar log (photo by Nina Munteanu)

I’m a writer and an editor. I’ve written and published novels, short stories, and non-fiction books with traditional publishing houses and indie publishers. I’ve also self-published. As editor, I serve as the in-house copy editor for a publishing house in the United States and have acted as acquisition editor for several anthologies put out by a local indie publisher. I also coach novice writers to publication and edit in that capacity. You could say I know the industry from many angles and perspectives. That’s been good for me, because this industry is a moving target, and it’s good to triangulate on a moving object. The entire publishing industry is evolving, and it’s a slippery evolution.

Even the words we use are slippery. Indie. Hybrid. Publisher.

Many people, like award-winning author Kristine Kathryn Rusch, when they use the terms indie writer and indie publishing, include what some call self-publishing in their definitions of indie, “because so many [professional] writers who are not with traditional publishers have started their own presses. It’s not accurate to lump all writers who are not following the traditional route into the self-publishing basket any longer.” According to Rusch, an indie publisher is anyone who is not a traditional publisher. For this article, I’ve adopted Rusch’s definition to provide the full range of expectations for editors working with writers in the indie field. I define a traditional publisher as an established and often larger publishing house or press that (1) follows traditional submission criteria; (2) does not charge writers; (3) pays out royalties; and (4) employs in-house editors.

Indie writing and publishing can then be described in several ways depending on where the writer submits and by what mechanism and what model they use. All of these will affect a writer’s needs and perceptions for an editor and, in turn, an editor’s expectations as well.

Table 1 (below) outlines the five major models of indie writing and publishing.

Table 1: Types of indie writing / publishing models
1.	Small independent press (not writer’s)	Author submits to a small press that does not require author to pay for publishing costs. House may pay small royalties. Acceptance criteria limit submissions. There may or may not be formal distribution.
2.	Small independent press (not writer’s)	Author submits to a small press that may require author to pay for part of the publishing costs. House typically does not pay royalties but may provide complimentary copies and/or author’s rate for copies. Acceptance criteria may still apply to submissions. Distributor is typically the Ingram/Amazon model.
3.	Small independent press (writer as sole proprietor or part of a consortium; also called self-publishing by some)	Author can write and publish as they please. Costs of publication are born solely by the writer(s), and royalties come straight from profit. No acceptance criteria apply. Distribution is typically the Ingram/Amazon model.
4.	Service publisher (e.g., iUniverse, Friessen; this is self-publishing, even though the publisher’s name appears on the work)	Author can write and publish as they please. All publication costs born by writer. Service will include copy editing, layout, cover design, printing, some distribution, and some promotion—all at cost (based on service package). Distribution is typically the Ingram/Amazon model.
5.	Self-publishing (e.g., the publication is in the author’s name)	Author can write and publish as they please. Author uses à la carte style of self-publishing in which they do (or hire others to do) the production of the work (e.g., editing, layout, cover, printing, distribution, and promotion).

Depending on which model an author uses for their work, their perceived need and actual need for an editor prior to submission and publication will be affected. I distinguish between perceived and actual because, unfortunately, in many cases, these diverge: an author may not think they need a certain kind of editing for their work when they do. The opposite is more rare: the author thinking they need an editor when they don’t. (More on this in a future article.)

The availability of these models and their hybrid cousins has provided writers with a cornucopia of often confusing choices. In many cases, I find that writers are not even aware of which choice is best for them. Part of the reason is that writers carry forward ideas from the old model. Unfortunately, this often translates into misconceived ideas about and expectations of editors. (That’s another article too.)

For editors, it’s important to recognize these different models and what they, in turn, provide and expect from authors. A savvy editor translates into a savvy author. Your advice, when driven from a place of publishing industry knowledge, will be invaluable to authors seeking your services. And they will come to rely on this as much as, if not more than, your actual editing.

By its very nature, indie publishing has given the freelance editor an opportunity to take on a new role—a service that agents used to and still do provide to many traditionally published authors: that of industry consultant. In the traditional model, an author would seek an agent who would then not only sell their work to a publisher but also provide advice on what to expect in the market as well as help with career-longevity choices (which include branding)—questions many novice authors haven’t even considered, never mind answered sufficiently. Most indie authors will not engage an agent, but most will (should) hire an editor. So, instead of an agent, the freelance editor becomes the first stop in the publishing industry for an indie author. This has become one of my primary roles as editor and writing coach. And this is again because most writers, when they start out, do not know what direction they want to go—mainly because they aren’t familiar enough with what is available to them and the ramifications to their careers.

Here’s an example: one client, working on her first novel, wanted my advice on whether she should try a traditional publisher or just forgo and self-publish. An editor possessing savvy knowledge of the industry and now knowing something of the author’s work and ambitions can bring informed and constructive advice to the author.

The ramifications on how I handle and edit a story directly follows which route the author has decided to follow. This is every bit as relevant to an author publishing with a traditional publishing house, an indie press, or self-publishing. Style—whether it’s that of a publishing house or the author’s brand—relies on consistent application of voice and tone. Just as publishing houses embrace different and unique styles, so do authors. In fact, if they are self-publishing, this is even more important.

The editor plays a crucial role in helping an author establish their voice, style, and, ultimately, their brand. And, perhaps, this becomes one of the principle differences between traditional and indie publishing. While voice and style is predetermined to some extent by traditional publishing houses (hence, they employ their own editors to impose a style in some cases), it’s left to the author—and their freelance editor—to determine this in the indie scene. The structure of traditional publishing is both more orderly and more confining. Indie publishing—particularly self-publishing—is an infinite melting pot of creativity. Some view it as one big mess. In fact, it’s a chaos of astonishing opportunity. It’s a chance for intimate collaboration that demands mutual respect. Freelance editors are poised as both gatekeepers and enabling wizards of the indie world.

Table 2 (below) describes a freelance editor’s focus in the five indie models.

Table 2: Editing for different indie models
1.	Small independent press (with submission criteria similar to a traditional model)		Authors often think they don’t need a freelance editor if they’re submitting to a press with in-house editors; this is incorrect. Those who have had their work edited prior to submission to a press—even a small press—will have a much higher chance of being accepted. The freelance editor’s job, then, will include attending to the style of the publishing house.
2.		Small independent press (without submission criteria)	While authors may not recognize the need for an editor when submitting to an indie publisher without submission criteria, the need for editing remains—particularly because many of these presses don’t employ or have sufficiently qualified editors. Excellence in presentation and nurturing a strong author voice are the freelance editor’s responsibility.
3.		Small independent press (writer’s own press)	Given that the author has carte blanche on what to write and publish, a freelance editor’s role in recognizing, harmonizing with, and helping to establish a genuine and strong author’s voice becomes most important.
4.		Service publisher	Authors have misconceptions about service publishers and particularly their editors. I’ve had several clients come to me after recognizing that their works were not well represented by the provider’s in-house editor. Service publisher in-house editors do not represent a particular style, voice, or brand (given that most are underpaid students and there is no style identity); the freelance editor role is as with #3.
5.		Self-publishing	The same criteria exist here as for model #3.

Spalting patterns on decaying log (photo by Nina Munteanu)

The take home: Freelance editors can flourish in the indie writing and publishing field by (1) establishing their expertise in the industry and what it requires (taking on the role of consultant, which agents normally provide in the traditional model); (2) recognizing a need for strong authorial voices and helping to foster them; and (3) promoting point #2 with consistency in style, tone, etc.

Our Deepest Fear

January 24, 2016April 4, 2020 / thealiennextdoor / 2 Comments

Mountains in Switzerland (photo by Nina Munteanu)

It’s not what you think it is…

There’s a poignant scene near the end of the 2005 movie “Coach Carter” where a student finally responds to Carter’s insistent question of “what is your deepest fear?”. It is a quote often mistakenly attributed to Nelson Mandela but originally written by Marianne Williamson (“A Return to Love: Reflections on the Principles of A Course in Miracles”). And it speaks to the artist in all of us:

Mountain cabin, Switzerland (photo by Nina Munteanu)

“Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, Who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? You are a child of God. Your playing small does not serve the world. There is nothing enlightened about shrinking so that other people won’t feel insecure around you. We are all meant to shine, as children do. We were born to make manifest the glory of God that is within us. It’s not just in some of us; it’s in everyone. And as we let our own light shine, we unconsciously give other people permission to do the same. As we are liberated from our own fear, our presence automatically liberates others.”

Let me tell you a story… I’ve been writing stories since I was ten years old. I used to stay up until late at night with my sister, when our parents were snoring in their bed. We told stories: fantastical stories with a cast of thousands and spanning the entire universe. When I was in my teens, I began to write a book, inspired by several dystopian movies and my own passion for saving the planet. It was called “Caged in World”. By the time I was married and had my son, I had written three entire books, none of which I’d published. I had by then sold several short stories and essays and articles to mainstream, travel and science fiction magazines. I started to become known as a reviewer and critic of movies and books. And my short stories were gaining good reputation with stellar reviews and invitations to appear in anthologies.

I began to market my first book—a medical ecological thriller—to agents and publishers. Although I got many bites for partials and even full manuscripts, none came to fruition.

Then something strange happened.

Driven by something inside me, I wrote over the space of a few months a book entitled “Collision with Paradise” based on some research I’d done on Atlantis, the bible and the Great Flood. The book was important to me on a number of fronts: in its ecological message of cooperation and its exploration of new paradigms of existence. I wrote it fast and well and it hardly needed editing. Without thinking and without hesitation, I submitted it for publication. As quickly as I’d written it, I had an offer from a publisher. My first published book! My first reaction was elation. My second reaction was: What have I done? I was proud of my book and its story, but it also contained erotica. My first thought was: how are my family and friends going to react? What about my parents? OMG! Fear, not of failure but of success came crashing down on me and I felt so exposed. If I could have retracted it, I might have several times. Thankfully, I didn’t. While some friends and family did in fact shake their heads and look askance at my work (and labeled it variously), the book was very well received by mainstream critics and readers alike. It was, in fact, a hit. Faced with success, I bowed to its consequences and embraced what it brought: the good, the bad and the ugly. I was, in fact, relieved. I have many times since contemplated my actions in submitting this subversive novel that exposed me incredibly. Was it brave intuition or bold recklessness that propelled me? The point is, I’d stepped out into the light, crossed the line into another paradigm. There was no way back into the shadows. And that’s good.

Ralph Keyes, author of The Courage to Write, tells us “any writing lays the writer open to judgment about the quality of his work and thought. The closer he gets to painful personal truths, the more fear mounts—not just about what he might reveal, but about what he might discover [about himself] should he venture too deeply inside. But to write well, that’s exactly where we must venture.” If you’re emotionally or psychologically not ready for the consequences of getting published, then you will falter, procrastinate, forever fuss over your creation and convince yourself that it isn’t ready. In truth it’s you who aren’t ready. It’s you who aren’t ready to shine.

Author’s friend in Zermatt, Switzerland (photo by Nina Munteanu)

Just remember that while we are born artists, it is still our choice to live as artists. Until we embrace that which is within us, we will not find our voice to give to the world. That is our gift to the world. Laurance Gartel says “to be an artist is to take responsibility for the world’s destiny. You shape it by your vision.”

“The true artist is not interested in having a nice life, being comfy or fitting in, but rather sees himself as a benefactor. His goal is to make a contribution to life, and to this end there are no barriers, doors or blocks, but only wide open spaces.”—Brian Simons

Dreaming of Writing a Bestseller

January 18, 2016April 4, 2020 / thealiennextdoor / 2 Comments

Jungfrau, Switzerland (photo by Nina Munteanu)

This is a valid desire. It is, after all, why most of us write—to share our stories and messages with as many people as possible. Most writers dream of writing a bestseller although only a handful of authors achieve this status. The irony and the big secret of achieving “bestseller” stature and becoming wildly popular is not what you think.

You thought I was going to send you to the bookstore to research the market, weren’t you? Or go to Amazon and find out what’s selling? Or see who and what is currently on the Bestseller list?

While these are all valid quests, writing to the market will not ensure that your work becomes a bestseller. In fact, it will likely do the opposite. When a writer is writing to the market, she is following the market, not leading it. Here lies the rub; a book becomes a bestseller because it provides something new and refreshing to a wide readership, eager for a story that resonates with originality. This isn’t necessarily something eclectic and strange; but it is most certainly a new voice and/or new way of looking at something familiar. When a unique voice intersects with a popular thought, a bestseller emerges. That is precisely what happened with Harry Potter. J.K. Rowling didn’t invent wizards or fantasy or even a school for wizards; but she did provide a fresh look at the potentially popular subject of an outsider who finds that he is special. And let’s not forget that before her book became a bestseller, it was rejected many times by less visionary publishers unwilling to take a risk.

So, what am I advising? Find your own voice, the one that belongs only to you. Cultivate your unique voice and write with passion. Write about something that means a lot to you or excites you or intrigues you. Be genuine. Be specific. Put yourself out there. Take risks. And be patient. Chances are, your writing will resonate with many.

Arthur Miller, author of Death of a Salesman, recommended that you “develop interest in life as you see it; in people, things, literature, music—the world is so rich, simply throbbing with treasures, beautiful souls and interesting people. Forget yourself.”

Stop chasing success; instead create it.

Auschwitz survivor and psychologist Victor Frankl wisely said: “the more you aim at success and make it a target, the more you are going to miss it … Success , like happiness, cannot be pursued; it must ensue, and it only does so as the unintended side effect of one’s personal dedication to a cause greater than oneself or as a by-product of one’s surrender to a person other than oneself.”

Bottom line: don’t chase it and don’t sweat it; enjoy the journey.

Nina’s latest book “Water Is…” (Pixl Press) is currently a bestseller on Amazon and was top pick for Booker Prize author Margaret Atwood ‘s 2016 ‘The Year in Reading” list in the New York Times.

Swimming Against the Tide and Rising Up & Rising Above

June 3, 2015April 4, 2020 / thealiennextdoor / 9 Comments

Cheryl Antao Xavier

“Her passion for giving voice to non-mainstream writers has inspired her to swim against the tide in these harsh economic times,” says Desi News (Issue 31; December 2014) of Cheryl Antao-Xavier, publisher of In Our Words, Inc. (IOWI) in Mississauga, Ontario.

I met Cheryl a few years ago at a writer’s event when she introduced herself during a break as I was helping myself to my third samosa. We’ve since collaborated on several projects. The most recent is a literary anthology on what it means to live in Canada and be a Canadian. The call for submissions has just recently been made, so if you’re interested in submitting, check out Cheryl’s website here: http://inourwords.ca/the-literary-connection-volume-ii.html

Born of Goan parents, Cheryl grew up in Bahrain and then Karachi, where books were a rare treat. Cheryl shares the story of her aunt who taught knitting to women in a banking family from whom she borrowed books—Enid Blyton, Grimm’s Fairy Tales, Nancy Drew and comics—for her book-thirsty nieces, who “would devour the books in no time!” says Antao-Xavier.

Quality books were a luxury, even at the university she attended. Cheryl recalls how the Karachi University library had a “chained book” on display. John Stuart Mill’s book was required reading for students of economics but there was only one copy in the KU library. It sat on a wooden stand with a chain running through its spine under a librarian’s guard and you had to book time with the book and wait long hours for a few minutes to make hasty notes.

Cheryl Antao Xavier

When Cheryl immigrated to Canada in 1988, she found “book heaven” in the second-hand bookstores and libraries. Reading and owning books became an obsession that has endured to this day.

Cheryl worked for several publishing houses before creating her own publishing house In Our Words Inc. (IOWI). IOWI publishes a good variety of works, including literary fiction, creative non-fiction, poetry and children’s stories from both emerging and established writers.

About the work IOWI publishes, Cheryl told Desi News, “I delight in new and fresh voices; language with imagery; twists on the conventional; historical backgrounds with the angst of displaced or marginalized people. For writers with emotional ties to a heritage radically different from the Canadian experience, writing is a cathartic process. There are writers who have lived through cataclysmic events, whose stories are fascinating chips in the mosaic of Canadian literature.”

I recently whisked Cheryl off in Benny, my sentient ship, and settled her to a million dollar view in the aft deck as we circled the planet. I asked her about how she is managing with the industry doing virtual summersaults (as opposed to somersaults–well, it IS summer, eh?) these days. Here’s what went back and forth:

Nina: I was so intrigued by your story, I just have to start by asking you this: what’s your favourite book of all time and why?

Cheryl: Jane Austen’s Pride and Prejudice. Read it umpteen times, saw both movie versions, have the Colin Firth series in my video collection. I looooove period fiction drama. Dickens, the Brontes, Hardy, to the more recent Forsythe Saga, Downton Abbey, etc. etc. My Dad had the full collection of Perry Mason and Zane Grey books. So of course I read them all. I love murder-mysteries from Agatha Christie to the present day forensic science stuff.

Nina: You have excellent taste! … What is your assessment of what is happening with print books vs ebooks vs audio books and such? Do you see one format winning over the other and how will that affect your own publishing model?

Cheryl: Print books should be around for as long as our generation who love holding a paper book survive. But ebooks are increasingly popular and have undeniable environmental merits. Publishing companies like mine have to do what you aptly call ‘virtual somersaults’ to stay current and cut costs to stay viable. Rather than publishing formats, what worries me more is poor quality books being published and the potential for declining readership in general. The tragedy of do-it-yourself print-on-demand software, freely available, is that anybody with passable tech skills can become a ‘published author.’ Books with flashy covers but no creative merit vie for reader attention and diminishing discretionary incomes. Also, media entertainment continues to steal leisure time.

Nina: Can you share some candid thoughts on the advantages and disadvantages for writers starting out in choosing the traditional publishing model vs alternative models such as indie or self-publishing.

Cheryl: The lines between traditional and indie/self-pub have blurred even more with the proliferation of print-on-demand options. Production costs have consequently plummeted. So the financial investment in an author/book has less of a risk. I would say, do your research. Make your manuscript super-strong, that means get it professionally edited, and then try the traditional route. Read publishers’ responses to your queries very carefully. It’s an opportunity to learn. If there are no takers, then research indie publishers and call, discuss contracts and options and make an informed decision. Make doubly sure that the traditional pre-production steps of editing, proofreading and professional design are not bypassed. Sometimes good content is smothered by verbosity and needs a good professional edit. Basic POD ‘template’ designs SCREAM amateur-DIY when they are set with no real imagination in big blocks of text, riddled with typos.

Nina: Do you see any specific roles for indie and/or self-publishing in helping to define artistic expression in Canada?

Cheryl: Definitely. The traditional big publishing houses can accept just so many manuscripts. So obviously they’ll go for the ones that are a sure bet. That’s where the diamonds in the rough can be missed out. Indie publishers who have the resources to work with authors to polish the content to its best possible advantage are ideally placed to bring new or even established voices to the mainstream.

Nina: What in your opinion is the major impact (both negative and positive) of the growing self-publishing model adopted by many writers over both traditional and indie publishing?

Cheryl: Occasionally I read and recommend self-published books for membership in a major professional writer’s organization. I also attend book launches and local literary events looking at books, particularly by self-published authors. The good thing is that these authors went that extra step to raise their voices in the literate world. They feel the satisfaction of being ‘published authors.’ The down side is that once something is in print, and particularly if it has not been professionally edited and designed, that book can end up being an embarrassment and a waste of time and money. Typos jump out at the reader and lower the credibility of the work and its creator. Ultimately, it comes down to what the writer wants to achieve by publishing.

Nina: What major change do you foresee in the book industry and the readership that will affect us? How and why will that affect IOWI?

Cheryl: Everybody loves a good story, and finds it worth their while to read well-articulated text. So the successful writers will be the ones who manage to engage their readers no matter what the genre. The challenge is also for a good book to stand out from the proliferation of new titles vying for attention in virtual and brick-and-mortar stores. I see social media, forums like Goodreads, and book tours/festivals being key arbiters in what bookworms find and opt to read. IOWI will continue to offer an indie publishing option that stresses putting out a good book. Something that both author and publisher can be proud of.

Nina: Tell us about your current projects and why they excite you.

Cheryl: IOWI is working on two anthologies currently, with a couple more in the planning stage. A Mississauga youth group is publishing their third anthology through IOWI. It is so exciting to see the writing and photography talent this group has attracted. We are so proud to be their publisher. IOWI has its own anthology The Literary Connection Volume II, with a theme of ‘My Canada’ due to be published by November this year. The call for submissions is already out and closes end-July. I am also working on pulling together a collection of plays by Canadian playwrights. It’s going to be awesome. My aim is to have writers meet with a professional writing coach, yourself Nina, to workshop their submissions into amazing work. I want these anthologies to be a credible contribution to CanLit.

Then another pet project is The Red Bench Project, which seeks to promote reading and literacy at the family and community levels. We must encourage the habit of reading for enjoyment. Bringing authors and public together is part of this project.

Nina: What three pieces of advice do you have for a new writer wishing to get published?

Cheryl: Write every day. Then spend some time editing and rewriting past work. Learn to write well through courses, mentorship or self-study.

Read voraciously and discerningly. Keep clippings or books of your favourite writers handy. Before writing, read a selection from these writers. It influences your own voice and jumpstarts your creativity.

Botanical Beach, BC (photo by Nina Munteanu)

Be guided by your need to publish your super-amazing manuscript. Not by your need to see your name on a book. If the content is not up to par, that novelty morphs into the proverbial albatross that haunts a fledgling writing career. If you are a serious writer: DON’T PUBLISH TILL YOU ARE READY!

Nina: Great advice, Cheryl! Thanks so much for joining me here and I do promise to get you back on the ground… Don’t the Great Lakes look beautiful from 36,000 km?

Cheryl: Thank YOU for the ride, Nina. Be well.

The Future of “Books”

May 7, 2015April 4, 2020 / thealiennextdoor / 1 Comment

Deas Park, BC (photo by Nina Munteanu)

An August 2013 survey by bestselling author Marie Force revealed some interesting trends about what American readers like, what format they prefer and where they find their writers. While the survey was fairly small and restricted to Americans (just under 3,000 people responded to 44 questions), I think it provides a good microcosm of what the trend is out there in North America generally.

Here are Marie’s main findings and conclusions:

1. FORM: Readers prefer e-books to paperbacks (77%); many buy in multiple formats, including paperback. 52% of surveyed readers do buy their books in print form. Audio books are slowly gaining popularity.

2. REVIEWS & TESTIMONIALS: Retail reviews such as those on Amazon, Barnes & Noble and other retail sites were more important to readers than author endorsements and reviews by professional reviewers on review sites. Fifty percent of readers preferred reviews posted on retail sites for their information; 16% used Goodreads; 72% said that the designation of “New York Times Bestselling Author” did not make a difference in their purchasing choice. 81% did not subscribe or read the major review publications (e.g., RT Book Reviews, Publishers Weekly, Kirkus, Booklist, NYT Sunday Edition, USA Today)

3. BOOKSTORES: A majority of readers bought their books from a virtual bookseller: 80% of surveyed readers buy from Amazon (Barnes & Noble online was second at 23%; iBookstore/Apple scored 13%). 58% of readers surveyed had visited a real bookstore twice or less in the past year. The remaining percent visited more often.

4. PUBLISHER: readers are more likely to buy a self-published book by an author they know; 94% of readers surveyed are “more likely” to buy a self-published book from an author who is known to them; 68% of readers are “less likely” to purchase a self-published book by an author they don’t know.

5. CONTENT & GENRE: Readers are most interested in stories with outstanding characters, setting, storytelling and writing; 75% chose “all of the above” to encompass each of the elements. Unsurprisingly, 81% of readers chose “Romance” is their favorite genre of fiction; contemporary romance is the favorite subgenre with historical romance as the second favorite.

6. HOW READERS FIND & FOLLOW AUTHORS: the best single-most best social media platform for authors is Facebook, used by 85% of surveyed readers; 75% of readers also subscribed to the newsletters of their favorite authors and 55% subscribed to the blogs of their favorite authors. Twitter was not a major site for readers to find and follow their authors. Goodreads was one of the most frequently mentioned sites in the open-ended portion of the questionnaire.
The numbers don’t always match up; nor is the catchment or method of making statistical conclusions sufficiently explained; but the results as presented make logical sense to me. They make sense because the feedback I am getting in my circles is very similar. So, there you go, writers and readers.

Here’s my take on this phenomenon:

1. Increased sales of Digital Books: the increasing sales of digital books (ebooks) and the rising sales of audiobooks is a wonderful and uplifting icon of rising literacy. More people are reading (and listening) to books now than ever. And we have the digital book, Kindles, Kobos and iPads to thank for it. The “book” has become more accessible and readable. People swarm the public transit, clutching their iPhones and reading devices.

2. Readers still choosing Print Books: Obviously, print books are cherished by readers for their intrinsic value. Books—their tangible tactile presence—will always remain with us; in collector’s showcase libraries, in trendy artistic venues, and funky local neighbourhood venues.

3. My Prediction: print books will become the epitome of publishing value and worth. Already coveted by collectors whose libraries will represent the best of the best in the literary world, print books will come to represent the highest status in literature. Only the best stories will endure as print books; perhaps only the “best book” will even be published in print form. Its existence in print form will define its literary value.

4. Take Home Message to Authors: ensure that your book appears in print form and get it into the hands of classy libraries and classy people.

Walking the Tightrope Between Innocent and Cynical

March 23, 2015April 5, 2020 / thealiennextdoor / Leave a comment

Jungfrau, Switzerland (photo by Nina Munteanu)

The writer’s journey from the passion and vulnerability of innocence to the wisdom of experience can be a dark and twisted road. In fact, if you are a writer of any merit, I guarantee you that yours will be too. Think Dante in the forest…

Yellow Creek, Ontario (photo by Nina Munteanu)

Let me tell you a story … It starts in the early 1990s. I was an eager young sprite entering the novel publishing world with my newly finished science fiction novel: “Escape from Utopia”. I’d published a few short stories and many articles by then. In addition, I’d published many scientific papers and reports. Confident and cocky, I was proud of my novel and eager to share it with the world. And I thought I knew my way through that dark forest…

I zealously sent the manuscript to a bazillion agents and editors. I was rewarded for my zealous efforts with a tidal wave of rejection letters. Mostly form letters (see my amusing account of the evolution of rejection letters in my fiction writing guidebook, The Fiction Writer) and an excerpt in a previous post here: “Rejection, Part 2: the Evolution of Rejection”

Then it came: an enthusiastic letter from an agent (I can’t remember the name: Literary Bridge or something); they said my work had great promise and that with some help from an editing firm they would consider representing me if I had it edited and resubmitted.

They recommended Edit Ink.

Those of you in the know and with some history in the industry may recall the Edit Ink scandal of the 90s. In short, it was a bait-and-switch scam that Bill Appel and Denise Sterrs (of Edit Ink) and their associated literary agents ran for close to a decade. Edit Ink was a “book doctor” firm near Buffalo, New York. The State of New York eventually convicted Appel and Sterrs and associates for defrauding prospective writers of several million dollars.

I remember my heart swelling with gratitude and optimism. Finally, someone liked my book! I naively considered their recommendation. Soon after—within days—I got an invitational letter from the pro-active Edit Ink. I can’t remember the exact content, except that they assured me that only the most promising writers were recommended to them by this particular agent. I remember seriously considering their offer. Then I got two more letters, one from another agent who recommended Edit Ink and another invitational letter from Edit Ink. Alarm bells went off. I went from naively hopeful to cynically suspicious. I did some investigating (something I should have done initially); by then the buzz was already on the Internet on their questionable practices. The lawsuit by New York State had yet to happen.

The Science Fiction Writers Association (SFWA) runs a “writer Beware” page, where memorable cases are reviewed. It’s worthwhile perusing just for your general knowledge and edification.

Here’s what they said about Edit Ink:

Founded by the husband and wife team of Bill Appel and Denise Sterrs, Edit Ink was a New York State-based editing service that engaged in a kickback referral scheme with a wide network of literary agents. Here’s how the scheme worked.

Participating agents sent letters to writers who’d submitted manuscripts the agents didn’t want to represent, saying that the writer’s work showed “promise” but “wasn’t quite ready for publication.” A useful service was recommended: Edit Ink, which for a fee would polish the ms. to make it more salable. Once the ms. had been edited, the agent would then be glad to reconsider it.
The agent forwarded the writer’s name to Edit Ink, which sent off a solicitation letter claiming, among other things, that Edit Ink received referrals for only a “select few” manuscripts (false), and that most publishing houses insisted on receiving “professionally edited” work (falser).
If the writer took the bait and paid for an edit, the referring agent received a kickback of 15%.
Writers who resubmitted their edited manuscripts to referring agents, per the referring agents’ suggestions, were given the brushoff. Either the market had “changed in the interim”, or the agency was “no longer representing that genre.”

Edit Ink charged $5 per page–exorbitant at the time even for a qualified editorial service, which Edit Ink very definitely was not. Its staff mostly consisted of recent college graduates with no publishing experience, working long hours for minimum wage. The typical Edit Ink edit was slipshod and superficial, consisting mainly of basic copy editing suggestions, and omitting the kind of in-depth analysis of plot, theme, character, and structure that might make a professional edit worthwhile.

At its height, dozens of literary agencies participated in the scheme. Edit Ink even set up its own bogus agencies and publishers to funnel more manuscripts its way. It’s estimated that the company made in excess of $5 million.

Mounting complaints from writers, and efforts by writers’ advocacy groups, at last spurred New York State to take action. In January 1998 the NYS Attorney General announced a lawsuit against Edit Ink for deceptive business practices, false advertising, and fraud.

Throughout the appeals process, Edit Ink continued to operate. Many questionable agents continued to refer manuscripts, and Aardvark Literary Agents (one of Edit Ink’s original bogus agencies) was taken over by co-defendant Kelley Culmer so it could go on functioning as a conduit for Edit Ink referrals. Business was dwindling, however–in part as a result of media attention, but largely because of spreading word in the then relatively new environment of the Internet. Once the appeal was denied, the thrill was gone. In August 1999, Appel and Sterrs closed Edit Ink’s doors for good.

Shades of Edit Ink

Edit Ink is by no means unique in the publishing industry. “Book doctors”, associated kick-back agents and subsidy publishers are, in fact, on the rise. This is not surprising, in view of the current rise in self-publishing and associated models. The industry is currently inundated with a range of publishing models from straight printing-only firms to full service publishing houses and anything in-between.

Author Victoria Strauss on her blog “Writer Beware” shares this story:

Over the past couple of days, I’ve heard from several writers who queried agents at Objective Entertainment, a relatively new literary agency with a strong track record and experienced staff, and received the following response:

Dear [name retracted],

Thank you so much for contacting us at Objective Entertainment. We have reviewed your material and we would like to refer you to one of our Publishers who we trust and believe will be able to serve you best. In order to do this I need your permission and the following information so they can either contact you via Phone or Email. The following information we need is if you would like to receive their newsletter and special offers. I think this is an amazing opportunity for you.

Please reply with the information we asked so that we can get you that one step closer to getting your work published!

Best

Tracey Ravenelle
Objective Entertainment

When the writers, eager to know the name of the publisher, requested more information, they received this response from Ms. Ravenelle:

We work with Iuniverse and AuthorHouse. Iuniverse has the number 5 book this week on the NY Times Best Seller List!

The writers then asked why Objective was recommending a self-publishing service. As of this writing, only one has received a response, which Ms. Strauss reproduced below exactly as it was sent to her:

Because we believe they would be the most beneficial for you at this point in time. Then you would come back to us after the sales starting racking up and we go major! This is the best way for an author to get their work out their. One of their books is number 5 on this weeks upcoming NY Times Best Seller list. So we believe they can help our potential future clients immensely.

EEK… aside from their atrocious grammar, Objective made some questionable recommendations. The major one being that of referring rejected clients to a self-publishing service (of course, they got a fee for referring clients to the house).

Vanity and Subsidy Publishers

SFWA shares another story:

Thousands of writers worldwide entered into contracts with Commonwealth Publications of Canada, a vanity publisher founded in 1995 by fee-charging literary agent Donald Phelan. Phelan worked with a number of other fee-charging agents who, in exchange for a kickback, recommended Commonwealth’s vanity contracts to their clients. Phelan also advertised for manuscripts in magazines such as Writer’s Digest and Writer’s Journal. (Writers take note: this is just one example of why you shouldn’t trust the classified ads in writers’ magazines.)

Commonwealth, which identified itself as a “subsidy” publisher (the implication being that the writer was contributing only a portion of the cost) typically charged $4,500 for publication, with a promised print run of 10,000. Its glossy promotional material promised all kinds of support to its authors: editing, proofreading, marketing, international distribution. But few of these services were actually delivered–and there were many other problems. Publication dates were delayed. Authors didn’t receive the number of books they were promised. The quality of finished books was poor. Books never showed up in bookstores. Royalties from books supposedly sold were never paid.

Fee-Charging Agents

SWFA shares this recent story:

On January 7, 2010, UK literary agent/film producer Robin Price appeared in court, accused of stealing more than half a million pounds from clients.

Price is alleged to have encouraged authors to pay exaggerated literary fees and invest in non-existent film deals, and has been charged with six counts of theft, most committed over the course of several years.

Even successful established writers were taken in by this one.

Writer Brian Knight, who suffered a book doctor agent scam, shares this advice: “New writers need to know that these people are still out there, spewing false promises … patting us on the back with one hand and picking our pockets with the other.” He advises new writers to research every individual and business with which they intend to do business.

Reign in your excitement and enthusiasm. Breathe. Then do the research. “Google.com is your friend,” says Knight. “There are other online resources available to writers. In this era of the information super-highway, it has never been easier to arm yourself against the scumbags and swindlers who make their living off the trusting and naive.” Knight also suggests, www.duotrope.com.

A great site to check out anyone in the writing and publishing industry is “Preditors and Editors” (intentionally misspelled). A site I have come to rely on for excellent market advice is www.ralan.com.

The writer’s journey is a hero’s journey, fraught with obstacles, dangerous distractions, and great disappointments (see Christopher Vogel’s excellent book The Writers Journey: Mythic Structure for Writers for more). But it is a path illuminated by a beacon of passionate expression, great sharing and exquisite victory. Choose your hero archetype carefully: choose magician.

We are the shamans, the myth-makers of our community and society. The artist / writer carries her archetypal message through story to her tribe, her community, her society and her world. It is both fulfilling and a great responsibility.

After the Edit Ink debacle, I picked myself up—a little wiser and a little more careful—and went on to find a traditional publishing house who published my first and second novels. Escape from Utopia became Angel of Chaos published by Dragon Moon Press (Part 1 of the Darwin’s Paradox duology), and I went on to publish seven more novels through traditional, indie, and self-publishing models: a historical fantasy, an SF adventure trilogy, two romantic SF novels, a short story collection (Natural Selection) and two text books on writing.

I haven’t looked back since… except to write this article, that is.

From Pocketbook to Tablet … What’s Next?

March 2, 2015April 5, 2020 / thealiennextdoor / Leave a comment

The recent exhibition at the Grolier Club in Manhattan, “Aldus Manutius: A Legacy More Lasting Than Bronze” reminded me that the pocket-sized book was invented some five hundred years ago.

The pocket book revolutionized not only how we read but who and what we read.

In a recent talk I gave to the Editors Association of Canada about the changing face of publishing, I defined two milestones in the publishing industry.

First Milestone…

The first milestone came in two stages, beginning with the invention of the printing press by Johannes Guttenburg in 1452. Up to then,

…Books were a work of art… And part of an elite. Delicate, large and beautiful, they were created in the language of the church—Latin—and in turn copied entirely by hand by the monks. With the dimensions of a current newspaper, but much thicker, these large illuminated manuscripts sometimes weighed more than 50 pounds.

Readers were mostly scholars and the religious elite. In fact, reading was an elite occupation. The majority of people at the time couldn’t read and had no interest in books. Besides, books were not written in the commonly spoken language of the countryside such as English, French, German or Spanish.

In fact, the presses formed the very basis of the artistic Renaissance, the religious reformations and the scientific revolution, wrote Elizabeth Eisenstein in The Printing Press as an Agent of Change. “The printing press allowed the spread of information that couldn’t be controlled by the clergy, kings, politicians, or the religious elite,” adds New York Times technology reporter Nick Bilton in I Live in the Future and Here’s How It Works. Storytelling was no longer confined to an elite clergy; books could be created by anyone and shared in the spoken languages of the people.

The printing press had opened a gate of opportunity for secular expression to a greater audience. Whenever an opportunity is created, a corresponding need is identified. The need to connect a literate lay public with scholars and storytellers was resolved fifty years later by Aldus Manutius.

Until then, books, albeit printed in the language of the people, remained large, heavy and cumbersome. In 1502, Aldus Manutius invented the portable pocketsize book—the small format libelli portatiles (portable little books)—effectively creating “the mobile phone of his day,” according to Bilton.

Bound in vellum, these long, narrow libelli portatiles, easily transported in a pocket or a satchel, “could be held in the hand and learned by heart by everyone,” wrote Manutius.

Manutius founded The Aldine Press in 1495 in Venice. His printing company proudly bore the logo of dolphin entwining an anchor—taken from the term festina lente (hasten slowly), a motto Manutius took from a Roman coin—and Aldine books quickly gained a reputation for their clean design, excellence in typography and inexpensive and accessible price. The Aldine press emphasized Greek and Latin lexicons and grammar manuals, with the first printed edition of Aristotle in 1495. Manutius was also the first to print Thucydides, Herodotus, Sophocles and other Greek philosophers. “He was possibly the first printer to compare manuscripts to arrive at the most reliable text,” adds Jennifer Schuessler of the New York Times (February 27, 2015).

Manutius was the first to use italic type, mimicking the handwriting of that time, and the first to use the semicolon in its modern sense. In 1501, Manutius released Virgil’s Opera as the first of his octavo editions of the classics and the first book to use italic print. It was produced in higher-than-normal print runs (1,000 rather than the usual 200 to 500 copies).

The octavo format book is created from one or more full sheets of paper on which 16 pages of text are printed; the sheet is folded three times to produce eight leaves. Each leaf of an octavo book represents one-eighth the size of the original sheet. The actual size of the book depends on the original size of the full sheet of paper on which it is printed. These varied according to place and time. A sixteenth century octavo printed in France or Italy was about the size of a modern paperback; an eighteenth-century octavo printed in England was larger, about the size of a modern hardcover novel.

Second Milestone…

The second milestone I talked about is, of course, the worldwide use of the Internet. Like the Guttenberg printing press, the Internet and associated World Wide Web has created a gate of opportunity that has identified a need. That need is currently being satisfied by ebook publishing, mobile phone communication and the Indie/self-publishing model.

In my September 6, 2014 article “How We Will Tell Stories in the Future” I describe the effect of the Internet and use of digital devices as agents of change and empowerment in storytelling and publishing.

The first email was delivered in 1971 and in 1989 Cern gave us the WorldWide Web. The Internet wasn’t commercialized until 1995. The first web log (blog) was published in the late 1990s and Facebook was launched in 2004. A few years later smart communication devices were created and mass marketed with multi-touch interface (e.g., the iPhone). By 2013, over 2 billion people were using the Internet and social media via computer, smartphones, tablets, game consoles, e-readers and music players. Over 156 million blogs were identified and over 1 billion files were uploaded daily to Dropbox.

While many people still read books and go to the cinema, watch pre-programmed TV or rent DVDs, many more enjoy their stories through other devices: computers, downloads, mobile phones and e-readers that provide material through other media and venues such as Indie and self-publishing, amateur YouTube videos, interactive games and social networks. We stand poised on the edge of a wonderful cliff that celebrates the expression — and consumer choice — of the individual. The music industry shows this the best, where people dismissed the prepackaged albums and CDs and opted to create their own unique playlists through individual song downloads. The publishing industry is currently struggling with its own painful yet thrilling metamorphosis as is the visual arts industry. In fact, they are all blurring into one large integrated amalgam of artistic expression.

The information you get today is coming “more and more through your friends and through your social network. It’s being distributed through channels of trust and the trust isn’t necessarily the BBCor The New York Times. It’s people,” says B.J. Fogg founder of the Persuasive Technology Lab at Stanford University.

Ward Island, Ontario (photo by Nina Munteanu)

During the days of packaged content, leading storytellers were published authors, journalists and writers of newspapers and magazines. “Now distribution channels matter less and anyone with an appropriate device can be a storyteller,” says Bilton, who shares that on the Internet we tend to follow individuals we trust (e.g., Clive Thompson or David Carr) as much if not more than established organizations (like Wired Magazine or The New York Times). Accessible technology, platforms, free applications and software has totally enabled the individual. No longer confined to the written word via paper books or visual expression through movies or TV shows, storytelling has embraced many forms. Amateur and professional have equally blurred.

From paperbacks to digital phones and tablets, we are embracing the shifting zeitgeist of an entire world. The future belongs to the storyteller, from pocketbook to tablet. What’s next?

Who’s Your Audience and Why Should You Care?

February 26, 2015April 5, 2020 / thealiennextdoor / Leave a comment

Winter in The Beach (photo by Nina Munteanu)

The artistic process, whether painting or prose, is admittedly the child of self-expression. The long-standing image of the cloistered artist in her studio — hunched over her writing desk or standing before her canvas to create from the depths of her soul — is surely a truism. Artists create from the heart; we dive deep inside our often tortured souls and closeted past to draw out the universal metaphors that speak to humanity and share—

Ay, there’s the rub. For to share is to have a dialogue and to have a meaningful dialogue is to demonstrate consideration of the other. Somewhere in that journey that began with self, others entered. It is, in fact, something of a paradox and a conundrum for many artists. One that has challenged the artistic community for centuries. It is also why many artists have relied on agents, benefactors, and advocates to effectively communicate, target — and even interpret — their often abstruse “message” to their appropriate audiences.

Purists will tell you that a true artist need not consider her audience; because her self-expression naturally finds relevance with the culture and zeitgeist from which she writes through universally understood metaphor: her story is their story.

But is that enough?

I suppose it finally comes back to whether you are interested in sharing. I don’t know any published authors who don’t wish their books to sell. Every storyteller needs an audience to connect with and engage. That is ultimately what good storytelling does: engage, connect, rouse emotions and evoke empathic feelings. Make an impact.

Photo N. Munteanu

Does identifying and targeting a specific audience result in more satisfied readers and ultimately better sales? Of course it does. The more you—and whoever is helping you market your work—know about your audience, the more likely you are going to attract them to your book, convince them to buy it and ultimately connect with them. That’s the irony of art: it is a treasure that is created out of the depths of solitude but ultimately brought into the light and shared with the world. For your art to have impact, you must know and understand your world.

Knowing your audience will affect every aspect of your book project. It will help determine:

What your story is about and how you write it (from language, voice or personality, narrative style, tone or mood/attitude, characters, setting and theme)
What genre it lies under
the look and tone of the cover and blurb
all aspects of promotion

For instance, who are your intended readers? To what age group to they belong? What culture and sub-culture? What gender(s)? What education and intellectual capacity? Economic status? What regions? What political leanings? Prejudices and beliefs? What knowledge-base?

To know your audience is to know your story better.

Nina Munteanu Writing Coach

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