B&N vs Amazon

As a follow up to this post, this article explains what B&N is doing in response to Amazon's business tactics (essentially refusing to carry any books published under Amazon's imprint). In a way it seems only fair; if Amazon is going to try to undermine brick and mortar book stores, doesn't it make sense that they fight back? What do you think?

Interpreting editorial letters

As an author, I get editorial letters; as an editor, I write them.
How do you handle them when you're the author? How do you want the author to handle them if you're the editor?

As the author, I usually ask for clarification if I don't understand something. If an editor suggests a change, I feel that I have to do something -- that I can't just leave whatever it was as it is. But even if the editor has made a suggestion, I usually feel that I can solve the problem my own way. If I really like the editor's solution, I'll use it; if I don't, I'll think of my own. I always do something.

But I've heard of authors who just leave things as they are!

As an editor, do you think the author has to fix what you've commented on, or is that optional? And what about how the author fixes it? Are you annoyed if she doesn't do what you suggest, but solves the problem her own way? And what would you do if an author (this happens to me as an editor sometimes) interpreted everything you said as praise and didn't want to change anything?

Not to be sexist, but this does happen to me more with male authors: I'll send a letter saying what I liked, and then suggesting changes, and the author responds,

"Oh, you liked it! Great!"

When I'm the editor, I'm in a different situation from most people reading these pages, I think -- I'm being paid by the author to get the ms. into publishable condition. So what I do in that case ("that case" being when I've sent a long letter and the author responds only to the praise) is get blunter -- painfully blunt, sometimes.

So you'd think I'd be good at reading editorial letters, but not always! When I'm the author, letters from an editor I don't know can be really hard to interpret, and I've gotten it wrong more than once. So, anything anyone has to say would be helpful....

Lastly, I'm talking here about books that are under contract. Alvina's post (was it called Rejection Letters 101) on submissions was hugely helpful. It's easy to misinterpret those letters, too.

Amazon and Publishing's Ecosystem

If you haven't seen this article yet, it's worth a read. Depressing yes, but lays out how Amazon has influenced publishing in clear terms. I knew they were a threat to brick and mortar booksellers, we all know that, but I didn't realize to what degree.

On a side note, the article says there are a mere 1500 independent booksellers left in this country. So finite! That just makes me want to cry.

NY SCBWI conference

This past weekend I spoke at three different break-out sessions at the NY SCBWI conference on "Narrative Fiction". As I said during my speech, I was a little perplexed about the topic, but decided to focus on the three aspects of the narrative I felt were the most important: 1) narrative voice, 2) structure, and 3) plot. I basically summarized options and gave some examples, and some things to think about when choosing your narrative voice and structure. For the plot section, I talked about Libby's post about plot from last Fall, which I had always really liked, and read a few of her plot summaries and had attendees guess the book, which was fun. For a great write-up of my session, check out the SCBWI blog here. (that's where I borrowed this picture from)

I also participated in the GLBTQ&A session, where we discussed the market for GLBTQ (gay, lesbian, bisexual, transgender, and questioning) literature. It was a wonderful discussion led by my buddy Lee Wind who I met at the Nevada SCBWI conference. Also participating was author Ellen Hopkins, agent Jennifer Laughran, and my former colleague T.S. Ferguson who is now an Associate Editor at Harlequin Teen. One disheartening thing we discussed was that even though T.S, Jenn, and I have all stated that we're open to and looking for submissions with GLBTQ characters and content, the truth is that less that 5% of the submissions we receive fall in that category (Jenn originally estimated just 1%). We discussed the fear that writers have for writing outside their own experience, and one writer very aptly said something to the effect of, "I don't live in a dystopian world, yet people don't criticize writers for writing about that kind of world." We encouraged writers to write outside of their own experiences, but to do so sensitively, and when in doubt, make sure to get beta readers who may be more intimately familiar with the content.

We capped off the night with some Karaoke (of course). It was a wonderful day, and I had fun making new friends, seeing some familiar faces, and talking books! (although considering the three-hour nap I took in the middle of the day on Sunday, I was pretty worn out.) But, I would highly recommend the NY SCBWI conference for writers of all levels. The keynote speeches are always wonderful, the break-out sessions enlightening (I hope!), and it's also a great networking opportunity to meet editors, agents, authors, and illustrators of all different levels.

Books and money

Someone made a comment on Meghan's post yesterday that she was concerned not so much about the awards, but about "limitations that are put on new artists and authors BEFORE their work goes into print."

Changing the rules of awards wouldn't change that, though it would change the lives of the (few more) people who won. Publishing is moving more towards books the publishers think will sell large numbers of copies. For those of us who don't write those books (though to be optimistic -- who can ever really predict which books they are?), awards have huge financial consequences. Unless we win a major one, we can't make a living from our books. We have to work at other things if we and we alone are responsible for supporting ourselves.

Yes, it would be nice to win a big, life-changing award (when THE PENDERWICKS won, the author was able to buy a house for the first time in her life!) and live on advances and royalties. Who wouldn't love it?

But if you're a published author, is not being able to support yourself from writing really that bad? Anyone who is passionate, disciplined, and creative enough to illustrate or write books can think of other ways to earn money and make them work. Yes, it takes some time and energy away from books; and for most of us there isn't as much money in it as there would be in a "good" full-time job -- but it gives you more freedom than a full-time job does.

Maybe working at other things is even good for writing in the long run? Unless we have something to pull us out into the world, for many introverts (and most writers I know are introverts! Most illustrators too for that matter!) it's all too easy to stay home, do your writing, and only see a small number of people. And what do you have to write about if you spend your life doing that? Most novelists whose work has lasted were intensely engaged in the world in some way -- sometimes in really fascinating ways (Somerset Maughm and John Le Carre both worked for British intelligence, to name just two).

THE AWARDS SUGGESTION

       




I suggested this on my blog and now I'll do it here. We'll see how it goes. Here's my thought: What if a person could only win an honor or win twice or three times - I think twice would be enough actually. Then this would leave room for new artists to win instead of the same people winning over and over again. This is not a comment on the winners' talents or anything like that... I just think the awards would be more vibrant and fun if there was a limit.

What do you think?

Happy Chinese New Year and Thanks for Coming!

Phew! I made it!

It's the Chinese New Year, which means I had my Dumpling Days Book Launch! If you haven't noticed, my postings on this blog have been a bit spare lately. That is because every spare moment has been used to make over 100 Pocket Pacys:

the two large pocket pacys are the special "winning" ones;  the people who got them won an original piece of art at the book launch

These are the special edition Pocket Pacys I did just for the launch. They are all wearing pink dresses because in Dumpling Days, the three sisters are forced to wear matching pink dresses when they travel to Taiwan (to make it easier for their mother to keep her eye on them). This is based on a real-life experience:

We put one of each of these  Pocket Pacys in the booklaunch goodie bags, along with a red envelope that had a special URL to download exclusive deleted chapters and a dumpling recipe card. Because the Pocket Pacys were a bit time-consuming + having even less time then usual (work, visits + Rain Dragon!), I wasn't able to bake special cupcakes this time around. In fact, the baking had to be given up altogether and replaced with Japanese gummy candies.

And after assembling 100 bags (much thanks to my sister, niece & Sasquatch) I was a little worried to wake  up on book launch day to snow. The most snow we've had all winter! Would people come?

Yes, they did!

I talked a bit incoherently--I did not prepare my talk as well as I would've liked (those Pocket Pacys took a long time!) and I admit I am more self-conscious than usual with my baby bump:

But it was lovely to meet so many of you! I think most people liked the Pocket Pacys so making them was definitely worth it! I hope to see many Pocket Pacy travel photos in the future!

Thanks so much for coming! Happy Year of the Dragon to all!

PS--Congrats to all the ALA Media Award Winners! Glad to see some of my favorites made the list!

It shows up

I've been back at writing regularly post-baby for a few weeks and feeling frustrated that it's taking so long to get in the flow. I feel like I've been writing and writing, but not getting anything done. Now this is not the first work I've done since I had Tilly a little over a year ago, but it's the first time we've had a babysitter. So I've had concentrated amounts of time to focus, which is totally different. I've been so anxious to get to this point, it feels like there is a big bubbling pot of ideas that will explode if I don't give it a way out.

But then there is the terror of that big blank screen. And as I said above, miles and miles of writing that seem to go nowhere. So I was chatting with Libby and she said, "don't worry, if you keep showing up, the work will show up." I've repeated that to myself several times in the past week and decided to just show up. It's all I can do to get back on track and it's what I have to do. So I have. And then, last Thursday, it showed up. I got so lost in writing that I barely noticed the baby coos and shrieks of excitement coming from downstairs. The hours flew by. And now I remember how it feels, and why I needed to get back here.

Even if my career goes in a very different direction now that I'm a mom, I'm committed to showing up and seeing what happens.

(Graphic from Ben Silbermann, the founder of Pinterest, photo by A Practical Wedding)