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Happy summer, everybody! For the next while, there are going to be some absences from the blog as we take vacations, but we'd hate to leave you guys hanging. It's no secret that we blog much more now than when we started this baby, and there are far more of you reading than there were way back when. So we thought we'd bring back some blog entries of days gone by that you may have missed if you just joined us in the last year. We've cued up enough, but if you have any favorites you think your fellow readers might enjoy, give us a shout below!
by Michael
It’s most authors’ dream, isn’t it, writing for a living? Being able to leave the grueling, monotonous nine-to-five grind for the glamorous world of publishing; sitting at home in a bathrobe, warm cup of coffee in hand, ever expanding manuscript at foot; calls about sequels and movie options; big packets about promotion and publicity arriving daily. It’s a nice dream, even if it doesn’t reflect the reality of most stay-at-home authors, many of whom will tell you that it’s often lonely, nerve-wracking, and just as soul-crushing (if not more so) as a “normal” job. (For a cheerier take on this subject, see
Michael Prescott’s blog entry.) But let’s ignore the plight of those who write for a living for a moment, and focus on the other 95% of authors.
Very, very few novelists get to stay home writing all day. The truth is, many people get one book published, and then find that if the first book doesn’t work, the second becomes very difficult to sell. And, with advances for first books seemingly getting smaller every day, one book sale isn’t enough to live off of for a year, much less retire on. I know my view of things is colored by the rather high cost of living in New York, but even authors in the smallest towns can’t survive on $5,000 a year.
So what’s a first-time author to do? My advice is to keep the day job--the benefits are more than financial. Let’s go back to the writer sitting at home. Publishing is not glamorous; it’s hard work. The full-time writers I know work harder and longer than their peers. They spend much more than eight hours a day writing, thinking about their writing, wondering what their agent is thinking, pondering the loss of yet another editor, desperately trying to refrain from e-mailing their publicist again about that review in the
Sioux City Herald, talking with other writers (about their agent, editor, and publicist), blogging, and generally praying that they won’t have a coronary before the end of the day. Authors who have day jobs are often able to put things in perspective: there’s more to life than their book(s). They get to leave a large part of the worrying to us agents (it’s part of what we’re paid to do –
see Jane’s latest blog entry here), and that’s as it should be.
My take on this aside, I decided that I would speak to somebody who actually did leave work to write rather than just commenting from up here on my perch.
Sara Zarr, the author of the forthcoming
Story of a Girl, quit her job as an administrative assistant a few months after we sold her book. She had a lot to say. "If you get a book deal and are thinking about quitting your day job, there are a lot of factors to consider. Of course, it depends on what your day job is. If it's a career job, if you've invested years of time and energy into it and it fulfills some part of you that writing can't, keep it. If it's a minor job that you don't care too much about (or you hate), and you're reasonably hirable in the current job climate, quit and try the full-time writing thing. You can always go back into the job market if you need to or if you find you don't do well sitting home all
Happy summer, everybody! For the next while, there are going to be some absences from the blog as we take vacations, but we'd hate to leave you guys hanging. It's no secret that we blog much more now than when we started this baby, and there are far more of you reading than there were way back when. So we thought we'd bring back some blog entries of days gone by that you may have missed if you just joined us in the last year. We've cued up enough, but if you have any favorites you think your fellow readers might enjoy, give us a shout below!
by Miriam
I hate it when I’m wrong. My type-A tendencies and absolute certainty that I know everything are not a good combination when it comes to taking criticism. Soon after I started working with Jane Dystel (sometime in the Paleozoic Era) she pointed out to me that my editorial memos were mean. I was affronted. I was trying to help authors by giving them the benefit of my brilliant insights and I really didn’t have time to soft-soap my comments! I’m sure Jane was laughing internally when she suggested that maybe I should start my missives with a positive comment or two about the work and then offer my honest opinion in a thoughtful, sensitive way without showing off or trying to make the recipient feel like a no-talent slob. She was right, of course, and I learned that if the goal is to have an author improve his/her work, I needed to be nicer when I offered my feedback. Jane made me realize that we are more likely to digest and respond well to criticism if it’s offered with kindness and sensitivity rather than relish and disdain. It was, for me, an invaluable lesson.
The fact is that a big and important part of our job as agents is to offer constructive criticism that will take a proposal or manuscript to the level it needs to be at in order to maximize our chances of selling it. All of us here at DGLM spend a great deal of time on our clients’ projects helping authors to clearly communicate their message, smooth over rough prose, beef up a weak marketing section, etc. Sometimes, it’s our unpleasant task to tell someone that their work is simply not good enough and that no amount of fixing is going to change that.
In my experience, the best, most talented authors are the ones who take their criticism neat. They knock it back with a big gulp, thank you for your time and effort in reviewing and critiquing their materials, take a little while to process what you’ve told them, and do their best to incorporate your comments and suggestions into that piece of fiction or nonfiction they thought was perfect when they sent it in to you with the expectation that you’d be able to immediately sell it for six figures. These authors put their egos and bruised pride aside (no matter how successful they are) and get to work. They ask follow-up questions and evenly discuss why they think they might or might not agree with one or more of your edits. The result, more often than not, is a much improved proposal or manuscript that has a much better shot at the big time and an author who is genuinely grateful for the help.
Then there are those authors who never get past their anger and disappointment and whose reactions range from the merely childish, “I’m taking my marbles and going elsewhere,” to the unprofessional, “You suck and you don’t know what you’re talking about.” Recently, an author suggested that both his editor (someone who’d been successfully plying her craft for over a decade) and I were mistaken in our critique of his work, strongly implying that neither one of us had understood his category well enough to be able to comment intelligently on his novel. His words were offensive in a way that our criticism had not been. We were both trying to help him.
I sincerely believe that authors (or any artist for that matter) must be able to defend their vision of and approach to their work. But, they should also have
Happy summer, everybody! For the next while, there are going to be some absences from the blog as we take vacations, but we'd hate to leave you guys hanging. It's no secret that we blog much more now than when we started this baby, and there are far more of you reading than there were way back when. So we thought we'd bring back some blog entries of days gone by that you may have missed if you just joined us in the last year. We've cued up enough, but if you have any favorites you think your fellow readers might enjoy, give us a shout below!
by Jim
Choosing what projects to take on can be a tricky thing. Given the number of manuscripts I usually have waiting to be read and how few of those I’ll actually be able to work on, I start each one assuming that I’ll be passing on it. For about 50 pages, I keep an eye out for the specific reasons I’ll be rejecting. I’m looking for overwrought writing, character inconsistency, sloppy plotting, and/or any reason to put the pages down and move on to something else.
Let’s say I pass page 50 and haven’t found a reason to definitely say no. I hit my optimistic reading phase and for the next 100 or so pages, I’m thinking, “Hook me!” I’ve invested just enough time that I won’t be upset if I end up deciding to pass, but I’m starting to think, “Hey, this could be my next new client.”
At page 150, my mood shifts entirely to, “Don’t let me down now.” Pessimism sneaks back in a bit. Even if I like this, I start to wonder, can I sell it? This is where I bust out the super handy trick that Jane taught me when I was starting out: if you can think of five editors you know who this could be right for, then it’s probably worth a shot. I ride the manuscript out keeping that in mind and also thinking about the competition. What similar books have done well? Are there too many similar books? Does this read like what’s working now, or does it read like what might be working a year from now when it would come out?
Of course, every so often, a manuscript comes along that shuttles my reading rules right out the window. And that is what I live for.
Let’s flash back to last summer. I drag a bag of manuscripts up to my roof, yank out the first one, open to the first page, read the first paragraph…and stop. It sounds so corny and over the top to say that you were hooked on something from the first page except that when it happens, it’s transporting. I read until the sun went down, and the next morning, I handed the manuscript to a colleague.
“Read a page and tell me if I’m crazy,” I requested. “I mean—this is really as good as I think it is, right?”
I fell so head over heels for the novel that I actually wanted confirmation I hadn’t just lost my mind. I felt stupidly luck to even have the project in hand. When the first page was read, I got the affirmation I needed: “It’s really that good.”
“Crap. Who else has this?” Luckily for me, though other agents did have and did want to represent the novel, its author, in her infinite wisdom, decided to work with me.
The Forest of Hands and Teeth by Carrie Ryan is an astonishing novel for the young adult market that blends the literary and the commercial, stunning writing with rich characters and brilliant plotting. I eagerly look forward to its publication by Delacorte next spring.
The point I always come back to is that people who work in publishing do so because they’re readers. Yes, I read with an eye toward market and potential profit. This is a business, and when you work on commission, you can bet that there’s always an eye on the bottom line. The most thrilling part of the job, though, is playing some role in ushering a book you feel passionately about into another reader’s hands.
At the delightful (and not just because you can gamble there) Las Vegas Writers’ Conference last year, s
Happy summer, everybody! For the next while, there are going to be some absences from the blog as we take vacations, but we'd hate to leave you guys hanging. It's no secret that we blog much more now than when we started this baby, and there are far more of you reading than there were way back when. So we thought we'd bring back some blog entries of days gone by that you may have missed if you just joined us in the last year. We've cued up enough, but if you have any favorites you think your fellow readers might enjoy, give us a shout below!
by Miriam
The perfect query letter does not exist. (Well, perhaps it lives in the fantasy realm of unicorns and dragons, but certainly not in our day-to-day publishing world.) And, yet, everyone seems to be chasing the formula for that elusive, perfect query letter (EPQL) and its pursuit is giving a lot of people agita and heartburn. It's a recurring theme during the Q&A portion of agent presentations at writers conferences. Many internet sites and print publications aimed at writers spend a lot of time on the subject and, in talking with individual authors, it seems that confusion about this subject is universal.
So, I will try to elucidate what makes a query effective -- not perfect, mind you, just effective -- for us here at DGLM:
1. It should be succinct and to the point. The purpose of this missive is to introduce yourself and your project and ascertain if the agent wants to take a look at your proposal/manuscript. It is not the place to go into longwinded detail about the weather, your passion for shell collecting (unless, of course, the book is about shell collecting), or your great-aunt Mary’s faith that you would one day be a published writer. It should, however, be no more than a page long and look and read like a letter not a report.
The first paragraph might mention how you came to query this particular agent and/or agency – perhaps noting that you saw a nice acknowledgement of the agent in a book you admired or you looked on the agency’s web site and identified with the agent’s profile somehow or anything that shows that you did your homework and that this is not just a form letter being sent to 6,000 agents.
The next paragraph should tell the prospective agent what the book is in a couple of sentences. Here is not the place to summarize your entire book. You want to highlight the strongest themes or the elements that make the book distinctive (e.g., “My novel tells the tale of star-crossed teenage lovers separated by their families’ bitter feud.” Not, “Romeo grew up in Verona and was part of the Montague clan. He met and fell in love with Juliet who was a member of the Capulet familiy and who spent an inordinate amount of time on balconies or talking to her nurse….”) Unless you’re very good at writing concise plot summaries, the less said the better. The idea is to get the agent to the actual manuscript.
The final paragraph should tell us anything relevant about you – this is your first novel or you’ve been published in numerous literary journals or John Cheever was your godfather or you’re a neurosurgeon who has an MFA from the Iowa writing program, etc. – and ask if you may send a sample of your project or the complete manuscript.
2. On the technical side of things: Spell check and then carefully proofread the query. We have had instances of great hilarity over a dropped letter in a strategic spot. Someone once queried us for a book about “pubic policy” and, juvenile bunch that we are, we didn’t stop laughing for days. You don’t want the query to go directly to the form rejections pile because of typos, grammatical errors or because you addressed the envelope to one agent and sent it to another.
It’s okay to single space query letters – as you would any other letter – but it’s not okay to make your margins less than one inch wide and your f
Happy summer, everybody! For the next while, there are going to be some absences from the blog as we take vacations, but we'd hate to leave you guys hanging. It's no secret that we blog much more now than when we started this baby, and there are far more of you reading than there were way back when. So we thought we'd bring back some blog entries of days gone by that you may have missed if you just joined us in the last year. If you have any favorites you think your fellow readers might enjoy, give us a shout below!
by Lauren
Numbers don’t mean a whole lot to me. I was always much better at the arts/humanities portion of my education than the math/science one. That’s not to say I don’t find math absolutely fascinating—I actually do, I swear!—I just don’t get it the way I do literature and language.
Without a ton of context, statistics don’t tend to make an impact on my brain. But there are some numbers that even the biggest numerophobe in publishing really ought to know. Here are some you might find interesting:
- U.S. publishing is a $35 billion industry, the Book Industry Study Group reported at BEA last year—net revenues reached $34.59 billion in 2005, which was an increase of 5.9% over the previous year. We may tell ourselves that in this age of video games, technology and instant gratification people are reading less and less—but if that’s true, we’re certainly paying more and more for the books we’re not reading. That same report projects that revenues will break $40 billion by 2010.
- How many books does it take to bring in that kind of money? Well, approximately 200,000 new books are published each year, reported PW in 2004.
- And how much paper does it take to print so many books? According to the New York Times (via the Authors Guild Bulletin in Summer 2006), Random House buys 110,000 tons of uncoated paper to publish books each year.
- Many of us know that the Bible has more copies in print than any other book, but what’s number two? Dr. Spock’s Baby and Child Care, with more than 50 million copies in print and still going, according to Publishers Weekly from 2/12/07.
- In 2006, Bowker, the self-proclaimed “world’s leading source for bibliographic information,” published a survey based on 13,000 novels published in the U.S.
- 1,550 of those with a location that could be identified were set in England, Scotland, Wales or Ireland.
- New York and London were the two most common cities used as settings.
- The same study showed that 65% of romance books, 61% of science fiction titles, and 58% of mystery/detective novels were published in paperback (meaning both mass market and trade).
- And just how long were those books? The average for sci-fi was 329 pages with romance on its heels at 324. Mysteries were just shy of 300 at 292, followed by westerns at 261.
- So just how long does it take to write those 13,000 novels anyway?
- Tom Perkins, ex-husband of Danielle Steel, wrote Sex and the Single Zillionaire in 100 hours over 30 days.
- Compare that with Donna Tartt and Shirley Hazzard. Tartt published The Secret History in 1992, then spent the next decade writing her second novel, The Little Friend.
- Hazzard’s follow up took even longer—2003 saw publication of The Great Fire, 23 years after her debut, The Transit of Venus.
- And do they sell well? The standards for success really do change from book to book based on any number of factors—category, author’s platform, size of the advance, size of the marketing budget—but everyone
Happy summer, everybody! For the next while, there are going to be some absences from the blog as we take vacations, but we'd hate to leave you guys hanging. It's no secret that we blog much more now than when we started this baby, and there are far more of you reading than there were way back when. So we thought we'd bring back some blog entries of days gone by that you may have missed if you just joined us in the last year. We've cued up enough, but if you have any favorites you think your fellow readers might enjoy, give us a shout below!
by Jane
So many of my clients ask me when the right time is to submit their proposals to publishers. Are there times of year when things quiet down? Is there a perfect time to submit a first novel, a self help book, or a proposal for a wonderful memoir? Here are a few thoughts.
There used to be a time some years ago when things really did quiet down in the summer, and I would advise that very few (at least multiple) submissions go out then because it was so difficult to get a group of publishers who were not out on vacation. I don’t believe that any more. Certainly it is more difficult to get a group of twenty editors that are all in their offices at the same time during June, July and August, but the business is so competitive that I now consider the summer almost as busy as other times of year. Because summer is a time for beach reading, I do tend to submit material that I feel is “lighter” – romance, commercial fiction, thrillers, mysteries – books of that sort.
Right after Labor Day is “back to school” in so many ways. Everyone has returned from vacation, and it is a very active and competitive time for multiple submissions. This is one of the best times of year to get an editor’s attention – and we do try to take advantage of this. This selling period, though, is relatively short. In mid November, things really slow down in anticipation of Thanksgiving, most company’s sales meetings and the Christmas and New Years holidays. At this time of year, I tend to submit option titles, but many fewer multiple submissions.
I have always found the first four months of the year to be the busiest and most productive in terms of sales. I work towards getting my clients’ proposals ready for submission at that time – self help at the very beginning of the year, important fiction and non fiction afterwards. This period slows right around Memorial Day and BEA (that’s the big national book expo for the uninitiated) and then picks up again with the summer reading submissions.
Of course all that I have said here can be altered for the sure fire bestseller which can be sent out anytime. I have sold books for 7 figures during the dog days of summer, and I remember one Christmas period when I sold over 10 books.
Having guidelines, though, does help my clients to know the ebb and flow of the submission process; these also help us in advising them on what to do when.
Originally posted in July 2008.
Happy summer, everybody! For the next while, there are going to be some absences from the blog as we take vacations, but we'd hate to leave you guys hanging. It's no secret that we blog much more now than when we started this baby, and there are far more of you reading than there were way back when. So we thought we'd bring back some blog entries of days gone by that you may have missed if you just joined us in the last year. We've cued up enough, but if you have any favorites you think your fellow readers might enjoy, give us a shout below!
by Michael
People always ask me what my day is like. I often respond by saying that it’s nothing but e-mail and phone, which is only somewhat true. It’s a long, tiring, very rewarding day, and I hope this provides some insight.
6:30 AM: Wake up. Feed cat. Shower, shave, dress. (Pray to get the order right at early hour.)
7:22 AM: Leave house to catch 7:30 C train (no, subways don’t technically run on schedules, but the C train only comes once every 10 minutes during rush hour, and it happens to come on the 30-minute mark).
8:00 AM: Arrive at Starbucks. Purchase “Grande” mild coffee (iced during the summer).
8:10 AM: Arrive at work. Log into computer, remove reading from previous evening and sort into “reject,” “request more,” “offer representation,” “get another read,” or “do editorial letter” piles. Check news.
8:10 – 8:30 AM: Read the news. Look for stories that would make great book ideas, either fiction or nonfiction.
8:30 – 9:00 AM: Morning meeting. The whole staff gets together each morning to go over business. We discuss where we are on projects (Do you need a writer? Is money due? Did the editor get back to you about bound galleys?), ask Jane and each other for advice, generate book ideas, and discuss news items.
9:00 – 10:00 AM: Respond to all the e-mails I received the previous night. There are often many from the West Coast, as they’re still going when we leave for the day. Also, since writing isn’t the primary employment for most authors, it’s the only time they have to correspond. And, many writers don’t seem to sleep. Really guys, sleep is good!
10:00 – 10:30 AM: Take care of any other author correspondence: contracts, amendments, agency agreements, editorial letters, royalty statements and more.
10:30 – 11:30 AM: Return phone calls and make follow-up calls on proposals and manuscripts on submission. This is when we find out that someone is very interested in a project. Hopefully.
11:30 AM – 12:30 PM: Put together and submit new material. Make any calls associated with the new submission that I didn’t make earlier.
12:30 – 2:00 PM – Lunch with an editor. This is our chance to meet new editors and catch up with old friends. The agent lunch seems to mystify those who aren’t in publishing, but I find it a necessary, important and enjoyable part of the job. The book business, for all the analyzing of numbers that we do, is still very subjective, and it’s often at these lunches that I get a real sense of someone’s taste. It’s when I learn that the editor who typically does political nonfiction also loves anything to do with cats and can acquire whatever he wants. Books are often sold to unlikely editors based on such information.
(When I don’t have a lunch, I take this time to read through blogs looking for book ideas or gossip, or a recap of the
America’s Next Top Model episode that I missed.)
2:00 PM – 3:00 PM: Return the calls and e-mails from lunch time. Check Gawker and Galleycat to make sure no one was fired while I was out, which could change where I send that proposal I packaged in the morning.
3:00 PM – 4:00 PM: Open mail and review e-queries. There is a lot of mail coming in, and even more e-mail these days. It takes this long to r
Happy summer, everybody! For the next while, there are going to be some absences from the blog as we take vacations, but we'd hate to leave you guys hanging. It's no secret that we blog much more now than when we started this baby, and there are far more of you reading than there were way back when. So we thought we'd bring back some blog entries of days gone by that you may have missed if you just joined us in the last year. We've cued up enough, but if you have any favorites you think your fellow readers might enjoy, give us a shout below!
by Chasya
We really enjoy reading the responses we get to our blog posts and finding out what our readers have to say about our ruminations and rambling on everything from book cover design to the state of the current market. These comments can also be excellent jumping-off points or topics that might be of interest the rest of our readers.
For instance, a couple of weeks ago,
Miriam waxed romantic about the lack of sweeping, escapist fare in today’s book market; books that would allow us to get our collective minds off an awful economy and other goings-on in the world.
One of our readers responded, making the point that in today’s market a novel the length of Gone
with the Wind or
The Thorn Birds would get rejected immediately for being too long. The truth is we do consider submissions of various lengths including those that have a heftier word count, because, at the end of the day, a compelling novel is a compelling novel. Witness the most buzzed about debut this fall,
The Story of Edgar Sawtelle. At upwards of 560 pages, this doorstop of a book surpasses your average page count. Despite that, it has been an enormous success, and
as Stacey pointed out last week, it was a bestseller way before Oprah got her hands on it. People were moved by the story and bought the book in droves. Another example that instantly comes to mind is Denis Johnson’s
Tree of Smoke, a 624 page tome which came out last year and shot up the bestseller lists. Our own Jacqueline Carey’s first novel
Kushiel’s Dart comes in at 695 pages. Her most recent book in the series,
Kushiel’s Mercy, is no slouch at 650 pages.
We absolutely crave the sorts of stories that grab hold of us whether they take 250 or 500 pages to tell. We would be remiss in tossing something aside simply because of its length. One of my own personal favorite books, Wally Lamb’s
I Know This Much Is True comes in at a staggering 928 pages. I’ve read this one a few times and still get that sad feeling as I near the end.
Along similar lines, another reader pointed out an interesting practice – mock submissions, in which cheeky authors take the first ten pages of a classic and send it off to an agent and then wait for their form rejection to come in the mail. The implication here is that a) agents are idiots who often don’t know that what they are looking at is a classic piece of literature and b) agents wouldn’t know a good piece of fiction even if it was staring them in the face.
We aren’t going to lie. A couple of years ago one of our agents rejected
Moby Dick (yup, you heard me). The agent admitted this to me freely. Thing about that is, this agent also pointed out that he hated Melville and absolutely loathed
Moby Dick. So, just because the book is a classic, does not mean we are going to change our minds about liking it or not. And just because a form rejection comes in the mail, doesn’t necessarily mean that the agent does not know what is being rejected. Often the agen
Happy summer, everybody! For the next while, there are going to be some absences from the blog as we take vacations, but we'd hate to leave you guys hanging. It's no secret that we blog much more now than when we started this baby, and there are far more of you reading than there were way back when. So we thought we'd bring back some blog entries of days gone by that you may have missed if you just joined us in the last year. If you have any favorites you think your fellow readers might enjoy, give us a shout below!
by Jim
It didn’t surprise me when someone asked me recently what the differences are in how I handle the projects I love and the projects I work on for money. It did, however, irritate me. The question came loaded with the insinuation that there are two kinds of books—the ones people should read and the ones they actually do. Often, I find that literary and commercial fiction are pitted against each other, as though they’re totally different beasts that serve entirely separate purposes. But is that really the case?
Too often, category fiction is treated like the bastard stepchild of the written word. But, frankly, I’m a whole lot more likely to pick up Stephen King’s new book than dive into Thomas Pynchon’s latest doorstop. Which isn’t to dismiss literary fiction, either.
Years ago, I was getting a ride to a train station from an MFA student in Massachusetts, and we talked about the challenges of fiction writing and writer’s block, not to mention how competitive the marketplace is. And then he unleashed this on me: “I could knock out the sort of mystery novels that sell hundreds of thousands of copies, but I’m better than that.” If he weren’t behind the wheel of the car, I would have smacked him upside the head. I mean, really. Do you honestly think the only thing holding people back from becoming bestselling authors is…integrity?
As I patiently explained to him (who am I kidding? I sounded like a howler monkey in heat), it takes a lot of talent to write a fantastic mystery, just as it does to write an amazing literary novel. They just happen to be very, very different talents. Anyone who thinks that just because someone is a wonderful writer means they can pull off working in other genres clearly hasn’t read Michael Cunningham’s
Specimen Days. I recommend they keep it that way.
And let’s not get too far without mentioning that literary and commercial are not exact opposites. There are plenty of authors who mix the two forms freely. One can see this by reading the stunning, bleak mysteries of Dennis Lehane or the thrilling horror of Clive Barker. And is it just me, or is the award winning
Cold Mountain as much a retelling of
The Odyssey as it is a historical romance novel?
What I’m saying is, let’s let the snobbery go. Reading
Madame Bovary can be as entertaining as reading
Valley of the Dolls and vice versa, and there’s nothing wrong with that. To those people who consider genre fiction to be “guilty pleasures,” let it go. I grew up on a steady diet of Stephen King, Charles Dickens, Jackie Collins, and Victor Hugo, and I’ll happily debate the merits of Lucky Santangelo and Esmeralda any day. I’m the guy on the subway reading
The New Yorker and
Romantic Times.
The lines for me just aren’t that sharply drawn. So whether I’m pitching a new cozy mystery or a collection of interconnected stories previously published in literary journals, you can know one thing links them: I love both.
Originally posted in June 2007.
Well, at least I have the warm cup of coffee and ever expanding manuscript going on this morning--I'll focus on appreciating the small things for now and build up to the movie rights.:) Great post! I think perseverance is the key to making it any profession, and long odds only push me to work even harder.
The day-to-day writing life seems so much to do with solitary things: reading, thinking, allowing ideas to brew, crafting, that it's easy to lose sight of the fact that we need something to write about. If I am not doing other things besides writing, I will run out of things to say very quickly.
BTW, I love Sara's thoughtfulness that is so clear in her books, Her point about whether one is quitting a career job or a temporary one makes a lot of sense.
Nice insight.
Also, there's no link to the post by Jane. Methinks it is broken.
Thanks, Charlie. I fixed it. -Lauren
I used to dream of quitting the day job but I've been writing for so long now, I've been at my day job for 17 years. In 13 years I can retire at half my pay for life...so I'd just have to find a way to make up that other half. Maybe a part-time job plus writing or maybe I'll have my house paid off and will be able to live on just half my salary. Who knows? Maybe my husband will strike it rich in his career!
I've actually been wondering what my course of action would be if I happened to get a multi-book deal (unlikely but I like dreaming) before I starting applying for graduate schools. Would I hold off and just stick to writing and then go? Would I just keep writing and never stop? I'll find out--if I ever get that deal.
I need my day job - it gives me SO much inspiration. I think if I wrote full time a lot of it would be in cafes and public places so I can observe people. Writing at home with no-one there permantly ...sounds kind of scary..
http://damselinadirtydress.blogspot.com
In the strange, strange world of creative endeavor, I find the opposite of what most people do: it is easier to produce when writing in my spare time than it is when I have all day every day to write and only write and...
hey, there's a squirrel crossing the yard... gotta go!