Posts Tagged ‘publishing’

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Chick Lit: A question unto itself?

November 2, 2011

You know you’re emerging from an unproductive period when you find yourself arguing internally about whether or not to blog a link that has been sitting on your desktop for a month. Er, right. Never mind. This isn’t about me.

Rather, let us start with Roxanne Gay, who tries to scrabble together an overview of a question that recently rippled through the publishing world:

Polly Courtney's "It's a Man's World"When you write a book with the title It’s A Man’s World, with the tagline “but it takes a woman to run it,” you have to have some sense that your book is going to be marketed in a certain way. I haven’t read the book in question, but the title certainly gives an impression. Maybe it’s just me but when I see that title, I think “chick lit.” I also enjoy “chick lit,” so that label is not a bad thing. That book’s author, Polly Courtney, recently had a very public reaction to how her book was being marketed as “chick-lit,” announcing she was leaving her publisher, Harper Collins, so her writing wouldn’t be pigeonholed. As writers, we often have to worry about whether or not our work will be pigeonholed based on some aspect of our identity. No one wants their creativity limited or misrepresented; pushing back against rigid, often unfair categories is a natural response for a creative person.

In her explanation for why she was leaving her publisher, Courtney distinguishes between women’s fiction, which she writes, and “chick lit,” which she very much does not. I gather that women’s fiction is serious while “chick lit” is not. She writes, “Don’t get me wrong; chick-lit is a worthy sub-genre and there is absolutely a place for it on the shelves. Some publishers, mine included, are very successful at marketing this genre to women. The problem comes when non-chick lit content is shoe-horned into a frilly “chick-lit” package. Everyone is then disappointed: the author, for seeing his or her work portrayed as such; the readers, for finding there is too much substance in the plot; and the passers-by, who might actually have enjoyed the contents but dismissed the book on the grounds of its frivolous cover.”

Depending on the content of the book in question, Courtney is correct in noting that disappointment is possible for everyone involved in the consumption of a book. At the same time, isn’t a cover is just a cover? Eventually, the writing speaks for itself and either readers will like the work or they won’t. Readers are fairly sophisticated these days, aren’t they? I would like to believe readers will, more often than not, have a good sense of what a book is or isn’t about no matter what is emblazoned across the cover. Unfortunately, such does not seem to be the case and certain books are burdened by covers that alienate certain audiences.

For her own part, Polly Courtney explained the decision to leave HarperCollins in The Guardian:

The term “women’s fiction” has been adopted by publishers and retailers alike as a shorthand for fiction that involves shopping sprees, bodily insecurities and the hunt for Mr Right. No – hang on. That’s “chick lit”, isn’t it?

This is the problem. The line that used to define “chick lit” as a sub-genre of women’s fiction has blurred, giving publishers the authority to brand huge swathes of fiction in pink and green swirly covers, on the assumption that this is what women want. As Margaret Carroll, a fellow ex-HarperCollins author, put it: “Very ironic to find this is an industry run by women.”

I do not labour under any illusion; my novels are not literary masterpieces – but nor are they chick-lit. So, you may ask, why did I sign with an imprint that specialises in high-volume commercial fiction? The answer to this lies in the way that we are trained, as authors, to believe that even so much as a glance from a traditional publishing house is an honour and a privilege. They are the experts. They know more about books than the authors do themselves. We should be grateful that a prestigious publishing house will give us the time of day. It is like a gift from God when a book deal lands in our lap.

I don’t know, so I’ll leave it to everyone else to figure out. Read the rest of this entry ?

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Word counts by genre

November 2, 2010

Can’t seem to find where this came from, but it’s well worth the read. From Colleen Lindsay, former agent now with Penguin Group.

Last week I sat down with two fiction editors and hammered out a more comprehensive list of suggested word counts by genre & sub-genre. As you read through this, keep in mind three important things: 1.) these are suggested word counts; rules get broken all the time; 2.) these suggested word counts will most often apply to debut writers; successfully published authors are the ones who end up breaking the rules, and 3.) if you are planning to e-publish only, and your book will never be printed out on actual paper, these guidelines aren’t nearly as important.

Read the rest of this entry ?

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Writer Replay 6: Agent Walks Into A Bar

August 4, 2010


–msg

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Rejection Exception

June 15, 2010

–msg

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Your Book Sucks

June 7, 2010

–msg

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Inspiration/Digression: Artistic considerations

March 29, 2010

Chinua Achebe (photo by Michael Prince)And how about some interesting (or not) artistic distractions?

And now, a young guitarist makes musician Tanita Tikaram jealous:

-bd

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January publishing sales

March 23, 2010

The Association of American Publishers (AAP) reports for the month of January 2010, book sales decreased by 0.7 percent at $814.9 million and were down by 0.7 percent for the year.

The Adult Hardcover category dipped 8.1 percent in January 2010 with sales of $55.6 million a decrease of 8.1 percent compared to January 2009. Adult Paperback sales increased by 0.8 percent for the month ($103.2 million) and were up by 0.8 percent compared to January last year. The Adult Mass Market category declined by 0.5 percent for January with sales totaling $56.0 million; sales were down by 0.5 percent year for the month. The Children’s/YA Hardcover category decreased by 41.6 percent for the month with sales of $31.7 million, a decrease for the month by 41.6 percent. The Children’s/YA Paperback category decreased by 18.1 percent in January with sales totaling $30.7 million; sales were down by 18.1 percent compared to January 2009.

Read the rest of this entry ?

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Selden Edwards on rewriting & rejection

February 25, 2010
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Hard Times

November 17, 2009

Take it from the Pulitzer Prize-winning editorial cartoonist without a newspaper:

SeattlePI.com, David Horsey, November 16, 2009

David Horsey, SeattlePI.com, November 16, 2009

-bd

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Transitioning from magazine to book editor

August 19, 2009

The realities of being a book editor can prove challenging to those editors migrating from the magazine world, as this piece from The New York Observer attests.

Notes for Andy Ward, on the Eve of His Move to Random House
By Leon Neyfakh

Random House surprised the publishing industry Monday with the hiring of GQ executive editor Andy Ward, who will be joining the editorial staff of the house’s flagship imprint in mid-September. Though Mr. Ward began his career in letters as an editorial assistant at Little, Brown, he has spent the past 13 years working in magazines—the most recent six at GQ, and the seven before that at Esquire. Mr. Ward is just one of several magazine editors who have made the jump into the book business during the past year and a half, a trend that made us wonder: Just how different is the life of a magazine editor from that of a book editor, and do the people who trade one in for the other know what they’re getting into?

And so, having conducted interviews with a number of publishing people who began their careers in the magazine world, we’ve come up with the following crib sheet for Mr. Ward and anyone else who follows in his footsteps:

>>read entire article

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