For All YA Lovers!

The line-up for the Teen Author's Festival has been posted! Panels, readings, and signings abound. (and yes, I'll be signing my graphic novel Resistance at Books of Wonder on March 20th.)

Would-Be Book Banners Are Feeling Their Oats

Depressing news--the adoption of new, more aggressive organizing tactics by people who want to censor books in schools and libraries.  In the words of an ALA spokesperson: “Traditionally, when books are challenged, it’s usually a single parent. But we have found that groups are organizing around the principle that professional librarians don’t have the expertise, that they’re pushing porn on our kids.”

Most of the new book banners focus on works that relate to sex (especially of the gay variety), although I was particularly appalled to read about efforts to ban Barbara Ehrenreich's important social-economic book Nickel and Dimed on the wholly spurious ground that it contains "anti-Christian themes."  I guess if you think Jesus would be a big fan of forcing poor women to work under degrading conditions for minimum wage in order to maximize the income of chain-store companies, then, yes, Nickel and Dimed could be considered anti-Christian . . .

One more thing.  The author of the linked article succumbs, unfortunately, to the widespread habit of throwing in a criticism of liberals, in an apparent attempt to make the article feel "balanced."  In this case,  he refers to Huckleberry Finn as "long a target of the left."  But this assertion turns out to be evidence-free.  Follow the link to the supposed source article and you discover that it describes the exclusion of Huck Finn from the library in Concord, Massachusetts, in 1885--more a matter of Victorian squeamishness about "coarseness" than any "left-wing" political objections.  The article goes on to mention subsequent bannings in Des Moines, Denver, Omaha, and Fairfax, Virginia--not exactly a list of liberal strongholds.

Let's get real about this.  The danger to intellectual freedom in America comes overwhelmingly from the right wing, not the left.  That's the truth, and saying so reflects honesty, not "liberal bias."

Who Will Pay for the Cheese Sandwiches?

Hilarious, charming, with an edge of perception. How many people can couple childlike drawn images of dead pantaloon-clad authors, blood-dripping knives, and a puffy-topped "publishing pie" with references to Elvis's shoelace, cheese sandwiches, and "the anchovies are restless"--and make a serious point about publishing, books, writing, and the future of it all--and what it means for authors, traditionally published and self-published alike? Only Margaret Atwood, in her talk "The Publishing Pie: An Author's View" at last week's O'Reilly TOC Conference/Tools of Change for Publishing.

Turow, Shakespeare, and Copyright Law: Huh?

I join blogger Matt Yglesias in finding this op-ed piece by Scott Turow, which invokes the ghost of Shakespeare to defend copyright, quite bizarre.  (Check out some of the many all-over-the-map comments Yglesias received in response to his blog post and you'll see that lots of other people found Turow's comparison confusing too.)  Turow writes about how men with moneyboxes stood outside the playhouses in Shakespeare's day, collecting a penny admission from audience members.  Then he continues:

Money changed everything. Almost overnight, a wave of brilliant dramatists emerged, including Christopher Marlowe, Thomas Kyd, Ben Jonson and Shakespeare. These talents and many comparable and lesser lights had found the opportunity, the conditions and the money to pursue their craft.

The stark findings of this experiment? As with much else, literary talent often remains undeveloped unless markets reward it.

Okay, I guess . . .  except that Turow uses this historical circumstance to highlight the importance of copyright law--which didn't exist in Shakespeare's day--and to decry piracy of texts--which was plentiful then.  (Printers or their assistants would attend plays at the Globe, take copious notes, memorize speeches as best they could, and then print the haphazard scripts that resulted, vexing Shakespeare scholars centuries later.)

So if Turow's historical analogy proves anything, it is that the great Elizabethan playwrights were amply rewarded and "incentivized" in the absence of copyright and despite widespread piracy--precisely the opposite of the cause-and-effect relationship Turow tells us to expect.

Funny, I had the impression that attorneys were supposed to be experts at logic . . . 

Financial Reporting, Book Promotion--Or Both?

I saw something in yesterday's New York Times that I've never seen before. In a fascinating article by Diana B. Henriques, a financial correspondent for the Times, Bernard Madoff said, among other things, that some banks had to have been at least passively complicit in his Ponzi scheme.

But what really got my attention was the information—right there, in a paragraph all its own--that the piece, which was based on an in-prison interview and a series of e-mail messages, is part of the reporter's research for her book on the scandal. That's one thing. But the book's title, publisher and that it will come out this spring all were included. I was torn between feeling that this is somehow unseemly—there was a whiff of quid pro quo about it—and wishing that other worthy authors could be so lucky: free advance promotion on the front page of the NYT. Wow. The only thing missing was a link to Amazon for pre-ordering.

The Secret Of Our Brilliance Is Out

Via Boing-Boing, here is "The Secret of the Million-Dollar Briefcase"--an old comic-book style public service announcement about the wonders of books and their most convenient and affordable source, your public library.  A nice reminder that, in these days of budget cuts and anti-government mania, our libraries deserve and desperately need our support.

A Light in the Dark?

Every month, more indy bookstores close their doors for good. Recently it was Cody's in San Francisco and Davis-Kidd in Nashville, and soon it will be Bethel Avenue Book Co. in Port Orchard, WA, and The Muses Bookstore in Morganton, NC. But not all news from the world of independent bookselling is bad.

Oblong Books, a small bookstore in picturesque Rhinebeck, NY, was the subject of a front-page feature story in USA Today last Thursday. The 2,600-square-foot store is being increased by 1,000 square feet to make more room for children's books, educational toys, and touring authors. Suzanna Hermans, co-owner of the bookstore with her father, Dick Hermans, reports that 2010 revenue for both Oblong stores (the original, founded by Dick Hermans in 1975, is located in nearby Millerton, NY) was $2.5 million, up 2% from 2009. "We'll happily take that," the younger Hermans says. She credits customer service and her stores' popularity as a community gathering spot for the stores' strong sales. A growing "Buy Local" movement doesn't hurt, either, nor do the stores' vibrant series of author readings; last fall Stephanie Meyer visited Millerton for an Oblong-sponsored event.

In a forward-thinking and perhaps counterintuitive move, Hermans is embracing e-books. Her customers are able to buy them via a link on the stores' websites to the Google eBookstore.

The e-book offering is certainly something that could never have been foreseen when her father opened the first store thirty-six years ago and its stiffest competition was the Book-of-the-Month Club and other mail-order book clubs. "Back then, Amazon was only a South American river, Barnes & Noble sold college textbooks in New York City, and Borders was an independent bookstore in Ann Arbor, Michigan started by University of Michigan students and brothers Tom and Louis Borders."

While she is clear-eyed about the growing popularity of e-books and the ever-present shadow of Amazon (which accounts for an estimated 22.6% of the book market, according to Albert Greco, a Fordham University marketing professor who studies book retailing), Hermans is also clear about the role of the physical bookstore in today's world. "People may think they can live online, but in reality they live in real towns and cities, and physical bookstores help enrich those places."

No doubt the people of Rhinebeck and Millerton would agree.

Book Publishing By Subscription: Everything Old Is New Again

Here, via Boing Boing, is a new/old twist on the self-publishing model: Fantasy novelist Diane Duane has financed her latest book, The Big Meow ("third and last in the Feline Wizards sequence") by soliciting advance subscriptions from readers.  The completion of the book was delayed by health and other problems, as Duane explains on her website linked above, but it has now been written and will be made available to subscribers, primarily in ebook format, after it has been edited and designed.  I can't tell from her site how much subscribers were asked to pay, and Duane hasn't disclosed how many individuals took her up on the offer, so there's no way to know how successful the venture was.

This way of publishing books, in which the "author's advance" is generated by direct sales to readers without the intervention of a publisher middleman, goes way back: Samuel Johnson's Dictionary was financed this way in the eighteenth century, and Mark Twain raised money for the publication of U.S. Grant's autobiography by sending salespeople door to door to sell advance subscriptions.

Today, of course, marketing, payment, and delivery of the finished product can all be handled electronically, which saves time and money.  But it would seem that attracting a sufficient number of readers willing to fork over cash months or even years before the product is ready will be a difficult challenge, except perhaps for the handful of authors who already boast an avid fan base.

In the years to come, we'll be seeing more and more experiments with new business models for publishing, and I for one am hesitant about predicting with any assurance which ones will work and which won't. 

O My

Wow. If this story is correct, all I can say is: If you were looking for someone to write a savvy, gossipy, insider's take on Barack Obama, would you pick a former aide to John McCain as the most appropriate candidate?

Will Publishers Get Better at Incubating Talent and Selling the Niche??

I'm unaccustomed to coherent thought before the second cup of coffee, but reading Publishers Lunch's recap of one of yesterday's panels at the 2011 Digital Book World Conference & Expo, "A CEO’s View of the Future," might have triggered a neural blip.

Lunch quotes Perseus CEO David Steinberger as saying that he "sees a giant wave [coming] where the book that has a more modest audience is going to reach people in a way that's more seamless than ever before."

Much has been written about self-publishing as an increasingly viable alternative to fruitlessly banging on traditional publishers' doors as they've become preoccupied with the "big book" for lots of reasons, some of their own making and some in response to marketplace pressures and profit demands of conglomerate owners.

Two things publishers brought to the table for physical books were distribution machinery and major media connections. If publishers can become as good at mining niche markets through online marketing for e-books as they became at distribution and major media for p-books, they could become once again a fertile ground where the so-called "midlist" or "niche" book can succeed and contribute to everyone's bottom line. Maybe there could be a renaissance of sorts, where publishers could return to a cherished earlier role of incubating talent rather than buying it at nosebleed prices that don't do the industry or the next crop of talent any favors.

Maybe others have had this thought - I take no ownership for its originality. It arrived, as I said, before my second cup of coffee.

It Takes a Village to Make a Book

Imagine you've spent years laboring over your novel. Your publisher is waiting. Your agent is waiting. Your spouse is waiting. You finally send the first 80 pages to your agent. Next thing you know, your agent is standing on your doorstep. And the news is not good.

This, according to a recent article, is what happened to Tom Franklin when writing his bestselling novel Crooked Letter, Crooked Letter (described in the article as "an ultimately sweet tale of two half brothers--one white and one black...a crime novel with a little mystery thrown in, a meditation on race and relationships, and a character study" titled after "the way children in the South learn to spell Mississippi").

To me, Franklin's process is a story of the village it takes to make a book--which includes an agent's tough love, a publisher's patience, a spouse's wisdom--but which begins and ends with a writer's absolute persistence and willingness to:

stop

listen

argue

learn

chuck stuff out

move stuff around

plow ahead

find and refind that knife-edge balance between trust in self and trust in others regarding one's work

..and then, if necessary, do it all over again. And again. And... .

And delivering the manuscript, in some ways, is just the beginning. Myriad minds, hands, and hearts engage with a book as it moves through the publishing process: being edited, copyedited, designed, typeset, proofread, indexed (if nonfiction), catalogued, sold in, printed, bound, shipped, and published. Every book, successful or not, embodies this massive exertion of time and will. Hats off to the writer, and to the village.

Jason Epstein on Self-Publishing

The February 10 issue of The New York Review of Books contains a timely review (subscription required to follow link) of a book by British sociologist John B. Thompson, Merchants of Culture: The Publishing Business in the Twenty-First Century. Jason Epstein's review provides a capsule history of the publishing industry (of which he was a notable member) over the past fifty years, and also looks ahead to a dramatically different future. Among other developments, he cites "the rapidly growing self-publishing industry."

Epstein believes the self-publishing industry, "relying on print-on-demand technology, has created infrastructure that groups of sophisticated editors might adapt to create their own lists for worldwide sale online while arranging with traditional distributors to market physical inventory to traditional retail accounts." He thinks these editors could be incubating the next Random House. From the man who invented the trade paperback, these might be prophetic words.

Epstein also points out in a footnote that "Self-publishing has an illustrious history. Milton published Areopagitica himself and Whitman self-published Leaves of Grass. When he could not find a publisher for his first novel, Maggie: A Girl of the Streets, Stephen Crane published it himself." Epstein also mentions Ulysses (published by Joyce with bookstore owner Sylvia Beach), The Joy of Cooking, and such recent bestsellers as In Search of Excellence and Christmas Box. Self-publishing has a distinguished past and the possibility of defining publishing's future.

"Don't Have Children" And Other Rules For Writers

From Britain's Guardian newspaper, a fun collection, in two articles, of "rules for writing fiction" offered by a potpourri of leading novelists. Some sound useful, others idiosyncratic, many mutually contradictory. "Don't have children" is from Richard Ford.  A few other samples:

"If it sounds like writing, I rewrite it."--Elmore Leonard.

"Hold the reader's attention.  (This is likely to work better if you can hold your own.)"--Margaret Atwood.

"Do give the work a name as quickly as possible. Own it, and see it. Dickens knew Bleak House was going to be called Bleak House before he started writing it. The rest must have been easy."--Roddy Doyle.

"Have regrets. They are fuel. On the page they flare into desire."--Geoff Dyer.

"Read widely and with discrimination.  Bad writing is contagious."--P.D. James

"If you have to read, to cheer yourself up read biographies of writers who went insane."--Colm Toibin.

The first installment can be found here, the second here.

"Bookshelf Porn"

And on a very different note, if your idea of a beautiful room is one with lots of books, you will enjoy this website.

The Waiting Game

One of my authors recently forwarded the link to this piece by Scottish writer A.L. Kennedy to me. Her subject is waiting -- specifically, waiting for word back from one's editor. Thumbs up or thumbs down? Will the patient need major surgery or just a few band-aids? Kennedy, who has won numerous awards for her novels and short stories, describes the experience of waiting for her editor's response to her most recent book over the Christmas holiday:

I have never met anyone who even remotely enjoys this part of the book-producing process. I've been writing professionally since 1989, but this will only be my 13th book. (And let's ignore the implications of 13.) This is only the 13th time that I have footled about, gone for walks, tried to start other things, sketched hollow-sounding plans for the coming months, stared blackly at the ceiling and generally failed to avoid the constant, low-level nausea generated by waiting to hear. I woke up in the morning and waited, I prodded at lunch and waited, I watched [Sherlock] Holmes ... and still I waited. For those of you unfamiliar with the heady emotional tumble drier which is the post-handover-pre-verdict hiatus, try to imagine one of those insultingly-lengthy TV elimination round pauses which somehow elongates over days or weeks, blends with your driving test outcome, the announcements of every important exam result upon which you have ever relied, every time you've asked someone lovely to have a coffee, or hold you hand, or subject you to intimate forms of relaxation and every naked-on-the-roof-of-Sydney-Opera-House-while-your-parents-and-in-laws-and-primary-school-teachers-render-you-in-watercolours anxiety dream you've ever had. Only it's less pleasant than that.

Only 13 books? Oh, my.

Kennedy's piece (the above is a small excerpt) started me thinking about all the periods of waiting that each finished manuscript demands of a writer. There's waiting for word back from whatever trusted readers you show it to for feedback; waiting for word from your agent -- or from the many agents to whom you submit it if you don't already have one; waiting for word back from all the editors that your agent submits it to; waiting to hear how the acquiring editor likes all the rewrites he or she undoubtedly suggests; waiting to hear what reviewers and the world at large (not to mention your mother, spouse, college roommates, and old flames) think of the finished book. And those are just some of the Major Milestones of Waiting. There are plenty more.

Which adds a whole new layer of meaning to "It's the journey, not the destination."

The Shrinking World of Public Domain

Most writers and editors have at least a general awareness of how copyright law has been transformed in recent decades. But for a down-to-earth sense of the practical implications of the change, check out this site created by the Center for the Study of the Public Domain at Duke University Law School.

Among other things, the site lists some of the thousands of works--books, plays, films, songs, and so on--that would have gone into the public domain as of January 1, 2011, under traditional (pre-1978) copyright law, but which will remain under legal control by the creators' estates or some corporate entity until 2050 under current law.  The list includes copyrighted works published during the year 1954, ranging from William Golding's Lord of the Flies and the classic films Rear Window and The Seven Samurai to the plays Waiting for Godot and Cat on a Hot Tin Roof.  (Traditional copyright law protected works for 28 years after their creation, with a possible extension for another 28 years upon request.  The full 56 years of protection would have expired for these works at the end of 2010.)

The copyright law has been rewritten (most recently in 1998) to lengthen the period of protection up to a maximum of 120 years after creation in the case of corporate-owned "works for hire."  The 1998 copyright law is sometimes referred to as "The Mickey Mouse Protection Act" because one of the major forces behind it was the Walt Disney Company, which was eager to prevent films featuring its famous rodent from entering the public domain.

Opinions may differ, but I for one would like to see a return to the traditional standards of copyright protection.  Publishers have long been free to create new editions of classics like Pride and Prejudice and the works of Shakespeare, with the result that these works are available at very low cost in dozens of formats and styles.  To me, there's no reason why the same shouldn't be true for classic works of the twentieth century as they gradually pass the old 56-year yardstick.  Wouldn't our cultural heritage be enhanced by (for example) making it possible for high school, college, and community theatre groups to stage Waiting for Godot and Cat on a Hot Tin Roof as freely as they can The Importance of Being Earnest?

Remember, the purpose of copyright law is to encourage artistic creation.  If copyright protection were abolished, or limited in some very draconian fashion--trimmed back to five years, say--it would clearly have a detrimental impact on writers' incentives to produce.  But does anyone really believe that Samuel Beckett or Tennessee Williams would have felt motivated to write more or better plays if only they'd known that their heirs would still be collecting royalties into the 2040s?

We'll Miss Manie Barron

How sad to learn about the passing of Manie Barron--a talented book salesman, editor, and literary agent; one of the leading African-Americans in an industry where minority groups are still sadly under-represented; and, most important, one of the sweetest guys you could ever hope to know.

I met Manie years ago during my days at Random House.  His insights and advice were helpful to me when I worked on projects like Jimmy Carter's faith-based memoirs--and I quickly found myself turning to Manie during marketing and editorial meetings, knowing that he would usually have something smart to suggest.  Chris Jackson has written a thoughtful appreciation of Manie's legacy which expresses a lot of what many of us are feeling at this time.

Manie will be honored in a memorial service at St. Bart's Church on Park Avenue on Saturday, February 5th, at eleven a.m.  His family has established a college scholarship fund for Manie's daughter Veronica; details can be found here.

Resistance Isn't Futile

Congratulations to CEA member Carla Jablonski, whose first graphic novel, Resistance (illustrated by Leland Purvis and published by First Second Books, an imprint of Macmillan), was just named a Sydney Taylor Award Silver Medalist. The Sydney Taylor Award is given by the Association of Jewish Librarians to books with Jewish themes. What's particularly exciting about Carla's book receiving this honor is that there's not a separate graphic novel category. Resistance, the first volume of a trilogy, was read with all the other books in the age group.

In addition, and equally impressive, Resistance was just selected for the American Library Association's Great Graphic Novels for Teens list.

Way to go, Carla. Your colleagues salute you!

And The Final Word on Huckleberry Finn

. . . has to go to this hilarious episode of the online comic strip "Tom the Dancing Bug." Follow the link to enjoy the whole thing. The art is taken from the first edition of Huck Finn--with a few slight and obvious emendations.

A Word by Any Other Name...

Among the defenses of his cleansing of the "n word" from his edition of Huckleberry Finn (posted on line today by Publishers Weekly) Twain scholar Alan Gribben states that "it is hard to open Huckleberry Finn without encountering the institution of slavery and the unsavory racial attitudes of the 1840s." In other words, by removing a single word he has not removed the offensive attitudes held at the time the book was written. Which begs the question: Why would removing the word make the novel acceptable? Is it only the word and not the attitude it represents that makes Twain's work unworthy of being taught in schools today? Does that strike anyone else as ridiculous as it seems to me?