Six Questions for Johanna Ingalls, Managing Editor, Akashic Books

"Akashic Books is a Brooklyn-based independent company dedicated to publishing urban literary fiction and political nonfiction by authors who are either ignored by the mainstream, or who have no interest in  working within the ever-consolidating ranks of the major corporate publishers. Currently, Akashic Books is not accepting new submissions.  

Ceased publication.


SQF: According to a report by Foner Books, “[g]rowth stagnated for booksellers in 2008, and overall book sales barely moved according to the government.” In addition, I’ve read a number of articles concerning the difficulty authors are having securing book deals. In your opinion, what is the current state of the print book market?

JI: For Akashic, as a small company, we've always struggled to sell books. The economic downturn affected all book publishers, but it is, honestly, an industry that is used to struggling to make ends meet. I think there is still a great market for books--printed and electronic--there are just, unfortunately, too many books written, not all of which should be published, which is why it continues to be hard for authors to find homes for their books.


SQF: What are the top three things you look for in a manuscript?

JI: Strong, likable, believable characters; an engaging story line; and a well-edited presentation of the story (it doesn't need to be perfect, but should be pretty clean and not a first draft).


SQF: What major mistakes do authors make when pitching their books?

JI: I find it frustrating when we're pitched a book that clearly doesn't fit our publishing program. I like when authors have taken the time to research companies and have a sense for what type of books the company is looking for. If the company has, for example, never published a self-help book, it's probably not the right company to approach if you're the author of a self-help book.


SQF: Of the books your company publishes each year, how many are by previously unpublished authors?

JI: It varies, from 1 to 5/year roughly out of the 25 we publish.


SQF: What is your advice to new, unpublished authors looking for a publisher or agent?

JI: I'd reiterate the above in #3. Research companies and agents and only approach those who you truly believe are looking for/have experience with your style/genre of writing.


SQF: What question do you wish I’d asked that I didn’t? And how would you answer it?

JI: I couldn't think of anything more to add here.

Thank you, Johanna. We all appreciate you taking time from your busy schedule to participate in this project.

NEXT POST: 8/2--Six Questions for Abigail Beckel and Kathleen Rooney, co-Founders, Rose Metal Press

Six Questions for Adam O'Connor Rodriguez, Senior Editor, Hawthorne Books

From the website:

"Hawthorne Books publishes American literary fiction and narrative nonfiction with a commitment to offering international titles as well." Learn more here.


SQF: According to a report by Foner Books (http://fonerbooks.com/booksale.htm), “[g]rowth stagnated for booksellers in 2008, and overall book sales barely moved according to the government.” In addition, I’ve read a number of articles concerning the difficulty authors are having securing book deals. In your opinion, what is the current state of the print book market?

AOR: I work on the editorial end, so my sense of the business is different, but I know that while overall book sales may be down across the industry, Hawthorne Books had a great year—we sold the 2009 Barnes and Noble Discover New Writer Award-winning novel The Well and The Mine by Gin Phillips, to Riverhead Books, signed Lidia Yuknavitch to a two-book deal, bought an exciting novel by David Rocklin, hired a new editor, Liz Crain, and released Autobiography of a Recovering Skinhead, which has the makings of a big hit.

A larger point is that it feels like, as the large houses struggle to adapt to what the contemporary reader is looking for, small presses have become more vital. And I think that’s for three major reasons: one, we’re readers first, not executives. Of course market potential matters to us, but it’s not the primary concern, because it’s impossible to tell what’s going to be a hit. We would never publish a book we didn’t like, or that we didn’t feel we could hand-sell to a friend, or by extension to a sales rep. Two, new media has leveled the playing field somewhat between us and the large houses—anyone can make a Facebook page. Anyone can write to a blogger or meet one at a conference. Spending thousands of dollars for an ad in The Atlantic may or may not expose your book to more interested eyes than a mention on HTML Giant or a YouTube video. Three, small presses are a vital part of the nationwide literary community, whereas large houses are an entertainment industry based in and concerned primarily with New York City, as much as the film industry is based in Los Angeles. A great example is the energy of the primary industry conference for large presses, BEA (BookExpo America), compared to the primary conference for small presses and literary magazines, AWP (The Association of Writers & Writing Programs). At BEA, you’ll see a lot of older men in expensive business suits, walking fast, talking loudly into Bluetooth earpieces about sales figures, not looking up at any booths. These large presses, almost exclusively from New York, spend up to a million dollars on gigantic, store-sized booths in the arena, seemingly locked in an endless outspending game. At AWP, you’ll see writers, readers, and editors of all ages standing in front of the table of a press they’ve never heard of before that day, remarking on the interesting design or a great new writer they’d read in a literary magazine, thrilled they’d discovered a new press with a fresh idea. That press may have started a month before or in the 1800s, they may be from New York or northern Mississippi or Portland, Oregon, or from a tiny college in Australia, but regardless, they paid $450 for the space and have equal access to meet with and intrigue new readers and writers. The whole model is just concerned with something different. And I’m not knocking the big houses—while their models are antiquated, they still champion many fine books and support many great authors—but it feels like the industry has barely changed for them in 100 years, whereas smaller presses must adapt constantly or fail.


SQF: What are the top three things you look for in a manuscript?

AOR: What I look for in a manuscript might be a little different than what Hawthorne Books looks for, so I’ll try to answer wearing my Hawthorne Books hat. This question is always hard for me. I mean, the real answer is the standard answer: we’re looking for something great that will sell. It’s little help to a writer to look at our catalogue—you’ll find more experimental work like Core and Seaview; edgy memoir and personal essay like Autobiography of a Recovering Skinhead and the Poe Ballantine essays. A traditional historical novel like Madison House and a non-traditional one, that also happens to be a translation from Danish, The Tsar’s Dwarf. Non-traditional coming of age stories like Little Green and to a certain extent, Clown Girl, also a comic novel. I guess my point is that what we’re looking for is exactly what other presses look for: great writing, interesting characters, and something unique that will sell the book, both to us and to the reading public.


SQF: What major mistakes do authors make when pitching their books?

AOR: These are more pet peeves of mine than “major mistakes” I guess, because anything in a pitch can be forgiven if the work is good enough, but okay: my biggest pet peeve is when authors contact the press for updates or put pressure on us to make a quick decision. It must be in some writer’s guide somewhere that getting your name in front of an editor as much as possible is a good thing no matter the context, which isn’t at all true. The process of deciding what to publish, for us anyway, is a process of trying to decide why not to publish a book. Even a book that one of us is passionate about won’t get published if there’s a good reason not to publish it. Authors asking for constant status updates is bad behavior—as if we wouldn’t contact the author if we decided to publish the book—and a great editor once taught me that to maintain sanity and professionalism as an editor, never reward bad behavior. Another pet peeve of mine is when an amateur writer doesn’t bother to read books, and by that I mean that they submit a book exactly like a million books published every year. Another is as simple as using non-standard margins or small font or other minor violations of the submission guidelines.


SQF: Of the books your company publishes each year, how many are by previously unpublished authors?

AOR: About 50% of our authors are previously unpublished. We love and seek to publish the rawness inherent in first novels, for example. First memoirs also.


SQF: What is your advice to new, unpublished authors looking for a publisher or agent?

AOR: Make sure your book is finished, and by that I mean make sure it’s as good as you can possibly make it, rewrite it a dozen times, then let it sit for a while and try again, then have some friends or a writers’ group read it and try again, then hire a professional editor and do another rewrite, then a proofreader, then let it sit. Once the only thing you feel like you can do to it is agonize over cutting a comma on page 256 or leaving it, then it’s probably ready to submit. I know this sounds extreme, but here’s something I say in every talk I give about the submission process: your pretty good book will never get published. Your great idea for a book that isn’t quite there yet probably won’t get published either. Because of MFA programs and expanded cultural opportunities for writing, there are a lot of great books out there every year not getting published because the writer isn’t willing to do everything possible to make their book great, to make it the book that I can’t find a reason not to publish.

Another point: many new writers seem to think that getting a book published with a small press is easier, but it’s harder—a large house can hit and miss with titles, lose money, recoup it on the next blockbuster. A small press can’t. We must hit breakeven or better with essentially every title or shutter the shop. So be sure that unless you’re submitting to one of the very few wealthy small presses, the entire organization’s existence depends on your book selling at least X number of copies. Small presses aren’t literary charities. But publishing with a small press can be more lucrative to many writers than a big house contract, though, because of the stakes involved. A professor of mine in grad school used to tell a story about a writer he knew well who published a book that, according the the professor, should have been a classic book of the late 1970s, should still be read and taught. Basically what happened was the book didn’t get a review in the New York Times, so the publisher, a top five New York house, pulled the entire advertising and promotional budget and the book was dead on arrival and sold less than 1,000 copies. That story could literally never happen to an author published at a small press.

As far as looking for a publisher or agent, look for an agent, even if you plan to shop your book to small presses. Agents send to us all the time. Having an agent lets the publisher know you’re serious (in that someone else with a critical eye who makes a living judging manuscripts has already accepted your work) and grants a kind of access that cold submissions just can’t. That’s not to say unsolicited submissions don’t get the same read that agented submissions do, but having an agent can sometimes skip your manuscript closer to the front of the line.


SQF: What question do you wish I’d asked that I didn’t? And how would you answer it?

AOR: No answer; good questions.

Thank you, Adam. We all appreciate you taking time from your busy schedule to participate in this project.

NEXT POST: 7/30--Six Questions for Johanna Ingalls, Managing Editor, Akashic Books

Six Questions for Gloria Mindock, Editor and Publisher, Cervena Barva Press

Cervena Barva Press publishes fiction and poetry from "writers who have a strong voice and who take risks with language." The reading period is from January 2 - February 28. Learn more here.


SQF: According to a report by Foner Books (http://fonerbooks.com/booksale.htm), “[g]rowth stagnated for booksellers in 2008, and overall book sales barely moved according to the government.” In addition, I’ve read a number of articles concerning the difficulty authors are having securing book deals. In your opinion, what is the current state of the print book market?

GM: I think this is a scary time for many publishers. I have heard of lay-offs and the big publishers cutting down on acceptances. Many are not accepting anything unless it will make huge sums of money for them.

With the small press, I see so many of them still continuing to publish writers, though some have cut down on the amount of books they publish. It is a labor of love. With the economy being so bad, we will probably start to see more books being published by POD companies and e-books. The stigma is getting better concerning books being PODs. I have heard that even some of the big publishers are starting to use POD printers.



SQF: What are the top three things you look for in a manuscript?

GM: I want manuscripts that have a strong voice to them, are edgy and take risks. Surprise me! I want manuscripts that hold my attention. Also, manuscripts must be neat and readable.


SQF: What major mistakes do authors make when pitching their books?

GM: When the pitch goes on too long or is too flowery in its language. This bores me. I want straight and to the point. I think most editors would agree with me on this.


SQF: Of the books your company publishes each year, how many are by previously unpublished authors?

GM: All my authors have been published before. Some writers are emerging and others are well known. I don’t care whether a writer has been published or not. If I like their work, I will publish them.



SQF: What is your advice to new, unpublished authors looking for a publisher or agent?

GM: Don’t give up and be persistent. There are many publishers out there. Try to get your work published in magazines first before sending out your manuscript to publishers for a possible book. Network and meet other writers and editors at readings and events. Sometimes, you will hear if they are looking for work. It’s not good to ask them if they will read your manuscript when you first meet them.

Buy the International Directory of Little Magazines and Small Presses and other directories. Look online also for magazine/press listings. Go through the whole thing and look at what magazines you think your work is best suited for. Look at who they published; and if your work is somewhat similar, send work to that magazine. You should look at the literary magazines in bookstores to see if you like them before sending them your submission. Also, always follow the guidelines for the magazine or press. I am amazed at how many writers don’t do this. If you don’t follow the guidelines, this will hurt you.


SQF: What question do you wish I’d asked that I didn’t? And how would you answer it?

GM: Why do you publish books?

How could I not? There is nothing like the feeling when you read a good manuscript that you must publish. It is such a natural high to read good writing. Once the manuscript is published, I feel on cloud nine and am very happy for the author; and I want others to read it. It is important for me to publish many translations yearly. We don’t have enough translations here in the USA. I want to bring the voice of other countries here. Because of Cervena Barva Press, I have met and corresponded with so many wonderful writers and editors from all over the world. For me, this is pure heaven!

Thank you, Gloria. We all appreciate you taking time from your busy schedule to participate in this project.

NEXT POST: 7/26--Six Questions for David A. Rozansky, Publisher, Flying Pen Press

Six Questions for Edward E. Wilson, Publisher, Absey & Co.

Absey & Co. publishes award-winning juvenile and mainstream/contemporary novels, as well as short story and poetry collections.

(Ceased publication)


SQF: According to a report by Foner Books (http://fonerbooks.com/booksale.htm), “[g]rowth stagnated for booksellers in 2008, and overall book sales barely moved according to the government.” In addition, I’ve read a number of articles concerning the difficulty authors are having securing book deals. In your opinion, what is the current state of the print book market?

EW: Republicans don't want people to read, or think. They have ruined early literacy. They insist on phonics, and that isn't how children learn to read. We've had Reagan, Bush and Bush, and they have systematically dismantled teacher education, teacher preparation and have insisted on Reading First crap and testing. So we have two generations of non readers. Until we dismantle phonics and testing, we will have few readers.


SQF: What are the top three things you look for in a manuscript?

EW: 1. Well written. 2. Well written. 3. Well written. That is the only thing that matters. The subject matter could be the shoe polishing practices of fleas, and if it is well written, then it is publishable. I see lots of good ideas. Few well written.


SQF: What major mistakes do authors make when pitching their books?

EW: My favorite is to tell me that their Aunt Tilly loves the manuscript and everyone they know knows it will be a best seller. Buy lottery tickets. That's more likely. And the work should stand on its own. If someone else likes it so much, let them publish it.


SQF: Of the books your company publishes each year, how many are by previously unpublished authors?

EW: 50%


SQF: What is your advice to new, unpublished authors looking for a publisher or agent?

EW: Know going into it that agents are vampires. Know going into it that rejection is not personal. I get way too many people who get their feelings hurt by a form rejection letter. Then when given the reason I didn't like the manuscript they go bonkers.


SQF: What question do you wish I’d asked that I didn’t? And how would you answer it?

EW: Why do authors who have gotten ripped off by Publish America or one of the vanity presses think that counts as a real publication and then want a legit publisher to pick up the title?

P.T. Barnum said, "A sucker is born every minute." People in their quest for publication get suckered into print your own.   Spend your money by going on a trip, taking a college course, buying a heart valve replacement--get something real for your money and stop making the vanity press people rich.


Thank you, Edward. We all appreciate you taking time from your busy schedule to participate in this project.

NEXT POST: 7/23--Six Questions for Gloria Mindock, Editor and Publisher, Cervena Barva Press

Six Questions for Michael Aaron Casares, Publisher, Virgogray Press

"Virgogray Press is a proud publisher of chapbooks, and produces primarily poetry and sees the chapbook as a tool and vehicle for the independent voice."

(Ceased publication)

SQF: According to a report by Foner Books (http://fonerbooks.com/booksale.htm), “[g]rowth stagnated for booksellers in 2008, and overall book sales barely moved according to the government.” In addition, I’ve read a number of articles concerning the difficulty authors are having securing book deals. In your opinion, what is the current state of the print book market?

MAC: I can’t really answer that because I’m not involved in the supposed market. I guess in the big picture, during perpetuated economic and monetary hardships, even the book sales market would freeze up a bit. To be frank, I haven’t been affected much by this as a publisher, fortunately. My press doesn’t work on that cycle. The only thing that really keeps Virgogray from taking on any more projects is time.


SQF: What are the top three things you look for in a manuscript?

MAC: Voice. Topic. Functionality.


SQF: What major mistakes do authors make when pitching their books?

MAC: I wouldn’t call them “major mistakes.” I look at the Virgogray library as a whole and so it may depend on if the MS is right for inclusion at that time. Virgogray books carry a wide array of themes and tones and tell numerous stories with numerous styles. Everyone has their own unique voice and to that end, even grammatical errors may be worked out, so long as they aren’t blatant. That’s the way I see it, though every editor is different. There are many writing styles out there and a hell of a lot of personalities so I try to respect that. Paying attention to the details of our submission guidelines is always the quickest way into our hearts and that is something most editors will agree on (especially if we require no simultaneous submissions).


SQF: Of the books your company publishes each year, how many are by previously unpublished authors?

MC: Most Virgogray Press authors have been published, if at all, at least in independent periodicals, journals and blogs. Suzi Kaplan Olmsted, Brendan Kirk, and Donna Snyder are examples of those whose first collection of work was with us, though their poetry and writing appeared online or in print prior to publishing with us. Virgogray authors also do readings and are actively involved in either poetry or the promotion of their work. It really gets fun when the authors get involved. We do publish anthologies and periodicals in which we’ve presented new talent, as well as the work of unpublished authors and poets. It is these venues I encourage new writers to explore initially. Carcinogenic Poetry has been marvelous for this.


SQF: What is your advice to new, unpublished authors looking for a publisher or agent?

MAC: Put together your best work. Make it interesting and have something to say. Be genuine. Have fun. Put your love into your work. Get your name out there. Don’t stop.


SQF: What question do you wish I’d asked that I didn’t? And how would you answer it?

MAC: No question, thanks. I am happy to speak with you, Jim, thanks. Take care.

Thank you, Michael. We all appreciate you taking time from your busy schedule to participate in this project.

NEXT POST: 7/21--Six Questions for Edward E. Wilson, Publisher, Absey & Co.

Six Questions for Jason Cook, Fiction Editor/Mastermind, Ampersand Books

Ampersand Books publishes fiction, creative nonfiction and poetry. "We are looking for creative work, but only good creative work. Give us God, give us god, give us man, give us people & make us laugh. If you can make us cry, do so, if you want to lament the loss of pets & family, do not. We enjoy smiling & the bizarre sensation of the rabble-rouse. We want to feel, & we want to want, & we don't want Cheap Trick jokes inserted here, unless they are awesome."

(Ceased publication)


SQF: According to a report by Foner Books (http://fonerbooks.com/booksale.htm), “[g]rowth stagnated for booksellers in 2008, and overall book sales barely moved according to the government.” In addition, I’ve read a number of articles concerning the difficulty authors are having securing book deals. In your opinion, what is the current state of the print book market?

JC: This is kind of an exciting time to be a reader or publisher. By now, everyone knows the big dogs are bleeding money and being more and more cautious in buying manuscripts. This trend will probably continue, as big publisher's look for the next Twilight or Harry Potter. The exciting part is this: there are, and will be more, a lot of great writers walking around without book deals. Small presses have more freedom because we have to sell fewer books to break even. New printing technologies are always driving down the cost of printing, so small presses will continue popping up as the big publishers leave literary markets underserved.

The unfortunate upshot, though, is that the days of six-figure advances for literary authors may be coming to a close. Day jobs may be here to stay. Which isn't to say that book sales will be down or harder than it ever was. People that love good literature still, and always will, love it and be willing to spend money. I'd be interested to know which segments of the book industry lost the most money that year.


SQF: What are the top three things you look for in a manuscript?

JC:
First - a sense of craft. This is priority one and the first thing we notice.
Second - originality of language and avoidance of cliche's. I like authors who wonder whether "butterfly" can be a verb.
Third - we look for books that don't try too hard to make a point.


SQF: What major mistakes do authors make when pitching their books?

JC: Not reading the damn submission guidelines. If it says we don't want unsolicited manuscripts, don't submit. Don't query about submitting. Don't query about querying about submitting. Follow the rules. The editors put them there for a reason.


SQF: Of the books your company publishes each year, how many are by previously unpublished authors?

JC: All of them.


SQF: What is your advice to new, unpublished authors looking for a publisher or agent?

JC: Be persistent and look for publishers in the same field you're in. Entertain ideas that seem out-of-the-box and, if you can't afford to pay someone to do it, learn how to do it well. Also, I would advise against self-publishing.
  

SQF: What question do you wish I’d asked that I didn’t? And how would you answer it?

JC:    
Q: Are you really as awesome as you would seem?
A: Yes.

Thank you, Jason. We all appreciate you taking time from your busy schedule to participate in this project.

NEXT POST: 7/ 19--Six Questions for Michael Aaron Casares, Publisher, Virgogray Press

Six Questions for J. Michael Wahlgren, Founding Editor, Gold Wake Press

Gold Wake Press publishes electronic chapbooks containing five to ten poems and manuscripts of 48+ pages. Learn more here.


SQF: According to a report by Foner Books (http://fonerbooks.com/booksale.htm), “[g]rowth stagnated for booksellers in 2008, and overall book sales barely moved according to the government.” In addition, I’ve read a number of articles concerning the difficulty authors are having securing book deals. In your opinion, what is the current state of the print book market?

JMW: It is difficult to maintain a readership, but the means of the game is quality and finding work that will relate to our audience. I think authors still want print options for their books even though Kindle and Nook are advertising quite a bit. It is difficult to visit a site that offers books for purchase that doesn't offer an electronic option of some sort. This is how we started as a magazine, so we offer both options. The quality of the print (in our experience) has more structure and arc than just 5-10 poems, but that is for the reader to decide as well. In order for a publisher to continue to print books he/she must break even. Once again this returns to quality and securing a readership that will result in people pleased with our quality. Book deals can fall through; a lot has to do with pricing and distribution. If a book isn't distributed well enough, sales can fall short. Luckily, we are new to the game and haven't outdone ourselves. We will limit ourselves by only publishing a few (1-3) books per year.


SQF: What are the top three things you look for in a manuscript?

JMW: We look for structure, cohesion and originality.


SQF: What major mistakes do authors make when pitching their books?

JMW: I read once somewhere that you’re not supposed to summarize the entire manuscript but recently discovered some presses favor this type of summary. I think when someone tries formatting their document to look finished when it still needs work is a faulty idea.


SQF: Of the books your company publishes each year, how many are by previously unpublished authors?

[SQF: Unfortunately, due to an unusual weather pattern on the-orb-that-used-to-be-known-as-Pluto, this answer evaporated into the ether.]


SQF: What is your advice to new, unpublished authors looking for a publisher or agent?

JMW: I would highly recommend familiarizing oneself with a magazine's style before submitting there. I have been rejected (in personal experience) by magazines certainly just for stylistic difference. At Gold Wake Press, we balance quality with style. Most chaps share a common trend inside the text, experimentalism in content, which we favor every time we receive a submission. But also, if the poems have a narrative arc, or are well-written, come from a unique viewpoint that we haven't published in previous e-chaps, then we will accept it.


SQF: What question do you wish I’d asked that I didn’t? And how would you answer it?

JMW: I wished you had asked how long I’ve been doing this. I had a few magazines previous to Gold Wake Press and something about GWP stuck, and bringing Eric on board to read submissions really strengthened the magazine and my confidence in the magazine.


Thank you, Michael. We all appreciate you taking time from your busy schedule to participate in this project.

NEXT POST: 7/16--Six Questions for Jason Cook, Fiction Editor/Mastermind, Ampersand Books

Six Questions for Jennifer Joseph, Publisher, Manic D Press

Manic D Press publishes poetry, fiction and creative nonfiction with a focus on good writing. Recent authors include Amber Tamblyn, Lynnee Breedlove, Cheryl Klein, and Francesca Lia Block. Learn more here.


SQF: According to a report by Foner Books (http://fonerbooks.com/booksale.htm), “[g]rowth stagnated for booksellers in 2008, and overall book sales barely moved according to the government.” In addition, I’ve read a number of articles concerning the difficulty authors are having securing book deals. In your opinion, what is the current state of the print book market?

JJ: The current state of the print book market is in the toilet ... double-barreled factors of cultural shift towards visual, non-verbal entertainment plus digital media takeover equals limited market for printed matter including books, magazines, newspapers, etc.


SQF: What are the top three things you look for in a manuscript?

JJ: Great storytelling abilities, excellent attention given to correct spelling and grammar, uniqueness.


SQF: What major mistakes do authors make when pitching their books?

JJ: Forgetting about the end user (the reader) and not realizing that writing a book is only the beginning of the publication process.


SQF: Of the books your company publishes each year, how many are by previously unpublished authors?

JJ: Depends on the year: sometimes all, sometimes none.


SQF: What is your advice to new, unpublished authors looking for a publisher or agent?

JJ: Try to place pieces or excerpts from the book in literary magazines, etc. Get your name out there and get some experience first. Really ask yourself if having a book with your name on it is worth the time and energy it will take, because once the book is in print, it'll be up to you to help find readers for it (or else a lot of trees were killed for nothing).


SQF: What question do you wish I’d asked that I didn’t? And how would you answer it?

JJ: Is the joy of writing enough, or is it only meaningful when the writing is read by a stranger who might hate it and post a vitriolic review on Amazon? Is it enough to be published online, or will it only be satisfying when the writing is printed on a dead tree? All writers seeking publication should dig deep inside and honestly ask themselves, "Why do I really want to be published?"


Thank you, Jennifer. We all appreciate you taking time from your busy schedule to participate in this project.

NEXT POST: 7/14--Six Questions for J. Michael Wahlgren, Founding Editor, Gold Wake Press.

Six Questions for Lea Schizas, Publisher, MuseItUp Publishing

MuseItUp Publishing is a new publisher (Launch date: December 2010) focusing on mystery & suspense, paranormal & fantasy, sci-fi, romance, dark fiction & thriller, and young adult novels. The company accepts submissions from new and seasoned Canadian and American authors. 

(Ceased publication)

SQF: MuseItUp Publishing is a new venture. Why did you start it?

LS: Jim, opening up my own publishing house has always been one of my plans in my goal outline. It didn't materialize all of a sudden. It's been years in the back of my mind, but I started off slow, wetting my feet to get a platform out there. Along with Bret Wright in 2003 we opened up Apollo's Lyre, and in 2009 I took over when he had to step down. In 2005 I ventured to open up my own critique community after being involved in so many of them that only catered to one genre, whereas the MuseItUp Club caters to all genres and nonfiction. Around the same time we opened up Apollo's Lyre, I began editing for various publishing houses. Finally, five years ago, I began a FREE online writers conference - The Muse Online Writers Conference, hosted annually in October. Where am I going with this? I want to show your readers that I dedicated my career to helping writers any way that I can and the MuseItUp Publishing house is just another way I feel I can help and be there for writers.


SQF: According to a report by Foner Books (http://fonerbooks.com/booksale.htm), “[g]rowth stagnated for booksellers in 2008, and overall book sales barely moved according to the government.” In addition, I’ve read a number of articles concerning the difficulty authors are having in securing book deals. In your opinion, what is the current state of the print book market?

LS: I've read reports, some good, some bad. To be honest in the current times all sorts of businesses are feeling the pinch. However, that doesn't mean a business has to stop trying to move forward. The fact is that e-books are going to be the future in the long run, and that will happen once readers feel comfortable holding an e-reader in their hands instead of a print copy. Don't misunderstand, I am one of those readers who loves her print book, but I also love my Sony e-reader and can store and buy tons of books to keep on hand, and take with me in my purse. It's what you offer to a consumer that will make or break you and how you approach them. Bombarding them to buy, buy, buy isn't the only way to go. A publisher needs to offer more to them, and MuseItUp Publishing is going to strive to get reader participation as much as possible to keep in tune with what they're seeking. Relations with readers and authors is at the top of the list.


SQF: What are the top three things you look for in a manuscript?

LS: Besides the obvious such as the grammatical, POV head-hopping, and backstory beginning issues many writers can't surpass, I'm looking for:

1. a good writing voice that can bring a scene to life and make me feel as though I was just transported into the story
2. characters that are believable, and most of all, memorable and not clone-copies of other books
3. a twist to the plot to catch me off guard

SQF: What major mistakes do authors make when pitching their books?

LS: I can't really answer this question since we've just opened our doors, but I can tell you that a writer needs to sum up the entire novel in just a few sentences to give the essence of the book. I would assume one of the mistakes would be when a writer is unprepared to answer questions about his or her main character. If a writer can't answer 'on the spot' questions about the main character or villain, it shows that the character hasn't been thoroughly fleshed out.


SQF: What is your advice to new, unpublished authors looking for a publisher or agent?

LS: The best advice is to never hand in a first draft no matter how ready you believe the work is. Always get a critique partner, group, or editor to go over your work. You would be surprised as to how many plot holes, inconsistencies, and grammatical mistakes this other pair of eyes can find. I know. I'm a writer, and it always amazes me when my own critique partner dissects one of my books and comes back with quite a few red markings. As writers, having read our manuscript a few thousand times, we tend to overlook the obvious.


SQF: What question do you wish I’d asked that I didn’t, and how would you answer it?

LS: Should new writers be afraid to submit to a publisher is a question I had hoped you'd ask but since I did...:) New writers have to learn one thing, and that is to build a tough outer shell. There will be tons of rejections before an acceptance comes their way. The one thing I am going to strive toward is to offer to each of our authors who are rejected a publisher's note as to how to better their manuscript, where they are weak, what needs 'fixing', and then invite them to resubmit. I've been in their shoes and have received many rejections over the years, some good, some bad, and then those rejections that almost had me in tears -- not because of the rejection but of the rudeness from the publisher or whoever it was that sent that letter. Jim, I vowed a long time ago that I'd be there for writers and will never subject a writer to those types of disrespectful rejection letters as I received. Busy or not, I am one of those nuts who believes that without the writers this business would go down the tube, and for this reason I respect them.

Thank you, Lea. We all appreciate you taking time from your busy schedule to participate in this project.

NEXT POST: 7/12--Six Questions for Jennifer Joseph, Publisher, Manic D Press

Six Questions for Sandra Kasturi, Co-Publisher, ChiZine Publications

ChiZine Publications publishes dark fiction (science fiction, fantasy, horror, magic realism, etc.). The editors accept novels and short story collections to 100,000 words.

(ceased publication)


SQF: According to a report by Foner Books (http://fonerbooks.com/booksale.htm), “[g]rowth stagnated for booksellers in 2008, and overall book sales barely moved according to the government.” In addition, I’ve read a number of articles concerning the difficulty authors are having securing book deals. In your opinion, what is the current state of the print book market?

SK: I know things have been really tough in the publishing industry of late. Well, for the economy in general, everywhere. So, a crazy time to start up a small publishing house, huh? Yeah, we wondered what we were thinking, too! Still, it's worked out surprisingly well for us, maybe simply because we ARE a small house. We don't have a huge staff. We don't have a lot of overhead, other than actually printing books and the costs associated with that. We're very lucky that the people who help us out are willing to do a lot of work for not very much money, because they like what we're doing and want to be part of it from the ground up. As we grow, of course, everyone starts to earn more...or so we hope! (Please don't let the world end in 2012.)

I think maybe what's happening is that the old models for publishing are starting to fall by the wayside. While the big houses might be struggling due to sheer weight, there seems to be room for a lot of niche market people like us to make a go of it. And there certainly are a lot of readers for the kind of thing we do! People are into science fiction. They're into fantasy and horror. What do you think the top grossing movies and books of the last three decades have been? So there's a readership out there that really wants to read good books that are in those genres. And we hope to keep providing that!

There's a lot of continuous hoo-ha about how no one is going to buy print books any more. I don't actually think that's true. Radio didn't disappear just because we got television. But it had to change the way it approached things, no? Maybe people won't want to spend a lot of money on overpriced, crappy, paper books. But I think if you give a good product, a nice-looking, quality product, to someone who is interested in that kind of thing, for a decent price...I think you can do well. And you have to look at the times you're living in and see how things are changing. Decry Facebook and Twitter and ebooks and whatnot all you want, but that doesn't change the fact that that stuff is probably here to stay. Why not take advantage? There are a lot of markets, and we try to cover what we can. CZP (http://chizinepub.com) does limited edition, gorgeous, signed hardcovers that are available by pre-order, which is very much for a small niche market of serious book collectors. We do trade paperbacks, which are for the regular readers. And we do ebooks in a variety of formats. Who knows what's coming next? But we're willing and ready to embrace new technologies as they appear. I don't think it's better or worse. Just different. Seize the fish!


SQF: What are the top three things you look for in a manuscript?

SK: Not dumb. We mostly prefer not dumb. Heh. Okay, in all seriousness, we look for an interesting or unusual plot, characters that the reader can invest in, and a good writing style. Also--and it's actually kind of shocking as to how many people can't manage this--we look for someone with a real understanding of how a story works or unfolds. A surprising number of writers simply don't seem to get basic narrative structure. Oh, and that the ms. is in a genre we actually publish.


SQF: What major mistakes do authors make when pitching their books?

SK: Geez, where to begin??? Many writers are so far inside their own heads they can't comprehend that readers might not be interested in their particular twitchy little areas of obsession. And then they're surprised to get a rejection because they just don't get why other people might not be fascinated with...I dunno...the mating habits of naked mole rats or something. Okay, I say that, but here's the thing--a really good writer will be able to fascinate the reader with their twitchy little obsessions, even if they're not interested at first.

Ummmm, I'm sort of off topic. With respect to pitching, I think the things I see most that make me really really annoyed are the following. A lot of people simply don't read the guidelines carefully. If a publisher asks you to send your manuscript as a certain kind of attachment, well--YOU SHOULD DO THAT. Don't give the publisher a reason to reject you right off the bat. I love it when writers say in their cover letter, "I've read your guidelines closely," and then they STILL don't submit correctly. This might seem like a minor quibble, but when you're getting hundreds of submissions, you don't have the time to reformat everyone's document. I had a guy once who was annoyed because he didn't want to use quotation marks to indicate dialogue. He didn't like how they looked! That was an eye-roller for sure.

What else puts me off in pitches? Oh yeah--when they tell me how wonderful their book is in their cover letter. Thanks very much, but I think we'll decide whether your book is wonderful. It's like parents insisting that their spoiled, tantrum-throwing two-year-old is the Most Amazing Child That Was Ever Born! Please.

Another thing that will queer your pitch really fast is an incomprehensible synopsis. Just tell me what your book is about. Is that so hard? Again, we get a lot of writers telling us how brilliant the book is, and how we're gonna love it, and it's the most exciting thriller/space opera/ghost story/whatever since...whoever...but they don't give you a clue as to what the book's actually about. Sometimes they can't even manage to tell you the title of the book! They also write to tell me that they're married, have X number of children, just bought a house, have 3 cats called Fluffy, Muffy and Duffy, that their dog is 15 years old, that they just moved to a new city; that their parents/friends/priest/writing group/message board/other publisher/psychiatrist just told them how wonderful their manuscript was, and we MUST NOT PASS IT UP. Guess what? I don't care. I don't care about your cat or your house or your weather or your baby or whether your mom thinks you're awesome. I've never met you. We don't have a relationship yet, and the sort of chatty cover letter that presumes one, just gets my back up. If we decide to publish you, THEN we'll develop a relationship. Until that time, I Just Do Not Care.

You know what's a terrific pitch? "Dear CZP, my name is Joe Blow. I have written 3 books (insert names) which have sold reasonably well. I enclose the first four chapters of my horror novel manuscript, BLAH DI BLAH, approximately 90,000 words, for your consideration. I also enclose a one-page synopsis. The full manuscript is available, should you wish to read it. Thank you for your interest; I am available at the above e-mail address or phone number at your convenience. I look forward to hearing from you. Sincerely, Joe."

And then the synopsis really IS one page, and it actually DOES tell me what the book is about. And the manuscript is formatted properly, in a readable font, double-spaced, one-inch margins, etc. In that very brief cover letter, there is a wealth of information: the author's name & contact info, the type of thing it is (horror novel), the title, the length, the number of chapters being sent, the fact that the whole book is available, that he's published some other books. I mean, we don't necessarily care if they've been published before, but it's handy info. There's no extraneous crap, nothing about how his sister thinks he's the next J.D. Salinger. And there's no sucking up, either, which is nice. If all pitches/subs were like that, it would make me a lot less tired!

Lastly, a really bad pitch is one in which it is very clear that the author has never read anything in the genre, and is therefore pitching a novel that we've all seen a million times; but they, of course, think it's unique. What do you say? "Dear Sir/Madam, your entire premise is a cliché." Well, we don't say that. Sometimes pitches are so bad that no amount of criticism is going to fix them. Then we just write, "Sorry, it's not for us," or something similar.


SQF: Of the books your company publishes each year, how many are by previously unpublished authors?

SK: A fair number of our authors have not had books published previously, though most of them have had something published--short stories, poetry, etc. I don't think we've had anyone who's never had anything at all published. We don't necessarily care about that, but it's basically the "law of 10,000 hours," you know? If you haven't put any time into writing and publishing, and this is your first endeavour ever, it's probably not going to be that good. It's only by doing and getting rejected and trying harder that one improves, of course. But we're not too concerned with people's "pedigree." If someone writes a great book and they've never written anything else? Fantastic. We'd be delighted to have them.


SQF: What is your advice to new, unpublished authors looking for a publisher or agent?

SK: Be polite, be professional. Do your research. Don't submit your mystery novel to someone who doesn't publish mysteries. FOLLOW THE AGENT'S/PUBLISHER'S GUIDELINES.

Find out who represents/publishes the writers whose work you admire. Then start sending queries off to them. Why not start at the top? Make a list and work your way down. That's what Stephen King did. Oh, and read Stephen King's On Writing. A simply terrific book, with respect to advice for writers at any stage in their careers. And an engaging read, as well. One thing he does, which is just invaluable, is that he shows a short story excerpt, and then the edited excerpt, and tells you why he made those changes.

Persevere, and develop a thick skin. No one is ever going to think you are as wonderful as your mommy thinks you are.

Take criticism well, and think about it carefully. Lucius Shepard once said that "criticism is a gift." There are people who have been in the biz a lot longer than you, and you might actually learn something if you just sit still and listen. I'm always pleased to meet and talk to people who have been in the industry (on the writing or publishing side of it) longer than I have, because I figure they can teach me something, and tell me how to improve!

Remember, agents and publishers are not out to get you--they're not in it to destroy young writers. They're probably dying to read a decently written manuscript!


SQF: What question do you wish I’d asked that I didn’t? And how would you answer it?

SK: Hmmm... Oh, I know! "Who are your favourite writers? Who are your least favourite writers?" I always love answering that, because I love talking about books.

In answer to that, our ChiZine Publications authors are favourites, of course--that goes without saying! In addition to them, in no particular order: Jonathan Carroll, Cherie Priest, Peter Straub, Steven Erikson, Mary Stewart, Dick Francis, Stephen King, Robert B. Parker, Dashiell Hammett, Raymond Chandler, Charlaine Harris, Jo Walton, Tana French, Donna Tartt, Agatha Christie, Ngaio Marsh, Karl Schroeder, Peter Watts, Guy Gavriel Kay, George R.R. Martin, Kelly Link, Mary Doria Russell, Octavia Butler, Sheri Tepper, Phyllis Gotlieb, Ursula K. LeGuin, J.K. Rowling, Patricia A. McKillip, Philip Pullman, Peter Abrahams, Malcolm Gladwell, Dan Simmons, Cory Doctorow, Po Bronson, E. Nesbit, L. Frank Baum, Nancy Baker. Oh, and my hubby, Brett Savory. He's okay too. : )

There's plenty more, but the list will get too long, I'm afraid!

Writers I am less fond of? Dan Brown. Stephenie Meyer. John Grisham. Patricia Cornwell. Yann Martel. They have written some really tooth-gnashingly craptastic or dull books.

And...that's all, folks, I guess!


Thank you, Sandra. We all appreciate you taking time from your busy schedule to participate in this project.

NEXT POST: 7/9--Six Questions for Lea Schizas, Publisher, MuseItUp Publishing

Six Questions for Steve Gillis, Co-Founder/Publisher and Dan Wickett, Co-Founder/Executive Director/Publisher, Dzanc Books (DB)

From the website:

"Dzanc Books was created in 2006 to advance great writing and champion those writers who don't fit neatly into the marketing niches of for-profit presses. As a non-profit, 501(c)3 organization, Dzanc Books not only publishes excellent books of literary fiction, but works in partnership with literary journals to advance their readership at every level. Dzanc is also fully committed to developing educational programs in the schools and has begun organizing many such workshops and Writers In Residency programs." Learn more here.


SQF: According to a report by Foner Books (http://fonerbooks.com/booksale.htm), “[g]rowth stagnated for booksellers in 2008, and overall book sales barely moved according to the government.” In addition, I’ve read a number of articles concerning the difficulty authors are having securing book deals. In your opinion, what is the current state of the print book market?

DB: The print book market is certainly in a state of flux. While print books will always remain, the ebook is surely gathering speed. All publishers -- Dzanc included -- are moving into ebook publishing. It is the sport of the future. We publish our print books and will continue to do so, but are starting to offer all our books electronically as well. As technology improves -- the Kindle and like machines -- the availability of print books may shrink more, with stores employing print-on-demand machines so a book can be printed on site (the technology for this is there as well), thus limiting the need for printing a large number of books beforehand, speculating and warehousing books, and using distributors as we now know them.  


SQF: What are the top three things you look for in a manuscript?

DB: Good writing. Good writing. And lastly, good writing.


SQF: What major mistakes do authors make when pitching their books?

DB: Cover letters from hell. Don’t sell us your book. The book must sell itself. Introduce yourself and move on. We will read your manuscript. The book alone is what sells. We have never said, well the book is terrible but what a great cover letter, let’s publish the book. A few short lines in a letter is more than enough. 


SQF: Of the books your company publishes each year, how many are by previously unpublished authors?

DB: That depends on how you define unpublished. We have authors who have never published a book-- novel or collection -- who have published stories and such. Right now I would say we have a good 50% of first book book authors, but all have some sort of track record. 


SQF: What is your advice to new, unpublished authors looking for a publisher or agent?

DB: Learn how to write. Become as good a writer as you can be. Work hard and then harder and then harder still. Make sacrifices for your art. The rest will take care of itself. There are places to publish if your work is good. Do your homework. Read and read and read some more. Make contacts. If you want to be a writer, you shouldn’t think of it as a career move, you should think of it as your life.


SQF: What question do you wish I’d asked that I didn’t? And how would you answer it?

DB: Am I [Steve] really better looking than my author/facebook photo?  Sadly, no.


Thank you, Steve and Dan. We all appreciate you taking time from your busy schedule to participate in this project.

NEXT POST: 7/7--Six Questions for Sandra Kasturi, Co-Publisher, ChiZine Publications