December 1, 1924, F. Scott Fitzgerald to Max Perkins:…I think all your criticisms are true.a) About the title. I’ll try my best but I don’t know what I can do. Maybe simply ‘Trimalchio’ or ‘Gatsby’…b) Chapters VI & VII I know how to fix.c) Gatsby’s business affairs I can fix. I get your point about them.d) His vagueness I can repair by making more pointed – this doesn’t sound good but wait and see. It’ll make him clear.e) But his long narrative in Chap VIII will be difficult to split up. Zelda also thought it was a little out of key but it is good writing and I don’t think I could bear to sacrifice any of it.f) I have 1,000 minor corrections, which I will make on the proof and several more large ones which you don’t mention.John Kuehl, Jackson R. Bryer (eds), Dear Scott/Dear Max: The Fitzgerald-Perkins Correspondence, Simon & Schuster, 1991, p. 85.
September 25, 1925, Max Perkins to F. Scott Fitzgerald:At any rate, one thing, I think, we can be sure of: that when the tumult and shouting of the rabble of reviewers and gossipers dies, The Great Gatsby will stand out as a very extraordinary book.Dear Scott/Dear Max: The Fitzgerald-Perkins Correspondence, p. 103.December 27, 1925, F.Scott Fitzgerald to Max Perkins:Is Gatsby dead? You don’t mention it. Has it reached 25,000? I hardly dare hope so.Dear Scott/Dear Max: The Fitzgerald-Perkins Correspondence, p. 126.
As writers, of course, what we are all striving
for, first and foremost, is to write well. After that we’re striving for
publication. There isn’t much point wanting to be a writer and not caring about
being published. Or is there?
Beverly Jensen, wife of writer Jay Silverman,
wrote a 350-page collection of inter-related stories for sixteen years without
ever seeking to get it published. She worked on the manuscript seriously –
joining writing workshops, editing the work with her husband and working on the
stories whenever time allowed.
She died at the age of 49 and her husband
submitted her work posthumously, first in the New England Review, which
published a story called ‘The Wake’ that was later chosen for inclusion in the Best
American Short Stories 2007. The entire manuscript was accepted for
publication by Viking.
You can read the story of publishing these
stories here:
Poets have long written poetry with little hope
of it being published, other than in the occasional small literary magazine. Most poets are not known outside
their own circles, depend on day jobs enriched with the occasional literary
prize or grant and feel pretty chuffed if they don’t have to self-publish their
poetry collections. The only two mainstream Australian publishers
still publishing poetry to my knowledge are the University of Queensland Press,
which publishes about two collections a year – one the winner of an emerging
poet’s prize – and the Fremantle Arts Press, which publishes only Western Australian
authors.(Do correct me if I'm wrong, poet readers!)
Short story writers traditionally suffer from
some of the same publishing problems that confront poets – the industry claims
that regular punters don’t read short stories so collections are notoriously
hard to sell and market. However, there are many journals that accept
individual short stories and competitions for short stories, such as The Age
short story competition, which also involve publication and wide readership.
Publishing is in the doldrums – two years ago
my children’s publisher was made redundant only three years after she was
headhunted to start a literary children’s and young adult fiction imprint.
Sales across the board for children’s books appear to be down. Publishing is
also changing – e-readers are challenging the way we buy and read books, just
as mp3 players challenged the music industry. The book as an artifact may be
dying.
In this interim period, while everyone in the
industry attempts to understand and rise to these challenges, authors are the
most disenfranchised. The ordinary writer doesn’t get highly paid for his or
her work. The standard royalty rate is 10% on the recommended retail price. Royalties
aren’t paid, of course, until the advance has been made up from sales.
This is not a get-rich-quick business. The
occasional story you read in the newspaper about a bidding war between
publishing houses, six figure numbers, publishing phenomenon and overnight
bestseller are just that – occasional. The real story takes place in studies
like mine or yours, in years of hard work, sending out stories, poems to
magazines, tearing up (or scrap-booking) rejection slips, rewriting and
rewriting, abandoning one story, bottom-drawer-ing another and one day, if you
are lucky and in the right place at the right time, if you have worked hard
enough, if you have sufficient talent and persistence, you might have a book
published.
Should this make you depressed?
The short answer is yes. It should make you
depressed for a nation that can’t support, or is indifferent to, the art and
culture it produces. It should make you depressed that there are industries
which rely on writers and the people in these industries are far more highly
paid than the workers they rely on. It should make you depressed that poetry,
for example, isn’t more part of our daily lives and that we neither teach it
well to school children nor do we routinely read it after we’ve left school or university, or
whichever educational institution insisted on us reading it.
Should it make you personally depressed about
your own chance for success?
I’ve struggled with this question over the years. I waver between
going to bed and pulling the covers over my head and having a wave of
liberation at the thought that since the industry is largely indifferent of me,
I can be largely indifferent of it.
I can undertake completely non-commercial projects. I can abandon
projects that have become personally boring. I can relish in what is published
and not take too much notice of what gets rejected. If I temporarily take a
fancy for writing haiku or a six-sestina poem sequence, I can do that without
anyone asking me why I’m fooling around with that nonsense. I am free to treat
my writing life as a life, rather than a career.
This doesn’t mean that I’m happy writing badly written, sloppily
revised work of any kind. I’m happy to revise and revise for the sake of the
finished artifact, no matter whether or not it is ever published. It’s that
artifact that matters – and my feeling of satisfaction that I’ve made it as
perfect as and taken it as far as I can.
Of course there are other days when depression gets the upper-hand
and I simply want to be something else – a merchant banker or a waiter.
Why am I telling you all this? Because I think
students often get the wrong idea about what maintaining a writing life is
like. So here are some basic facts to think about:
·
An editor rarely tells you how
to fix up any particular problem. They just tell you there is a problem. How
you fix it is up to you.
·
Deadlines must be met – if you
miss a deadline, it could mean that your story doesn’t make an anthology, or
your book isn’t published the year you hoped it would be.
·
The industry rule for
children’s books is that a book must be submitted twelve months before
it is published.
·
The average print run of a
first time children’s writer is around 2,000–4,000, not a huge number!
·
Most children’s writers in this
country earn as much, if not more, through Education Lending Rights and Public
Lending Rights, as they do from royalties. (And Education Lending Rights are always under threat from the government. The ASA regularly campaigns for it on the behalf of writers for children and young adults)
·
Most writers have day jobs –
sometimes that can be touring as a writer in schools (for children’s writers);
sometimes it is dishwashing at a local café.
·
Picture book writers’ income
from writing has been worked out to average $2,000 for the year – no one has
bothered to work out a poet’s, but it would be less.
·
If you’re a professional writer
you can’t afford to sit around waiting for inspiration.
·
If you’re a professional writer
you understand that rewriting and revision is as important as the original
triggering idea that started the story or the novel.
Of course there are
brilliant first-time novels and wonderfully inspiring publishing stories – but
often you find that behind that first novel are at least two bottom-drawer
attempts and that the publishing story is a phenomenon that is largely
inexplicable and inimitable. Who could have predicted that Harry Potter –
essentially a pastiche (and a fabulous one) of a boarding school meets magic
meets the Famous Five – would have such success? Certainly not the first
publisher who turned it down! Who would have thought that a series of novels
featuring break-the-rule vampires, werewolves and a spineless accident-prone
narrator would turn into a three-movie deal and inspire teenagers around the
world to wear t-shirts with ‘Edward Rules’ on them? Or, for that matter, that a
young dude who self-published his first boy’s own adventure story, would go on
to be a bestselling author before he was twenty-five?
These are
exceptions. Most writers spend their days writing – or not-writing – pick up a
little money here or there, maybe get a grant from the Australian Council for
the Arts, count themselves lucky if their advance money goes up or they get
published overseas and don’t expect anyone to know their name, let alone
recognise them in the supermarket. Most of us would probably keep on doing it
whether or not we were paid or published, because it’s what we like to do.
There are
ways you can maximise your own writing. I was lucky enough to have Hazel
Edwards as a mentor in my early children’s writing career and she was very much
a nuts and bolts mentor, talking about how to make the most money out of an
idea or a book.
Here are some ideas that might help you (and
also help you with organising your study!):
·
You should be able to produce
at least one publishable article that’s related to any novel you’re writing – this
serves as both publicity and extra income.
·
You should use any research
you’ve done for several projects. So, for example, if you’ve been researching
19th century urban living in Australia for a fictional project, you should use
that research for a short story, or a short non-fiction book (for children,
perhaps?).
·
You should try the same idea
for a couple of forms – a novel/a screenplay, for example.
·
You should be alert to any
competitions or grant opportunities – this might mean joining the Victorian Writer’s
Centre or another relevant organisation.
·
You should find the ‘hook’ in
any project and use this for promotional purposes.
·
You should, at a certain point,
make sure you attend appropriate writing events and begin to network.
·
You should develop a submissions
calendar and be constantly sending work out to small journals and competitions.
But you know what else, you should just have a pleasure writing! Here's Jane Yolen to conclude:
But you know what else, you should just have a pleasure writing! Here's Jane Yolen to conclude:
All we can count on is the joy in the process of writing.
Uncover, discovery, recovery are all part of that process.
So take the joy behind publishing's shadow. The joy in the process.
Jane Yolen, Take Joy, a book for writers, The Writer Books, 2003.
1 comment:
On the publishing of poetry: Black Inc. is responsible for the annual anthologies of best essays, stories, and poems. They also published the late Dorothy Porter's verse novels and collections:
http://www.blackincbooks.com/
I'm not sure if it was through the Wakefield Press unpublished manuscript award or otherwise, but I know that Robyn Cadwallader had a book of poetry published through them:
http://www.wakefieldpress.com.au/
Also, I don't know if it counts because it is only an anthology of winning entries that gets published, but that's still good enough reason for me to consider entering the Newcastle Poetry Prize:
http://newcastlepoetryprize.com/
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