Check out the lovely article about The Writers Circle for Kids on .
Congratulations, Stuart. That’s how it’s done!
It’s a well-known fact that writers rarely make a lot of money at their work. OK, there are exceptions, but most of us can barely afford to buy a blouse with our royalties, never mind J.K. Rowling and her impressive Scottish mansion.
Most of us are just regular folks – OK, regular folks with an odd quirk of imagination that won’t hush up like nice, normal people. We’re just trying to get by, pay our mortgages and educate our kids.
I found this great chart on Lapham’s Quarterly that shows how historically consistent our situation is:
Even the greatest of us rarely make a lot of dough!
So why do we do it, if it’s clearly not for money? Mostly because we can’t help it, and wouldn’t even if we could. Take Janet Burroway‘s advice in Narrative Magazine. (You’ll need to log in to read it, but it’s worth the trouble for all the great work they publish.) Most of us realize after a while that we can’t write for the market. Burroway says: “The trouble is that… the muse is likely to grow dull and depart. …Writing for the masses is like marrying for money, an exhausting way to become a hooker.”
Some of us have commercial voices and others simply don’t. We each simply must write our own true work and stick to it, thick or thin – mostly thin, mostly for ourselves and, if we’re lucky, for a small audience of others that occasionally lets us know that our efforts have not been in vain.
More and more in this bold new publishing environment, we’re simply one pebble on the beach, shining and new just as the tide recedes. But soon enough our gloss will evaporate and we won’t look any more beautiful or interesting that the millions that surround us. As the scary numbers of books published in 2009 show, our odds of being noticed just get smaller and smaller. More than likely we’ll be left lying there in the sand and forgotten.
So why do we do it? Because we must. Because we’re destined to speak. Because there’s an essence in writing that helps us figure ourselves out that comes only from this kind of exploration and expression.
Most of us eventually accept that we might never become famous or rich or even published unless we publish ourselves (which apparently these days isn’t the vanity taboo it once was. But that’s an entirely different story – check out the links above).
Even well-published authors come to realize what they’re up against. Burroway quotes Adam Gopnik: “Every writer’s life can be summed up, in sequence, by the Four Permanent Titles: Great Expectations, A Sentimental Education, The Way of the World, and, finally, Lost Illusions.” Meanwhile publisher and editorial director at Writer’s Digest Jane Friedman tries to explain what many newly minted authors often agonize about, Why Don’t Publishers Market & Promote the Books They Publish?
With all this going against us, why do we do what we do? Because we must. Because we’re forever dissatisfied with the dull reality of our lives. Because we’re dying to know what it’s like to be inside someone else’s head. Because we’re desperate to record the fleeting wonder that comes to us in the middle of the night or in the shower or when we’re walking the dog. We do it because we hear voices and we can’t shut them up unless we listen and carefully write down every word they say.
That’s why we write. If we get paid for it, all the better. If a few of us get rich from it, God, I’m jealous! But when that rare success happens, remember again what Burroway writes, “that the joy of publication, prizes, prestige, money is never adequate and always fleeting. It is taken away every time such successes fail to be repeated…. But the moment of ecstase, ecstasy that comes usually at the end of a period of effortful and perhaps despairing concentration, and yet comes ‘out of nowhere,’ not as an apparent reward but apparently as a gift, that moment stays and is present every time I remember it or reencounter the passage in which it occurred, or reencounter the reluctance that precedes it or the grace as it descends—because this is my only religion, and it is ‘grace,’ and it does seem to ‘descend’—and these moments accumulate into an awareness of power in the sense of capacity, which cannot be taken from me—except, of course, by dementia or death.”
In the end, success is never about us or our work, it’s about happenstance and timing, the frivolities of taste and commerce. Completely separate from the power of passion, imagination, obsession, “ecstase”.
That’s why we do it. Those are the forces that drive us on.
The rest, whether we like it or not, will take care of itself.
In anticipation of Stuart Lutz’s book launch party tomorrow night – a Writers Circle first! – I feel compelled more than ever to emphasize the need for a writers community. This extends beyond our own small but growing circle to embrace family, friends, and hopefully an enlarging group of readers who find our work, like it and share it with others.
Writers have always been notoriously solitary characters. We work in isolation, sometimes with only the company of a cat (like the one peering out from behind my computer screen right now). Our stories and characters speak inside our heads. We carry them around with us, an ongoing but invisible conversation that feeds us but also removes us from the immediacy of human contact. Sometimes the only sounds that reverberate in my office throughout the day are the dull clacks of my overused keyboard.
Making direct contact these days is vital, both in the creation of a writer’s work and as the finished product reaches for an audience. I have been privileged to work with published peers and struggling first-time writers alike, delving deeply into the creative process, poking, nudging and plucking to find the best way a novel, memoir or book proposal should be shaped. And I’ve relied on peers and confidantes to do the same for me.
Once a book is ready for market, another kind of community steps in. This blog has already seen the contributions of authors Michelle Cameron and Stuart Lutz. I guarantee you’ll see more in the near future. (One’s already in the wings awaiting the launch of my dear friend Stephanie Cowell‘s latest novel, Claude & Camille.)
These “visits” are all part of “blog tours” – the best and sometimes only way authors have found to harness their own destiny in the supersaturated, dwindling book market. Amidst the bewildering churn of digital media, most authors get little or no publisher support. They either hire a costly publicist with generally mixed results or ambitiously go it on their own.
Back in the good old days (like in 2006 when my novel The Thrall’s Tale first came out), publishers still sent a few select authors on the road for a formal book tour. The intention back then was to meet and greet. Publishers were usually less concerned with gathering a receptive audience anxious to hear the author read aloud than with the brisk glad-handing authors shared with favored booksellers who, charmed by the mere appearance of a living, breathing author in their stores, would feel compelled to hand-sell the debut novel, memoir or self-help book to their customers.
I suppose these meet-and-greets were effective in their day. But my tour experience was one of disappointment descending into depression. Try as these lovely booksellers might to draw a crowd, my events were no match for the Superbowl, no draw against the wiles of a violent Seattle rainstorm. The best attended events I had were in towns where I knew lots of friends. (Thank you, now defunct Coliseum Books and all my former colleagues from HBO right next door!) The final stop, in yet another ubiquitous superstore somewhere in the Midwest, amounted to reading to only two people and signing a stack of hardcovers in a back storeroom.
For this, I assure you, I was entirely grateful. Most authors got far less! What impact all this had on sales is anybody’s guess. But I couldn’t help feeling that the money the publisher spent on my excursion (which took me away from my five- and two-year-old for an unbearable two weeks) would’ve been better spent on a strategically targeted marketing scheme.
The way books are bought, sold and read these days is changing so rapidly that no publisher, publicist or lowly author has any idea how to reach out and grab that virtual outstretched hand. These days, an author tour more likely takes place via Skype, Facebook, Goodreads, Shewrites or on the blogs of other writers and friends. Making direct contact is becoming rare indeed. If these new digital forays are adequate substitutes is hard to tell. And although a web presence is absolutely mandatory, I have yet to hear from anyone whether the ROI of a book trailer (almost always paid for out of an author’s meager advance and conceived, written, and directed by him or her as well) is really worth the trouble or expense.
So with all our websites, Twitter tweets, Facebook posts and blogs, how is an author meant to reach out to real readers? And how do we break the wall of our own self-imposed and circumstance-inflicted isolation?
Some authors are touted for the D.I.Y. Book Tour, another way that we have tried to take our fates in hand. The overall experience seems less about selling books than about meeting people, sleeping on strangers’ couches, and listening to readers who never thought they’d even want to read our books. I’ve had the most glorious times in my hosts’ living rooms, listening and laughing to startled responses to my book as we sip wine and nibble cheese. I’ve spoken at endless gatherings where neighbors and friends who either hated or loved my work debated right in front of me their reasons. And I’ve come full circle, supporting my own friends and passing on the tradition to my children, as I did this past weekend at Marc Aronson’s reading in Maplewood. (Yes, that’s my youngest having his copy of If Stones Could Speak signed by the author!)
So I encourage all of you to come out tomorrow night and to go to the next reading of an author you know or don’t. Because in the end, we writers don’t often get to bask in the limelight. The few times we do stand in front of an audience are far more satisfying than a blog tour or a Skype talk because the hand shake, gentle pat on the back, and the applause are real.
As an addendum to my last post, Shouting in a Crowd, be sure to read the wise advice of literary agent Nathan Bransford about, yes, promoting your work, but also knowing when enough is enough, focusing on what you’re best at and, most of all not, driving yourself absolutely crazy!
Written in support of Stuart Lutz, The Last Leaf: Voices of History’s Last-Known Survivors, Stephanie Cowell, Claude & Camille: A Novel of Monet, and all my other friends who have, will, or long to be published.
What’s it like to be an author today? To be sure, the days of rarified literary isolation are over. Authors in the 21st century are expected to be our own biggest advertisement, shouting loudly and clearly from the highest height at the top of our lungs for attention, recognition and, most of all, sales.
No longer is publicity the realm of a professional publicist. Old school publicity methods, like press releases and pitch letters, are losing steam. Blogger Jonathan Fields lays out the new landscape in a strident but accurate gripe in The Huffington Post about the dismally ineffective methods of one unnamed career publicist whose pitch Fields immediately and repeatedly deleted as spam.
Truth be told – no publicist, for almost no amount of money, can dedicate the time, expertise, creativity, energy and intimate awareness of your work to properly promote the creation of your literary heart and soul. Any publicist assigned by a publisher, however well meaning and enthusiastic, is also working on several other authors’ books that are equally pressing (and hopefully just as worthy).
They will promise to do their best, but they will most likely follow a prescribed formula, reaching out to standard media outlets: newspapers (whose review sections have shrunk or disappeared), magazines (whose pages have literally halved to match their dwindling ad revenues), a short list of radio talk shows (God bless and keep you, NPR!), television morning shows (for that solid gold 60-second pitch), and of course, Oprah (ah, to live the dream!).
But beyond that list (which, by the way, nearly everyone uses), publicists simply don’t have time to handcraft a marketing and publicity scheme. Even if you hire someone, you might get a bit more attention, but the bang for your buck is mostly likely going to have to come from you.
Publishers know this and increasingly rely on it. Authors are expected to be expert entertainers, artful networkers, personable, presentable, articulate and with any luck – yes, it counts – attractive. Maybe even funny (no matter if our work is of a deadly serious nature).
Long before our books are ever in print, we find ourselves swimming in the ill-fitting publicist’s shoes, developing our websites, marketing materials, ads, booking library talks, readings and signings for our own mostly self-financed book tours. [The D.I.Y. Book Tour, NY Times, January 17, 2010] We blog for anyone out there who’ll let us. If given the opportunity, we will happily tap-dance naked in Times Square, if only someone would look our way.
How can it help but feel like we are all shouting into the same abyss – like the Grand Canyon itself lined with authors, actors, artists, musicians, dancers, playwrights, TV producers, video game creators, Ipod App developers (anyone I’ve missed?) begging for someone to notice our creation and make it the next big thing.
The likelihood that we’ll get any notice at all feels (is) pretty small, so when we get a little feedback, it’s as if we’ve won the Pulitzer. Yet our interaction with the public is no longer professional, it’s personal. There’s no packet of letters carefully screened by our editor or agent. Instead our inbox is laced with emails requesting advice, correcting our facts, critiquing our work, and once in a while – yes, bless them – praising our words. [The Perils of ‘Contact Me’, NY Times, January 10, 2010.]
We are expected to find time to tweet, social network and blog. We’re expected to be a part of the conversation. It’s a valid demand in the world where virtual socializing is more prevalent than face-to-face. But all of this takes incredible amounts of time. [Memoirist Vicki Forman on Book Publicity, http://lisaromeo.blogspot.com, January 19, 2010.]
Many writers I know simply give up hope of actually writing when they’re gearing up for the book launch. Beyond the strict reality that there are only 24 hours in the day, the effort to be so completely out-in-the-world contradicts the literary necessity of digging deeply inward. The two are incompatible. Better not to fight the split
Maybe it’s a good thing. Most authors I know bemoan their lonely state. (One reason I originally began teaching was, as many of you know, to be around humans other than my family for longer than the time it takes me to drop off or pick up my kids.)
But must the contrast be so extreme? And how many of us – savvy, articulate and ambitious as we are – are really equipped to take on this incredible burden?
Honestly, I’d love to hand over my publicity to someone else. I’d love to trust that it would take care of itself so I could sink down deep into my office chair and slip utterly into my newest tale.
But for all the work I put into my most recent creation, who better to sing its praises? Who better to honestly enthuse about the topic for which I sweated, cried and bled? Who better to know just where to find people with similar passions?
Writing is our agony and our joy. Sharing even that bit of experience draws us together with anyone else who struggles for rare rewards. Every time I cry into the abyss and hear something back, I know that, this time, it’s not an echo. Someone out there has really read and understood what I meant.
Finally, I know I’ve been heard.