Y o u r W r i t e r s G r o u p

Editor to Author: Letter to a Memoir Writer

Dearest Author,

I've been thinking about worth lately.

What's your story worth?

At a recent writers conference I taught a workshop on how I saw publishing changing. Modern publishing, the only time in history when we've had separate "markets" for books, has begun to fracture and redistribute. I've shared several times about how The Shack has shifted things. It isn't just a book, of course, it's a bridge. And those bridges are inevitable because it isn't only spiritual people or Christians who recognize God as creator.  

Blue Like Jazz came well before it and created connections between the Christian and secular markets. Lauren Winner's memoir Girl Meets God made some connection points before that, similar to how Eat, Pray, Love did more recently, from the other side of the spiritual divide. Several spiritual/worldly, secular/sacred books have become best-sellers as bridges in the long history of such books since the beginning of print, and some people have traced this line back to the best-selling book of all time: The Bible.

The Secret. The Purpose-Driven Life. The Alchemist. The Celestine Prophesy. The Late Great Planet Earth. Pilgrim's Progress. Books you've never heard of have sold over 30 million copies: Steps to Christ by Ellen White, In His Steps by Charles Sheldon, late-19th century Congregational minister and advocate of the ever-intriguing idea of "Christian socialism." Even Nikolai Tesla wrote about his life a true spiritual man and world-renouned scientist in My Inventions. The Canterbury Tales, The Odyssey, and The Divine Comedy by Dante, written in 1304, has "sold" more than anyone knows and we have no idea how it or any of these books have changed readers and the history of spiritual thought, becoming seeds for the trees of countless theologies.

But of course, we know this is what books are--seeds. And this is what they do: define life and defy death.

"So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee."

So this story that's a part of you, that is you, that defines your work and all of your effort and sacrifices to share it completely (or as completely as possible) for others to use--what's it really worth?

Don't answer. You can't. Simply try to see the fullness of the question clearly. Continue on...

Do you know where your worth is really found?

Yes, in God's ownership of the life and love he's created you to embody (1 John 4:7-12). His ownership, creating, protecting, guiding and infusing of his great, unchanging spirit into us. He dies that we might live (parents always understand this principle). And we die that others might live through our sacrifices. This is the daily work of writing.

Do you know what that is really worth?

Intimately known and held, seen and heard and helped in every way, this knowledge is invaluable, isn't it? We can talk of worth and value, and shift our understanding of that from copies sold to readers influenced, but it's the knowledge a reader will have by the end of your story that makes what you're doing truly valuable. And this understanding of how God fills us and dies for us is the greatest wisdom, the most valuable in the world. And if you are practicing that, that makes what you're doing invaluable.

I want to give you, as a witness of your discovery of that unchanging love, my invaluable opinion on it, my affirmation that you've been seen and heard and that what you've written down is completely worthy. And with your assurance that it's been well established and others will see it and respond, you can continue, knowing it's incredible and invaluable. 

So do you see what your story is really worth?

Because there's no true price tag you can put on it. There's no proper estimating the value of my work, my seeing it, or others' receiving it either. It's in-valuable. We have to simply trust together that whatever comes of it is just a small piece of its fullest value as a seed for God to use, and not at all connected to the worth of what you've written, or what I've done to help. I know you've sacrificed and given for your story, and I've been brought into the processing of it, but regardless of how it will be published and the realities of our modern marketplace, you must know:

What's your story really worth?

I remain your solid co-laborer in the process of delivering these invaluable words. Never assign its worth to money, public perception, publication, or anything else. Your heart is here, and that's established and it's something you have written definitively, and just as we have agreed together at the outset here, others will when they read it.

We don't know how it will all play out. But I'm on your side and not looking for specific outcomes big or small. Don't think in terms of what's "fair," but decide you will pay with your life what's necessary to give to this project. What you give is directly proportional to what that seed will be able to produce in readers. And in terms of return and profit, I believe Cohelo is right: the universe will conspire in our favor.

So what's your story really worth?

 

Your Loving Editor,

Mick

Writer Imperatives 101: Let Them In

I don't recall learning to read, but I know I was still pretty young when I first started retreating to my room to read. I remember Robinson Crusoe, The Chronicles of Narnia, and A Wrinkle In Time, looking up words in my paperback dictionary, and basically sealing my fate as a book nerd for the rest of my life. It didn't help that I was musical and played piano.

Soon, I realized just how different I was. And so began the defending.

Now I know it isn't unusual. The natural world is not always hostile, but it isn't protective either, and everyone and everything is compelled by their vulnerabilities to require defenses, shelter, and security to ward off the assaults of the environment and attackers. We vary in degrees of sensitivity, but even naturally tough people (and extroverts!) need protected space.

Frank Peretti's The Wounded Spirit has helped many people learn to value themselves again. Elaine Arron's identifying "highly sensitive" people has also provided tools for defense. But then a couple I've known my entire life, two lifelong friends of my parents'  and now mine, helped me understand bonding and attachment and I was able to acquire and edit their books for WaterBrook Press. If you're a human, and you'd like to know how humans work, I believe you'll find their help some of the best that money can buy.

I was still young when I realized that great books can be like theirs--life-changing treasure maps built of a lifetime (several lifetimes) of knowledge, wisdom and refinement. And one of the greatest advantages of our modern age is that these treasure maps are very nearly, or at least right up next to being, absolutely free. 

Do we realize how lucky we are in the history of the human race?

Well, no. Most people don't. Because we have never known different. I imagine the kids born into this information superstore and I wonder how they're going to value anything. Thankfully, new sensitive people are born every day, book readers and idea-seekers, and there are still some adults engaging to help guide them.

But being married to another extremely sensitive book nerd and pianist, we have two fairly different kids. I watch them grow and I don't think they'll struggle too much to let people in. They're confident that though their feelings and thoughts might be different, they're valuable and important to share. I wonder if this means they won't be writers. I'd be okay with that. At 5 and 8, they do really love books, so you never know.

But all of this is rattling around in my cranium this morning, thinking about letting people in and how that can be such a struggle for anyone, especially if you've been hurt for it. And most have. Writers are those who are compelled to fight back. And somewhere in the midst of writing down the words, the truth emerges, and we see a bit more of who we really are, and who everyone really is. And that makes the world look a bit brighter. A bit more promising of wonder, beauty and joy.

So fight on today, friend! Be brave and drop the shield. Write into the heart of the fear and don't ever doubt the wisdom of letting them in. It's for your own good, too, after all.

At holidays, ebooks sell more than print

In a move that had Asia's trees all a-flutter, this season during the holidays it happened: ebooks sales of the top 6 bestsellers outsold print.

Thursday's USA Today bestseller list (1/6/11) "will show digital's new popularity: E-book versions of the top six books outsold the print versions last week. And of the top 50, 19 had higher e-book than print sales." (Thanks to The Literary Saloon!)

Okay. Who got e-readers for Christmas? 

Though the question will remain what % of publisher revenue came directly from ebooks (not to mention author revenue), this factoid is proof positive that at least for those shopping for books last week, most were (1) online, and (2) strongly favoring the anti-product over the packaged, processed, shipped and stored product when it came to the paradoxical front-list (the most-valuable-and-simultaneously-disposable titles).

It's also anyone's guess how much publishers' idea to print on toilet paper contributed to buyers' decisions, but it seems most folks were already well-stocked there. (Also, don't expect any traditional publishers to feel bad for you when you drop your iPad in the toilet. I found that one out the hard way!)

But woah. Not bad for a "derivative product" that didn't even exist a few seasons ago...

Why the New Books Want to Be Free

Convergence.

Moving toward union or uniformity; especially coordinated movement of the two eyes so that the image of a single point is formed.

We might hold such truth to be self-evident, but convergence, the merging of distinct ideas, people, industries, and technologies into a unified whole balanced in equality, is the basis of our government, healthy relationships, of spiritual lives, and many things in between. It’s in the ying and yang of the ancients, predating our understanding of the perfect balance of love and justice found in God.

And this concept is just as operational in our world today. The synthesis of ideas, is happening at a faster rate today than it ever has before. So the ability to “hold to one without letting go of the other” is becoming increasingly difficult as well.

Maybe you feel this in your own life, this pull toward the “comfort” of extremes. Too often we’re attracted like magnets to the poles, wowed by the height the pendulum swings. These are the extremes. The world is full of them and they’re unbalancing factors and should be ignored. The unbalanced wants to be heard. But it also wants to be ignored as it argues for its own irrelevance (to pick on political talk show hosts: if they got what they “wanted” they’d go extinct).

This involves paradox and paradox is everywhere. If you’ve seen it and dealt with it honestly, you know that convergence is the answer.

Does God still speak today? And would he speak through prophets who are paid no heed? What if we’re missing his words because we don’t have ears to hear? Would God choose to have a prophet speak through publishing a book? My question to the traditional publishers, most now owned by conglomerates: Can you hear above the other master’s voice? And if you can, what special measures are you taking to ensure your readers reckon with it?

What needs to happen now? Chris Anderson reminds us in Free, “information wants to be free, it also wants to be expensive because it’s so valuable.” (Stewart Brand)

Paradox. Convergence.

I believe we’re entering a new age where the ideas of freedom that were relegated to the control of gatekeepers can no longer tolerate the restriction. Publishing is a game of “rights management,” a euphemism for ownership and control, but the information wants to be free. And despite their “purchase” price and devoted resources, the publishers do not own it. Not even the authors own the ideas, any more than they created their own brains and the life that sustains them. We can’t even control the influences that go into shaping the new ideas. And as for who “owns” wisdom and understanding, let alone the capacities for such things, we can all agree, it isn’t us.

Why shouldn’t everyone benefit from the current convergence of an idea surplus and the unlimited access to publishing it?

It’s time to hack in. To circumnavigate. To rethink and rebuild the new system.

Democratization of publishing is underway. I don’t believe my job is to help someone control the information. I’d rather make it easier to distribute. And that means convincing people to share their ideas for free. If enough innovative authors agree, publishers will be forced to change.

I think it’s relatively inevitable, but that doesn’t change the hard truth. Some will ask why this should happen. And it’s simple: the idea of controlling someone’s message, idea, or intellectual property, is profoundly connected to the control of those people themselves, and ultimately leads to a no-win for everyone involved. Author becomes indentured servant, publisher becomes greedier, and end consumer is charged increasingly more for a decreasing quality product.

It may not always bear out in every instance, but tending toward entropy is the natural cycle. New opportunities overthrow existing paradigms. Revolutions and tyrannies are cyclical. This is simply a current one. Or maybe, as Anderson says, it’s simply the most recent part of the continuing revolution that bits (computers) have made possible.

And something in me is encouraged to think it’s all outside my control.

 

The Death of Better Writing

Inspired by Steven Levy’s recent article for Wired on “The Burden of Twitter,” I’m encouraged to agree with him. I often feel guilty too. I have a blog I haven't contributed to regularly for several months. I feel more than guilty—approaching inadequate--that all my pals on Facebook have so much time to post cool pictures and updates, while I’m still struggling to update from my Christmas pictures. And not only haven't I ever Dugg anything since, well, ever, I don’t really even know what Digging does.

I really do find social networking pretty cool—in some ways, I mean. Facebook has been incredible in linking me up with old people from my more embarrassing days. And posting short updates on there feels much more immediate and relevant than this old blog, not to mention the old novel sitting on my hard drive for nigh on 6 years now. And I love feeling like we’re at the start of something that could be really great for our writing community.

But there’s still that nagging sense that because I have limited time and/or desire to divulge every bit of info about myself to the world, I'm only skimming the surface of the formerly deep (or at least deeper) waters of our withering social construct. And even at that, I'm not making any really significant contribution. I feel like I’m more connected, and yet less really connecting, all the time.

And I have a feeling that not only have I felt that before--I'll feel it again and again.

So, as a result, I fight back. I work harder to provide something more meaningful than the rest of the emailers, bloggers, Facebookians, and tweeters, which in itself is a perpetual burden. How do you provide something more meaningful in a 140-character update?

This very question reveals more about me than I'm sure I'm comfortable revealing.

Which delivers us to the ultimate insult: as I strive to make more substantial deposits into the stretching info abyss, the more difficult and unnecessary it seems to preserve something good for the more substantial repositories—books, for instance. That’s right. Remember those? I wonder if one day we’ll look up and realize what fools we were to think we could keep heading so quickly into the future and still hold onto our quaint notion of continuing to invest in the antiquated analog of print publication. We get immediate response this way. And the words don't get nearly as polished. There's much less frustration. Why would anyone work at words the old, harder way anymore?

But I suppose just as the Internet is rewriting all our futures, it's revising this particular piece of common wisdom as well: best not to ask questions you don't want Google to answer.

Until then, I’ll keep working to calm myself by unplugging periodically and reassuring myself that there’s far more value in time spent writing for a book over a blog post.

And yes, I will now go mention this new post on Twitter and Facebook.

So Brave, Young, and Handsome: New Leif Enger coming soon

"A stunning successor to his best selling novel Peace Like a River, Leif Enger’s new work ["So Brave, Young, and Handsome"] is a rugged and nimble story about an aging train robber on a quest to reconcile the claims of love and judgment on his life, and the failed writer who goes with him.

"In 1915 Minnesota, novelist Monte Becket has lost his sense of purpose. His only success long behind him, Monte lives simply with his wife and son. But when he befriends outlaw Glendon Hale, a new world of opportunity and experience presents itself. Glendon has spent years in obscurity, but the guilt he harbors for abandoning his wife, Blue, over two decades ago, has lured him from hiding. As the modern age marches swiftly forward, Glendon aims to travel back to his past--heading to California to seek Blue’s forgiveness. Beguiled and inspired, Monte soon finds himself leaving behind his own family to embark for the unruly West with his fugitive guide. As they desperately flee from the relentless Charles Siringo, an ex-Pinkerton who’s been hunting Glendon for years, Monte falls ever further from his family and the law, to be tempered by a fiery adventure from which he may never get home."

A starred review from Kirkus (can PW be far behind?). Book releases from Atlantic Monthly mid-May, so hang on...

The Speed of Publishing

Just back from the Christian Writers Guild's annual conference at The Broadmoor where I was once again impressed and not-just-a-little concerned about the level of stardom attributed to such a nerdy, pitiable person as myself. And yes, I know it's just the title and the house I work for, the perception of the power I wield over poor writers' livelihoods and long-term happiness, not to mention personal and even spiritual fulfillment of life-long dreams. There's a reason we acquisition editors are collectively known as the gatekeepers (of course, I'd argue that my assistant reader owns that title, or at least shares it).

But it was a great time as usual and just the right amount of inspiration and practical teaching from the little I was able to gather between appointments, presentations, and panels. If you haven't checked out the most professional Christian writers conference in the country yet, I'd suggest you do so next year. It's truly a well-oiled machine, which speaks to Jerry Jenkins' commitment to assisting writers and his generosity to the deeper cause of our industry.

In chatting around the tables with the talented folks who waited in line--some for over half an hour!--for the unsurpassed pleasure of eating with me (I told you; it's ridiculous), the questions that came up most often centered around the surprising 12-to-18-month lead time of the book publishing process and what trends and changes are taking place just out there on the horizon. I've long hoped for something significant and informative to say in such situations, so imagine my glee to run across this recent article in the New York Times. The author not only shares the point I'm constantly explaining to new authors (about the lead time necessary for publicity to generate healthy interest in titles from unknown authors), she also seems to share my frustration. Why do we have to wait so long for books to come out? Not only do my predictions of current trends and the larger felt needs diminish over time, but my ability to sustain personal interest and excitement for the books I do acquire is severely tested by lead times of more than a year. Simply, I'm forced to move on to the books coming out next year.

If you read to the end of the article, you'll notice there's a "riddle": what can be done to shorten this lead time between acquiring the book and releasing it? I believe PW writer David Rothman may have finally given me the answer--or at least an answer--to this conundrum. If the goal is shortening the time it takes to release a book, and the bottleneck is generating publicity, why not generate publicity and critical word-of-mouth with electronic and POD releases first? Publishers have long relied on advance-release copies (ARCs) of especially worthy books to send out for review--but these are hard copy and often rushed to press since printing and distributing require 2-3 months on their own. If you want a hard copy out early, it's got to be very early. But release the book for download and POD and you've got word-of-mouth happening that much faster.

Yet aside from his helpful articulation of many of the arguments for such a move, I do think David is willingly suspending our disbelief that his solution could have one major roadblock: the perception of a publisher's commitment when it produces a widely-distributed ARC. Much like covers touting "Over 1 million copies in print," such reassurances go a long way into getting a book recognized by booksellers. Forcing them to rely on their own instincts and maybe the recommendation of a tuned-in industry friend may not be as powerful an aphrodisiac. And I won't even mention the old "I-love-hard copy" argument. We ALL love hard copy (even the Lorax agreed to be sold in hard copy). Market perception is king and hard copy still carries a higher regard virtually across the board. As adults, we may move on from chewed up copies of Pat the Bunny, but we never give up our affection for them.

When I ask the authors around my table why they write, what it is that keeps them slogging away alone in the darkness, the unanimous response is that they love books. And by extension, they love all the rest--writers, readers, publishing, editors, agents, bookstores, sales reps, publicists and even other formats like e and POD. But who's going to get excited about it if it's not a real book? As readers, we've already acquiesced to read in paperback, mass market versions, and low-quality hardcovers. We don't require all books to be leather-bound beauties with the really nice lay-flat binding and thick, cottony pages with the type practically embossed on them. Who would carry that around anyway? ...well, some people would.

So where does that leave us? I guess I'm still debating the virtue of this answer to pre-release books as "almost-books." It certainly makes sense. I just don't know if anyone's really ready to start reading to their kids off a Kindle, which is what it's going to take to cure this pandemic, apologies to the Lorax. In a world that's moving too fast, books just might need to get slower to really capitalize on their greatest potential--to help us slow down ourselves.

You think? Comments welcome.

The New Bible: The Books of The Bible

There are many parts of my position as acquisitions editor at WaterBrook that are really cool. One of those things is certainly discussing ideas that have significant potential for publication. The exchange of intellectual capital, so to speak, is invigorating and always interesting. I’m truly amazed at the breadth of skill, talent, and experience of the people I get to call friends. 

But one of the coolest perks is all the free books.

When Mike Morrell of the counter-cultural Christian web journal The Ooze asked me to take part in the reviewing service for their site, I was more than happy to accept. I haven’t had time to write about any of the books—and I don’t really have time now—but one new arrival deserves a special mention.

The Books of the Bible is the new much-anticipated Bible project from International Bible Society and it’s everything we’ve been hoping for from the old bee-eye-bee-el-ee all along. No more artificial divisions and confusing textual structures. Gone are the arbitrary numbers and chapters, the text notes and superscript code language, replaced by the simple, straight-forward story of God and his creation.

Going through Luke-Acts, I kept thinking, Why hasn't anyone thought of this before? It’s truly a delight to read and I’ve made significant headway in my goal to finish reading the entire Bible this year already. If you don’t think it matters, that you’ve always read the Bible as segments of broken statements and disconnected phrases, I’d challenge you to go find one of these inexpensive new Bibles at your local bookstore. Someone’s probably already said it, but this new version of the TNIV brings the reading experience back to the foundational texts—it’s the Bible without the babble.

It changes the order of the books to be more logical and follow the intent of the original books, shedding new light on the history and meaning behind the well-known events. It’s broadens your perspective to include the particular distinctiveness of the authors’ voices and historical context, but also repairs misunderstandings about certain books’ type of writing, like James, primarily a book of wisdom writing like Proverbs rather than a letter like Romans. This creates a freedom to read the books in a new understanding of their theological traditions as well, which will be a completely new experience for most Christians.

Imagine if the Bible started to really come alive.

Now, of course, this is a very controversial Bible as well. Google it. Some Christians aren't happy about it, and in fact rumors are IBS wasn't all in on the concept either. But progress can't be stopped. I’ve written about another controversial Bible here before—the Inductive New American Standard. And in fact, I still prefer that translation. If I could blend the two, I’d probably run off and join a monastery, so God’s preserving my family by keeping that from me. But after a couple weeks reading through this new Bible, I think I'll probably still be talking about this. It's that cool.

So check it out. And get into the real meaningfulness of "the word."

Appreciating Art Through Books

Go ahead. Go google “Evangelical arts.” I’ll wait.

…

As one of the first acts of his new reign as AP religion editor, Eric Gorski has decided to prove that some Evangelicals DO care about quality art. The article mentions current EV arts heavy-hitters, Mako Fujimura, Dick Staub, Andy Crouch, and Craig Detweiler.

How can you go wrong? Will you contribute through your talent for words?

Mysterious Christian Mystery

PW says Christian mystery--in the classic sense--is a tough sell.

Can "Whodunits" Still Do It? Part 1

Maybe I'm missing the point, but there's a lot of "modern" Christian mystery/suspense on the shelves. Pretty much every publisher who does fiction has some or has made a concerted go of it. Maybe there isn't a lot of classic mystery, but is there much classic anything? There's a good heap of cozy mystery.

I don't know. Is it harder for "classic mystery" than for other classic genres among all the modern ones?