Should Your Characters be Likable?

Touching on this matter of one or more characters turning a reader off, I want to say a few things. You NEVER have to worry whether or not the reader "likes" your main character--or any of your characters for that matter. You only have to worry that the reader "knows" enough about your character to have an emotional investment in what happens to her. Readers who put down books because they don't like the characters are not very good readers, so you don't want them anyway. I've heard editors at major publishers say they do not want a particular book because the character is not "likable," so the philistines are on the march and it's clear the woods are burning. But it's a rigorously stupid idea that we should "like" the characters we read about. If that were actually true, we could instantly eliminate fully half of the world's great literature and forget about it, starting with Richard The III, and coming forward to Portnoy and "Rabbit" Angstrom.

I worked really hard to make the main character in A Hole in the Earth a 39 year-old case of arrested development. And I've had people tell me they threw the book across the room they disliked him so much. One former teacher (and grandmother, she hastened to tell me) said, "I don't want to waste my time reading about such a person." I said to her, "What do you want? Stories about wonderful people and the nice things they do and think, and where they went to do them and all the things they saw and what they ate?" Really serious fiction, humorous or not, is about real people--human, flawed and quirky people--in real trouble and it traces what they try to do about it, or not do. It isn't about success, or goodness, or badness, or justice or mercy, or love, or kindness, or cruelty or bestiality, or any other thing. It's about life. All of it. Good and bad. And it does not concern itself with whether or not the reader is either comfortable or happy. It only concerns itself with what is true, pure and simple. John Updike once said that the action of reading is so private, and such a quiet exchange between writer and reader that as writers we have an obligation to be as truthful as we can; as truthful as we'd be in our own thoughts to ourselves.

I am so tired of the pea-brained idea that the reader has to be made happy or pleased by what we write. Readers who believe that are people who make demands on their reading: they say things like, "I only read mysteries," or "I like detective stories," or whatever. They are narrow, usually not very interesting, and what they say and think about other kinds of work is almost always not worth listening to. We should let our reading make demands on us; we should read as widely and eclectically as we can, as many different kinds of books as we can: poetry, fiction of every stripe and kind, non-fiction, biography, history, anthropology and so on.

It is how we prepare as writers.

If I’m reading a novel about a young woman named Elizabeth, I will care about her if I feel like I know her. I don't have to be a woman, a young girl, or even American, to respond to her. I will want what she wants because SHE wants it; I will fear what she fears, because SHE fears it; I will hope for what she hopes for because SHE hopes for it, and so on.

Here are six basic principles to remember and apply in order to read wisely and well:

1.) An author is usually NOT his narrator, or any of his characters.

2.) An author does not put things in his story or poem to stump the reader. Or to “get a point across.” What we find in stories and poems—the metaphors or symbols, or themes or whatever—comes from a waking dream, the author’s unconscious mind at work. Most authors don’t insert secret meanings or messages any more than you insert those things in your dreams. When you dream, what is there, is there. You respond to it by dealing with its possible meanings, without asking yourself what you intended. You didn’t intend anything. You didn’t put anything in your dream on purpose. You simply dreamt something. The author doesn’t intend anything either.

3.) You don’t have to like or approve of a character to identify with him or her.You only have to be engaged in what happens to the character. We become engaged in the characters of a work of fiction the more we know about them. Rembember the O.J. Simpson trial? We were interested in that not because our interests are puerile, (if he were an obscure plumber who lived out there we never would have heard of him or the crime) but because most of us felt we knew him--or at least enough about him to be interested in what happened to him.

4.) Most authors work very hard to make their characters real, human, quirky and alive. And, in some cases, deeply flawed. The character’s flaws are not the author’s flaws. I have had people tell me they put a book down or threw it across the room because of what a character did or said in it. This is a profound act of closed mindedness and misunderstanding about the purposes of literature. We do not read literature so that it will present us with characters we approve of, who say things we like to hear and tell us wonderful things about ourselves, and how beautiful and perfect the world is; we don’t read literature to recognize our own vision of the world. Literature is about people in trouble, and it is usually trouble where action makes no difference; where we are helpless. And if it is worthy literature, it is peopled with characters who we don’t like and who say things we don’t like to hear.

5.) Most novels and poems are not autobiographical. Unless study proves otherwise, we should assume a writer writes with his experience, not about it.

6.) We don’t have to approve of what a writer’s vision is to appreciate it. One does not have to be an athiest, to appreciate the work of Albert Camus, who was. One does not have to adopt Camus’ rejection of God, in order to understand that he is doing that. It is foolishly ignorant to reject Camus’ work because he rejects God; or to condemn Hemingway’s novels because he was “macho.” It is rigorously stupid to disapprove of Kate Chopin’s work because she was a feminist, or Ann Rynd’s novels because she was a materialist. I hope I don’t have to tell you how small a mind has to be to reject Walt Whitman’s poetry because he was gay. We read to understand the other, as well as ourselves in relation to the other. We do not read to have everything we believe about the world confirmed, but rather to test what we believe against all of its opposites and oppositions. We read to widen our awareness of the world, not to constrict it. In other words we read to learn not to name things so readily, and to see what we can see, and we judge a work of literature based on what IT is, not on what WE are.

Algonkian Writer Conferences: Narrative Enhancement via Nabokov

A snapshot below from the Algonkian Writer Conference Competitive Fiction Guide on the subject of learning the craft of narrative enhancement from a variety of successful authors. This example features Nabokov.

Nabokov’s narrative in Lolita pushes forward largely due to his gift for discerning meaning and detail in everyday life (which is necessary since Humbert H. is a hard character to cheer on) and reporting it with the flair of a phenomenal writer. Basically, however, you can break Nabokov’s categories into observations, ruminations, and fantasy.  Here we see examples as Humbert wanders a department story looking to buy underwear for Lolita:

Narrator observes the behavior and quirks of others: "The painted girl in black who attended to all these poignant needs of mine turned parental scholarship and precise description into commercial euphemisms, such as petite. Another, much older woman in a white dress, with a pancake make-up, seemed to be oddly impressed by my knowledge of junior fashions; perhaps I had a midget for a mistress …"

Fantasy:  "I sensed strange thoughts form in the minds of the languid ladies that escorted me from counter to counter, from rockledge to seaweed, and the belts and the bracelets I chose seemed to fall from siren hands into transparent water."

Reporting bits and bits, things upon things: "Goodness, what crazy purchases were prompted by the poignant predilection Humbert has in those days for check weaves, bright cottons, frills, puffed-out short sleeves, soft pleats, snug-fitting bodices … Swimming suits? We have them in all shades. Dream pink, frosted aqua, glans mauve, tulip red, oolala black."

Ruminations on the ability of objects and organizations to affect human life: "There is a touch of the mythological and the enchanted in those large stores where according to ads a career girl can get a complete desk-to-date wardrobe, and where little sister can dream of the day when her wool jersey will make the boys in the back row of the classroom drool."

Surreal metaphor:  "Lifesize plastic figures of snubbed-nosed children with dun-colored, greenish, brown-dotted, faunish faces floated around me. I realized I was the only shopper in that rather eerie place where I moved about fish-like, in a glaucous aquarium."

The type and quality of narrative here is obviously dependent to a large extent on the personality of the narrator continuously engaged in filtering and interpreting the environs. The narrator chooses to focus on things which interest him, comments on behavior he finds odd or objectionable, reveals his fantasies, etc. So what do you as a writer learn from this?  By placing a specific character with well defined traits at an event, or in the presence of something which must be described or experienced, you render that event or object in such a way as to reflect the character’s mindset, biases, emotion, beliefs, and perceptions.

Also, when considering the creation of complex narrative filtered through the mind of a suitable character, you would be well advised to use the Nabokov approach we see above.  In other words, before you begin to write the scene, first sketch the scene and it's parts, then brainstorm each nuance and part by creating a fantasy, an observation, an associative flow of thought, etc.  Keep a journal of these author ruminations and parcel them into the scene as necessary at such time you write the first draft.  Later, this manner of brainstorming a narrator's mind will come naturally to you.

Therefore, choice of character viewpoint when rendering an entire work, or a scene, or a chapter can be critical.  Consider carefully!

It could make the difference between a mediocre novel and a great novel.

Reasons That Passionate Novel Writers Fail to Publish - Part III

EGO TIMES TEN. 

 Hubris itself will not let you be an artist.

We realize a certain amount of ego is necessary to propel a writer forward, but too much ego is a disaster waiting to happen.  The overly egoistic writer is puffed, living in a state of I-know-better. She or he is therefore incapable of successfully editing their work. Friends, relatives, or agents printing out boilerplate replies have told them their writing is good, and their story interesting; and to make the situation even more complicated and susceptible to causing delusion, perhaps the writer is a big success in their other career, so why shouldn't they also know-it-all when it comes to writing a novel?  See our video post on this blog: SO YOU WANT TO WRITE A NOVEL.

We once had a successful venture capitalist person hand us their 15 page synopsis and the first few pages of their novel. The synopsis was absurdly long and unable to summarize the story in any interesting way; and the first couple of novel pages needed a good line editing because the prose was inadequate and one tended to speedbump over at least one awkward sentence per paragraph. Of course, these facts were unknown to the venture capitalist (and forever will be--who is going to tell him, IUniverse?). This person presented us the work with a grand TA DAH!, expecting corroboration.  Isn't that what he received from everyone else in the universe?

Well, of course, irritation set in when we tactfully pointed out shortcomings. This person also did not believe us when we explained that the vast majority of agents would not, repeat NOT read that 15 page synopsis regardless (and if they did somehow manage to muck through it, the novel ms was DOA regardless).

So You Want to Write a Novel? Comic Video Portrays Writer Ego Mania.

This is funny, but it drives home some points. A must see.

Reasons That Passionate Novel Writers Fail to Publish - Part II

MISUNDERSTANDING THE MARKET - REV UP THE TIME MACHINE

Virtually every time you speak with a new writer (especially genre writers) you discover that she or he has not sufficiently researched their market. In other words, they don't have a clue as to what types of first novels are currently being published in their genre. Why is this important? Because first novels provide the writer with a concept of what the market is looking for. Also, it helps steer the writer away from starting a project that will be DOA on arrival due to being way way too deja-vu. 

Though old news, far too many writers still make what I call the Dan Brown mistake, i.e., they attempt to emulate a well published author, falsely believing this decision will result in success. They don't understand that a only a very privileged few can get away with horrible crimes and still become published. Instead, the writer needs to forsake folly and examine what types of first novels have been published in their genre over the past few years. What are publisher's looking for? The writer must investigate story types, settings, protagonists, etc. The research always yields productive results.

btw, we're not telling you to chase trends, but you must understand that certain types of story premise and characters, preferred viewpoints and more, change and evolve over time.  For example, the typical gumshoe detective of the ancient past has been replaced by protagonists more exotic and diverse. Terrorists, dragons, and Covid stories are pretty much dead on arrival, and Miss Marple clones have caused countless sad writers to shelve their manuscripts and return to their wage slave existence.

Keep in mind too that providing good comparables in your query letter can prove difficult if you are not well read in your genre. Also, if you ever meet with an agent or editor and they question you about your genre, or what you've read lately, you'll fall flat if you don't appear knowledgeable on the subject of what is hot and/or upcoming.

 

Reasons That Passionate Novel Writers Fail to Publish - Part I

INADEQUATE WRITING SKILLS OR STORYTELLING/ STRUCTURE PROBLEMS.

In the case of the former, the writing itself does not display the energy, creativity, and polish necessary to convince an agent to go deeper. This is perhaps the number one cause of failure (and obvious on the first page). Usually, the writer is not aware--or at least, not sufficiently aware to enable productive change. Perhaps this is a first stab at fiction, she or he not realizing that tech or law or medical writing ill prepares one. Also, the writer does not know a good editor or reader, and therefore, has never received truly helpful crit. Or perhaps an ego obstacle is the issue. Also, we have the "birthed baby" phenomenon: the writer has produced a passage, a character, or scene they can't possibly do away with. It is sacred to them. So it remains, defacing the narrative like a major pothole, jolting agents and publishers alike each time they meet it.

In the case of the storytelling/structure issue, the writer may be very accomplished at connecting the word dots. The agent or publisher gives it a good read then backs off. Why? Well, the story goes nowhere. It is insufficiently interesting, quiet, or perhaps even confusing. Just recently a fine writer handed us a sample of his ms. His prose skill kept us turning, but finally, we bogged down on characters who spun endlessly in place, who never really took action or engaged in any reaction worth noting.

The Novel Structure Checklist - Issues to Consider When Writing Your Novel

Some basics here for thinking about your novel.  This works for all genres.

• Is your novel hook the best you can create?  Is your very first line a thud or a grabber?
• Do you have sufficient story for a whole novel?  Many writers have a story, but not enough for a novel, and they begin to stretch it too thin just to fill up the white space.
• Are the major plot lines mapped? Do you at least have a general idea of the major source of dramatic tension or complication?
• Have you sketched out your major scenes or at least have a good idea how many and what type of major scenes you will need to portray the major novel elements and characters?
• How does theme relate? Do you have a firm theme statement? Is it relevant to the major complication of the story? 
• Have you used narrative enhancement techniques and devices as necessary and appropriate given the scene, story, and relevant circumstance?
• Are suspense devices injected as appropriate and necessary, both on a macro and micro scale? (Remember the value of a good topic sentence, something even experienced writers sometimes forget! Ideal for setting suspense tone.)
• Have you satisfied the "Art of Fiction"? If your wordsmithing is less than Annie Proulx-like, is your content original and dynamic enough to drive the narrative forward, to keep the reader reading? Especially important for genre writers.
• Are your most important events within the story crafted in fictive present? 
• Is padding eliminated? Does every character, slice of dialogue, and scene serve a purpose?
• Is your story original, high-concept for your genre market? If you're not sure, why not?

Algonkian Writer Conferences Interviews Christine Pride of Broadway Books

Christine Pride is an Editor at Broadway Books, where she publishes a range of fiction, memoir and narrative non-fiction including the New York Times bestseller, TELL ME WHERE IT HURTSs by Nick Trout, the SF Chronicle bestseller THE CRYING TREE by Naseem Rakha, Commonwealth Prize winner, THE END OF THE ALPHABET by SC Richardson and the critically acclaimed MR. SEBASTIAN AND THE NEGRO MAGICIAN, by Daniel Wallace. She loves powerful storytelling and discovering and nurturing exciting new voices.  


AC: These days it appears more and more true that for various genres of fiction aspiring authors often have an edge in getting a first novel published if they possess an authentic platform for telling the story, i.e., a media platform, or at least one of sufficient experience and expertise that applies in a significant way to the essence of the work.  For example, the author of one of our recent successes at the NYC Pitch, Lipstick in Afghanistan, would fit easily into the category above.

Do you see platform becoming more important these days for certain types of fiction. And if so, what kinds?  What do you look for in the way of platform when in the office, or at a conference listening to a writer pitch you their work? And can you give us writers some tips in this area?

CP: Yes, I would agree that for better or for worse, platform is more important than ever in giving debut writers an edge in the publishing process.   As editors and publishers, when we fall in love with a book, our very first questions are, “who is the audience?” and “how will we reach them?”   When an author has a built-in fan base already, via their blog, twitter feed or the popularity of their freelance writings, it gives us that initial leg up and foundation which is an attractive element to the overall package.   Having a platform also proves to the publisher that the author is a savvy self-promoter and will be a vital partner with the publishing house in terms of promoting the book in traditional and social media outlets.  Which is not to say that you can’t write and successfully publish a beautiful book without a platform or without 20,000 twitter followers—that can and does happen every day-- it just means that if you are able and inclined to do some social media networking in advance of trying to sell your book, it could really work to your advantage.

AC: As you know, at the New York Pitch we train writers to examine the most vital fictional elements in their novels from the inside out, and quite frequently, if the premise or plot or characters are lacking in some manner, that fact comes through in workshop discussions and presents itself in need of a fix. Though we can't always fix everything, which fictional elements do you like to hear clicking soundly in a pitch communication, those that enable you as an editor make a decision as to whether or not the project has commercial potential?  Can you summarize the elements and tell us which ones are most important to you, and why?  

CP: As an editor, when I sit and listen to or read pitches/queries I am looking for three things.  1.  A unique idea that appears to be well thought out in terms of why (as precisely as possible) an intended audience will respond to the book.  2.  A summary/query which itself is written in such a way so as to indicate that the author has the chops to write the proposed book.  If there are grammar issues or misspellings in the pitch or the summary itself is not cogent and if the three or so paragraphs aren’t written in such a way as to entice me, then I won’t be left with the confidence that the writer could write 300 more paragraphs that would entice me.  3.  The author is confident, personable and open to feedback.  In this day and age, authors are required to interact with their readers and fans more than ever before to be successful, so it’s important to have a sense that a potential author can relate well to other people and will be comfortable speaking in front of audiences.  And that he or she is going to be open to editorial feedback and be a willing participant in the collaborative nature of the whole publication process.

AC: Have you found it a valuable or rewarding experience to engage in discussions with writers about their projects?  Do you feel such discussions about characters and plot, etc., help the writers focus on the truly vital issues they need to hash through before they can become published authors?

CP: Absolutely, one of the joys of being an editor is to work with writers on refining their ideas and think creatively about plot and characters.   I love brainstorming the what if’s when it comes to a particular character’s journey or motivations and brainstorming plot ideas.  A good editor, based on experience and instinct, will know intuitively what will work and what won’t in terms of a plot point or premise.  We also have an understanding of the marketplace as a whole and know what ideas and sensibilities are “trending” so to speak—what particular types of works and conceits will meet with an enthusiastic response from readers.   So yes, it’s very rewarding to click with an author and feel that you’ve helped them shape an idea or inspired them to try a different approach—that sort of collaborative effort is the very cornerstone of the author/editorial relationship.

AC: It seems axiomatic over time that publishers prefer, if possible, to market novels with great stories and characters, and that it behooves an aspiring author in most genres to attempt, insofar as possible, to create a story that is "high concept", i.e., commercially viable yet not sounding like a tale you've heard a few thousand times, or worse yet, one that everyone knows has failed in the marketplace. Can you discuss this?  How important is a story that sounds unique while also flying a banner of potential commercial success?  Or is "mid" or "low concept" equally acceptable as long as the prose is superb, as one might find in more literary novels? Or does it naturally depend on the genre?

CP: It may be too idealistic of me, but I like to think truly good books find their way.   Sure, we’re all looking for something that has a stand out angle or a high concept approach because that can make the marketing of the book a little more clear cut and easier.   But there are only so many new stories, and what’s important is being able to tell a story, any story, well.   For me, that involves great prose, a strong emotional resonance and compelling story-telling (good pacing, strong characters, a narrative drive that keeps me turning pages).   I always tell authors not to worry so much about whether their book is “literary” or “commercial” or if it’s “romance” or “women’s fiction”—writers should write the very best book they can, that comes from a creative, organic place—the story that is bursting out of them-- and leave it to editors and publishers to figure out how to package and market that book to an audience. 

AC: How important are a writer's fiction writing credentials in the genres you represent?  Are you more or less likely to ask to see a project if the writer has strong fiction creds? What are your standards?  Do you balance creds against a great story or are both equally important?

CP: Fiction writing credentials can be an attractive part of a writer’s overall platform.   Getting published in established and respected literary journals is a nice component to an author’s resume—not essential but it helps.   A very compelling and well-written story?  That is first and foremost what is essential.

AC: What other great advice can you give the aspiring authors out there?  What is important to you that we have yet cover?

CP: It’s harder than ever to be a writer these days. I don’t say that to be discouraging but because it’s the hard truth.   I think you have to balance that reality with a commitment to your craft, a whole, whole lot of patience and perseverance and a true sense of *fun*.   You should write because you enjoy writing, first and foremost.  You should also read a lot (I’m shocked by the number of aspiring writers who aren’t themselves avid readers) and you should be committed to refining your craft.    As with singing, or playing the piano, or skiing, practice and dedication is the only path towards improvement.  But mainly, again—have fun and enjoy the process.

AC: In general, what do you see as the future of novel-length fiction, both in terms of quality, and in terms of evolution away from paper?  Will bookstores always have a place in American culture?  

CP: As I said, I’m a true optimist.  I think physical books will always exist and be cherished by readers and I think bookstores will always exist to sell the books and to serve as a gathering place for communities of readers.    I simply can’t bear to think of a world where they don’t and everyone reads off machines.   Yuk.

Algonkian Writer Conferences Interviews Caitlin Alexander of Random House

Caitlin Alexander is a senior editor at the Random House Publishing Group, where she acquires and edits a variety of fiction and nonfiction. Her authors include New York Times bestsellers Michelle Richmond (THE YEAR OF FOG), David Gibbins (THE LOST TOMB), Andy McDermott (THE HUNT FOR ATLANTIS), and Gwen Cooper (HOMER'S ODYSSEY); Angela Davis-Gardner (PLUM WINE and the forthcoming BUTTERFLY'S CHILD), Sally Koslow (the forthcoming WITH FRIENDS LIKE THESE), national bestseller Elizabeth Joy Arnold (PIECES OF MY SISTER'S LIFE), and International Thriller Writers Award winner Tom Piccirilli (SHADOW SEASON). 

AC: These days it appears more and more true that for various genres of fiction aspiring authors often have an edge in getting a first novel published if they possess an authentic platform for telling the story, i.e., a media platform, or at least one of sufficient experience and expertise that applies in a significant way to the essence of the work.

Do you see platform becoming more important these days for certain types of fiction. And if so, what kinds? What do you look for in the way of platform when in the office, or at a conference listening to a writer pitch you their work? And can you give us writers some tips in this area?

CA: I do see a platform as being more important for fiction these days—for general fiction or literary fiction more so than for genre fiction. One of the first questions I ask a writer I'm considering is: What inspired you to write this book? What I'm looking for is some kind of personal or professional connection to the subject that's going to make an interesting story in and of itself and that we can use to help promote the book, including pitching essays to media outlets and blogs. There's a lot of competition for readers' attentions, so anything that can make the book stand out will help.

The corollary is that readers and reading groups want—and expect—to connect with authors personally these days—so, having a great personal story is going to make someone feel like they've gotten to know you a little bit and probably make them more interested in reading your book. Social networking is a big part of that—an author is going to really have to put him or herself out there these days and become as visible and networked—both within the literary community and with readers—as possible. I also consider that to be part of the "platform" necessary for fiction authors these days—if a writer comes to me as an active participant in a blogging community relevant to their book, or with other similar ongoing activities, I know I don't have to worry about whether or not they'll be an asset in spreading the word about their book when it's published—it automatically gives a writer a leg up.

Advice: Presumably your novel contains a topic you are passionate about (baking, photography, a medical disorder, traveling to Paris, etc.)--or at least one you were interested enough in to spend several months or more writing about. Don’t wait for a book deal to seek out other people online or organizations who are interested in the same topic(s) you are. And just as every writer should be an expert reader, reading the books that are similar to yours and studying why they’re working (or not), check out what kinds of things published writers are doing and which seem to be garnering the most response.

AC: Which fictional elements do you like to hear clicking soundly in a pitch communication, those that enable you as an editor make a decision as to whether or not the project has commercial potential? Can you summarize the elements and tell us which ones are most important to you, and why?

CA: As I’m listening to a pitch, I’m listening for characters who grow over the course of a novel, a plot that has something big at stake (which can equally be something in the characters’ personal lives or saving the world from a disaster), and button pushers, by which I mean the things that I’m going to be able to put in the cover copy that are going to make someone reading the description instantly want to pick that book up: a missing child, three generations of women, a famous historical or literary figure, a boyhood secret suddenly resurfacing—to name just a few of my favorites. Of course, the catch is that I’m also listening for what an author brings to the story that’s unique and is going to make it stand out from dozens of other books with similar hooks.

AC: Have you found it a valuable or rewarding experience for you, the editor, to engage in discussions with writers about their projects? Do you feel such discussions about characters and plot, etc., help the writers focus on the truly vital issues they need to hash through before they can become published authors?

CA: Absolutely—if the author is listening and is open to feedback. I think the writers who benefit most are the ones who are interested in improving their craft and their chances of being a successful author—not just a published author.

AC: It seems axiomatic over time that publishers prefer, if possible, to market novels with great stories and characters, and that it behooves an aspiring author in most genres to attempt, insofar as possible, to create a story that is "high concept", i.e., commercially viable yet not sounding like a tale you've heard a few thousand times, or worse yet, one that everyone knows has failed in the marketplace. Can you discuss this? How important is a story that sounds unique while also flying a banner of potential commercial success? Or is "mid" or "low concept" equally acceptable as long as the prose is superb, as one might find in more literary novels? Or does it naturally depend on the genre?

CA: Aha, I think I touched on this above—“a story that sounds unique while also flying a banner of potential commercial success” is critical, in my opinion. But superbly written literary novels that don’t initially appear to have that high concept usually do—it’s in the breathtakingly resonant insights those novels offer into our lives and our interactions with those around us; the way they make us think “I knew that” and “I never thought of it that way” at the same time. There’s a way to position and sell those novels, too.

AC: How important are a writer's fiction writing credentials in the genres you represent? Are you more or less likely to ask to see a project if the writer has strong fiction creds? What are your standards? Do you balance creds against a great story or are both equally important?

CA: Unless those credentials are for top-notch literary publications or well known movies or TV shows (or, even for fiction, journalism for top magazines or newspapers), it doesn’t make a difference. Regardless of past writing, it’s going to come down to how strong this particular book is. Past writing credentials are an asset if it’s an affiliation with a publication that’s going to have a meaningful impact on publicity, but otherwise they don’t play a significant role. That said, it never looks bad, so always include them!

AC: What other great advice can you give the aspiring authors out there? What is important to you that we have yet cover?

CA: The opportunity to pitch your novel at a conference or participate in a writing group—in general, to get any sort of objective feedback on your writing—is invaluable. It’s easy for an author to self-publish these days if they don’t immediately find an agent or publisher, and while for some that’s a good route, I think too often writers want to rush to publish and use it as a substitute for honing their craft. Perseverance is key—and there are a lot of inspiring stories out there of successful authors’ routes from unpublished to published; for most of them it wasn’t their first (or sometimes second or third) manuscript that got them an agent or editor, because they took the time to become the best writers they could be.

AC: In general, what do you see as the future of novel-length fiction, both in terms of quality, and in terms of evolution away from paper? Will bookstores always have a place in American culture?

CA: I don’t think novel-length fiction is in any danger of disappearing. One thing I’ve been fascinated by over the past few years is the increase in novels which are actually, in structure, linked short stories—there’s been a wealth of really terrific ones, and I’m loving that writers have figured out a way to work around the difficulties of selling short story collections.

Will bookstores always have a place? I would certainly like to think so, and that physical books and e-books will coexist for a long time to come. The more our interactions move into online and digital, the more special those opportunities to get out and connect in person become.

Algonkian Writer Conferences Interview Series with Editors: Dana Isaacson of Random House

Algonkian Writer Conferences talks platform, passion, and craft with Dana I.

Dana Edwin Isaacson is a Senior Editor with the Random House Publishing Group, where he edits both fiction and non-fiction. He has worked as an abridger, a writer and a literary agent. He has also been an editor at ReganBooks, St. Martin’s Press and Pocket Books.

AC: These days it appears more and more true that for various genres of fiction aspiring authors often have an edge in getting a first novel published if they possess an authentic platform for telling the story, i.e., a media platform, or at least one of sufficient experience and expertise that applies in a significant way to the essence of the work. For example, the author of one of our recent successes at the New York Pitch Conference, Lipstick in Afghanistan, would fit easily into the category above.

Do you see platform becoming more important these days for certain types of fiction. And if so, what kinds? What do you look for in the way of platform when in the office, or at a conference listening to a writer pitch you their work? And can you give us writers some tips in this area?

DI: Regardless of their book’s category, an author’s platform has become ever more crucial in the brave new world of electronic publishing. If your book is published as an ebook, how is the consumer to find that book and purchase it? Owners of ereaders very well might not stroll down the bookstore aisle and pick up what catches their eye. Instead, new and innovative ways must be found to connect authors and readers. This is the sort of marketing that many introverted writers have difficulty mastering, but without a doubt online communities, personal blogs, or alternate outreach strategies can be extremely useful in boosting an author or a specific project’s visibility. If an author has sensible strategies to reach potential readers, they have a leg up on the competition.

AC: Which fictional elements do you like to hear clicking soundly in a pitch communication, those that enable you as an editor make a decision as to whether or not the project has commercial potential? Can you summarize the elements and tell us which ones are most important to you, and why?

DI: With a commercial novel, the emphasis must always be on a well-structured narrative, one that unflaggingly keeps the reader engaged. When a proposed book idea sounds gimmicky or cluttered with explanations rather than an absorbing or rollicking good story, I start to tune out. The emphasis must always be on story: it should be unique, the characters should resonate with the reader, and it should be resolved in an fashion that is both satisfying for the reader and that makes sense within the construct of the narrative.

AC: Do you feel such discussions about characters and plot, etc., help the writers focus on the truly vital issues they need to hash through before they can become published authors?

DI: Nothing thrills most writers more than talking about their creations, and such discussions are incredibly valuable. An isolated writer at his or her desk can overlook narrative problems that are obvious to others. Obviously the more feedback an author receives the better. 

AC: It seems axiomatic over time that publishers prefer, if possible, to market novels with great stories and characters, and that it behooves an aspiring author in most genres to attempt, insofar as possible, to create a story that is "high concept", i.e., commercially viable yet not sounding like a tale you've heard a few thousand times, or worse yet, one that everyone knows has failed in the marketplace. Can you discuss this? How important is a story that sounds unique while also flying a banner of potential commercial success? Or is "mid" or "low concept" equally acceptable as long as the prose is superb, as one might find in more literary novels? Or does it naturally depend on the genre?

DI: For a novel to be truly successful, a high concept idea must be secondary to a satisfying plot. “It don’t mean a thing if it ain’t got that swing.” Ultimately, a publisher is skeptical when hearing you have an idea that is as good or better than “The Da Vinci Code.” A clever concept within any genre might grab a reader, but an absorbing narrative will win a reader’s loyalty. Publishers want to be convinced that your novel’s story absorbs the reader like “The Da Vinci Code,” that its well-constructed narrative causes readers to flip the pages as fast as they would with a novel by Jody Picoult, or Janet Evanovich, Nicholas Sparks or Ian McEuen.

AC: How important are a writer's fiction writing credentials in the genres you represent? Are you more or less likely to ask to see a project if the writer has strong fiction creds? What are your standards? Do you balance creds against a great story or are both equally important?

DI: Writers learn how to write by writing a lot, so naturally an editor looks closer at a project from a writer whose past signifies discipline and a seriousness about the craft. Still, the past matters only so much. The question facing the editor at a pitch conference is: does this story sound like it will sell books tomorrow?

AC: What other advice can you give the aspiring authors out there? What is important to you that we have yet cover?

DI: Read as much as you can and learn. Join a writers group to get feedback for your work. Establish a writing routine and set deadlines. While of course publication is the dream of most writers’, also understand that the act of creation is the most satisfying part of the process. If you are serious about writing, you should do your best to enjoy the very long journey it takes to get published. Be Buddhist about the craft.

AC: In general, what do you see as the future of novel-length fiction, both in terms of quality, and in terms of evolution away from paper? Will bookstores always have a place in American culture?

DI: People will always love physical books, and I certainly hope there are always bookstores. One fantastic development that comes with electronic publishing is that length becomes less relevant. Works of fiction that would in the past have been too short or too long can now be marketed and sold. For example, if they can find their readership, publishers and writers can sell short stories for 99 cents. And of course there is a democratization that comes with electronic publishing, which is why the major publishers will remain relevant. As in the past, they will continue to be seen by book buyers as the gatekeepers for quality.

Welcome to The Algonkian Writer Conference Blog

Algonkian offered me the opportunity to be part of a real writers group where my ideas and evolving characters were first introduced to other writers and potential readers. That critique allowed me to tweak my characters and storyline to perfection. Algonkian's approach in fine tuning my pitch helped me to tighten my manuscript as well. As a result, my manuscript sold to the very first publisher who saw it!

~Roberta Gately, author of Lipstick in Afghanistan

So what does it take to get a novel manuscript accepted by professionals in the New York publishing industry?

The purpose of this blog is to provide a place where aspiring authors and fiction writers can get an inside look at the publishing world, especially in the context of what-it-takes to get a novel published in this tough market.  Our first series of interviews will be with publishing house editors who regularly attend the NYC Pitch and Shop Conference (aka New York Pitch Conference).

We hope this blog will be a continuing source of enlightenment to writers in all genres.

Michael Neff

http://algonkianconferences.com/

Year of The Rhinoceros

http://yearoftherhinoceros.org/