How to Write a Book and get PublishedWriting and publishing a book
Chief reported: It' a philosophy blog: Decision to compose a work and be published: some issues
One young philospher writes: 1) I have a few buddies who have been contacted by major newspapers to hand in a manuscript. What is the spread of this, and do those of us who have not been addressed in this way have a great opportunity? 2 ) The books I am currently most interested in are not in the area where I have most of my work on.
I' ve posted some of my own papers, but I'm relatively unfamiliar with those who work in this other area. Shall I work on a script in an area where I am at least a little more mature? 3 ) I would be particularly interested to hearing from people who have written a script but have not found a publishers.
Do you think your work on the script seems like a complete loss of your own personal resources, or do you have the feeling that it was still worth it? 4 ) Generally, I would welcome all thoughts about the intelligence of trying to create a script for someone in the middle of his professional life.
However, 2014 is not only great for incumbent novelists; there are a host of interesting début stories that have already appeared or will soon appear. We' ve turned to four astounding début creators to discuss the difficult processes of book pitches, non-literary influence of literature and navigation in the literature underway.
The most irritating thing a author ever has to do is "the elevators pitch". I am also interested in how your pit has shifted. First, I can't imagine the last I was in an elevator and talking to someone else. So what is your work about?
However, don't take too much yourselves too long..... It' s up there for some folks, I think, when they hear about a'crazy' sleep or hear a gag from someone who's just not good at it. I think it's good to find out how to tell them about your books in a way that respect their own times and relationship.
I said all that, I made the usual tries, agonizingly concentrated storylines or ridiculously "comparative title" mashups (if Cormac loved McCarthy's The Road with The Moviegoer while Creedence Clearwater was playing on the juicebox, my notebook would be this baby), but one of these days someone cleverly said to me, "Don't be worried about the story, what is the work about?
It is 1980, in Queens, New York, and a 12-year-old minister called Josiah is preaching his first homily to tens of thousand-od. When he disappears, her quest for him will lead her into a legendary bunny trap, and it will soon lead her to another secret that is in a way more terrifying than her father's disappearance: a computer virulence that has the capacity to break the electronic voice and that seems frighteningly similar to a true human influenza viral that infects humans with a life-threatening "word flu".
" It took a long timeframe and my editors help. In spite of the fact that I used to scribble for my own livelihood describing other people's novels (I used to be an editing assistant), it was very difficult for me to compile a compilation of my own novel. Years, if someone asked what I wrote about, I'd just be mumbling about it.
It' fortunate I didn't really try to throw it the first few extra day. Oh, the elevators are still hard for me. After finishing the work, I still didn't have the detachment to "throw" the script self-confidently. But I knew that it wasn't necessarily a parent books, and that it was too obscure to be the kind of books that I hear folks call a "Mommy novel.
It took me to Elizabeth Beier, Perrotta's journalist, and these two girls were the best thing that could happen to this work. And I know that another spy and another journalist would have pushed me to make the story less obscure and nervous, the protagonists more likeable, a novel that might be more easy to write.
I' m the clever literature readers looking for a non-recordable textbook - and that's why I knew they were selling it in an honest way. "This, however, is not what I used to throw the product either to the media or publishers, mostly because I put the product itself with two dollars radio before I got an media.
But I would have used it if I had had it then, and I use it all the while now if I had talked about the script in public. However, it wasn't until I began to tour the game that I eventually came across this one. I have a Zen coan in which everything happens in the middle of nothingness.
In fact, the action is the playing field. Before I thought of this one, of course I was circling around the damn thing and tried to describe figures, stories and motivation, and when I was done, it was more like a giant jerk than anything else. So, at my shows, I say,'The rudder is that', and then I say,'And the expanded, director-cut story is that', whereupon I hand out a few more detail, along with enough backgrounds to guide the scenery I'm going to do.
But what I'm going to do in my next volume is, I think, a conspiracy. And I don't think I've ever planned anything - not least on a large scale, for example with several different personalities, timelines and sys-tems. Most of the time I deal with psychology and what I call "the action of a day".
It' s just that my next volume will get a little more of the thriller/MacGuffin thing, that is, in given schemes, from which different and relentless repercussions. JF: I really loved to write editing teeth. So I almost wish the write of my next novel could come with a little bay flask of amnesia-inducing drink so that I could restore the pureness of the cuttin' teeth I had.
Sometimes it really felt like I was going to scribble to write. I had hoped the back of my head that the volume would come out, of course, but I had very little faith in the fulfillment of this one. Much has been said about the "Sophomore novel" and I can see how much, if it is the truth - that another novel's composition can be a battle so soon after the ups and downs of its pub.
However, I'm unhappy when I'm not and my new novel is feeling like a nice withdrawal right now when I find the chance to go there. SC: Well, at least in my opinion, the first novel sounds real as "the atlas. I try to make something out of the whole "I", and I would also like to take less of my own to do the thing.
And the first one is overwhelming. You feel like trying to raise an enormous load above your mind and keep it in balance so that it doesn't drop and snap, yet the load is added over and over again, and somehow you're the one who adds it all (research; complex storylines; pointless, illogical, incredible actions; more and more research; thick, dull prose).
It is my aim next timeto not put more than I need. AG: Well, it would take me less than six years to do it. I would also like to make the story less planned. I was a little scared with this one when I tried to compose a novel without a fairly clear idea where I wanted to go.
I want to try to write with a less resolute flight path - to let the character take more leadership. When I first saw the writers say that they had written novels for five, six or ten years, I was in awe. I now know that these years are devoted to having job, abandoning the job, trying out a new novel, pick it up, going to Spain to chase your bad double, start the story all over again and so on.
So how long did it take from the initial idea to the final design? Are the other ledgers you began and put aside during this period? JF: I haven't written for many years. I know that sometimes authors pant when I tell them that, but I have to tell the honest story! In 2002, when my first novel was turned down by virtually all editors in New York, I quit for at least a year.
I' ve had a ten one-night stalls with bright novel novels that stayed up all dark just to waken up in the mornings and realise that the idea wasn't as heated anywhere as I had fancy. I have always been a quick author, so I can write a thousand words a word every single workingday which means that my review is probably longer than most authors of novels, but I have produced pages and pages of letters all these years, but none of them "stuck".
" When my second kid turned 2 in 2011, I said to myself that I would try to be a "writer" again. "I wanted to do a goddamn novel or stop beat myself up because I didn't do a novel. So, I redoubled my babysitter lessons (nothing like a babysitter to boost your motivation), joined the Writer's Space and gave me a target - a volume to complete any work.
I' ve written Editing Teaeth in nine month and noticed that in the last 10 years I've actually been occupied with being a "writer", and that didn't always mean to write every single working days, but to think, observe and teach, always with a writer's view. In the initial phase I noted and sketched a great deal and prepared a list of each character's customs, mistakes, mysteries, anxieties, wishes and remembrances - each page was at least 20 pages long when I completed the work.
During the 10 years I used to teach many scribbling studios before I wrote Cuttings Teeth, it was crucial that I could start my work so quickly, especially the years of novelists' studios that I used to teach and the many books (of my students) that I published. In the past I believed that it took authors so long to complete a work.
That' s why I planned my script so meticulously - I thought it would keep me on course. I got a new one, which did happen a few of the time, and I was so overwhelmed at first, working 60 or 70 lessons a day, that it could be a month in which I was fortunate enough to be able to work 15 or 20 min a workday.
I was able to spare a few hours of my life and take some of my spare working hours off, and I did a great deal more during those years. And I was sure that I would end the work. I' ve finished the first design. The Made to Break publishing story is a little untypical because it took 16 years to get it printed.
Because I won't get in here, I came across an obstruction the following fall that kept me from continuing to work, so I put the script aside and went back to the story and poem libraries I had worked on before Made to Break in thepring. When I graduated from high schools, I delved into another novel and completed it, and then into another one.
I kept repeating this sample until I sell the volume at the end of 2012. So, if I had to say how much I put into the thing, it would probably take about nine to a year. SC: I'm not one of those guys with a novel in a draw.
It sometimes seemed as if a weapon was held to my orbit. This was not a logical act, and it all took me about six years (high-five, Alena) taking care of the pub, going to a typing programme, getting a decent career in editing, getting remarried and convincing my liberal woman to let me resign and end the work.
Authors are always asked about their literature, but can I ask you what other things (films, pictures, conversations you heard in a pub, whatever) affected the novel? From the very beginning, the web and the way we use it to build relations that can at the same time seem to be both private and detached has had a great impact on cuttin' eth.
I am as lonesome as the next man, even though they are often around me with boyfriends, families and cubs. I would have been laughing if you had said to me 10 (or even five) years ago that I was writing a novel that contained a wide range of web pages, among them messages board, text, forums chat, email and more.
However, when I began to write Cuttings Teeth, I knew that the novel had to mirror the hyper-real awareness of its protagonists, and it would be unauthentic not to involve the cyber. I' m thinking of it as a dialogue between me and something, or someone else. Much of my spending is taking into account the natural nature of the scenery I am filming about.
So what could the different saplings of Queens, Southern California, or Woodford, Kentucky, say about the different kinds of humans who are there? I' m trying to be guided as much as possible by it, both the places I write about and the places where I actually write. ON RADIO: Oh, man, that's hard because I did that script so long ago.
In those days I think I saw a bunch of Fellini, Kurosawa, Kubrick, Tarkovsky, and among other things this very, very cold Tarantino pulled off so grossly that it's difficult to believe that he can walk out the front doors with a right face, Seijun Suzuki, who made these really gobmacking movies about the yakuzas, youth of the animal and burned to death, which are especially my favourites.
Also, the musical style is Made to Breaking - its working name was Mud Song for a long period of my life, and I had designed it from the beginning as a full length work. I would say that there are almost 60 tracks or hints of tracks and dance and bands which I would say most of were in some way or other influence at that age.
I didn't know much about it at the moment about paintings and paintings, but since one of the figures in the work is a painter's manque, the storyteller is referring to types like Winslow Homer and Arthur Dove and Marsden Hartley. I remember standing on Edward Hopper - I still am - but also on many Surreal and Dada and Expressionists - Duchamp and Max Beckman and Otto Dix and them - and then also on people from the middle of the century like Rothko and Twombly and popular performers like Rauschenberg and Lichtenstein and even Warhol, which I have ceremonially foregone since.
Those are the artists I had in mind most of my stay in front of the school. I can say that the way they came closer to their own themes, their composing prospects and atmospheres, things like these, have had a profound influence on my own work and view.
AG: I thought about the work so long that I collected a whole untidy, glittering hive of influence. What has your involvement with the "literary world" (whatever you want) done to promote or hinder your work? The unbelievable authors and people I know have made my own writings and my own lives so much better and wealthier in a different way.
EF: The longest period after I quit college, I was a bullheaded loner. So I created a website and used it as a place for those essay writing, the best I could ever do, because some of them were released almost immediately.
I' d also been on Facebook and Tumblr and Twitter, and before the year was over I had been selling my album. Now, unexpectedly, I have a fairly large fellowship of authors. - I am a friend of both Julia and Scott, and they are just some of the many individuals I deal with every day.
There' s the introductions, the books and the lectures, and without them I wouldn't have done much of the good mates I have now, or I would probably ever see them differently. It' s like a huge and morbid moving party (lame play on words ), and I'm glad to have a seat at the game.
There are never-ending happenings when you are fond of literature, and all of them burst with enthusiasm for having you there. This means that if you waste too much of your spare minute eating, you don't waste enough of your precious read or write in. Because my Lords, Buchleute can innocent drunk. At the same bookstore, the "literary world" is also the long day I spent at The Housing Works Bookstore Café where I read, write or write and find myself in calm, beautiful discussions with the interesting newcomers.
Might as well be complaining on the telephone with my friend Alex, a great author, about trite things just so we can't do any work. A great deal of mad motivations are needed to see for yourself that you can build an imaginary universe inhabited by imagined personalities and seamlessly provide it so that a readership - a foreigner - can buy them all as REP.
If you are around someone who not only loves this deception but does not consider it unplausible, it will remind you that anything is possible. Would you like great weekly reviews in your mail?