Monday, April 26, 2010

Constructive criticism:heed it or stay on the slush pile

When someone in the publishing industry tells you why they're turning down your work, by all means punch a pillow or kick a door to deal with your hurt pride. You may then shove the rejected typescript into a drawer, not wanting to risk further rejection. Alternatively, you may send it out again to someone else, thinking the first person has poor judgement.

Maybe at this stage it's better to tell yourself,  if a publisher or agent has bothered to say anything outside of the standard rejection, then it's probably a compliment to me (unless it's to tell you you're absolute rubbish and to give up writing for ever).

If a second or third publisher or agent says the same thing, then don't waste postage on sending your typescript out to anyone else until you've given the offending flaws in your writing major consideration.

This is when it's the right time to put your work aside and examine the alternative techniques successfully published writers employ to say what they want to say. Sometimes you'll come across the very flaws in their writing that you're meant to possess. These flaws, apart from making you wonder how they've managed to get published, will probably also irritate you like crazy.  The difference between you and them, is that they have a publishing track record and you're an unknown. This means you can't get away with breaking the rules like them.

One agent, two publishers, and now my son (who is reading for a BA in Creative Writing) have told me that my writing is really good, except for a couple of faults. The first is an occasional slip into telling rather than showing, for example, using adverbs and adjectives where dramatisation would work better. The second is author intrusion, especially when I go all preachy over some moral/ethical issue that I feel strongly about, so it's no longer my fictional character's voice but my voice talking. 

Whoops ... I do hope you don't think this post is preachy!

I'm off to do a strenuous rewrite of my latest novel now, having already found a model of brilliant writing in Philip Pullman's "Dark Matter Trilogy", which I've spent the last couple of months reading.

My next post will show some "before" and "after" examples of my work subjected to the literary pruning sheers.               

Friday, April 2, 2010

One publisher's meat is many publishers' poison

The list below speaks for itself, although it's impossible to vouch 100 per cent for its accuracy as different sources do quote slightly different figures, but the overall impression is of some shockingly bad calls on the part of publishers and agents over the years.  In their defence, they do have the fairly awesome task of second-guessing what novels the reading public will want one year to eighteen months in advance. Also, the version of a novel they reject may not be the one that finally sees print.


Harry Potter and the Philosopher's Stone (J.K. Rowling):
8-14 rejections... SOLD 400 million copies of all her books added together.

Watership Down (Richard Adams):
26 rejections... SOLD  1 million+ copies.

Lord of the Flies (William Golding):
20 rejections... SOLD 14.5 million copies.

Jonathan Livingstone Seagull (Richard Bach):
140 rejections... SOLD 40 million copies.

Catch-22 (Joseph Heller):
29 rejections... SOLD 10 million copies.

Lust for Life (Irving Stone):
16+ rejections... SOLD 25 million+copies.

A Wrinkle in Time (Madeleine L'Engle):
30 rejections (took 10 years to get published)... SOLD 6 million+ copies.   

Carrie (Stephen King):
30+ rejections... SOLD has sold over 350 million copies of all his books together.  

The Thomas Berryman Number (James Patterson):
24+ rejections...SOLD 160 million copies of all his books together.

A Time to Kill (John Grisham):
45 rejections (15 publishers/30 agents)... SOLD 60 million + of all his books together.

Does this list encourage or discourage aspiring novelists? Which of the above novels were taken on in a recession? Would they be taken on in this recession if they had landed on a publisher's or an agent's desk? Were there more publishing houses then than now? How many fewer publishers/agents accept unsolicited submissions? Are there any junior editors in the employ of large publishing houses with the time to discover new talent, or guide a promising writer through a rewrite? 

To close on a positive note, there is still such a thing as the love factor an editor has for a particular novel. It does happen and why shouldn't it happen with my novel or yours? Meanwhile, us aspiring novelists must keep up our self-belief and determination.