8 Rituals to Get You Focused*

“My only ritual is to just sit down and write, write every day.”

—Augusten Burroughs

I chose eight, ’cause I like eight. Eight is the number of new beginnings. Retaining focus on a project, task, or goal for me requires that I regularly reinvent a new way to see my actions toward or completing any of the things I am responsible for. I stay focused when I am able to see into the various angles and rhythms of what is set before me to accomplish. That keeps it fresh and regenerative for me, so that I don’t lose interest and wander from it completely. I do believe that if you have carefully considered how something plays into your life plan and purpose and you set out to begin it, you should finish it. It sets you up to trust yourself. Another thing that Americans regularly avoid that directly affects focus and concentration is good sleep. Don’t neglect the basics and think you will have peak performance. When you are rested, you are better able to handle temptations and stressors that take you off task and out of your game.

As you consider the things I’ve compiled below, think on the why of your task. Purpose breeds focused, intentional, and deliberate action over a long period of time or until the purpose is achieved. Then, consider getting a good night's sleep before you enact your plans to take over the world.

A Few Focus Rituals 

Please note that this isn’t meant to be a comprehensive list, nor am I suggesting you do all of these. It’s a list of ideas—you should try ones that seem best suited for your situation, and test them out to see what works best. Oh, and the thing about rituals, they aren’t easily dismissed. When you set yourself in a pattern that has significance and produces positive results, you are more likely to include it in your regular daily practices. Rituals have a way of empowering you even when you are feeling less than inspired.

1. Morning quiet. You start your day in quiet, before the busyness of the world intrudes on your peace of mind. If you live with others, you might want to wake before they do. The key to enjoying this focus ritual is not going online. You can turn on the computer if you just want to write. You can have coffee or tea and read. You can meditate, do yoga or some other workout, go for a run, take a walk, or sit quietly and do nothing. I like to listen to the Daily Audio Bible Podcast with its smooth, ambient music playing under the inspirational reading of God’s Word. The key is to take advantage of this peaceful time to rest your mind and focus, however you like.

2. Start of day. Begin your workday by not checking email or any other distractions, but start a simple to-do list on paper or with a text file. On this blank to-do list, just list your three most important tasks. Or if you like, just list the one thing you really want to accomplish today. This helps you to focus on what’s important. Even better: continue this focus ritual by starting immediately on the top task on this short list of most important tasks. Set your focus singly on this important task as long as you can—ideally until it’s done. Now you’ve started your day with focus, and you’ve already accomplished something great.

3. Refocus ritual. While the start-of-day ritual is great, there are lots of things that get in the way to distract you, to mess up your focus. So every hour or two, do a refocus ritual. This only takes a minute or two. You might start it by closing down your browser and maybe other open applications, then you may take a walk for a couple of minutes to clear your head and get your blood circulating. Then return to your list of most important tasks and figure out what you need to accomplish next. Before you check email again or go back online, work on that important task for as long as you can. Repeat this refocus ritual throughout the day to bring yourself back. It’s also nice to take some nice deep breaths to focus yourself back on the present.

4. Alternate focus and rest. This is almost like intervals in exercise—alternating between periods of hard exercise and rest works well because it allows you to do some pretty intense exercise, as long as you allow yourself some rest. Focus works much the same way: if you give yourself built-in periods of rest, you can get some great periods of focus. There are many variations on this, but some ideas might include: ten minutes of focus followed by two minutes of rest; twenty-five minutes of focus then five minutes of rest; forty-five minutes of focus then fifteen minutes of rest. You get the idea. You’ll need to experiment to find the length and mixture that works best for you. Some prefer short bursts and others like longer periods of undisturbed creativity.

5. Alternate two focuses. Instead of alternating between focus and rest, you could alternate between two different focuses. For example, you could work on two different projects at once, or study for two different classes at once. I’d suggest not switching too rapidly, because there’s a short period of adjustment each time you switch. But you could work for ten minutes on one thing and then ten on another, or stay focused on one as long as you are interested in it then switch when your interest lags. The great thing about this method is that switching to a new project can help give your brain a rest from the other project, and it can keep you creating for much longer before getting distracted.

6. Communicate first then blocks of focus. Set a timer and give yourself forty-five minutes to do email, Twitter, Facebook, IM, and any reading you would normally do. Then use an Internet blocker to block these distractions for a couple of hours (up to three to four hours if you like) while you focus on creating. Then another forty-five minutes of communicating and reading, followed by another block of distraction-free focus.

7. End of day. At the end of each day, you might review what you did, think of what can be improved, remind yourself to disconnect for the rest of the evening, and think about what you’ll focus on tomorrow. It’s a good time to reflect on your day and your life in general.

8. Weekly focus rituals. While it’s not necessary to do a complete weekly review of everything you’re doing, have done, and plan to do, it can be useful to schedule ten minutes every week to quickly bring your work and life back into the right focus. I suggest you review your projects to make sure you’re not letting them get out of hand; simplify your to-do list as much as possible; review the focus rituals you’ve been doing to see what’s working and what isn’t; and basically reflect on what you’re doing with work and life and whether anything needs to change.

The rituals above are just ideas—you should find the ritual that works best for you. There are an almost infinite number of possibilities.

__________________________

*This blog post was adapted from Leo Babauta, Focus: A Simplicity Manifesto in the Age of Distraction (n.p.: n.d.), public domain (http://focusmanifesto.com/) (accessed January 19, 2011).

What helps you stay focused and creative?

11 Things You Can Do Now to Encourage More Diversity in the Book Market

FOR THE BEGINNER
1. Venture in to any section of the bookstore that shelves books by authors who are not of your ethnic background.

2. Buy a book from that section on something that interests you--fiction or nonfiction.

3. Read the book.

4. Write a brief review of the book and post it on Amazon.com, your blog if you have one, a friend's blog, the author's website, and the like.

5. Recommend the book to your friends who share your same ethnicity.

6. Rinse and repeat.

FOR THE ADVANCED
7. Research and find blogs by people who regularly promote or feature books by people of color. Follow their recommendations on good books--and read them. Many maybe indie or self-published books, but limit discrimination here as well. This is sometimes the best way for a person of color to get their message out.

8. Participate in reader groups or book clubs that discuss books by a diverse collection of authors. There are many online, if you live in a homogenous geographic location.

9. Peruse multicultural or urban bookstores (this can also be done online), buy a book, read it, write a review, and post your review--I think I may have said this already. :) You may be so bold as to send your review directly to the publisher asking for more books like the one you read and liked.

10. Be ready to explore your biases against other ethnicities. Overcome them by allowing childlike wonder to draw you in to reading books by them and about them. Consider the story over the ethnic background of the characters in the book and the artwork on the book cover. You'll be glad you did.

BONUS FOR PARENTS AND CHILD EDUCATORS
11. Buy books for your children/classroom that have stories with diverse characters. Be brave enough to actually talk through the issues presented in the books. ANSWER YOUR CHILDREN'S QUESTIONS about ethnic, social, and cultural issues honestly and with compassion. If you can't, go back to the first two sentences of #10. Also, involve other people who are committed to educating children and adults on diversity issues. Consider that it really does take a village...

These are deliberate actions that will help you step out of your normal reading habits and inclinations. Consider this a challenge for the year. As you become more aware of good books by people of color and find that they are not available in your bookstore, request that the bookstore order more diverse books. Tell your friends to do the same thing. I've done this a few times with hair/beauty supply stores and grocery stores and still find my requested products stocked on their shelves to this day. Stores will stock and promote what sells and it takes a smart and active consumer to help make a difference in what's readily available for purchase.

This is a battle worth fighting with all the bullying and other crimes going on these days. Our active engagement and genuine interest in the lives of people who are different from us helps us to break down the walls that separate us and eliminate the ignorance that makes us fear the unknown.

Will you take the challenge? What other things can you personally do to encourage more diversity in the book market?

On Huck Finn, Tom Sawyer, and the ‘N’ Word

My response to Publishers Weekly and NPR articles on the new editions of Mark Twain's The Adventures of Huckleberry Finn and The Adventures of Tom Sawyer that remove all racial epithets.

“The difference between the almost right word and the right word is really a large matter.”

—Mark Twain

English class was the one place that we could air all our crazy teenage/twenty-something philosophies about the world, history, language, art, religion, fashion, technology, and so much more. I recall it being the one class I never skipped. We hashed out race and gender issues, theological differences, and ideals verses reality. I feel that removing “offensive” language from literary classics robs students and teachers from being able to have these kinds of meetings in the classroom.

Of course teachers should be well trained in how to facilitate effective and beneficial conversations on controversial topics, but I remember leaving my classes feeling enlightened and more aware of my neighbor’s plight. My professors were brilliant! We didn’t have to agree, but we were encouraged to respect and understand.

Are we so politically correct that we are afraid to confront the hard stuff of life head on and then make our way back to common ground? It is a scary thought. My husband and I stay happily married because we aren’t afraid to confront the hard stuff. Our “talks” can get pretty heated. However, we approach them with the desire for understanding each other a little better and being able to empathize with the other’s feelings or position. This is a discipline. Empathy is a discipline. We were taught this at home and at school through many avenues, one of which was open discussion about cultural, religious, and racial differences. Twain's novels encourage this kind of discourse. Do we care that this is at stake with NewSouth Books' way of thinking?

I’d have to say that this removal of the racial epithets in the Twain novels is not the beginning of our lack of addressing cultural/ethnic differences. Our discussions have been decreasing in frequency and substance over the last several decades to the point that our children lack empathy and understanding of people who are different from them. I believe that NewSouth’s thinking is partly the kind of thinking that has contributed to the rise of bullying and cold-heartedness in our schools.

You may be able to hide relics of the past, but the memories bubble up in the form of passive aggression.

NewSouth has continued to stand by their decision to publish the novels without the N word, saying that they have provided a detailed introduction that examines the use and context of various racial slurs and why their edition will not contain them. But I agree with Stephan Tawny, who said in his blog Tuesday, “If the publisher finds it acceptable to confront the language head-on, why not place the note in the front of the book and then leave the original text alone?”

We can rob the upcoming generations of their opportunity to have an understanding of other ethnic groups if we erase the historical context of what makes these ethnic groups who they are. None of us want to glorify the past or stay stuck there, but we need it to stay in tact so that we can grow from it.

What I’ve also been privy to is that the editor, Dr. Alan Gribbean, who sought to make these changes is white, and because I am blessed to have a multiethnic group of friends and colleagues, I understand that my white friends are very sensitive to the N word—sometimes more than I am. It hurts them to the core. So I do hear Dr. Gribbean’s heart on this. However, let’s not cover up the past or erase it. Let’s use it as a learning tool, as a jumping-off point. Maybe from now on, books should be careful to not use the N word.

So what does this one move by NewSouth Books mean? Should we start hiding Uncle Tom’s Cabin and Roots, Birth of a Nation and The Color Purple? Then what do we do about classic books that have demeaning messages about women (The Scarlett Letter was pretty deep) or any other minority group for that matter? Why stop with just those two books?

This is a bad idea. Cover-ups like this have the potential to promote further ignorance, which leads to fear, which leads to hate.

I’m thinking I’d better go buy the editions of these books with the racial slurs in them before they’re all wiped out!

What are you thinking?

Merry Christmas From Paul Lawrence Dunbar

I wanted to wish you all a merry Christmas with a little touch of culture from one of my favorite poets. “Paul Laurence Dunbar was the first African-American to gain national eminence as a poet. His style encompasses two distinct voices—the standard English of the classical poet and the evocative dialect of the turn-of-the-century black community in America. He was gifted in poetry—the way that Mark Twain was in prose—in using dialect to convey character.” You can read more of his bio and works here.

I have included two examples that show the contrast of his unique and masterful styles. So in keeping with the season, please enjoy “Christmas Carol” and “Speakin O’ Christmas” by Paul Lawrence Dunbar.

Christmas Carol

Ring out, ye bells! 

All Nature swells 

With gladness of the wondrous story, 

The world was lorn, 

But Christ is born 

To change our sadness into glory.

Sing, earthlings, sing! 

To-night a King 

Hath come from heaven’s high throne to bless us. 

The outstretched hand 

O’er all the land 

Is raised in pity to caress us.

Come at His call; 

Be joyful all; 

Away with mourning and with sadness! 

The heavenly choir 

With holy fire 

Their voices raise in songs of gladness.

The darkness breaks 

And Dawn awakes, 

Her cheeks suffused with youthful blushes. 

The rocks and stones 

In holy tones 

Are singing sweeter than the thrushes.

Then why should we 

In silence be, 

When Nature lends her voice to praises; 

When heaven and earth 

Proclaim the truth 

Of Him for whom that lone star blazes?

No, be not still, 

But with a will 

Strike all your harps and set them ringing; 

On hill and heath 

Let every breath 

Throw all its power into singing!

Speakin' O' Christmas

Breezes blowin’ midlin’ brisk,

Snow-flakes thro’ the air a—whisk,
Fallin’ kind o’ soft an’ light,
Not enough to make things white,
But jest sorter siftin’ down
So’s to cover tip the brown
Of the world’s rugged ways
‘N’ make things look like holidays.
Not smoothed over, but jest specked.
Sorter strainin’ fur effect,
An’ not quite a-gittin' through
What it started in to do.
Mercy sakes! It docs seem queer
Christmas day is ’most nigh here.
Somehow it don’t seem to me
Christmas like it used to be,—
Christmas with its ice an’ snow,
Christmas of the long ago.
You could feel its stir an’ hum
Weeks an’ weeks before it come;
Somethin’ in the atmosphere
Told you when the day was near,
Didn’t need no almanacs;
That was one o’ Nature’s fac’s.
Every cottage decked out gay—
Cedar wreaths an’ holly spray—
An’ the stores, how they were drest,
Tinsel till you couldn’t rest’
Every winder fixed up pat,
Candy canes, an’ things like that,
Noah’s arks, an’ guns, an’ dolls,
An’ all kinds o’ fol-de-rols.
Then with frosty bells a-chime,
Slidin’ down the hills o’ time,
Right amidst the fun an’ din
Christmas come a bustlin’ in,
Raised his cheery voice to call
Out a welcome to us all;
Hale and hearty, strong an’ bluff,
That was Christmas, sure enough.
Snow knee-deep an’ coastin' fine,
Frozen mill-ponds all ashine,
Seemin’ jest to lay in wait,
Beggin’ you to come an’ skate,
An’ you’d git your gal an’ go
Stumpin’ cheerily thro’ the snow,
Feelin’ pleased an’ skeert an’ warm
‘Cause she had a-hol yore arm.
Why, when Christmas come in, we
Spent the whole glad day in glee
Havin’ fun and feastin’ high
An, some courtin’ on the sly.
Bustin’ in some neighbor's door
An’ then suddenly, before
He could give his voice a lift,
Yellin’ at him, “Christmas gift.”
Now such things are never heard,
“Merry Christmas” is the word.
But it’s only change o’ name,
An' means givin’ jest the same.
There’s too many new-styled ways
Now about the holidays.
I’d jest like once more to see
Christmas like it used to be!

VIDEO: Editor Karen Thomas Talks About the Publishing Process

In a November 2008 interview, Karen R. Thomas, executive editor of Grand Central Publishing at Hachette Book Group, talks about the publishing process with New York Times best-selling author Mary B. Morrison of Making the List. The show has since been discontinued, but this interview includes timeless insights on editing, working with authors, author expectations, top three reasons a manuscript is rejected, best advice for aspiring authors, and the true heart of a good editor. I love this!



Are there any questions from the audience?

Publishing for African American Audiences

The question of the hour is, “How do we reach African American audiences?” But it seems that the question is far too infrequently directed at African Americans. Or if it is asked of them, it seems the answers aren’t good enough. As if somehow the majority knows what’s best for the minority. Answer is given, then “experts” say, “No, that can’t be it. That won’t sell.”

What if publishing for African Americans really is about smaller niche audiences within the larger audience? What if it really is about book clubs and independent reviewers, magazine featurettes and book signings/readings? What if African American audiences don’t trust or rely on mainstream/traditional methods of book marketing? What if it really is about accepting African American views on race, sexually, religion, and politics? And then not just accepting it, but realizing that it may be different than the mainstream and being OK with letting that voice speak out. Is that OK with the publisher asking the question? Are they ready to engage and develop relationships with the channels that would best position African American titles? Can publishers accept and handle the unique demands, expectations, and felt needs of African American readers? I think those are the better questions, not that I can claim to have any of the answers.

I’m not going to even touch the topic of where to place these books in the bookstores—do they get their own section or should they join the rest of the books on their particular subject? Nope, not going there. But here’s what I want to know from African American readers, reviewers, authors/writers, and publishing professionals:

What do you think are the best-selling trends in African American literature both fiction and nonfiction, especially, but not limited to, those with Christian themes? Then, what are the best ways for publishers to market those titles to African Americans? What publishers are doing it well?

10 Things in Publishing for Which I Am Thankful

In no particular order, I am thankful for…

1. Authors—They energize me! I enjoy working with them so much. Their passion, their willingness to work hard, their ideas, their expertise, their teachability, their need for encouragement, their creativity, their ability to review my edits with grace (or at least it seems that way on my end J), their fight… They make the publishing world go ’round.

2. Writers—A little bit different than number one because these are those I would consider as unpublished—those I meet in Twitter chats or at writers’ conferences. But I am grateful to writers for how they express their view of the publishing industry. They are very open about their journey to getting published. As someone who is in publishing but never wanted to be an author, I get to see things through their eyes by reading their blogs, having one-on-ones at conferences, and chatting online. I appreciate their generosity to and support of each other. They form communities so easily. I am thankful they let me peek in from time to time.

3. Publishing houses that still receive unsolicited manuscripts—I am thankful for this because it’s an open door. It’s a chance to dream, hope, and feel that anything is possible. It’s unpretentious. No, I don’t personally like going through all the slush, but I like that writers feel that the company who still does this is approachable and welcomes their ideas. So many of life’s questions are answered with no. It’s nice to see a maybe out there every now and then.

4. e-Books—People are reading more and those who didn’t read are reading now too. What’s not to love about that? These little devices and gadgets, platforms and software are making reading fun for more people. Sure there is still so much to figure out on the licensing, royalties, and best-practices side, but consumers are eating it up. Isn’t that who we do this for?

5. Copyeditors—oh my gosh! Should I cry now or later? Maybe later. Crying at work is so unprofessional. What would publishing be without copyeditors? I have a special place in my heart toward these dear people, because I started there and I know what they have to put up with. It is amazing that, after so many times of correcting a myriad of obvious errors and repeat grammatical offenses, they don’t hold the company at gun point and yell all the rules for the in-house style guide to each of the editors. I am thankful for their diligence, consistency, sharp eye, love for detail, and most of all their grace toward us all—forced though it may be.

6. Managing/executive editors (editorial directors)—throughout my career these have been the special people who look out for me as an editor. They have my back when an author doesn’t like my edits—and even when they do. They encourage me, mentor me, promote me, expand my opportunities, and so many other countless things. They are the ones who fight for their team when we don’t even know a fight needs to be had. They are the rocks, the stabilizers; the insightful ones; the vision-casters. They brand us and tell us who we are to the rest of the company, our authors, and the industry. Thank you!

7. Copublishing—I appreciate this opportunity that some publishers offer to partner with an author and share the financial risk of breaking a new voice into the market. I know that some have argument against this, but that is not where I am coming from. It’s the intention behind it and the option made available. You have a new and growing (but small) platform, you don’t know how to market yourself, you don’t have distribution connections, you need professional editing and award-winning cover design, and you have funds to invest in yourself and your dream. Why not look into copublishing? I am glad that this option is available just as I am appreciative of self-publishing. As a singer, I appreciate the hustle behind being indie. You never have to give up with these options. You never have to give into what a publisher may say about you being unpublishable. With these options, you’re actually not. As far as salability, that’s on you. As I have said other times on this blog: do what you do well. Go all the way in!

8. Social media—where else can someone like me talk to publishing professionals from the big six in New York? Where else can writers/authors have free access to connect with publishing houses, editors, agents, and other writers all over the world? Where else can you continuously and shamelessly post plugs about who you are and what you do? Nowhere, but social networks. I am so very thankful for that. The Twitter chats, LinkedIn groups, and Facebook connections have so enhanced my industry perspective, and in just this one year I feel I have grown exponentially as a publishing professional.

9. Trailblazers, trendsetters, veterans, and legends—if it weren’t for them where would we all be. Because the future is coming at us lightning fast, it is imperative for us to remember where and who we’ve come from. Their lessons learned, their successes, their failures, their courage and bravery are all keys to how we move forward. They had to face new technology and changing markets just as we do today. It’s the cycle of life. We owe huge debts of gratitude for those who’ve gone before us.

10. Change—not spare change, not loose change, not change in my pocket or change between the couch cushions. But movement, evolution, adjusting SOPs, revamping mission statements, clearly defining one’s audience, starting a new imprint, closing down an imprint, consolidating, expanding, stepping outside the box, refocusing, out with the old and in with the new. I like change. If it’s approached correctly, it can fuel growth, and living things grow. Sometimes there are growing pains. Change is hard, but it’s necessary. You may not see the end in sight when a change begins to happen, but, boy, do you breathe easier when all is said and done. Change is not the end of anything, but the beginning of something new. Publishing is changing, but it isn’t going anywhere. And I’m going to stick around to see what comes of all this.

What about book publishing makes you feel thankful?

What the Marketing Behind JayZ's Decoded Teaches Me About Author Platform

I am a fan of hip-hop. I am influenced by hip-hop. I could totally be Sanaa Lathan in Brown Sugar. I grew up during the time when people were saying it was a fad and wouldn’t last. I recall the East Coast vs. West Coast beef. The battles. The violence. The utter shock, genius, and necessity of it all.

I wouldn’t be categorized as a hip-hop head anymore, probably because my tolerance for shock value, language, and violence has changed tremendously since my teens and twenties. Not to mention my spirituality. But I respect it as a music genre, and you will still find some of my favorite hip-hop artists on my iPod.

My point is not to argue for or against the goodness, artistry, or cultural implications of hip-hop, but to simply make a case for why it is still the top responsibility for authors to build platforms for their book projects, second only to writing an incredible manuscript.

I bring JayZ into this scenario not to make any writers irritated by his apparent global celebrity, but to point out the simple fact that even he with his insane iconic image still has to build a literary platform around his new book, Decoded.

Yes, it would seem that he could tell a million people, “Jump,” and that every one of them would ask in unison, “How high, JayZ?” But it can all change when it comes to them flocking to read a book by someone who is in an entirely different industry that is not known in the mainstream for being especially bookish.

His very actions this week prove the validity of my statements. JayZ has sought an intellectual posse and marketing strategy to wrap himself in to be positioned as a worthy member among bibliophiles. This is very smart, and I have loved following it.

He is shifting his platform so that his book will sell. So now he’s saying, “I’m not only rapper, mogul, and CEO but also thinker/writer. Here’s why you need to hear from me in this way.”

Not only did he set a new standard for engaging in social media with his websites and partnership with the search engine Bing, but he has also been on NPR’s Fresh Air with Terry Gross, interviewed with Cornel West and Paul Holdengräber live from the New York Public Library, and spoke with the Associated Press about some political matters. I am not a PR person and certainly not on the inside of JayZ’s crew, but I can see his calculated effort to build a literary following.

I can predict that people who don’t necessarily listen to his music will most certainly buy his book because of this genius promotional repositioning plan.

Another thing that strikes me is that he and his team are working hard to keep the “memoir” and “autobiography” categories from pigeonholing his book even more. Personal memoirs, autobiographies, testimonies can be a hard sell, even for famous people.

So if he, with all his fame and fortune, is doing all this strategizing and working very hard to be “seen” in literary circles as an intellectual and creating innovative ways to leverage social media, why would any other author with less fame think that somehow they would not have to work to promote themselves and build an audience for their book? That the publishing company would do this for them? While his access to media and various venues is very different from the average writer, there is no reason to think that it is easy for him or that he just loves to promote himself. It’s his job to make it look that way; he’s a hustler (and I mean literally a hard worker).

What are your thoughts on the rapper-turned-author? (Only nice, objective, and observatory comments allowed, please.)

The Secret Life of Acquisitions

There’s one thing I think we all—editors, agents, writers, and published authors—can take for granted from time to time during the submissions and acquisitions process. But I think we can all take it down a notch and recognize this one thing—process breeds relationship. Or, maybe I should say, process can breed relationship.

With all the hustle and bustle and demands of the market, we sometimes forget that we are people involved with connecting to other people at some of the deepest, most intimate levels—our passions.

Over the last year or so, I have found myself involved in acquisitions more and more, and what brings me such joy is that I am connecting with and sharing in people’s dreams. I have the privilege of listening to these very special stories that each impact me in their own special way. It is awesome to see their diversity of expression and the various views many have written—some on the same topic. Then there’s the eating together, the e-mails, the cards, the laughter, the butterflies in my stomach (writers aren’t the only ones a little scared), the Facebook posts, the tweets… I really could go on.

Acquisitions is not only about a publishing house meeting this season’s budget or an author becoming an overnight celebrity, but it is also about a meeting of the minds, opportunities to influence culture, and even a chance to share in someone else’s life journey.

I think we should think about these things more. If we thought more like this, I could see more of a community begin to form where editors and agents are not ogres and writers’ pitches are not time wasters. If you’re a writer, you should read my other post called “Editors Are People Too” and see that editors can closely relate to your struggle with pitching ideas and preparing queries. We have to do the same thing, and we get turned down a lot too.

It’s unfortunate that some of the decision-makers respond to pitches as if they themselves have never been rejected or as if they never were nervous when making a presentation that felt like it could make or break them.

On the flip side, publishing houses are not just there to used by “writers” as a get-rich-quick scheme. While I am not addressing those who do not see publishing this way, I have actually been told by a querying author that if we weren’t going to pay him to do his book so that he didn’t have to work then he saw no value in publishing. All right then, sir with no platform or real passion for writing.

It probably can’t be said enough that publishers are taking a risk by partnering with a new author, and they have a strong vested interest in seeing the author grow and come into his/her own. The goal is not to destroy art and creativity, but to corral it and aim it to benefit as many readers as possible. Consider that what’s behind the “big machine” of publishing are people who use their talents and expertise to pour into the success of the author. They too have an attachment to seeing their efforts take flight.

There are those few authors who see this, and they are some of the favorites amongst the book publishing teams. They understand people power. They are thought of first when opportunities for new book ideas or imprint growth and expansion are discussed.

It’s the editor who connects with an author in a special way, who gets introduced or recommended to that author’s writer friend, and together they produce a best seller.

It’s the writer who was specially gifted and surrounded by this unique awareness but didn’t necessarily fit with this one agent, but they get recommended to another agent who has the perfect place for them. 

Maybe I’m an idealist, but at least there’s something to strive for.

Beyond acquisitions and queries, we’re just people with dreams, with gifts and talents, with a desire to be understood and accepted… And when we connect on that level we are able to help each other leverage the right opportunities that lead to our collective success.

I’ve come to appreciate the relationships I’ve formed with some new writers this year. Perhaps I wasn’t able to sell their idea to the team, but I am in one way or another invested in and rooting for their success. I remember them. I think of them often. I have their thank-you notes posted on my wall and keep a file full of their e-mails. I value them.

Acquisitions is about relationships. Who can I connect with today?

Serious Editorial Advice: Be You!

I just wanted to send out a little encouragement today. I often get queries or requests from writers wanting to be published, and sometimes they don’t fit in with what we publish at the company I work for. And this post is not just for them, but it is for you as well. Regardless of being turned down by one or another publisher, agent, or editor, there is still room for you. Your story is your story. It is unique and was meant to touch someone—even if that someone is you. Don’t give up on your dreams of being published. Don’t be put off by rejections. Fine-tune your skills, hone your craft, learn the industry (should I repeat that?), and let your character speak louder than your words. This will quell many arguments and make it harder for the decision-makers to say no. But let me just say: don’t go in half-way. Always present your best self. Go big or go home.

There is one quote that encourages me all the time. With me being sort of an introvert, I can sometimes feel down about being “too different” from those around me. But these words always make me feel like I can still shine, that I am supposed to shine, and that I better shine in my own way or someone else is going to miss out!

Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness, that most frightens us. We ask ourselves, who am I to be brilliant, gorgeous, talented, and fabulous? Actually, who are you not to be? You are a child of God. Your playing small doesn't serve the world. There's nothing enlightened about shrinking so that other people won't feel insecure around you. We are all meant to shine, as children do. We are born to make manifest the glory of God that is within us. It's not just in some of us, it's in everyone. And as we let our own light shine, we unconsciously give other people permission to do the same. As we are liberated from our own fear, our presence automatically liberates others.

—Marianne Williamson

Another one that makes me sit up a little taller in the midst of my uniqueness is this one from the Bible.

You are here to be salt-seasoning that brings out the God-flavors of this earth….You are here to be light, bringing out the God-colors in the world….Keep open house; be generous with your [life].

—Matthew 5, The Message

We are a reflection of the beautiful diversity of creation. So what there are genres and rules and agents and editors and publishing houses with submission guidelines. You can still shine. You are supposed to be different. Your writing is not supposed to be like this one or that one. You have the power to take your uniqueness and master it so that it is impressed on the culture in such a way that makes an impact. Write that fiction in first person, present tense, but go all the way and make it exceptional.

Do you get it? If you don’t fit in “here,” find where you do fit. Get in where you fit in—you’ve heard that before, yes? Don’t squish yourself into a box that wasn’t made for you.

Oh, wow, this is all so very liberating, right? But it’s just the beginning. You have to kill it! You have to work it! There's no acting "brand new" when the curtain goes up. Once you hit the stage, you are on!

So here's the real question: Do you have the guts to go all the way in and really be you?

How to Really Make an Editor Mad

This really has very little to do with editorial mechanics, publishing trends, or book queries. What this has to do with is way more important than any of that junk. This is about how other publishing professionals introduce editors to outsiders.

Whoa-ho, does it make me angry when someone brings a guest around to our department and says, “OK, Mr. Johnson, in here we have Jevon Bolden, one of our editors. She makes sure words are spelled correctly and commas are in place…” Instantly, a dark shadow is cast over my genuine friendliness and I am forced to endure the rest of the introduction with a frozen smile. I don't even hear anything else being said.

I do what?!

No, sir or madam, I am much more than a spell-checker and comma-keeper! You don’t even know what I do for you here!

Do you want to know the truth of what I do? Do you? I don’t think you really do. You can’t handle the truth!

Fine. Let me put it to you this way:

We live in a world that has walls, and those walls have to be guarded by people with pens. Whose gonna do it? You? You, Lt. Weinburg (I mean, sir/madam)? I have a greater responsibility than you could possibly fathom. And you come in here talking about me keeping commas and spelling words right… Well, I guess you have that luxury. You have the luxury of not knowing what I know. And my existence, while menial and incomprehensible to you, saves lives. You don’t want the truth because deep down in places you don’t talk about at parties, you want me on that wall. You need me on that wall. We use words like libel, permissions, licensing, sourcing, consistency, readability, company and author reputation. We use these words as the backbone of a life spent defending something. You use them as a punch line. I have neither the time nor the inclination to explain myself to a man who rises and sleeps under the blanket of the very legal and face-saving protection that I provide, and then questions the manner in which I provide it. I would rather you just said thank you, and went on your way…

*snaps out of raging trance* Oh my gosh, I have no idea where that came from. I guess I had so much resentment built up that it came out in the voice of Jack Nicholas’s character in A Few Good Men. Sorry, little imaginary person I just went off on. I hope I didn’t scare you.

Anyhoo, that’s me being silly…

While editing is certainly not that deep, it really is horribly undervalued. So many times our peers get so concerned with the bottom line and meeting sales goals that they forget that the meat and context of the book matters very much to READERS and to the reputations of the company and authors.

I would love to see what would occur in one book season if editors everywhere took a hiatus. There would be lawsuits, lots more returns, consumers would lose confidence in book publishers, many authors would lose credibility, and people would be putting “freshly ground black people” in their recipes instead freshly ground black pepper. The world would be a scary place.

So here’s the deal: next time you (noneditorial publishing peer) introduce an editor to an outsider, say this: “Mr. Johnson, I’d like to introduce you to Jevon Bolden, one of the editors here. She keeps us looking sharp and helps our authors put their best face forward in the market.” Or if you still don’t have a clue, say, “Mr. Johnson, I’d like you to meet Jevon Bolden, one of the editors here. Jevon, why don’t you tell Mr. Johnson what you do for us?”

Cool? Cool.

OK, I think I’ve said it all. I may have lost some friends, but, man, do I feel better!

Editors Are People Too

Just sitting here thinking over what was asked of me during our scheduling meeting this morning, and I must admit to having some butterflies. I am pitching two books I found at a writers’ conference earlier this year at our next acquisitions meeting. Being a developmental editor (not an acquisitions editor), this is my first time in seven years accompanying one of my book ideas to an acquisitions meeting. In the past, I’ve come up with ideas and prepared proposals, reviewed and approved or denied submissions, and redeveloped backlist titles that were taken in by the managing editor or editorial director. But now it’s time for me to go deeper and take my ideas in myself, and I am excited about the prospects.

The interesting thing I’ve noticed is that writers get the impression that editors are emotional bricks—cold and lacking empathy toward a writer’s journey to publication. I remember writers approaching me with much trepidation—some even cried—at my last writers’ conference. Let me assure you that editors are people—not evil book cyborgs. We actually know first-hand what a querying writer goes through—on some level.

In a few weeks, I will be taking some ideas to a team of people who usually say no. Not because that’s their favorite word, but because there are so many variables and combinations of variables to ensuring a successful book. I am going to this meeting knowing this. Then not only that, but also what if my pitch is missing some important element, how will they view me as an editor? Will they think I don’t have my ear to the ground of what’s hot and what’s not in the industry? Will they wonder what the heck have I been doing with my time? Will they question if I am a value to the team or just taking up space? And yet even more, will they tell me so to my face? See, editors face rejection and have insecurities too.

You must understand me a bit more here: I have confidence in my position and who I am within my company. I feel that I can anticipate some of the negative responses and even their constructive feedback and actually prepare in advance for those things. I think that is a key to a good pitch—preparing, yes, but then preparing for objections and offering ways to overcome them.

I know that I’ll be nervous, but I know that I will do a great job. I will do my homework, and I will be solid.

When I receive pitches from writers, it is this confidence and this level of preparation that hooks me. I am human just like they are. I know they may be nervous. I know they may think no is my favorite word. But it’s not.

Side note: I actually try to avoid the word no a lot of the time, because giving some level of hope through redirection helps boost confidence, I think. I am sensitive to that. It’s one of the many great lessons I learned while I was in banking.

What I also know is that writers have every opportunity to beef up their knowledge about the industry, building a platform, the publishers/agents to whom they submit ideas, and how to make their work great. The same goes for me as I go into pitch my ideas before a room full of exec VPs, sales and marketing folk, editorial directors, and department heads. Oh, and by the way, this will be my second time selling the ideas, and if they like the ideas in this next round, I’ll have to sell them many more times.

Now that I think about it, my pitching process is scarier than a writer’s. No, I know it’s all perspective.

But let me just say this to the writers: once you’ve sold an editor or even an agent on your book, we have to then go and sell it a million more times, facing rejection and judgment just like you do. Hence, the reason for us wanting so badly for you to do your best on what you bring to us.

What makes you most nervous about pitching a book idea?

What Good Are Agents for Indie Authors?

Just the other day, I posted a comparison of what an indie author would need vs. what an indie musician would need to make their project available to a waiting audience. At the top of the list, I had “manager” for the indie musician and “agent” for the indie author. There was one comment from Vanessa O’Loughlin 
of www.inkwellwriters.ie that said:

"Your Key Player list though is pulling on both self-publishing and traditional publishing, which may be confusing for some writers. If you are self-publishing, you don’t need an agent.”

While I had to rethink what I had said and respond to her comment with what I intended to say, I have since mused over what services an agent may indeed be able to provide an indie author.

Vanessa was right in part, but in a #litchat Twitter discussion today, @JulieBritt asked a brilliant question: “What about selling movie, TV, or technology-not-yet-invented rights. How do you do that without an agent?”

One answer, of course, is simply that you can do whatever you need to do to get your book into the venues and formats you desire without having an agent, but do you want to venture into that without a professional guide?

Many writers want to be able to focus on the creative part of their work without having to focus so much on the business aspects. I understand that this is largely impossible these days, but that’s where my Heavy Hitters for Writers list really shows its value. A writer really should find ways to delegate some of the publishing responsibilities to their network. It actually takes a village to raise a good book (or music project). Publishing companies have teams of people on hand to make one book a success. How much more for the indie author?

Who would fill the top slot of managing an indie writer's career if not an agent?

This is how I understand it from a music perspective: I may not ever want a traditional recording deal, but it is wise for me to acquire an industry-savvy manager who can guide me through making the best decisions about performance contracts for live shows, TV appearances, and compilation projects; commercial endorsements or movies; merchandise, image, and branding; and what venues to perform in. And then he'll even be my muscle when it comes time to collect honorariums, royalties, and other fees. So my need for a manager goes beyond me wanting to be represented in front of record labels; he is there to support me in all my music endeavors. Of course, I am taking responsibility to educate myself and obtain the best basic information I can, however, I don't have to do it all myself.

Just the same, agents have a specialized knowledge of the book publishing industry that covers everything from pointing out content issues in a book to protecting intellectual property rights to helping a writer plan a long-term writing career. But, traditionally, agents are there to represent authors who will eventually go the mainstream publishing avenue by selling their manuscripts to publishers.

So here’s my question: as the book publishing landscape continues to evolve and the quality of self-publishing changes connotations and takes on a more credible indie feel, will agents make themselves available to indie authors to help them navigate derivative product and multimedia options for their books? Will it ever be necessary for an author who is indie by choice to acquire the services of an agent?

Are Book Bloggers Becoming Like the Radio DJs of the 50s and 60s?

Once again I pose a question that links my two worlds: music and books.

I was reading in The Indie Band Survival Guide (yes, I am eating this book for breakfast) that radio DJs used to be paid by recording companies to place new music from their recording artists into their daily rotation (or playlist). Don’t act like you don’t know what I’m talking about. You’ve heard of payola. Artists became overnight sensations and their songs instant hits just because their record company had the clout and money to pay enough major-media-market DJs to play their singles. This scenario was portrayed in the Tom Hanks' movie That Thing You Do. Supposedly there were laws passed once the practice got way out of hand, and paying DJs to play certain music was outlawed. According to the book, paying DJs still goes on but through third party promoters, advertisements, and gifting stations with things like vans and concert tickets. Rules are made to be…bent, I guess.

Of course I would never accuse my industry of doing any sort of behavior that would bring its integrity into question. I am only acknowledging the growing influence of book bloggers. I am beginning to see sprinkles of comments on Twitter about publishers needing to send chocolate with their ARCs to “encourage” bloggers to do reviews—and even to do them on a timely basis that coincides with the book’s release. I don't know that they ever get chocolate, but how is that much different than editors being sent sweet treats and being taken out for lunch or dinner? However, I am sure that most publishers are like mine in that they have strict policies about receiving or accepting gifts from clients. I wonder if those kinds of boundaries will need to be in place for book reviewers.

With the Net taking over every form of communication, book bloggers wield some hard-to-match marketing power—for little or nothing. Their opinions and recommendations are revered for their straightforwardness and honesty, and readers buy based on their recs. Many of them have their reviews set up to be automatically posted to Facebook, Twitter, and Amazon.com. So if they say a book is good, then a book is good. If not, well… Hundreds and thousands of potential readers are all at once able to be influenced by what they have to say.

Publishers and authors are becoming more aware of what book review bloggers can do for the sales of their books. My own publishing house has started a book blogger club, Thomas Nelson has BookSneeze, and I’m sure other publishers have them as well.

I wonder if any of them have gone beyond offering free books to get book bloggers to feature their books on their sites. On a side note: I wonder if publishers ever use comments from the more popular book bloggers on back cover copy.

What do you think? What have you heard?

Who Says You Need a Publisher?

Yeah, yeah, yeah… I know. I work for “the man.” But some recent happenings in my life got me thinking…

If in music, unsigned can equal indie, and, in car sales, used is now preowned, then what will happen with the term self-published?

Because of the parallel life that I lead as an “unsigned” recording artist, I often run smack dab into crossover experiences that literary writers have. I think that may also cause me to respond in a more careful way when I review their work as a book editor. I feel blessed being able to see both sides of the journey.

Sometimes I wonder why so many writers appear desperate to be published by a publishing company, when there are just so many other options to getting their message out to the world. Traditional publishing is changing in such a big way these days, and in ways so similar to how the music recording industry changed. From fixed media like tapes and CDs to digital media transferers such as Napster, Rhapsody, iTunes, and MP3s streaming from the artist’s Web sites—from print books to e-books (and just the other day I saw an author offering readers a free read of their book “streaming” on their Web site), how can we except the big frown from “them” about the validity of self-publishing?

Just as consumers think that somehow they are of a special breed when they find a new indie recording artist, readers are going to begin to find it very cool to discover a new “indie” writer. However, quality makes all the difference. Put some money, time, strategy, research, networking, and hard work behind it and who will know the difference between a self-pub and traditionally pubbed book on the shelf or on iBooks?

Come to think of it, that may be why aspiring recording artists and literary writers are looking for record companies or traditional publishers to discover them—they don’t want to put in the work. The irony of it all is that, even if you do land a recording or publishing contract, you will still have to put in the work to build your brand and build a following. The difference in the end is who earns the larger return—you, if you self-pub or go indie; or, the sponsoring company.

Making Your Way

The same way I find myself “making my way in the world today” (I used to love that show Cheers) as a singer is the same way an author can make their way—and it will take everything you’ve got. There are certain positions I need to fill (or have filled) in order to have my music reach the ears of my audience. These are the same people a writer would need to employ in order to have their book reach their intended audience. I think the only drawback to actually being a “self-published” author is the stigma. But what did it look like for unsigned recording artists a decade or more ago when they sold their music out of their car trunks? Not so hot.

But with new technological advances, digital publishing companies, iBooks and Amazon self-pub options, and the services of professional free agents such as editors, designers, Web masters, publicists, and so on, why do you really need a publishing company? You can be “hot” without them, if you work it.

I’ve figured that as a musician, I actually don’t have to sit around and wait for a record company to discover me. If it’s about the money, I’m obviously not very smart because 1) advances are not given out like candy anymore, 2) if I do get an advance everything I earn (royalties) goes first toward paying back my advance, and 3) the work that I slaved over isn’t even mine—EVER! The recording company maintains the ownership and all the rights to the music I create under contract with them. This is somewhat different in book publishing, depending on how you work your contract. Some allow you to have your rights back after so many years.

What You’ll Need

I mentioned a bit earlier that there are some key people I need in my corner to make a successful run at being an indie artist. I want to share those with you, because if you are a writer you may find that these same people could make your dreams come true faster than waiting on an “accept” letter from your dream publisher—and you may already know them.

Key Players for a Musician*	Heavy Hitters for a Writer
Manager (to represent me and help me navigate the music industry)	Literary agent (to represent you and help you navigate the book market)
Booker (for getting me shows, gigs, appearances)	Booker (for speaking events and signings)
Distributor (getting the music out in the desired channels)	Distributor (help for getting your book in stores)
Web designer (artist web page)	Web designer (author web page)
Web master (online store and other Web necessities)	Web master (online store and other Web necessities)
Graphic artist (logos, CD covers, press kit, posters, etc.)	Graphic artist (book cover design, one sheet design, press kit, brochures, business cards)
Publicist (press releases, media contacts, promotion)	Publicist (press releases, media contacts, promotion)
Photographer	Photographer
Recording producer (CD concept, song selection, booking musicians and studio time, song design and arrangement)	Book editor (developmental editing/outlining)
Recording engineer (to run recording studio sessions, mixing and mastering for flow and consistency of sound levels within and between songs)	Book editor (substantive, content, line editing, proofreading)
TV/film camera crew (music videos, YouTube videos, footage from live shows, interviews, or other appearances)	TV/film camera crew (book trailers, YouTube videos, promo videos, footage from speaking engagements or appearances)
TV/film editor	TV/film editor
Attorney	Attorney
Accountant	Accountant

You will also need to begin to use your network to help you connect with book reviewers and bloggers, conference coordinators for speaking engagements, bookstore owners for signings, radio station managers or BlogTalk radio hosts for interviews, and any other venue or resource that could help push your brand. Should you choose to buck the system and go all “indie writer” on us, you will have to do for yourself (with help) what a publisher would normally do for you. Are you up to the challenge? I’m going for it on my end.

I mentioned earlier that the only drawback to being self-published nowadays is the stigma. Is that true? Or do you think something else is involved? Does a writer really need to be published by a traditional publishing house?

What’s a cool new term we can use to change the negative stigma of self-published?

________________________________

*List “Key Players for a Musician” is adapted from Randy Chertkow and Jason Feehan’s The Indie Band Survival Guide (New York: St. Martin’s Press, 2008), 21.