To fully explain I need to start with the music industry.
The impression is that all sales are now digital. And iTunes has killed the physical CD. This is not true.

Approximately 12 songs fit on a CD. And since individual songs can be downloaded, the only way to compare physical CD sales with download sales is to divide the number of songs downloaded by 12. That way you have a one-to-one comparison.

With that assumption in place, Apple is the #1 retailer of CDs in America. No surprise. The surprise is that they only comprise 25% of sales. Walmart is #2 at 14% and Best Buy is #3 (my guess is that Amazon.com is #4 but wasn’t mentioned in the article).

Why is that surprising? Because that means 75% of all sales are still “hard copy.” Physical CDs. It is significant that Apple’s share has increased as a percentage of all sales from 21% in 2008, up from 14% in 2007. But it still means the physical product is outselling the digital by 3 to 1. (In total dollars, across all forms of music, digital downloads comprise only 35% of all music sales.)

Turn that same conversation to the book industry. The Amazon Kindle has impact primarily because they were first and did create a pretty cool device (I bought one the week it came out in Fall 2007 and upgraded in 2008). The Barnes & Noble Nook is shipping with reports of modest success. The Sony Reader has its followers. Plastic Logic just announced their cool tablet sized reader. And everyone is wondering what Apple will announce in the near(?) future regarding their answer to the “hardware” question.  But despite this we really don’t have an “iPod” equivalent. Mike Hyatt, CEO of Thomas Nelson Publishers, wrote in 2005 that we are “one device away from a digital revolution.” In my opinion we are still waiting for that device. The iPhone is not the answer for most people. The screen is simply too small. And for someone like myself who reads rather fast it can be very annoying…

Don’t get me wrong. My head isn’t buried in the sand. That revolution is coming and some would say it is already here. But the “tipping point” has yet to occur.

Amazon had a lot of fun announcing that they sold more digital books than physical books on Christmas Day 2009. Think about it. On Christmas Day recipients of the Kindle opened their gift and downloaded stuff while playing with their new toy. But who else would be shopping on Christmas Day? No one. So while it made a fun press release it really isn’t as astounding as it first sounded.

I see the royalty statements. I know exactly how many digital versions of my client’s books are being sold. And while there are a lot more sold than there were two years ago (of course there would be) the volume is still less than 1% of the print version sold. LESS THAN ONE PERCENT.

So let’s do some math. Let’s say that e-books have 100% growth in the next year. That would mean they would comprise 2% of all sales. Then let’s say it grows by 100% again, to 4%. We have to keep doubling the number for 4 years before we get to a little less than 20% of all print sales. But that still means that 80% of all sales are still hard copy. Eighty percent.

Certainly this revolution could happen and is quite likely. The implications are huge, especially for the newspaper and magazine community. But it does not mean that print books are dead.

It is even possible that in one generation (twenty years) that the conversion will take place..at least in some form or fashion. If the e-book reader cost drops to under $100. If the device is in every home, on each family member’s nightstand. If the younger generation’s textbooks are placed into e-book format and that generation becomes used to it. A lot of “ifs.”

It is a very exciting time to be in the publishing industry. I almost get giddy when thinking about the possibilities.

If you want to read someone who will challenge every assumption you’ve ever made about “curling up” with your favorite book, get a copy of Print is Dead by Jeff Gomez. Get a group of friends together to talk about his conclusions, I guarantee a rousing discussion. If you want to learn how the music industry was ambushed by technology read Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age by Steve Knopper.

All I’m trying to say is that we need to stop buying into the myth that books are dead. It simply is not true. We are being influenced by the flood of media attention on the “new” and the “cool” and not looking past the sound bite. It is like relatives or friends writing to say “I saw that there was a flood in Phoenix…are you okay?” Yes. It flooded…in an area with a river wash and someone tried to drive thru it and got stuck. That picture hit the national news. The media gave the impression that the entire city was under water with their breathless coverage. So when you read that publishers are going under, and print books are dinosaurs, and all authors need to rethink everything…take a deep breath. It  is different. It is a time of careful consideration. No publisher wants a repeat of what happened to the record industry. But it is not as bad as you think.

In the end I implore you not to be one who helps perpetuate the myths and misinformation.

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That does not include the myriad of email submissions we get (many simply ignoring our guidelines regarding email submissions)…inquiries from those who use the contact form on our web site (many of those ignoring the request to “Please do not copy and paste your entire manuscript into this form.“)

Or the poor soul that failed to proofread their email before sending this sentence, “I would like to send you my quarry letter….”

Nor does it include those that do an Internet search and call us. Recently we got a call that went something  like this:
Agency: This is the Steve Laube Agency…
Caller: What kind of agency are you?
Agency: We are a literary agency.
Caller: What does that mean?
Agency: It means we represent books to publishers on behalf of our clients and manage our client’s careers.
Caller: Oh good. I do comic strips…and they are really unique…  [caller's voice gets faster and louder as they talk]
Agency: Well, we don’t represent artists or comic strip artists.
Caller: But I’m a philosopher too! ….. [further explanation followed]
Agency: Well, we [caller interrupts]
Caller: And I’m also a musician with over 500 songs to my credit.
Agency: Unfortunately we do not represent musicians at this time.
Caller: But I was named Rock musician of the year…
Agency: We’re sorry but it does not appear that our agency would be a good fit for you.
Caller: You want to listen to my stuff for free on Myspace?
Agency: I don’t see how that would be a good use of our time.
Caller: Someday someone will discover it and make millions.
Agency: We wish you the best in all your endeavors…

The day before, the office received a call from an aspiring author who was a psychic who had an “amazing” personal story to tell…oh, and by the way, they also have two novels done and five children’s books ready and waiting.

Meanwhile I look at my to-do list compiled last weekend in preparation for hitting the ground running on Monday January 4th:

• We are waiting for final contract paperwork on four new book deals.
• We have three authors whose proposals will get thumbs up or thumbs down at a pub board in the next week or two.
• We are waiting for proposals from fifteen clients (all in development over the last couple months).
• We need to have “career counsel” conversations with at least ten other clients. (All very different in scope and intensity.)
• We need to make the “do we represent?” decision on five successful and published authors who have approached us and the same decision on at least a half dozen excellent unpublished authors whose full manuscripts have been reviewed and now sit on the floor near my desk…staring at me (they are not in the picture above).

And that was just the to-do list and does not include the review of cover designs and marketing plans for forthcoming titles. Nor does it include the contracted clients who are wrangling with their editors over any number of issues (everything from copy edit/grammar questions to editors not returning a phone call). Don’t get me wrong! I’m not complaining. In fact this is quite an exciting time. But this post is for those who wonder why agents take so long to make representation decisions. I’ve written about rejection before and no agent takes the process lightly. But a little understanding and self education would make every writer’s experience while approaching an agent a little more tolerable.

I fully expect that at least 90% of that stack pictured above isn’t ready yet. It doesn’t mean it isn’t good. Only that it isn’t ready. The competition is fierce and a little extra effort to learn the industry (read Rachelle Gardner’s and Chip MacGregor’s blogs), learn the craft by going to a good writers conference in 2010, and realize this is a marathon, not a sprint.

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This was a hard year for many as the economy touched everyone in some way. And yet, despite the ominous cloud of doom and gloom, there were many exciting things to celebrate.

On a personal level our middle daughter was married at the end of June. What a joy to see God at the center of the ceremony. And our oldest daughter had a blast playing keyboards for Alice Cooper (singing “School’s Out”) in front of 50,000 people at the ASU graduation ceremony in May.

On a professional level we had some authors receive wonderful recognition:

• Susan May Warren won the RITA award for best inspirational fiction.
• Margaret Daley won the Holt Medallion award for best short inspirational novel.
• Both Tracey Bateman and Marlo Schalesky won the Christy Award for best Christian fiction in their respective categories.
• John Olson, Pamela Tracy, and Sharon Hinck won four ACFW Book of the Year awards (Sharon won for two different titles).
• I was honored as the Agent of the Year at the ACFW banquet in September.
• Cindy Woodsmall was featured on the front page of the Wall Street Journal and hit #24 on the NY Times bestseller list. She was also featured in segment on Nightline.
• Ellie Kay was featured in two separate segments on ABC’s “Nightline”.

But even more exciting is to see a finished book in print. There is such a long time from idea to contract to writing to publication that we can forget the “birth” itself! Therefore I would like present a list of books published in 2009 by authors represented by The Steve Laube Agency. It is really great to see this list all in one place and to think of the hundreds of thousands of readers who have been inspired by these words. It is truly a privilege to work for such incredible writers.

The books are grouped by fiction, children’s/YA, and non-fiction. They are listed in approximate order of their release starting with January. (Note that in some cases we represented only one of the co-authors or collaborators.)

FICTION

The Someday List – Stacy Hawkins Adams (Revell)

Daddy for Keeps – Pamela Tracy (Steeple Hill)

According to Their Deeds – Paul Robertson (Bethany House Publishers)

City of the Dead – T.L. Higley (B&H Publishing Group)

Play it Again, SAHM – Meredith Efken (Steeple Hill Cafe)

Insight – Deborah Raney (Steeple Hill)

If Tomorrow Never Comes – Marlo Schalesky (Multnomah)

Road to Nowhere (paperback release) – Paul Robertson (Bethany House Publishers)

Everybody’s Suspect in Georgia – Cecil Murphey (Barbour Publishing)

Yesterday’s Embers – Deborah Raney (Howard Books)

Nothing But Trouble – Susan May Warren (Tyndale)

Miss Match – Sara Mills (Moody Publishing)

Enduring Love – Bonnie Leon (Revell)

Certain Jeopardy – Jeff Struecker with Alton Gansky (B&H Publishing Group)

Breathe – Lisa Bergren (David C. Cook)

Above All Things – Deborah Raney (Steeple Hill)

You Make Me Feel Like Dancing – Allison Bottke (David C. Cook)

Worth a Thousand Words – Stacy Hawkins Adams (Zondervan)

Return Policy – Michael Snyder (Zondervan)

The Enclave – Karen Hancock (Bethany House Publishers)

The Great Christmas Bowl – Susan May Warren (Tyndale)

The Hope of Refuge – Cindy Woodsmall (Waterbrook)

Meltdown – Chuck Holton (Multnomah)

Sweet Waters – Julie Carobini (B&H Publishing Group)

Fugitive Family – Pamela Tracy (Steeple Hill)

The Sound of Sleigh Bells - Cindy Woodsmall (Waterbrook)

Bride Backfire – Kelly Hake (Barbour Publishing)

Thirsty – Tracey Bateman (Waterbrook)

Blessed (paperback release) – Lisa Bergren (Berkley)

Guardian of the Flame – T.L. Higley (B&H Publishing Group)

Christmas Lamp – Lori Copeland (Zondervan)

Powers – John B. Olson (B&H Publishing Group)

Christmas Peril: Merry MayhemYule Die – Margaret Daley & Debbie Gusti (Steeple Hill)

Clandestine Cover-up – Pamela Tracy (Steeple Hill)

CHILDREN’S / YA

Sir Bentley and Holbrook Court - Chuck Black (Multnomah)

Sir Kendrick and the Castle of Bel Lione (AUDIO) – Chuck Black (Oasis Audio)

Sir Bentley and Holbrook Court (AUDIO) – Chuck Black (Oasis Audio)

Sir Dalton and the Shadow Heart – Chuck Black (Multnomah)

God Found Us You - Lisa Bergren (HarperCollins)

God Gave Us Love – Lisa Bergren (Waterbrook)

NON-FICTION

Only Nuns Change Habits Overnight – Karen Linamen (Waterbrook)

How Can I Run a Tight Ship When I’m Surrounded by Loose Cannons? – Kathi Macias (New Hope)

The Life of A.W. Tozer: In Pursuit of God – James Snyder (Regal Books)

The Purpose of Man: Designed to Worship - A.W. Tozer, edited by James Snyder (Regal Books)

Marriage 101: Building a Life Together by Faith – Jewell Powell (Revell)

Thrive, Don’t Simply Survive – Karol Ladd (Howard Books)

The Jesus of the Bible – Stephen M. Miller (Barbour Publishing)

Life on Planet Mom – Lisa Bergren (Revell)

American Heroes: In the Fight Against Radical Islam – Oliver North and Chuck Holton (B&H Publishing Group)

Reclaiming Christianity: A Call to Authentic Faith – A.W. Tozer, edited by James Snyder (Regal Books)

Your Jesus Is Too Safe: Outgrowing a Drive-Thru, Feel-Good Savior – Jared Wilson (Kregel)

The Diseasing of America’s Children (paperback release) – John Rosemond (Thomas Nelson)

When God Takes Too Long (Book & DVD package) – Joseph Bentz (Beacon Hill)

LT & Me: What Raising a Champion Taught Me about Life, Faith, and Listening to Your Dreams - Loreane Tomlinson with Ginger Kolbaba and Patti Britton

The Little Book of Big Savings – Ellie Kay (Waterbrook)

And He Dwelt Among Us: Teachings from the Gospel of John- A.W. Tozer, edited by James Snyder (Regal Books)

Thrive: Dare to Live Like God- Kevin Johnson (Zondervan/Youth Specialties)

Soar: Sail into God’s Plan for Your Future – Kevin Johnson (Zondervan/Youth Specialties)

Follow: Walk in the Rhythm of Jesus – Kevin Johnson (Zondervan/Youth Specialties)

Think: Figure Out What You Believe and Why – Kevin Johnson (Zondervan/Youth Specialties)

Lord, I Just Want to Be Happy – Leslie Vernick (Harvest House )

The Well Behaved Child: Discipline That Really Works – John Rosemond (Thomas Nelson)

God is Great, God is Good: Why Believing in God is Reasonable and Responsible – William Lane Craig and Chad Meister, general editors (IVP)

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Yesterday afternoon I received James Scott Bell’s The Art of War for Writers: fiction writing strategies, tactics, and exercises (published by Writer’s Digest Books). With interest I took the book home and devoured it. Not literally of course, as I’m not sure what the pages would have tasted like with extra cheese. But I could not keep from turning the pages with delight.

James Scott Bell has done an immeasurable service to writers everywhere. This little book is chock full of sage advice. Loosely based on the ancient classic The Art of War he consistently nudges the reader with nuggets of wisdom that are hard to assail.

The book is flooded with amazing quotes. I kept saying to myself, “Oh that’s a good one, I’ll have to use that in my next presentation.” But after saying that a dozen times in only a few pages I began to to realize the extraordinary wealth found in this book.

While the subtitle indicates the book is written with the novelist in mind the information is universal. Every non-fiction writer can glean much from these pages too.

I was also impressed with the interior design. The publisher went to great lengths to make the reading experience enjoyable. A deft use of two color printing creates accents in all the right places. And the page layout is easy on my old eyes. Thank you Writer’s Digest for an example of top drawer publishing.

Whether you are a novice or a published veteran in the industry there is something for you. The novice should return to the book again and again and practice what they have read! The experienced writer will find a great refresher course in ideas, but can also glean new insights to common problems.

In full disclosure, the author is a friend. We have taught at numerous conferences together over the years. But he has no idea I’m writing this review. And I still like him even though he quotes another agent in the book! Frivolity aside, I can, with full confidence, attest that Jim is the real deal. He has a teacher’s heart and truly wants to do whatever he can to help others succeed.

Do yourself a favor. Buy this book right now! Or put it on your Christmas wish list. It is reasonably priced (retail only $14.99 for 264 pages!)

All three online stores below have the book discounted for under $11.00 (as of the posting of this blog). Such a deal!

Writer’s Digest Books

Barnes & Noble

Amazon.com

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Three full 24 hour days on Facebook per year! Or nearly two full work weeks if you count a work week as 35-40 hours a week. And I suspect the statistics hold true in the U.S. as well.

Not all writers are full-time. Some must juggle day jobs or home-life responsibilities around their writing. So let’s say the average writer is cramming 20 hours a week of actual writing into their craft.

Thus if you are a writer AND you “Facebook” (is that a verb now?) this would mean the average writer is spend nearly a month’s worth of work time…on Facebook.

Yes, I know Facebook is a wonder of technology and allows for an incredible way to connect with lots of friends and readers at once. (Of course we have to redefine the word “friend,” don’t we?) But what would you have done with that time before you discovered Facebook?

In 72 hours a “nose-to-grindstone” writer could produce 10,000 words on their next work-in-progress (that is about 1/2 page per hour). A motivated person could memorize the Constitution. An avid reader could consume at least six of their favorite books. Or a die-hard fan could watch all 158 episodes of the “Dick Van Dyke Show” or all three seasons of “The Dog Whisperer with Cesar Milan” and still have time left to walk Fido!

I discovered first-hand the potentially addictive nature of Facebook’s lure.  But I quickly learned to shut off all notifications and only visit the site periodically and see if there is anything of interest. Much like I do with selected blogs and news sites.

Don’t get me wrong, I know there are tremendous benefits for the author in connecting with their readers via social networking. And I’m not criticizing Facebook or Facebook users. My concern is with the amount of time authors spend on something other than making their next book a masterpiece.

Next time you enter the social networking world, time yourself. Then ask if it was beneficial to you personally, professionally, spiritually, emotionally, or otherwise. As with all things, use common sense, discipline, and moderation.

It will also keep your agent or your editor from posting a comment on your wall like “What are you doing here? You are on a deadline!”

For a laugh enjoy Rhett & Link’s hilarious “Facebook Song“on YouTube.

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The key to great body surfing is waiting for the right wave and then time your push just right. The ride is exhilarating (I still remember riding inside the tube of a perfect wave off the beaches of Kauai). BUT if you catch the wrong wave or mistime the push, there is no ride. Or worse, catch a wave that throws you wildly into a bunch of rocks…

But unless you are in the water and making attempt after attempt you will never achieve the perfect ride.

I see this metaphor applied to the new world of digital publishing. It is really fun to play a small part, but even more fun to watch others be extremely creative in their experiments. There are some very bright and exciting people trying new things in merging the traditional book with all things “interactive.”

One well publicized idea is the Vook (video book). This concept blends text and video into one package. Priced very low ($6.99 direct or less via iTunes) Simon & Schuster is starting with two novelists and two non-fiction projects. The 90-Second Fitness Solution, for example, features 13 short videos and 11 text chapters to present a simple fitness program. You can either read/watch it on your computer or download on your iPhone or iTouch.

The idea is creative but sales will determine its long term viability, especially at the prices they are charging. I downloaded the above title and found it fascinating to be able to see exercises demonstrated in video instead of still pictures.

Of course my purchase will be added to their “sales numbers” which makes me wonder how many “test drive” sales are going to happen.

Note that the fiction titles are using recognizable authors. The stories are novellas, not full length novels. Text for the Jude Deveraux title is declared to be 130 pages long but also has 17 videos to accompany the story.

If you are a Simon & Schuster author, don’t expect them to convert your book just yet. Their Vooks are a division of the Atria Books imprint and will be highly selective on where and with whom they put their investment.

In late October 2009 Harper Collins put Gary Vaynerchuk’s new book Crush It into an $11.99 Vook (complete with 17 videos.) This article pulls back a bit of the curtain regarding the costs associated with the Vook.

The next idea is also fascinating. Level 26 by Anthony Zuicker (creator of CSI) with Duane Swierczynski. This serial-killer terror novel has the premise that murderers can be classified according to 25 levels of evil according to the FBI. But now there is one that tops all the others…a “Level 26″ killer…the ultimate evil. Not a book I would recommend you read unless you love bloody horror novels or watch very disturbing movies.

What makes this novel different is that it is the first “Digi Novel.” You ask, “What is a Digi Novel?” Let me quote from the author’s description on Amazon.com:

“…where the traditional story ends, a deeper level of immersion is available at www.level26.com, exclusively to readers of the book. About every twenty pages, you will have the option of logging in to experience a digital cyber-bridge—a three-minute motion picture scene with A-list actors you might’ve seen in blockbuster films and award winning TV shows. Before your eyes, the characters will spring to life, crime scene details will explode off the screen, and the Web site might even ask for a phone number—where the killer can reach you directly. You might call it CSI with an edge.”

I can’t even imagine the amount of money this cost to produce. But again, a very creative way to merge visual/digital interaction with a book.

Another is ScrollMotion’s Iceberg Reader. This is an iPhone app that began with traditional text (and was competing with the dozen other e-book reader software packages) but has recently expanded to include full color kids books. They have both a Curious George alphabet book and a James Patterson Daniel X graphic novel (plus others, of course).  There are lots of rumors about this expanding considerably if/when Apple’s tablet computer is launched. They are working with Hachette, HarperCollins, Random House, and Simon & Schuster, according to Publisher’s Weekly (August 24, 2009). From what I can tell this is one of the first e-book readers to fully incorporate color into the experience. But I have likely missed someone else’s software.

Last is a very creative use of the QR code (Quick Read Code). The square label looks a little like a Rorschach image. What makes these unusual is that with the right app on a phone you can take a picture of the image and it will then take your phone immediately to the web site embedded in the barcode. The QR technology is very big in Japan.

I used the QR-Code Generator to create this actual QR code…embedded in this image is the URL to my web site!  If you look closely you can see me waving back at you. Just kidding, but this is a real QR code. Create one of your own.

According to Publishers Weekly (September 21, 2009), what HarperCollins has done is to incorporate this technology into books for Teens like Lauren Conrad’s L.A. Candy. According to Carolyn Pittis, HarperColliins senior v-p, global marketing strategy and operations, “In addition to the codes on the Candy jacket, QR codes were featured on posters used at the book launch party, and HC did a cross-promotion with Mark Cosmetics on the Mark site that drove consumers to the harperteen.com site.”

HarperCollins is breaking ground with the use of this technology by putting the code into ads in the NY Times and the Wall Street Journal. Imagine clicking a photo of the code while reading the newspaper and being taken to a site that has a complete video of the information you are looking for…along with an ad to buy something.

By starting with the Teen market they are truly capturing the “cool factor.” The problem of course is explaining what it is and how to use it. We visually block out bar codes because they are so prevalent. My concern as a parent would be “Where is this publisher taking my child?” But that is a topic for another writer to tackle.

Look on the back cover of the new Super Freakonomics book by Steven Levitt and Stephen Dubner (published by William Morrow – a division of HarperCollins). You will see an OR Code and instructions on how to use it on your smartphone.

This must be what the music publishers felt like when the industry shifted from record albums to 8-Track to Cassette to Compact Disk to MP3 (and from record players to Walkman to Diskman to iPod) in less than 20 years. I hope to address some of the text based digital issues (Kindle vs. Sony vs. the world) in another blog, but for now, revel in the creative energy that is being expended to keep people reading and interacting with their books!

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“When a spouse greets a partner with derision because of an opinion, what should be ___ reaction?”

Fill in the blank. Should you use his, his or her, or their? This is a grammatical conundrum. Your choice will determine whether you will be categorized as “sexist,” “tiresome,” or “ungrammatical.”

Our vernacular has changed over the past years due to our sensitivity over the generic “he.” For some it is a matter of being politically correct. For others it is merely a way of being inclusive of both genders in their writing. In addition it can be simply a matter of using the common language of everyday speech.

So what is correct? I have polled a number of editors on this subject and find them equally divided. Some trained in journalism and others who are fierce copy-editors are vehemently opposed to the use of the “singular their.” Others claim to be more concerned about simple communication and lay the finer points of grammar aside. Yet even they are not unified on the issue. There is an entire website devoted to this question (The Anti-Pedantry page can be found at www.crossmyt.com/hc/linghebr/austheir.html).

Rosalie Maggio, in her book The Nonsexist Word Finder (Beacon Press, 1989) speaks to the issue of gender inclusive language:

“Defenders of the convention most often claim that is a point of grammar and certainly not intended to offend anyone. That is does in reality offend large numbers of people does not appear to sway some grammarians, nor does the fact that their recourse to the laws of language is on shaky ground. While he involves a disagreement in gender, singular they involves a disagreement in number [as in ‘to each his own’ and ‘to each their own’]. Eighteenth-century [male] grammarians decided that number was more important than gender, although the singular they had been in favor until that time.”

The plural pronoun has been used regularly for years. Few realize that some of the greatest writers in history utilized this method without criticism–Chaucer, Shakespeare, Swift, Goldsmith, Dickens, Fielding, Thackery, Byron, Austen, Orwell, Kipling, and even C.S. Lewis. Even The Chicago Manual of Style, 14th ed., “recommends the ‘revival’ of the singular use of _they_ and _their_, citing…its venerable use by such writers as Addison, Austen,…and Shakespeare.” (footnote on pp. 76-77 – 1993 edition)

Richard Lederer, in an article in Writer’s Digest wrote, “Let the word go out that anyone…their is destined to become good, idiomatic English. It already pervades the speech of educated Americans, and daily it grows more common in writing.”

Member of the Copyediting-L e-mail list state, “‘They’ with a singular antecedent works well, because it’s already part of everyone’s vocabulary. Like the generic ‘he,’ it entails no new words, just a shift in semantics…[it] is just one item in the toolkit of those who wish to avoid using generic ‘he.’ It isn’t the only item, and it doesn’t fit every situation, but it is useful.” (http://atropos.c2.net/~srm/samples/net/celfaq.htm [link now broken])

My feeling is that it is entirely appropriate to use the “singular they.” We need to adjust, ever so slightly, to accommodate the changes in our language. While not succumbing to the landmine of being politically correct, I do believe that there are appropriate places to use “ungrammatical” words to effectively communicate to our readers. Even the Boston Globe agrees in their article from October 2008 “The Singular Challenge.”

Richard Lederer provided a wonderful exercise to illustrate the point. Fill in the blank in the following sentence: “Everyone in the building attended the party, and ___ had a wonderful time.” I suspect that nearly everyone supplied the word they.

For a nice, but not definitive, introduction to the subject visit the Wikipedia entry for this topic.

And please note that I am a NOT grammar expert by any means. Heaven forbid I get that much credit. While I am an advocate of great writing and proper use of the English language I am also an advocate of communication. And communication has a tendency to adapt over time, the written word is no exception.

An earlier and abridged version published as “Opening a Can of Worms” in The Advanced Christian Writer, June 1998.

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The other plant was Bethany Press International in Bloomington, MN. During my years with Bethany House Publishers I visited this plant many times since their building is about 100 yards from the back door of the publishing house! I watched them move from the old “film” method of processing to a completely digital technology.

The beauty of watching the books being printed is partly the fascination of cool machines, but also an insight into all of the incredible details that go into the manufacturing process.

What most people don’t understand is that there are certain book jacket treatments that make a book “feel” or “look” special. The standard lamination is what we are used to seeing because it is the most inexpensive process. That is the “glossy” lamination on the majority of books.

Some books get a “matte” finish – which gives a tactile feel to the cover, almost a rough, yet smooth, touch. This adds a cost to every book printed. This has become more common over the years.

Next is the “spot gloss” finish. This is where they start with the “matte” finish above, but using the gloss lamination on specific spots on the cover. They might laminate just the letters in the author’s name, or the face of the character on the jacket design, or maybe just the title. Again this is an additional cost for every book printed.

Last is the “embossing” or “stamping” process where they created a metal plate that stamps an imprint on every jacket. So instead of a flat cover, each book has embossed, or raised, letters or symbols. This can be expensive because the publisher must first create the metal stamp (a few hundred dollars just for the plate). Then, after the cover is printed, each jacket must be run through the process a second time to stamp the imprint into the paper. This is very labor intensive and a lot of spoilage can happen if the imprint starts to miss its mark. We’ve all seen a few books that got past the inspectors where the stamp doesn’t fit the design by being off by as little as a sixteenth of an inch.

And then some really special books get a gold foil that is also applied to the cover, before the embossing process.

Why am I telling you all this boring stuff? Because the following YouTube video is a four minute video of the printing process of the new Dan Brown novel, The Lost Symbol. You get to go behind the scenes into the printing company and see it at work. This book will have a first printing of 5,000,000 copies and will be released on September 15, 2009. In this video you will see all of the above cover treatments applied to the manufacturing of this book. Realize they must use more than one printer to fill this five million copy order. At the stated rate of 30,000 books per hour a press must run for over 167 hours (nearly seven full days) to print that many books!

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“Welcome to the industry that will break your heart.”

Isn’t that an encouraging sentiment? I can just imagine you rolling your eyes. But while that statement isn’t a fun one, it is rich with truth.

I admire writers. You put your souls on paper and send them to strangers and pray for acceptance. How do you do that, day in and day out…for your entire career? And then, how do you maintain any sort of sanity and dignity in the process? In a small way I have the same emotion after posting this blog. (Will I get criticized? Did I embarrass myself? Did I offend someone? Did I create a new “frenemy.”)

Some claim that the day their book hits the shelves they no longer have to worry about rejection because they are now a Published Author.
Think again.

When that author goes into a bookstore and fails to find their book…is that rejection? Does it mean your publisher isn’t marketing your book? Does it mean this store hates your writing and refuses to carry your titles? Or could it be that the store is in-between order cycles and yours is sold out? They may only carry one copy of your book at a time. If it is backlist, only the largest stores will stock it. So it is not necessarily rejection or failure or lack of success. Merely a snapshot on a single day at a specific time of that day.

What if your book is published but gets panned in a review in “Publisher’s Weekly,” “The New York Times,” or “The Romantic Times Book Review?” Does it mean the end of your dreams? Are you through before you even begin?

But let’s back up to the very beginning of the process…

When an agent says no with a rejection letter that turns out to be a standard form letter. Is that bad? Hardly.

As an agent I receive dozens of unsolicited proposals each week. The standard letter is a practical necessity. When possible we try to add a personal comment of some sort, but it is rare. When you receive something specific from an agent or an editor in a rejection letter treasure it like gold. There is no obligation for them to say anything at all in reply to you.

But what about a one-on-one meeting with an editor or an agent? How do your evaluate that experience?

At least 14 years ago I remember sitting with Cec Murphey (co-author of the bestselling book 90 Minutes in Heaven) and for an hour he pitched ideas at me. Believe it or not, I rejected every single one of them. His response? “I love this! I can bounce all sorts of ideas off of you and you are honest with me. No patronizing! How refreshing.” He was the consummate professional seeing it as a brainstorming opportunity, not a success or failure exercise.

Five years later he pitched just the right idea that turned into a two book deal with Bethany House (The God Who Pursues and The Relentless God).

And not every rejection is laden with negative connotations. Sometimes it just isn’t right at that time. About five years ago, publishers were not that keen on contracting new historical fiction, they only wanted chick-lit or other contemporary stories. Today the pendulum has swung the opposite direction and we are getting calls and requests for historical fiction.

Take a moment to read the acknowledgments in John B. Olson’s novel Shade. He tells the story of my rejecting this very story at his first writers conference by saying, “I wouldn’t touch that with a 60-foot pole!” At the same conference, editor Karen Ball said, “no way” to the proposal. Many years later the same novel was represented by our agency and sold to B&H Publishing. The acquisitions editor who acquired the book? Karen Ball. But that decade old rejection was the right decision at that time, the market wasn’t ready for Shade at that time. (And by the way, Shade was a finalist in the 2009 Christy Awards for the best novel of the year in the Visionary category.)

Have fun at your next writers conference and ask any editor or agent about the “one that got away.” We have all rejected a book or an author that ended up being a wild success. I asked this of an editor-friend who remembered a meeting at the pub board where everyone looked at each other around the table and laughed, “Talking vegetables? What a silly idea.” And that group of successful publishing executives rejected Veggie Tales.

Over the last 17 years as an editor and an agent I have dozens of infamous rejection stories. It has even become somewhat of a punch line. At a recent writers conference they asked the audience for a show of hands indicating if they had been rejected by Steve Laube. Talk about embarrassing.

True story: When I was an  editor at Bethany House I rejected Ted Dekker in 1997 for what was eventually his first published novel Heaven’s Wager (Thomas Nelson, 2000). In 2007 he and I were having a casual conversation at the booksellers convention in Atlanta.
He turned to me and said, “Ten years ago you rejected me.”
My eyes widened a bit.
“I still have that rejection letter,” he added.
Then he leaned forward and asked, “Would you like me to quote it?”
For the next few moments we went down memory lane as he told me about a simple sentence in that rejection letter that challenged him to create memorable characters like those found in the science fiction writing of Orson Scott Card.
Then I said, “But Ted? You never sent me a revised proposal!”
I don’t remember Ted’s exact words, but in essence he replied, “Because another editor offered me a contract based on potential, not performance.”
That is the perfect illustration of the differences from one editor to the next, and from one publishing house to the next, AND from one agent to the next. Each has their own set of internal criteria that baffles the outsider.

All the great writers have experienced rejection at one time or another, and not just by an editor or their agent. But the professional realizes that it isn’t personal. They knuckle down and try again. That is why it is called “work.” If it was easy, anyone could do it.

Walt Disney was once fired from a newspaper because he “didn’t have any good ideas.” So if Mr. Disney could rise above rejection, so can you.

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1) The total convention exhibit floor was about 30% smaller than in past years and the middle section, housing CBA’s events and displays was HUGE. In fact you could walk through the entire book section very rapidly for the first time in years. Everything seemed condensed.

2) The net effect of the smaller sales floor was that you felt the crowds. There was noise, energy, and excitement in the air. This was a major change over previous years where it always felt so quiet.

3) The reason for the reduced exhibit floor is simple. The publishers reduced the size of their booths. Many cut their space in half. Others simply did not exhibit at all (Thomas Nelson, Steeple Hill, NavPress, and Waterbrook were not to be found).  I am not one to make a big deal of the decision to eliminate an exhibit. As a cost cutting move they saved a bundle. They did miss out on some media opportunities (an editor for the Associated Press was working the floor for a story on Christian fiction) and some “hallway” conversations. But when a publisher can spend $100,000 or more to attend the budget restraints are understandable. (A simple 10′ x 10′ booth can cost well over $2,000 just for the space. Then you have to get there, ship the product, create a snazzy booth design, etc.)

4) Fewer publishers had a separate convention suite for meetings. Since those suites can cost more than $10,000+ for the event it was an understandable change. It made finding private places for a meeting a little more difficult, but we all managed.

5) Monday, the first actual day of ICRS, was very busy on the convention floor. The lines for book signings were long and exciting. But I made an interesting observation. I seemed to recognize almost everyone who was walking around. That meant two things:

a) I’m old. After 28 years in the business you get to know a lot of people.
b) It meant that a large number of the attendees were authors or exhibitors…NOT stores.

In fact the word-on-the-street was that there were only 300 stores registered. But I have no way to verify that number. Plus one registration may represent a half dozen or more regional chain stores, and the Family Christian Store chain has over 300 locations. This further cements the reality that the convention is not the place for order taking. Instead it is a place for building bridges with customers, clients, and eventually, consumers.

Bottom line is that it felt busy. And that is a good thing. It did get VERY quiet by Wednesday when all the authors and many of the editorial staff had left. Cutting a full day from the normal four day convention was a very good decision. Kudos to CBA for listening to their members on that score.

6) Those who were predicting that this would be the last ICRS (and that the industry was doomed) were wrong…again. Why is it that we like to view things so negatively? Is it that genetic disposition we have for slowing down to see a car wreck? Do we like to complain to elicit sympathy from our audience? While I can be as morose as the next guy, I try hard to see things in a more positive light. So while the show was a bit slower pace than in past years, it still had great benefit.

7) Benefits for our agency.

a) face time with key people
b) finalized negotiations on three contracts, in person.
c) navigated an author/editor clash, in person. Invaluable to have this kind of conversation face-to-face. Removed all the potential negativity that is systemic to all email communication. Instead the flow of words and exchange of ideas was critical to resolve the problem for everyone.
d) Met with two companies that are working hard on bringing digital products to the consumer via the retailer and the Internet. I was able to find out how I, as an agent, can help their efforts with publishers which will alternatively benefit our client’s sales.
e) Met with a long time industry friend who is seeking an aggressive way to bring back, in ebook and POD, those books, by my clients, that are now out of print and unavailable.
f) Heard the nuanced vision for publishing from at least a half dozen major publishers. Always helpful to hear them articulate their ideas and hear how I can find the right books for their program.
g) found out about two editors whose jobs have changed. One is not returning after maternity leave, another is leaving the company. It’s like trying to keep track of your favorite baseball player during the free agent signing season. People shift around all the time and each time creates another subtle change in the labyrinth.
h) had time with 12 clients who attended. Always nice to touch base, even if for a brief hello. Missed seeing five others due to scheduling conflicts.

You catch the theme here? “In person.” This is a relationship business…as it should be. Friends and acquaintances working towards a common goal.

Anyone else have a different take?

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Today is the official opening of the convention in Denver. This year will be my 28th consecutive ICRS (International Christian Retail Show) or CBA as we veterans still call it (Christian Booksellers Association Convention). I absolutely love the experience. I’ve attended as a retailer, as an exhibitor, and now as an “industry professional.” I find it amusing that each name badge is color-coded to help exhibitors know whether the person in their booth is a bookseller (and thereby a potential customer) or a browser, like me. What makes it particularly fun is that the “agent” color is black….the color of an agent’s soul.

PRO: There is nothing like the experience of walking the floor of the world’s largest Christian bookstore. Everything is there, the good, the bad, and the outrageous (like the balloon art crucifix or the painting of a junkie shooting heroin into the arm of Jesus). The spirit is electric. It can be overwhelming, but ultimately it is a picture of God at work. As a writer you can meet key people, network with fellow writers, collect catalogs (those that aren’t digital), and simply increase knowledge of what the industry is all about.

CON: Unrealized expectations. Too many writers think the convention should be all about them. It isn’t. Disappointment is palatable with some folks at the end of the experience. Their publisher didn’t pay enough attention to them; not enough people came to their signing; no editor was available for an appointment…etc. Go to the convention with modest expectations and the chance of disappointment with be minimized.

MORE CONS: In addition the convention has changed significantly in recent years. For the book publisher it is no longer a sales event. It has transformed to a type of author relations event. It makes the authors who come feel good, but it doesn’t help sell books. If you are an author and are doing a booksigning at the convention, don’t fool yourself. More than half the people in the autograph signing line could care less about the author – they want the free book. Sound cynical? More than a tad. But veterans know that I speak the truth. It is still a great way to get books into the hands of booksellers. But it isn’t only fans who are in line.

Eighty percent or more of the publishers sales have already been made on forthcoming product by the time the ICRS convention rolls around. That is why you see bored sales reps standing around in the publisher booths.

This year will see radical reductions in attendance. The economy has hit the expense budgets hard. Most publishers are severely limiting their presence. Thomas Nelson, Steeple Hill, and Waterbrook are not exhibiting at all.  Others are sending a third of the staff they have in the past.

A few publishers banked heavily on the Christian Book Expo in Dallas (March 2009) which was a financial disaster of mythic proportions. So when this July show was planned, there simply wasn’t the budget.

We’ve seen this coming slowly but surely. The music industry’s presence dropped dramatically some years ago. And I see the book publishers following suit.

Some are predicting the demise of the show. I doubt that will happen entirely. It may change, but it is unlikely to go away. And don’t forget that the gift products almost always must be chosen in person. A buyer for a store cannot, or should not, make their product selections out of a catalog or a one inch picture online.

There are few venues where all levels of the publishing industry can gather and exchange ideas. Executives, sales people, marketers, publicity experts, authors, agents, journalists, etc. all in the same place. I really enjoy being at this event. It is a highlight of every year.

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To my eternal delight two clients won!

Marlo Schalesky won in the contemporary romance category for her book Beyond the Night (Waterbrook Multnomah Publishing Group).

Tracey Bateman won in the contemporary series category for her book You Had Me at Goodbye (Faithwords).

Since neither Marlo or Tracey could attend, I had the privilege of accepting their awards and reading their speech. A thrill and an honor.

Other clients who were finalists include:
Susan May Warren - Finding Stefanie (Tyndale) – contemporary romance category
Tracy Higley - Shadow of Colossus (B&H Publishing Group) – historical category
Pamela Binnings Ewen - The Moon in the Mango Tree (B&H Publishing Group) – historical romance category
John B. Olson - Shade (B&H Publishing Group) – visionary category

Congratulations to each and every one of these great authors. And heartfelt congratulations to all the finalists and winners. The evening was a sucess. The keynote by Richard Foster was tremendous (“Every writer has a spiritual formation. But often it is a de-formation which is why we are in need of re-formation.”)

Visit the Christy Award site for all the details. (www.christyawards.com)

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Let me answer with a question. When you are browsing a book title do you look at the endorsements or notice who wrote the foreword or introduction? I suspect you do without realizing it. And if you are unfamiliar with the author, but you know the endorser, then you are more likely to give this new writer a try.

In its early self-published days, The Shack by William Young gained tremendous benefit from an absolutely glowing endorsement by Eugene Peterson, author of The Message. It made me pause and think, “If Eugene Peterson makes such a claim, then maybe I should pay attention.” So, as a fan of Eugene Peterson for nearly twenty years I paid attention. I believe that endorsement is still on the front cover of The Shack (which at the time of this writing has sold 7.5 million copies).

How many endorsements should you get? One or two meaningful ones are best. Sometimes your agent can help you secure them. Sometimes your publisher. But it is best if you get them yourself from the folks you know.

The more recognizable name the better.

And the earlier in the creative process the better. Years ago I was presenting a proposal at a Bethany House Publishers pub board meeting. Unfortunately I was not getting a good reception from the team. Then I asked the members of the group to look at the endorsement page in the proposal. This writer had secured endorsements  from James Montgomery Boice, R.C. Sproul, and John MacArthur, each a highly recognized author and speaker, particularly withing the Reformed Theology tradition. The pub board members exclaimed, “Who is this guy?” They had never heard of the writer of the proposed book, but they knew the endorsers. Those endorsements turned the tide in favor of offering a contract to the author!

Recently I talked to a very well known author who gets about four to five unsolicited requests for forewords or endorsements each week. I read somewhere that Annie Dillard, the Pulitzer Prize winning author,  can receive as many as 40 in one week….and most of them for books by writers she does not know.

Whatever you do, don’t (please don’t) claim in your proposal that you can get endorsements from Rick Warren, Charles Colson, Dr. James Dobson, or Sarah Palin, unless you already have them in hand. Many visible leaders have tough restrictions from their board of directors regarding their endorsements (especially those who are part of a Christian ministry). They don’t want their name associated with a book that could ultimately reflect negatively on the author or their organization.

And if you are frustrated by that policy, let’s make it more personal. Imagine if you had endorsed a book by Bernie Madoff….and now that he has been sentenced to 150 years in jail, what does your endorsement of his book say about you? With tongue in cheek I used the graphic at the top of this blog “Trust me I’m a Jedi.” The implication is that the endorsement of a Jedi makes the book trustworthy…just like an endorsement.

Endorsements that only use initials (“A.E. from St. Louis”) are all but useless. And so are endorsements from your dentist, unless your book is about dentistry. And an endorsement from your minister is suspect, unless yours happens to be a well known author.  (What if your minister doesn’t like your book and refuses to endorse it? Will you still want to attend services?). Also try to avoid sneaking family member endorsements who have a different last name as a way of padding the list. You will be found out and your integrity will be suspect. This is not the time to “pad the resume.”

Securing endorsements is something with which you need to spend time partnering with your publisher. It can be a team effort that will ultimately help sell your books.

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First, use this form (http://www.scils.rutgers.edu/~lesk/copyrenew.htmll).
This form searches the U. S. copyright renewal records database. Any book published during the years 1923-1963 which is found in this file is still under copyright, as are all books published after 1964 (although until 1989 they still had to have proper notice and registration).  Books published before 1923, or before Jan. 1, 1964 and not renewed (in the 28th year after publication), are out of copyright and therefore in the public domain. The form only searches books, not music, etc.

Cornell University has provided a very helpful chart to determine if an existing Work is still covered by copyright, see
http://www.copyright.cornell.edu/training/Hirtle_Public_Domain.htm

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What happened?

No matter how much editors like potential books, they don’t have final say in sending contracts A lot of other people are involved in the decision of whether to issue a contract or a rejection letter.

Before becoming an agent I worked 11 years as an acquisitions editor and later as an editorial director for Bethany House Publishers. Most publishers have two physical board meetings to help make the decision whether or not to publish a book. This process varies from publisher to publisher and each company has its own name for its board meetings. Thus many authors get confused when hearing different labels.

Some rejections state that “the book did not get past the committee.” This statement can mean a lot of things. It could even mean it didn’t get past stage one below. So take a comment like that with a grain of salt, or at least get clarification if you wish to know how far your book actually went in the process.

Let’s look at the stages your proposal goes through in this process:

Stage One: Editor

The first stage is with the editor, one-on-one. This person must decide which book projects he or she wants to sponsor to colleagues. Most rejections happen at this desk. For some reason it didn’t click. Rarely does anyone else in the company see the rejected proposal at this stage. Some junior editors may show it to a senior editor, but not in a formal presentation meeting.

Stage Two: Editorial Board

The second stage is the editorial board. Editors gather together and pitch their discoveries to other editors. The editors create consensus for the project and occasionally brainstorm a different direction for it. If you get approval at this stage, many editors will call the agent or you and tell you the good news. But this is only a mid-level step.

Stage Three: Publishing Board

The third stage is the publishing board meeting (aka pub board). This is the biggie. Again, each company operates differently, so consider this description as a generalization. In this meeting are the company executives, presidents, vice-presidents, sales and marketing folks, and editorial representatives. I’ve heard of these meetings having as many as 20 people in attendance. Likely it is closer to 10 at the most.

Most editors have worked hard prior to this meeting. They have put together pro-formas that show the projected sales and profitability of the project. Likely they have already gone to the sales department and received a sales projection. Some go as far as gathering printing bids for the book prior to the meeting. Each member of the committee receives the pro-forma and a copy of the book proposal. (I can’t emphasize enough the power of a top notch proposal.). The executives receive this information before the meeting but not all are able to read it in advance.

It is this meeting where every objection possible is thrown at the book. Participants come up with reasons why this idea is a failure and why it should never be published. The discussion can be brutal. The editor is the advocate who defends the book against objections. If it survives this gauntlet, it will likely survive the general marketplace. In my time at Bethany House each project took a minimum of 15 minutes to present and receive rejection or approval. But some discussions lasted an hour.

There were times I went into the meeting expecting a slam dunk and got rejected. Other times I thought I’d get shot down but ended up with approval. An editor considers it a good day when 80 percent of what he or she presents in the pub board meeting gets approved.

Reasons for approval can be everything from pure economics to personal agendas by an executive. If that executive loves the topic, he can push the rest of the meeting toward approval. If everyone is tired and cranky, then the proposal may be doomed for publishing success. This is a subjective business, and nowhere is that more apparent than in the pub board meeting.

At this stage, the editor has company approval of the book. Some publishers authorize the contractual parameters in this meeting. Others have to have a separate meeting with the finance department.

But now is usually when the editor calls you or your agent with the good news. Negotiations begin on the contract, and you are on your way to your next published book.

Originally published Published in The Advanced Christian Writer, September/October 2005.

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