Blogger: Janet Kobobel Grant
Location: Books & Such Main Office, Santa Rosa, Calif.
Last week I spent most of my time working with clients in preparing proposals for submission to editors. As I interacted with various clients, I observed a truth I’ve seen time and time again–each of us has a preconceived notion about our projects that can make us intractable on certain points. And that inability to see a project with fresh eyes can keep us from finding a publisher for our work.
Two cases in point:
1. A client has a stunning idea with much potential. Tied to a key event in our country’s history, a book on this topic could make a significant contribution to the nation’s conversation. Yes, really. But the author is convinced a publishing committee will understand the importance of such a book and therefore doesn’t need to read the first two chapters of the book that set up the project’s importance. Instead, the author is submitting chapters starting with #3. May I just say that I have no confidence in an entire team at a publishing house “getting it”? My hope is that enough editors will ask for the first chapters to make my point. Wouldn’t it just be smarter to write those chapters?
2. Another client has a strong idea for a project, but the competition is stiff. I’m trying to get her to understand that she needs to more tightly focus her idea so it clearly is differentiated from books by well-known authors who have written on the same topic. But she’s so intent on her perception of her proposal that she can’t hear what I’m saying. It’s like deciding to open an ice cream shop but refusing to recognize that the three already established ice cream shops in town present a major roadblock to your success. Maybe you need to add clowns and free balloons to differentiate your shop. Whatever you choose, be smart about it; make your project stand out from a field crowded with celebs.
So what’s with this inability to listen? We all have blindsides, but these authors aren’t grasping that I’m pointing out significant issues that can make or break their next projects. It’s rather like the emperor who has no clothes. Plenty of folks will pretend right along with you that you’re regally garbed. And it can be dangerous to point out the, uh, naked truth, but somebody has to do it; wouldn’t you rather it be an astute critiquer or your agent–or even your mother–than an editor who chooses not to take your project to committee or a publishing committee that gives your project the thumbs down?
If you want to break out, you have to have a discerning ear: Whom should you listen to? Is it worth forcing yourself to put the brakes on your enthusiasm and refine your project? Or is the “naysayer” wrong, and you should barrel ahead full steam?
I’d say in the two examples I’ve just given that I’m not asking either writer to rethink an idea but to more thoroughly think about the idea. To take it to the next level. Now, that’s what makes a project one likely to break out–or break into a publishing.
Thank you for this reminder! There is much talk among writers about developing tough skin. That quality really works to our advantage when we also develop teachable hearts. It is sometimes hard to be objective about our “babies,” but a frank, instructive critique or a word of direction from a knowledgeable mentor really is such a blessing.
I love your phrase “a discerning ear.” So important! When it’s a wise voice talking, I try to clamp my mouth shut and listen. A new perspective could be the shift my story needs. Great post!
Janet, I’m a regular reader of your blog but rarely comment. However, this topic is one that resonates deep within me.
I’ve been writing over four years. Two years into my journey I was privileged to pitch to you at RWA Nationals in San Francisco. Although I was a Golden Heart finalist that year, I had a hunch my stories weren’t at a publishable level. You kindly confirmed that and took time to tweak my one-sheet. Thanks!
I received feedback from other professionals at that conference and at Mount Hermon. I listened and applied what I was learning. Last year I entered a revised manuscript in a number of RWA contests, and it did far better than I’d hoped. Best of all, my entry was judged by Rachelle Gardner, who requested the full and offered me representation in December. (That was the best Christmas present ever!)
I don’t have a tale of a quick sale. Instead, I’m working on a major rewrite. Why? Because Rachelle spotted a plot weakness that would have kept my story from selling. Hearing that I had to rewrite a good 75k words of my story wasn’t easy, but I listened to Rachelle. She knows her stuff, having been an editor for some big name writers before becoming an agent. I’m working on my rewrite under her guidance and know I’ll have a far better story as a result. One day when I have a contract in my hands, I’ll have her to thank.
It can be tough to admit that while our idea is great, our execution may need tweaking. We writers can be very attached to our work. 🙂 However, by keeping an open mind and accepting the input of those who understand this business and are our advocates, such as our agents and editors, we stand a better chance of producing work that will not only sell but will exceed our expectations.
I find that strange. Surely in an agent/writer partnership, the agent is the expert when it comes to getting a book published, and if he/she thinks it’s better to present a project in a particular way you should listen?
I would have thought that getting a book published depended on the writer being able to communicate what is in their head to other people, in a compelling fashion. If the writers in question are so wrapped up in their own ideas that they won’t even listen to the expert they have on hand, I would have doubts about their ability to write a good book about it.
The fear of the LORD is the instruction of wisdom, And before honor is humility. (Proverbs 15:33, NKJV).
So, if I ever do what you’re talking about, I officially give you permission to smack me upside the head. Hard. So I get it.
Thanks.
Bill
Jane, see Keli’s comment. She skillfully describes why a writer can have trouble hearing important insights to his/her work. Most writers are passionate about their idea and need to believe in it to give them the guts to write the manuscript. So, even when someone who is your chosen adviser makes a suggestion, it can be hard to hear that observation because your head is so full of ways you’ve convinced yourself you can pull off the writing.
My clients generally are responsive to my suggestions (a la Bill Giovannetti, who has never had to be hit on the side of the head), but it’s challenging to pull back from your full-on commitment to your project to see its inherent weakness. I get that; doesn’t mean I don’t experience frustration when I can’t move a client deeper into his or her project, but I do get it.
These posts are such a blessing. Thank you Janet to you and your team for your faithfulness with these daily messages.
As a longtime marketing professional I’ve worked with hundreds of budding entrepreneurs with the same seemingly incurable ear wax disease. Sometimes it’s the necessary pile of rejection letters, or the long, deadening silence of a phone which eventually creates a medical breakthrough.
Yes, it’s possible to experience success despite ignoring professional advice, but I’ve learned paved roads and a good GPS unit make for happier, more fuel-efficient travel.
Thanks, Janet. I like the way you phrased this, that it’s hard to pull back from a “full-on commitment.” I have a funny feeling that there’s a bit of David Farragut in most writers, making us prone to dismiss the torpedoes and keep going when we shouldn’t. Which makes this post a timely reminder.
And thank you also, Keli, for sharing your experiences. Good luck with your book!
I’m with Bill. If I ever get to that point, just smack me.
Occasionally, I’ve stuck to my guns with a critique partner on something that relates to “voice”, but it’s a little different when it comes to agents and editors. They are professionals.
I think this series has topped “The Kiss of Death” series as my favorite for content and being applicable to where I’m at.
I think too many writers think they’re hitting a brick wall when in fact the input from agents/writers/critique groups are only a guide rail to keep us on the road instead of over the cliff.
Number 1 was me a couple years ago. The ‘book’ came out of left field out of a workshop, and Books and Such gave fantastic advice about remembering how much different writing for a reader is versus a workshop audience.
The subject and tone gets subtle changes (using ‘Forgotten’ instead of “Forbidden”) and this drives a different set up in chapter 1, but I don’t see any of this as being a wholesale change to the book.
It’s God’s message, and it hasn’t changed, I see my book and workshops as just reminding people of this in a way unique from most of what they’re hearing at church or the bookstores (or Kindle & Ipad now).
This is such important advice. At times it can be a fine line between an acceptance and rejection. Knowing who to listen to is important, too. I used to fret over those who couldn’t “see” and stubbornly persisted on their own after being given input.
What a gift it is to have someone so insightful as you are to talk over the project with!And sometimes a critique partner can indicate a problem, even if it’s not as specific as you (an agent with up-close perspective in the market) can provide.
This was such a good post. Thanks for sharing this.
Writing is one of those artistic endeavors that is truly a collaborate effort between writer, agent, editor, and house, each contributing a valuable element to the successful publication of a written work.
Writers often refer to their works “babies” or “children”. Too bad some are not inclined to let their children grow up and be given over to the steady and caring hands of agents, editors, and houses.