By Paul Eckert
The Agent, Editor and Publisher Panel provided completely sound advice on how the print industry works.
In case you weren’t aware, that headline is called a ‘comp.’ I’d previously seen such comparisons in book hype, but I didn’t know the importance of this abbreviated literary lingo. So, I’m glad I attended “How to Get Published.” The event was part of Creative Writing and Industry Day, organised by the Creative Writing Department at York St. John. The audience of aspiring authors was advised to put comps in any publishing proposals. It gives a publisher a clear idea of your writing style. And it’s fun.
“I love a good comp!” said Megan Carroll, from London Literary Agency, Watson Little.
Carroll was part of an experienced panel on stage at the sensational new Creative Writing Centre. She was joined by the agent for whom she does “everything else”, Donald Winchester. Also expounding about all-things printed pages were: Zoe Turner from the not-for-profit publisher Comma Press; and Charlotte Colwill, a literary agent from The Bravo Blue Agency. These noteworthy names were interviewed by Professor Abi Curtis.
There was an echo of what literary agent Jo Unwin said earlier on the same stage. Stay true to yourself. Championing your art should be entrusted to your agent (especially if it’s Jo Unwin). But you need to be willing to work with publishers. Establish a good working relationship. Take feedback on board and act upon it.
Like Unwin, Winchester and Colwill both started as booksellers. Is there a pattern here? (I wondered if Waterstones might get a flood of applications after this day). Bookselling is a great way to get into publishing, especially because you get a sense of what customers are currently buying. Winchester revealed that he’d been reading so many classics at university he was out of touch with modern literature. He had to quickly get up to speed when he became a literary agent.
It seems terrific novels didn’t stop with Thomas Hardy.
After Curtis posed a series of intriguing queries, the audience was keen to ask questions. With so many hands raised, the event could’ve gone on for hours (but back at the offices, manuscripts were piling up). Some quick demystifications about the daunting world of publishing:
- Being published in journals is NOT imperative to getting a book published, but it is worth mentioning. What if your story is featured in “The New Yorker?” Definitely mention that.
- Understand that there are infinite possibilities why your book hasn’t been accepted. Your potential publisher could simply be too busy, or even just having a bad day. You must develop a thick skin. It is unlikely you’ll succeed on your first submission—or even the twentieth—keep trying.
- Self-publishing is fine, although it could pose a problem if you’ve put out two science fiction books yourself and you’re expecting a publisher to take on the third.
But what if you’re trying to get your first novel out there? When will you really be ready? How do you know if your piece is a masterpiece?
“You never really know,” was the unquenching answer from Winchester, as the others nodded in agreement. Hemmingway recommended upwards of seventy drafts. But there is no magic number. Again, you need to follow your gut and keep making your work better. When you get to the point where you’re just agonizing over one word here and there, maybe it’s about time to submit?
Further to pointers on practical matters, there was an inevitable, interesting discussion about lockdowns. Curtis asked the panel what effect they thought the pandemic had on the publishing world. Submissions doubled to two hundred per week. As with many businesses, the emergence of Zoom has increased efficiency. (“Now we don’t have to meet in person to reject writers!” joked Winchester). And here’s the good news for us Northerners, the pandemic has expanded the publishing scene beyond London (here’s hoping York becomes the hub).
What about the book tastes during these tragic times?
“There was a demand for feel good light stories during the pandemic,” said Carroll, “People needed reassurance that things were going to be alright.” However, as we are (starting to) recover from the pandemic, books like “Boy Parts” by Eliza Clark are emerging. It’s about a binging woman who takes photographs of—guess what. Yep, anything but feel good.
The publishing panel was light-hearted about life in the literary world. If you imagine a plethora of pitch meetings and oodles of coffee, you’re not too far off. But they also stressed how difficult it is to make it as a writer. It takes dedication. Redraft. Redraft. Redraft.
And redraft.
Nonetheless, the crowd of word crafters were left with a sense that it can be done. Especially if you treat a publisher to a really good comp. Hmm. Who could MY writings be compared to? Never met the Matrix nor any spouses of Time Travellers. Who could an American who likes to write about British life be like? A bit Bill Bryson-ish. Maybe.
Bill Bryson meets William Shakespeare? Yikes. F. Scott Fitzgerald? Fat chance. Think parental hijinks….
That’s it: Paul Griswold.
Nailed it. Bryon meets Griswold. Where do I sign? If only the publisher panel were still here.
Let us know: what comp defines your writing style? Or your dream read? Or just give us your most creative comp. Go to Twitter and Instagram to leave us your ideas.