Reading about the Trump administration underscores once again the traditional American contradiction of, love of, but mostly hatred toward, experts. When you’re lying on that operating table, you stake your life that an expert is going to perform the surgery. When you buy that airline ticket, you’re banking that the pilot will be an expert. If you’re electing the most powerful individual in the world, you’ll excoriate experts and defer to the guy with the weird hair that says whatever he pleases and has never been a public servant a day in his life. This observation isn’t original with me, of course. I’m only an editor. Nevertheless, the same dilemma comes down to my little world of academic publishing as well. Most academics don’t understand this business—I was an academic at one time and I certainly didn’t—and yet don’t like to bow to the expertise of those who do.
Please don’t misunderstand. I’m making no grand claims to understanding this industry into which I unwittingly stumbled. I have been involved in it for over a decade now and I’m still learning. One of the things I’m learning is that many academics don’t trust experts. In part it’s academic culture. A doctoral program, if it’s a good one, will make you question everything. Sometimes even experts forget when to engage the brakes. When dealing with the experts at a publishing company, many academics doubt the expertise of those who do this day in and day out for a living. Books, however, have measurable sales records. There’s hard data for analysis. Not that it’s foolproof (but what is?), such metrics are time-tested and based on reasonable data sets. Often that’s not enough to convince an expert that other experts know more than they’re revealing. A personal philosophy, but one which I pursue with appropriate skepticism, is that other people should be left to do their jobs. As I frequently note, those who talk to the bus driver, freely giving advice, often make the situation worse for everyone.
The case of religion, however, is a special can of worms. There are no experts in this field, even among those of us who are experts. Had I realized this when I was younger, I’m not sure it would’ve made much of a difference in what I ended up doing with my life. You see, religion is all about ultimates. The big questions. The sine qua non of every single thing. When I read about things like politics, or entrepreneurship, I think to myself, “That’s all fine and good, but at the end of the day, is it what really matters?” If life is a search for meaning, why not grab it by both hands and try to become an expert at it? Some would say that’s the job of the philosopher, but let’s face it, religionists and philosophers deal in the same currency. One is more abstract than the other, to be sure. Still, don’t take my word for it. Please consult an expert.
It’s a matter of scale. If you read this blog chances are you like books. If you like books you probably know about remainders. When you walk into a bookstore and see a shelf or section of really cheap new books, you’ve found the remainders. This happens when a publisher overprints and, instead of pulping books (that hurts even to type!) the remaining stock is sold at just above cost so that retailers can add a small markup and make a marginal profit. Most authors don’t like to see their books remaindered, since it means demand wasn’t as high as the publisher anticipated. Expectation was that the book would do better than it did, now the publisher and bookseller just want to recoup some of their losses. Often there’s a marker stroke across the bottom pages of the book so you can’t return it for the retail price.
For those of us whose books sell in the double digits, seeing yourself on a remainder list would be kind of a thrill. The other day I looked at Wipf & Stock’s 50 percent off sale to find a copy of Weathering the Psalms listed. Probably it was overprinted for the AAR/SBL annual meeting, since I saw that they did have copies there again last November. If they hadn’t bothered to print out a bunch, I would never be on the remainder shelf in Eugene. I don’t mind because I’m in good company. Looking at the list I feel like I belong in some kind of academic crowd in the reduced bin. There’s a sense of community among the overprinted.
Turnabout, they say, is fair play. I’ve bought plenty of remaindered books in my life. Lately I buy used academic books because the new editions are out of the reach of an independent scholar who isn’t independently wealthy and who doesn’t have access to a university library. If I buy others cheaply, I turn the other page and expect the same back. Most of us who write academic books aren’t in it for the money. We want to be remembered for our contributions to the discussion. We took the many months and years it takes to research, write, and polish a book, and we want others to take an interest in what we have to say. It’s all about the dialogue. It’s all about the community. For those of us who never really found a home among the established academy, publication can mean a lot. It doesn’t matter that the books are sold cheaply—in fact, that’s good, because it means somebody might just read what you wrote. It’s all a matter of scale.
My life has been about books. It was only as I became what is now known as a tween that the passion took hold, but since that time I’ve been addicted to them. As some readers know, I have a Goodreads account. Each year I try to take out a Goodreads challenge on how many books to read. That recently got me thinking; as an editor you read lots of embryonic books, but they don’t count. Being an editor’s a funny job. Not ha-ha funny, but the other kind. When I was having trouble breaking back into higher education, I ran across a quote that went something like this: What’s an editor? A writer who actually has a job. (Rimshot.) I have a tendency to take things literally, so I thought I’d discover lots of writers among professionals in the publishing world. I haven’t.
It could be that other writers keep it well hidden. I publish my fiction under a pseudonym and it may be that the other editors I know live hidden lives too. Somehow I doubt it. They check their email at midnight and all day long on weekends. One thing I know about writers is that we need time to write. If your workday is already eight hours and your commute is three-plus hours more, you won’t be checking work emails on weekends if you want to get any writing done at all. But what about the reading? Does it count when you read books that aren’t even born yet?
On Goodreads I enter my books by the ISBN. The International Standard Book Number (for which you have to pay, I’ve learned) is a tool used so that booksellers can keep track of titles with a unique identifier. The system is fairly recent (at least according to some of the books I read), and not all books have one. For those of us who read ancient documents, those can’t count either. Ilimilku didn’t think to stamp 13-digits on the bottom of his clay tablets. There’s no way to trace just how much s person reads in an actual year. I measure myself by my books. I get a profound sense of fulfillment when I finish one. That’s why I so often post about them on this blog. Books mean something. Call it a bad habit if you will. We’re outgrowing our apartment because I find it hard to part with books. There are those who spend their lives building arsenals. Then there are those who spend theirs building libraries. I know which I prefer.
I work in a cubicle. That’s just one word shy of the famed “six word novel” challenges. I’m wondering what qualifier I should add. To understand this dilemma you have to realize a few things. My first professional job (professor) included a three-room office to myself. Also, I am a middle-aged man amid a work-pool of mostly twenty-somethings (everyone else my age has their own office). My cubicle has walls six feet high, so I can’t see, but can hear my just-out-of-college neighbors. Very few people talk to me at work. In fact, I can go an entire week without anyone saying anything to me, right here in the largest city in the country. The office is generally very quiet. You can hear everything. This leads to my concern with a very specific peril regarding work in a cubicle.
Much of the meaning in my life comes from what I read. In addition to all the books I review here on this blog, I have quite a few fiction projects going at any one time. I happen to be reading a book just now that was recently made into a movie. The reason I know it’s been made into a movie? My unseen, 20-something colleagues began talking about it yesterday morning. Complete with spoilers. Now, they couldn’t see the contortions on my face, hidden in my cubicle. The people who sit next to me work in a different department than mine and I have no reason to speak to them—they don’t even know who I am. Should I, like the voice of God, thunder unseen from my cube, “No spoilers!”? Or should I just continue to sit here with my fingers jammed firmly into my ears and hope that when I pull them out I don’t learn anything more about what I haven’t read yet?
I know it’s just me. I don’t read the blurbs on a book before reading the book itself. I don’t read reviews of movies before seeing the film. Guys my age appreciate the craft of story, building up to the reveal, not getting it in Monday morning water-cooler talk. I finally got up and walked away from my desk. There’s nowhere private to go on my floor, so I went to the stairwell and pointlessly climbed to the top floor and back down again. I returned to my desk and they were still talking about it. Not only was it Monday morning in a New York City where nobody had spoken to me in the three hours since I arrived in town, but there wasn’t even a spoiler warning for one of my favorite pastimes. Such are the perils of cubicle life.
Posted in Books, Just for Fun, Memoirs, Movies, Popular Culture, Posts, Publishing
Tagged cubicle, editing, fiction, New York City, work culture
One of my greatest phobias is that people will think I’m arrogant. Those who know me realize that I’m highly self-critical, as befits a lapsed Fundamentalist. Self-image isn’t my strong suit. So it is with great trepidation that I celebrate a tiny bit at another book contract. Book number three (still not officially titled) now rests with McFarland Books. Shortly after I signed the contract for the book nameless here forevermore, Lexington and Fortress Academic announced a new series: Horror and Scripture. Maybe you know the feeling too. You’ve just done something you’re proud of and then you’re upstaged. My book deals with the Bible and horror films—what could be more Horror and Scripture than that?
The new Lexington/Fortress series has two editors. One of them is a friend of mine. (Monsters and horror don’t often mix with the Good Book, and those few of us interested in such things receive glances askew.) She asked me if I’d consider contributing to the series. This takes a lot of careful thought on my part. I have a sum total of about an hour a day to write, often less. I can read research-related material on the bus, if I can stay awake, but other than weekends—already quite busy catching up from not being home all week—I have very circumscribed writing time. Nevertheless, I do get up at 3:00 a.m. so that I can have that vital hour to write. Why not focus my efforts onto another book? Perhaps insanely, I submitted a proposal. This week a contract came.
In the short span of one year I’ve gone from being able to claim two books to four, almost like a parable. My untitled book is written and submitted. My contracted book is already half-drafted. After my McFarland book I’d already begun work on a sequel, you see. It lacked form and substance, but the proposal forced me to bring it together. Now, barring any unforeseen disaster, I should be able to submit this new book within a couple of years. By admitting this to you, dear readers, I fear I open myself to accusations of either arrogance, or at least greed. It is, actually, rather like this: my wife often tells me “we must cut the coat to fit the cloth.” I don’t have an academic position, but I’ve learned a lot about the publishing industry over the past decade. Research is a constant in my life, as it is with most credentialed people, no matter their jobs. So it is with fear and trembling that I announce my next book: Nightmares with the Bible. Watch this space for cryptic updates as the details unfold. And please don’t think less of me for it.
Posted in Bible, Books, Higher Education, Memoirs, Monsters, Posts, Publishing
Tagged academic publishing, Fortress Academic, Horror and Scripture, Lexington, McFarland Books, Nightmares with the Bible
An occupational hazard of the editor is paying obsessive attention to publishers. That stands to reason. Many academics are less concerned than some publishers think they are about such matters as who publishes their book. I suspect that many have, for whatever reason, found no welcome home among elite publishers. This happens often enough to make many scholars less worried about reputation than the practical matter of getting a publisher interested at all. There are a lot of original thoughts out there, and some of them occur to a person and just won’t let her or him go. An example: what terms are used for weather in the Psalms and why? Before you know it you’ve awaken before the sun for five years and written 75,000 words on the topic and you want to get it published without having to pay someone to do it. That kind of thing. I’ve been pleasantly surprised by the number of scholars who understand this kind of reasoning.
Also, it’s a matter of scale. I work for a premier publisher in the academic world. It may surprise many people to find out just how often when someone asks what I do (not very often, for the record) and then follows it up who I do it for, the interrogator has never heard of my employer. Academic presses, even important ones, are really only known among academics. Keep scale in mind. If you’ve ever walked passed Norton’s offices in Manhattan, and then those in which I spend my days, you know what I mean. Academia is small scale. For the average person reading a book is something they generally choose not to do. Of those who do read, very few read academic books. Those who read academic books tend to stick to their own discipline, or related ones. You get the picture—smaller returns at each step.
So, having written a book about horror movies, where do I take it? This isn’t one of those footnoted, look-how-erudite-I-am kind of books. It’s more of a I-noticed-something type. The question then becomes, who publishes such kinds of thing? I do worry about academic reputation—who doesn’t?—but this is a book I want the correct readers to find. That’s why McFarland suggested itself. People reading on pop culture, know to keep an eye on their offerings. Hopefully enough people will find it to have justified the effort. It won’t impress those enamored of collecting (academic) names. It isn’t the kind of book my employer would publish. Nor would I want them to. Call it an occupational hazard. Like any subject, knowing too much about publishing can take away from the fun.