The Network

Although it’s not NBC, the New Books Network has quite a reach with academics.  That’s why I was glad they accepted my pitch for an interview about Nightmares with the Bible.  The interview is now live and can be heard here.  The experience of getting the interview made turned into quite a saga with my pitch going back to at least November, and acceptance coming early in January.  The actual interview was over a month ago and it was posted only yesterday.  I’m not naive enough to think it will boost the sales of a hundred-dollar book, but maybe a few more people will become aware of it.  Even in academia there are too many books published for all of them to get notice proportionate to the work that goes into writing them.

Some publishers are of the opinion that editors shouldn’t try to be authors.  Obviously I disagree on that particular point.  Author-editors share the ups and downs and know what it’s like to put in the work only to have a book disappear.  I haven’t received any royalties at all for Nightmares.  I have no idea how many copies have sold.  Many writers publishing into the teeth of a pandemic fall into the same category.  While trade books—including fiction—did remarkably well during the height of Covid-19, academic books languished.  Nightmares is, of course, its own kind of hybrid.  A monster, if you will.  Written for educated laity it’s packaged and priced for the academic monograph market.  That’s why I pitched it to NBN.  I’m glad to see the recording is now available.

Nobody writes this kind of book to get rich.  I’ve had friends ask me why I bother.  Believe me, that question occurs to me too.  Some of us have something to say but the auditorium’s empty.  The Bible’s at a low point outside a specific cross-section, and that cross-section generally doesn’t pay attention to horror.  Of course, that’s another reason I do this.  Bringing opposites together offers the world, even the staid academic world, something new.  Horror is at last being taken seriously by literary and cinematography scholars.  Some biblical scholars are realizing that apart from comforting words of love, and towering demands for justice, the Bible itself contains plenty of horror.  When unlike things mix, monsters are born.  I’m grateful to the NBN for taking a chance on my book.  If you’ve got some time, and the inclination, you can listen in here.


Another Article

Some insecure people feel the compulsion, but really don’t know why.  Speaking strictly for this insecure person it’s because (I think) I’ve been ignored most of my life.  I didn’t cause trouble so teachers seldom paid me any mind.  (I’m pretty good about obeying rules.)  I was a middle child with less than a year at youngest status.  I was abandoned in a house at the age of one for God knows how long when my father went out on a bender.  Who knows?  In any case, this piece isn’t really about any of that.  It’s about the compulsion to write articles.  I don’t know why I keep volunteering to do this.  They get me nowhere.  You’re not paid for them, and you get little exposure.  I seem to be addicted to appearing in print.

This blog is purely an electronic phenomenon.  It exists nowhere in print.  I post on it every day in the hope that, like a Pioneer probe, it will connect with somebody who comprehends.  As a non, but erstwhile, academic I am not compelled to write.  In fact, it sometimes complicates things.  (If you believe that freedom of written expression exists you’ve never read a publishing contract.)  So print publication appeals to me.  I had an email from a volume editor the other day and I couldn’t place the name.  I opened it to read that the volume had been accepted as I was struggling to remember what I promised I would write for him.  I had to do an email search to locate the chain.  So that’s what I said I’d do! (The previous article I’d committed to I remembered well, since the proposal was long overdue.) 

Print publication, you see, takes a long time.  An erstwhile editor (likely an academic), gets an idea.  They wrestle with it a while and then write it down.  Pitch it to a publisher.  The in-house editor has to pitch it to the editorial board.  Often after peer review.  It can, in my defense, take months—plenty of time to have forgotten I said I’d contribute.  Then the book has to be written.  That part can take years, but in edited collections many hands make light work.  After the disparate pieces are finally cajoled in (one editor had to keep after me for four months), the editor, well, edits them.  Then they finally get sent off to the publisher.  The production process takes about a year.  The volume comes out and you get a congratulatory email or two, and then it’s forgotten.  I’m not sure why I do it, but I’ve been published by university presses for taking these on.  When I was teaching I couldn’t seem to get their interest.  Now that I’m writing about horror they’re starting to notice.  But then, that’s how monsters behave.


Ghost Publishers

Ancient Near Eastern studies, where my academic work has the widest recognition, is still an area of fascination.  I have to hold myself back when I see a new book published in the area.  You see, I learned when I researched in this field that there is little academic opportunity in it.  As per usual, the public seems quite interested so academia is not.  A few practitioners, however, have been able to break through.  One of them is Irving Finkel, a curator at the British Museum.  He’s been writing popular books about ancient ideas and getting respectable press for doing so.  His most recent book (The First Ghosts), as described in an article in the Smithsonian, deals with the earliest depiction of a ghost.

Perhaps because of copyright complications, his book on the subject doesn’t seem to be widely available in the United States, despite having been published by a trade house.  It could be that the publishers don’t think anyone will be interested.  Hello?  Ghosts and Mesopotamia?  Haven’t you been paying attention?  This is part and parcel of the academic publishing world.  The editorial board has to decide which books see the light of day and which won’t.  And how to price them.  Is this primarily a library book or can it somehow claw over into the crossover market?  Academic publishers will casually add five or ten dollars to the price, assuming it won’t hurt sales.  Guess what?  It does.  As much as I’d like to read Finkel’s book, my interest doesn’t hover around the 60 dollar range.

When I first studied Hebrew I wanted to buy a textbook my professor mentioned, but it cost nearly $100 in the US.  This was back in the 1980s, so that really was steep.  When we moved to Scotland I discovered the same book was available there is paperback for a reasonable price, so I bought it.  That’s when I began to realize copyright laws direct the shape of scholarship.  Publishers decide what makes it into reputable book form and who will be able to afford it.  That’s power.  You see, people have believed in ghosts from as long as we could convey the idea.  The dead never really leave us.  Finkel’s book examines a clay tablet used to exorcise ghosts and may contain a line drawing of a spirit.  Who wouldn’t want to read such a book?  It’s getting press coverage but those who make such decisions have decided, apparently, there’s no market for it.  When that happens a book hasn’t a ghost of a chance.

Postscript: Checking Amazon one last time before clicking “publish,” I see the book has now come down to the $30 range. I can’t take credit for that, but my point still stands.


Eve’s True Desire

Psst—don’t tell anyone!  There is a free copy of my first book available on Academia.edu.  I thought I was kind of radical for doing that, but people who write books want people to read them.  Having a book priced $70 or more, heck, even $30 or more, means only diehards will buy it.  Nightmares with the Bible promptly sank at $100 cover price, released during a pandemic.  I’ve always admired scholars who’ve bucked conventions to make their work available.  Recently I needed to consult a book.  I won’t say what it is because I fear a take-down order will be issued where I found it.  The author, aware the book was hard to access, actually photocopied the entire book and put it on a website.  I stand up and cheer!  Photocopying an entire book is a lot of work, a labor of pure love.

Now, I’m all for authors getting royalties.  It takes a lot of time and energy to write a book.  It can cost years of your life.  You ought to get something back for it.  It seems to me, however, that a different model is required for academic books.  Why are they so expensive?  Not only that, but smaller publishers without the distribution channels often publish worthwhile books, but in small quantities and they go out of print after the initial run is sold.  The academic enterprise (knowledge for knowledge’s sake) has become a captive of capitalism.  There’s no other way to trade in that market.  Books that have willing, even eager, readers are sequestered in libraries only accessible to employees.  Is there anything wrong with that picture?

Academics at less wealthy institutions often find ways around the rules.  I did my research for Weathering the Psalms at a small seminary that had trouble getting unusual items on interlibrary loan.  Bigger schools were distrustful of this tiny enclave called Nashotah House.  Would they ever get their rare property back?  Meanwhile worldwide mail service crisscrossed with offprints sent for free from scholar to scholar.  It was like your birthday, or Christmas, when a long-awaited piece of research landed in your mailbox.  Nobody was in it for the money.  We were beguiled by learning.  Eve looking wistfully up into the tree.  Now it’s all business suits with dollar signs for eyes.  The academic who puts their book up for free on the internet is nothing less than a saint.  Seeking knowledge is never really a sin.

Tasty fruit of knowledge

Clash of the Titles

Well, it seems I may be stuck in publishing for a while.  At least it’s a place to learn.  The inside story, it turns out, would be very helpful for authors to know.  Let’s take titles for example.  An editor sees a basic misunderstanding on the part of many academic authors.  Hey, I’ve even done it myself.  To correct this misunderstanding it’s important to see that academic publishers see different basic kinds of books.  One of them is the academic monograph.  No matter what the author thinks (I know the feeling of working on a book for years and supposing everyone else will be interested in the topic) academic books are of limited appeal.  Their main buyers are academic libraries and academic librarians want to know at a glance what the book is about.  The title has to say this, even before reaching the subtitle.

We’re all used to the idea of seeing books with clever titles in the bookstore.  (Remember bookstores?)  These are trade books.  Some of them are from academic presses, but these are books that have often been worked over by editors and marketers and publicists to make them more appealing.  The title can be clever, with an explanatory subtitle, because the target buyer is a bookstore rather than a library.  It’s difficult for an author to admit that this tome that has consumed your waking life for years, and maybe even decades, is primarily something a couple hundred libraries only will buy.  And family and friends who feel they need to support your efforts.  It’s a hard reality to face, but it often comes down to title.

What are you going to call your book?  My own most recent effort, Nightmares with the Bible, was written for a trade readership.  The publisher, however, had the library market in mind.  For success in the library market, the title works against the book.  No matter how accessibly your book is written, no mere mortal will pay $100 for it.  (Some of us will feel compelled to dish out that kind of cash for a title we really must read, but we are the exception rather than the rule.)  I like my title, but it was a mistake.  It should’ve probably gone by its subtitle, slightly modified, The Bible and Cinematic Demons.  In my mind as I wrote it, I had an educated but popular readership.  The publisher had different ideas, unclear to me when the book was put under contract.  Now it’s time to give this post a popular title so that it will be read. And hopefully taken to heart.


Discount Nightmares

Now that we’re past the equinox it’s officially okay to obsess with monsters, right?  (Any excuse will do.)  Nightmares with the Bible was officially a pandemic book.  Academic publishers (especially) found out that books released in 2020 tended to flop.  People weren’t thinking about much other than the pandemic (or crying about losing an election fair and square).  Books, of course, take a long time to write and a long time to produce—it’s not as simple as it looks.  And if your production schedule falls during a pandemic, well, be prepared.  In the case of Nightmares there was the added burden of price point.  When all you’re thinking about is survival, cashing out a Franklin to read about demons seems hardly wise.

Just yesterday I received a flyer, that I’m passing along to you, for the book.  It has a discount code on it (look at part 2 below) so that the book is merely expensive rather than very expensive. Nightmares is part of a series titled Horror and Scripture.  The series, published by Fortress Academic and Lexington Books, is now coming out with its third volume.  The publisher, starting to recover from the pandemic, is promoting all the books in the series.  You see, Nightmares was not only a pandemic book, it also missed that highly sought-after pre-Halloween release.  Books that deal with horror get a boost during the holiday season.  Ironically the same thing happened with Holy Horror.  Both books came out in December when nobody but Charles Dickens is thinking about scary things.

Academic book pricing is based on a model that’s beginning to crumble.  It’s that capitalistic trope of what the market will bear.  The market is academic libraries, and it has been demonstrating lately that even they aren’t made of money.  I don’t know if libraries get to use discount codes or not—it can’t hurt to ask your librarian.  Fully employed academics, however, will sometimes pay a hefty price for a book they really want or need.  My shelves upstairs are filled with books that were overpriced but were required for the books and articles I wrote when it was an expectation of my job.  My next book, which is now in the negotiation stage with the publisher, will be more reasonably priced.  It will likely have a smaller appeal, but you’ve got to start somewhere.  I sincerely hope I’m through writing hundred-dollar books.  Please pass the flyer along to all your rich friends—it’s just in time for the haunting month of October.


Building Trust

Photo by Marek Piwnicki on Unsplash

Perhaps the most insidious aspect of the Trump presidency was the four years of eroding trust.  People, it seems to me, no longer trust each other.  I’ve noticed it most since the reign of a pathological liar.  It’s kind of like a nation of children of alcoholic parents—trust is a real struggle.  I regularly deal with academics.  Now, critical thinking tends to make a person skeptical, at least to a degree, but it seems to me people would trust a very old, highly regarded institution.  Lately I’ve noticed that trust eroding in various ways, and that puzzles me.  If we can’t trust those who’ve done the heavy lifting of keeping a solid reputation for centuries, well, who can you trust?  It’s a real dilemma.  Maybe it’s because we had four years of equating “my opinion at the moment” with “facts.”  The damage will take many years to repair.

The basic way that civilization works is with trust.  We tend not to pay our money for something unless we believe it’s worth what we’re spending.  Skepticism, in appropriate measure, is a good thing.  So is trust.  One way that I often see this is in the hiring of contract managers.  Yes, there is such a thing!  Many younger academics now hire companies to make sure the publishing contracts they sign aren’t cheating them.  When I was in academia you simply went by the reputation of a publisher.  Everyone knew who had a good reputation because of, well, their reputation.  What a publisher represented was well known and respected for what it was.  Perhaps I’m mistaking the desire for personal advantage for lack of trust.

Companies sometimes engage in trust-building exercises.  Getting beyond someone’s politics to the person beneath seems to be a dying art.  Deep divisions are difficult to achieve when people trust one another.  Consider the anti-vaxxers who are now feeding the delta-variation of Covid-19.  They’ve been taught not to trust the scientists and officials who offer a way to ending this pandemic.  For free.  They even don’t believe the post-presidential interview with Trump where he encouraged (far too late) his followers to get vaccinated.  Trust has to be built slowly.  Over centuries sometimes.  One man’s selfishness tore down the modicum of trust that had been slowly growing since the 1860s.  Now uninformed skeptics think critical race theory is some kind of plot.  Trust isn’t a bad thing.  It is the only way to move forward.  Trust me on this.


To Write in Black and White

It can be seen as a black and white issue: either you’ve written a book or you haven’t.  Many people do write books.  Many more want to.  In a survey I saw sometime in the past few months—I can’t recall exactly where—a survey indicated a high percentage of Americans wanted to write a book.  What exactly does that mean?  There are many different kinds of books and several motivations for writing them.  And, depending, your work may or may not be taken seriously, even if you publish.  As someone who’s published four nonfiction books, all of them obscure, I often think about this.  Working in publishing I have some privileged access to the ins and outs of how this works, but that doesn’t necessarily help in writing success.  So what are the motivations?  Is there any way to tell the difference?

Obviously, I can’t speak for others’ motivations but I can see the results.  Most of the writers with whom I work are academic writers.  Their books are generally written for fellow academics and they’re the result of years of research in specialized libraries often off-limits to non-academics.  Those are pretty easy to tell at a glance.  Another class of nonfiction writer is the journalist.  It’s assumed by the industry that someone who majored in journalism is a talented writer.  If, after reporting on a topic for a few years, a journalist wants to write a book based on experience, that frequently gets a publisher’s interest.  The results may not be academically reliable.  I recall that as a grad student it was assumed there were even certain established publishers not to trust—mainly those that weren’t university presses, but not exclusively.

The self-published book has a more difficult trajectory to trace.  Some authors, no matter how good or insightful, just can’t get a standard publisher’s attention.  Others are convinced of their own wisdom and now have an easy route to become a published author.  Yet others realize some money can be made from writing (although making a living at it is very hard work).  I’ve been reading a book by a journalist that has lots of factual errors in it.  I try not to judge, but I do wonder when I know it’s shelved as nonfiction.  Now, these aren’t the kinds of errors that will cost a life if dosed incorrectly or will set off a war between dominant personalities that are heads of state.  I also know that most books do contain inadvertent errors—books are written by humans and we don’t have all the answers yet.  Still, I think of the readers and how we define nonfiction.  What counts as a book anyway?  Things are seldom black or white.

Writing my first book

You Have the Right to Remain

It’s strange sitting in a meeting where you’ve written a book on the topic under discussion and nobody knows about it.  This is one of the problems of publishing with an academic press.  Books get lost and buried.  Maybe the other way around.  A problem we academic editors frequently run into is that authors tend to think a book is a book.  Publishers recognize several different kinds of books, well represented among them those that are destined for the “library market.”  You can tell them by the way they’re priced.  Now I must confess that I’m behind the times in this regard.  I still tend to think twenty dollars is a lot to pay for a book.  I say this even though my job, day after day, includes pouring over book budgets to see how an academic book can be made not to lose money.

It costs a lot of money—most of it overhead—to produce a book.  In order not to run a publisher bankrupt, it needs to sell enough copies to cover its costs.  Library market books are priced that way because they are expected to sell only to libraries.  Certainly, if they were priced lower some academics would buy them, but the truth is not many academics do.  I realize I was an outlier when I was in the academy.  Without a research budget I would spend my own money on a book priced a hundred dollars if I really needed it for my research.  I was aware, even at that time, that others seldom did this.  As an academic colleague once told me, “I like to buy shoes.”  And let’s face it, there are just too many books out there to buy.  “Publish or perish” has more than one meaning.

So I’m sitting in a meeting where the topic of discussion is something on which I’ve written a book.  My opinion is not asked—my book is priced for the library market and I know it—so I don’t really expect it to be.  The question is whether general readers will find the subject compelling.  Speaking strictly for me I’m pretty sure they will.  I signed my contract for Nightmares with the Bible before I knew the series would be priced for the library market.  That designation also indicates minimal marketing.  What publisher is going to try to push a book that costs that much when they know individuals can’t afford it?  So I sit in the meeting and keep my mouth shut.


Pricing out of Business

Maybe you’re like most normal people and don’t pay much attention to who the publisher of a book is.  If you read a lot, and can get behind the glitz and glam of an Amazon page, you might come to trust certain publishers over others.  The fact is, despite the difficulty some of us have getting published, there are a lot of presses out there.  Some are clearly self-publishing vehicles, but many are small, independent houses that focus on specialized topics.  The sheer numbers can be bewildering.  I was looking for a reputable book on a certain subject the other day and, given my job, I always check the publisher.  Several in a row came up that I had never even heard of before.  I guess there is money to be made in publishing yet, if only one could find the matching pieces.

With academic publishing you can spend five or more years of your life writing a book and you’ll earn royalties that literally won’t cover a month’s rent when you’re done.  Even while this is happening there are people who make a living publishing books with presses you’ve never heard of.  They know how to get average citizens to buy their books.  I’ve been working in publishing for over a decade now and I guess I still don’t have it figured out yet.  It’s complex, and even with online publishing helps like agent-finding sites or Duotrope, you’ll find that each day brings its own changes.  I’ve learned through personal experience that many publishers simply don’t last.

What many of these fly-by-night publishers understand better than established academic presses is that price matters.  Well, let me put that in more precise terms, for all publishers need money—fly-by-night publishers know that average people will buy only the books they can afford.  These presses I’ve never heard of sell books for the industry standard of about sixteen bucks.  My least expensive book sells for about twenty-two and I’ve been told more than once that it’s too expensive for most mortal budgets.  Collectively, my four books cost almost $250, averaging out at sixty per pop.  Two of them were written for general readers who have no hope of being able to afford them.  I tried to find an agent for one of them, and the other was a series book (no agent will touch such a thing).  Perhaps I should’ve tried a lesser-known press that could afford to offer my books at affordable prices.   You could do worse.


Literary Life

Trying to live a literary life is, I suppose, irresponsible.  Especially if your efforts and writing bring basically no money.  It takes considerable effort to make daily time to read and write, and so much else remains to be done.  At times I feel guilty for trying.  My books have all been published, for various reasons, with academic publishers.  Academic publishers don’t try to sell many copies of an individual book, relying as they do on the long tail philosophy.  Most academics have good paying jobs that expect research and writing in return.  For the outsider, however, there are other pressing matters.  The nine-to-five being the largest among them.  And any social organizations you join to keep you sane and connected.  Then there’s social media to take your time.  And the lawn’s ready for mowing.

I’ve always believed lack of time was (is) a theological problem.  I came up with that when I was an academic and had time to ponder such things.  Unlike many of my colleagues, I did research and write.  Now I want to move into that world where you might earn a little from all the effort.  And yet, that old Protestant guilt has a way of getting its talons around you.  You’re reading?  Shouldn’t you be doing those minor repairs you can handle without a contractor?  (Or at least think you can handle?)  Or maybe shouldn’t you be looking for a job that pays enough to hire someone to do such things?  And don’t you dare let that word “retirement” anywhere near your head.  What are you, irresponsible?

Reading takes commitment.  I try to read, on average, at least a book a week.  It requires a lot of time.  And a literary life includes giving back.  You want to share your writing with the world.  Hoping that either your fiction or nonfiction might eventually bring you some notice.  That’s the plan anyway.  The starving artist paradigm doesn’t feel so comfortable when you’ve got a mortgage.  Still, the imagination refuses to be tamed.  I’ve often said I could be content on a desert island as long as I had a huge stack of paper and never-ending supply of pens.  But that’s not the reality I inhabit.  That mortgage pays for a roof over my books and writing computer, always complaining it’s full.  It may not be glamorous.  In fact, it’s about the exact opposite of that.  But it is, after all, a literary life.


Free Knowledge

I was struck with an idea.  Not just any idea—an academic one.  I find myself out of practice, and wondering where to find sources when I have no access to an academic library.  I’ve spent my precious writing time for the past several days trying to bang out a respectable academic article.  It represents an area that my personal library does not cover adequately.  The fully employed academic has a library and interlibrary loan to support ideas that won’t let go.  It’s a bit more tricky for the independent scholar.  I’ve contacted local schools but during these pandemic times there is no public access.  Nor electronic access—thanks to all the fancy deals publishers make to try to keep the industry profitable.

The past few academic publications I’ve had were difficult to write, particularly the footnotes. Something the garden-variety academic doesn’t understand is that the university library is a privilege.  I read a lot.  Probably more now than when I was a professor.  Still, research leads you in directions you’d never anticipate.  It’s quite a wild ride, actually.  So with my current project (I can’t tell you what it is because someone with library access would easily be able to scoop it) I’ve had to buckle up.  As I was reading an obvious connection became clear.  It reminded me of the thrill of discovery.  The researcher has a drive for new knowledge—a treasure-hunter of the mind.  It is wonderful to be reminded that there’s more out there still to be discovered.

I’d almost forgotten how an insistent idea can push other projects out of its way.  I have any number of projects going simultaneously.  They get a few minutes’ attention before the work day starts and some of them mature enough to be sent for publication.  At any given time there’s a lot more standing behind those ideas that actually show up on this blog, or in a journal, or even in the fiction venues in which I publish.  But that idea just won’t let me go.  Even while I’m at work it lurks in the back of my mind.  The professorate, for all its limitations, doesn’t pin you down to a nine-to-five schedule even when the time would be better used otherwise.  The thing is, you can’t tame ideas.  Who would want to live in a world where you could?  So I keep working away, hoping to find a library or at least electronic access.  It’s just an idea I have.


The Spiritual Life

Genuine spiritual experiences don’t sit well with a nine-to-five job.  When something truly profound happens to a person s/he requires time to think about it.  Ponder the experience.  If such a thing occurs on a Sunday (imagine that!), the next morning, still reeling, you need to go to work.  Perform duties that no longer seem significant.  And continue to do so for four more days, until the fire has gone out.  This paradox has plagued me for some time.  Perhaps it’s the fate die cast for an editor who can’t just read submissions for their financial payoff.  Who asks, “What if she’s right?”  Doesn’t that affect everything?  Especially in the case of a religion editor.

Blown away.

I first noticed this in college.  Even there the schedule was quite flexible, according to classes you had to take.  The professors were sincere in their presentation of ideas you should take seriously, but then in the work world your boss indicates that you’re not being paid to do that.  You’re being paid to produce.  Contribute to the machine.  Cogs and sprockets don’t think.  They do.  Then a significant weekend would come (or a holiday, say) where the message would really speak to me.  Change my outlook.  Until Monday morning.  The outlook would still be changed, of course, but the demands on routine would not also be changed.  It’s quite a dilemma.  As the great contemplatives throughout history have known, these ideas must be wrestled with.  Conversed with.  Tried on for size.  Walked with.  Such things can’t be done in the context of what you’re paid to do.  “Do it on your own time.”

What is your own time?  The weekend, essentially.  Work expands to fill the quiet times of weekdays.  Your time is owed to somebody who pays you less than the national average to do something any nonspiritual person could do.  Such is the danger of being open to new ways of looking at things.  Vacations need to be planned.  They are rejuvenating, but spiritual experiences can’t be planned.  They just happen.  HR has no algorithm for them.  Not exactly sick days or floating holidays.  And what if you need more than one day?  That meeting that was scheduled for Tuesday, what about that?  As if such things were really important.  Perhaps you too had the professor late for class because s/he was struggling with an idea, an experience that fit her or his specialization.  There were always office hours to recover.  That’s all fine and good, but it’s time for work.


What Have Faces To Do with Books?

I don’t write much about it because I don’t understand it.  Facebook, that is.  I’ve had an account there for many years now and with the rapid changes they make it seems you might want to major in it if you want to pursue it even as an avocation.  One of the bits of wisdom I’ve picked up from various marketers and publicists in the publishing biz is that you need to be visible on social media.  (I’ve encountered agents who actually won’t consider your project unless you already have thousands of followers, preferably on Twitter.)  The aforementioned marketers and publicists insist that you shouldn’t do all social media—who possibly can?  Just stick with the big ones, especially Twitter.  Especially Facebook.  If you’re a working stiff, like yours truly, you’re not allowed on these sites during the day, which means building a following is difficult.

The publisher of my third book, Holy Horror, hasn’t done much promotion for it.  (They also priced it higher than most of their books, forever dooming it to the dreaded library market.)  One thing I found in my few pre-dawn minutes on Facebook is a group of other authors who’ve published with this particular press.  We share ideas and ask questions.  We try to promote our work in ways that most publishers wish authors would.  In any case, we are hosting and event on Saturday, March 6, where we’ll be on Zoom talking about our books.  The event will be free and lots of interesting things will be on offer.  If you’d like to attend, you’ll need to see the link in my Facebook feed.  It’s free.  There will be a limited-time sale price on Holy Horror.

Working in the academic publishing world but not being in the academy I’ve learned that you “fall between two stools.”  Nobody quite knows what to make of you.  Editors aren’t supposed to write books, are they?  The funny thing about that way of thinking is that many editors (yours truly excepted) are among the smartest people I know.  Those who don’t have doctorates read more than most of the people who do.  It would seem that if you wanted to get some really interesting books you’d ask editors to write.  Of course, they may not be permitted to use social media during the day.  Falling between stools is a place familiar to me.  Facebook, however, seems more like an impenetrable forest.  It’s a good thing I write about horror movies, I guess.  If you’re interested in hearing more take a look at Facebook and join us on March 6.


Knowing Everything

Of all the jobs I’ve held, being an editor is the only one where strangers send random emails trying to convince me of God’s reality.  Granted, part of that may be because email is now so common as to be passé among the younger crowd.  When I myself was younger it was still just catching on.  Still, part of these strange emails is likely based on the evangelical compulsion to make others see things their way.  Someone who edits biblical studies books might seem like a good target.  I got another such email just last week, and as always, I wondered over it.  What kinds of assumptions must random strangers make about biblical studies specialists?  One of these assumptions, it’s clear, is that they suppose we are atheists.  They know this without even asking.

Technology has made such blindsiding communication easier.  It didn’t invent it, though.  It took a lot more effort to write up a letter, address it, buy a stamp, and mail it than it does to sit down at a keyboard, click, and they start proselytizing away.  In my earlier days, in other incarnations of a career, I received unexpected missives from time-to-time.  And certainly as a seminary professor you had students who had already figured everything out by the time they’d gotten to matriculation.  Many of them were coming to seminary to teach rather than to learn.  Such can be the arrogance of faith.  I fear that many of them graduated with their biases intact.  Education, perhaps, doesn’t work for everyone.

Photo credit: NASA

Having it all figured out is something many of us strive for.  We want things to make sense.  We want our spirituality to fit into this increasingly materialistic world.  Some of us go to seminary and/or graduate school to help us make sense of things.  We encounter minds further along the journey than our own, and, if we’re open, we learn from them.  For me, it’s difficult to understand how education isn’t always a humbling experience.  Oh, I get emails from academics who think they’ve figured it all out as well.  Such communications always make me sad.  The human enterprise, such as it is, has spanned millennia and true progress has only been made when people were humble enough to admit that they didn’t know everything.  They would eventually invent the internet and email.  Then those who already knew all the answers could send them to strangers to convince them of their own great learning.