Book Writing

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Not everyone wants to write a book.  A great number of people, however, do possess that desire.  Or that desire possesses them—that’s often more accurate.  For some it’s because they have ideas that feel compelled to share.  For others it’s the sense of accomplishment of having successfully strung together thousands of words and seen them encased between covers.  For still others it’s economic—books can be sold, and if done well, can become a living.  There are surely other reasons as well.  Since I read a lot, I frequently wonder about other authors’ motivations.  Often, I suspect, it’s because they underestimate how difficult it is to navigate this path to success.  You have to come up with an idea that is unfamiliar to your target readership—free advice: no book appeals to everybody—that has a hook that will make them want to read it.

I’ve read books where this hasn’t been thought through well.  Love them or hate them, this is what major publishing houses do well.  They figure out what likely will have appeal.  They make mistakes, of course.  Everyone does.  Still, they have a solid track record that makes them the hope of writers who have the burning need to, well, write.  One of the cases where this becomes an issue is where an author tries to be funny.  There is a lively market for humorous books, but if you’re trying to convey serious information but you find yourself cracking jokes along the way, you’re going to confuse, rather quickly, your readers.  What are you trying to do?  Make me laugh or teach me something new?  What should I prepare for when I pick up your book?

Don’t get me wrong—I clearly haven’t figured all of this out myself.  I do think that the combination of a doctorate (which teaches advanced research skills), and editorial work (which teaches how publishing works), should be a winning combination.  Ideally, anyway.  What I find is that it does make me approach books critically.  I look at the publisher.  I ask myself, what is this book trying to do?  You see, to read a book is to enter a relationship.  The book has an author.  That person is sharing what she or he has thought about.  By publishing it, they’re inviting you into intimate spaces.  That’s why I tend to be gentle in my book reviews.  I know the hunger.  I too feel compelled to write.  And if I don’t get the mix right, I would hope that any readers might, if they reflect on it, see that this is merely an awkward effort to begin a conversation.

No Words

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I read something scary recently.  And no, it was not a horror story.  I work in publishing and we have to keep abreast of developments, so I’ve had a glimpse of the future.  Publishers are now starting to look toward the time when information will no longer be conveyed by the written word.  A picture’s worth a thousand of them, after all.  This new future will convey information by video, or whatever the replacement of video will be.  Perhaps some are looking forward to the Matrix direct downloading model.  Perhaps the computer will be able to simulate the pleasures of reading a book, of browsing in a bookstore, of writing with pen on paper.  Something about the process and discipline of reading has made us what we are.

Star Wars, as others have noted, is set in a world with no paper.  You won’t find a scrap blowing in the wind, even on Tatooine.  Nobody is shown reading.  Plenty of action, but no wizard behind his big book of spells, no princess writing down her inmost thoughts.  Make a recording and plug it into your R2-unit.  Perhaps this is heresy, but compare this to Star Trek.  The episode “Court Martial” has Cogley (Elisha Cook, before he applied to become Rosemary’s landlord) saying to Kirk, “Books, young man, books. Thousands of them. If time wasn’t so important, I’d show you something. My library. Thousands of books.”  We always thought even the future would have plenty of reading material.  Now we’re being told the technology is passé. 

The constant emphasis on “data-driven analysis”—mostly in an effort to get more money—seems to mistake the downloading of knowledge for the pleasure of reading.  They’re not the same.  I love movies, as any regular reader will know.  Perhaps ironically, I write books about them.  The thing is, I watch them largely to write about them.  Knowledge downloading is getting the cart before the horse.  I’ve read even nonfiction books wrapped in awe.  An author’s way with words, the phrasing, the craft, the artistry.  These are pleasures.  Sure, images can show an interpretation but there are those of us who will always want to read the book before we see the movie.  Can you get the actors’ faces out of your head if you do it the other way around?  There are those who celebrate this sterile future.  And there are those of us who won’t even go there if we don’t have a book in hand to read, just in case.

Image credit:Bender, Albert M., artist; Federal Art Project, sponsor. Public domain.

Sabbatical Request

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I don’t know when I became one of them.  It seems that I was pretty busy in my early teaching days, and starting a family.  I didn’t feel, however, that every single minute was programmed down to the second.  I had time for writing, vacation, and family, as well as work.  The other day when I was sending out those reminders to authors that their books are a bit (years) overdue, I realized just how busy they are.  Then I took a moment and considered that I’m not sure how I became one of them.  The people who are too busy.  Clearly buying a house was a big part of it.  I’d been pretty busy before, but now I need to invent time in order to get everything done.  The staycations I allow myself end up with feelings of guilt for all that’s been left undone.

Maybe it doesn’t help that I can see the neighbors out my office window.  When I see one of them weed-whacking or mowing during the day, I think I need to do the same.  But I’m also out of string for the whacker.  I really need to get to Lowes so I can stock up—last time they had only one spool left, which is probably why I ran out.  To get to Lowes I need a weekend.  Preferably not one with temperatures in the high nineties.  And without meetings cutting into weekend time.  And when it’s not raining.  Time is slippery.  Even as I work I often have other things—many other things—I have to do running through the back of my mind.  How did I become so busy?

Speaking only for myself, there’s nothing I’d rather be doing than reading and writing.  I do these daily only by carving out inviolable time for them.  It is costly time, I know, but to me it’s beyond price.  Thinking of these colleagues too busy to submit their books, I think back to my own professor days.  There’s no doubt that I read and write more now than I did then.  There were times (grading, accrediting body visits, commencement, etc.) when there simply wasn’t time to do anything else.  Many colleagues mention health issues on top of all this.  Academics, as those who supply (partially, but responsible for a goodly number of) books, the number published each year truly boggles the mind.  I would try to figure all this out, but I’m afraid I simply don’t have the time.

Cover Copy

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If you’ve ever wondered why the same images appear on book covers over and over, there’s a fairly simple explanation.  (I should specify, by the way, that I mean academic press books.  The pockets of trade publishers are apparently bottomless.)  For many in the humanities the choices come to the same set of classical paintings that are out of copyright.  Now, in a capitalist system, copyright is a necessary idea.  It protects those who create intellectual property from being taken advantage of.  Their work is treated like a physical object, so an accurate image of a painting is the same as the painting itself.  But if you’ve ever been to an art gallery you know that’s not exactly true.  Art galleries show us that being in the presence of the real thing is different than seeing a reproduction.  But I digress.

Books are not only recognized by their covers, but sold by them.  It’s a strange industry and part of the reason why goes back to one of those eye-glazing-over court cases involving (yawn) taxes.  In 1979 the Supreme Court ruled that companies could no longer devalue old stock for tax purposes.  This was the Thor Power Tool Company v Commissioner case.  The court ruled old stock had to be assessed at value.  While this was about manufacturing, it deeply impacted books.  Publishers now had to destroy old stock (and books are printed in quantity) or face heavy tax consequences.  This led to books being pulped much more quickly than usual (they could then be written off as losses) and directly impacted the book cover.

Despite the old adage, every publisher knows people do judge books by their covers.  Since 1979, extra care has been given to covers to make books sell quickly, and in significant numbers.  Now granted, your nuts and bolts will still be useful in future power tools, but books sell differently.  A typical book has a three-year lifespan.  Sure, there will be those (like yours truly) who’ll buy a book that’s been out for a while, but most books are considered dead after year three.  That old stock is a liability and pulping is common.  It seems an inglorious end for such a noble product.  Not to mention wasteful.  Academic books have similar covers because copyright images are often too expensive to license for covers.  Constantly publishers have to guess as best they can how many copies will sell because old stock is too expensive too keep.  Print on demand has changed a lot of things as well, but that’s a different story.   Covers still do count.

Paperback Nightmares

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I’m not assertive.  My voice is not loud and even when I have strong opinions I like to let others have their say.  Those of us who’ve been beaten down too many times can be like that.  So it took a lot of courage to ask.  “Is it possible that Nightmares with the Bible might be issued in paperback?”  You see, I know that “academic” books almost always sell the copies they’re going to sell in the first year.  Some follow-up sales continue into years two and three, but beyond that it’s about done.  And I also know that when authors ask for a paperback it almost never sells as well (or even more poorly) than the hardcover.  I’m hoping the paperback of Nightmares will buck this trend because it published into the pandemic.  That was a game-changer.

When you’re worried about staying alive you might not feel like reading about demons.  Of course, what better time to do so is there?  Paperbacks are often produced, in academic settings, to appease authors.  I have long believed—and this flies counter to the orthodoxy of the publishing world—that if books were initially published in paperback and priced affordably they would sell better.  The fear is that the higher priced hardcovers wouldn’t be purchased by libraries.  Librarians would, oh tremble, purchase the reasonably priced paperbacks and rebind them for less expense than the stratospheric price put on a 208-page monograph.  Publishers are often afraid to try anything different.  Assured sales are a blessing that can be bankrolled.

I’m hoping, once the paperback comes out, to do some more promotional work on it.  This blog was started long before I had books to flog.  It’s free content for those who like the less sweet kinds of treats in the bowl.  I do appreciate the occasional free advertising I can do.  It’s my hope that there’s always something to learn offered with it.  Successful content providers can make a living doing it.  Others pay for the privilege.  I often ponder what will happen to this blog when I run up against the size limits of my WordPress account.  The next level up, commercial, is beyond my price range.  Perhaps, like a phoenix, it will be time to start all over again when that moment comes.  In the meantime I’ll reuse images as often as I can, because each new one takes a byte out of my account.  And when it’s all said and done, Nightmares will still be available in print. Hopefully in paperback next year.

Paper not Paper

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I’m sure other people have this problem.  I read hardback books with the dust jacket off.  Lest anyone accuse me of being consistent, my wife reminds me that I debated the opposite side early in our marriage.  I guess I’m complex.  In any case, the problem I face is with things pretending to be what they’re not.  This particular book is “cloth-bound.”  I own quite a few cloth-bound volumes, but this one is so slick that I keep dropping it.  It slips right through my fingers.  The reason this happens is because “cloth-bound” seldom means “cloth”-bound.  Modern binderies offer a textured paper covering that looks like cloth but it’s not.  In other words, although this book is not a paperback, it has, in fact, a paper back.  This is more than just semantics.

When looking for a house one of my non-negotiables was that it couldn’t have vinyl siding.  Vinyl siding pretends to be wooden cladding, and I require authenticity.  I don’t want a substance saying it’s something that it’s not.  You see, I grew up in a plain-speaking, blue-collar environment.  The last time I visited my mother’s trailer to get something from her former neighbor who’d moved in, it was summer.  I stepped out of the car and although I’d said maybe less than two sentences to this man in our meetings over the years his first words to me were “What are you all dressed up for?”  A bespectacled, white-bearded veteran, he was wearing a tank-top tee-shirt.  I had on a button-down that had been recently laundered.  I loved his authentic approach.  It was hot out, so why was I “dressed up”?

Book-binding actually has a fascinating history.  Books were originally sold as sheaves of paper in a “book block.”  In the early days booksellers often did the binding themselves, or customers would buy a book block and take it to a bindery of their choice.  That’s why there’s no uniformity in old book covers.  Eventually, however, mechanization allowed for books to be bound before being shipped to book sellers.  Early binding tended to be leather, which is why many Bibles are still sold that way.  I found all of this out from reading various books.  Which ones they were have slipped my mind.  Probably they were bound in paper, pretending to be cloth.  Cloth binding is more expensive than paper-pretending-to-be-cloth binding.  That’s why publishers use it.  The same applies to vinyl siding, I suspect.  Only with human beings does pretend authenticity become more expensive.  

Slow Running

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It’s extremely slow.  In fact, you might think nothing is happening at all.  I mean the book publishing process, of course.  It takes a long time to read 60,000+ words.  Even longer if you’ve had a few poor nights of sleep.  And many people have to read it before it gets anywhere near a printing press.  Everything about writing a book takes time.  While everything in the outside world happens at an unbelievable pace—last year at this time there was no war in Ukraine, for example—the slow process of organizing thoughts, putting them into words, sending them to a publisher who has many, many other proposals and manuscripts to consider, getting it rejected once or twice, finally finding a publisher, making the requested changes, getting it copyedited and typeset, getting the files sent to one of the few domestic printers left (who have tremendous backlogs), then to the bindery, and finally shipped out to the warehouse—it takes years.

Centuries of work

Current events publishers can rush things through and it often shows.  Meanwhile the authors of all other books learn to wait.  And wait.  Often the payoff isn’t great.  (I’ve received no royalties at all for Nightmares with the Bible.)  So why do we do it?  Those of us compelled to write have many motivations, I suppose.   One is to expand human knowledge.  We’ve discovered something and we want to share it.  We want to inform and entertain.  Those of us who write fiction also hope that our ideas may speak to others.  Having the fiction piece accepted is a validation of our outlook and experience.  Those who do so well may be inflicted on future literature classes.  I still remember The Loneliness of the Long-Distance Runner by Alan Sillitoe.  We had to read it in twelfth-grade English.

None of my friends liked it.  It was a collection of short stories by Sillitoe, titled after the one story that is still his only real claim to fame apart from his novel Saturday Night and Sunday Morning.  The tale of an English boy’s alienation didn’t speak to the rural western Pennsylvanians of the late seventies.  One of my classmates disliked it so much that he drove his pencil through the runner’s image on the front cover in a kind of uncouth performance art.  Now as I experience trying to get short stories published (with a little success here and there, but no royalties), I can feel for Sillitoe.  Still, “The Loneliness of the Long-Distance Runner” was made into a movie and has quite a few cultural references pointing its way.  Long-distance running, like publishing, is sometimes a slow process.  And at times you decide not to finish the race.  Or at least realize this race may last for years.

Buying Copyright

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It our current capitalist, individualist world, copyright is a good thing.  It’s often misunderstood, even by those who hold it.  It can also lead to confusion.  Basically, anything you create is covered by copyright.  This applies to written work, artistic pieces, photography, music, and so forth.  Even the words on this blog are covered by copyright, although it’s difficult to enforce on the internet.  If someone wants to use a work covered by copyright, they have to have permission from the rights holder.  You can sell copyright.  That’s essentially what authors do when they publish books.  They sell copyright for the promotion and, if they’re lucky, royalties the publisher provides.  Once money’s involved, everything changes.  After publishers, say, have the rights they can do anything with them, if it’s specified in their contract.  They can sell them again, or sublicense them.  (This is going somewhere, I promise.)

Different countries have different copyright rules and so sometimes a book is available in one country and not another.  Now Amazon, and some used book sites such as Bookfinder, have made used copies available.  Used copies can get around national restrictions.  I remember wanting a certain Hebrew grammar that was only available in hardcover in the US, and very expensive.  When we moved to the UK, it was available cheaply in paperback.  That’s just one example of how it’s intended to work.  Here’s the twist: the same book can be sold under different titles (even in the same language) if published in different countries.  It’s possible to mistakenly think that they’re different books and buy them twice.  Publishers don’t mind that at all.

Even in the same country, publishers can give the same content different titles by releasing a hardcover version first and later publishing a paperback with a different name.  Sometimes it’s difficult even for someone who works in the publishing industry to know if that’s happening.  Copyright is meant to protect the creator.  For the buyer it’s caveat emptor.  There are times when it’s convenient to have two of the same book.  Like libraries, however, houses also have limited physical space.  And the owners limited budgets.  Publishers need to make money, I realize.  Hardcovers, being more durable, cost more than paperbacks.  And overseas sellers face different markets so sometimes have to give the same book different titles.  In this interconnected world, the buyer must beware—capitalism encourages spending and copyright can be most protean.  Especially when money’s on the line.

Photo by Blogging Guide on Unsplash

Paid Reading?

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It’s like when you slowly pull a cotton ball apart.  Interrupted reading, that is.  Some people never cotton onto reading—we’re all different—but some of us find it such a beguiling exercise that we neglect other aspects of life so that we can engage it.  Almost an altered state of consciousness.  That moment when you have to close a good book, though.  There’s nothing else like it.  It’s difficult to pinpoint whether images or words make up the continuity a reader experiences.  For me it’s like a continuous conversation.  Since my life may be too regulated (“nine-to-five” jobs are like that), every day at work begins with interrupted reading.  If you’re awake early, you’ll find there’s no other uninterrupted time like it.  No librarian has to shush anyone at three a.m.

My job is largely reading.  It’s also a good deal of customer service.  As an author myself I guess I get that.  Content is what the world wants, and if you find a writer who does what your press likes, well, you try to keep her happy.  Why doesn’t enforced reading feel like reading by choice, though?  It’s that reading before work that feels like the pulling apart of fibers that’ve organically grown together.  By nighttime, which is still light in summer, it’s not so much pulling apart cotton balls.  Bedtime reading is more like stumbling through a forest.  When you come to that part of the path you know you’ve been on before—perhaps multiple times—it’s time to put the book down and hopefully reboot.

There may be jobs which consist entirely of reading for pleasure.  If there are I never learned about them in high school or college.  I have a friend who’s a musician.  Many years ago I asked him what he like to play for fun.  He looked at me and said “Music, for me, is work.”  I have to believe that somewhere deep inside he still found it enjoyable, but I instinctively grasped what he meant.  Once you take your passion and convert it into a source of income the magic goes out of it.  Once I get out of work the thing I want to do immediately is read, but what I want to read. And although studies show that the reasonable way to get your best work out of your employees is to give them more time off, employers tend to disagree with the data.  The more hours you put in the more “dedicated” you are.  But then, some of us are in publishing because we love to read.  But even now, as work time approaches, the cotton ball begins to shred.

Bounce Back

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Bounce-backs are when an author receives a rejection letter and immediately emails the publisher back.  They are some of the worse ways to ensure future prospects with a publisher.  Now, I’m more sensitive than most editors, but I know of none, absolutely none, who feel good about writing rejection letters.  We’ve all received them and we know how bad it feels.  In publishing in general the appropriate response to a rejection is silence on the part of the author.  Since I submit more fiction for publication than non, it is mostly in that realm that I experience rejection.  (I’ve had my fair share in the nonfiction realm as well.)  I know, however, that if I want a future chance with a publisher you simply walk away from a rejection.

Photo by Mel Elías on Unsplash

Bounce-backs are a bad idea for a number of reasons.  First of all, they don’t change anything.  Unless a rejection is conditional (it rarely is), all a bounce-back does is make an editor who probably already feels bad about it feel even worse.  Misery may love company, but it’s unprofessional to spread it around.  Secondly, bounce-backs hurt your future prospects.  Nobody wants to establish a professional relationship with someone who can’t take rejection.  A third reason is you’re asking someone who’s already considered your project and who’s moved on, to take more time with a book (or article, or story) to which they’ve already said “no thank you.”  A fourth reason is that a bounce-back announces loudly and clearly, “I didn’t take time to think about this; I’m reacting emotionally.”

One of the best things an aspiring writer can do—and this includes academics—is to learn about the publishing industry.  There are tons of resources out there.   The best information I personally have found on success in academic publishing is reading about how to submit fiction for publication.  I have a very long list of rejections to hold up against the twenty-something stories I’ve had published.  None of those rejections felt good.  Obviously, I thought my material was good, otherwise I wouldn’t have sent it in.  I try not to take it personally, but slowly learning those lessons has led to more frequent success.  You need to practice submission to get better at it.  I’m somewhat of an expert on aporripsophobia, so I can say with confidence that even a nice, polite, “thank you” in response to rejection is not favored.  Simply let it go.  That’s the professional thing to do.

War of Egos

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As an author you have to believe in your book.  Experience has taught me that if you don’t, nobody will.  Still, there are ways of believing in your book while keeping your ego in check.  Given the ego we’ve seen along Pennsylvania Avenue these last few years it may come as little surprise that even some wannabe authors can nearly match it.  The line, as professionals draw it, is balancing between the importance of your work with the realism that few books sell well.  Your best approach, as author, is humility.  Many people don’t read the professionals.  You quickly learn this if you’re in an editorial role.  It is normal to receive emails from authors telling you how important their work is, some even claiming it as an even on a cosmic scale (I am not joking).

I often consider how much pain authors could spare themselves with just a tiny bit of research.  If a publisher has turned your book down twice already, don’t submit it a third time.  (You already crossed the line the second time you sent it.)  And don’t send your proposal with a list of demands.  What I’ve noted both on this blog and elsewhere is that editors value professionalism.  We don’t like turning down books.  We don’t want to ruin a prospective author’s day.  There are, however, safeguards you can use to prevent the worst kinds of disappointment.  Rule number one is check your ego at the door.  Do you know how many books have been published?  Do you know just how difficult it will be for your book to get noticed?  Take a reality check.

Also, scale your expectations.  How many bestsellers have come from university presses?  If you’re after bestseller status you need to aim for a trade publisher.  This is pretty basic stuff.  Those of us who publish in the academic world do believe our books are important, but many of us also know that they start only small conversations.  Biblical studies isn’t exactly a growth field.  We talk amongst each other, a collegial little group for the most part.  And to keep things on the collegial level it is helpful to remember that we’re not publishing for ego.  We’re publishing to try to move knowledge ahead, even if just by a micron or two.  Good writing, I was once told, is simply clear thinking.  Getting that writing published is part of a conversation and conversation only works if  we are willing to keep our egos on their leashes.

Keep It Covered

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I’ve seen it at last.  The cover concept for my book.  I’ve been manicly checking the Rowman and Littlefield (parent company of Lexington/Fortress Academic—a roadmap would be useful) webpage to see what it might look like.  I’ve “seen a sighting” at last.  Nightmares with the Bible seems to be actually happening.  As a writer there’s always some doubt involved with your book.  You wonder, will it really come out?  Will someone pull the plug at the last minute?  Is any of this real at all?  Those kinds of things.  I’ve mentioned before that waiting is a very large part of the process.  Publishing is a slow business and the world changes so fast.  I sincerely hope it doesn’t ever leave books behind.

My waiting hasn’t been idle, of course.  My next nonfiction book is well underway but I’m focusing on fiction at the moment.  I had two short stories published within the last month and I’m inclined to follow where some success shows itself.  Besides, fiction and nonfiction aren’t as far apart as is often claimed.  Seeing the cover of the book, however, nudges me back towards nonfiction a bit.  Since I’m no longer an academic it’s a toss-up.  A few colleagues like what I’m doing, but my fiction work is secret.  So the process continues, waffling back and forth.  It’s all in service of learning how the publishing industry works.  That’s one of the many things they don’t teach you in graduate school.

It’s October and I should be thinking about monsters.  Although I’ve gone through my closet of DVDs, there are many that bear watching again.  If only I could fabricate time!  One of the things I’ve noticed about this pandemic—and I know it’s not just me—is that time seems to have been swallowed up.  A simple walk down the local biking trail now requires masking up before and washing hands after.  Less than a minute of time, for sure, but it adds up.  And if you go after work there’s not enough light left to paint the porch by when you get back.  Such are the contradictions of this wonderful season.  You really can’t pin anything down.  The colorful trees put you into rapture then they’re bare.  The bright blue sky looms under relentless clouds.  You throw off your jacket one day and it snows the next.  And there might just be monsters lurking out there.  One of them, it’s said, will be released in November.  Given the nature of this season we’ll just have to wait and see.

BBW

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It’s a measure of how busy I am when Banned Book Week has started before I realize it.  Most years I make it a point to read a banned book at this time, but my reading schedule is so crowded that I seem to have missed the opportunity this year—I didn’t see it coming.   I’ve read a great number of the top 100 banned books over the years, and I’m sure I’ll read more.  I’ve recently been reading about America’s troubled history with free expression.  Probably due to a strong dose of Calvinism combined with Catholicism, many of the books challenged and banned, as well as prevented from ever seeing the light of day, have to do with bodily functions.  Sex, especially.  In American society, as freely as this is discussed, we still have a real problem when someone writes about it.

Why might that be so?  Many religions recognize the privacy aspect of sexuality without condemning the phenomenon itself.  The Bible (which is on the list of Banned Books) talks of the subject pretty openly and fairly often.  Our hangups about it must be post-biblical, then.  Much of it, I suspect, goes to Augustine of Hippo.  Although he had a wild youth, Augustine decided that nobody else should be able to do so guilt free, and gave us the doctrine of original sin.  Add to that the legalistic interpretation of Paul and his school, and soon the topic itself becomes difficult to address.  Victorian values, obviously, played into this as well.  Literature, which explores every aspect of being human, is naturally drawn to what is a universal human drive.

Banned Books also treat race—another topic that haunts America—or use coarse language.  Some challenge religious holy grails, such as special creation or Christian superiority.  It seems we fear our children being exposed to ideas.  The wisdom of such banning is suspect.  The publishing industry has many safeguards in place to create age-appropriate literature.  Banning tends only to increase interest by casting the “forbidden” pall over something that is, in all likelihood, not news to our children.  American self-righteousness tends to show itself in many ways, making much of the rest of the world wonder at us.  We seem so advanced, but we fear a great number of rather innocuous books.  The reasons are similar to those behind why we can support tax-cheating, womanizing, narcissists as leaders: our faith blinds us.  I may be late in getting to my banned book this year, so I guess I’ll just have to read two next time.

Update on Nightmares

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Progress continues on Nightmares with the Bible.  Despite pandemic conditions, I received a happy email last week telling me that the manuscript had been transmitted to production.  If you don’t work in publishing that probably sounds like a pretty simple step, but in reality it’s immensely complicated.  The job of many editorial assistants is often just making sure books get through the transition from author to publishing engines safely.  Since Lexington/Fortress Academic is short-staffed at the moment (publishing is a “non-essential” business), they ask authors to take on additional responsibilities.  One that they passed on to me was to find people to endorse my book.  Fortunately I’ve got star series editors who agreed to take on the task, sparing me from going to someone and saying, “Um, hi.  Would you like to say nice things about my book?”  I’m shy that way.

That doesn’t mean that I’m not excited about the book.  It came about in an odd way, but like any parent an author loves her or his books, even if they aren’t quite what you expected.  Getting a fourth book published is kind of a hallmark for me, especially since I spend a lot of time on the websites of successful academic colleagues older than me that haven’t reached that benchmark.  Publishing books, for me, is a kind of validation.  The original ideas of editors aren’t much valued, either in publishing or in society at large.  Who cares what an editor thinks?  Put that same person in a college and s/he’s a superstar, eh, Qohelet?  So I sit here like an expectant parent, wondering what the book will look like although I already know what I’ve put into it.

Nightmares was never meant to be a research book.  Indeed, Holy Horror was written with an eye toward trade publication.  I’ve been working on my next book project (which I’m keeping under wraps at the moment for fear that someone with more time might get to it first, since there’s no getting the genie back in the bottle).  Before too many weeks have passed I’ll need to brush off my indexing skills (in as far as I have any), and get proofs submitted.  I’m afraid I’ll miss the coveted Halloween launch yet again with this book.  “Scary topic” books always sell best in September/October, but if you miss it, the next year you’re old news.  Like an anxious parent I sit here and wait because at this point things are literally out of my hands.

Nightmares with Nightmares

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Although some staff members are furloughed, Nightmares with the Bible is still going to press.  Unlike many authors, I realize that Covid-19 has had a stifling effect on publishing, starting with bottlenecking books at printing houses.  Printers (along with publishers) were non-essential businesses and since you have to be physically present to run a printing press, the virus literally, well, stopped the presses.  Many publishers could work remotely, so the projects began piling up before printing houses reopened.  All of this is preamble to saying I am gratified that work with Nightmares is continuing.  Yesterday, however, it led to a nightmare of its own.

One of the reasons I don’t fight awaking early is that it is uninterrupted writing time.  Most of the rest of your time zone is asleep at three a.m., so I can write in peace.  Yesterday, however, I had to divide my manuscript into chapter files and resend it to the publisher.  No problem, right?  Technology, however, has made this once simple task a burden.  I use a Mac, and so my word processor is Pages.  Not only that, but the constant systems upgrades require me to empty space on my hard drive—really, the only stuff I keep on here are my writings and those pictures I snap with my phone.  Still, I had to load my external drive to access the final file sent to the publisher two months back.  With Pages you can’t select material from page-to-page in the thumbnails.  No, you must “physically” go to the start of the chapter, click, scroll to the end of the chapter, and shift-click to highlight and then copy it.  Then you have to open a new file, select a template, and paste.  Save and export as a Word document.  The process took about two hours.

 

Now, I get up this early to write and do a little reading.  Yesterday I could do neither.  Instead I was cutting and pasting like a manic kindergartener, trying to get my manuscript printed before the second wave comes and shuts everything down again.  Talk about your nightmares!  Technology has made the industry much swifter, no doubt.  When I first began publishing articles you had to send physical printouts through the postal services and await either a rejection, or acceptance, through the mail.  Book manuscripts required large print jobs and keeping duplicates (at least we didn’t have to use carbon paper!).  All I lost was a morning of writing before the work bell rang.  Still, nightmares come in all sizes, some of them quite small.