If Shakespeare…

As part of my ongoing and painful search for a career I applied and was accepted for two weeks of work experience at a publishing house. Although I want to be a writer I know I have to earn a living and, let’s be honest, get some experience with other people to shamelessly pilfer. I mention that because although I went to a publishing house I did not do so to sneak any of my own manuscripts into an editors pile, but to work. Still, few things really stuck with the ‘writer’ side of me that may be useful to share.

The first mental note occurred on my second morning. I was chatting to one of the managers and happened to mention that I was part of a writing group. A look of horror came over her face as if she had discovered Typhoid Mary working in Boots, and she blurted: “We don’t accept unsolicited manuscripts!” After I reassured her I was not carrying any such thing she took a moment to wipe the sweat from her forehead and tell me about how every time she mentions that she works in publishing at social events she inevitably encounters someone with a half-baked idea for a novel who stalks her all night.

I know that writers are often told to use and abuse as many contacts as possible, but I can say with honesty that the person I spoke to is highly unlikely to ever promote any work written by someone who pesters her. I think, then, that perhaps the suggestion to ‘use contacts’ often overlooks that an element of subtlety is prudent.

It was made clear to me that an agent really is a must. Publishers can and do deal with agents – that is, good agents who actually make time to push work and do the deals. A bad agent can easily and quickly earn a reputation, and if that happens a writer’s career is sunk.

Something else I realised is that if you want to publish a book (of any kind) it is advisable to have a few more similar ideas in the making or, ideally, drafted. I know this point has been mentioned at VWC meetings before, but publishers want to trust their authors, and the best way of doing that is to prove you are not just a one-trick pony, but a writer committed to making a name. Editors will champion a writer to other departments, so if the writer can’t deliver it makes the editor look bad within the company and, inevitably, the entire business. This is why editors are the best but most difficult people to get on a writer’s side.

The reputation of an editor leads me nicely to my final point – publishing is a small business. I mean, it’s a big business in terms of money and influence, but in terms of staff numbers it is minute. While I was applying I called one particular company that does reprints of novels. I was told, with some shock, that there would be little chance for any experience as the entire number of staff totalled three – the other jobs were given to freelancers on an ad-hoc basis.

I suppose my conclusion is that in spite of these points publishers need writers. But being a writer from a publisher’s perspective means more than putting pen to paper – it means being a professional. I know that lots of people moan about the prudence of publishing houses, but a lot of time and money ride on a writer’s work. It’s a small comfort, but perhaps I won’t feel so bad when my next rejection letter arrives.

This entry was posted on Saturday, September 19th, 2009 at 9:55 pm and is filed under Agents: can't live with 'em, can't kill 'em, Publishers, The Industry. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.