A Quote by Jon Weisman
Novelists may be able to seek advice from readers and editors, but in the end, it is up to them to get the book right.
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Many first-time novelists end up rewriting their first two or three chapters, trying to get them 'just right.' But the point of the first draft is not to get it right; it's to get it written - so that you'll have something to work with.
A reader is entitled to believe what he or she believes is consonant with the facts of the book. It is not unusual that readers take away something that is spiritually at variance from what I myself experienced. That's not to say readers make up the book they want. We all have to agree on the facts. But readers bring their histories and all sets of longings. A book will pluck the strings of those longings differently among different readers.
Without the book business it would be difficult or impossible for true books to find their true readers and without that solitary (and potentially subversive) alone with a book the whole razzmatazz of prizes, banquets, television spectaculars, bestseller lists, even literature courses, editors and authors, are all worthless. Unless a book finds lovers among those solitary readers, it will not live . . . or live for long.
I feel that historical novelists owe it to our readers to try to be as historically accurate as we can with the known facts. Obviously, we have to fill in the blanks. And then in the final analysis, we're drawing upon our own imaginations. But I think that readers need to be able to trust an author.
I was on television a couple of years ago and the reporter asked me, "How does it feel being on mainstream media? It's not often poets get on mainstream media." I said, "Well I think you're the dominant media, the dominant culture, but you're not the mainstream media. The mainstream media is still the high culture of intellectuals: writers, readers, editors, librarians, professors, artists, art critics, poets, novelists, and people who think. They are the mainstream culture, even though you may be the dominant culture."
For commercial books in a genre, readers' and editors' expectations may be fairly rigid. Some romance lines, for instance, issue fairly detailed writers' guidelines explaining exactly what must happen in a book they publish (and what must not).
I don't know how the editors are going to take it or how it may be received. But to some extent I'm hoping that with the next book, when people pick it up and read it, it will scare the pants off of them.
Get an agent. Seriously, submitting stuff unagented means it will end up on the slush pile. An agent is the first quality filter, and a good agent is worth his or her weight in gold, as they'll often know the editors on a personal level and will be able to talk to them directly about the project.
I dont know how the editors are going to take it or how it may be received. But to some extent Im hoping that with the next book, when people pick it up and read it, it will scare the pants off of them.
But, in the end, we editors just pass through. We all know that you, the readers, are the real carriers of the flame.
I like when the manuscript keeps its authentic style and form, so even if I have accepted some advice from editors, I don't really want to adapt the manuscript to the needs and expectations of the readers.
Actually, I think you have to know that whatever advice you give, they may not take it. The priority should be on keeping the friendship rather than giving the best advice. Your best advice is usually, 'Walk away from him! Tell him you never want to see him again!' But if you are dealing with someone still in love, nothing you say can change their feelings. All you can do is be there for them and pick them up every time they get hurt. Until, that is, they are ready to move on for themselves.
We knew that we wanted TheHunger Games to be PG-13 because she wrote the book for readers 12 and up, and we wanted them to be able to see the movie. It's a movie that is meant to be relevant to young people, and not exclude them, in any way.
I myself discovered many authors through school reading lists and through school anthologies. The positives are: young readers can find the world opening up to them through books they study. The negatives may include bad experiences kids have - if they don't like the book or the teacher, or the way the book is taught.
I wrote poems in my corner of the Brooks Street station. I sent them to two editors who rejected them right off. I read those letters of rejection years later and I agreed with those editors.
I'm just protecting my children and making sure I pull them in the right direction so they don't end up like me with having to go through all that hardship. They may not survive so it's all about putting them on the right track.
