Demand can now create supply, in the form of ebooks and print on demand. This turns books into a different sort of commodity. No book need ever be out of stock, or out of print, anywhere in the world. It used to be that if you were OK with people in Podunk having inferior access to books than people in Brooklyn, you were just a realist about the difficulties of making and shipping physical stuff. Now if you’re OK with that, you’re kind of an asshole. In the twenty-first century, not being able to correctly stock or distribute a product whose main ingredient is information suggests a degree of technical and managerial incompetence indistinguishable from active malice.

– Clay Shirky, from Amazon, Publishers, and Readers

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anonymous said:

How old are you? How long did it take you to get published by HarperCollins, and who is your agent? Sorry for all the questions. I'm just a bit discouraged by the publishing process right now.

As of yesterday I am 28. I wrote No One Else Can Have You in spring 2011  and HarperCollins bought it in January 2012. I am represented by the Stimola Literary Studio, and they are the greatest. Hang in there xx

21 Harsh But Eye-Opening Writing Tips From Great Authors

1. The first draft of everything is shit. -Ernest Hemingway

2. Never use jargon words like reconceptualize, demassification, attitudinally, judgmentally. They are hallmarks of a pretentious ass. -David Ogilvy

3. If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they’re happy. – Dorothy Parker

4. Notice how many of the Olympic athletes effusively thanked their mothers for their success? “She drove me to my practice at four in the morning,” etc. Writing is not figure skating or skiing. Your mother will not make you a writer. My advice to any young person who wants to write is: leave home. -Paul Theroux

5. I would advise anyone who aspires to a writing career that before developing his talent he would be wise to develop a thick hide. — Harper Lee

6. You can’t wait for inspiration. You have to go after it with a club. ― Jack London

7. Writing a book is a horrible, exhausting struggle, like a long bout with some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand. — George Orwell

8. There are three rules for writing a novel. Unfortunately, no one knows what they are. ― W. Somerset Maugham

9. If you don’t have time to read, you don’t have the time — or the tools — to write. Simple as that. – Stephen King

10. Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong. – Neil Gaiman

11. Imagine that you are dying. If you had a terminal disease would you finish this book? Why not? The thing that annoys this 10-weeks-to-live self is the thing that is wrong with the book. So change it. Stop arguing with yourself. Change it. See? Easy. And no one had to die. – Anne Enright

12. If writing seems hard, it’s because it is hard. It’s one of the hardest things people do. – William Zinsser

13. Here is a lesson in creative writing. First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you’ve been to college. – Kurt Vonnegut

14. Prose is architecture, not interior decoration. – Ernest Hemingway

15. Write drunk, edit sober. – Ernest Hemingway

16. Get through a draft as quickly as possible. Hard to know the shape of the thing until you have a draft. Literally, when I wrote the last page of my first draft of Lincoln’s Melancholy I thought, Oh, shit, now I get the shape of this. But I had wasted years, literally years, writing and re-writing the first third to first half. The old writer’s rule applies: Have the courage to write badly. – Joshua Wolf Shenk

17. Substitute ‘damn’ every time you’re inclined to write ‘very;’ your editor will delete it and the writing will be just as it should be. – Mark Twain

18. Start telling the stories that only you can tell, because there’ll always be better writers than you and there’ll always be smarter writers than you. There will always be people who are much better at doing this or doing that — but you are the only you.― Neil Gaiman

19. Consistency is the last refuge of the unimaginative. – Oscar Wilde

20. You must stay drunk on writing so reality cannot destroy you. ― Ray Bradbury

21. Don’t take anyone’s writing advice too seriously.– Lev Grossman


Some cover art done for my book by the fabulous artist Erin Plew.  Caged Boy Sings The Book is still coming, kids. I’m not entirely sure how to describe it, but let’s just say that if Chuck Palahniuk and Oscar Wilde got Jackie Collins Pregnant, and Sylvia Plath and Chelsea Handler performed the abortion, the fetus would look something like Caged Boy Sings. It’s an amalgamation of so many different emotions, characters and experiences. It’s everything, it’s nothing, and it’s shaping up to be one hell of a nasty little piece of work. Pre-order at or pick up your copy on September 1, 2014. You won’t regret it. - direct link

"5 Golden Rules for Submitting Your Work to Agents or Publishers" (from the Scottish Book Trust)

1. Read the submission guidelines carefully
Make sure your submission meets the publisher’s requirements. Each publisher will have different preferences so don’t assume that one approach will fit all. Make them aware that you’ve paid attention to their requirements and backlist. Sending irrelevant work not only wastes your time but it may hamper your chances of success.

2. Do your research
Don’t rely on sending your manuscript out on a whim. Research prospective agents or publishers carefully and decide where your work will sit best. Research the backlist of titles or authors they’ve represented and demonstrate this in your cover letter. If you don’t know where to start, research the publication history of an author whose writing you would compare your own to. Find out who their agent is and continue your research from there.

3. Don’t turn up unannounced
Never be tempted to ‘drop in’ to see if a publisher or agent has read your manuscript yet. Not only is it invasive, but it’ll also make them far less likely to pick up your submission from the pile.

4. Don’t rely on one submission
If you pin all your hopes on a single submission, you will be disappointed. Instead, research the market carefully and submit your work to as many relevant places as possible. Keep track of your submissions to avoid confusion or repeat submissions.

5. Be patient
Publishers are very busy and receive so many manuscripts each week that it will take time to respond to your submission, if at all. Some publishers may give you an idea of how long it will take to respond, while others may specify that they only reply to the submissions they want to follow up on.

Read more here.


I had a five book deal. I wrote all five books. I tried hard, hard as I could, to be as awesome as I could, but things wound up dwindling and my publisher didn’t want more. I’m not stupid, I watched the # of reviews and amazon rankings go down each book, the fade in interest was clear and I don’t blame them for making the decision that they did.

What I’m finding hard now is that…for my entire life, I have always wanted to be a writer. Towards that end, I have written, and written, and written, and those books were the best ones I could produce at that time. But the reading public decided that they weren’t enough. 

I’ve written some other stuff since then to try to find my sea-legs again, and I’m working on one meaningful project in particular now with all my fervent devotion, but it’s hard. It was one thing to write ten books before one got an agent and sold, I was ‘learning’ then and knew someday my ship would come in. Now that it’s come in and then sailed back off, I’m a little lost.

What’s to stop my next project from suffering the same fate as my prior ones? I’m the same person writing them — a little better a writer, yes, but the heart pouring out words is still the same one I’ve always had. What if what I have to say isn’t big enough or special enough to make the difference I want to make in the world? This new project gives me shivers. Which I used to take as a good sign…but since the ones that sold and then dwindled gave me shivers, too, I just don’t know if I can trust myself anymore.

This may be a bit more than you’re willing to take on for your tumblr, and if so, I understand. I feel better for having at least told it to someone though, so thank you for lending an ear.

Dear questioner,

To illustrate my own lack of discipline, a story: you emailed me this question at least a week ago. I knew I had to answer it, because it was a rough and sad and incomplete and inspiring and angering story and those are the best kinds to write about, at least in a microblogging space. But I knew it would take me at least an hour to answer, and an uninterrupted one at that; one where I had time and silence enough to assemble the best answer based on my experience, your reality, and my hope for you. I have not started writing that answer until right now. Out of at least seven days, I didn’t find one single hour to write. Not one.

This is bullshit of me. And I bring it up to illustrate how, when you tell me you wrote five books (and plenty more before those), my brain glazes over and my hands go numb because I haven’t even come CLOSE to the discipline and dedication and just straight-up time budgeting it takes to write that much. And I feel the need to say this because my advice to you comes from a foremost place of admiration. I won’t comment on your books because were I to do so I would be compromising your anonymity, but they are available at my favorite local indie so I’ll likely check at least the first one out as soon as I finish writing this embarrassingly late answer. 

But while you may be a Megatron of productivity compared to me, I have shared your anxiety that all your talent and love may not equal the preferences of your audience; that when you think you’re spinning gold you’re actually pissing in the wind. You already know how common this is because everybody who is a creative who also has eyes and ears and a brain is confronted with the yottabyte of art that came before them, and the yottabyte of art that’s being created around you right now, and when you’re caught between the two like everyone is, it’s almost impossible not to feel like a tiny fleck of dirt on the surface of a larger ball of dirt that’s covered with monsters and constantly falling through cold empty space. It’s natural, in this situation, to see progress in the form of a climb to the top; you get there, you hoist yourself onto flat solid ground, and your fucked-out muscles and screaming brain can finally rest. The feeling you describe is getting there, looking up, and seeing the next mile of rope.

Of course you’d wonder if you can trust yourself. Of course you’d consider that perhaps you’re just weak and incompatible with the world of letters. Of course you’d feel the desperate pull of gravity in every word you commit to the page, because you’re hamstrung at every decision; did I do that right? Could I have written that better? Could I have networked more? Could I be a better writer if I paid for this or hiked through that or took that pill or read that novel? 

It reminds me of one of the most unsettling things I ever heard, which was an offhand comment an old roommate once made about his father. “Yeah, he wanted to be a writer when he was younger, but he just didn’t think anyone cared what he had to say as a white dude growing up in the suburbs.” Granted, there’s plenty of bad writing coming from white dudes in the suburbs, so that wasn’t what caught me off guard. What I remember about that comment was the idea that you’re born, you want to be a writer, and then you don’t become a writer, and life just…goes on. The thing you thought was implacable slips away like dead skin and your identity twists in the breeze like a bad scaffold. This terrified younger me, and it still terrifies less-younger me. And I can tell it terrifies you.

Because life is long. And unless you’re suddenly claimed by an accident or illness, life proceeds at the same yawning, asymmetrical pace that it always will, oblivious to your impatience or alacrity. Your focus can swing from one thing to the other (drugs, kids, literature, work, travel) but it’s in the perfectly condensed knots of character and plot that you whittle out of this experience where you feel clarity and satisfaction. Your lumbar muscles unbuckle and your head quits feeling like a pot of overboiled rice. This still happens when you write, it’s only in what comes after that you’re having trouble, feeling like the ore of your craft isn’t worth the slag and slurry and clinkers it takes to mine it if nobody’s buying.

I worked for two and a half years in a job that constantly made me question if I was worth the money they paid me (which was not that much). The feedback I received from my managers was minimal, as was our interaction. This was worse than if they’d been shitty to me; it let all my worst emotional impulses run roughshod over me, because why not, right You know when you fall asleep on your arm and you wake up and your forearm’s totally numb and you have clench and unclench your fist furiously to restore blood flow, and how at first no matter what you do, if you bite your fingers or smack your palm against the bedpost or backhand the wall, you can’t feel anything? That’s how this job felt. I bit and I clawed and I whacked away at my duties and I tried to improve and do better and impress people and mature and learn because that’s what you’re supposed to do when you reach what you believe is the first step in your career. And I felt nothing, and more nothing, and more nothing, and the more I fucked myself up over that job the less I felt, except for the great lilting sadness of knowing that a huge chunk of my life and happiness was out of my control. I tried to get a new job, and it was just a galaxy of rejections, when I was lucky enough to get a rejection that wasn’t just an automatic “THIS JOB POSTING IS NOW CLOSED” notification.

We humans have a tendency to retcon our troubling times once they pass because we dig narratives, but I’m not lying when I say I had firmly given up on publishing about six months into my job search. They didn’t want me, so I didn’t want them. I started looking for advertising and tech sales jobs; I answered faceless Monster inquiries; I briefly considered a career in selling life insurance. (Like, for about an hour.) I smiled and lied during job interviews in fields I knew nothing about when they asked if I was really interested. Because all I wanted was to finish climbing and just rest, to just finally turn my brain off and quit clocking every possible escape route. I hated that I’d wasted good years in publishing when it was clear that I wasn’t right for the industry.

Suffice to say, I was mostly wrong about that. I’m writing to you from my new publishing job, for all the right reasons. 

But the reason I tell you this story is because now that I’m here, I can’t believe how much time I spent agonizing over my choice to work in publishing, feeling like I wandered so deeply into a cave that my glowsticks are all gone and my water’s run out and I wouldn’t have the calories left in my body to crawl back out. That was a very vivid feeling that I simply accepted as the reality of my choices and capabilities. Even when people I loved and trusted told me to keep hopeful, I nodded and inside thought “if only they really knew the truth about me.” I felt awful because I couldn’t believe their well-meaning lies.

But this is the type of feeling that you realize, upon getting through it, was totally illusory. If I’d believed it, really believed it, I would have stopped trying. I would have turned down the job offer. But I didn’t. And I didn’t. And I got lucky, but I got lucky because I’d been told no a zillion times and therefore had a zillion wrong ways to do something. And I finally found a right way. 

You feel like an imposter. But you’re not. Whatever good things happen to you will happen because you came through this and kept going. You’re still the same person who wrote until she got a book deal, who writes because the spirit moves her and loves it. You’re the person who took an opportunity and ran with it and it didn’t work out this time. You have thousands of agents and publishers out there who can sell your books better, and you can write the books you want to write without sabotaging yourself. You’re not Troy Duffy, the dude who somehow managed to make an absurdly successful cult movie called The Boondock Saints and then crawled up his own ass and alienated everyone and is the reason he hasn’t made a non-Boondock-Saints-related movie since. You’re not Grace Metalious, who wrote Peyton Place and sold more than 30 million books and drank herself to death at 39 in debt and obscurity. You’re not anyone except you, and only you get to decide when you’re done writing. When the spirit’s got no pulse, you can call time of death, but not now. Not when you’ve got the rejection of your first agent in your quiver; that’s an experience of defeat you’d never be able to write about if it hadn’t happened. Not when you’ve got the chops to write and edit and produce on a schedule, which you wouldn’t have had if you hadn’t had a deadline and a contract to live up to.

It’s not the same heart pouring out those words. It’s bruised now. That’s good. It’s good you’re scared. You should be. All readers are scared. Scared of meaninglessness and ignorance and uncertainty and boredom. That’s why we read, to find the people who can explain being scared. Now you’re one of those people. Good luck. 

Your questions on publishing, writing, and really whatever the fuck you want to ask about can be sent to 



anonymous said:

Hi there! I was wondering if you could offer some tips on writing an authors bio. I'm a young author getting published, and I don't have much experience. Thank you so much!

Congratulations! I have no firsthand tips for you, but check these out:


Attention Artists!

My University is currently working on publishing their annual literary journal, Metonym. We are in the beginning processes of creating this journal. Completing and publishing this work requires many different people doing different jobs as a collective. 

My job is contacting artists who would like their work featured in the literary journal. That’s where you come in!

If you’d like your art used in the final publication of Metonym, contact me as soon as possible, and if you have some art on your blog or a webpage, i can show your art to the rest of the team and we’d be happy to use your art to make the literary journal something that people will really enjoy! 

This is a great opportunity for any level of artist who wants to see the process of a publication or would like to see their art as a part of something bigger!

If you are interested in any way or have questions, please contact me via my ask box (off anonymous please)


Edward Gorey’s covers for Doubleday Anchor Paperbacks


In April 1953, Anchor opened up a new market for paperbacks: the “serious” or academic book. They were the brainchild of twenty-five year old Jason Epstein who convinced Doubleday of the market need for such books in paper editions particularly suited for college use. Epstein’s research so impressed the Doubleday executives that they created such a line and made him editor. The format was the same as the taller mass market size (Signet, Ballantine, etc.), but higher in price: 65¢ to $1.45. Anchor was well received from the start, reaching a mass audience through trade book outlets, campus bookstores and some drugstores. And they had Edward Gorey in charge of the covers.

As art editor, Gorey was responsible for the total cover package, supplying the lettering, typography and design layouts. Often other artist contributed the actual illustration: Leonard Baskin, Milton Glaser, Philippe Julian and even Andy Warhol; but Gorey then designed the finished product lending a uniform appearance to the whole line.

Gorey worked in this capacity from 1953 until 1960, a period which roughly corresponds with Anchor’s first two hundred titles. About a fourth of these have line drawn covers by Gorey. He also designed various covers for Vintage, Capricorn, Compass and other publications that followed Anchor’s lead.

Browse a wonderful set of these covers on Flickr→

Filed under: Edward Gorey