Duke University Press and Stanley Fish

Modeling resilience

(Part 2 of 2) The 8 a.m. Tuesday faculty book group discussed modeling the perfect response to hearing "no" from an editor. After much back-and-forth, here is the final list that we agreed was probably best:

1. Accept the reader's report with a combination of gratitude and confidence -- gratitude that a fellow scholar took the time to respond to your work, even negatively, and confidence that your work is strong and that this is about words on a page, not your worth as a scholar or a human being.

2. Read the report carefully and think about what is on-point and what isn't. Be honest here, and be willing to hear the comments for what they are... learned opinions, and neither garbage nor gospel. This is a kind of careful, balanced listening that goes beyond a knee-jerk "Yeah, okay, I get it" and ventures into the realm of the deeply collegial.

3. Be sure to respond to the editor with consistent professionalism. Save any grumbling for your best friends over a glass of wine later. Thank your editor for soliciting the comments, and assure her or him that you are going to ponder them carefully. If the door is closed at the press to that particular work, leave with warmth and good wishes -- you may be back someday! If the door is still open to revise and resubmit, promise to do that promptly, and set a schedule that will work for both of you.

4. Immediately make a written plan for revising the work if necessary and going to another university press. Come see me for examples of written plans -- we have everything from formal, Franklin/Covey style, to models that work with Google calendar. Whatever you use, make sure it is a proven tool and get your plan down on paper with due dates and a deadline.

5. Be of good cheer. It is honorable to have tried ambitiously, whether or not you immediately succeed, and it is even more honorable to try again. People admire colleagues who fight the good fight, and who remain upbeat and academically productive no matter what. You will find yourself with unexpected friends, sometimes among the powerful who got where they are with a combination of perseverence and resilience. Join their number, and congratulate yourself that you did not emulate the herd by running, but you stood with the leaders.

Ouch, but in a good way

(Part 1 of 2) I just received some tough feedback on a book. So herewith a response: criticism is a gift, and hard criticism is one of the greatest things any fellow scholar can do for you. A true professional's one and only response to negative feedback on work should be "Thank you," followed by a serious and thoughtful consideration of each of the critic's points. Sometimes critics are wrong (and we've seen that from time to time in Booklab from peer reviews), but sometimes they are absolutely on-point correct, and other times the truth is in the middle. It is imperative, however, for any serious scholar to get and read the criticism, and to recognize it for the blessing that it is.

Wendy Belcher tells an interesting story about a scholar whose article was ripped at a top journal. The scholar revised based on the valid points, and submitted to a second journal, where it was ripped again, albeit more gently. After that revision, the scholar went to a third journal of equally superb quality, where it was accepted, along with editorial comments that they rarely see a piece so strong on the first bounce.

Amen. Therefore I nod to all critics in gratitude, and I will revise immediately (no waiting) for the good of the book, for the benefit of my colleagues, and for my own personal sense of professionalism and academic integrity.

Dr. Ariel Glucklich, "Dying For Heaven"

Available November 3, 2009, from HarperOne:

38 University Presses at MLA 2009

Wow. I've been to great university press events before, such as the Association of American University Presses convention in Philadelphia last June, but it is still so exciting to count 38 university presses that will be represented at MLA in December. Some of my four readers will yawn and say it's not such a big deal, university presses are always there, but this is the first time I've approached MLA with quite this focus.

When you go to a university press booth, whom do you meet? As nice as it would be to fantasize that the editors are sitting there all day every day waiting to talk about books with whomever strolls up, that isn't the case. Editors will be in and out depending on the value of the conference to their publishing area, and whether or not they have pre-arranged business with booth visitors.

I will contact all 38 university presses during the month of October (2 per day for 19 days) and ask the following key questions: who will be at your booth in December; how do you prefer to interact with potential faculty authors; what do you want us to understand about your booth ahead of time (i.e. what materials/people do you send to a conference and why); and (big picture question) what is the meaning of conference representation for your press? How do conferences help the press?

Getting ready for MLA in Philadelphia

Booklab now offers pre-conference planning, and we're in the early stages of figuring out exactly what that means. The short answer is that many faculty make book deals at conferences, so they become high-value activities in publishing. We're putting together a strategy to start thinking about conferences a year or even two years ahead of time in order to have a wonderful experience there that includes establishing key publishing contacts.

But beyond book publishing, a flourishing scholarly career includes membership and participation in the appropriate professional organizations. Although I'm a life member of the American Society of Eighteenth-Century Studies, I've only gone to some of the conferences, and I'm guilty of having reduced the annual Modern Language Association conference to an afterthought (or worse, a job-hunting event). Now it all moves front and center as I resolve to (a) become an active, contributing annual participant in these two professional organizations; and (b) encourage and guide the authors who work with Booklab to do the same for their respective groups.

This means Philadelphia for the MLA in December, and I will also blog about it. Advance duties include learning what publishers will be represented there; guiding my authors to think ahead about prospectuses, sample chapters, and appointments with editors; making my own appointments at the event in order to meet even more university press people; and finally, grasping conference culture as its own professional milieu and discovering new and exciting ways to participate in conferences actively, rather than in my old guise of the slightly edgy lurker.

Want to know what an editor thinks? Ask an editor.

Some authors spend a lot of energy trying to guess what editors want. They think about it, read books about it, ask their mentors, and ask one another. The people they tend not to ask, however, are the editors themselves, often out of a misplaced sense of propriety.

Here are some typical misconceptions:

* That you only get one chance to query an editor about your book. Not true! You asked a simple question, you didn't key someone's car or threaten their families. You can certainly ask again in the future, especially if you have significantly re-thought your project.

* That you are "out" at a press for future books if they turn down one of your pitches now. Again, nonsense! Most editors won't even remember who you are if it never got past the inquiry stage.

* That it is easier to publish at a lower-tier house than at a higher one. Actually, the opposite is sometimes true. There are exceptions, and prestige is a relative thing depending on your field and the standards for promotion at your institution, but many editors at higher-tier houses report frustration that they sometimes never even see certain projects because of erroneous author assumptions about how unapproachable those editors must be.

* That you have to hold your mouth exactly just so and submit one particular way versus another or they'll never look at it. In reality, any good editor is happy to consider a good pitch, however it arrives. Some of them don't even know what's on the publishing house website about the "rules" of submission. Most are fine with an e-mailed inquiry, and 85% of the editors I speak to want to use e-mail for everything... most don't want paper at all, although a minority still do. The ones who do will tell you after you inquire.

The bottom line is to let editors decide what editors want, and the only way to do that is to ask them. Learn to write amazingly effective, to-the-point inquiry letters that say succinctly what you're working on, how you think it fits with their stated list/press/vision, and why you're the perfect person to write this now. Then get those letters out there, to editors you admire and would like to work with. The less you second-guess editors and the more you give them the opportunity to think for themselves about your research and whether it will work for them, the better.

Oh-so-true illustration from that old internet classic, i can has cheezburger.

More on pre-conference planning

One of Booklab's faculty authors returned from a recent conference with feedback on how his pre-conference preparation went. He viewed the university press booths completely differently based on discussions we had about publisher lists. One of the presses had been courting him, and he was able to see what else they published in his field, look at the actual books, and speak to an editor.

One of the advantages to going to the booth at your professional association's big annual meeting rather than just looking at catalogues is specialization. The press will go out of its way to identify itself to you and your colleagues in terms of your specialty. Also, book are expensive and time-consuming to gather (most libraries won't have all of them), so you'll be able to go through many of them all at once and make more informed decisions about the suitability of a particular publisher for your work. Imagine how much easier it will be to create a targeted prospectus with this kind of understanding.

Lindsay Waters of Harvard University Press

This is so useful for academic authors, and I hope to find more of these soon. Don't forget to check out Ken Wissoker of Duke University Press in an earlier post here. Booklab believes (okay, I believe, but I like speaking as Booklab -- so authoritative) that there is no substitute for knowing actual editors at actual presses. More about Lindsay Waters here.

Pre-Conference Planning

Why is Booklab getting involved in pre-conference planning? Simple -- our authors make deals there. University presses are well-represented at most major academic conferences, and it can be a great place to make contact with an editor at a top-tier press who might be interested in publishing your field-specific book.

But don't just show up at the conference and expect to get a meeting. Although that can happen, the odds are against you given how busy most publishers are at their booths, how challenging it can be for you to present your concept quickly and effectively, and also what a brief time many university press editors actually spend at the conference; some just fly in and out -- you'll often find other staff actually working the booths for the full days, depending on the press and the importance of the conference.

The best way to approach a conference with a book is to come to one of Booklab's faculty author groups and ask about pre-conference planning. This is always done in a group setting rather than one-on-one, so that your colleagues can benefit from the discussion. You'll learn how to think about university press editors and their lists, how to craft a conference package that will get an editor's attention, and what to say to the editor long before the conference (as much as several months ahead) that will get you the meeting you want.

The image above comes from Yale University Press's web site, and it shows some of the staff at the Ecological Society of America meeting in San Jose, 2007.

Brilliant series from Duke University Press!

This series is a genius idea, and I'll post all of the installments if the press makes more. This is Duke University Press's Editorial Director, Ken Wissoker, explaining how it works at Duke:

"Shock waves?" No, I wouldn't exactly say that. . .

An item in today's Publisher's Weekly claims that the University of Michigan Press's recent decision to switch to a digital format for scholarly monographs has "sent shock waves through the academic publishing field." Um, I would add "or not."

Who would be shocked by this? Anyone paying attention to discussions of scholarly publishing over the past few years would know that the monograph is a serious point of contention because by definition it has a limited audience. At the same time, almost anyone who does academic research would argue that the monograph needs to exist. It needs care, protection, support.

The University of Michigan has always been a bit digitally precocious, for good or ill, and it likes to involve itself in electronic solutions early. Some fret that tenure committees won't accept books that exist primarily in digital form, and I can't speak for tenure committees to answer that question. But this has been a long time coming in some form or another, and it will be interesting to see how it plays out in tenure bids, and also in scholars' future decisions to publish with Michigan or not. Here's the original piece:

University of Michigan Switching to Digital Format for Scholarly Monographs
-- Publishers Weekly, 3/24/2009 7:17:00 AM

The University of Michigan Press sent shock waves through the academic publishing field Monday when it announced it is switching to a primarily digital format to publish scholarly monographs. The press expects that within two years, most of the 60 monographs it publishes each year out of a total 140 new releases will be published only in digital editions. A POD option, however, will be made available for all digital books, said University of Michigan Press director Phil Pochoda. He said the press’s regional titles and its ESL list will continue to be released primarily in print editions, though select frontlist, as well as backlist, will be made available in digital formats as well as print. Print runs consequently will be more conservative, to cut down on returns. “We’re going to try to keep [initial] print runs close to orders,” Pochoda said, with more of a reliance on offset printing for smaller print runs.

When a publisher acquires a book, everyone isn't always on board

Publishing houses don't always agree on books, and that may include your book. Yes, your editor wanted it. That's usually a given unless your editor left and someone else took it over. But sometimes that editor prevailed over the skepticism of other editors, or of the marketing team, or even of the editor-in-chief. Sometimes editors get shot down in contentious acquisitions meetings, but other times they prevail. That still doesn't mean that everyone loves your book, and it could account for some of the ambivalence you feel from the publishing side.

Is this bad? I personally think it is neutral, and just part of the real world versus the imaginary one. It's like being hired at a company and fantasizing that everybody voted for you. Sometimes they did, sometimes they didn't, and sometimes you have to deal with the guy down the hall who applied for your job and didn't get it.

If you know going in that publicity is difficult, that publicists have a whole catalogue of books to love and care about, and that yours is certainly important, but not the only consideration in their day, then you can start to think constructively about how to work with your publicist. One editor in a recent edition of Poets & Writers suggested flowers. My personal style would lean more toward a terrific sandwich platter sent to the whole publicity team with a thank-you card. Either would be a great start. Along with this outreach, consider making a personal, 40-minute visit if you live close enough, or at least plan a phone conference with your publicist about six months before pubdate, armed with the attitude that you want to learn how to be the best author ever when it comes to teaming with your publisher to sell your book.

Gifts, thanks, and a terrific attitude? These will go a long way toward engaging publicists in your cause beyond routine efforts, and they can also overcome any in-house ambivalence that may have lingered around your (or any) book's initial acquisition.

I follow them, so they follow me

Okay, this is scary. About a year ago my digital strategist friend in London, Katie King, tried to get me onto Twitter. That's kind of like trying to get your 81-year-old granny to read Perezhilton.com, but I dutifully signed up for an account and then ignored it. This year, in a burst of confidence, I started Tweeting (it sounds like an adolescent rooster chick learning to crow). Soon, however, I rather liked it, and I found that many publishers are on Twitter, so I looked some up and started following them.

Now they're following me! Here's what the e-mail said:

Hi, Carole Sargent (Booklab).
Little, Brown and Co (littlebrown) is now following your updates on Twitter

Rut-roh! Isn't that a bit like reading The New York Times, and then realizing that the Times is reading you? Or as Byron Katie would put it, you're not just breathing, but you are being breathed?

I'll try to live up to my, um, following, by posting things worth knowing about. But it will be difficult. I am, after all, an 81-year-old granny trapped in the body of a much younger woman.

Dearie.

Georgetown University Press named one of the best places to work in publishing

Congratulations to our colleagues at Georgetown University Press. Their charming shop on Prospect Street was recently named the third best book publisher to work for by Book Business magazine. Although Booklab and Georgetown University Press are not officially connected, we consider them friends and colleagues, and I certainly agree that their director, Dr. Richard Brown, runs a terrific organization.

Am I holding out on you?

A while back I promised terrific new information from the university presses that I visited in New York: Columbia and NYU. Then I shared some of it, but didn't keep going. Why not? The answer is somewhat complicated, but it boils down to a lot of the information being traceable back to the individuals who shared it, even if I keep identities private. When I wrote and said "Can I blog about this?" the answer came back "In this instance, I'd rather you didn't." Normally people are fine when I blog about books using material they shared, but when a university press editor trusts you enough to offer candid industry information in private, it is understandable that she or he wouldn't want to later see it in a public forum when it would be easy enough for an insider to guess who said it.

I don't kid myself that this blog has more than its seven dedicated readers, but all seven of you are bigshots, and more than one of you could potentially know who I'm writing about. So I'm pondering how to reveal some tidbits. What I'll probably do is visit two more presses (Cambridge NYC and Norton) soon and then create some composite stories based on getting verification there for things I learned elsewhere. Once you have five people giving you a variation of the same odd phenomenon, then it's not gossip. It's news.

Dana Luciano wins the MLA First Book Prize

The book is Arranging Grief: Sacred Time and the Body in Nineteenth-Century America from NYU Press. Congratulations, Dana, and what a wonderful accomplishment. I just returned from a visit to NYU Press, where they are delighted about this.

Is anyone out there a public intellectual? Anyone?

Daniel Drezner has an interesting article in the Chronicle of Higher Education about whether the role of the public intellectual has truly waned. Personally I'm pessimistic, especially when it comes to women, but his piece interests me on a number of levels, not the least of which is his catalogue of who's writing, and his defense of blogs. The paperback of his book -- All Politics is Global -- arrived in September from Princeton University Press. Here's his bio from Cato Unbound, the blog from the Cato Institute.

Photos from Laura Benedetti receiving the Flaiano Prize

When Laura Benedetti's book The Tigress in the Snow: Motherhood and Literature in Twentieth-Century Italy (University of Toronto Press, 2007) won the Flaiano prize, she attended the ceremony in Pescara, Italy, on July 6, 2008.

On the left is Laura at the Theater Gabriele D’Annunzio. On the right is Canadian novelist Alice Munro who also won the prize. There were other winners, including Russian film director Eldar Ryazanov.

Named after author and screen-writer Ennio Flaiano (1910-1972), this international prize recognizes achievements in the fields of cinema, theater, creative writing, and literary criticism.

Are you still arguing with your publisher over paperbacks?

One of the many interesting discussions I had during visits to NYU Press and Columbia University Press this past week had to do with academic authors who want a paperback version printed at the same time as the hardcover version. They usually request this because university press hardcovers are notoriously expensive -- sometimes near or at $100 for a single copy. The academic authors rationalize this demand by saying they want their students to be able to afford the book.

However, the demand works against the author almost all of the time. First, most libraries will often acquire the least-expensive available version of the book, so many will buy the softcover if it is offered simultaneously with hardcover. Result? Not only does the press earn less money, but the author receives lower royalties and the book ages out on the shelves more quickly if it is used. Second, by blocking the publisher from earning more, the author chips away at the university press's already razor-thin profit margins. This has the net effect of making publishing more expensive overall, and (surprise) it increases the likelihood that hardcover prices will remain high. If academic authors really want to see hardcover prices decrease, one consistent way to do it is to work with the university press publisher to help them publish the book in an economically sustainable way.

There is a win-win solution that most publishers are willing to offer, but few authors know to request. If you really want your students to be able to buy the book economically, coordinate with your press to provide copies to you or to your university bookstore (if the bookstore will cooperate) that reflect the deeper author discount, which is sometimes as much as 40% or more. This can bring the price of the hardcover down close to where the paperback would have been priced anyway. Result? Your press makes its money on institutional sales, you get cheaper-priced copies for your students, and your students get a nice hardcover rather than a paperback.