Grant Winner from the National Endowment of the Arts!

SILVER SPARROW by Tayari Jones

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IACP – Cookbook Award Winner (Baking) and Finalist (Single Subject)

CHEWY GOOEY CRISPY CRUNCH MELT-IN-YOUR-MOUTH COOKIES by Alice Medrich

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James Beard Foundation Book Award Winner

PIG: KING OF THE SOUTHERN TABLE by James Villas

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New York Times Bestseller

GHOULS, GHOULS, GHOULS by Victoria Laurie

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2011 Coretta Scott King Honor Book

NINTH WARD by Jewell Parker Rhodes

Ninth Ward by Jewell Parker RhodesNinth Ward by Jewell Parker Rhodes

New York Times Bestsellers

James Dashner’s THE MAZE RUNNER, THE SCORCH TRIALS, and THE DEATH CURE

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Soros Justice Fellow and Image Award Winner for Outstanding Literary Work

A QUESTION OF FREEDOM: A MEMOIR OF LEARNING, SURVIVAL, AND COMING OF AGE IN PRISON R. Dwayne Betts

R. Dwayne BettsR. Dwayne Betts

New York Times Bestseller

YOUR INNER SKINNY: FOUR STEPS TO THIN FOREVER by Joy Bauer

Your Inner Skinny: Four Steps to Thin ForeverYour Inner Skinny: Four Steps to Thin Forever

New York Times Bestseller

Carrie Ryan’s THE FOREST OF HANDS AND TEETH

The Forest of Hands and TeethThe Forest of Hands and Teeth

New York Times Bestselling Series

WAKE, FADE and GONE by Lisa McMann

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New York Times Bestseller

MENNONITE IN A LITTLE BLACK DRESS: A MEMOIR OF GOING HOME by Rhoda Janzen

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New York Times Bestselling Series

Heather Brewer’s THE CHRONICLES OF VLADIMIR TOD

The Chronicles of Vladimir TodThe Chronicles of Vladimir Tod
0

The strangest thing

To me, one of the most exciting elements of children’s publishing has got to be the school visit.  I don’t know about anyone else, but I was pretty enamored with anyone remotely famous who showed up to my elementary school.  I can only remember one author ever coming to town, but he earned my undying affection for it.  I read a whole bunch of his books in short succession and managed to get his autograph on my absolute favorite.  And then I told every adult who would listen for ages that I knew a famous, important author.

And who was that man?  Daniel Manus Pinkwater, author of many truly absurd children’s books including The Hoboken Chicken Emergency.

Imagine my delight, then, to see him turn up on this Flavorwire list of the 10 weirdest children’s book authors of all time.  Weird is Pinkwater’s thing, and he’s a master of it.  I’m not sure I’ve read anyone odder before or since.

Pinkwater’s not my only beloved childhood hero to make the list.  All kids everywhere love The Stinky Cheeseman, surely.  Fighting over that one at quiet reading time was a favored pastime in my elementary school classrooms.  And Louis Sachar’s Wayside School books were the most fun a person has ever had doing math.

Maybe as a weekend treat, I’ll go pick up copies of all these now for a trip down weirdness memory lane.

 

5

Bookies and Basement Dwellers

Although it is now old news, I thought I would nevertheless call out Roger Rosenblatt’s entertaining essay in the New York Times on the position of the writer in the family.  His granddaughter introduced him to her classmates as “Boppo, who lives in the basement and does nothing.”  This reminded me of the time when my then three-year-old son informed his teacher that I was a “bookie.” *

I found Rosenblatt’s piece particularly poignant, because if you happen to follow this writer, you’ll know that he moved in with his son-in-law in order to help care for his three young grandchildren after the sudden death of his daughter, so my guess is that the “nothing” also includes a good bit of child-rearing.  His piece goes on to examine the difficult place that writers occupy with respect to their loved ones; writing is a solitary pursuit, rarely money-making, and if not always outright selfish, it is necessarily self-directed.  In many cases, writers earn their ambivalent status, and I know from many clients and writer friends, that carving out the space and time in which to create is fiendishly difficult, fraught with resentment/guilt.

 

How does your family—either immediate or extended—view your writing? Are they supportive? Indulgent? Bemused? Impatient? Suspicious? Downright hostile?

 

*Like the granddaughter’s characterization of Rosenblatt’s work, this is not entirely incorrect, but still.

If you want to write about food, read this now

As you know by now, I’m a bit obsessed with food, and I love cookbooks (both selling them and using them). There have been a couple of recent articles published about food writing that have caused quite a stir in the business, so I thought I’d talk about them.

The first was published last month by Food 52 founder Amanda Hesser, and it talked about the ways in which the food writing business has changed, and resulted in an inability for an aspiring food writer to make a living the old fashioned way writing about food in newspapers and magazines. It also gave some smart advice on how aspiring food writers can rethink their options.

Then last week Wiley editor Justin Schwartz’s blog post came out about publishing a cookbook. His piece offers very straightforward and specific advice on what not to do when you’re putting together a book proposal.

The articles are very different, but it’s worth reading both to get two experienced perspectives on a broadly similar topic.

The thing that’s great about Justin and his post is that he says it like it is. No sugar coating, no nonsense, no b.s., just clear and very detailed advice. He could start a consulting business and charge money for this stuff, but instead he shares it for free so those of you interested in writing cookbooks can learn what to do, and what not to do.

It’s funny because I had not one but two cookbook clients send me revised proposals this week, and both had read Justin’s post and included things that weren’t there before, like an author photo. And it definitely made for a better package to present. Sometimes the simplest advice is the most effective.

Amanda’s piece is more of a big picture view, and while it might on the surface feel depressing, it offers valuable takeaway suggestions about how to rethink a career in the food industry. Traditional writing jobs are out, but there are other ways to build up a successful brand, like some of the bloggers she mentions including Pioneer Woman, Smitten Kitchen and Simply Recipes.

If you are interested in learning more about this area, take a look and let us know what you think of Justin and Amanda’s advice. And if you have any other tips of your own for getting a cookbook published, or trying to make a career as a food writer, please share them.

1

Did your city make the cut?

The Huffington Post came out with a great article today about Amazon’s second annual list of the most well-read cities in the US. This list is, of course, based on Amazon’s sales, and as the Huffington Post points out, doesn’t properly represent places where a lot of people are still visiting traditional bookstores. Indeed, our own city doesn’t make the top ten, but I’d like to think that’s because you’re never far from an independent bookstore or a Barnes & Noble.

To that end, the lovely folks at Huffington also provide people in the #1 town of Alexandria, VA with a list of alternatives to Amazon. Still, it’s always interesting to see who’s buying what online.

Which leads me to my questions for the day: What are the top genres you tend to buy online? And which ones do you tend to buy in person?

I’m going to investigate my own book buying habits tonight, and I encourage you to do the same!

2

The ominous delivery date and what happens when you don’t make it

Most writers know that as a part of the book publishing negotiations, a delivery date is established in the publishing contract.  I usually leave this date entirely up to my clients, telling them that they should take a realistic amount of time to complete their manuscripts.

Most opt for a year or twelve months from their receipt of the publisher’s on-signing money.  Sometimes they will go for less, especially if the subject matter is a timely one or if there is a competitive book in the works.

And then there are those who take well over a year to complete their book and then wonder why they have to wait yet another year before it is published.  (This of course is the way traditional publishing works – a general rule is that there is a 12-months lag between manuscript acceptance and book publication).

But what happens when the author is late?  I thought about this when I ran across this piece which appeared in last Thursday’s Wall Street Journal.

Usually the first thing that happens when  authors tell me they are going to be late with their manuscript is that I go to the publisher and with the author’s agreement establish a new delivery date.  “Extensions” as they are called are not at all unusual, but the publisher is generally not willing to grant more than one or two at most.  After these are exhausted, more often than not, the publisher will cancel the contract if the manuscript has not been delivered, and as a result, the author has to pay back all of the monies he or she has previously received.

Sometimes though, as in the piece above, the publisher tolerates an author being late, hoping that when the manuscript is finally delivered, it is so good that it is well worth the wait.  I actually have a project which is currently about seven years late, so late, in fact, that the acquiring editor left the company for a new career for a number of years and then decided he really wanted to be an editor so he returned to the same house to find that the manuscript was still not delivered.  This is one of those cases where the hope is that the final result will improve with age.

My own feeling about late deliveries is that they are unfortunate but often unavoidable.  The most important thing is that the author do everything he or she can to effect the ultimate delivery of a solid manuscript which the publisher will be happy to publish – even if it is seven or ten or fifteen years late.

I wonder what you think about the question of the timeliness of manuscript deliveries?  Should the author be allowed an unlimited number of extensions?  Should they be penalized for being late, even once?  Or is a good book worth the wait?

4

DGLM Deal Round Up!

It’s been quite some time since we’ve done a deal roundup on the blog, so I’m thinking we’re certainly due for one. It’s been a busy, busy 2012 so far and hopefully will continue as such—so many good books out there!

Rounding out 2011, Jane sold Peggy Kotsopoulos’ SOMETHING I ATE, a holistic nutrition guide that offers recipes as well as insight into how food can affect our minds and bodies in all areas of life to Andrea Magyar of Penguin Group Canada.

Kicking off the new year, Jane sold revered and innovative baker Alice Medrich’s A NEW WAY TO BAKE, which introduces baking tips, tricks and methods for using alternate and varied types of flours to Judy Pray at Artisan.

Livia Blackburne’s MIDNIGHT THIEF, a debut YA fantasy novel about a talented thief who joins an assassin’s guild only to find that what she thought was the perfect job is much more sinister than originally imagined was sold to Abby Ranger at Hyperion by Jim.

Bestselling author and celebrated Food Network and Cooking Channel television host Ellie Krieger’s newest, currently untitled cookbook that offers simple and healthy solutions for weeknight dinners to busy families sold to Justin Schwartz at John Wiley & Sons by Jane.

Stacey then sold Robin Robertson’s ONE-DISH VEGAN, a cookbook that will showcase over 150 one-dish recipes from the master vegan cookbook author to Dan Rosenberg at Harvard Common Press.

Another debut novel, Stephanie Kuehn’s CHARM & STRANGE, about a boy dealing with a traumatic past that haunts his life in violent, disturbing ways, in a portrait of grief, madness, and ultimately resilience, went to Sara Goodman at St. Martin’s Press, sold by Michael.

Gaby Dalkin’s ABSOLUTELY AVOCADO, a cookbook of over 100 recipes that feature the beloved and healthy fruit, the avocado, went to Justin Schwartz at John Wiley & Sons, sold by Stacey.

Stacey then sold START AT THE END, by president and founder of Growthink, Dave Lavinksy, which a smart, savvy business book that teaches entrepreneurs and small business owners how to reverse engineer success and create an action plan to successfully get there to Adrianna Johnson at John Wiley & Sons.

Bestseller David Hewson’s atmospheric CARNIVAL FOR THE DEAD, a puzzle-piece, labyrinthine mystery set during Carnival in Venice and wrapped deep inside the art and culture of Venice itself, which was previously published in the UK, went to Andy Bartlett at Thomas & Mercer, sold by Stacey.

Debra Weyermann’s THE GRAVE ROBBERS, an exposé of the Native American antiquities trade and the 2010 raid that shredded the code of silence protecting it for centuries, was sold by Jane to Jerry Pohlen at Chicago Review Press.

ALA Best Fiction for YA pick & Cybil Award-winning STUPID FAST Geoff Herbach’s EVEN IF IT HURTS, in which a dork-turned-athlete must choose a path between responsibility to others and his own desires to find firm ground from which to leap to a future that is his own went to Leah Hultenschmidt at Sourcebooks, sold by Jim.

Jessica then sold John Adams’ THE MILLIONAIRE AND THE MUMMIES: HOW THEODORE DAVIES USED A STOLEN FORTUNE TO TRANSFORM ARCHAEOLOGY IN THE GILDED AGE, the true story of an American robber baron-turned-Egyptologist who turned tomb-robbing and treasure-hunting into a science, to Daniela Rapp at St. Martin’s Press.

Michael’s next sale was for Suzanne Selfors’s THE IMAGINARY VETERINARY, a chapter book series in which a string of unusual events — from finding a lost dragon hatchling to tracking an escaped sasquatch — leads ten-year-olds to become apprentices to a veterinarian for imaginary creatures, which went to Julie Scheina at Little, Brown Children’s.

Susan Beal’s next gorgeous craft title, SEWING BY THE SEASON, which takes a seasonal approach to beautiful sewn projects perfect for any occasion, in any season was sold to Laura Lee Mattingly at Chronicle by Stacey.

Dr. James H. Fallon’s, THE SUCCESSFUL PSYCHOPATH, a memoir in which the neuroscientist discovers that the brain patterns of deadly psychopathic killers mirror his own, was sold by Jane to Brooke Carey at Current.

MARBURY LENS author Andrew Smith’s GRASSHOPPER JUNGLE, about a sexually confused kid, his girlfriend, his best friend, and how they accidentally bring about the end of the world, went to Julie Strauss-Gabel at Dutton Children’s, sold by Michael.

Michael then sold PLEASE SHOOT THE PIANO PLAYER by journalist Sara Solovitch, an exploration of the deepest of human fears, whether you call it stage fright, performance anxiety, or social phobia, through the author’s own attempts to overcome it, as well as her research into its causes and cures, to Benjamin Adams at Bloomsbury.

A Tarzan for the digital-age, Jim sold Alex Mallory’s WILD,  in which a girl skips her senior trip to go into the wild instead, and finds a boy raised to believe that the world outside the forest has been decimated by a modern plague, to Anne Hoppe at Harper Teen.

Jane’s next sale was for Anne Cleeland’s THE TAINTED ANGEL, the Regency version of Mr. and Mrs. Smith about a beautiful young courtesan who is actually a spy whose allegiance is unknown, which went to Shana Drehs at Sourcebooks.

Bringing cakelet decorating to the masses, Amy Eilert’s CUPCAKE ENVY, a collection of 40 projects for beautiful, adorable, and fun “cakelets” (unique crosses between cupcakes and cakes), was sold to Bud Sperry at Tuttle by Stacey.

Michael Krondl, author of SWEET INVENTION, has a new book, DONUTS, a lighthearted cultural history of America’s favorite treat with selected accompanying recipes, which was sold by Jane to Cynthia Sherry at Chicago Review Press.

An hilarious and touching memoir about Nicole Caccavo Kear’s struggle to come to terms with the fickle hand of Fate, in the form of a disease that is slowly erasing her vision, all while raising three kids with the “help” of her loving Italian-American family, to Sara Goodman at St. Martin’s Press, sold by Michael.

In a collaboration with Cooking Light, Stacey sold Allison Fishman’s LIGHTEN UP, AMERICA!, a celebration of regional American cooking made light, including Buffalo wings, Maryland crab cakes, and apple pie, to Heather Averett at Oxmoor House.

Stacey then sold Amy Plum’s JUNEAU as part of a two-book deal, about a girl who escapes the mysterious forces that kidnapped her clan and discovers that everything about her past has been a lie, facing disillusionment while braving an unknown modern-day America to rescue her family, to Tara Weikum at HarperCollins Children’s.

Jane then sold Nancy Herkness’s novel, TAKE ME HOME, in which an emotionally wounded woman falls in love with an equally scarred veterinarian, and both find strength in themselves through caring for a battered racehorse to Kelli Martin at Montlake.

THE BIG LETDOWN by author, journalist, and breastfeeding advocate Kimberly Seals Allers opens up a candid conversation about the cultural, sociological and economic forces that shape the breastfeeding culture was sold by Stacey to Nichole Argyres at St. Martin’s Press.

John sold Stephen L. Duncan’s YA debut THE REVELATION SAGA, about a teen who discovers he is the angel Gabriel and must train to save the world from the evil demon Septis, pitched as FALLEN meets HARRY POTTER with a dose of RAIDERS OF THE LOST ARK, to Emily Steele at Medallion Press.

Two more books in James Beard-honored mixologist, author, and beverage consultant Kim Haasarud’s popular 101 series, SHOTS and TROPICAL DRINKS, sold to Justin Schwartz at John Wiley & Sons by Michael.

Bestselling author and iconic feminist leader Phyllis Chesler’s AN AMERICAN BRIDE IN KABUL, about her time as a young bride in Afghanistan and the charged and complicated relationship between the Islamic East and West was sold by Jane to Karen Wolny at Palgrave.

Jane’s next sale was for William Gurstelle’s DEFENDING YOUR CASTLE, which offers wild yet historically accurate plans for the modern homeowner, from moats and drawbridges to hostile plant walls, including both scientific and anecdotal material, which went to Cynthia Sherry at Chicago Review Press.

Romance writer Anne Stuart’s next series, AFTER THE STORM: THE STORY OF THE RUSSELL SISTERS, a historical trilogy that focuses on three orphaned sisters, Arielle, Madeline, and Sophie, as they embark to investigate the mysterious maritime disaster that killed their parents, encountering rogues, gentlemen, and illicit affairs along the way, was sold to Kelli Martin at Montlake by Jane.

Rounding out March, Jane sold Michael Wolraich’s WHEN THE WAR BEGAN: TEDDY ROOSEVELT, REPUBLICAN PROGRESSIVES AND THE BIRTH OF MODERN POLITICS, the story of the beginning of the progressive political movement, following closely the lives of all the major political, economic and journalistic players as they careen through history and one another’s lives to Karen Wolny at Palgrave.

John also sold real estate magnate Herman J. Russell’s memoir BUILDING ATLANTA, which recounts his childhood growing up during segregation and how he overcame a severe speech disorder to build much of the Atlanta skyline and contribute to the Civil Rights movement, to Cynthia Sherry at Chicago Review Press.

Jim’s next sale was for Gae Polisner’s FRANKIE SKY, still reeling from her little brother’s drowning death, a girl finds her herself holding back – from summer trips to the ocean, friendship, budding romance – till she meets another young boy who may be her brother’s reincarnation, which awakens her to new possibilities, which went to Elise Howard at Algonquin.

Journalist and historian Scott Martelle’s JONES’S BONES, the story that brings together two important eras in history—the American Revolutionary War and the dawn of the 21st Century—through the search for the final resting place for war hero John Paul Jones was sold to Jerome Pohlen at Chicago Review Press by Jane.

Veteran journalist and Professor of Journalism at Indiana University Joseph Coleman’s THE OLD MAN AND THE HAMMER, a narrative-driven investigation of America’s aging workforce, charting a path forward through the coming demographic revolution, was sold to Terry Vaughn at Oxford University Press by Jessica.

Jane then sold nutrition experts Katherine Brooking and Julie Upton’s 101 FAT HABITS AND SLIM SOLUTIONS, a health-smart guide full of real life, practical steps for kicking bad habits and finding new dietary and lifestyle paths to Sara Carder at Tarcher.

Bestselling author of the wildly popular self-published WIFE BY WEDNESDAY, Catherine Bybee’s newest romance trilogy, the NOT QUITE… series brings the genre to a whole new level as she elegantly brings to life sexy, rich bachelors, desperate hotel heiresses, and Caribbean scandals, to name a few, was sold to Kelly Martin at Montlake by Jane.

Anne Cleeland’s MUDER IN THRALL, the sexy, disturbing and utterly engrossing novel in a series of romantic suspense, following Kathleen Doyle, a fiery first-year detective on her first twisted murder case, was sold by Jane to Audrey LaFehr at Kensington.

Jane’s next sale was for chef, restaurateur, and TV personality Gale Gand’s newest cookbook, GALE GAND’S LUNCH!, in which she shares fun and creative ideas, tips, and tricks for all kinds of lunches, which went to Justin Schwartz at John Wiley & Sons.

GREAT BALLS OF CHEESE, a quirky and fun collection of over 50 recipes for all kinds of cheese balls from FoodNetwork.com and CookingChannelTV.com editor Michelle Buffardi, went to Justin Schwartz at John Wiley & Sons, sold by Stacey.

Jessica sold HISTORY LESSONS: A FAMILY MEMOIR OF MADNESS, MEMORY, AND THE WONDERS OF THE BRAIN by Clifton Crais: Part memoir, part narrative science and part detective story, History Lessons is a provocative, beautifully crafted investigation into what it means to be human, to Dan Crissman at Overlook.

Helen Bryan’s THE SISTERHOOD, connecting an unlikely present-day heroine to the events of the Spanish Inquisition, handsome friars and courageous nuns, doomed love affairs, persecuted orphans, and cunning noblemen and women, was sold by Jane to Terry Goodman at Amazon.

And finally, DGLM’s most recent sale was VODKA: AN ILLUSTRATED HISTORY, written and curated by Victorino Matus, a senior editor at The Weekly Standard sold by Stacey to James Jayo at Lyons Press.

Okay! That’s a long list there, but it can only mean good things for DGLM and our authors.

 

 

5

Livin’ in the 90s

Yesterday, a friend asked for a list of favorite songs from the 90s, which sent me into a nostalgia spiral. I think I’d forgotten about the 90s, really. I’m not sure how.  I spent all of high school and college in the 90s, so you’d think I’d be more invested in them. But my heart has always belonged to the 80s, with New Wave, and Star Wars (the good ones), and Atari, and Bunnicula. I guess I’m more nostalgic for my childhood than my teen years.

But thinking about 90s music got me to thinking about 90s books. Being in school at the time, much of my reading was focused on coursework and classics, so I’m not as familiar with the contemporary literature of the time. I distinctly remember reading The Bean TreesHigh Fidelity, Memoirs of a Geisha, Angela’s Ashes, She’s Come Undone, Naked and, of course, The Secret History in college, and I know I read some Crichton, King and Grisham, though I’d be hard pressed to tell you which books. Now I’m starting to wonder which books I missed, and I’m thinking it’s time to put together a list so I can start catching up (what, with all that free time I have for reading!). So, what 90s books do I need to put on the list? Any favorites of yours that I can’t be missed?

3

Longevity

One of the things I like about e-books is the fact that they have longer “shelf” lives than print books.  I like that I can think of an obscure title that I read and loved back in the Dark Ages—when Reagan was president and I still thought a flat iron was a good idea on my hair—and have it in my e-reader within seconds.  As much as I love physical books, I relish the convenience of accessing information or pleasure reading without waiting for half an hour while a surly bookstore clerk goes digging in his computer to see on what shelf there might or might not be a copy to be found.

Personally, if I love an e-book, I’ll more than likely find a way to buy a physical copy.  But, what my own e-buying trends (and those of my friends and colleagues) tell me is that digital books can sell more and longer than print copies that have to fight for shelf space, if marketed correctly, and can tap into ever-renewing markets with ease.

This Galleycat piece about how to re-energize sales of old titles is worth checking out by authors thinking of self-publishing, or digitizing their backlist, or helping their publishers promote their titles.

Case in point: Through DGLM’s e-book program (which we’ve blogged about here) we recently put up the late John Comer’s Combat Crew, a gripping memoir of the 25 combat missions Comer flew over Europe during WWII.  The book had been out of print for some time and Jim Comer, John’s son wanted to get it back out there for a new generation of readers and for the veterans and military personnel who would doubtlessly be fascinated by his father’s stories.  Reaching these specific markets and having hit the pricing sweet spot, the e-book has been an unqualified success.  And, indeed, a new generation of readers is discovering this classic narrative.

So, before you e-publish think about what markets you want to reach and how, think about pricing and don’t over- or under-price, and read as much as you can about internet marketing.  It will pay dividends and give your work an extra-long life.

 

1

Thoughts on Maurice Sendak

As I’m sure you’ve all heard, Maurice Sendak passed away this morning at the age of 83. Certainly, I was saddened by the news, as Where the Wild Things Are and the Nutshell Library were a part of my early childhood like so many others. And like so many other newish parents, I’ve come back to Sendak recently, sharing both books with my sons, as well as adding In the Night Kitchen and Little Bear into the mix. If one mark of success for a picture book artist is a book that speaks across generations, then Sendak’s career was truly unparalleled.

That said, I distinctly recall back when I started in kids’ books that Sendak was looked upon less than favorably by his peers. Partly, I think there was some jealously of his success, but I also think there was a feeling that he turned his back on the children’s book community. In particular, back in the 1990s Sendak spent a lot of time on the college lecture circuit (I saw him give a fantastic talk as an undergrad), which definitely rubbed some people the wrong way, for both of the aforementioned reasons. And, of course, there was his famously prickly demeanor, which didn’t always seem so lovable to those on the inside…

But I also wonder if his lack of picture book production over the last two decades had something to do with it. Most working picture book artists average at least a book a year, if not two, and by going so long between books, I think he may have heightened both the jealously and resentment factors. Certainly, that’s an old story with artists—those who deny the audience what they want run the risk of losing their fans.

Yet whether it was a conscious decision to curry favor, a sense of mortality, or whether it was just where his art took him, his recent spate of activity—the Wild Things movie, Brundibar, Bumble-Ardy, palling around with Stephen Colbertcertainly drew him back into the fold. And so it’s good to see all the tributes to him across the internet, especially from the children’s book community.

But really, the ultimate tribute will come tonight, when literally millions of children will go to sleep to his words—I know my kids will be two of them.

2

Formula for Success

 

Because blockbuster bestsellers—the books that sell in the millions of copies—are rarely as well written as they are widely read, there is a popular notion among writers and non-writers (and occasionally, trained monkeys with typewriters) that “anyone could write one.”  I’m skeptical.

The mysterious X factor that causes a book to catch fire is neither easily predicted nor replicated, much as publishers try. Bestsellers cannot reliably be manufactured, not even (as many people suspect) by outsize marketing and promotion budgets.  I worked for the house that published scores of bestsellers, including The Bridges of Madison County and the Notebook, but that same house also rolled out the red carpet for seemingly commercial novels that vanished, taking their marketing dollars and NYT ads with them.

 

Laura Miller’s column in Salon http://www.salon.com/2012/05/01/recipe_for_a_bestselling_book/singleton/ looks at Hit Lit: Cracking the Code of the Twentieth Century’s Biggest Bestsellers. In it, novelist James Hall attempts to isolate the winning formulas of “twentieth century megasellers.” He considers a list of twelve: Gone With the Wind, Peyton Place, To Kill a Mockingbird, Valley of the Dolls, The Godfather, The Exorcist, Jaws, The Dead Zone, The Hunt for Red October, The Firm, The Bridges of Madison County and The Da Vinci Code.

I’m keen to read his analysis, but I just don’t believe that it can yield much insight into the black box of blockbuster bestseller-dom. What do you think? Can reading taste be quantified in any meaningful way?