What we can learn about which voices get elevated by considering two titans of the literary world, literary agent Andrew Wylie and the great Toni Morrison
With my first novel, I was fortunate to acquire an agent (it took a year of trying) and then a publisher (this took two months). I was writing in a genre, and in the kind of voice and level of complexity, that fit neatly into one of the publisher's marketing streams.
Over the years, my novels grew in length, in complexity of plot, and in richness of character development. The publisher lost sight of what to do with my work, how to market it. We parted company after novel #6, more or less amicably, and I've been indie ever since. My erstwhile agent, with whom I'm still in touch, tells me, "Your work is too upscale for publishers. They want romance, or they want erotica, or they want both. Most of all, they want simple."
So even if I found an editor who, like the examples in this post, felt I write about a topic they wanted to champion, it seems unlikely their publisher would take me on. This is the reality of my personal experience with the publishing world. I don't think it strays very far from the description of this post.
Thanks for sharing your journey, Robin. I have heard variations on this story countless times. It makes me sad for this industry that underestimates the intelligence of its readers on the one hand, or else shoves down our throats what they think we should like. Hard to navigate, for sure!
Thank you for sharing facts all writers should know. As a76-year-old (white male) author, I know that no one (agent or Big Five editor) will consider my works. I have had some fairly good experiences with small traditional houses -- but some not-so-good experiences as well. And, as you correctly note, these gatekeepers "no longer hold the only set of keys."
At once validating of how things have felt and continue to feel, and sadly but importantly reminding us that the quality of the work is not the deciding factor for book publication, and had better be what gives joy and meaning to our days - which ultimately is far more significant.
Wylie's comments were unbelievable in the best and worst ways. And yet it's good to see the authentically awful candor from a lion of the industry, a POV that offers those not in publishing a window to a world that remains so far behind other industries that have managed to evolve and actually live in the year 2023.
I know. I read Wylie's interview both with horror and something I guess I have to define as awe... It's a lot like how I feel when I listen to Trump in that I hate everything coming out of his mouth but he's compelling to listen to because of the shit he says out loud. I guess that's why people like this capture so much attention.
I was chagrinned to read this interview with Andrew Wylie. I remember pitching Poetic License to him in very different form through my agent about 15 years ago and I don't remember the words he replied with but they were certainly condescending. I also didn't know he was friends with Allen Ginsberg and Gerard Malanga, but I guess I'm not surprised. Thanks for bringing this to our attention. And Morrison was, yes, quite a different sort of person. It's kind of amazing though that so many "rich white guys" still don't get it - but then they don't need to as he's got all the best writers he could want.
It shouldn't be surprising, but it is, that they don't get it as you say. Intellectually, I get that the new world order threatens their place in it, and a lot of these guys as a result are doubling down. It's interesting to me that Marchese, the interviewer, did the Jann Wenner interview a few months ago. Maybe this "type" is his new beat. I would love it if that were so. A late-in-life NYT piece to show how very on the wrong side of history they were. Sorry to hear you got this kind of unsupportive reply for Poetic License, which is such an important book. <3
Great piece Brooke. I love how you are helping writers become better advocates for themselves. You’ve pulled back the curtain on an industry that has excluded many voices.
"...the [publishing] journey will be about getting caught and thrown back until you finally get caught by that person who sees in your project all the value and possibility you know it contains." What a critical insight. And what a compassionate one, too.
With my first novel, I was fortunate to acquire an agent (it took a year of trying) and then a publisher (this took two months). I was writing in a genre, and in the kind of voice and level of complexity, that fit neatly into one of the publisher's marketing streams.
Over the years, my novels grew in length, in complexity of plot, and in richness of character development. The publisher lost sight of what to do with my work, how to market it. We parted company after novel #6, more or less amicably, and I've been indie ever since. My erstwhile agent, with whom I'm still in touch, tells me, "Your work is too upscale for publishers. They want romance, or they want erotica, or they want both. Most of all, they want simple."
So even if I found an editor who, like the examples in this post, felt I write about a topic they wanted to champion, it seems unlikely their publisher would take me on. This is the reality of my personal experience with the publishing world. I don't think it strays very far from the description of this post.
Thanks for sharing your journey, Robin. I have heard variations on this story countless times. It makes me sad for this industry that underestimates the intelligence of its readers on the one hand, or else shoves down our throats what they think we should like. Hard to navigate, for sure!
Thank you for sharing facts all writers should know. As a76-year-old (white male) author, I know that no one (agent or Big Five editor) will consider my works. I have had some fairly good experiences with small traditional houses -- but some not-so-good experiences as well. And, as you correctly note, these gatekeepers "no longer hold the only set of keys."
and yet another reason why I am thankful publishers like you exist! Thank you for helping us grow in spaces others thought we never could 🫶
At once validating of how things have felt and continue to feel, and sadly but importantly reminding us that the quality of the work is not the deciding factor for book publication, and had better be what gives joy and meaning to our days - which ultimately is far more significant.
Very true!
Wylie's comments were unbelievable in the best and worst ways. And yet it's good to see the authentically awful candor from a lion of the industry, a POV that offers those not in publishing a window to a world that remains so far behind other industries that have managed to evolve and actually live in the year 2023.
I know. I read Wylie's interview both with horror and something I guess I have to define as awe... It's a lot like how I feel when I listen to Trump in that I hate everything coming out of his mouth but he's compelling to listen to because of the shit he says out loud. I guess that's why people like this capture so much attention.
Well said, Brooke. It's going to be a long time, if ever, before I forget Wylie's "They deserve to live" comment. Woah!
Another insightful article letting us struggling writers know the facts of publishing life.
Great piece, as usual. And thanks for including those links!
I was chagrinned to read this interview with Andrew Wylie. I remember pitching Poetic License to him in very different form through my agent about 15 years ago and I don't remember the words he replied with but they were certainly condescending. I also didn't know he was friends with Allen Ginsberg and Gerard Malanga, but I guess I'm not surprised. Thanks for bringing this to our attention. And Morrison was, yes, quite a different sort of person. It's kind of amazing though that so many "rich white guys" still don't get it - but then they don't need to as he's got all the best writers he could want.
It shouldn't be surprising, but it is, that they don't get it as you say. Intellectually, I get that the new world order threatens their place in it, and a lot of these guys as a result are doubling down. It's interesting to me that Marchese, the interviewer, did the Jann Wenner interview a few months ago. Maybe this "type" is his new beat. I would love it if that were so. A late-in-life NYT piece to show how very on the wrong side of history they were. Sorry to hear you got this kind of unsupportive reply for Poetic License, which is such an important book. <3
Thank you, Brooke. A timely reminder as I query agents about my WIP.
A-WOMAN!!
Wonderful, Brooke!!!! Thank you...
Great piece Brooke. I love how you are helping writers become better advocates for themselves. You’ve pulled back the curtain on an industry that has excluded many voices.
"Gatekeepers matter, yes, but they no longer hold the only set of keys." YES! Thank you, Brooke!
Very incisive and a new perspective on the world of acquisition. Thanks. I have a suggestion for Wrote Minded: Honeymoon at Sea ,
by Jennifer Redmond. Surprising Chicana memoir. Brand new
"...the [publishing] journey will be about getting caught and thrown back until you finally get caught by that person who sees in your project all the value and possibility you know it contains." What a critical insight. And what a compassionate one, too.
Wylie’s statement about the best seller list is accurate. It’s not a predictor of longevity or inherent value.