What I’ve Learned About Being an Author

My first book was published a number of years ago and I am now working on what will be my eighth. I’ve seen a lot of changes in the publishing industry over that time but the most essential element remains the same as it’s been since Gutenberg invented the printing press. An author sits alone with the seed of an idea and a reader sits alone enjoying the fruit of that idea. It’s only the middle bit between those solitary acts that has changed. Here’s what I have learned.

  1. Write

If you want to write, then go ahead. It’s like Yoda said, “No try, do. Do or don’t do. No try.” There are many ways to get started and the easiest is to set up a free WordPress webpage and begin blogging. Write about what you know. Develop a theme. Forget how many people click to read it, that’s not what it’s about.

You are writing not as a sprinter on race day but a marathoner in training. Build writing muscles and skills by using them. Read authors you admire. Then read those you don’t. Treat them as teachers. Then write more. Someone who is not writing is not a writer. They are someone who either has written or someone with a dream but no plan.

All I've Learned About Being an Author

(Iconix Brand Group Inc)

  1. Printing and Self-Publishing

Printing is often all many people want. For example, if you want to write a history of your family that no one but your family will probably read then find yourself a printer. They will help design, and then print and bind as many copies as you wish of whatever you give them. Be sure you have at least five people proof-read your work or even hire a professional editor to save yourself the embarrassment of errors that will live longer than you.

Self-publishing is becoming increasingly prevalent. It’s tough as you must essentially become your own publishing company. It demands a lot of work which means hours away from your writing. However, if willing and able to take the risk and do the work, the reward could be your book appearing on Amazon and other online sites and generating sales.

  1. Publishing Houses

Publishing houses understand that they are making art and making money but if they don’t do both then they can’t do either. Accept that. Many small houses will accept unsolicited manuscripts – over the transom, as the saying goes. Larger houses, and there are fewer of them as they have been shuttering or swallowing each other, will only accept manuscripts from agents. Agents and houses will not be interested in a whole book, just a proposal.

  1. Proposal

If you want to write a book, then don’t write a book. That is, develop your idea for a book into a proposal for a book. It is a two-page sales pitch. Be succinct in explaining why anyone would want to read your book and why a publisher will make money by publishing it. A novel’s proposal is more straight forward but a non-fiction proposal’s subtitles could be: Elevator Pitch, Argument, Market, Author, Table of Contents. If you are a first-time author you will probably also need a sample chapter. Have a couple of people read and edit your proposal. Be sure it is not someone who loves you or will not be harshly critical for you want unburnished opinions now, not later. Then find yourself an agent.

  1. Get an Agent

Scan the web and you will find lots of agents. Or, go to a bookstore, if you can still find one, and look at the acknowledgement pages of books like yours and see which agents are being thanked. You only want to approach an agent who specializes in your kind of book. An agent is the liaison between you and the publisher. If your proposal is any good, an agent may take you on as a client. A contract will be signed in which the agent will get around 15% of everything you make.

She will then be like your best friend, supporting you or kicking your backside depending on which you need most at the moment. She will help to hone your proposal and make it better than you thought it could be. She will then approach publishers attempting to have them take it on. She will negotiate an advance on royalties and contract with them. Meanwhile, you concentrate on your writing.

  1. The Publishing Contract

Famous people sell a lot of books and so they get huge advances that can sometimes be in the millions of dollars. First-time authors, however, can expect between $5,000 and $20,000. You should not get too excited, though, because the money is there to pay for expenses incurred while writing the book and it is later deducted from royalties earned from sales. Most authors will earn from 8% to 12% of the book’s sale price. The contract will establish when the finished draft manuscript must be submitted. Now you must actually write the thing.

  1. Writing

There is always time. I am up and writing each day at 5:00 am. The sane world is still asleep so there are no emails or calls, just me, tea, and the muse. Even if the muse doesn’t show up some mornings, I am there doing what feels like a punch-the-clock effort but at least I’m there. I run and take long walks without music and it is there the real writing takes place. When in my office, I am usually just typing what I have already written in my head. The best secret as to how to get words on a page is to get your ass in a chair.

  1. Editing

Kurt Vonnegut once told students that anyone can write. To be a writer, though, is to write something then rewrite it, and then rewrite it, and then re-write it again. Then, when it is absolutely perfect, re-write it three more times. You should do this before submitting the manuscript. When you do, you will be assigned an editor. This is your other best friend or perhaps like your best high school teacher. He will take your manuscript and mark it up noting where the structure should be improved or grammar fixed. You will go back and forth a number of times until finally, you are on the phone or in an office going through the entire manuscript one sentence at a time. It will then be sent to a proofreader who will, hopefully, find all the little mistakes left for you to fix.

  1. The Box

It’s a glorious feeling. A box will arrive at your front door and inside are the dozen or so books that your publisher sends you for free. There it is. After two or three years of solitary work and then months of editing it is finally a tangible thing. The verb has become a noun as your writing is a book.

  1. Marketing

Your publisher will assign a publicist. She will do all she can to sell you and the book. You may be interviewed on radio or TV, do speeches, or appear at literary festivals. You must be ready to explain your book in twenty seconds, or ten minutes, or an hour. You must never be ashamed by shameless promotion. You are no longer in the business of writing. You are now in sales. This will involve your engagement in social media for you must take on a lot of the marketing work yourself.

You will need to grow the hide of a rhinoceros because there will be those who will not like your book. You may get trashed in a review. You may have no one show up for an event. Your book may be ignored altogether. All you can do is your best and keep smiling.

  1. Dividing Your Brain and Time

Usually, several months or even a year may go by between your having submitted the final draft manuscript and the publication date. While editing that one, you will be writing your next one, beginning with the idea and proposal. You will then be in the odd position of talking about your first book while all your brain really wants to focus on is your next one because your first one, to you, is already two or more years old. It’s an interesting dance.

  1. Sales

About five to ten years ago, it was predicted that book sales would plummet. They did not. There are actually more people buying and reading books today than ever before. Even the sales of physical books have become relatively stable year to year. Even if physical and e-book sales are combined, the sales of nearly all books are relatively low. There are only a few Harry Potter like hits each year. They allow publishing houses to publish all the others. One can have a Canadian best seller at 6,000 – 8,000 copies. That is why nearly all writers have other jobs. Most teach or are journalists but there are a lot of writing waiters.

Like in the music business, there are a lot of people doing it but only a few making a good living. That said, if all you are interested in is the money then forget it. You probably won’t make much and you will probably not be much good because you are in it for entirely the wrong reason.

And so….

Writers understand and live for the warmth of a well-written sentence and cogently constructed argument. Margaret Atwood once observed that you know you are a writer when you are writing in July about a winter scene and then after an hour lost in creative thought you look out the window and wonder what happened to all the snow. Good luck. I’m pulling for you.

If you enjoyed this column, please send it others. Consider leaving a comment, I’d love to hear from you.

 

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Thanking the River and More

I don’t know about you, but I always just skim a book’s acknowledgments. They are usually akin to a bad Oscar speech: a list of names of people I don’t know. My latest book, Sir John’s Echo: The Voice for a Stronger Canada, was released last weekend. It’s my seventh book and this time I tried something a little different for my acknowledgments. I thanked some folks, of course, but also tried to consider what really inspired me to write. Let me know what you think.

Acknowledgments: Sir John’s Echo

Dividing and defining our Village is a river that, as Lakefield resident Margaret Laurence once observed, runs both ways. It does, you know. It really does. It is on long, slow runs along the river that I wrote this book. Oh, certainly I typed it in my office but the genuine work, the tumbling and juggling of ideas, the real stuff of writing, came accompanied by the falling of footsteps and washing of water.

And so, odd as it may seem, I would like to acknowledge and thank the river for its uncaring but profound inspiration. It reminded me that somewhere beneath its gently flowing surface, at the heart of its magic, hides the metaphor for our country. The truth and what truly matters lay not in the surface sparkles, gleaming as diamonds in the sun, but with the rocks and roots and weeds below that roil all above, offering resistance and form.

The river urged me to take a broader view, to consider more expansive ideas, deeper concepts, and to think not of passing fads and fancies that capture clicks and headlines but what really matters. Power. The power to shape, inspire, speed up or slow down, to move while lifting or, sometimes, pulling below.

That’s what this book is all about. Power. It’s the power of perpetual motion, of rugged beauty and gentle grace lying comfortably with the awful potential to direct or destroy. That is the river’s power. That is Canada’s power. That is the power we owe ourselves to contemplate; relentless power that moves even when we don’t notice, while we sleep, flexed and expressed and occasionally challenged, and while appearing to be heading in one direction in a natural, linear fashion, sometimes, flows both ways.  I thank the river for encouraging my contemplation so that I might invite yours.

And what of Margaret Laurence? I thank her for being among those who taught me a love of words and a respect for the power of ideas powerfully expressed. There were others: Margaret Atwood, Leonard Cohen, John Lennon, Kurt Vonnegut, John Ralston Saul, John Prine, Doris Kearns Goodwin, Shelby Foote, Gwynne Dyer, Paul Simon, and John W. Boyko, Sr. I thank them all.

This book began with a conversation between Patrick Boyer, Steve Paikin, and me – three men insatiably entranced by books, politics, ideas, and Canada. Patrick invited me to contribute a book to Dundurn’s Point of View series as part of the commemoration of Canada’s 150th birthday. Make it controversial, Patrick urged, stir readers’ passions and propose notions to spark debate. Thank you, Patrick, for inviting and trusting me to write and for your valuable suggestions on an early draft. I hope I have not let you down.

Sir John's Echo

Thank you to the Dundurn team who embraced me so thoughtfully and supported me so professionally. I am grateful for the vision of president and publisher Kirk Howard, and for the editorial skills of Dominic Farrell, Cheryl Hawley, and Michael Carroll. I thank the talented Lawrence Martin for his constructive suggestions and fine forward.

This is my seventh book and I have lost count of the number of editorials, articles, and blog posts I have written. My dear wife Sue has read and edited every word. She brings to all I do an unparalleled editorial precision and skill and sense of when something is going on a little too long or needs to be fleshed out. She knows what it is about my work that works, and doesn’t. Her kindness, care, tenderness, wit, and love, makes all I do better, possible, and worthwhile.

I am grateful to Craig Pyette and Ann Collins of Penguin Random House Knopf who lent me to Dundurn for this project and to my literary agent Daphne Hart who encouraged me.

Being a father is one thing but being a grandfather is something else altogether. Grandchildren teach you to love all over again. Without trying, my two sweet granddaughters remind me of all that truly matters, including the country in which they will be making their lives. Canada was not inevitable and is not immutable. All that is great about it, from its stunning physical beauty to the strength and marvel of its complexity, must be not just celebrated but protected. You won’t protect what you don’t love and can’t protect what you don’t understand. Without understanding, we can sing about standing on guard but not really do the deed. It is the future of my grandchildren, and yours, even if you don’t yet know them, that renders the striving to understand, in order to protect what is worth protecting, worth the effort. I thank my grandchildren for inspiring my contemplation of the home they deserve.

Thank you for reading my thank yous. Please share them with others if you wish. I am now on the road promoting Sir John’s Echo, doing TV, radio, and print interviews, as well as speeches. It is the business part of the book business. I’m also hard at work on my 8th book. Writing is fun.

 

 

A Nation of Festivals Making Us Better

We are a nation of festivals. There are film festivals, poetry festivals, rib festivals, art festivals, and every conceivable genre of music festivals. They are fascinating in like a conch blowing silently but convincingly through the ether they gather those of similar interests to form a temporary community. Festivals offer revelry in the acknowledgement that our particular passion is shared. My favourite are literary festivals. They intrigue me because they shouldn’t work.

Canadians read. Canadians read more books per capita than nearly anyone. A lot of folks enjoy books on tablets but most are sticking with the physical kind, the kind you can hold, smell, feel the joy of cracking for the first time, hold in bed without hurting your eyes, drop without breaking, and then shelve as a friend to share your home. Ok, I’m biased.

Canadians write. A generalization that is generally true is that all novels ask the question, “Who am I?” and all non-fiction asks “Who are we?” That Canada is blessed with so many talented writers asking both questions and so many readers reading all that stuff it is little wonder that we always seem to be in a state of existential angst and renewal. That’s a good thing. A reactive society is one of division and anger but a reflective society enjoys more consideration and compassion. Is this Trump versus Trudeau? Maybe that we read so much leads to our fighting so little.

The thing is, though, and the source of my fascination with writing festivals is that both writing and reading are solitary pursuits. Margaret Atwood once observed that you know you are a writer when you are typing away in your office in July about a winter scene and look up and out the window and wonder where the snow went. As an author, I know that feeling. Writing my history books often transports me back to the era that I am investigating and I quite honestly sometimes have trouble getting all the way back. I’m alone in my research. I’m alone in my writing.

But then, whatever I have written is released to the world. It is like I watch a young bird leave the nest. I wish it well. I always know some will like it. I always know some will attack it. I always hope the world will not just ignore it. It is up to the readers. Readers, of course, then buy what writers have spent so many hours silent and alone creating and devote more hours silent and alone to absorbing. Watch someone reading. They are not really there. They’ve been transported. Books are conduits of ideas from one solitary person to another.

The notion of two solitary experiences coming together for a community group hug is the source of my fascination with writing festivals. Writers blinkingly emerge from their writing dens with their pallid skin and reeking of coffee and wine and are suddenly before large groups and asked to talk about what they wrote, how they wrote it, and why they wrote it. For many, it’s like asking a fish to describe water. Readers emerge from their solitary reading spots to quiz the authors and each other about books and ideas. The isolation ends.

A Nation of Festivals

(Photo: Lakefield Literary Festival)

Festivals, like book clubs, lay out ideas to be examined as a community exercise. They remind us that books are like paintings and songs and any other art. Their meaning is only partially controlled by the artist. The rest is up to the experience and mood of the beholder. At festivals, the readers and writers both learn more about the books and ideas in question and about themselves. I am always intrigued when asked questions about my book that I never considered.

I have attended many but my favourite is the Lakefield Literary Festival. I am biased, of course, because I live in the Village of Lakefield. It is the Ontario community in what city people call “cottage country” consisting of only 2,400 people. Lakefield was once home to sisters Catherine Parr Trail and Susanna Moodie who were among Canada’s first writers and much later to Margaret Laurence who was among Canada’s best.

The Lakefield Literary Festival began in 1995 as a one-off banquet to celebrate Margaret Laurence but it became an annual event. It is now among Canada’s premier literary festivals, this year to take place over the weekend of July 15. It draws writers and readers from across the country to enjoy the campus of Lakefield College School and ideas and books and each other.

I will be at the Lakefield Literary Festival in a couple of weeks both speaking and teaching a writing class. I’ll be at Saskatoon’s Word on the Street Festival in September. I know I will enjoy both. I know I will enjoy meeting people who share a passion for writing, reading, books, and ideas. All those writers and readers at these and all the other literary festivals will emerge from their isolation. They’ll contribute to our national conversation by reflecting upon who we are as people and as a broader community. Perhaps all that isolated writing and reading and then all those festival conversations will play a role in making Canada a better place for us all.

If you enjoyed this column, please send it along to others. I hope to meet you in Lakefield in July or Saskatoon in September.

Icarus, the Cleavage, & the Interviews

A man should never look at a woman’s breasts. Never. A man should never, ever look down a woman’s cleavage and under no circumstances for fifteen straight minutes. Never. Ever. No how. But I did. The red-faced moment occurred during one of the many interviews I have done as the author of six books supporting the rocky marriage between art and commerce.

A print journalist once began an interview for Into the Hurricane: Attacking Socialism and the CCF with the question, “What does CCF stand for?” The back jacket explained that the Cooperative Commonwealth Federation was the Canadian democratic socialist party and precursor to the NDP. I tried not to betray surprise with my realization that far from judging a book by its cover, she had read neither.

I understand that interviewers are busy folks often armed with nothing but a list of questions prepared by others. Some are so shackled to their list that I could respond, “Gee, my pants caught fire!” and hear nothing but, “I see, now my next question…” I accept those interviews as a challenge to stir interest and I sense success with the first follow up question that hints at a wandering from script.

An American print journalist once told me she had read Blood and Daring, which was about Canada’s role in the American Civil War. That, I thought, standing in my office, cradling my phone, fighting my ADD and trying to stay focussed, was a good start. She then said, “I’ve never heard of this Sir John A. Macdonald, but he seems like kind of a big deal. Perhaps for my American readers you could you sum him up in one sentence?”

With apologies to my high school English teachers, this was my one sentence stab: “Macdonald is like your Thomas Jefferson because he provided much of the philosophical underpinnings of our democracy; he is like America’s James Madison because he was the main architect and author of our constitution; he is also like your George Washington because he was our first chief executive and fully cognisant of the fact that everything he said and did would be precedent to his successors – so, Canada’s Sir John A. Macdonald is like America’s Jefferson, Madison, and Washington rolled into one man.” Damn, I was proud of myself. The article based on the interview was a well-written piece but the run-on Macdonald explanation was absent. Rats.

In-studio radio interviews are fun because many studios are cramped and chaotic. The interviewer is often hidden behind microphones and equipment or glass, making eye contact impossible. Assistants and producers are often scurrying about. During one interview the news and weather person was scribbling madly away beside me, tapping an I-Phone, and leaving and returning. It was a challenge to focus. Other studios offer Zen-like calm. Like Forrest Gump’s chocolates, you never know what you’re going to get.

Icarus, the Cleavage & the Interviews

(Photo: http://www.mxlmics.com)

Live radio over the phone is often interesting. I recently attended a good friend’s retirement party in Chatham, Ontario and expected to be back at his house in time for the 8:00 pm interview with a gentleman broadcasting from Montreal to affiliates across Canada. The party ran longer than I had expected. So, at 8:00 I was shivering in my dark, cold car, beside a parking lot dumpster, answering questions about John F. Kennedy and John Diefenbaker, while hoping beyond hope that a police officer or ne’er-do-well would not rap on my frosted window.

Live radio hates dead air. You must talk without time for thought. The funniest live radio question came at the end of a long interview about my biography of R. B. Bennett. The gentleman said, “Now you have read a lot about Canadian prime ministers so tell me, which one would have made the best NHL hockey player and why?” Later, my wife Sue, who is much smarter than me, said that Lester Pearson was a great hockey player or maybe I should have said Jean Chrétien because of the Shawinigan handshake. The best I could muster was, “Sir John A. because in the Gordie Howe tradition he was the best of his era and not above throwing an elbow.”

Television is fun. I once did a live interview for the East Coast CBC from a studio in Toronto. I was made up, wired up, placed on a swivel chair but told not to move, and then instructed to look at the screen six feet before me. I heard the producer count down and the interviewer’s voice through my ear-piece but the screen remained dark. I had expected to see him as he and viewers were seeing me. I know I was thrown for the first question or two wondering if there was a malfunction. I carried on and tried, as always, not to say anything too stupid.

One of the best in the business is TVO’s Steve Paikin. He has interviewed me three times and in each instance he has carefully read the book and prepared questions but then the interview becomes a conversation. For those interested, here is my most recent interview with Steve Paikin so you can see how very good he is.

http://tvo.org/video/programs/the-agenda-with-steve-paikin/kennedys-northern-front

TVO Feb 17

Steve Paikin and me on February 17

And then there was the cleavage. It was an interview for my Bennett biography. For some reason, it was decided that the taped radio interview would be done outside. The interviewer was an attractive woman about eight inches shorter than me clad in a red, low-cut top. I had begun to respond to her first question when the sound person stopped us and said that because of the height difference she would lower the wind-socked microphone and I would need to look down and keep looking down throughout the interview. “OK,” I whispered, realizing straight away that I was being asked to break the cardinal rule and look where a man should never look. Never. A cleavage is like the sun, I’ve been warned, more than a glance can hurt you. Yet, for fifteen long minutes, I was Icarus.

Interviews are all fun and nearly all interviewers are well read, intelligent, articulate, interested and interesting. Like the folks I get to meet at speeches and festivals, I feel honoured to share ideas with them. I never forget that I am lucky to have written and published books and, through them, to have met so many great people and seen the places I’ve seen and done the things I’ve done. Even when the interviews get a little funny, crazy, or embarrassing, I never take for granted how truly blessed I am.

If you enjoyed this column, please share it with others on Facebook or your social media of choice. You can check out the books I was talking about at your local bookstore or here http://www.amazon.ca/John-Boyko-Books/s?ie=UTF8&page=1&rh=n%3A916520%2Cp_27%3AJohn%20Boyko