AUTHORNOMICS Interview Series with Paul Dinas
With a publishing industry that is ever in flux, it can be hard for an aspiring author to figure out what information is relevant and what she needs to do to be successful. Recognizing this, literary agent Andrea Hurst and writer and blogger Katie Flanagan present a series of weekly interviews with publishing industry specialists. The AUTHORNOMICS Series features literary agents, editors, authors, marketing experts and more talking about their opinions on the publishing industry, writing, and what a writer needs to know.
If you have questions for upcoming guests on the AUTHORNOMICS Interview Series, email them to authornomics@andreahurst.com.
Interview with Editor Paul Dinas
Paul Dinas is Business Editor at Adams Media, an imprint of F&W Media where he acquires business titles for both original print and e-publication. During his long editorial career he has held senior editor positions at Alpha Books, Reader’s Digest, Kensington Publishing, Harlequin and Avon Books. He has published over a dozen New York Times bestselling books in both fiction and nonfiction. He lives and works in New York City and may contacted at dinas.paul@gmail.com.
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1. In your over 30 years working in the publishing industry, you have edited both fiction and non-fiction. Can you talk about some of the differences in being an editor for a novel versus an editor for a non-fiction book?
Both categories have their challenges and rewards. In fiction, editors need to pay particular attention to the voice and overall vision of the author. The arcs of their characters and their stories are created from the heart and require great loving editorial care to help them evolve into the best they can be. The author’s voice is the very personal expression of his or her narration. As such, it is unique and needs to be maintained.
In nonfiction, the editorial focus is more on the organization, content and clarity of the material. Aside from memoirs, which are more akin to fiction, most nonfiction books require the editor to serve as the end user for the book. The principal questions: what is it trying to communicate? Is it clear and effective? Is it something the reader will be able to use to achieve his or her goals?
2. With you experience working at both large and midsize publishing houses, what difference in the culture have you seen? How does it affect an author going through the publishing process?
The basic editorial process in both size publishers is the same. We pitch the decision makers, get approval to make an offer, and then edit the book. I guess the biggest difference is that in a larger house, there are more hoops to jump through. In fiction, you often have to get multiple readings by other editors in house before you present to the decision makers, and then you might need to get them to read it as well. In smaller house, you have fewer people in the approval process. Also, in larger house, editors have more internal competition for genres and topics. The list is larger and often similar books have been published or acquired by other editors. Editors have to keep this mind as they review new projects.
3. Agents and acquisitions editors talk about how important it is that a book be the right fit for them before they work with it. How can an author be sure his book is a good fit?
Market research is very important in the regard. Check out the websites of the publishers and the agents to see if they have a track record in publishing the kinds of books you are writing. No point pitching a romance to an agent or editor who doesn’t routinely deal with this genre. Check out the publishers and agents of previously published books similar to your own. It is often possible to get leads from that source as well.
4. When looking for a freelance editor, should authors try to match their genre with editors who specialize in those areas?
Yes, it is important to find a freelance editor with experience in the genre of the book.
5. Can you talk about some of the most common mistakes you see from novice writers?
The most common mistakes include: pitching authors and agents that do not have experience with the kind of book you’re writing; relying on the old fashioned system of query letters, despite what the agents or publishers post on their website; overly long synopses for fiction projects; an emphasis on marketing instead of the actual content of the book.
6. You’ve published many NYT Bestsellers. Is there any one commonality between those books (besides you…but not everyone can be so lucky!) that you can point to as a reason for their success?
Bestsellers often breed bestsellers, so most publishers rely on a strong author track record. Bestsellers usually have proactive authors who make a concerted effort to promote books in conjunction with the publisher. Aside from these two factors, becoming a bestseller relies on timing and happenstance to a great extent.
7. One of the reasons an author might want an agent is because of their relationship with editors. As an editor, does it matter to you whether you know the agent or not when you see a submission?
Yes it matters because the more to you know the agent, the more you respect their ability to select projects with commercial value. Also, when you have a relationship with an agent, you can rely on them to pitch projects that an editor might be personally interested in. However, knowing an agent is not a prerequisite to evaluating a project.
8. As the Business Editor at F+W Media, what new trends do you see happening or coming up in publishing?
F+W is at the forefront of the meteoric rise for original eBooks. In September, F+W will launch FW BUSINESS NOW, the first eBook imprint dedicated to the publication of original eBooks for the business reader.
9. You have seen many changes in publishing over the years. What is your opinion of the rise of self-publishing and eBook sales?
Self-publishing and eBooks have put the reins into the hands of authors at long last. Technology empowers authors to write and publish their books directly to the readers who want to read them. Not having to rely on the traditional gatekeepers such as agents and publishers to get their books published fundamentally changes the process of book publication for the benefit of the authors.
10. What is the best piece of advice you can give an aspiring author?
Authors need to get joy and satisfaction from the writing process itself. Commercial success is too elusive, even with the advent of eBooks. To write for the sole purpose of making money is not a practical or fulfilling goal. The creative process needs to the end in and of itself.
Andrea Hurst has over 25 years experience as a published author, developmental editor for publishers, and skilled literary agent. She works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times best-selling authors. Andrea represents high profile Adult Nonfiction and well crafted fiction. Her clients and their books have appeared on the Oprah Show, Ellen DeGeneres Show, Good Morning America, National Geographic network and in the New York Times.
Katie Flanagan is a fiction major at Northwestern University. She is currently an editor with Booktrope and a reader for Pink Fish Press. In the past, she has interned with Andrea Hurst Literary Management and the Northwest Institute of Literary Arts. Her favorite genre is women’s fiction, but she reads any fiction put in front of her. Check out her blog about the writing life at katieflanagan.wordpress.com and follow her on Twitter at @K_Flanagan.
“The creative process needs to the end in and of itself.”
I had to clap when I read that. Thank you!
Andrea, thank you for posing the question that led to the most important advice we, as writers, must remember: “Authors need to get joy and satisfaction from the writing process itself.”
Andrea, I wonder if you can elaborate on how you interpret Paul’s comment that writers err when: “relying on the old fashioned system of query letters, despite what the agents or publishers post on their website.” Thanks! I am enjoying these interviews.
I’d also like to question what Paul means when he says writers err when “relying on the old-fashioned system of query letters, despite what the agents or publishers post on their websites.” We writers are being told that the query letter is essential to perking an agent’s interest. If not for a query letter, how would we elicit representation? And is having an agent necessary if one doesn’t self-publish?
I think what Paul is getting at is that many agents provide a great amount of information about how exactly to submit to them: they include what to put in the query, whether they want sample pages and synopses as well, whether they accept snail mail or email queries, what genres they’re interested in, and whether they are even open to unsolicited submissions. All of this they make available on their websites, usually under an explicit tab like “Submissions,” yet they continue to receive queries that do not follow their guidelines. This is one of the easiest ways writers can earn rejections.
Katie
Despite all of the self publishing hullaballoo I still want a collaborate process with an agent and a publisher. It isn’t just the writing and editing part of publishing, it is the marketing which a lot of writers seem to under estimate. Plus, from an ego standpoint, as a newbie I can’t imagine being arrogant enough to think could do the entire thing myself.
Those are some great questions. I appreciate Mr. Dinas taking the time to answer them. Thank you.
This was an excellent interview. Mr. Dinas provided information that we all wanted to know, but were not sure who to ask. His answers also affirmed some of those gut feelings that we don’t necessarily admit, such as, writing for the joy of it… because it fulfills a need. Thank you.
Great interview, and the comments by fellow writers creates a sort of fellowship that is often lacking in cities where writer’s groups don’t exactly flourish.
Great interview with practical, usable advice from an insider. Thank you.
With the advent of e-books, do you think that publishers will accept more books because of the lower overhead connected with e-books? Thanks for giving this interview.
This interview was full of very interesting information and all the comments were very instructive also …
Good to be reminded of how important it is to find the correct agent for the type of novel I am writing. Thanks.
Thank you Paul. You reinforce what I’m discovering on my journey as a writer: Above all, one must love writing for the sake of the writing itself; stories written from the heart matter; content and voice matter; focus, determination, and patience–the good old one-day-at-a-time attitude–matters; and then there’s always timing and happenstance.
FROM PAUL: To clarify, what I meant was I think query letters are basically a waste of time. It just adds another step in the process of evaluation. I find it more efficient if an author or agent sends me a letter with the proposal/synopsis/ or even the complete manuscript attached. It saves me the step of having to request the material if the project seems appropriate because it’s already there, ready to be read. That’s one of the many advantages of today e-submission process.
Yet again, another informative and interesting interview. I am learning so much from this series. Thank you, Andrea, for making me aware of this blog. My question from this interview is about the free-lance editors Mr. Dinas brings up. He says to find an editor who has experience in your genre. (which makes a lot of sense) Is there a list somewhere out there of reputable free-lance editors and their expertise?