PERCEPTION, WHOSE? *

 

One of my favorite Jewish jokes goes like this:

Two people have an argument and go to the rabbi to rule who’s right. After hearing the first person, the rabbi says, “You’re right.” The second person protests that he hasn’t had a chance to state his case, and after he does, the rabbi says to the second person,” You’re right.”

A third person hears the whole spiel and protests. “Rabbi, they can’t both be right.”

To that, the rabbi says to the third person, “You’re right, too!”

 

That says it.

 

It depends on perception. For storytelling purposes, it’s called point of view (POV) and it makes all the difference.

 

I’ve had feedback that said something a character was saying was factually incorrect, urging me to correct it. “You don’t want young readers to think this is so,” the feedback goes.

But it was correct. It was right from that character’s perception.

 

This is why I have an aversion to politically motivated fiction, confusing a version of secular piety with the truth that a particular character’s perception is what it is. Writing a POV well must be the character’s truth, not “what you want young readers (or any readers) to think.”

 

*Never mind the grammatically challenged title of this post. Scrambling language rules wakes one up, at least according to my POV. 🙂

SHARING FIVE TAKEAWAYS from a Webinar

 

A few months have passed since I attended a so-called “closed” webinar with a senior editor in one of the big-five publishing houses, and so I feel no shame in sharing the main takeaways for all who are knocking on publishers’ doors.

 

This sort of insider’s view should not be a secret. There are many misconceptions floating on the interwebs, and writers (who the editor remined us— are the bedrock of publishing) have it hard enough already.

 

Takeaway #1

For the big-five and their imprints, you need an agent. We knew this, but it was emphasized as in no real exceptions, period. Forget about special openings or contests.

This ties to the last takeaway, but bear with me.

 

Takeaway #2

For debut fiction*, whether kidlit or adult, your web-presence is not a consideration for acquisitions. Someone asked about the number of Facebook friends and the editor said that “Facebook isn’t a thing anymore.” Nor are any of the other digital town squares. Just make sure you haven’t made hordes of zany cuckoo comments, which if you’re agented is likely not an issue. (Agents weed for this before taking writers on.)

*Non-fiction is a different story

 

Takeaway #3

Yes, it is harder now to get traditionally published. It was never easy and it’s been hard forever. But since the pandemic closures it’s harder, as in much harder. If you had the fortitude to plow forward before, you must double down now. It’s the same trek only steeper.

 

Takeaway #4

The theme, plot, pace--- all must quicken the reading editor’s heart. But none of those matter as much as the quality of the prose. If the writing voice doesn’t “pop,” the big-five editor just moves on to the next submission to be rejected.

 

Takeaway #5

Who your agent is matters a whole lot. Editors remember agents who have sent them “yawners” and “un-sparkling” submissions before. They remember agents they didn’t like dealing with. Worse, they are aware of the bestselling writers the agent also represents or if they don’t have any A-list writers as clients. There is a definite hierarchy in consideration of submissions depending on the agent’s standing.

 

This last takeaway may be the hardest insider’s view to hear.  

 

All that said, I will focus on the only thing in my control: write better.