The Zoo: Week 34: Pro & Conn
Today is the 34th in a series of posts by San-Diego-based writer Thomas Shess, who has decided to keep a journal on his journey to find a publisher for his novel.
Big Leagues-
As a novice still seeking a publisher or a literary agent for my recently completed novel, I’ve had lunch with Walter Mitty several times discussing what it would be like to walk into a major Manhattan publishing house. Of course, that was after Biggie Publishing [BP] sent a car for me at JFK and popped for a suite at the electric Hotel Gansevoort (Wha?-look it up, it’s a great place in the meatpacking district.)
Meanwhile Back to Reality
-Charis Conn is a real person, a professional editor, who spoke recently at the Southern California Writers Conference in San Diego. She has kindly responded to a short list of questions I e-mailed her. First and foremost, Charis is a great teacher. She offers freelance editing and critiques for writers, agents, and publishers of both fiction and non-fiction. She’s also a Contributing Editor of Harper’s Magazine where she edited and wrote fiction, non-fiction, and the Harper’s Index for 20 years.
More after the break.
Writers whose work Charis has edited include David Foster Wallace, George Saunders, Joyce Carol Oates, Padgett Powell, Allan Gurganus, Paula Fox, Rick Russo, Tobias Wolff, George Plimpton, Fred Busch, and Joyce Hackett. Her own short stories have appeared in the North American Review, New Letters, and in Harper’s Magazine, as well as being broadcast on public radio and anthologized. Her first novel, Through the Green Fuse, will be published by Pantheon in 2007. She currently teaches at New York’s Gotham Writers’ Workshop.
Read my Book-Q:
How much does an established professional book editor charge?
A: “…To read, evaluate, and offer suggestions for a book of 75,000 words, I charge $3,000. To edit every line is $6,000. These rates are on the low side for comparable work. I’m sure there are cheaper folks, but in this case, you absolutely get what you pay for. I’ve never worked with a writer who was not thrilled and
convinced by my (very numerous) suggestions.”
Why am I ignored: Q: What question do rookie novelists usually ask?
A:Why can’t I get my work published?
Q: What’s your answer?
A: Usually because it is bad. And since even being bad is not an obstacle any more, it usually means that it is REALLY bad. What do I mean by bad? The language, ideas, observations, descriptions, characters, setting, point of view, among other elements, are nothing new, and there is nothing exciting about them. Also the work is usually too shallow-meaning that there is only one point, theme, or plot line, and that the reader’s presence is unnecessary, meaning that there is nothing for her to do as a reader: nothing to be mesmerized by, to wonder at, to ponder, to savor, to add.
The cure: Read, read, read, read, read, read, & read some more. Throw away the TV. And stop writing in order to get published. There is no duller writing than that of people who are trying to please a market.
Short Stories?-Q: How does writing short fiction make you a better novelist?
A: Story writing CAN make you better at creating and pacing beginnings, middles, and ends-and at almost everything else a novel requires: great characters, themes, writing. And publishing stories CAN be easier than publishing a book, giving you credentials that will help get your book read by an agent. But these are opportunities, not guarantees. Most people who want to be writers don’t take advantage of opportunities to improve. Instead, they write the same way over and over, don’t seek, hear, or take professional criticism, and don’t read widely. So yes, writing and finishing short stories CAN make a big, big difference in your skill at writing a novel IF such writing is accompanied by rewriting, editing, seeking as much criticism as possible, and being open and able to understand all you receive.
Where to Publish?-Q: Where would be a good place for a novelist (let’s say literary fiction) send short fiction?
A:This is a question people who want to be writers ask instead of spending the time and effort to become writers worth publishing. There are at least a dozen directories listing hundreds of journals. There are also vaster and vaster magazine and journal sections in book stores and libraries. It’s not hard to take a look and choose what makes sense for what you’ve got.
Prize Worthy-Q: Do publishing houses pay attention to prize winners?
A: Yes, and many prizes are awarded BY publishers with a promise to publish. Any distinction-a recommendation, publication, or prize is noticed by a publisher.
What a Top Editor Charges: Charis Conn charges by the word, 3-6 cents for evaluations, 7-20 cents for line editing. Her rates are graduated so that the longer the piece, the lower the rate.
“I am very flexible regarding tasks that might fall between these categories. I recently worked on a per hour basis ($200) with a writer who requested ongoing coaching and editing through many drafts of a short article. I’m always happy to consider new ways to accommodate writers’ needs. Charis Conn may be reached here.
Meanwhile back at The Zoo, the author of this column is searching for a publisher or a literary agent for my recently fine-tuned first novel, a thriller based in San Francisco loaded with plenty of suspense, a damn good story, and a plot that works-Drop me an e-mail for a look at the first 20 pages.
Create a social media strategy, launch your campaign, and track the results in our 
