Welcome to our first Sundress Roundtable, a celebration of exceptional, not-so-lost AWP panels which did not make the AWP final cut for 2016.
How do you place your manuscript with a good publisher if you don’t have a literary agent? Writers who have successfully done so will explain the process. This discussion will identify presses that consider unsolicited manuscripts and will explain how to use online listings to find reading periods and contests. The focus will be on submitting work without paying a fee. Panelists are fiction writers and poets who have successfully placed one or more books with a reputable independent publisher.
Publishing a book is every writer’s goal. But many manuscripts of literary merit go unread or unpublished because their authors can’t connect with the right editor or publisher. This panel will provide useful information on getting your manuscript read and accepted. We will discuss our own experiences—both the hits and the misses. We will encourage writers at all stages in their careers to act as their own agent to find the best home for their books.
Briefly describe the books you placed yourself at presses. Are they books of fiction, poetry? How did you find the presses and approach them? Was it difficult to find a press?
Joanna Sit: They are two books of poetry. The first one, My Last Century, is a collection of poems. The second book, In Thailand With the Apostles, is a book-length poem separated into parts, which can be read as “freestanding” poems as well. I sent the first book to book contests, small presses as well as bigger ones. I’d say I sent queries to more than 100 places, and the actual manuscript to about 40. This process took approximately three years, until I mentioned it to Nava Renek, who I’ve known from Brooklyn College and who had recently partnered in the operation at Spuyten Duyvil Press. She said she would take a look at it, which she did, and told me she liked it. Not long after, she showed the manuscript to Tod Thilleman, the publisher, who then agreed to work with it.
About a year later, at one of Spuyten Duyvil’s book parties, Tod and I were talking about long poems, and he told me how much he liked them. The poem, “In Thailand With the Apostles,” had been written years before, but no one was interested in publishing a long poem. So when he jokingly asked if I happened to have one in the back of my drawer somewhere, I answered, “Why, yes I do.” I sent him the manuscript, and the book was published a year later.
Meg Tuite: The first collection I published was Domestic Apparition, and I had published over two-thirds of the stories over a few years. I sent the collection out to five different publishers and waited. I got an acceptance from two of them, but chose San Francisco Bay Press, because I liked the availability and enthusiasm from this press. I had published many of the stories without thinking of any cohesion until the editor said, “Why don’t you rework this with the same family throughout and call it a ‘novel-in-stories.’ ” I realized that it had a seam that moved through it, and it was a nice and easy transition working the collection into a novel.
I published a few chapbooks with indy presses that were also beautiful and put together with deep commitment to the craft: Monkey Puzzle Press, Deadly Chaps and Red Bird Chaps. I have had positive relationships with my publishers and have always loved the final product they have produced.
My second full collection, Bound by Blue, was published with Sententia Books. This was the first time a press was able to send out to ‘small print distribution’ and send out copies for review. And I was very much involved in every part of it. Paula Bomer, who is the publisher, loved the cover artist I chose and worked with me on every aspect of this and was an exceptional editor. She pushed me to work flash stories into short stories which was an amazing experience, considering I teach flash fiction and am always working my students to condense and hone their work. Although, I was originally writing short stories that were at least 20 pages, so she brought me back to my source, which I am grateful for.
Thaddeus Rutkowski: Each of my books has its own story. I sent the manuscript for my first book, Roughhouse, to Kaya Press, which publishes work by Asian-rooted authors writing in English. I sent it cold, though I was familiar with the press. The manuscript went onto the slush shelf, but by chance someone I’d been in a workshop with was a volunteer at Kaya. He saw my name on the envelope and passed it along to the editors, who accepted it and made a big deal about publishing their first and only unsolicited manuscript.
I sent the manuscript for my second book, Tetched, to several contests. I’d won a chapbook contest in the early ‘90s—and this new full-length book became a finalist in the Starcherone Books competition. As it turned out, I didn’t win, but Starcherone was interested in publishing the book anyway. Before that could happen, one of my adult students accepted the book for a small press, Behler Publications, where she was an editor. Tetched came out in 2005.
I kept in touch with Starcherone, which means “Start Your Own.” I even drove from New York to Buffalo to read for the publisher, Ted Pelton, who was in the English department at Medaille College. A few years later, I had put together another manuscript and offered it for the Starcherone contest. The publisher said he’d read it outside the contest and he also sent it to another reader, Lily Hoang. They both liked the book, and it came out with the support of the New York State Council on the Arts—we didn’t have to do a Kickstarter campaign.
What was the publication/marketing process like? Were you happy with the finished book, as a product? Did you promote the book (get reviews, readings) yourself? Were the publishers helpful?
JS: The process was relatively simple and low-key. I prepared my manuscript complete with table of contents, acknowledgements, and pagination. The manuscript was sent first, and later, I sent the cover art and blurbs once I had them. Since there was no editing on the publisher’s part, I had to edit and proof all the contents. Even so, there were errors in both books. Overall, though, I was happy with the finished product. I would have to say that Spuyten Duyvil, as a small press, was not very involved in promoting the book in terms of getting it reviewed. I acted as my own publisher in that way, sending out copies to book reviewers. Because of my limited experience in this area, I missed the timing of sending out the book before it came out (such as Publishers’ Weekly). The publisher did make arrangements for a book-launch party for both books, and one other reading at St. Mark’s Bookstore in Manhattan for my first book.
MT: I had a friend who wanted to write a book titled So You Published a Book. Who the Fuck Cares?
I got that from the first book. The writing of a manuscript is one thing. Getting it out there is a whole ‘nother experience. I had a damn great time with my books. My book launches were parties at a kickass pizza place in Santa Fe, Back Road Pizza, that packed the house and sold many books. But, yes, I had to do my own marketing and if you are going indy, then get ready to work it in stages. It won’t come to you. You must go and find it!
Reviews are always an excellent way to get new readers. Also, GoodReads. Look it up. You can put your book up for a FREE GoodReads giveaway and decide how many books you want to gift. This is another way to get some readers and possible reviews from unknown folk from other continents.
TR: I’ve relied on publishers during the production process. They know about art, type, printing and Web presence, while I know about the text. After the book is produced, the review/promotion process begins. The publisher has often helped me with this–my first and third books were reviewed in Publisher’s Weekly, Kirkus and American Book Review. Personal contacts also helped. Now, I’m working with a publicist (my wife, Randi Hoffman) to get my latest book out to reviewers.
I enjoy traveling and setting up readings, and I’ve been lucky to read in several countries and many U.S. cities. I think that having a background as a slam poet also helps. I’m no slam champion, but I can do a little performance. That little show helps to promote the work on the page.
In one case, I was planning to go to Santa Fe with my family because my wife used to live there. I contacted many local writers, and I was led to Meg Tuite, who told me to call a bookstore, where I was able to set up a reading. I asked a poet in Taos (who I knew from New York) to read with me. She brought a number of people, and it was a great event.
I’ve learned that a writer should use social media. You should have a website, as well as Facebook and Twitter accounts. I don’t have Instagram, because I don’t have a smartphone yet.
Would you advise other writers to take the same path to publication? If so, how would they get started?
JS: The way I finally got published was a singular one. I’m not sure the path can always be of one’s own choosing. However, reflecting on the process, I would say that talking to other writers and trying to get the word out about the work were very important factors in finally getting my book read. My sense was that the first book was the most difficult to get published, and after that, it might get easier. Maybe not. My advice, overall, is “always be prepared.” By that, I mean, keep writing no matter what. While you’re waiting for someone to publish your book, send poems out to literary journals and magazines, put your name out there. By the time someone expresses interest, you’ll be all ready.
MT: I started by checking the list of indy presses. Believe me when I say it’s a whole ‘nother job. Get ready to spend time reading books by presses and deciding which ones are sympatico to your collection, novel, or memoir. A great way to move through this is to find those books that you LOVE and write down the name of the publisher and agent. That makes the most sense to me and you also read more books, which is always a plus. FIND THEM! They are not out looking for you. Just go to one AWP conference and find yourself surrounded by over 12,000 writers and realize how much we have in common with ants.
I am a LOVER of INDIE PRESSES! They rock it and work with the writer. They trust in the abyss!
TR: I agree with Joanna and Meg. All writing activities are related. Take classes/workshops, go to public readings, read your work aloud (this makes you write something in the first place), go to conferences (if you can afford it). And, of course, do your research. There are websites that list hundreds of literary agents and break them down by the genre they handle. Likewise, there are websites, such as ones from Poets & Writers and the Council of Literary Magazines and Presses (CLMP), that list small presses, their reading periods, whether they charge a reading fee, etc.
Amid all the non-happenings, something good is bound to happen. You have to be ready for it. You can’t just talk a good game. You have to back it up with good work. Yes, this is a big job. It’s a second life.
Thaddeus Rutkowski is the author of the books Violent Outbursts, Haywire, Tetched and Roughhouse. Haywire won the Members’ Choice Award, given by the Asian American Writers Workshop. He teaches at Medgar Evers College and the Writer’s Voice of the West Side YMCA in New York. He received a fiction fellowship from the New York Foundation for the Arts. He lives with his wife and daughter in Manhattan.
Joanne Sit is the author of two books of poetry: My Last Century (2012, Spuyten Duyvil) and In Thailand with the Apostles (2014, Spuyten Duyvil). Her poems and translations have appeared in Five Willows Review, Ezra, Natural Bridge, Seneca Review and other literary publications. Her “Mickey Rourke Rondelets,” appears in the anthology Wreckage of Reason II as “July 7” (2014, Spuyten Duyvil). She is working on a new book of poems, Track Works, and a ethnographic narrative, The Reincarnation of Red, about Chinese immigrants and Cantonese Opera.
Meg Tuite is the author of Bound by Blue, Domestic Apparition, Disparate Pathos and Reverberations. She has been nominated several times for the Pushcart Prize and is the fiction editor of the Santa Fe Literary Revew and Connotation Press. She lives in Santa Fe with her husband and many pets, and she teaches at Santa Fe Community College.
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