Perhaps
you already know that my memoir is under
contract with University of Nevada Press for a late spring 2018 publication
date. I thought it might be interesting—and could possibly help preserve my
sanity—if every so often, I post a Book Report, sharing what's happening as I
make my way from manuscript to published book.
Today,
I'll backtrack a bit for a glimpse into the early process of working with a
university-affiliated publisher.
With
a university press (in many, though not all cases), you sign a contract and then—you wait, and you hope. Yes,
they want to publish your book, but it's not a completely sure thing, not just
yet. I signed my contract on April 11. The next step is feedback from
"peer reviewers"—respected professionals in the genre (in my case,
memoir), who the press asks to read the manuscript and offer substantial feedback—pro
and con.
The
period of time when my book was out with the peer reviewers? Let's just say I
had few fingernails left of any appreciable length. Fortunately for me, this
element was fast-tracked, so it was only a month of waiting and wondering, a month
of plunging and soaring emotions: They'll
hate it…They might love it…I hope they at least like it. (I tried not to think about author friends whose books were dropped
because of poor peer reviews; when I did think of that, I reminded myself that those
books were eventually published elsewhere.)
Alas,
the reviews were overall positive, and I was relieved that many of the suggested revisions aligned with my own instincts. Those weeks when I knew others
were reading and judging my work? They were a chance for me to—as
much as it's possible—cast a new, critical eye to my polished manuscript…and
notice the places where the polish wasn't quite as bright and shiny as I'd
like. I wanted to get to those
revisions.
But
first, the publisher's editorial board had to officially approve the project,
and while it's never a rubber stamp, I was buoyed by the faith and confidence of
the director of the press, who'd initially acquired my book. In advance of the
board meeting, I needed to prepare a response note, referencing the reviewers'
recommendations and outlining a plan for tackling revisions. I was lucky that
the reviewers had given the manuscript such careful thought and made many smart
suggestions, and that I had wonderful support from the press director—making
the drafting of the response note into a creatively enriching endeavor for me.
It became my revision roadmap.
Once
the board said YES (on May 22), I had five weeks to revise. What followed
was—except for back in early 2016 when I transformed the original linked essay
collection into linear narrative—the most demanding, as well as the most
gratifying part of the manuscript process.
But
first I had to clear time and mental space.
I'm
usually managing too much – teaching, editing, coaching, freelance assignments.
I craved fewer demands, time to think clearly and creatively without the
calendar as enemy. Fortunately, the academic semester had ended. I did ask some private clients to wait
until I'd finished my revisions to begin working with me; fortunately they
agreed. For a few others whose schedules weren't malleable, I matched them with
amazing editors/coaches I know (I'm thankful for a superb literary community to
call upon). Except for two small projects and some non-academic teaching, I
wound up with about four weeks practically to myself.
This
gave me the luxury to slow down, to think only about my book, to work when my
brain was in best form instead of when I had to squeeze it in—and to do some extra
research and supplemental reading I had long suspected would help enrich
certain passages. I was able to "live inside the book" so to speak,
to stay inside that world, deeper and longer, but without
sequestering myself away. (Which led me to a new respect and desire for the
benefits of artist retreats and residencies; alas, maybe next book.)
One
day ahead of schedule, I hit SEND—tremendously relieved but also a bit wistful.
In some small way, I wanted that concentrated deep-dive time back, more time to
live inside the pages that, until then, had been mine alone. Now, those
pages are moving along the production line to a time when others will enter
that world—editors, art and production experts, eventually reviewers and readers. That's
exciting. And a bit nerve-wracking, an odd sort of feeling.
Onward.
Stay
tuned for future Books Reports about: the actual revision process (I loved
it, it drove me a little nuts, I made mistakes, I learned); a look back at how I found my publisher; what key things I changed
in my query before that; how I landed my agent; choosing photographs (yes,
there will be pics!); permissions; and the thing that's occupying me right now:
finding some fabulous titles to suggest to the publisher (did I say: publishing
is collaborative?).
If
there's anything you're wondering about, shoot me a question in comments and
I'll try to cover in a future post.
Images:
