Ask your publishing questions here

[I, Brian]

EDITED: This was turning into quite a long thread, so I've separated it into individual threads, to make it easier to read and reference.

John Jarrold has a long history as an editor in major publishing houses before going freelance a few years back.

Relatively recently he also set up as a literary agency to represent science fiction and fantasy.

He's also a member of the chronicles network, and may be able to help answer questions for you on the publishing industry, the editing process, and literary agencies.

So if you have any questions, feel free to ask away here - and hopefully when he's got time, he may be able to answer some of them for you.

[John Jarrold]

Yes, indeed!

[Marky Lazer]

I don't really have any questions now, but I just want to say that you're doing a great job, John. This might be the most interesting thread going on on the Whole Chronicles website. Thanks for that.

[John Jarrold]

Thanks, Marky! As I said earlier, I really enjoy discussing publishing. I attended SF conventions for fifteen years as a fan before being lucky enough to start working full-time in SF and Fantasy publishing in 1988, then also working on thrillers, historical fiction, various non-fiction projects and so forth, so it's in the blood!

[GrownUp]

I have to agree with Marky. This thread is probably the best in Chronicles. It is an entertaining education. John, thanks.

[John Jarrold]

I hope those of you in the UK know about the SFF day in Derby next Saturday, May 6th, which has been put together by Alex Davis of Derby Council.

Authors taking part include Richard Morgan, Ramsey Campbell, Simon R Green, Justina Robson, Chaz Brenchley, James Barclay and many others. And I'll be adding my six penn-orth on two panels. There are also small-press publishers including Pete Crowther of PS Publishing and Andrew Hook of Elastic Press.

Check it out here:

http://www.derby.gov.uk/LeisureCulture/AltFiction.htm

[argenianpoet]

John, when you make the decision to read a writer's work do you know if the story is going to be good by the first page or do you have to read more than that to make such a discernment? And if you do find that the first chapter is good, do you continue reading the entire story or partial manuscript?

What are your ideas on a breakout novel, and what are some of the elements that you look for in a story that reassures its breakout status?

[John Jarrold]

It's something all editors discuss with each other. With 99% of the material that comes in you're aware in the first few pages that it isn't special enough. So you fall upon anything that IS good with cries and tears of joy.

Nothing ever assures 'breakout'. You can't second-guess the public. However, if you look at Peter F Hamilton, for instance, his first three novels were well received but didn't sell particularly well. Then he had the Big Idea of THE REALITY DYSFUNCTION. Big ideas, scope, brilliant writing, a great cast of characters with whom the reader can empathise, outstanding dialogue, wonderful descriptive writing...these are what publishers in the UK are looking for in SF and fantasy, in 2006. There is no longer any place for books to 'fill the list'. It's much more about publishing specific authors then banging out a yard of genre 'product', now. Thankfully...

[Paradox 99]

Originally Posted by John Jarrold

There is no longer any place for books to 'fill the list'. It's much more about publishing specific authors then banging out a yard of genre 'product', now. Thankfully...

I think this is really positive for both readers and writers.
With this kind of market, we can be reassured that when we pick up a book from the shelf, we're getting something that the publishers really believe in - it's much more likely to please.
From the writer's point of view, it would be very satisfying to know that your work is considered to be special by an agent. I think that's one of the reasons why I've never really liked the idea of vanity publishing - unless I got lucky, I'd never really know if I were producing the kind of book that is actually any good or not.

Concerning "special" and "good", I'm one of those writers that falls into the "it's ok" category. Do you, as an agent, ever receive repeated submissions from the same author and find that they eventually produce something that you do consider to be special? Or do the majority of submissions you receive come from established authors or completely new stock?

I'm curious because, whilst I know that continually writing will improve my skills, I don't know if I will ever reach that point where my work could be considered anything other than average (as in the Salieri v Mozart idea.)

In your experience, have you come across writers that have surprised you with later submissions?

[John Jarrold]

I should, of course, say that media-related SFF is a different kettle of fish. There, one is specifically looking for 'product' - but still the best possible product.

One of the things that does happen is that authors improve - but not all of them. To be honest well over 50% of the writers whose work I see will remain totally unpublishable, because most people can't write well enough for publication. I will say 'Although I don't feel I can take you on with this, I'd like to see your next novel', if I feel something shows great promise - I've only done that half-a-dozen times out of the 1,000 or more writers I have turned down since becoming an agent, though. If an agent or editor doesn't say that, you should look elsewhere. It is a subjective matter, some of the time, and another recipient might just share your vision exactly - in which case they are the right publisher or agent for you. I looked at novels by Charles Stross from the late 80s on and always saw something, but not enough in his earlier work. Typically, Charlie produced SINGULARITY SKY, which I would have wanted to publish, just after I left publishing to become a self-employed editor! As an agent, no more than two in ten of the writers who approach me are already published. Obviously, one tries to mix some known 'names' together with new writers on the agency list.


This all relates to my fifteen years as an editor, too. And it relates to UK publishing, of course, since the US is a much larger market and it's possible that sometimes editors and publishers there do want a good, solid genre book for their imprint, rather than always looking for a specific author to build.

[Paradox 99]

Originally Posted by John Jarrold

If an agent or editor doesn't say that, you should look elsewhere.

Excellent tip! Thanks for that, John.

As far as your editing service goes, do you find you are often able to nudge writers from 'good' to 'special'? Or do you mainly concern yourself with the technical aspects of their material - taking it to a place where the manuscript is merely professionally acceptable (generic?) rather than a truly inspirational work? I suspect that it would be "technical" as your own idea of what is wonderful might be quite different from another agent's.

[the_faery_queen]

can i just ask, out of interest, but how much do editors talk to each other? like if you were really rude to someone, or mutlipul submitted without telling anyone, or something, would the agents/editors all discuss this? its a paranouid fear i know alot of my friends have, if they multipul submit, or if someone is rude to them, and they want to reply, they fear being blackballed in the whole writing industry

[John Jarrold]

Editors do talk to each other regularly - we started up an SF editors' Christmas lunch in London in 1989, and of course they all see each other at parties, book launches and conventions. If someone does a really bad thing, or appears to be unhinged, the name is passed on.

No problems about multiple submissions - but always tell the people to whom you are submitting. If someone is rude, it's best just to forget them and not reply.

[John Jarrold]

Originally Posted by Paradox 99

As far as your editing service goes, do you find you are often able to nudge writers from 'good' to 'special'? Or do you mainly concern yourself with the technical aspects of their material - taking it to a place where the manuscript is merely professionally acceptable (generic?) rather than a truly inspirational work? I suspect that it would be "technical" as your own idea of what is wonderful might be quite different from another agent's.

As an editor for fifteen years I had to rely on my beliefs re. improving typescripts and the same is true now. So I'll make strong suggestions about plotlines, characterisation and additions and subtractions to the body of the novel, as well as giving notes on technical errors.

[John Jarrold]

Originally Posted by the_faery_queen

can i just ask, out of interest, but how much do editors talk to each other? like if you were really rude to someone, or mutlipul submitted without telling anyone, or something, would the agents/editors all discuss this? its a paranouid fear i know alot of my friends have, if they multipul submit, or if someone is rude to them, and they want to reply, they fear being blackballed in the whole writing industry

I should say that it doesn't happen very often! I think I passed on warnings about three people in fifteen years. Basically, just don't do stupid things: don't chase editors about your work after a couple of weeks. After three months is reasonable. If the editor says no, don't ask for a detailed editorial letter - no one has time to do that - and don't tell them they are wrong. Move on. Act professionally and you shouldn't have a problem.