David Henry Sterry

Author, book doctor, raker of muck

David Henry Sterry

Tag: publishing industry

How to Get Published Successfully Conference and Pitchapalooza, Saturday, February 13, 2016

Can You Land an Agent or Book Deal at a Writers Conference?

Yes! Look, you can’t call up HarperCollins and say, “Hello! I’ve written a great book, could I please speak to Mr. Harper or Mr. Collins?” If you’re an unknown quantity, and you aren’t sleeping with someone at a literary agency–or even if you are, in some cases–it’s virtually impossible to get face time with a publishing professional, be it an agent, editor, or publisher. Your blind query is usually dropped with a plop into the slop of the dreaded and aptly named slush pile, where it is then skimmed over by an eighteen-year-old unpaid intern. The fate of your book, the object of your passion and hard work, is frightfully beyond your control. Luckily, at the best writers conferences and workshops, and even some of the top-drawer bookfairs and festivals, you can personally meet, speak with, and sometimes even pitch to real publishing professionals. We know. We’ve met amazing writers at all of these places and helped them get book deals.

“I’d already begun the pitch process by mail and email, and it felt like yelling into the void most of the time,” recalls Roxanna Elden, whose experiences looking for an agent to represent her first book are all too typical. “There were agents who took six months to respond to emails, and one who asked me to send a hard copy of the manuscript overnight, then rejected me weeks later with a one-line, all-lowercase email that said something like, ‘love the title but not for me sorry.'”

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Nura Maznavi and Ayesha Mattu thought they had won the lottery when they almost immediately landed an agent. Their agent shopped their proposal to a dozen big New York City publishers and one by one they were rejected. “Soon after,” Nura explained, “our agent dumped us because she no longer had faith in the project.”

Roxanna, Nura, and Ayesha knew they needed to get in front of professionals. Roxanna signed up for Miami Writers Institute, an annual conference at Miami Dade College. There, she attended a talk by agent Rita Rosenkranz. “By this time, I had perfected my pitch and built my platform and had some idea of what I hoped to find in an agent. Then, in her talk, Rita mentioned that many agents wrongly ignore books for niche markets, which my first book was. She also said she was looking for authors who showed the willingness to hustle to promote their work. Everything she said made her seem like an incredibly good fit for my work. I walked up to her after the talk, handed her my card, and emailed her as fast as I could. She answered my email within 24 hours… and still does!” Rita went on to sell not only Roxanna’s first book, See Me After Class, but also her children’s picture book, Rudy’s New Human.

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Nura and Ayesha took themselves to Litquake, San Francisco’s biggest literary festival. They signed up for an event we do around the country called Pitchapalooza (think American Idol for books), and they won an introduction to an agent or editor who was appropriate for their book, Love InshAllah: The Secret Love Lives of American Muslim Women. One call later, they had a book deal. “A year later, our book was published and we were on the front page of the New York Times Arts section. And, two years later, we had a follow up book, Salaam, Love: American Muslim Men on Love, Sex & Intimacy!”

But just attending a writers conference, workshop, or book festival is no guarantee of a book deal. How you present yourself (and to whom) matters as much as your idea and your book. You have to pick the right agent or editor. Present yourself as a complete package. Seize every opportunity at just the right moment.

Lana Krumwiede, whose attendance at the James River Writers Conference helped land her first book deal for Just Itzy, advises, “Be as prepared as possible by researching the agents, editors, and authors who will be speaking. You’ll get more out of the conference that way and you’ll feel more confident talking to people. Get out there and talk to people! Ask (appropriate) questions and take in as much as you can. And if you have an appointment with an editor or an agent, don’t fall into the trap of thinking of it as your ‘one big chance.’ There is no such thing as ‘one big chance.’ You will have as many chances as you create for yourself.”

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Victoria Skurnick, a literary agent at Levine Greenberg Rostan Literary Agency, has this advice for first-time attendees, “There are ways to an agent’s heart at conferences for writers. The first is–be normal. This is harder for some people than you might have thought. The second, be helpful. The people who provided me with a club soda when they noticed my voice cracking, who offered to pick me up and drive me to a dinner far away–I will be grateful to them for the rest of my life.”

We agree. Here are our top ten tips for scoring at a writers conference, workshop, or bookfair.

The Book Doctors Top 10 Tips for Scoring at a Writers Conference, Workshop or Bookfair

  1. Look good, smell good, and don’t be late. Pretend you’re a guest on The Today Show–act and dress accordingly.
  2. Be respectful of publishing professionals. Don’t just blast over and bombard them. Be patient, wait for your opening. Never pitch your book unless they ask you to, and if they do, don’t go longer than a minute. And please, we beg you, don’t follow them into the bathroom! This has happened to us more times than we care to remember.
  3. Listen more than you talk. Your goal should not be to pitch at all costs. Better to have a good conversation where you get to know an editor or agent.
  4. Research! Make sure the event caters to the kind of book you’re selling. Make note of who is presenting, and plan your approach for whom you want to meet. Sign up early. The most valuable conferences, classes, and one-on-one sessions fill up fast.
  5. How do you get to perform at Carnegie Hall? Practice, practice, practice. The same is true with pitching books. Workshop your pitch whenever possible. Tell everybody who will listen, honing your delivery so the pitch lasts less than a minute. Try rehearsing with other conference attendees. All this extra effort will have a make-or-break effect on an agent or editor.
  6. Have an excellent business card and don’t be afraid to use it. Collect as many cards as you can.
  7. After the event, follow up all leads as quickly as possible. Early birds strike while the iron is hot.
  8. Network! Meet as many fellow writers as possible. These encounters can blossom into all sorts of relationships. You never know who will be published one day.
  9. Buy books written by people you want to approach. Ask them to sign the book for you if they are willing. Use this as an informal opportunity to make a connection.
  10. Connect! Do something nice for booksellers, agents, editors, writers, and publishing professionals using social media. If done actively and appropriately, tweeting, facebooking, instagramming, and blogging are great ways of staying in touch and making yourself a known quantity.

The Book Doctors travel across America to feature in writers workshops, conferences, bookfairs, and festivals. On February 13th, we’re holding a conference and Pitchapalooza at one of the greatest bookstores in the country, Changing Hands. If you are in the Phoenix area, come hang out, polish your skills, and maybe take a selfie with us. But please, don’t follow us into the bathroom.

How to Get Published Successfully Conference and Pitchapalooza, Saturday, February 13, 2016
 

To read this article on the Huffington Post, click here.

Roxanna Elden has been a teacher for eleven years and is the author of See Me After Class: Advice for Teachers by Teachers. Her inspiration for Rudy’s New Human came from watching her dog, Rudy Elden, as he adjusted to having a new baby human in the house. She lives in Miami, Florida, with Rudy and his (now two!) little humans.

Lana Krumwiede began her writing career by creating stories and poems for publications such as Highlights, High Five, Spider, Babybug, The Friend, and Chicken Soup for the Child’s Soul. Her first novel, Freakling (Candlewick, 2012) was named a finalist for SCBWI’s Crystal Kite Member’s Choice Award and an honor book for the International Reading Association’s Intermediate Fiction Award. Freakling was followed by two more novels, Archon (2013) and True Son (2015). Lana is also the author of the picture book Just Itzy (2015). She lives with her husband and daughter in Richmond, where she sits on the board of directors for James River Writers and runs a local writers’ group.

Ayesha Mattu is a writer, editor and international development consultant who has worked in the field of women’s human rights since 1998. She was selected a ‘Muslim Leader of Tomorrow’ by the UN Alliance of Civilizations & the ASMA Society and has served on the boards of IDEX, the Women’s Funding Network, and World Pulse. Ayesha is an alumna of Voices of Our Nations writers’ workshop and a member of the San Francisco Writers’ Grotto.

Nura Maznavi is an attorney, writer, and Fulbright Scholar. She has worked with migrant workers in Sri Lanka, on behalf of prisoners in California, and with a national legal advocacy organization leading a program to end racial and religious profiling. She lives in Chicago.

Victoria Skurnick came to Levine Greenberg Rostan Literary Agency after being at The Book-of-the Month Club for almost twenty years. As Editor-in-Chief, she relished the opportunity to devour every kind of book, from the finest literary fiction to Yiddish for Dogs. She also is the co-author (with Cynthia Katz) of seven novels written by “Cynthia Victor.”

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

Josh Funk, author

Josh Funk On the War Between Pancakes & French Toast, SCBWI & Getting Published

We first met Josh Funk at the New England SCBWI Conference. (If you’re not a member of this group and you’re interested in books for kids, as soon as you’re done reading this piece and sharing it with everyone you know, go join that group. If you haven’t been to one of their conferences, ditto.) We were struck with Josh’s fabulous combination of goofiness and seriousness. It’s something we aspire to at The Book Doctors. And when we found out his debut picture book was going to be dropping, we had a wonderful wave of serious goofiness come over us. It’s called Lady Pancake & Sir French Toast, and it’s a ripping barnburner full of outlandish action, heroic and dastardly characters, roller coaster rhymes and some absolutely fabulous illustrations by Brendan Kearney. So we thought we’d sit down with Señor Funk and see what’s new on Funk Island.

To read this interview on the Huffington Post, click here.
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The Book Doctors: First of all, congratulations. What did it feel like when you saw that first box of books arrive and you tore it open and there it was, your own baby book?

Josh Funk: Ahh, the Back to the Future moment: “If you put your mind to it, you can accomplish anything.”

Well, I didn’t exactly have the ‘open the box moment’ that you see in the movies (or at least that one movie). The first physical copy of Lady Pancake & Sir French Toast that I got a copy of was the one the Sterling sales rep gave to Porter Square Books (in Cambridge, MA). I got a tweet from a friendly bookseller at PSB who said she found my book, so I immediately rushed to Cambridge.

The first thing I noticed was the amazing design. I knew it was going to have an embossed cover with foil, but it was really stunning. The book creaked a little when I opened it. I had seen a digital copy, but the clarity of the images on the pages was overwhelming compared to seeing it on the screen. And I think it smelled a little bit like maple syrup.

And then I jumped around giddily for about ten minutes before the booksellers asked me to leave out of fear I was scaring away all of their customers.

TBD: Why in the name of all that’s good and holy would you choose to get into the publishing business? Have you had your head examined recently? Been checked for brain parasites?

JF: Haven’t had my head examined lately. It’s possible I’m housing parasites. But the real reason is that I always read a lot of books to my kids. One day I thought, ‘I can do this.’

But once I joined my first critique group, then attended my first Society of Children’s Book Writers and Illustrators conference, I realized I had a lot to learn. But I also noticed that the kidlit community is so warm and welcoming and just plain fun. I quit my fantasy football leagues and started taking writing more seriously.

I’d like to think that even if I never sold a book, I’d still be happy just to be a part of the kidlit world.

TBD: How did you go about getting a book contract not only for Lady Pancake, but also for your next two books which are coming out?

JF: In the May of 2013, I gave up on trying to acquire a literary agent. I was getting almost no responses to my queries. Out of 35 queries for Lady Pancake, 1 agent responded with a rejection implying she read it (or at least read the title). The other 34 were made up of 10 form rejections and 24 black holes. I felt I was better than that, so I submitted Lady Pancake to 10 publishers via snail mail.

Around the same time, there was an open submission period to Scholastic via author/illustrator Debbie Ridpath Ohi’s Inkygirl blog. The Scholastic editor was looking for material suited for ages 0-5, and the only manuscript I had written for that age group was Pirasaurs! (most of my picture books are geared toward kids ages 4-8).

And then as late summer rolled around, I finished revising another manuscript (Dear Dragon) and decided to send it out to publishers that accepted submissions via email and online form.

By early November, Scholastic told me they were taking Pirasaurs! to acquisitions, Dear Dragon had garnered interest from two small publishers, and Sterling made an offer for Lady Pancake & Sir French Toast. All of that, plus a personal recommendation from a friend helped me obtain representation with an (awesome) agent. Over the next two months, my agent finalized the deals with Sterling and Scholastic and found a home for Dear Dragon at Penguin/Viking.

And that’s how I got an agent and sold three picture book manuscripts between November of 2013 and January of 2014. I know it’s a non-traditional path, but I feel extremely fortunate with the way it worked out.

TBD: Hasn’t anyone told you that rhyming books don’t sell? How did you overcome this ridiculous idea, and why do you think people keep saying that?

JF: Oh, boy. I have thought about this a LOT. Many rhyming picture books get published every year. So why do people say not to write in rhyme? Why is there this stigma? Well, there’s a single simple reason.

It’s very easy to write bad rhyme.

And lots of people do (please note that if you’re reading this and you like to write rhyming picture books, I’m not talking about you).

Everyone grew up reading and loving Dr. Seuss. Therefore, many people think that picture books are supposed to rhyme. When they start writing picture books, that’s how they write them. This includes me.

It’s a flawed way of thinking. Not everyone is cut out to write rhyming picture books. It’s actually rather difficult. I personally believe that a good rhyming picture book has an added level of charm. But there are so many mistakes you can make when writing a rhyming picture book (mostly to do with rhythm, all of which I’ve discussed in depth on my website and while leading workshops).

But here’s the problem. When a literary agent receives a query for a rhyming picture book manuscript, there’s a 99% chance that it’s bad rhyme. And it’s not worth the agent’s time to read 99 bad rhyming manuscripts, just to get to the one good one. And I completely understand and agree with that policy. Add to that the fact that it’ll be nearly as hard for an agent to sell a rhyming manuscript to an editor. I truly believe that this is why my query response rate was so utterly abysmal (in retrospect, I shouldn’t have said that the manuscript rhymed in the query).

I overcame this hurdle by first worked very hard to improve my rhyming, spending lots of time reverse-engineering critique partners’ comments.

Second, I bypassed agents. An agent is (rightfully) concerned with a writer’s entire body of work and career. If you submit a single rhyming manuscript embedded in an email query and that’s all they have to go on, it doesn’t make you a particularly enticing prospective client. But an editor is more concerned with a single manuscript. It’s not that they don’t care about you or your career, but if they like a manuscript, rhyming or not, that’s all they have to commit to.

I figured I’d have better odds of someone actually reading my manuscript at a publishing house. And at least in this case, I was correct.

TBD: What are some of your favorite things about being a professional author? What are some of the most horrifying things about being a professional author?

JF: I love getting to meet fun people. Like other awesome authors I admire. And super cool teachers and librarians like those in the Nerdy Book Club. Seeing my son’s face the first time someone asked me for an autograph (part confusion, part amazement, part pride) – that was pretty cool. I also get to travel a little more than I used to.

Horrifying? I guess a Misery-type situation would be horrifying. Other than that, I’m all peaches and roses.

TBD: We are big lovers of pancakes and French toast around here. I, myself, leaned toward the pancake. Olive, our eight-year-old, often leans toward the French toast. I think you can divide all of humanity into these two categories. How did you come up with this fantastic idea for a book?

JF: One Saturday morning, I asked my kids what they wanted for breakfast. One said, “Pancakes.” The other said, “French toast.” “Pancakes.” “French toast.” “Pancakes!” “French toast!”

While the arguing continued, I checked the kitchen, and as you might have expected, all we had were waffles. To top it off (literally and figuratively), we had enough maple syrup left to fill a single square on a waffle grid.

It was on the way to the diner that I came up with the idea.

TBD: What was it like working with your editor? Illustrator? Agent?

JF: Zaneta Jung (my editor at Sterling) is terrific. We had one phone conversation discussing her revision notes, went back and forth for a week over email finalizing the manuscript, and that was pretty much it. Zaneta (pronounced ‘zuh-net-ta’) has so much energy and excitement for kids’ books. She has a great eye for picking out illustrators, too. She definitely had a hand in finding Brendan Kearney.

Like many author/illustrator relationships, Brendan and I didn’t really talk much (or at all). Rumor has it that the publishers like it this way. Author talks to editor editor talks to art director art director talks to illustrator. This way, the publisher maintains complete control of the message (good or bad). I’ve had nothing but good things to say about Brendan’s work on Lady Pancake, which I think have been relayed to him. I’ve had a handful of quick conversations with Brendan over Google chat, but that’s about it.

My agent, Kathleen Rushall, is a rock star! I was extremely fortunate to sign with her while she was actively building her picture book list. She represents picture books through young adult at Marsal Lyon Literary Agency and is strong in every aspect you’d want from an agent. She has a fabulous editorial eye, she has a good sense of what particular editors are looking for, she knows the business and contracts side, she’s extremely communicative, and she’s a genuine pleasure to work with. We, her clients, affectionately refer to ourselves at #TeamKrush. We even have a logo designed by author Jessie Devine for PitchWars.

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TBD: What do you see is the value of going to a writer’s conference? And specifically how has being a member of SCBWI helped you in your career and as a person?

JF: I think going to a writer’s conference is valuable at many levels of your career. If you’re brand new to the writing world, you’ll be able to learn the basics. It’s important to learn not only the craft of writing, but also about the industry and its expectations (e.g. picture book manuscripts should be around 300-500 words).

Once you’ve learned the basics, you might meet people who will ultimately become your critique partners (this has happened to me).

Perhaps you’ll read a picture book manuscript at an event’s open mic session, which will validate that you’re on the right track (also happened to me).

Maybe you’ll have a good time, make some friends, and get to watch the one-of-a-kind #Pitchapalooza led by The Book Doctors (again, happened to me).

Conferences avail the opportunity to connect with agents and editors for critiques or casual conversations (networking is so important).

SCBWI kickstarted everything for my writing life. In 2012, I attended my first New England SCBWI Regional Conference as one of about 700 attendees. And in 2016, I’ll be co-coordinating the conference alongside Heather Kelly, writer and founder of The Writers’ Loft (planning is already heavily underway for next spring’s event).

In 2016, we’re trying something new. We thought it might be nice to hear from (and get face time with) leading educators and booksellers. We’re bringing in a panel tentatively called “The Voice of Reading” with Elizabeth Bluemle (author, bookseller, blogger at PW’s Shelftalker), Donalyn Miller (teacher, author of The Book Whisperer and Reading in the Wild, Nerdy Book Club co-founder), Susannah Richards (professor, expert in all things children’s literature), and John Schumacher (AKA Mr. Schu, school librarian, newly appointed Ambassador of School Libraries for Scholastic Book Fairs).

SCBWI has helped me so much in such a short period, I’m grateful for the opportunity to volunteer my time to plan the 2016 (and 2017) NE Regional Conferences.

TBD: I hate to ask you this, but what advice do you have for writers?

JF: Keep writing. When you finish a manuscript, write the next one. It’ll be even better than the last. Networking is half the battle. I’ve written a 12-Step Guide to Writing Picture Books available (for free) on my website here.

TBD: And finally, how do you keep it so funky?

JF: I eat lots of candy corn. I wear Old Spice deodorant. And I’m 17% psychic.

Josh Funk is the author of Lady Pancake & Sir French Toast (Sterling), available now. Josh is also the author of the forthcoming picture books Dear Dragon(Viking/Penguin 2016), Pirasaus! (Scholastic 2017), and more. Josh spends his days as a software engineer writing Java code and Python scripts, and his nights and weekend drinking Java coffee and writing picture book manuscripts, alongside his wife, children, and assorted pets and monsters. Josh is a board member of The Writers’ Loft in Sherborn, MA, and the co-coordinator of the 2016 and 2017 New England Regional SCBWI Conferences. Find out more about Josh, his books, his schedule for public appearances, and more at www.joshfunkbooks.com and on Twitter at @joshfunkbooks.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, June 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

Join our newsletter to receive more interviews and tips on how to get published. 

Ann Ralph author

Ann Ralph on the Joys of Fruit Trees, Taking Care of Mother Earth, and How to Get a Book Deal Writing About Something You Love

We first met Ann Ralph when she won our Pitchapalooza with one of the greatest elevator pitches we’ve ever heard: The Elements of Style for fruit trees. It made total sense even as it was counterintuitive. It communicated something so clearly, with such economy, intelligence and style. She also presented it in such a smart, relaxed, fun and yet information-packed way you couldn’t help but sit up and pay attention. Plus, who doesn’t love a great fruit tree? So now that her book Grow a Little Fruit Tree: Simple Pruning Techniques for Small-Space, Easy Harvest Fruit Trees is out, we thought we’d pick her brain and find out exactly how she did it.

To read this interview on the Huffington Post, click here.

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The Book Doctors: How is your garden?

Ann Ralph: The garden is thirsty, but so far, so good. These dry winters are unusual and scary. Long, dry summers are nothing new. In most of California rain stops in May and won’t start again until November. I planted with this in mind. The plants on a hot bank behind my house do entirely without summer water. The roadside tree trimmers left behind a huge pile of chipped prunings last fall. This stuff is gold to me. I applied it as a deep mulch around my fruit trees and ornamentals. Mulch helps tremendously with transpiration. I water my established fruit trees only about once a month. Mulch improves soil quality and sequesters carbon, too.

TBD: How did you get started as a writer?

AR: Nursery work was meant to be a placeholder until I got a real job. I got waylaid in a composition class on the way to a respectable career, then abandoned pretense for the work I liked, low pay, the outdoors, a cavalcade of interesting questions, great people, and writing in my off hours.

TBD: What are some of your favorite books and why?

AR: However beautifully rendered, nonfiction is constrained by facts. I get more sustenance from the truth in fiction: I think of the Salman Rushdie character who cooks grievances into her chutneys. I wish everyone would read All the King’s Men, A Passage to India, and A Place on Earth. When our president quotes Marilynne Robinson, I feel sure we’ll be okay.

TBD: How did you get started as a fruit tree enthusiast? What are some of your favorite fruit trees and why?

AR: I grew up in the San Joaquin Valley. We were awash in fresh fruit all year long. I went out the front door for Meyer lemons. Neighbors left bags of nectarines on the front porch. Teachers, like my dad, graded and weighed peaches for Del Monte in the summertime. He brought home leftover lug boxes full of fruit. My mother canned peaches and apricots to tide us over until summer came again. I had no idea how good we had it until I left California for New York. This last weekend I visited friends in Ripon and came home with a huge box of tree-ripe grapefruit. There is never too much grapefruit at my house.

TBD: What were some of the joys and difficulties of taking your passion and turning it into a book?

AR: I had a good idea about what made fruit trees confusing and difficult for people, and what was missing from existing books on the subject. Storey asked me to double the content. How right they were! Every step in the process led to a better book. The photography was more complicated than I expected it to be. Marion Brenner was generous with her time and up for anything. The trees, weather, light, and backgrounds weren’t as cooperative. The photos took another year, the design a third. I sometimes despaired that I’d ever see the thing in print.

TBD: You’ve gotten some wonderful reviews. What did you do to promote and market the book?

AR: Storey Publishing has reach into the book business I could never have managed on my own. My sister has been a buyer for independent bookstores for thirty-five years. She drilled into me a sense of my shared responsibility for the book’s promotion. I knew my audience. I also knew I had a book that people needed and would want to buy. I have great garden connections from Berkeley Horticultural Nursery. I’m easily evangelical on the subject of fruit trees.

TBD: The environment is going through some terrible times. What do you think are some solutions to bring back a balance with nature?

AR: Humans wield a lot of clout in the natural world. The organics now in markets are there because we wanted to buy them. We can look to decisions we make everyday, regarding packaging for one. We’re drowning in plastic. Recycling is better than nothing, I suppose, but recycling plastics is a dirty business. I make yogurt at home. Its deliciousness aside, this small action by one person eliminates a need for hundreds of plastic containers. The environment doesn’t exist apart from us. We’re in the thick of it. For good or ill, we build it as we go.

TBD: How did you get a book deal?

AR: The Book Doctors pulled my name out of a hat at a Pitchapalooza at Book Passage in Corte Madera. They liked my pitch. I shopped a proposal around to several publishers with interest but without success, always on the heels of another fruit book. Arielle took the idea to Storey Publishing. I strengthened the proposal based on information from The Essential Guide to Getting Your Book Published. I’m sure that made the difference. I’m not just saying this because the Book Doctors happen to be asking the question. It’s true.

TBD: What advice do you have for fruit tree growers?

AR: Keep your fruit trees small enough to manage. I wish I could take credit for my favorite pruning advice. It came from a UC Davis seminar, “If you don’t know what to do, cut some stuff out.” Fruit trees are forgiving. If you goof it up, they give you another chance.

TBD: What advice do you have for writers?

AR: Let’s leave fruit advice to me and writing advice to Anne Lamott.

Ann Ralph is the author of Grow a Little Fruit Tree: Simple Pruning Techniques for Small-Space, Easy Harvest Fruit Trees. Publisher’s Weekly called the book “a thrilling read for the backyard farmer.” She is a fruit tree specialist with 20 years of nursery experience. She lives in the Sierra Foothills near Jackson, California.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, June 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

Melissa Cistaro on Horses, Mothers, Bookstores and How She Got Her First Book Deal

We first met Melissa Cistaro when she pitched her book to us at a Pitchapalooza we did for Book Passage (one of America’s great bookstores) in Corte Madera, California. We’ve been doing this so long we can usually tell when someone has a book in them and is capable of getting it out successfully. And we knew Melissa had the right stuff as soon as she opened her mouth. Arielle then made a suggestion to Melissa that she calls perhaps her greatest move as a Book Doctor: she told Melissa that she should get a job working at Book Passage. This is what separates the doers from the talkers. Melissa actually did it; she got a job at Book Passage. Eventually she became the person who introduces authors when they do events at Book Passage. Some of the greatest authors in the world come through that bookstore. Now Melissa gets to move from being the person who presents authors to the author being presented. So we thought we would pick her brain to see how she did it.

To read this interview on the Huffington Post, click here.

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The Book Doctors: How did you get started as a writer?

Melissa Cistaro: This may sound odd, but I think that becoming a mother is what turned me into a writer. Even in college, I still considered writing one of my greatest weaknesses. But when I saw my own child for the first time, I knew I had to figure out how to tell the stories that had been hiding inside of me for so long. I started taking classes at UCLA Extension, and it was there that I caught a glimpse of my writing voice–and after that, I couldn’t stop writing. I’ve always believed that motherhood opened a portal inside of me that gave me permission to write. If I hadn’t become a mother, I don’t know that I would have become a writer.

TBD: What are some of your favorite books and why?

MC: In the house I grew up in, we rarely had access to books. I was not a child who discovered books early–they came late for me, and when they did, I had a lot of catching up to do. One of the first books to completely mesmerize me was Arundhati Roy’s The God of Small Things. The language was magical and the story deep, evocative and riveting. I am often pulled into stories through language. Fugitive Pieces is another book that I drew me in with its incredible poetic narrative. Divisadero by Michael Ondaatje and a short story collection by John Murray called A Few Short Notes on Tropical Butterflies. Oh this is hard! I could go on and on with favorite books.

TBD: What made you decide to write a memoir?

MC: I started this story as a work of fiction. It was easier for me to dive into it as someone else’s narrative rather than my own. For years, I wrote calling myself Paisley Chapin in the story, but eventually I realized that I wasn’t very good at drifting away from the truth, as I knew it. Early on, I showed my oldest brother some chapters, and he said to me, “Sorry Sis, but this ain’t fiction you are writing.”

TBD: How has your family reacted to seeing themselves in print?

MC: The book was very difficult to hand to my father. There were many facets of our childhood that he wasn’t aware of–and it was definitely emotional for him to take in our story on paper. He has been exceptionally supportive of the book and, ultimately, a proud father. My brothers also have been generous and supportive. Naturally, there were some details that we recalled in different ways, and we have since had some great conversations about our childhood.

TBD: You attended a number of writing programs, do you recommend this? What are some of the benefits and liabilities?

MC: Classes and workshops were crucial along the way, as was being in a writing group. But I eventually got to a place in the process where outside input began to stifle me as a writer. The feedback was always helpful, but I also had to take responsibility for what I ultimately wanted to write. If there are too many voices and opinions, it can get overwhelming. I’ve become less fond of workshopping and more of a fan of having a few select and trusted readers.

TBD: Which helped you more as a writer, being an equestrian or a mom?

MC: Whoa–this is an interesting question. I don’t know if I’ve ever considered how riding has informed my writing. Communicating with an animal requires a great deal of paying attention and observing, and I think that certainly translates into the writing process. I once had to throw myself off of a horse that was running at full speed back towards the barn. I could see the low awning of the barn ahead, and I knew I had lost control of the horse. I didn’t want to end up trapped under the awning or thrown dangerously sideways–so I made a decision to pull my feet out of the stirrups and make a flying dismount. I skidded and tumbled across the hard summer dirt, landing safely (and sorely) between two spindly birch trees. I think, whether we are parenting or writing or on a runaway horse, we have to make big decisions and sometimes we don’t know precisely what the outcome will be.

TBD: Did working at a bookstore help you as a writer?

MC: Absolutely. If you love books as much as I do and you want to surround yourself with likeminded people, go work in an independent bookstore. Bookstores are magical places. You get to meet authors and discover new books all the time. I also learned how sometimes great books thrive and other equally beautiful books can sometimes wither on the shelf. I quickly gleaned how subjective the world of books can be. This armored me with very humble and realistic expectations as I entered the publishing arena with my own book. I had a completed draft of my memoir when I started working at Book Passage, and I decided to put it in the proverbial drawer for a year so that I could focus on other books and writers. This turned out to be a great plan. Two years later, I met my agent during an event I was hosting.

TBD: You’ve now seen hundreds of authors do events as event coordinator at one of the great bookstores in America, Book Passage. What mistakes do you see writers make? What do you see successful writers do to help themselves?

MC: I have a wonderful job at Book Passage. I introduce authors, host their events and read their books. I find that, for the most part, authors are truly grateful and gracious when they come to Book Passage. I learn something new at every event I host. I take a lot of notes. We always appreciate when an author stands up and thanks independent bookstores for the hard work they do, because we certainly don’t do this work for the money (which is essentially minimum wage). We do this work because we love working in the landscape of books, ideas and creative minds.

TBD: What did you learn about finding an agent and publisher that you think unpublished writers would like to know?

MC: Finding that one agent who falls in love with your work takes a lot of time, patience and perseverance. Expect a lot of rejection. Grow extremely thick skin. And keep writing what you are passionate about. When you find that agent, he or she will help get your manuscript to the right publisher.

TBD: What was the most frustrating part of the publishing process from idea through publication for you?

MC: The publishing process is full of surprises, and I had to carry my publishing “Bible” with me everywhere. (That would be your book!). There are so many things you can learn in advance about how publishing works and all the ins-and-outs of contracts, deals, agents, etc. It was a tremendous and challenging education going through the publishing process. The landscape is changing so fast that it’s important to keep informed.

TBD: How can writers best use their local bookstore to help them in their career?

MC: Support your local bookstore. This means buying books from them. Attend their events. Introduce yourself to the booksellers and tell them you are a writer. Ask them for advice and book recommendations. Let them know you are not going to get a recommendation and then go purchase it for a few dollars less online. Today there are many ways a writer can professionally self-publish their books, and this is a perfectly respectable way to publish. Just make sure that if you self-publish, it’s on a platform that is compatible with independent bookstores. (This is kind of homework that authors need to do when looking into their publishing options!)

I love meeting writers at Book Passage, and I appreciate when they tell me they are a writer because I know how challenging this path is. I also know that one day they may come in and tell me that their book is being published–and guess who is going to make sure that they get a reading at Book Passage?

TBD: What advice do you have for writers?

MC: If there is a story you need to tell, you must do it. You must keep writing and writing until you are both empty and full. No story is too small for this world.

Melissa Cistaro‘s stories have been published in numerous literary journals, including the New Ohio Review, Anderbo.com, and Brevity as well as the anthologies Cherished and Love and Profanity. She works as a bookseller and event coordinator at Book Passage, the esteemed independent bookstore in Northern California. Between the years of raising her children, writing, bookselling, teaching horseback riding, and curating a business in equestrian antiques – Melissa completed her first memoir, Pieces of My Mother.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, June 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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