A friend recently asked me about publishing, whether one should as an author go literary with quality, or go to the great youth worlds of the day with street talk and music. He was interested in this idea of “publishable quality.” Asking me how I would characterize it?
I wouldn’t, at least not in the sense of some universal notion. From what I’m reading most of it is beyond doubt all too subjective in the area of editors and publishers these days. The culture I grew up in is gone: the age of print is gone. Even if you see it everywhere, books are dead.
This is the time of Indie’s and self-publishing. Getting published by a formal old-time book publisher is an iffy business from what I read on post after post of even the best published authors in various fields… so who am I to presume to know that answer?
My remark was mainly dealing with the typical aspects of openings, hooks, etc. And it depends if your audience is for the mass appeal, or literary? That truly is the cutting line: how many people do you assume you want to have read your work – the top readers, the echelon who love difficult and complex prose, etc. Or just your basic internet blip reader whose vocabulary is built out of the base set of street talk and music? Nothing demeaning here, but there is a difference.
In my fictional writing I’ve had to compromise a great deal and tone down my knowledge of the English language, so that I might be able to reach the younger generation. I’ve begun tapping into the blogs and sites that cater to younger people to see what kinds of things are actually being bought. In other words I’m a word whore discovering the tribal worlds around me: a cartographer of YA if you will.
The other issue many authors are facing now is the glut of writing being published. One reads over and over how if one takes the road to publish in the more reputable magazines and publishers that one will need an almost informidable tracking record of already published works within the lesser or newer markets. Even books like The Writer’s Market, etc. offer the base approach that if your a newly unpublished author then begin slowly, and they offer selections of publications seeking only new unpublished authors etc.
Others have gone the way of the Indie, the self-publishing world where it’s truly up to you to find your own fan base, market your own work, spend the time and effort building up a circulation and network of sites to promote your work, etc. Even among some of the better known authors this seems to be the way to go these days. Is there a clear cut answer? I doubt it.
Luck always has had a lot to do with markets: that, and having something that connects with a certain segment of the population. In some ways that’s always been true: who is your fictitious reader? Who is your audience? Knowing that is half the battle. Once you know who you are writing for, then one needs only to know what this audience likes and dislikes.
Blogging has been interesting for me in the fact that I have a small audience, which leads me to believe that for the most part I do have at times difficult aspects to my work, else the things that interest me are not wide-spread fare. Obviously philosophy and the sciences are not everyone’s cup of tea, and the depth of knowledge one needs to ponder many of the current things going on in the various enclaves of both philosophy and the sciences is tremendous. Just the background knowledge alone, years of reading the various players in the fields, let along the history of philosophy and the sciences that play into it. My poetry tends toward a specific mode of dark romanticism edging into the posthuman, weaving eros and thanatos in differing forms. So I’m sure it will only have certain types of readers, which is fine for me.
Yet, as I ponder the SciFi and Fantasy markets I realize the gradient of expertise must come down a notch or two, must deliver a fictional ensemble that is full of action and suspense, yet that is neither simplistic nor over the top writerly crap. What’s interesting in SciFi and Fantasy is not that they are already overly cliché ridden, but how certain authors can take the oldest clichés and make them new, bring to the table new problems and solutions to the old twists and patterns. Maybe that’s the secret: taking the old and making it new, giving it a new twist, a new container and language in which to tell the tales that seem to live own endlessly in that realm between potentiality and actuality.