How to Publish with Open Books by Acquisitions Editor David Ross

Open Books is a traditional royalty publisher operating in an increasingly digital publishing environment. What that means is that we acquire the rights to publish an author’s work in return for royalty compensation, and that we do not charge authors for the services we provide. As such, each book we publish must first be accepted on its literary merit, and as acquisitions editor it falls upon me to make those selections. So, what exactly are the criteria I use to accept or reject a book from the many manuscripts we receive for review?

The first questions I ask myself when reading a new manuscript: Is the writing ‘alive’? Does it feel new or unique? Is it written in a distinctive voice? Does it surprise me? Does it somehow generate a sense of excitement or anticipation within me? How a writer might achieve this so-called ‘living quality’ in his words is as varied as writers themselves, so it is impossible to define in exact terms. Originality in style, or a unique perspective, always attracts my attention. Colorful, well written prose always brings a story alive. So, even though there may not be a specific definition for writing that is ‘alive’, I think there is no mistaking it when I see it.

The next question I ask: Does the writing engage me? Quite simply, do I want to keep reading? It stands to reason that if I my attention wanders, then so might that of the potential reader. Many techniques are used by writers to capture attention; and in a world where a myriad of media compete for attention, it is essential that a writer draws his reader into the story as quickly as possible.

Another observation I immediately make is whether or not the writer uses the language properly. Sloppy grammar, misspellings, and poor usage are big turn-offs. I understand that a writer might choose to use colloquialisms, or render dialog in a less than grammatically perfect form for artistic reasons. That is not an issue. But when a writer uses ‘thru’ when he should use ‘through’, or when he uses an ampersand instead of writing out the three-letter word ‘and’, I am likely to press the delete key and begin the rejection letter. As an editor, I do not want to clean up someone else’s sloppy grammar. It’s not cute, as some might think, and it’s also not that hard to proof read one’s submission.

Because we call ourselves a publisher of high quality fiction, I am always looking for a novel or novella that embraces what I call an ‘ethical imperative’. I want to know why the book had to be written. What lesson does it teach? Does it do so with grace and subtlety? Or is the author simply ‘preaching to the choir’? What that ethical imperative might be is not necessarily my concern, though I suppose I too have my limits. I am not likely to select a book that advocates racism or religious intolerance. I am also not likely to select a book that glorifies violence for its own sake. I do value a well rounded story, one that circles in quietly upon its nexus point, one that leaves me with a sense of completeness, one that leaves me feeling somehow enriched. I also like to be entertained, as do most people. Some authors do this effortlessly, but I must confess that I, personally, want more out of a work of fiction. If I want shallow entertainment, I can watch television. Or I can buy a formula genre novel to read. That is not what Open Books is interested in publishing. A good story is imperative, but something more is necessary in serious writing. That ‘something else’ is what we’re really looking for.

In nonfiction books the watchword is ‘topical’. How is this book relevant to today’s reader? Admittedly, different subjects are important to different readers, but it is a fast-moving world, and what is topical today might well be passé tomorrow. It is also important that a writer back up his assertions with hard facts – verifiable facts. Otherwise the writer is nothing but another talking head. Research is not easy, but it is essential. And it is always obvious whether or not the writer has ‘done his homework’. When it comes to memoirs, it is a slightly different story. In a memoir the reader is specifically interested in the writer’s personal experiences and in his perspective on them. Even so, the outlying facts must be accurate. The writing must be alive. The writer must make the reader care about his subject and want (or better yet need) to know more.

Open Books also publishes a limited amount of poetry. Since poetry books are difficult to sell, the poetry we publish must stand out as strikingly relevant and/or strikingly unique. As a publisher, we often invest more effort in the process of publication than we (or the author) are ever compensated for in monetary terms. Yet, poetry is a viable form of literary expression, not to mention a beautiful one, and it is the policy of Open Books that some poetry books simply need to be published regardless of whether or not a financial return can be achieved. This is also true of fiction and nonfiction books; sometimes the literary imperative is greater than the need for profit. I believe this is one protocol that distinguishes Open Books from many other publishers, and I am proud to embrace it.

So, I hope I have given potential contributors a bit of insight as to how we make our selections of which books to publish. And I also hope I have given readers an idea of what to expect from an Open Books title. Hopefully we do a good job. The proof is always, as they say, ‘in the pudding’. We at Open Books are proud of every one of our titles, and we intend to publish high quality fiction, nonfiction and poetry well into the future. We welcome new writers, and we try to give each and every one the attention he deserves. We respect writers, and we also respect those who will eventually read their work. We value superb writing. Now, what’s so difficult about that? Only everything….