What Are We Looking For in a Modern-day Novel?  by David A. Ross

What are we looking for in a modern-day novel? The answer to that question is admittedly as varied as the diverse tastes exhibited by today's readers. When we encounter a newly-published book in a recognizable genre it is easy to compare it with others we have read in the same genre. But what about when we encounter a book that is decidedly outside the box? In that case analysis becomes much more difficult, and certainly much more subjective.

All too often we seek out what we already like and understand—a natural enough habit, I suppose. But in the end it seems that those books that are highly creative and highly original—those that defy easy description and categorization—are the ones with the real staying power. Those are the books that define new paradigms in literature.

Such books often are slow to gain traction in the marketplace, and furthermore they often suffer merciless criticism by reviewers whose preconceived expectations are not met. There have been countless examples of this throughout the history of the printed (and now the digital) word.  Necropsy In E Minor by Alan Ramon Clinton may be such a book. It is unorthodox in both content and style, even by today's most "literary" guidelines. Watching early reviews come in for this book have been, to say the least, interesting. Even the most astute reviewers confess a degree of confusion and have admittedly read the book a second time. Still not sure what to make of it, they have given it due praise as well as an average of three stars. Just what that ranking actually means is anybody's guess, but I take it to mean that even after careful reading the book has them wondering exactly what it is they have read. Kudos for Clinton, because I am quite sure that that is exactly his intent.

To be fair, I must here identify myself as the book's editor. Which means that I have not only read the book with extreme care, but that I have also made a few critical decisions concerning content and style. So it can be assumed that I have spent considerable time with the book, getting to know it perhaps better than an average reader—even a careful one—might come to know it. Am I confused? I'd be dodging this essential question if I did not admit some confusion. But that is also what fascinates me about 'Necropsy'. As a writer myself, and as the book's editor, I find that I, like many of the initial reviewers, recognize Clinton's exceptional talent and skill as a writer, and I would not rule out a third and/or fourth reading of this book in an attempt to understand both the storyline and the author's intent in greater depth.

Necropsy In E Minor was shortlisted for the Dundee International Literary Prize. That's a pretty prestigious award, and one can only assume that the competition was stiff. Even as such, this book is probably not for the average genre reader or the reader looking for a light read while on vacation. Not that the novel is without humor - precisely the opposite is true. Clinton's hapless and clueless character offers us a look at ourselves standing quite naked in front of our mirror. And his use of humor is both sophisticated and slapstick. And like ourselves, his character twirls in ever-expanding circles trying to reach some undefined nexus, some point of realization. His nemesis is his own conscience. Sound familiar?

To close this note I will quote some of the book's earliest reviewers and book bloggers, some of whom quite cleverly picked up on Clinton's unique style to further stylize their own review, and perhaps you will be intrigued enough by their comments, as well as mine, to take a crack at Necropsy In E Minor. You may find it a rather insoluble puzzle, but I promise you will not be bored.

From the reviews...

"Phew, you certainly do have to put a little work in when reading Necropsy In E Minor. Often I wondered whether I had read the sentence correctly as I couldn't make head nor tale of it and so would re-read and re-read. I would start reading a section and feel confident knowing who, what and where only to find half way down a page we had been transported to a completely different universe which left me wondering who, what, where?

Writing a review on Necropsy is certainly a challenge. I want to say this is a brilliant piece of work, very well thought out and written but I also want to say I found it hard to read, confusing, too clever for it's own good and, oh, where was I? But then I come across sentences such as "The floor of the hospital felt like sand underneath a foot of water" and stop and think and be back to 'isn't it a great piece of work?' and then I ramble and stumble and wonder if I am asleep or awake. Oops there I go..now where was I?

So, I shall fall on both sides of the fence - legs over there and head over here. It is meant to be this way I think and is how the narrator and author maybe would like it..? It isn't often I finish a book and am still left wondering whether I liked it or not...I think I did though, eventually..."—Lili Wren, review from Amazon.co.uk

" I was not sure if I liked this book or not by the time I was done reading it. I tend to have a strong appreciation for those writers who choose to relay their tale in stream of consciousness form, which I certainly appreciate of Clinton's writing. I felt that, much like anyone's thoughts, there were moments that were profound, some that were beautiful, and many that were vague. With such indirect bits of story and wisdom, it is necessary for the reader to be patient and take the time to really read this book. While I feel that there is much to be pondered on from Necropsy, a second read would likely heighten my understanding -- and possibly, enjoyment-- of this book."—LibraryThing Early Reviewer

"Poignant anecdotes of the author's childhood, including the humiliation of witnessing with his parents in a rusty beater of a car, his brother's roommate's suicide, and the drama of a mouse and subsequent attainment of his cat Sanity, infused humanity and humor into the cerebral mix. This is not a book written linearly and wrapped up as a pretty package at the end, but interwoven with surrealistic imagery and language like a thick, savory stew."—LibraryThing Early Reviewer

Necropsy In E Minor is available from the following sources:

Open Books Direct
Amazon.com
Amazon.co.uk
Barnes & Noble
Apple iBookstore

The Role of Publishers and Literary Agents Redefined as the Age of the eBook Emerges

 Even for the eBook skeptics of a year or two ago there can now be little doubt that the Age of the eBook is indeed upon us. Sales statistics at Amazon.com and at Barnes & Noble show that eBooks are now surpassing printed books in sales, albeit that many eBooks are priced well below the SRP of their printed counterparts, and the trend is likely not only to continue but also to grow stronger. The writing seems to be on the wall – or perhaps on the Kindle, or the Nook, or the iPad or iPhone – eBooks are here to stay. And in just a few short years from now, eBooks will comprise 90% of all new titles published, leaving only coffee table books, and other print-friendly editions, for the traditional printing press.

This revolution in the way books are published, distributed, sold and read is this century’s equivalent to the invention of the printing press several centuries ago. It is interesting to point out that Gutenberg’s printing press was the single biggest non-political factor in the Protestant Revolution, not to mention that the rate of literacy in Europe went up a full 10% in just one year after its invention. No small impact, to be sure. So, what might the impact of the eBook be as the next few years pass? And what new role will publishers and literary agents play in its development and dispersion? Big questions with only speculative answers at this point, but there are a few things we can see developing right now.

eBook technology renders the product (a book) cheaper to produce and easier to distribute. Therefore, it stands to reason that more books by a wider range of authors will be published, the books will be distributed globally to online retailers and will be bought by customers who once might not have had access to them. The logistical model is somewhat similar to the dispersion of mobile phones in that those devices actually found a customer base in countries that never had a highly developed traditional phone line system because it was not necessary to re-tool an entire industry. In Mexico City, for example, certain mobile phone makers were handing out handsets free to potential subscribers who had never had a landline. So far, neither Amazon nor Barnes & Noble, nor Sony, nor Kobo is handing out eReaders free, but the price is falling and will no doubt continue to do so as Chinese knock-offs begin to hit the market in earnest. The day is fast approaching when virtually everyone will own some sort of an electronic eReading device, probably one that serves multiple purposes and performs multiple functions. Already it is becoming necessary to read newspapers online, as the print editions are falling away literally by the day. Magazines will face the same challenge that printed newspapers have faced – decreasing sales because of limited audience proximity, high production and distribution costs, cost of physical space, cost of raw materials, and so forth. Digital publishing circumnavigates all these problems, and publishers know it! The traditional audience may well balk at the idea of an ePublishing world, but publishers will make them conform simply by not offering the (old) alternative anymore. Simple, but not so simple…

Escape Media was at the forefront of this revolution, publishing our first digital editions in 2006 under the Open Books imprint. Were there eBooks prior to that date? Answer: yes, of course. But the ground was shaky, parameters were hardly solidified, and even formats were still in question (as they remain today). But we were there – experimenting with classic titles, as well as original publications. Our literary magazine, Moronic Ox Literary & Cultural Journal first saw digital publication way back in 2003; it was not well received then but was revived in 2009 and has had a loyal and growing readership ever since. All well and good: a publisher with enough vision to see the “writing on the tablet”. But the bigger question of just what role publishers (and literary agents as well) will play in this new terrain remains.

Open source publishing, as practiced by several able companies (Amazon’s DTP, Barnes & Noble’s PubIt, and Mark Coker’s amazing Smashwords among others) enables authors to publish, distribute and sell their works as eBooks online. How dramatically open source has widened the field of published authors, and we at Escape Media/Open Books applaud and support that effort! In short, open source publishing makes each author a publisher (with all that that entails – editing, designing, formatting, and most of all marketing). The open source (publisher) takes care of sales records, payments and distribution to customers. Sounds great! Except, who among us is an expert at all these disciplines? In the end it could be said that it is a writer’s job to write, and a publisher’s job to handle the rest. Yet, open source has made it possible to exist in the literary market place as an ‘indie’ author. Kudos to those who take this path and succeed!

Taking the route of open source publishing certainly circumnavigates both the literary agent and the traditional publisher, yet we suspect as the eBook Revolution gains a greater and greater footing, both publishers and agents will re-assert their value as collaborators. Even now some well known literary agencies are offering their services as a digital publishing venue for clients whose work may be worthy of publication yet not profitable for a traditional (print) publisher. Is this a conflict of interest? Some say yes. We say: to be determined. As publishers of eBooks, we at Open Books believe a well- versed e-publisher even now holds a distinct advantage over the so-called ‘indie’ author. For example, it is well known in the literary world that no author – no matter how good he might be – should edit his own work. We agree. Good editors make good books into better books. It is also often said that a good cover can make or break a book for sales. Again, we agree. Every author we have ever worked with has had his own ideas about the cover of his book; and every author we have ever worked with has expressed his pleasure and gratitude when we present him with a professionally designed cover. Publishers also have access to distribution venues that ‘indie’ authors do not. Publishers may also have the distinct advantage of being able to promote books via social media and other online sources using the publisher itself as an endorser. Indeed, that is the very reason that today’s agency model publishers enjoy prestige and advantage over lesser-known houses. Those engaged seriously in e-publishing will establish themselves as primary players in this emerging industry, and Open Books intends to be one such ‘player’. By establishing core groups of writers, eBook publishers will be able to ‘guild’ themselves and their authors, and customers who are searching for a particular product will inevitably know exactly where to find it. Remember, human beings, under the auspices of ‘civilization’, have been attempting to make order out of chaos since the beginning of time. Right now digital publishing is literally ‘all over the map’, yet even as I write this update, countless e-publishers (as well as ‘indie’ authors) are bringing order to that chaos. And it’s going to be very interesting to see which names command respect and attention in just a few short years from now. Will those names be the same ones we are accustomed to hearing – the agency model publishers in New York, London, L.A.? Or will there be new names? We suspect some of both. But the one thing that seems obvious is that no matter which publishers those might be, they will all be publishing, promoting and selling eBooks. And that is something that we at Open Books have learned a little something about.

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….

Poll Results: Which eReader Do You Own?

Starting April 9, 2011 on the Open Books Facebook page we asked our fans the question, Which eReader do you own? Because there are so many different eReaders on the market we decided to allow respondents to add eReaders to the list. Out of 335 (and counting) responses here are the results in order of popularity:

NOOK: 148
Amazon Kindle:117
None. I prefer real books: 18
Other: 15
iPad: 9
I haven't bought one yet: 7
iPhone: 5
iPod Touch: 3
Sony eReader: 3
Kobo Reader: 2
Kindle (on Windows 7): 1
Android Tablet: 1
Palm Pilot: 1
Droid X: 1

Although we expected to find NOOK and Kindle high on the list, what we find most interesting as well as encouraging from the poll answers is the sheer diversity of eReaders on which people are reading eBooks. As an emerging eBook publisher, we can't help but think the more eReaders on the market the better. In the next few years we also believe that the third and sixth most popular results ("None. I prefer REAL books" and "I haven't bought one yet") will diminish.

We'd like to thank everyone who answered our question, Which eReader do you own? If you were not able to take part in the poll and would like to add your vote to list, then please feel free to do so on the original question here or within the comments area of this post.