In this week’s Gospel, from Mark 10, Jesus and the disciples encounter a roadside beggar, “the son of Timaeus” (bar means “son of” in Hebrew). Who, then, was Timaeus? And why was his son reduced to begging?
I came across two intriguing possibilities in this article by Gareth Hughes, Chaplain at Hereford College in Oxford. One translation of the word is “honor” or “worth” — Bartimaeus, then, would be “the honored one.” The second, equally intriguing, translates the word as “unchaste” or “impure,” in keeping with the idea that disability is a sign of parental wrongdoing. The sins of the fathers, you see.
And so, in today’s Gospel we find Jesus restoring the honor to one who has been judged worthless and disposable, and was determined not to own it.
Bartimaeus, a blind man, the son of Timaeus, sat by the roadside begging. On hearing that it was Jesus of Nazareth, he began to cry out and say, “Jesus, son of David, have pity on me.” And many rebuked him, telling him to be silent. But he kept calling out all the more, “Son of David, have pity on me.”
Right now I’m working on a book in which men and women railed against the efforts of those around them to “stay in their place” and accept various humiliations and limitations. In some cases they took the indignity with humility and patience. In others, they refused to submit and battled on — some becoming broken and embittered.
In today’s Gospel, we see that such circumstances can have a soul-enlarging effect when we cry out to the God who hears. We may not be able to change our circumstances in the short term. But then, that’s not really the point. Like Job of old, the plea for God’s pity, his intervention, his justice may not miraculously restore all that was taken from us — as it did in the blind beggar’s case. And yet, those supernatural graces that pour out upon us will guide us through the night, and prevent us from falling on the rocks of bitterness and rebellion.
So, you have a new editor? Depending on how much (or what kind) of contact you’ve had with the editor who acquires or develops your book, the news might strike you with total elation . . . or utter dread. What’s going to happen to your “baby”? Are you going to have to totally rewrite the whole thing? Are you going to get lost in the chaos?
Try not to worry. This kind of thing does happen. Depending on the house, the person who acquires your book (helps you to develop your proposal) may not be the developmental editor (the person who shapes your manuscript). And editors do move on to other career opportunities (as my Ave authors recently discovered). So . . . what can you do to help the transition go smoothly? Here are ten suggestions to help you cope.
Try to trust the process. Although the players may change, each house has a similar basic process for book development (with some minor variations), and once a book has been acquired it is the new editor’s job to carry out that original vision for the book.
Remember editing is more of an art than a science. The author-editor relationship is based on mutual trust and respect, which frees both sides to do their best work. Like any other relationship, consistent and considerate communication is important. And chocolate never hurts.
Try to be patient. If your new editor is a recent hire, she (or he) will need some time to get up to speed on production schedules and acquisition procedures. Your book is important . . . and so are the other twelve books she is handling this season.
Let your editor know how you work best. If you write on Fridays, or are planning to be out of pocket for a month, or appreciate the editor’s help in smoothing out tricky passages (rather than simply commenting), let her know.
Early in the transition, forward any crucial emails or project notes from your previous editor. Your new editor may already have these things, but duplicates are better than gaps. You want your new editor to understand the development history of your project.
Ask for next steps. I try to give my authors a target date, after which they are welcome to drop me an email as a “gentle reminder.” (These dates work both ways, and I’ve been known to send “gentle reminders” myself as deadlines loom!)
Remember to read the “blackline” before you read the “redline.” Of course you’re curious about exactly what the editor changed … but examining each page under a microscope will prevent you from seeing the “big picture.” When you finally get your edited manuscript back for review, read the whole thing through quickly without trying to figure out where all the changes are. As you read, make a small margin note if something seems ‘off’ in terms of tone or flow. Then go back and fix or resolve those issues in a second read-through.
Try to see the change as a gift. Each editor (like each author) has particular strengths and insights. Try to be open to the possibilities as you pray for your new “partner in crime.”
Having trouble coming to agreement on the “macro” issues of the book? Ask for a phone conference, first with the editor alone and then (if needed) with the editor and someone on the editorial team who originally acquired the book (such as the editorial director or marketing director).
Be strong and confident . . . but not stubborn. Have confidence in your message and your own unique voice . . . but pick your battles.
For the past nine months I’ve been privileged to be working with our good friends at the Apostleship of Prayer on a significant milestone in the history of Ave Maria Press. Today this book officially launches, and I’m as excited (and as nervous) as a new mother. So please bear with me. #IndustryNews #EssentialReading #IfYouBuyJustOneBookThisIsIt!
Sacred Reading: The 2016 Guide to Daily Prayer is the first installment in our new annual prayer series, a lectio-inspired daily reading of the Gospels that will help you reflect on the Scripture . . . and hear the voice of Jesus, spoken directly to your heart. We wanted to create something fresh and truly inspiring for Catholics and other Christians who wanted to “dig in” to Scriptures and actually encounter the living Christ. And we are delighted with the initial results:
“An innovative way to be invited, with gentle wisdom, into meeting Jesus in your prayer,” enthused Fr. James Martin.
“The perfect companion for the lectio journey,” enthused Sonja Corbitt.
In addition to the annual reader, we will also be producing small booklets for Lent and Advent, with slightly abridged readings more appropriate for group use. These booklets, along with the daily video offerings of Fr. James Kubicki, would be a wonderful resource for parish or small group use.
Learning to hear and respond to the voice of God is an important part of the Christian life, and is absolutely essential to cultivating personal prayer, which is supposed to be a two-way conversation. “My sheep hear my voice, and I know them, and they follow me,” says Jesus, our Good Shepherd (Jn 10:27). Feeding each day on God’s Word is an important way to know the Lord, and to sensitize our spirits so that we can discern his will for our lives. Whether you are new to daily Scripture reading or are looking for something to enliven your daily reading experience, Sacred Reading is for you.
You can order Sacred Reading: The 2016 Guide to Daily Prayer through your favorite online or local bookstore, through Ave Maria Press, or directly from the Apostleship of Prayer. Be sure to write and let us know what you think of it!
If you want your work to be published in a traditional publishing house (Catholic or otherwise), actually writing the book represents just a fraction of the overall effort you will need to invest in order to make that dream come true.
The chances of a first-time author sending a query “cold” (just picking a publishing house out of the 2015 Writer’s Marketat random) and getting a contract are roughly the same as winning the lottery. Just sayin’.
On the other hand, studying the Writer’s Market to get a feel for which publishers might be a good fit and to create a list of possible houses to research is a great first step. From there your research can take many forms:
Going to your local library to see what other current books have been written recently (in the past 2-3 years).
Going to your local bookstore to see if those books are in stock (if not, that might give you a feel for how well the book is sold — books that don’t sell are generally returned to the publisher to make room for new titles)
Checking the titles on Amazon.com, which can also give you leads on similar titles as well as a sense of how strong the demand is (based on ranking)
Researching prospective publishing house websites, to see what books currently on their front (new release) and back lists and how they compare to your book. (If you see strong candidates, read those books in order to be able to articulate how yours is similar but different and better.)
Attending writer’s conferences, book trade shows, and other events to meet editors, media “influencers” and other industry professionals. This kind of networking is indispensable if you want your book to get rescued from the slush pile.
Networking with others who write for similar markets, to get their advice and feedback. Writer’s groups, writing classes, and book clubs can all be good places to get feedback on your project. (Friends and relatives, while they tend to be encouraging, may not be the most objective source of feedback unless they are themselves established writers.)
Be persistent! Receiving your first rejection letter is a rite of passage for any writer. If you get even a few lines of encouragement . . . good for you! Consider other options: a different publisher, getting an agent (especially for fiction writers), self-publishing, turning your book into a series of blog posts to build your audience, starting over on a different project. There are many ways to reach your goal. Pick a road, and start walking.
“Flaming enthusiasm, backed up by horse sense and persistence, is the quality that most frequently makes for success.”
Here is a list of helpful resources (in addition to the other posts on this site) for you to check out if you need some direction or advice about some aspect of proposal development or platform building.
What the heck is an author “platform” and why is it important?
Good question. Being able to identify and articulate your ability to reach the intended audience of this book is an important part of your proposal, and is part of the market summary. (For more on market summaries, you might check out this article here.)
I found this helpful graphic about author platforms here at “The Write Life.” For non-fiction authors, your platform consists of traits that are both internal (your credentials and work habits) and external (who you know and what you are doing to connect with potential readers). Where you are writing or blogging or speaking or teaching or doing whatever it is you do that would make someone want to read your book. That’s what is summarized in the market summary.
If you don’t like public speaking or blogging or other related activities, you may want to reconsider whether you should write a book because frankly the only thing that is harder than writing a bestseller is launching it. So you need to hit the ground running, since you have only about a 4-6 month window for that book to sink or sail!
What are some of the most important ways to start building a platform?
1. Create a blog or website and start generating traffic to it. Whole books have been written about this. Try Michael Hyatt’s Platform. Be sure to include speaker information and high-quality content at regular intervals.
2. Start building one or more talks around your book! Speaker pages, YouTube demos, and Toastmaster classes are all good starts. Start speaking at local parishes and other events, and build up to a regional and then a national audience. Similarly, make the most of any radio or television or print media opportunities that come your way. Every little bit helps.
3. Network, network, network! Comment on other people’s blogs who reach a similar audience. Be ready and willing to review books, guest post, help organize events and conferences. One of the best ways to build an audience … is to help others. Be generous with your time and talents, and it will not go unrewarded.