How Much Trouble Can You Get Into by Stealing Another Writer’s Idea? An Author Finds Out the Hard Way in Jean Hanff Korelitz’s ‘The Plot’

I liked the satire of creative writing programs in The Plot but had mixed views of other aspects of the story in a book likely to turn up on a lot of holiday wish lists: https://medium.com/p/e183cd41ac25

View at Medium.com

James Salter’s Novel ‘All That Is’ — A Book Editor in Love and War

A New York book editor tries to make sense of the plot of his life

All That Is: A Novel. By James Salter Knopf, 304 pp., $26.95.

By Janice Harayda

All the world’s a stage, and set decoration matters: This theme has surfaced again and again in the fiction of James Salter. It returns with a vengeance in this novel about the sexual misadventures of an editor at a high-toned New York publishing firm in the four decades that follow World War II.

As a young naval officer, Philip Bowman survives a kamikaze attack on his ship in the run-up to Okinawa. Any psychic wounds he suffered don’t keep him from subsequently gliding through Harvard and into an affair with Vivian Amussen, whose rich father owns a 400-acre horse farm in Virginia. Bowman hears no alarm bells when, on visiting the Amussen estate for the first time, he notices an indifference to the comfort of others: Behind a couch in the living room lie dried dog turds “as in 17th-century palaces.” On the contrary, the rising editor seems drawn to Vivian in part because the backdrop for her life differs so markedly from that of his upbringing in New Jersey. He has little enough self-awareness that when their brief marriage ends, he allows appearances to lead him into a series of other love affairs that end in disappointment, if not betrayal.

Salter suggests that Bowman stumbles because his father abandoned the family two years after his birth: He “never had a strong masculine figure in his own life to teach him how to be a man.” His protagonist is a watered-down male counterpart to one of those Henry James or Edith Wharton heroines whose assets don’t offset the lack of a mother to stage-manage her courtships. But Bowman doesn’t develop as a character as Catherine Sloper and Lily Bart do. He pays for his misjudgments not with the loss of hope or life but with the loss of a piece of set decoration for his bed-hopping — a second home in the Hamptons that he owned for a year before an ex-lover wrested from him with fancy legal footwork. He avenges the incident with a shocking act of cruelty to his former paramour’s daughter but assumes no moral responsibility for his caddish behavior and faces no serious consequences for it.

With all of this, Salter is trying to have it both ways — to cast Bowman as decent man even as he acts loutishly – and the pretty scenery can’t mask the inconsistency. Even the pristine writing style that has won him so much praise has grown overripe with comma splices and other tics, such as when he writes of Vivian’s horse-country town: “There was no place to stay, you had to live there.” Anyone hoping to understand the acclaim for Salter’s work would do better to pick up his fine short story collection Dusk, which more effectively shows how, as one of its characters says, a romance resembles a play: It unfolds scene by scene as “the reality of another person changes.”

Best line: “ ‘You know, you haven’t changed a bit. Except for your appearance,’ he said.” A rare flash of humor in All That Is, although Salter may not have intended it that way.

Worst line: “It was a departure of foreboding, like the eerie silence that precedes a coming storm.” “Eerie silence” is a cliché, and “coming” is redundant.

Published: April 2013

Read an excerpt from All That Is. You may also want to read “James Salter’s 10 Worst Sentences.”

Jan is an award-winning journalist and former book editor of the Plain Dealer in Cleveland. You can follow her on Twitter by clicking on on the “Follow” button at right.

© 2013 Janice Harayda. All rights reserved.
www.janiceharayda.com

The Ethics of Book Blurbing: What’s OK and What’s Not? A Survey

George Orwell called blurbs “disgusting tripe.” What do you say?

By Janice Harayda

A publisher who was trying to promote a book once asked the late novelist Beryl Bainbridge for a quote about it. “Just say whatever you want,” she replied. Few novelists might allow publishers such liberties. But blurbs lend themselves to a host of questionable practices, as George Orwell understood when he called them “disgusting tripe.” Authors trade blurbs. Editors pressure writers they edit to provide them for other writers they edit. Commercial services sell blurbs to authors who have no obligation to disclose that they paid for the praise on their dust jackets.

What’s ethical and what’s not? On Saturday I’ll be speaking about the politics of blurbing and reviewing at the Biographers International conference in New York, and I’d love to know your answers to the questions below. On the following survey, a “blurb” means “praise solicited by an author, editor or publisher before the publication of a book” (not praise extracted from a review after it appears). Please answer any or all of the questions that interest you in the Comments below or tweet them to me at @janiceharayda. Thank you!

Is it ethical for authors to:
provide blurbs for books they haven’t read?
trade blurbs with other authors?
charge a fee for providing a blurb?
accept non-cash favors (such as sex, gifts or meals) in exchange for blurbs?
provide blurbs for authors edited by their editor or represented by their agent?
solicit blurbs from friends, relatives or other groups?
provide blurbs for books they dislike in order to help a friend?

Is it ethical for editors or publishers to:
ask authors whom they publish to provide blurbs for other authors they publish?
add exclamation points or other punctuation to blurbs?
take blurbs out of context in ads – for example, by using only a few words from a long blurb?

Is it ethical for journalists and bloggers to:
quote from a blurb without saying who gave the blurb – for example, by using phrases like “has been compared to” without saying who made the comparison?
review books for which they provided blurbs?

You may also want to read “Backscratching in Our Time,” a long running series on One-Minute Book Reviews that calls attention to authors who praise each other’s books in blurbs or elsewhere.

Janice Harayda is an award-winning journalist and novelist who has been the book editor of the Plain Dealer in Cleveland and a vice-president of the National Book Critics Circle.

(c) 2013 Janice Harayda. All rights reserved.

Talk Back to Bizarre Book Titles on Twitter at #talkbacktobooktitles

Ever wonder what publishers were thinking when they came up with book titles like Afterthoughts of a Worm Hunter or Strip & Knit With Style? My former colleague Michael Heaton did when he saw the books in the reject pile of the book editor of the Plain Dealer, and he’s written an amusing riff on their titles for the Cleveland newspaper. Perfect Death, he muses? “Thanks, I’ll pass.” Before the End, After the Beginning? “Make up your mind.” Simon: The Genius in My Basement? “Please let him out.” I’ve started a hashtag on Twitter #talkbacktobooktitles that you can add to tweets that list your responses to odd book titles. (Any takers for Cooking with Poo?) If you send a copy to @janiceharayda, I’ll try to retweet the most entertaining. Please don’t wait until I’m one of The Five People You Meet in Heaven. Provided I get there.

23 British Publishing Euphemisms Decoded by Industry Experts

A tongue-in-cheek glossary from U.K. editors, publishers, authors and agents

By Janice Harayda

The British have a gift for coded speech. Like Southerners who say “Bless your heart” when they mean the opposite, they salt their conversations with euphemisms that only the most credulous tourist would take at face value.

The U.K. publishing industry has its own subset of words and phrases that deflect embarrassing or inconvenient realities. A few appeared in my American-accented “40 Publishing Buzzwords, Clichés and Euphemisms Decoded” and “More Publishing Buzzwords,” which gathered highlights from witty translations submitted at the Twitter hashtag #pubcode last year. Other examples of the British talent for indirection surfaced yesterday in a new wave of definitions at #publishingeuphemisms. Here are some of the best of those late arrivals (a list that excludes a few tweets that gave off an intentional or unintentional whiff of those posted in 2011), followed by the decoder’s name.

“ahead of its time”: “It bombed” Julie Bertagna, author of Exodus and other young-adult novels

“All our focus is on the paperback”: “The hardback tanked” Jonny Geller, literary agent

“eminently marketable”: “This author looks fit” Catherine Fox, author of Angels and Men, Scenes From Vicarage Life and other books

“an exciting new children’s author”: “edited to within an inch of its life so no parents can possibly be offended” Iain Paton, writer

“for fans of [insert bestselling author name]”: “Normally eat smoked salmon? Try some tinned” Rhian Davies, judge for CWA John Creasey (New Blood) Dagger.

“has worked as a gravedigger, ambulance driver, and llama-shearer”: “had a gap year” Christopher Wakling, author of The Devil’s Mask and other novels

“Here are all my corrections!”: “(Except all the ones I’m going to email you everyday until sign off date.)” Cathy Hurren, production editor and MA student

“I’m hard at work”: “I’m on Twitter” David Hebblethwaite, critic and blogger

“’I’m under such pressure for space”: “It didn’t deserve a review on my page” MaryB (@marysbookstuff on Twitter), “many hats.”

“in their own words”: “in the ghostwriter’s words” Iain Paton, writer

“Just a couple of tiny changes needed”: “I’m about to send you 27 pages of edits.”  Jill Mansell, author of A Walk in the Park and other novels

‘”literary-commercial cross-over”: “Has a plot but not too many adverbs” Nina Bell, author of Lovers and Liars and other novels

“The manuscript is nearly finished”: “I’m up to chapter 3” Karen Wheeler, former fashion editor of a British newspaper and the author of Tout Sweet: Hanging Up My High Heels for a New Life in France and other books.

“The new Tom Clancy”: “Jane’s Military technical specifications with occasional action” Iain Paton, writer

“No woman has nipples like strawberries: “I don’t get out much” Martin Pilcher (Igor Zap), writer

“The novel never quite reached the huge potential of its promise”: “Your pitch letter was better than the book” Jonny Geller, literary agent

“Sorry but our list is currently closed”: “We are too busy chasing celebrity deals to bother with hoi-polloi”  Carole Matthews, author of Wrapped Up in You and other books

“There is such excitement in-house”: “My assistant loved it” Jonny Geller

“This novel really challenges convention”: “including spelling and basic grammar” Phoenix Yard Books, an independent children’s publisher

“This doesn’t fit in my current list”: “The restraining order is in the post” Cath Bore, writer

“We’re not sure a head shot will work on the jacket”: “Look in a mirror” Christopher Wakling , novelist

“We’ve changed the pub date to give the book the best exposure”: “We’ve f*cked up the schedule.” Jane Judd, literary agent

“You seem to have fallen through the net”: “We don’t send cheques unless we’re forced to.” Rosy Cole, author of The Wolf and the Lamb

“Your novel isn’t right for us at this time” = “or any time luv” Cath Bore

Janice Harayda has been the book columnist for Glamour, the book editor of the Plain Dealer, and a vice-president of the National Book Critics Circle. One-Minute Book Reviews is ranked one of the top 40 book blogs by Technorati and top 40 book-review blogs by Alexa Internet was named one of New Jersey’s best blogs by New Jersey Monthly.

You can follow Jan (@janiceharayda) on Twitter by clicking on the “Follow” button in the right sidebar.

www.janiceharayda.com

Backscratching in Our Time / Andrew Roberts and Simon Sebag Montefiore

The latest in an occasional series of posts on authors who praise each other’s books in reviews, blurbs or elsewhere

Historian Andrew Roberts on Simon Sebag Montefiore (on his website):
“The answers to these and a myriad other fascinating questions can be found in The Art of War: Great Commanders of the Modern World, a sumptuous chronological survey of the greatest commanders of the last four centuries. Compiled by an exceptionally distinguished team of historians (including such eminent names as Lady Antonia Fraser, Sir Martin Gilbert, Sir Alistair Horne, Michael Burleigh, Simon Sebag Montefiore and Richard Overy).”

Historian Simon Sebag Montefiore on Andrew Roberts (in the Wall Street Journal):
“My books of the year are Andrew Roberts’s The Storm of War, the best full history of World War II yet written …”

Read about other authors who are logrolling in our time.

Is American Library Association Ghetto-izing Black Authors?

Kadir Nelson, a four-time winner of the Coretta Scott King Award, lost the more prestigious Caldecott medal — again — on Monday

By Janice Harayda

Kadir Nelson may have won more honors than any of the most recent candidates for Caldecott medal, given by the American Library Association each year to “the most distinguished American picture book for children.” His paintings have appeared in museums and galleries around the world and on U.S. postage stamps, including two that celebrate Negro League baseball.

But when the ALA named the winners of its 2012 awards on Monday, Nelson didn’t get the Caldecott for his Heart and Soul, as many had expected. He won his fourth Coretta Scott King Award, which only black authors or illustrators may receive. The King award is a high honor but one with less prestige and impact on sales than a Caldecott medal. And Nelson’s award has revived a debate about whether the ALA is ghetto-izing the black authors and illustrators who qualify for the identity-based prizes that it gives out along with honors open to all. Are writers and artists who look like shoo-ins for a King award being denied the Caldecott and Newbery medals that can have a much greater impact on their careers?

The answer should be no. Library-association judging committees deliberate independently. And authors can win awards in more than one ALA category, as when Nelson received a King award and a Sibert prize for “the most distinguished informational book for children” for We Are the Ship. But the reality is less clear-cut, as the blogger and novelist Mitali Perkins noted in explaining why she hoped the library group wouldn’t create an award for authors of Asian descent like her:

“The existence of such an award for Asian-Americans may inadvertently or sub-consciously knock books out of the running for prizes like the Newbery or the Printz. (‘Oh, that title’s sure to be nominated for a Super Asian Writer Award …,’ said the committee member to herself as she crossed Kira-Kira off her list of finalists.)”

Such possibilities may involve a cruel paradox for black superstars like Nelson: The better those authors and illustrators are, they more likely they are to look like shoo-ins for a King award. And the less likely they are to get what they deserve, if judges subconsciously or inadvertently relegate them to lesser prizes. Nelson’s many nonlibrary honors don’t mean that he automatically deserves a Caldecott medal. Designing a postage stamp isn’t the same as creating a picture book that involves the flow of words and pictures.

But author Marc Aronson is right that the ALA is tumbling down “a very slippery slope” with its profusion of identity-based prizes. Aronson notes that when the ALA launched the King award in 1969, “no black artist or author had won major recognition from ALA (Arna Bontemps’s Story of the Negro, a 1949 Newbery Honor Book, aside), and there were relatively few African Americans working in the field.” That situation has changed greatly, he adds: The U.S. now has a “steadily growing group of African-American artists that every important publisher, large and small, seeks to publish” and independent presses devoted to their work. If the Coretta Scott King Award helped to change that, it has also brought new risks for black authors and illustrators and for awards judges. As Aronson notes:

“The danger in every award that sets limits on the kinds of people, or types of book, that can win it is that it diminishes the pressure on the larger awards, the Newbery and the Caldecott, to live up to their charge to seek the most distinguished children’s books of the year.”

In a post that predicted the 2012 Caldecott winners, the influential librarian and  School Library Journal blogger Elizabeth Bird wrote that “We all know that Kadir deserves to win one of these days.” It’s fair to ask: Would “one of these days” have arrived by now if the ALA hadn’t been able to give Nelson the Coretta Scott King Award?

This is the first of two posts on the winners of the 2012 Caldecott medal and the three Honor Book citiations. The second post deals with the shutout for women in the awards.

Jan Harayda is an award-winning critic and former vice-president for awards of the National Book Critics Circle. You can follow her on Twitter by clicking on the “Follow” button in the sidebar on this site.

Backscratching in Our Time — Lev Grossman and George R.R. Martin

The latest in a series of posts on authors who praise each other’s books in blurbs, reviews or elsewhere:

Lev Grossman on George R.R. Martin’s Song of Ice and Fire, which he ranked No. 1 on his list of the Top 10 Fiction Books of 2011 for Time magazine:

“The artistry and savagery of Martin’s storytelling are at their finest: he has seized hold of epic fantasy and is radically refashioning it for our complex and jaded era, and the results are magnificent. … in the realm of epic fantasy, there is only one true king, and it’s Martin.”

George R.R. Martin in a blurb he provided for Lev Grossman’s The Magicians before Grossman named him to the Time 10 Top Fiction Books list:

“These days any novel about young sorcerers at wizard school inevitably invites comparison to Harry Potter. Lev Grossman meets the challenge head on … and very successfully. The Magicians is to Harry Potter as a shot of Irish whiskey is to a glass of weak tea.

Via Ed Champion (@drmabuse) on Twitter.

One-Minute Book Reviews welcomes nominations for its “Backscratching in Our Time” series, which has included other prominent authors.

Part 2 – Reviews of 2011 National Book Awards Finalists — The Nonfiction Shortlist

This is the second in a series of posts that try to predict the winners of National Book Awards on the basis on online excerpts of the finalists. 

By Janice Harayda

How much do excerpts tell you about a book? A lot. But excerpts from nonfiction books are harder to judge than chapters from novels, partly because they may not show errors that undermine the whole. And the strength of the writing in work of nonfiction may differ from the quality or importance of the research. Who should win a literary prize: the author of a beautifully written book on a minor subject or a cliché-strewn one that breaks ground on a major topic?

Such variables suggest why predicting the winner of the National Book Award for nonfiction on the basis of excerpts is tougher than ranking the fiction candidates as I did on Nov. 2. One book shortlisted for the prize to be given on Nov. 16  looks like a nonstarter: Mary Gabriel tells the worthy story of the marriage of Karl and Jenny Marx in her dual biography, Love and Capital, but her writing doesn’t rise above the level good wire-service copy in five online excerpts.

Two other finalists have more serious problems. Deborah Baker rewrote letters that she quotes in The Convert — a book she calls “fundamentally a work of nonfiction” — and the liberties she took should have led to a disqualification by the sponsor of the prizes, the National Book Foundation. Judges also shoehorned in Lauren Redniss’s Radioactive, a graphic-format biography of Marie and Pierre Curie, which has art far superior to its text. The National Book Awards are based on the premise that authors should judge authors. If that’s true, artists should judge artists. And if the National Book Foundation wants to honor graphic  books, it should create a category for them. As it is, a victory for Redniss would turn the nonfiction prize into an unacknowledged art competition.

All of this leaves two finalists worthy of the award: Stephen Greenblatt’s The Swerve, which shows how a poem written in 50 B.C. anticipated 20th-century thought, and Manning Marable’s Malcolm X, a biography of the slain activist. Greenblatt writes more elegantly, but Manning’s book may be more important. American literature has needed for decades a biography that gives a more balanced portrait of Malcolm X than The Autobiography of Malcolm X, a work influenced by ghostwriter Alex Haley’s view of his subject, and Manning has written it. It’s harder to argue that the country needed Greenblatt’s exploration of De rerum natura, however admirable. So if excerpts are a barometer,  the contest for 2011 nonfiction prize looks like a two-way race between The Swerve and Malcolm X, with Manning’s book more likely to win.

More comments on the five finalists appear in the following slightly altered versions of Nov. 11 tweets. Each item below is a micro-review of one or more excerpts of a shortlisted book, supplemented in two cases by further reading.

Love and Capital Good story of Karl and Jenny Marx, wire-service writing. Grade: B Based on this excerpt and others.

The Swerve The most elegant finalist shakes the dust off Lucretius. Grade: A Based on this excerpt.

Radioactive Art far better than the text. Graphic books need their own NBA category. No grade. Based on the entire book.

Malcolm X Slow-moving but much needed antidote to Alex Haley. Grade: B+ Based
on this excerpt and and two more chapters.

The Convert A “fundamentally” nonfiction book that belongs on Oprah, not the NBA shortlist. Grade: F for judges. Based on 100+ pages of the book.

You can also follow Janice Harayda (@janiceharayda) on Twitter, where she will post other comments on the awards before and after the Nov. 16 ceremony. Jan has been the book editor of the Plain Dealer and vice-president for awards of the National Book Critics Circle.

© 2011 Janice Harayda. All rights reserved.
www.janiceharayda.com

How the Does the National Book Foundation Spend Its Money? The Cost of the National Book Awards Fiasco

What do you get when you donate to the nonprofit National Book Foundation, the sponsor of the National Book Awards? This week the answer is, “A financial stake in a fiasco.”

First the foundation mistakenly announced that it had selected Lauren Myracle’s young-adult novel Shine as a finalist for a 2011 National Book Award. Then the organization said that the book would remain on the shortlist despite the error. Now the foundation has reversed itself and persuaded Myracle to withdraw and accept the consolation prize of a $5,000 donation to a charity that she supports.

All of which raises the question: Can’t the foundation afford to hire staff members who can do better than this? You might think so from its budget. As a 501 (c) 3 nonprofit organization, the National Book Foundation must by law make its federal income-tax returns available to the public. And its figures show that it paid executive director Harold Augenbraum $196,964 plus $8,464 in additional compensation in 2009, the latest year for which its return appears to be available for free online. The median salary for a foundation director in the New York City area is $144,948 (and $122,113 nationwide), according to a survey by Salary.com. So Augenbraum earns at least $50,000 more than a typical peer even if he received no raise in 2010. The foundation also has a generous travel budget: It claimed $40,455 in travel expenses although its marquee events take place in Manhattan.

For that kind of money, the National Book Awards ought to be able to hire a director who can steer the program away from turbulence, not directly into its path. If the trustees of the organization don’t do this on their own, donors should demand it. The foundation must stop sending the message that with friends like the National Book Awards, authors like Lauren Myracle don’t need enemies.

A report by NPR has more on the debacle. I can’t link to the tax return mentioned above, but you can find it on websites that rate and provide free information on charities (search them for “National Book Foundation” and click on links to financial details). You may also request the return from the NBF or the Internal Revenue Service.  The compensation figures cited come from the  tax Form 990 filed by the NBF for 2009. You may be able to get the 2010 return by paying a fee.