Publishers Don’t Want Good Books

This conversation has happened at every agency in the world (particularly in the kids and teen department).

Agent 1: I’ve got a new project.

Agent 2: Yeah? How is?

Agent 1: It’s good.

Agent 2: Good?

Agent 1: Yeah, good.

Agent 2: Oh…Damn.

Agent 1: Yeah.

Agent 2: *Sips martini* That’s too bad.

Agents, editors, and maybe you, the author, know the curse of the “good” book. The book that’s perfectly fine, that works, that tells an interesting story, and that is, sad to say, darn near unsellable. The rejections often contain phrases like “didn’t fall in love,” or “just didn’t feel strongly enough,” leavened with genuine compliments about the writing or characterization. After years of learning the craft of story and voice, you’ve finally created a nearly flawless novel, one you know is as good (heck, better!) than a lot of stuff on the shelf. And it just…doesn’t…sell.

What’s going on here? Are publishers just crass, cowardly, visionless hacks who take pleasure in crushing the dreams of talented writers, refusing to give even promising careers a chance to get started?

The answer, of course, is no. Nobody is more motivated (apart from the author) to see a book succeed with flying colors than publishers. Believe me when I say us soulless agents and our human counterparts- editors- are wishing and dreaming as hard as you for that Newbery Medal, the debut on the New York Times Best Sellers list, the book signing line that wraps around the block.

It pains me to say it- and it pains all of us in publishing, I promise you- but there typically just isn’t room for “good” books. Publishing is an increasingly competitive space. More and more people want to be published, and the standard for what constitutes a “success” gets higher every day. Publishers have limited space on their lists, and so each novel has to be more than good. It has to be something special.

Of course there are many kinds of special. Natalie Babbitt’s Tuck Everlasting, Nicola Yoon’s The Sun is Also a Star, Chris Grabenstein’s Escape from Mr. Lemoncello’s Library, Victoria Aveyard’s Red Queen– four completely different novels, with pretty different audiences, and they all have something in common. These are novels that demand you sit up and take notice. They are more than just functioning stories. They refuse to be ignored.

When I say publishers don’t want good books, I don’t mean they’re after bad ones either. Nobody is more passionate about compelling fiction than your friendly neighborhood editor, whether the novel in question is a beautiful, heart-breaking, cry-on-the-subway coming of age, or a heart-pounding, unforgettable, so-damn-sexy-you-need-a-time-out fantasy, romance, or action/adventure. Though you may have found writing on the shelf at Barnes & Noble that makes your skin crawl (in the bad way), fiction is a subjective business, and I guarantee that even if it isn’t your brand of beer, every novel published made someone, somewhere, feel something profound- whether it was excitement, intrigue, or love.

Awesome, thanks for that John. Of course I want to be better than good. I want to be special, too. So what do I do?

My advice to my clients, to all novelists (and to myself), is always the same: push yourself. Don’t settle for your first idea, or even your second. Don’t stick with a project simply because it’s written, when you know rewriting or moving on to the next thing will be even better. Can you tell a story? Great. Now ask yourself, why does my story need to be told? What about it is new, what about it pushes boundaries? What about it has, at least, the potential to change a person’s life?

Teens need you. Teens need writers. I know I did. Novels saved my life, and I am one of thousands in that club. So be fearless. When you tell someone what your story is about, what’s their reaction? You want “Wow,” you want, “Oh my goodness, really?” You even want, “You can’t write a book about that!”

We’re all striving to do something great, and most of us ultimately land somewhere between where we started and the stars. If you want to be a novelist, you have to want to be the best novelist, or you’ll never get off the ground. As maddening as it can be, I’m glad the publishing biz is so competitive. It pushes us to be more.

So get good, write a good novel, hone your craft until you are a master of structure.

Then start again.

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