Go for Broke: Break the Rules – Bev. Cooke

It took four years and three tries before “Street Kid, Subway Cat” was ready to send to send out. The story was based on my brother-in-law’s experience of befriending and domesticating a feral cat who lived in a New York City subway station. He named her Gidget, and we met her on a visit to my brother-in-law. Well, if you can call a middle of the night tromp over my calves and a panicked flight when I lifted my hand to pet her as “meeting” a cat – because she was the definition of “scaredy cat.”

The book about Gidget and her adventures had gone from a picture book, which felt too cloying and sentimental, to a young adult novel that was too short on both words and plot to a mid-grade novel that felt about right. I sent it to my dream publisher, took a deep breath and began to wait.

The editor emailed within the promised time, which is unheard of in the children’s literature (kid lit) market; it’s almost an unwritten rule they’ll take practically forever, but even so, she rejected it. But, again breaking unwritten rules, the editor explained her reasons. She said the book was neither one thing nor the other. It didn’t feel like a mid-grade. Some of the subject matter was too mature and it begged for more plot and conflict, or it needed to be shorter and simpler. She suggested that I either make it a picture book or a young adult. But thanks for submitting, and we’d really like to see more of your work.

I took my courage in both hands, said a quick prayer, and picked up the phone. I got through to the editor with no problem, another first in the kid lit market. Normally, editors only talk to writers whose books they’ve accepted, not to us wanna-bes. We discussed the rejection in more detail. I decided to go for broke and ask the big, forbidden question. In kid’s lit, you NEVER, EVER, EVER ask the editor to reconsider a rewritten rejection. Never. It’s one of the real, written down in stone and cast in concrete rules. You suck it up and send the story elsewhere. But, I figured, what did I have to lose? The press had already said no, and they had said they liked and wanted to see more of my work. So I asked: if I rewrote the book as a young adult, taking her suggestions, would she reconsider it? It took some persuasion, but finally, she agreed.

I sat down to the work. During the rewrite, Gidget, the inspiration for the book, came to live with us. As fearful as ever, she found a refuge under my desk by the hot air register and took up residence while I wrote about her alter ego’s adventures.

She dozed there, warm and comfy, as I broadened and deepened the story, discovered new characters and lived in that world so strongly that finishing work each day felt like more like entering a fictional world than returning to real life. I felt as though I knew Candlewax and Little Cat, the two main characters, better than I knew myself. I finished it, sent the manuscript in and began, again, to wait.

Again, within their stated response time, the editor called. Another rule in kid’s lit: editors only phone you to offer you a contract, never to reject. When I heard Ms. Editor’s voice, my hope surged, and my hand on the phone trembled – this had been a rule breaking experience so far. Was this phone call going to break another one? I could see the news flash: Editor calls to reject author’s novel! Story at 11! But while Candlewax, Little Cat and I might have been rule breakers, Ms. Editor wasn’t, at least this time: she offered me a contract. The book was released as Feral because, Ms. Editor said, she, the author and every character in it were feral rule breakers.

About Bev. Cooke

Rejection is a fact of a writer’s life, whether you’re sending out your first or 100th manuscript. Bev. Cooke knows this from personal experience but even so, she’s been lucky enough to have several things make it into the world. Her latest efforts are included in the women’s devotional, Darkness is as Light, edited by Summer Kinard and published by Park End Books. She’s working on her fourth Akathist and a fantasy novel for mid-grade Orthodox kids. She and her husband attend All Saints of Alaska parish in Victoria BC, Canada and are the
minions of Sampson, the household feline.

Rejection Letters: 5 Types and What They Mean

You work hard on your manuscript. The setting and characters are fresh in your mind, so clear that you have memories as if they are real people and places. You have the writer’s constant urge to TELL the story, to put words on paper that other eyes and hearts will see. It is so important to you that the publisher grasps what you communicated and finds it worthy.

But sometimes, that doesn’t happen.

There are many reasons why manuscripts get rejected. Sometimes, the writing isn’t good enough, but there are other more complicated realities. In a recent conversation, someone shared a comment they’d heard from a friend in the publishing industry. Not all good books are “good publishing.” For better and worse, publishing is a business. Personnel, paper, and presses all require financial support, and publishers need to publish books that sell. Publishers should absolutely take responsibility for their impact on market forces and their opportunities to influence culture. But they still can’t operate at a loss. What they can sell might not be the book you can write.

To survive as a writer (and as an adult human), you will develop emotional coping strategies. It’s my hope that your professional strategy will benefit from these perspectives on rejection letters, drawn from my experience and that of writers who kindly shared their favorite rejection letter with me for this post.

What kind of rejection letter is it?

Rejection letters come in many forms, but they seem to fall into five categories: total silence; generic, no details; personal, some details; second chance offers; and second chance rejections.

I personally have received all five types.

I also have 9 published or contracted books.

It’s important to remember that a rejection letter often tells you as much about the publisher as it does about your writing. If Charles Dickens submitted A Tale of Two Cities to a publisher of action hero graphic novels, he too would be rejected. The Bible is the only book that can truly be said to have the whole human world as its audience, and even that statement would be argued by millions. With that in mind, let’s consider the five types and what they mean.

Total Silence

Many publishers, especially the larger ones, note in their submission guidelines that they respond only if they are interested in pursuing publication. That means the vast majority of authors will never hear back. At all. The guidelines often tell you how long to wait before giving up. “If you do not hear from us in 6 months, you can assume we are not interested in publishing your book.”

So, you mark the date on your calendar that is 6 months from when you hit send, and when that date arrives with no response, you can consider yourself rejected.

This is unpleasant, but it’s a measure of the publisher’s size and of the avalanche of submissions that came in before and after yours. Some publishers that consider unagented submissions do so by adding them to a large file, where they remain unread except on those occasions when the publisher commands a staff member to dive into the large file and retrieve anything suitable for whatever project is afoot. The large file is deep and wide. The odds are not good. And the publisher does not have the time or personnel to respond to the thousands of authors whose manuscripts lie therein. Hence the policy of silence.

Generic, NO DETAILS

This type is a polite form letter. It comes from an actual human being, and it indicates that someone read at least a few sentences of your manuscript. Or the proposal. Or the entire proposal and a portion of the manuscript. They do know what you’re offering, and this is a time-saving way to say “Thank you, but no thank you” without troubling to spell out why.

Here’s an excerpt from an actual rejection letter I received from a small-to-midsize traditional publisher.

We have completed our review of the manuscript. We appreciate the time and creativity you have put into this work; however, we have decided not to accept this submission for publication, as it does not fit our current editorial needs.

This is from a Christian publisher, and you can see the writer took trouble to be kind. More often, generic rejection letters are like this one (also real).

Thank you for your submission. Unfortunately, at the moment we do not have room in our publishing schedule for it. 

This is still polite, but be honest – they would have room in the schedule if they wanted to have room in the schedule.

Generic rejection letters tell me one of two things: either I misjudged the publisher’s interests (“current editorial needs”), or the writing is not strong enough or appealing enough in their view to justify the effort and expense of publishing it (“we do not have room in our publishing schedule”). Publishing schedules do fill up. Thousands of manuscripts are submitted to thousands of publishers every year. But it’s a publisher’s job to sift those thousands, searching for the gold dust hidden in the sand. Sometimes, you just don’t sparkle the way they think gold should sparkle.

Personal, Some Details

If you’re lucky, the publisher will tell you why you are being rejected. This is a gift. Read their words and take them to heart. You may disagree, but don’t fail to value the glimpse of your writing as someone in the business saw it. Almost always, you can learn from a professional who takes the time to coach you.

I’m delighted to share a sample of this type provided by a published author, who we’ll call David Taylor. David recounts the following experience which occurred while David was querying agents for a fiction manuscript. David writes:

I was querying with my second novel and having no luck when a Manhattan literary agent with an impressive list who had the first 50 pages requested a full. Two weeks later, I received a three-paragraph critical rejection that pointed out my main problem: “You’re a strong writer with a compelling story. Reading on, we were disappointed to find that you kept us at a distance.”

A three-paragraph critical rejection is amazing. It’s a mini-critique group just for you, and it’s a sign that although you are being rejected, the agent or publisher thinks you show enough promise to be worth coaching.

Think hard about the advice you’ve been offered. Will it help you achieve your goal for this manuscript, or is it simply a more detailed explanation of why you should apply elsewhere? In some cases, you can incorporate that advice and submit your revision for a second chance.

Second-Chance Offers

On occasion, a publisher will reject the manuscript in its current form but extend a second chance. They’ll explain what it would take for the book to succeed and give you the option to make those changes.

As with David’s letter above, your next step is to decide if you want the second chance. What are you being asked to do with your manuscript? Will the changes improve it, or do you feel you’re being pressured into something that doesn’t match your goals?

If you decide to try for the second chance, follow the directions. You’re asking the publisher to reconsider, so you need to prove you can be coached and that you’re capable of producing what they want.

This process can take patience and a sense of humor. My first children’s chapter book began life as a short story that I submitted as a picture book. The picture book was rejected, but the editor thought the story might work as part of a collection of short stories for children. I wrote and submitted the collection. The editor responded that the acquisitions board didn’t want a short story collection; the board wanted a chapter book of the same length with one story arc through the whole book.

I considered banging my head on the wall.

Instead, I pulled one of the stories from the collection and expanded it. That story was finally accepted for publication.

Second-Chance Rejections

A second chance doesn’t guarantee acceptance. Your revised submission may prove to the publisher that you aren’t a good fit for their market, or that you haven’t taken their direction in the way they hoped. The person who read your manuscript the first time may no longer work there, or someone else may have submitted a book they like better in the meantime.

This type of rejection is final. You had a chance, and it didn’t work out, and they don’t want to see a third version of your book. Respect that. Look for another publisher, consider self-publishing, or sit down with coffee and quiet to rework your manuscript.

If you’re fortunate, you’ll get good feedback in the final rejection letter. I recall one such letter I received about a decade ago. The editor offered a second round of criticisms, some that had not been mentioned the first time and therefore were not addressed in my revisions. The letter closed with some tough love: “I have no doubt you have another great book in you. This may not be it.”

What can we learn from rejection?

Rejection is not final. It is not the only possible opinion of your work, but neither is it worthless. Don’t let it kill you, but do let it teach you. In time, you will learn to distinguish between usable criticism that can improve your writing and rejection that simply means the publisher or editor is not your intended audience.

My friend Phoebe, a published author and established blogger, gives the best advice on submitting writing for publication. “I always keep in mind a fallback option,” she says. Decide before you submit the manuscript what else you can do with it. What’s the next publisher you will try? Where else can you use that writing – on your own blog, a friend’s blog? If you have a plan, it will remind you that rejection isn’t final. It’s the next step on your path, and you’re ready for what comes after it.

Bev. Cooke, another published friend, will be sharing a story on this blog soon about a rejection that led to something better. Rejection is only final if you let it shut you down. Don’t fear it. Take it in, break it into parts and analyze what it means and doesn’t mean, and then proceed with your plan.

Never forget that rejection is part of the writing life. Walk through a bookstore, staring at the loaded shelves, and murmur to yourself, “This author got rejected just like me, and now she’s published. This one, too. And this one. He got rejected, and he kept going. I can too.” It’s encouraging, and it’s also true.

I’d like to close with a wonderful rejection letter shared by Steve Robinson. He even sent a photo of the letter, which he framed and hung on the wall.

Steve says:

I still have my first rejection letter framed (and my first acceptance letter). The book sat at Multnomah for months going through rounds of meetings before I finally got this. I was appreciative of the “complimentary rejection” because it told me I was on the right path. Most publishers just send a “form rejection” with no input unfortunately. (It eventually got published as “Lord of the Hunt and Other Tales of Grace).

That’s how to make meaning out of rejection. Be grateful for the criticism, and read between the lines so you know when you are on the right path.

4 Publishers Accepting Submissions for Orthodox Children’s Books

Do you write Orthodox Christian books for children? Are you a new writer wondering where to submit your manuscript? Are you a previously published writer who needs another outlet for her work?

This post is for you! It’s the information I wished for when I first approached the Orthodox publishing world, and several times since.

As the market for high-quality Orthodox children’s books expands, so do the number of publishing options for writers of these books. Publishers watch what sells to understand what needs are being met, and what needs are being expressed but are not yet met. A book purchase is a vote for the book being purchased and, indirectly, for other books of the same type. This is as true in the Orthodox world as it is in mainstream publishing. It’s encouraging to observe the upward spiral of demand for Orthodox children’s books and publication to meet that demand.

WHY DOES THIS LIST MATTER?

My childhood and my human identity are firmly rooted in the stories I read and loved. Those memories begin before memory. I can’t remember a time without books, without someone reading to me, and then without my own endless adventures through the printed word. I believe faith and imagination are strongly bound, so I want the number of good books – faithful, beautiful, funny, poignant, and beloved – to grow and grow.

In addition, as a writer, I want the blessing of multiple options when it’s time to submit a manuscript. Writers write. We grow, we change, and we write some more. Publishers release a limited number of books each year, and competition for those spots is fierce. The more publishers are accepting submissions, the better chance we have of being published.

BEFORE YOU SUBMIT YOUR BOOK PROPOSAL…

All publishers are different, but in more than a decade of writing books for publication, I’ve learned that some things are consistently true, no matter which publisher you are considering.

1 – Read the submission guidelines. No, really. Read every single word. The company wrote those guidelines to ensure submissions will have the best possible chance of matching their requirements. Do you want the best possible chance? That means knowing EXACTLY what the publisher wants and doesn’t want.

2 – Follow the submission guidelines. Having read the directions, your next step is to follow them. In most instances, the first person who sees your submission when it arrives at the publishing house is an editor. Editors are detail-oriented, educated, word-smithing, book-loving, and generally strong-minded people. They work hard and will bless you for making things easier for them by following the guidelines. The guidelines can also help you discern whether your book is a good fit for the publisher, and whether the publisher is a good fit for you.

3 – Explore the publisher’s website BEFORE deciding to submit. Visit their webstore. Browse the entire collection of books for children, including those they choose to sell that were released by other publishers but focusing especially on their own line up. Be a good observer. Watch for trends. Compare your proposed book with what you are seeing. Does it fit in? Do they already have four other books on the same topic? If you don’t see anything that looks like your book, is that because you would be the first to fill a real need, or because they wouldn’t see a need for your book? Take your time with these questions. You might need the answers as you craft your proposal.

4 – Always have a back-up plan. This piece of excellent advice comes to you from my friend Phoebe at Being in Community. When you submit a manuscript to a publisher, you should be thinking about what you’ll do if the publisher says Yes! But you should also have a plan for that book’s next step if the publisher says No. I’m working on another post about rejection letters, so that’s all I’m going to say about this here.

THE LIST

Here it is! Note – you do not need to be represented by an agent to submit to any of these publishers. The information given below is drawn from personal experience and from contacting the publishers directly. In each case, you’ll find the publisher’s website, a link to their submission guidelines, and some notes on what the publisher is looking for, together with anything I’m able to add from my own experience publishing with them.

Ancient Faith Publishing

This is the publisher I know most about – both as an author and as an employee! I’ve seen the whole publishing process at Ancient Faith from both perspectives. I’ve had manuscripts rejected and accepted by them, and I’ll always be thankful for what I’ve learned from their editors.

You can find Ancient Faith’s submission guidelines HERE. The guidelines include descriptions of what Ancient Faith is looking for and specific directions for submitting each type of book proposal. You can find the children’s section of the Ancient Faith Store HERE. Ancient Faith accepts and reviews submissions on an ongoing basis; there is no submission deadline.

Jane G. Meyer, the children’s book project manager, explains, “We want those projects that have so much Orthodox Christian flavor that other secular or religious publishers probably wouldn’t be interested in them. We also want submissions to come in that have been worked and reworked–that are free of obvious mistakes, and have been edited and revised for style. The stronger a piece is on the first read, the more likely it will move forward in the process.” She adds, “The best way to gauge what books we want is to look at the books we’re currently publishing. Our catalog is a good indicator.” 

SVS Press

St. Vladimir’s Seminary Press published their first board book this year – Saint Ia Rides a Leaf, by Melinda Johnson (yes, me!), illustrated by Kristina Tartara – and Kristi and I are already contracted for a second board book with them. SVS is returning from a hiatus in children’s publishing. You’ve probably seen some of their older children’s books, many of which are still in print, but this is a season of change and development for them. It’s a fun time to jump into the line up.

You can find the SVS Press submission guidelines HERE. You can see the children’s section of the SVS Press Bookstore HERE. SVS Press reviews submissions at quarterly acquisitions meetings. The dates of the meetings and the deadline for submissions for each meeting are listed with their guidelines at the link above.

Sarah Werner, chief marketing officer for the press, offers this perspective: “SVS Press has long been seen as an ‘academic press’ and we are proud to carry that title into the future. Though, our renewed vision is to not just be an academic press for scholars alone. Our goal is to provide scholarly theological texts, quality translations of patristic writers, as well as quality theological material for ALL ages and walks of life. Our children need quality theological works just as much as adults! We are always looking for Orthodox writers and illustrators who are able to create and tell stories of our faith that are appropriate for little eyes and little ears. We are looking for material that accurately teaches children about our faith and inspires lifelong engagement with and love for God and His Church.”

Park End Books

Park End Books is a newcomer in the Orthodox publishing world. It’s a well-organized effort and already bringing books to market. I encourage you to visit the website to learn more about the company. Its advent is a positive sign of the market’s growth and a welcome new option for writers in search of a publisher. I recently received a contract from Park End for a children’s chapter book that will release in late summer of this year, and to date, I have been thrilled with the process. Summer Kinard, the founder and senior editor, was an author before she was a publisher, and I’ve noticed many aspects of the Park End experience that benefit from her dual perspective.

You can find the Park End submission guidelines HERE. Note that Park End accepts submissions at specific times, so be sure to watch the website for updates. You can see this new company’s growing webstore here.

Asked about Park End’s plans for children’s books, Summer reports, “We are planning three board books for the coming year as well as [my book, mentioned above]. For board books, illustrations are a big deal. We’re commissioning one, and two are from an author-illustrator team with a cohesive style. Our 5-year plan includes getting our books into mainstream bookstores, so we favor books that will reach beyond our target audience of Orthodox readers by tapping a broader cultural need. Our main goals are accessibility and beauty, and we love diverse voices and stories. We’re happy to accept Byzantine Catholic, Western Rite Orthodox, and Coptic Orthodox manuscripts, too, since our niche is meant to bring our whole corner of the church into the public awareness by getting into Barnes and Noble and other bookstores.”

Paraclete Press

Paraclete Press, in their own words, publishes books that present “a full expression of Christian belief and practice—Catholic, evangelical, mainline Protestant, Orthodox…” This means that Paraclete books may reach different readers than some books released by other publishers on this list, and that the staff you work with will be from a variety of faith backgrounds. Paraclete Press published my first board book, Piggy in Heaven, and I found them to be friendly and professional. The finished book was sturdy and adorable.

You can find Paraclete’s submission guidelines HERE. You can see the children’s section of their store HERE.

Publisher Jon Sweeney notes, “Children’s books are essential to our publishing, even though we only publish two or three per year. And we focus mostly on saints, holidays, and seasons of the church year.”

DID I MISS ANY?

If you know of any publisher of Orthodox children’s books who is currently accepting submissions but does not appear on this list, please post that information in the comments. We all want to hear about it!

God willing, this list will be twice as long five years or a decade from now. In the meantime, I wish you the blessing of time and strength to write, patience to persist, and the pure delight of seeing your published books in the hands of happy little readers.

Still True: Lent for Creatives

Two years ago, a half-decade of observation boiled over the rim of my mind into a list of 5 hard lessons I’ve learned about creativity, publishing, and success in the Orthodox media field. I wrote out my list for the company blog in Lent 2018, and because all 5 are still very true, I’d like to share them with you here also.

Lent for Creatives: 5 hard lessons

At Ancient Faith, we believe that the spiritual life and the creative life are woven together. The fact that we are an Orthodox Christian media company is proof of this conviction. We exist to promulgate the Gospel through the work of people who use their creative gifts to affirm and explore the life of faith, in the persistent hope of edifying and encouraging our fellow human beings on their journeys.

During this Lenten season, we are all engaged in spiritual struggle of one kind or another, and it seems a good moment to share what I’ve learned in the last five years about the intersection of creativity, struggle, and media publishing. With this goal, I’ve created a list of five hard lessons we all seem to encounter on our way to producing high-quality books and podcasts. If you have already been published, this list will be familiar. If you are still trying to be published, it may be even more familiar! I pray it will be helpful, no matter which side of that fence you occupy.

don’t be an “idea person.”

Almost nothing will shut you out faster than those fatal words – “I’m an idea person.” Many people describe themselves this way, and in our experience, an “idea person” is one who can come up with an endless list of inspiring suggestions but is not able to follow through on them. An idea is like a flame without a lamp. It burns brightly and then vanishes, unless you provide a wick, some oil, and a vessel to hold the oil. Your idea needs a plan. It needs background research. It needs the ability to make and meet deadlines, foresee and overcome obstacles. You and your idea both need a significant amount of staying power, so that your publisher knows you will put in the effort to bring your idea to life – real life, enduring life, the kind of life that will justify the expenditure of staff time, resources, and just plain stamina required to publish a book or produce a podcast. If you were telling yourself that you could hand your idea to a publisher and staff members would provide the wick, the oil, and the lamp, please stop. No publisher can or will be a replacement for the diligent effort you should have dedicated to your idea before we ever heard of it.

KEEP READING HERE FOR LESSONS 2-5.

Board Book Contract with SVS Press

I am SO happy to announce that in company with talented illustrator Kristina Tartara, I have signed a board book contract with St. Vladimir’s Seminary Press! God willing, the book will release the Fall of this year.

Now that I’m blogging again, I’m going to enjoy musing and reveling my way through the publication process. I adore books with pictures, and I will never, ever get tired of the magic of writing a book and seeing it illustrated. It is one of the world’s great enchantments, for me. Kristina has already sent me a few tiny sketches – just lines, already full of character and humanity. It is WONDERFUL.

Board books are like word puzzles, I find. You have a story, and it may be quite large. The setting includes oceans and mountains and multiple human beings, and there are sounds and feelings and layers of meaning, and all of this? All of this. All of this must be poured into 300 words. 300 tiny words. So first, I write the story, wandering around it in my head, letting it be the words it can first lay hold on, and then I go back and shave off words. Polish. Polish. Polish. Words fall off like wood shavings, and the story grows clearer as it grows smaller. At last, it fits into those 300 chosen words, and I am satisfied.

Sometimes, the story happens in 20 minutes. Sometimes it steeps in a misty corner of my mind for months before it arrives.

And now, with 300 words and the clear visions of the inward eye, I let go of it and Kristina’s inward eye and skillful hand bring it to even greater life.

I love this.

I’ll be sharing the story behind the story, the main character, the history, the setting, the illustration process, and all the fun we have after it gets published. But for now, I will leave you with a hint.

Here is a picture of the location where the story is set. Can you guess where this is? Have you been there? Of course, you have to imagine away the houses. They were not there at the time…

The Time Value of Literature

“A classic is a book that has lasted more than 100 years.” –

Famous Person Cited by English Professor Too Long Ago to Remember

But the forgotten famous person has a point.

Today at work, I was talking with someone about a writing project she’s considering, and two books published several years ago came into the conversation. “Of course, they wouldn’t be published now,” I remarked. Times have changed, the publisher’s needs have changed, what the market is reading has changed…the list goes on.

My subconscious mind must have thought this was interesting because the topic recurred in another guise while I was scrubbing a saucepan after dinner.

It began with recollections of a picture book my mama read us often when I was a little girl. The book is called Supposings, by Johanna Johnston, Pictures by Rudy Sayers. See? That’s already something different. Picture books now say “illustrated by” on the cover. Why did that change, I wonder? Is the word “pictures” too specific, or not specific enough?

Everything about this book reminds me of my 1970s childhood. I remember it being read to us, I remember the sunlight inside the rooms of our house and that soft “nap-time-soon” quiet feeling of cuddling on the couch with wiggling siblings, staring at pictures, pointing at things at will, floating along in the sound of our mother’s voice.

The colors in the illustrations and the style of them remind me of the curtains on the landing and a wool plaid vest my mama sewed that still hangs in my closet, simply for love.

I love this book. But if Johanna and Rudy submitted it now, would it be published? Would it be hard-back? (I don’t like picture books to be paperback. Thin and flooooppppy.) Would this simple, childlike journey through an afternoon of daydreaming be considered a plot? The illustrations would be different, wouldn’t they? Even art for children follows trends. Are those trends set more by adults, or by the shifting landscape of a generation raised in front of screens?

Supposings was published by Holiday House, Inc., in New York, in 1967. There was no such thing as self-publishing in those days. That means a New York editorial staff thought this book was a good risk. Would they now?

What was the competition like back then? Were publishers swamped with submissions the way they are now? Perhaps they thought they were, but could their swamp compare with the tsunami made possible by personal computers, internet research, and the lure of social media stardom?

Years ago, my Daddy explained to me what he meant by “the time value of money.” He told me that even if I have a million dollars, if it hasn’t been paid to me yet (or it’s tied up in a trust fund or etc. etc.), then it’s value is changed. A bird in the hand is worth two in the bush.

Is there a similar principle for literature? To me Supposings is a classic because it is lovingly bound to a host of childhood memories. My objective analysis of its literary worth will be quite subjective, no matter what. Love is not blind, but sometimes love is not seeing the same object that everyone else is.

Would it be easier to evaluate the lasting literary contribution of a book for adults? I’m not sure. Novels go out of style. So do self-help books. Medical advice? Goodness yes! But at some point in all this analysis, one must confront the reality that a change in criteria is not always a change for the better. Before we can finish judging a book that wouldn’t be published if it were submitted today, we can’t avoid asking whether it should be.