"None of us is as smart as all of us." Japanese proverb
|Harriet, Susan and Edda|
A year to the date we first started discussing collaborating on a book, Slants of Light, the Women’s Writing Circle anthology, debuted. It was like planting a seed and you weren't sure if it would grow or how strong. None of us could have done this without the other.
We formed a core committee to make joint decisions about organization, strategy, and implementation. None of us had done anything like this before and truthfully, I don’t think any of us had a clue how much work it would turn out to be, which is probably for the best.
Our committee consisted of four people, Edda R. Pitassi, Sharon Keys Gray, Harriet Singer and myself. Those three dedicated themselves tirelessly to this project. I am forever in their debt.
We spent many afternoons seated around my kitchen table planning, organizing and developing this book, drinking coffee and cranberry juice, munching on fruit, cheese and crackers . . . laughing, sharing, just getting to know each other. We came from diverse backgrounds; memoir, poetry, journalism, some of us working, some retired, all dedicated to one creative goal. We knew we were creating something bigger than ourselves and on us rested the hopes of 11 other women to produce as beautiful and readable a book as possible.
We spent hours poring over anthology collections, studying how others had done it, what fonts and designs they used to make their book stand out; cover and title. You really have to do your homework if you’re going to self-publish a book. This is my third self-published book in three years and publishing an anthology was a far different experience than going solo. I'm still learning as I go along and publishing is changing at lightning speed. It leaves you breathless. When you're collaborating on a book, you have to listen to everyone, consider all the input, make compromises. I learned I was pretty good at organizing and motivating other people to keep this project on track and meet the deadlines in the contract we crafted. A learning experience, for sure.
A contract: It's essential! This way there is no guessing game, no last minute, “But you didn’t tell me that!” from anyone. So what goes into a contract? Details, details and more details. Stuff that takes away from your creative time, which is working on your writing. But it’s got to be done. And everyone has to sign it.
Fee: Each woman paid $100 for her submission/submissions.We created a separate bank account to deposit the funds to pay for the editor, the cover illustrator, the printer (CreateSpace). Everyone got to own the copyright to their particular story.
Submission: Limit two per writer. Contributions could not exceed 5,000 words. Looking back, I would limit to 4,000 words.
Craft a purpose of intent: The anthology is intended to reflect our best creative efforts to share, connect, motivate, reward and reach out. We hope our contributions will add to the widest possible range of experiences and perspectives from our lives and memories. We approach this project in the spirit of goodwill, and we view the project as a collaborative effort. We understand that our book - the final product - will be richer and greater than our individual stories.
Editing: Everyone agreed to editing by their peers through critique sessions and the core committee and this was spelled out in the contract. Still, editing ruffled feathers to the extent that three writers dropped out. We kept the project open to anyone who wanted to submit, but they had to agree to editing. The committee had the job of hiring an outside editor who would have the final word on content editing and sequencing of stories and poems in the book. If the contributors didn’t accept editing, they were out. No ifs, ands or buts.
I want to thank my friend and fellow writer, Melinda Sherman who I met at an IWWG Conference at Yale in 2011 and who agreed to be our editor. She was awesome and we couldn’t have done it without her. She retitled many of the stories and poems to make them more compelling to readers.
Melinda had worked as an editor for years for McMillian and for Scholastic. A pro. She was objective and had the final word which took the burden off me. As creator of the Women’s Writing Circle, I have a dual role, which is writing coach and teacher. I did not want to muddy the waters with being the one to say, “Hey, this isn’t going to work!” I figured, let Melinda handle that, including editing the two stories I contributed to the anthology.
As a former journalist, it always surprises me how resistant some are to editing, even the smallest tweak of their work. If I had said ‘no’ to my work being edited, I wouldn’t have lasted a day in the newsroom. Not to mention, I wouldn't have had as good or as polished a piece, which is what all writers should strive. You have to put your egos on the backburner to the extent that you realize you're working on a collaboration here and one story and one poem flows into another and if one doesn't work, then the reader is going to stop right there and put down the book. Fortunately, the women who stayed with the book over the summer and fall of 2012 worked hard to incorporate the editing and make the deadlines we had set for final submission. In the end, I think all were grateful for the time and attention we took on each and every story. And as it turned out, we had a wealth of talent. All we needed was a little molding.
Title: Do your research and pick a title not already used. The committee’s selection of Slants of Light was based on a couple factors. No other book had the title (and adding the subtitle helped) and we love the Emily Dickinson quote that spoke to that theme and the theme of our book. Titles we rejected: Lighting the Candle (connoted a religious message); Pastiche (not everyone familiar with the word).
Hiring an illustrator:
The committee felt hiring someone from the local area
made sense and was consistent with a
collaboration of women from the Philadelphia area. Jane Choc came to the Circle one day. She was an illustrator, but I think she was interested in writing children's stories. We wanted a unique cover that
reflected an image of the Circle with slants of light coming in through the window behind the women. She
said she could work from photographs I had taken at readings at the bookstore and create a cover from those.
Jane also created five lovely pen and ink drawings that spoke to the
themes in the anthology: childhood, motherhood, aging, career and relationships. They're a terrific addition to the book and help break up all the text.
Marketing and publicity. This is important so no one person gets stuck with all the work. Creative people don't like the practical aspects of selling a book, but, unfortunately, it's necessary or your work ends up in obscurity and then it's all for naught. In the contract each woman agreed to actively participate in the marketing and promotion of the book. This included but was not limited to social networking, book signings, readings, and “meet and greet” the authors at local events. I'll keep you posted on how that's going!
A lot more went into the anthology; the angst and the frustration that comes with the whole ball of wax - writing and producing a book, no literary agents, no traditional publishers, just your own belief on a wing and a prayer that you've got something to say and you want to share it with an audience before you turn too old to speak anymore! If you have to work hard at something . . . really hard. . . then why not at something you're passionate about? Something that at the end of the day all of us can call our own.