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Posts Tagged Parts Per Million
This week I’m interviewing Laura Stanfill, author, all-round literary citizen and founder of the literary imprint Forest Avenue Press in Portland, Oregon. Part 1 is here. Part 2 is here. This is Part 3. Find her on Twitter as @ForestAvePress
Roz Do you have staff?
Laura I don’t have a staff, but I have some wonderful editors, advisers, submissions readers, and a top-notch graphic designer, Gigi Little @gigiblittle , who has been with me since the earliest days. She created our gorgeous logo, and I love the aesthetic she brings to our covers. They’re unlike anyone else’s covers, and recognizable as ours. My editor-at-large Liz Prato is an invaluable team member who helps with building camaraderie among our authors as well as with submissions, social media, big-picture decision making, and organizing us to celebrate milestones. Everyone interested in learning more about submissions—and what not to do—should follow her on Twitter @liz_prato .
Roz What’s a typical day (or week or month)?
Laura Forest Ave is run from my office in the basement and my kitchen table as necessary. Sometimes from the couch. I spend a lot of my time emailing with other publishers and authors, helping them with questions or questions of access. In any given week I:
- Help other publishers, or other publishers’ authors, because a few minutes of my time can help others succeed
- Send out ARCs of upcoming titles
- Communicate with multiple authors about where their titles are in the publishing process
- Set up interviews, excerpt placements, etc.
- Reach out to booksellers
- Design, whether it’s promo materials or upcoming titles
- Work on backlist titles
- Work on my own writing
Roz How much editorial work do you outsource?
Laura I outsource covers, copy editing, and ebook production; I do the rest in house because of my newspaper background. I used to teach QuarkXpress to newsrooms with a focus on time-saving shortcuts, so it wasn’t too much of a stretch to teach myself InDesign.
I have long lead times for each title because my sales reps want advance copies, marketing data, blurbs, and other metadata nine months before pub date. I also have a higher risk on each title, because distribution is expensive, we need to print a lot more advance copies than pre-distribution, and we have higher print runs than when I was selling books out of the back of my car.
Roz How many submissions do you get a month? How much time do you devote to looking for new material?
Laura I am officially closed year-round except for a period of weeks each year. Our most recent open submission period was four weeks, and it closed in mid-March.
Roz Do you read all the submissions yourself or do you have a team?
Laura We gather a committee of eight (or more) women readers to help us make decisions. We give as much personal feedback as we can, since we gear up for this intense period. Moreover, we only publish two or three titles per year, so it doesn’t make sense to be open when we don’t have any slots in our catalog to fill.
This schedule also allows me to do the volunteer outreach I am so passionate about, helping mentor other presses and answering questions from authors who aren’t mine. That’s time I would otherwise spend combing through manuscripts. Occasionally I take a look at manuscripts when we’re closed—often from agents who have a strong sense of our brand or who have connected with me personally. And I keep a shortlist of possible acquisitions at all times—those books that almost made it, or would have made it if I had more openings.
Roz What’s been been successful for Forest Avenue? I’m thinking many readers here might be prospective Forest Avenue types…
Laura We’ve had success lately with shorter titles with some magical elements—playful, joyfully written manuscripts that don’t fit into a neat literary fiction box. Our bestseller is actually a regional short story anthology, City of Weird: 30 Otherworldly Portland Tales, which received a lot of love from local booksellers and continues to sell to locals and visitors.
My sweet spot for length is 60,000- to 80,000-words. But in 2018, we have two novels that are longer than 100,000 words. Parts per Million is an activist novel, set in Portland, Oregon, and a finalist for the PEN/Bellwether for Socially Engaged Fiction. The Alehouse at the End of the World by Stevan Allred—out in November—is a comic epic set on the Isle of the Dead, which is ruled by six-foot talking birds. It’s the most fantastical of all our fiction to-date, while Parts per Million fits more into the category of recent historical fiction, which we established with Ellen Urbani’s Landfall in 2015. Landfall is set in the South during the aftermath of Hurricane Katrina, and it was our bestseller for quite a while.
Roz Are there any common features of books you reject?
Laura I avoid misogynistic protagonists in fiction, even if the character grows into himself and changes throughout the course of the novel. There’s too much of that material in the world already.
Roz Should an author get their book professionally edited before submitting to you?
Laura We work very closely with our authors over multiple revision passes. That being said, authors have one chance to capture a publisher’s interest, so we highly recommend submitting polished manuscripts. Others’ input, whether it’s from a critique partner, a writing group, a teacher, or a professional editor can help writers put their best work forward.
Recently at a conference, I met a woman whose manuscript came quite far in our recent open submission period; I was astonished that she hadn’t workshopped the book, hired an editor, or worked with beta readers. What she accomplished without that outside perspective was phenomenal, and I immediately started introducing her around to writers so she can start building community. I have no doubt that with some revision, she’s going to find a place for this book in the world. It was so well-written and original.
Roz What’s your view of creative writing courses?
Laura I am a do-it-yourself publisher, and I founded my press without studying publishing or getting my MFA in creative writing. There’s no wrong way to become a writer, but I don’t think there’s one right way, either.
Roz I’m not sure if this will be a welcome subject or not, but many fine authors are now selfpublishing. The tools are mature and sophisticated, and some beautiful books are being produced. What do you think a publisher does that authors can’t do by themselves?
Laura When authors ask me this, I tell them to dig deep into why they want their book out, whether they have a specific timeline, what they want the publishing experience to be like, and if they are comfortable with creating and implementing a comprehensive marketing plan. It’s also important for self-publishing authors to set a timeline that allows for ample pre-publication publicity. All of that is doable.
Author Joyce Cherry Cresswell self-published after we had coffee and talked about her goals. She used Indigo: Editing, Design, and More, which is a Portland-based, woman-owned, full-service editing business, to polish and publish her debut novel. A Great Length of Time became the first self-published book to win the Oregon Book Award in fiction.
When I publish a book, an author gets years of my dedicated time and attention, developmental editing, a cover by an award-winning designer, hundreds of galleys sent to hundreds of booksellers and reviewers, high-quality photographs of any events I’m near enough to attend, and sometimes snacks from my purse. I also organize launch events, print postcards, advertise, and act as a publicist and author coach, especially for debut titles.
Plus Forest Avenue has a national and international presence, not to mention full-service distribution, which means we get books on shelves, and we can reach far beyond the author’s personal contacts.
Roz As I said in my comment on the previous post…
But we mustn’t lose sight of the fact that you also write. Tell me about that. Are you working on a book at the moment?
Laura I write literary fiction and am represented by Laurie Fox of the Linda Chester Agency. And yes, I’m always working on a book! Or two. I am polishing the latest draft of my novel, and I earned a residency in September at the Mineral School in Mineral, Washington, to dig into a new project.
Roz You have an agent … is it too obvious to ask whether you’d ever publish your own work?
Laura I get this question all the time! And I’ve thought about it. After all, Forest Ave gets books on the shelves of indie bookstores, and when I break down the writer dream I’ve had my whole life, that’s the key component. Discoverability. Shelf space. Doing events at bookstores.
And I’m ready to step up and promote my work. But I’d rather have someone else choose my manuscript, and let me focus on the author role. I’ve wanted a debut novel out my whole life—since I was writing books in first grade and “publishing” them with staples.
Roz Obviously a press is a vocation as well as an occupation. Most of us in the literary community adore what we do – I simply love making books, so I relish the whole editing and production process. But we’re writers too and we need to protect our creative time. How do you protect yours?
Laura Perhaps I should respond with what I hope to do to create more space for my work!
It’s been a struggle to justify working with my stories, and my voice, when I have advance copies of upcoming releases to come out, another speaking gig to prepare for, or emails from my authors to answer. I do take time off, usually during writing retreats, and I often find 30 minutes or an hour per day to work on a draft of new work. It’s harder for me to revise big novel chunks in compressed time periods.
Before starting Forest Avenue, I woke up early and wrote for an hour or two every day before work; that time these days is often used managing emails and handling kids who wake up too early.
Coming next time: publishers and authors as literary citizens
A Great Length of Time, City of Weird: 30 Otherworldly Portland Tales, Ellen Urbani, Forest Avenue Press, Froelich's Ladder, Gigi Little, Jamie Yourdon, Joyce Cherry Cresswell, Julia Stoops, Landfall, Laura Stanfill, Laurie Fox, Linda Chester Agency, Liz Prato, Oregon Book Award, Parts Per Million, PEN/Bellwether for Socially Engaged Fiction, publishing literary fiction, Stevan Allred, The Alehouse at the End of the World, week in the life of a publisher
This week I’m interviewing Laura Stanfill, author, all-round literary citizen and founder of the literary imprint Forest Avenue Press in Portland, Oregon. Here’s Part 1. Find her on Twitter as @ForestAvePress
Roz Laura, tell me how Forest Avenue Press started.
Laura It began as a grassroots display of community. And as a way to keep my brain busy while nursing an infant through colic. I knew so many talented, hard-working Oregon authors knocking on doors in New York and being turned away. It made sense to create one more home for literature right here in Oregon, instead of trying to bend our aesthetics to appeal to East Coast tastemakers. Besides, there are so many long-running literary presses in Portland. I was surrounded by willing mentors, who held out their hands to me as a newcomer.
I’ve always had a strong do-it-yourself ethos, probably inspired by my dad, who founded a collector magazine and put issues out for years. That’s how I saw my press—and still do: as a way to bring people together around a common subject matter. His passion was air horns; mine is literary fiction. When we had the opportunity to go national by signing with a distributor, I took it. We do publish authors from all over the US now, but a high percentage of our catalog remains Northwest focused.
Roz Your website sums up the Forest Avenue personality – ‘a fresh, complex, sometimes nutty, and often-wondrous approach to storytelling.’ How did you develop this? How long did it take?
Laura That speaks to my personal taste as a reader, and how I want our readers to be surprised by our books; a lot of readers come up to me and say how refreshing it is to read titles that aren’t predictable. We’ve always wanted to create space for essential voices that weren’t finding homes elsewhere —authors of color, LGBTQ authors, neuroatypical authors, and other underrepresented voices—as well as amplifying other authors and presses who are doing this kind of work in the world.
Roz Was it your intention from the start?
Laura The personality of the press has definitely shifted over the years. One of the things I love to tell new publishers is that it can take some time to get clear—and then clearer—about your mission and goals and taste. And that’s okay.
Roz Did you make any wrong turnings?
Laura When I first started, I wanted quiet novels, because those were the ones New York kept saying won’t sell. Asking for quiet novels seemed like a statement of purpose to take that phrase back, to turn ‘quiet’ from an oft-repeated rejection to a celebration of character-driven fiction.
But after growing into my publisher self more, and really honing in on my reading taste, I realized I love more whimsical, quirky—and dare I say it—loud novels. Boisterous novels—whether through their unusual language, or their humor, or their ambition to say something in a way that nobody has said it before. Novels that carry us someplace else while lodging deep into our hearts.
Many of our releases in the past two years have some genre aspects, like Renee Macalino Rutledge’s The Hour of Daydreams, a lush and poetic evocation of a marriage from the point of view of a village. It’s based on a Filipino fairy tale about star maidens and its mix of gorgeous language and real-world grit is buoyed by the theme of how we as human beings tell stories about each other because we can never really understand each other.
One constant, which I didn’t realize until our readers began telling me that they appreciated it, has been publishing books that aren’t predictable, that don’t fit into a commercial mold. Their stories might go anywhere—and often whirl into surprising territory. Unpredictable territory. I want to believe our readers come to our books and experience wonder and delight, the way we felt as children, when the world of reading opened up.
Roz Wow. It takes a confident, masterful storyteller to pull that off.
Let’s talk more about story. There’s a perception that literary fiction is often disdainful of plot. Clearly some of this is personal taste – a book that is plotless to one reader is an up-all-night page-turner to another. But many of my favourite literary writers are also cracking story writers by anyone’s judgement. Any thoughts on the plot-plotless debate?
Laura After planting my flag on “quiet novels” and receiving submissions where the characters sat around and looked at each other, I realized I needed to retool my thinking. I love deep, introspective, character-driven fiction. I love language that takes chances.
Roz I do too…
Laura But I do love a good plot. And writers who do all of that well end up with not-so-predictable, evocative, and completely fascinating novels. And that’s what makes me happy as a reader and as a publisher. I want it all!
Roz Me too!
Laura There are plenty of small presses pushing experimental work out, and it’s great, but I land in this plot-with-deep-characters-and-cool-language side of the industry, and I’ve cultivated a readership of fans who love these kinds of books.
Parts per Million by Julia Stoops, just out from Forest Avenue, is one novel that blends detailed characterizations with a heady, forward-moving plot. Julia worked on the book—about a trio of eco-activists—for 10 years, and it was a finalist for the PEN/Bellwether Prize for Socially Engaged Fiction. Three point-of-view characters propel the engine of the plot, which moves inexorably toward a stunning conclusion. Parts per Million is full of protests and environmental activism but it’s also built on the stranger-comes-to-town trope, where a young, sick woman who has nowhere else to go disrupts the household these three characters have built for themselves. We’re super-excited that we have a deal with Blackstone Audio for the audiobook.
Back to personal taste, in our first year as a press, my wise publisher friend Rhonda Hughes of Hawthorne Books told me to publish books I love, because that’s how I would build a brand and a community of readers. We can’t please everyone and shouldn’t try, or we’ll fail. We just have to keep going, one book at a time.
Roz It’s so interesting to hear you describe this process. You’ve built a style for Forest Avenue in the same way as writers build their distinctive identities. We try a few things, find some don’t excite us as much as we thought, then we discover our true calling. Wonderful.
Coming up next time: marketing literary fiction
diverse voices, diversity, Forest Avenue Press, Hawthorne Books, Julia Stoops, Laura Stanfill, literary fiction, Parts Per Million, PEN/Bellwether Prize for Socially Engaged Fiction, publishing literary fiction, quirky fiction, Renee Macalino Rutledge, Rhonda Hughes, starting a literary imprint, The Hour of Daydreams, underrepresented voices
- Umming and ermine – how to avoid getting in a right royal mess May 18, 2018
- Movements, movers and shakers: publishers and authors as literary citizens .. an interview May 17, 2018
- A week in the life of a small press .. an interview May 16, 2018
- Marketing literary fiction – ‘There are readers who need these stories…’ an interview May 15, 2018
- Birth of a press – ‘I knew so many talented authors being turned away…’ an interview May 14, 2018
- Setting up and running a literary imprint – 4 interviews with Laura Stanfill of Forest Avenue Press May 13, 2018
- What I learned about writing novels by failing at short stories – and how to make a short story into a long one April 29, 2018