(mememememe)

GAH. Trickiness and roadblocks.

The initial feedback from Marlene - she made some calls to editors this morning, as pre-conference call feeling out research - was less than thrilling.

Basically, publishers rushed into publishing anything and everything they could get their hands on that even remotely smelled like hiphop, about four years ago. And, of course, since they bought a lot of crap, most of it crashed and burned.

This one is rather different, since it isn't about hiphop, it's about Daymond's avatar, the guy who basically set the gold standard for young black entrepreneurs.

Right now, extremely frustrated. There was interest, but we'll see. Having the Vibe articles, Montel appearances, possible Oprah and documentary film deal to throw out on the table to show an editor that the PR is already in place is a humongous step in the right direction.

The one thing absolutely enrages me is the "but is she BLACK? She can't write about black people if she's white!"

Um - excuse me, dickheads? Were you planning on building a time machine so that you can go back and tell oh, say, Agatha Christie, that she can't POSSIBLY write Hercule Poirot because she isn't Belgian? Maybe tell Peter Dickinson he can't write "King & Joker", which is alternate Royal Family stuff, because he can't possibly know what goes on inside Buckingham Palace? Or shit, let's tell Sophocles to shelve that stupid "Antigone" idea, because obviously, a chick has to write it.

Give. Me. A. BREAK. And shove the PC while you're at it. I'm a writer - and in this instance, I'm a translator, translating someone else's dictated experience - AT THEIR REQUEST - into fiction.

The one thing she got back from the early feedback that I do totally agree with is that they'd be looking more at one big fat juicy book, with a second book as option. Which, thinking about it, might work even better.

The initial feedback from Marlene - she made some calls to editors this morning, as pre-conference call feeling out research - was less than thrilling.

I think it depends how it's marketed -- not only by an eventual publisher, but by Marlene.

An autobiography might have one kind of audience, a heavily hip-hop book (fiction or otherwise) might have another. And the market for either might be light right now.

But what is selling (or was, last time I checked) was fiction by black male authors, with a primarily female readership. Relationship novels, more or less -- harder-edged than someone like Nicholas Sparks, but basically the same idea. A man's take on sex and love.

For example, Kensington's Dafina Books imprint has Carl Weber; Dutton publishes Eric Jerome Dickey, and I know he was on the lists for awhile (or close).

This was originally a non-fiction look at the women who have shaped his life, right? And has become a fiction proposal with the same bent (and a thriller angle). So it seems that if it's marketed to that same readership who likes the Dickey and Weber books, you have a good shot.

The only wrinkle I can see there is, to be honest, your name on the cover. Part of what probably sells the books is the fact that a man wrote them -- if Daymond is not viewed as the primary author, that might be a problem. Would you be willing to ghostwrite them, and settle for the money without the credit?

The only wrinkle I can see there is, to be honest, your name on the cover. Part of what probably sells the books is the fact that a man wrote them -- if Daymond is not viewed as the primary author, that might be a problem. Would you be willing to ghostwrite them, and settle for the money without the credit?

No. But Daymond's name is the big one on the cover; mine's under that, smaller.

AmyLiz, does fiction ever carry two names--something like by Daymond John with Deborah Grabien?

AmyLiz, does fiction ever carry two names--something like by Daymond John with Deborah Grabien?

Not as often as non-fiction. But I'd have to think about it -- I'm sure it's been done.

The issue with some readerships is definitely credibility -- I know when Arabesque started (Kensington's black romance line) they wouldn't publish anyone who wasn't black. I'm just thinking this could be the same kind of issue. I think it's just as stupid as Deb does (writing *fiction* especially -- I mean, I've never murdered anyone, but I write about it), but it doesn't make it less of an issue.

No. But Daymond's name is the big one on the cover; mine's under that, smaller.

It's way early days, anyway. And an editor can say whatever s/he likes on the phone, in response to an idea -- reading the proposal is the clincher. Also, just so you know, I'm definitely not trying to rain on the parade -- just throwing out ideas that may help. Publishing, as you well know, is a business that makes very little sense, and is as quirky and obstinate as it's possible to be.

Also, just so you know, I'm definitely not trying to rain on the parade -- just throwing out ideas that may help

Heh. No, I know that. But actually, with something like Arabesque, if I was an editor there, I wouldn't look at anything that wasn't specifically written by a black writer either. The imprint is specific.

But this doesn't fall into that category, not at all.

Well, shit. We may be dead in the water. Marlene spoke a third editor - this one at Dafina. I quote the feedback:

1. FUBU is not the platform we would like it to be. If this book were written 10 years ago, no question it would have attracted attention and done well. But FUBU is no longer what the age group, 17-21 is buying or wearing. This is seen in retrospect. 2. This is a celebrity-driven book, and must go with that angle. Buying copies would help, but buying copies alone isn't going to do it. It wouldn't be a bona fide bestseller, and the marketplace would know that. She cited Hill Harper as an example of buying into bestsellerdom with LETTERS TO YOUNG BLACK BOYS, and how it's been on and off the charts. If you go to a publisher with buy-back in your proposal, the house, if interested, is just as likely to want to go sans advance as it would make more sense. So no up front money. 3. The hip hop market, and associated markets, have not done as well as they would have liked. Still, a special book with a special voice will find a home. It will not attract a huge advance. Market expectations have not been met, except in the area of music (she cited Snoop Dog and 50 Cent). There is a relationship between music and book sales. 4. The business book (Daymond's) that is coming out is interesting. But since it's in the works, it will be out before this fiction book would be. An interested publisher would want to see numbers. If it does extremely well, that leaves the door open for this book. Not now.

The business book will have competition in Kevin Liles book from Atria (which has done ok but not as well as expected), and Germain du Pres book due out soon. 5. A 45-year old white woman would have absolutely no cred to the target audience. The Vibe magazine thing wouldn't happen...they partner with them and it wouldn't appeal to their audience at all. I asked as a translator, etc., to broaden the experience, make it more mainstream/ She told me "this is their world. They don't need translation." If anything, mainstreaming takes away from the experience."

So, this sounds dead in the water. Ah well. If so, at least Daymond won't go out of pocket too much.

Oh, babe. That really, really sucks.

Oh, man. I'm sorry...would have been so great.

Fuck.