The book I alluded to this week that got me editing my to-be-read list and contemplating how well I can predict my future desires based on my current ones also got me thinking about publishing in general. I'm an indie so I'm biased, but I think we're increasingly underserved.
I won't name the book, but as much as I didn't like it and dropped it before I had finished the second chapter, it was evident that the author was skilled. The forced exposition was done well, and the obvious-to-me set up for the inevitable revelation was subtle enough that you'd have to be reading in the genre for a long time to recognize it from far away. The characters were exactly the characters you'd expect in the predictable set up--it was clear from jump who was who, and I wasn't going to worry about mistaking one for another. And the setting was well-thought out, even if I'd read variants on it already.
I am not, I promise, trying to damn this unnamed writer with faint praise. I mean it--she can write. Which it why it struck me as very, very odd that she was writing this particular book. It felt similar to a talented young actor or actress being stuck in a film that was clearly beneath them, but that's just what you have to do when you first get started.
And that only makes me more sure that a lot of debut authors aren't picking their own stories. I can't prove anything at this point, but it seems obvious to me that debut authors are being told, after a fashion, what to write, and how to write it.
Tochi Onyebuchi was the first author who made me think this might be the case. Beasts Made of Night and its sequel Crown of Thunder had a disturbing premise and intriguing characters. And much of the writing was good, but the story was uneven. It's something that people who haven't written and gotten comments might not have picked up on, but it seemed obvious to me that Onyebuchi was told to cut certain things for length, and to compress both back story and some action to... make a page count (I blanch just writing that). It made for some awkwardness, and the conclusion didn't feel as satisfying as I suspect it would have if we had had the chance to read the whole thing.
I couldn't prove that it was the editor and not the writer--not until I read Onyebuchi's Riot Baby and Goliath. Oh, hello. Those books are incredible, and haunting without any of the romance usually attached to the word. Onyebuchi is a masterful writer, and I have no doubt that the book he meant to write with his earlier series was changed by other people.
It's bad editing to force those kinds of cuts and revisions, but it's bad *publishing* to force writers to churn out the same stories that have been written before--and I mean in the last year, not the last decade. Publishing suffers so, so clearly from the same problem that has plagued the rest of mass media. Forget the internet filter bubble/echo chamber; the business advice to "give the people what they want" is just as sure to freeze a culture into a set of customs (with apologies to Frantz Fanon).
I hope the young writer writes more; I'll be happy to take a look at her newer titles. Here's hoping she's able to write something original; you know, the stuff she'd actually like to write, and the stuff we would actually like to read.
Deb in the City
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