How does one break into literary genre publishing?
July 28, 2019 1:34 PM Subscribe
I'm leaving my PhD program and moving to NYC. After some thought, I've realized that what I really want to do is be an editor, preferably of sci-fi/fantasy literature. How do I get from A to Z? Special snowflake details below.
I'm leaving my philosophy PhD program and moving to NYC to be closer to my family. I've been thinking a lot about what kind of career I want, having decided academia is not for me, and publishing has risen to the top. I wanted to go into publishing for a long time when I was younger. I think I closed off that path when I decided to major in philosophy instead of English, partly because of how competitive the publishing industry is. On the other hand, philosophy academia is also competitive, and I managed to get my foot in that door. So maybe this is worth a shot!
I write well, and I have strong editing skills. I'm the person people come to when they need a pair of eyes on something they've written. In middle school I worked on the school newspaper; in high school I was editor-in-chief of the lit mag; in college I was editor-in-chief of the undergraduate philosophy journal. That's where my at-all-formal editing experience stops. I'm a poet, and have been active in the slam scene where I am now, but publishing my poetry is not something I'm interested in, so I don't have any recent publications.
In terms of networking, my connections would probably be most useful for academic publishing or possibly poetry/literary magazines. What brings me joy, though, is sci-fi/fantasy literature, fantasy in particular. I read it voraciously, I talk about it all the time, I quite frankly just love it. Becoming a book editor in this genre would be a dream come true.
So, how do I get there? I'm 25, and I have a support system, so I can take internships if I need to, although I'd rather not go back to school anytime soon. I know that publishing is difficult to break into, doesn't pay well, and I'd probably have to start at the very bottom and work my way up. Genre fiction in particular is probably an over-saturated and small niche. I'm okay with all of that. Where do I start?
I'm leaving my philosophy PhD program and moving to NYC to be closer to my family. I've been thinking a lot about what kind of career I want, having decided academia is not for me, and publishing has risen to the top. I wanted to go into publishing for a long time when I was younger. I think I closed off that path when I decided to major in philosophy instead of English, partly because of how competitive the publishing industry is. On the other hand, philosophy academia is also competitive, and I managed to get my foot in that door. So maybe this is worth a shot!
I write well, and I have strong editing skills. I'm the person people come to when they need a pair of eyes on something they've written. In middle school I worked on the school newspaper; in high school I was editor-in-chief of the lit mag; in college I was editor-in-chief of the undergraduate philosophy journal. That's where my at-all-formal editing experience stops. I'm a poet, and have been active in the slam scene where I am now, but publishing my poetry is not something I'm interested in, so I don't have any recent publications.
In terms of networking, my connections would probably be most useful for academic publishing or possibly poetry/literary magazines. What brings me joy, though, is sci-fi/fantasy literature, fantasy in particular. I read it voraciously, I talk about it all the time, I quite frankly just love it. Becoming a book editor in this genre would be a dream come true.
So, how do I get there? I'm 25, and I have a support system, so I can take internships if I need to, although I'd rather not go back to school anytime soon. I know that publishing is difficult to break into, doesn't pay well, and I'd probably have to start at the very bottom and work my way up. Genre fiction in particular is probably an over-saturated and small niche. I'm okay with all of that. Where do I start?
Best answer: Hey! I work in genre publishing as an author and as a freelance editor. I have high familiarity with the industry but have not been an in-house editor, so some of this is second-hand.
For entry-level jobs especially, it really is as simple as going to the "careers" section of various publisher websites and looking to see what's available. Macmillan, Hachette and Penguin Random House would be a great place to start, all of them have genre imprints (Tor, Orbit and Del Rey, respectively.) You should probably be applying for assistant-level jobs. I would personally recommend being open minded when you're just starting out -- consider sales, marketing, publicity, production, managing editorial. Getting a foot in the door and gaining institutional experience is huge.
Keep in mind that office skills and interpersonal skills are just as important as the editing itself, if not more so. Even as a freelancer, I would say that about 80% of my job is production management and diplomacy.
The fact that you're well-read in the genre helps a lot. The next big thing will be networking. Go to book launches, go to the KGB bar "Fantastic Fiction" series, show up to things and be involved. The publishing world is very small and genre publishing is tiny, getting to know people makes a huge difference.
posted by Narrative Priorities at 6:41 PM on July 28, 2019 [3 favorites]
For entry-level jobs especially, it really is as simple as going to the "careers" section of various publisher websites and looking to see what's available. Macmillan, Hachette and Penguin Random House would be a great place to start, all of them have genre imprints (Tor, Orbit and Del Rey, respectively.) You should probably be applying for assistant-level jobs. I would personally recommend being open minded when you're just starting out -- consider sales, marketing, publicity, production, managing editorial. Getting a foot in the door and gaining institutional experience is huge.
Keep in mind that office skills and interpersonal skills are just as important as the editing itself, if not more so. Even as a freelancer, I would say that about 80% of my job is production management and diplomacy.
The fact that you're well-read in the genre helps a lot. The next big thing will be networking. Go to book launches, go to the KGB bar "Fantastic Fiction" series, show up to things and be involved. The publishing world is very small and genre publishing is tiny, getting to know people makes a huge difference.
posted by Narrative Priorities at 6:41 PM on July 28, 2019 [3 favorites]
Best answer: I've worked in publishing for about 16 years, in many facets of publishing including Big Five, kids, genre, distribution, and more. I guarantee I've worked on books you've heard of. (I'm in marketing, not editing).
Narrative Priorities has it right - try for assistant level jobs at the houses that publish the books you want to work on. It's fine to start somewhere other than editorial at the assistant level - sales or marketing or publicity or the publishers office are all good options to transition into editorial. The key is getting your foot in the door.
You're right that it's competitive and oversaturated. Your pedigree is strong but not at all unusual. Which doesn't mean anything other than be aware that basically all the former middle school/high school/college level school paper/journal editors are also trying to get into publishing so don't expect anyone to be particularly impressed (Says this former middle school/high school/college paper editor). It will be easier to get a job once you are in NYC. Bookjobs.com, Publishers Lunch and the PW job board are other good sources for job listings, in addition to ShelfAwareness.
posted by peanut_mcgillicuty at 7:21 PM on July 28, 2019 [3 favorites]
Narrative Priorities has it right - try for assistant level jobs at the houses that publish the books you want to work on. It's fine to start somewhere other than editorial at the assistant level - sales or marketing or publicity or the publishers office are all good options to transition into editorial. The key is getting your foot in the door.
You're right that it's competitive and oversaturated. Your pedigree is strong but not at all unusual. Which doesn't mean anything other than be aware that basically all the former middle school/high school/college level school paper/journal editors are also trying to get into publishing so don't expect anyone to be particularly impressed (Says this former middle school/high school/college paper editor). It will be easier to get a job once you are in NYC. Bookjobs.com, Publishers Lunch and the PW job board are other good sources for job listings, in addition to ShelfAwareness.
posted by peanut_mcgillicuty at 7:21 PM on July 28, 2019 [3 favorites]
Best answer: Hi! I am a short fiction editor for Strange Horizons. The short fiction SFF scene is extremely interwoven with the novels scene, so I can tell you some field-specific things.
Moving to NYC is, in fact, necessary. I also second the suggestion of the KGB Fantastic Fiction readings.
The specific trademag for SFF is Locus. They have a great deal of information on forthcoming books, who has signed on with what agent or publishing house, awards nominations, and what deals are going down in general. Their website has most of the info of the print edition and is free, but runs several months behind the print mag.
I would suggest, as a thing you can do right now before you move and while you're moving and jobhunting, applying for a slush-reading position at any SF publisher or magazine you find interesting that is hiring them. Note: especially for short fiction, this will not be a paid position. I'm an editor, we've been nominated for a Hugo for the last blah years, I don't get paid-- there is very little money in short fiction. For novels, slush-reading will sometimes be paid, but not well. So why do it?
Firstly, if you want to edit, you need to learn how to handle slush. Here's the thing: for any well-established fiction-publishing concern, slush is, in practice, infinite. There will always be more than one person can wrangle. If you rely on a clear desk or an empty inbox to tell yourself when you're done with work, you will burn yourself out very quickly. And this does not change when you get into the upper levels of editing, because the more valuable you are as a manuscript fixer and general editorial badass, the more people want your time, and the harder they will work to get their work in front of you. So it's a good idea to learn how much you can read in a day, how fast you can process fiction, how fast you can make decisions about fiction, and what rate you find sustainable to work at over the long term. Short fiction is not going to be that different from novel publishing in this regard for some way up the job ladder, because you will start at ground level as an editor or intern for novels by reading first chapters, synopses, and pitches-- i.e. about as much material as a short story. (Mind you, first chapters do have different aesthetic considerations than short stories.)
Secondly, and specific to short fiction slush: while not all SFF short story writers write novels, and certainly not all novelists write short fiction, there is still something of a pipeline from well-regarded/award-winning short stories to novel deals. So short fiction can teach you who is who, what they're doing, and give you a mental list of people you expect to wind up writing breakout books. This is valuable to bring to the table for later jobs.
Lastly, slush-reading is the traditional pipeline into editorial and will be seen as you paying your dues. The internet means nobody has to come into the office to read slush anymore, so you can get a jump on that work experience before you actually have to show up in person. Develop a reputation for speed, accuracy, taste, and professionalism, and that's a great line item on your resume and possibly even someone willing to write you a reference.
If you can get a slush gig at a book publisher, do that, I mean, they might pay you. If not, well, many of the best magazines in the genre including mine are literally hiring slush readers all the time (because they burn out, because it is infinite and you have to pace yourself). If you apply to us, I won't promise to take you, but your initial qualifications are not unpromising.
posted by Rush-That-Speaks at 10:42 PM on July 29, 2019 [2 favorites]
Moving to NYC is, in fact, necessary. I also second the suggestion of the KGB Fantastic Fiction readings.
The specific trademag for SFF is Locus. They have a great deal of information on forthcoming books, who has signed on with what agent or publishing house, awards nominations, and what deals are going down in general. Their website has most of the info of the print edition and is free, but runs several months behind the print mag.
I would suggest, as a thing you can do right now before you move and while you're moving and jobhunting, applying for a slush-reading position at any SF publisher or magazine you find interesting that is hiring them. Note: especially for short fiction, this will not be a paid position. I'm an editor, we've been nominated for a Hugo for the last blah years, I don't get paid-- there is very little money in short fiction. For novels, slush-reading will sometimes be paid, but not well. So why do it?
Firstly, if you want to edit, you need to learn how to handle slush. Here's the thing: for any well-established fiction-publishing concern, slush is, in practice, infinite. There will always be more than one person can wrangle. If you rely on a clear desk or an empty inbox to tell yourself when you're done with work, you will burn yourself out very quickly. And this does not change when you get into the upper levels of editing, because the more valuable you are as a manuscript fixer and general editorial badass, the more people want your time, and the harder they will work to get their work in front of you. So it's a good idea to learn how much you can read in a day, how fast you can process fiction, how fast you can make decisions about fiction, and what rate you find sustainable to work at over the long term. Short fiction is not going to be that different from novel publishing in this regard for some way up the job ladder, because you will start at ground level as an editor or intern for novels by reading first chapters, synopses, and pitches-- i.e. about as much material as a short story. (Mind you, first chapters do have different aesthetic considerations than short stories.)
Secondly, and specific to short fiction slush: while not all SFF short story writers write novels, and certainly not all novelists write short fiction, there is still something of a pipeline from well-regarded/award-winning short stories to novel deals. So short fiction can teach you who is who, what they're doing, and give you a mental list of people you expect to wind up writing breakout books. This is valuable to bring to the table for later jobs.
Lastly, slush-reading is the traditional pipeline into editorial and will be seen as you paying your dues. The internet means nobody has to come into the office to read slush anymore, so you can get a jump on that work experience before you actually have to show up in person. Develop a reputation for speed, accuracy, taste, and professionalism, and that's a great line item on your resume and possibly even someone willing to write you a reference.
If you can get a slush gig at a book publisher, do that, I mean, they might pay you. If not, well, many of the best magazines in the genre including mine are literally hiring slush readers all the time (because they burn out, because it is infinite and you have to pace yourself). If you apply to us, I won't promise to take you, but your initial qualifications are not unpromising.
posted by Rush-That-Speaks at 10:42 PM on July 29, 2019 [2 favorites]
All the advice here is really good! You're definitely going to have to move to NYC (if you can intern or read remotely, maybe not right this second, but eventually), and you're almost definitely going to have to do an internship. More internships now are paying than they were say five years ago, which is good at least. Don't limit yourself to big houses only, literary agencies can be excellent experience and there are many that focus specifically on sf/f, Donald Maass comes to mind - another good thing about agencies is their internship programs are often more flexible in terms of location, and in terms of need, vs being structured on a schedule based on school semester. I'm sf/f adjacent and work as a freelance editor, and before I went back to school I interned part time at an agency which later got me a job, and I got in with that agency by literally just emailing every agency I liked and offering myself and my resume until someone bit.
Read a lot, figure out what imprints you like, figure out what your unique point of view and skillset is as an editor and hone it as much as you can, look at the careers of the editors who have the positions you want to have and try to follow their trajectories, talk to them. Learn about the market and what's selling and what isn't and why, the ability to sort of know the landscape of the publishing world is a skill that you can teach yourself for free.
You're still young and you have a great attitude and a solid background to start out with. You can do it!
posted by colorblock sock at 5:50 PM on August 3, 2019
Read a lot, figure out what imprints you like, figure out what your unique point of view and skillset is as an editor and hone it as much as you can, look at the careers of the editors who have the positions you want to have and try to follow their trajectories, talk to them. Learn about the market and what's selling and what isn't and why, the ability to sort of know the landscape of the publishing world is a skill that you can teach yourself for free.
You're still young and you have a great attitude and a solid background to start out with. You can do it!
posted by colorblock sock at 5:50 PM on August 3, 2019
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My experience in book publishing comes all from the writing end, so my knowledge of editors/editing is from the outside looking in. My genre is different: cookbooks. That said, I know my editors fairly well and have seen people rise up the ranks. Many of them start as assistants or interns. (One of those assistants now is on staff as a writer at the New Yorker. Not too shabby!) Junior editors rise to regular editors rise to senior editors. Those junior editors might help an editor or senior editor tackle a small book or an update, flagging things that might need the editor's attention and wrangling the material to pull it all together for the editor. In that sense, the process is not so different from other fields: There's a ladder and you climb it. (At the beginning, you may not be thrilled with what you're working on.)
I would subscribe to the Shelf Awareness newsletter(s) for some of the inside baseball publishing stuff. The Pro edition (it's free) includes job ads, info on who's moving where, industry trends, etc. It's the kind of stuff that's important to know but doesn't show up in the books themselves.
posted by veggieboy at 3:00 PM on July 28, 2019 [1 favorite]