Readers were hardly
ever aware of a book’s stages before the internet. But they were used to cover
art changes and publisher changes. Two of my books have been re-published with
new cover and interior art. The Swan
Bonnet went through a cover and design change in its first six months of
publication, being re-published by Couchgrass Books. It is now available again as a Kindle book,
at Lulu.com as a paperback, and soon as a paperback at Amazon, Barnes &
Noble, and Ingram’s.
As a creative writer
who began in journals and as a used books dealer, I’ve encountered many ironies
in publishing. Short stories and poetry appearing in smaller publications are
often lightly edited. Readers of literary journals encounter material that is
closer to being in the raw than that in book form. Published books receive much
more editing. Authors - creators of whole books and seen in a different light
by the public - used to expect two years
of editing and preparation before their book was released by a major publisher.
Smaller publishers vary in these capabilities.
Still, a book coming out
might not be finished. First editions are sometimes identified by their typos
or formatting errors. One of my early
investigations was Penrod by Booth Tarkington. Its first 1914 edition, what I found I had,
was identified by the typo “sence” instead of “sense” on page 19. An imperfect book was more valuable than the
corrected later printing. Of course, this occurs with books that garner fame.
The Chicago chef
Charlie Trotter died recently. When working in a bookstore, I copied down a
recipe for his chocolate brioche. Correct me if I’m wrong! I remember re-checking
the recipe after baking it with the questionable amount of salt. I knew there
was something wrong and changed the salt and the sugar amount for a great
brioche. I wish I had bought that book because what might have been a typo in
the recipe could eventually make that first edition valuable. Why this is
interesting might have to do with the publishing process being mysterious
before digital publishing.
In graduate school, I
worked in a specialty children’s library, The Kerlan Collection at the
University of Minnesota. This library acquired original illustrations and also
manuscripts. I was first directed to
that library by the professor of my biography writing class. I could use letters there for my biography
project. Working there later, I enjoyed
looking at early and edited manuscripts and also the publisher letters.
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The only way a reader
could see their favorite author’s writing process used to be libraries like The
Kerlan Collection. This was all pretty hidden just as literary journals have
some invisibility to the general public.
Sometimes a book such as Ulysses by James Joyce has a revised
edition. These editions often include the notes where changes were made to the first edition. Usually this occurs with authors who have the aura of a Joyce or
an F. Scott Fitzgerald.
Now the drafts of
authors, their revisions, and the false starts in publishing are much more
visible. Novels are a tremendous effort because, as John Gardner stated, the
fictional dream can so easily be interrupted by clumsiness and even by a
typo. Consistency can feel easy when
actually it’s a labor.
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I guess I will always
believe that a lasting author sets down their drafts better than I ever
could. We used to never see the mistakes
of authors, only the mistakes of publishers. In earlier centuries, authors
often sat near a fire and, instead of stacking papers at the back of desk
drawer or tossing them in a waste basket, they probably just burnt them. The
only story they might have kept was their best effort.