SMU Press

Good morning EWN Readers.  I received an email early this morning from Kathryn Lang, the Senior Editor of SMU Press.  As many of you probably know, SMU has been a long time favorite of the EWN, publishing many short story collections and great works from favorites around here like Mitch Wieland, Tracy Daugherty, early Brad Barkley, etc.  The email from Kathryn was not one bearing good news at all - here it is in its entirety:

Dear friend of SMU Press:

Last Thursday Keith Gregory, director; George Ann Ratchford, production and marketing manager; and   I, acquisitions and developmental editor, were summoned to a meeting with the SMU Provost, at which we were told that the operations of the SMU Press would be closed down on June 1, 2010.  We had no hint or prior warning that this was coming.  We have fifteen stranded new projects under contract and 130 other titles in print, effectively unsupported if this should come to pass.

Would you please e-mail me a statement in support of the Press ASAP (today, if possible, for us to take to our editorial board meeting—and later this week, if not)??

Many thanks,

Kathryn Lang

Senior Editor

There was a meeting last night of the Faculty Senate and apparently the few quick letters of support that Kathryn had received right away made a big impact and there is still hope as a future Board meeting looms.  Just think what might happen if everybody that reads this writes up a quick letter of support and she walks into that next meeting with hundreds of requests to keep the press running?

I'm writing mine now, but if you would be so kind as to send an email of support for SMU Press, explaining why you believe the University should continue to support the press and its long-time staff of three in their efforts to publish great fiction - short story collections and what I'll call quieter novels - such emails can be sent to Kathryn at klang@mail.smu.edu

Here's what author Tracy Daugherty said in an EWN interview about working with SMU Press:

SMU produces beautiful objects, objects that feel good in the hand, and that the author can be proud of.  The author also has a say in  design decisions, which is rarely the case with a large publisher.  I'm pleased to have chosen every one of my book covers, and I enjoy sharing design ideas with the editor and the production staff.  Small presses tend to keep their books in print for a long time--they keep the shredder at bay.  But the chief reason for working with a small press is the personal touch that characterizes every step of the process.  Publishing isn't easy--there's a lot of work involved for everyone.  The work is much smoother, and ultimately more productive, when everyone cares about what they're doing, when they care about each other, and when a stable, long-term relationship develops. I've told Kathie Lang, and I meant it, that I probably wouldn't still be writing if it weren't for her.  Not only has she paid careful, thoughtful attention to my work now for several years (and improved it enormously), she has been an ally and a friend.  Every writer dreams of an editor like that.  I feel very, very lucky, and I'll continue to feel that way even if I never publish another word.

And, the following is an interview with Kathryn Lang, Senior Editor of SMU Press for the EWN in July 2003.

 

 

Dan:

 

Thank you Kathryn, for taking some time out of your obviously busy schedule to answer some questions about SMU Press, the industry in general, and yourself.

 

Kathryn:

 

I'm pleased to be asked.

 

Dan:

 

How long have you been with the University Press at SMU?

 

Kathryn:

 

I've been here at SMU Press since January of 1991.

 

Dan:

 

What was your experience in the literary industry prior to starting up with SMU Press?

 

Kathryn:

 

For many years I was a freelance writer and editor, then became a developmental editor at Holt, Rinehart, Winston College Textbook Publishers (later Harcourt Brace College Publishers).

 

Dan:

 

I notice that the SMU Press website links up through the Texas A&M site.  What is the connection between the two presses?

 

Kathryn:

 

We're in a 10-member warehousing and distribution consortium headquartered at A&M.  All of the other presses are small, and there's a great synergy in banding together in this way.

 

Dan:

 

What do you see as some benefits for a writer in working with a smaller press?

 

Kathryn:

 

Well, your book stays around for many years—not "having the shelf life of yogurt," as is said to happen in the larger houses.  The staff is not likely to be changing every six months; you'll hear the same voice at the other end of the telephone each time you call.  We treat you as a partner in the enterprise of publishing your book--involving you in cover and design decisions, for example.  You are consulted in every aspect of turning your manuscript into a book--and then in promoting it.

 

Dan:

 

What about the opposite, how can a larger press be more helpful to a writer?

 

Kathryn:

 

Perhaps if a larger press chooses to select your project as a priority, you will have the benefit of some NY marketing and promotional muscle.  And it is likely you will receive more upfront money (advance) from a larger press.

 

Dan:

 

Do you see a difference in how you edited books earlier in your career vs. how you tackle the projects now?

 

Kathryn:

 

Not really; I think I've always been a hands-on editor.  I think of myself as your silent collaborator and my approach to editing reflects that.

 

Dan:

 

How has the introduction of email changed the way you work as an editor?  I'm assuming it's much quicker to go back and forth with authors, but is there any less personal feel to that?

 

Kathryn:

 

I love e-mail--for some things. Quick answers to small questions. But as far as dealing with larger or more nuanced issues, nothing beats either a face-to-face meeting, or, 2nd best, a phone conversation.  After the readers' reports and the revision they have occasioned, the author and I often have a series of marathon telephone conversations hammering out final decisions--large and small.  Exhausting, exhilarating work.  Intensely personal. Often both author and editor experience a real sense of loss AFTER these sessions are over.

 

Dan:

 

What exactly is your editing process?

 

Kathryn:

 

When we accept a project (after some oft-times tortuous rounds of outside review), I re-read the manuscript in light of what our outside readers have had to say, and make suggestions as to revisions in areas where there is obvious consensus.  I also always "put in my own two cents' worth" about both large and small issues.  I read very intensely this second time through -- the first reading is almost like speed-reading, when I am trying to decide whether a project SHOULD go to outside readers -- and deal with all kinds of stylistic issues now, too.  After the author and I are in agreement and the changes are made, we send the manuscript to one of our professional copyeditors.  After it's in pages, the work is proofread by a third set of eyes.  We're a bit obsessive about having our books as error-free as is humanly possible.

 

Dan:

 

What exactly do you mean by outside reviewers?

 

Kathryn:

 

We use outside "expert" readers appropriate to a project, so for nonfiction, for example, we use an expert in the field-- a historian of the Holocaust for a manuscript dealing with that subject, or a physician who works with Alzheimer's patients for a manuscript in that area.  For fiction, we have two criteria for the writers who read for us: that they are actively publishing literary fiction and that EITHER they work in academe, teaching in English or Creative Writing, OR that they regularly review in major literary venues.

 

Dan:

 

Are there any books that stick out as those which you are happiest that you helped through the process?

 

Kathryn:

 

That's a tough one.  Generally it's a terrific and exhilarating experience working so intensely with our authors.  It's often a let-down on both sides when this part of the process is finished.  Inman Majors and I spent many hours of keen and spirited debate on issues related to his first novel--SWIMMING IN SKY, a very fine work, if I say so myself! I've rarely had to work with a prima donna, and I would choose never to.  Just recently, Wendy Fairey and I finished working closely on her upcoming collection of linked stories, FULL HOUSE (due out in September); it was a very satisfying experience

for me, and I think she'd tell you the same thing, to see the book come into clearer focus.

 

Dan:

 

You are in charge of acquisitions.  How does that process work?  Does SMU Press solicit at all, or is it all via submissions?

 

Kathryn:

 

Mainly manuscripts come to me--via the usual submissions process.  Occasionally I'll have someone recommend a manuscript and I'll contact that author and request a copy.  That happened with Janet Peery's wonderful first book, ALLIGATOR DANCE.  Laura Furman who was the editor at (now defunct) [EDITOR'S NOTE - THIS IS NO LONGER TRUE AS ASF HAS BEEN REVIVED] American Short Fiction told me she'd published 3 of Janet's stories and that she thought there were more--enough to make a book.  I wrote Janet and she sent her manuscript.

 

Dan:

 

When thinking about acquiring a title, do you have to think bottom line and really contemplate how many copies it might sell?

 

Kathryn:

 

More so than in years past.  But we do have the relative luxury of NOT having to base our decisions SOLELY on their potential sales.

 

Dan:

 

Do you look at an incoming manuscript any differently if it is coming through an agent, as opposed to directly from the author?

 

Kathryn:

 

I'd prefer to work directly with the author; an agent oftentimes has some unrealistic expectations about what we should do for his or her client.  It's an additional "layer" of administrative hassles.  But we certainly have in the past and will continue to work with agents.

 

Dan:

 

Do you personally have to like something for it to be published by SMU Press, or do you have the ability to realize that something might do very well, whether you like it or not?

 

Kathryn:

 

Since the 3 of us on staff will be working so intensively with an author and the project, it is always best to have all 3 of us "like" the work.  Yes, I can set aside personal preference (and have many times) to publish a work, generally nonfiction, for which there are good reasons other than my liking it.  But you need to keep in mind that my functionas acquisitions editor is that of a gatekeeper.  I am the sole first reader and even if I LOVE a project, l cannot make our outside readers love it.  I need to have 2 unequivocally positive readers say yes to a project before I can take it to our editorial board.  There have been times I've been bitterly disappointed that I was unable to secure the 2 yes votes.

 

Dan:

 

I notice that you've recently published books that tackle topics such as Aids (SLIM), disabled individuals (EVERY GOOD BOY DOES FINE), teen suicide (BRUTAL MUSIC), and Mental Depression (REQUIEM FOR A COTTAGE).  As a result of this, have you been receiving more manuscripts regarding an individual disease or disability?

 

Kathryn:

 

We do seem to receive quite a few mss that deal with tough subjects.  We joke around here that unless a manuscript is dark and difficult, we won't publish it.  The truth is, we publish those manuscripts that are the most well-written, no matter their subject matter.

 

Dan:

 

I imagine with a small press, your staff is extremely important to you.  What size staff do you have and how difficult is it to maintain good people, and not lose them to a larger business sector?

 

Kathryn:

 

There are only 3 of us on staff.  We are a stable threesome, and we are unlikely to be going anywhere else anytime soon.

 

Dan:

 

Does SMU Press attempt to cultivate author relationships and publish each offering an author writes?

 

Kathryn:

 

No, we love to "cultivate author relationships" but we are pleased and proud when our authors go on to greater fame and glory.  We are first in line with congratulations when Liza Wieland, for example, gets a contract w/Random House, or Janet Peery w/Picador; or Brad Barkley w/St. Martin's. 

 

Dan:

 

Is there a typical print run for SMU Press titles?  What percentage of these are sent out as review copies?

 

Kathryn:

 

We generally print 1500-2000 copies of a fiction title from a new author.  We send out some 125-150 review copies.

 

Dan:

 

Out of those review copies, what is the typical number of actual reviews you will see and where:  newspapers, literary journals, or other areas?

 

Kathryn:

 

It varies wildly.  Sometimes we are thrilled with the overwhelming review response in major newspapers around the country, including the prestigious New York Times Book Review --we had a terrific run a couple years back when nearly ALL of our books were reviewed there--, in literary journals, and of course, the pre-pub venues, PW and Kirkus.  Other times it seems that though we have all the same procedures in place, we (and the author) are disappointed in the meager response.  With so many presses competing for shrinking review space, we are these days pleased when there are 5 or 6 reviews--in the author's hometown, in Dallas, and in a few major literary venues.

 

Dan:

 

Have you ever written to a reviewer that you felt completely missed out on what one of your titles offered?

 

Kathryn:

 

No.

 

Dan:

 

What are presses such as yours, and other university presses doing to try to garner more reviews and press?

 

Kathryn:

 

We call and write and visit books editors.  We send bound proofs where they're required; and follow up with copies of the book.  We create as much interest and buzz as we can with our limited resources.

 

 

Dan:

 

How does the direction of the industry - that is, 2 big bookstore chains taking over sales (at least until Walmart decides to) and huge corporations taking over the major publishers - affect SMU's operations?

 

Kathryn:

 

Not much.  We plug along publishing good books and hope and trust that there will always be a place for these midlist titles that the larger NY houses most often overlook.

 

Dan:

 

Finally, if you were a character in "Fahrenheit 451," what work(s) would you memorize for posterity?

 

Kathryn:

 

Virginia Woolf's TO THE LIGHTHOUSE; Thomas Hardy's JUDE THE OBSCURE;

D.H. Lawrence's SONS AND LOVERS, intense books all!

 

Dan:

 

Thanks again Kathryn for taking the time – I understand how busy you are these days.  I wish the press continued success.

 

Kathryn:

 

I appreciate what you're doing, Dan.  Keep the flame lit!

Comments

[Callie]

Can I mention that AMERICAN SHORT FICTION is definitely not defunct, but alive and kicking independently. And, might I add, posting a short story review every day for Short Story Month.

Here we are! www.americanshortfiction.org

[Dan Wickett]

Yep, that's true and sorry, I meant to add that very fact in as an Editor's Note and will try to do so now.

[Koh Theresa]

I am very interested to get the book written by SMU students

The Book is Singapore Shiok for foreigners

I need just one book to and I will be sending it to the US as some students are interested to study in Sg but they need to know about us first before they make that discussion.

Many thanks,