JE: To blurb, or not to blurb–not even a question, as far as I’m concerned. I’m a blurb whore. So far this year, I’ve blurbed roughly a dozen authors, including Greg Olear, Greg Downs, Hesh Kestin, Ben Loory, Gina Frangello, N.L. Belardes, James P. Othmer, and our very own Jason Rice. I’ve still got a blurb pile a foot high I’m working on– so, if you’re in it, sorry for the delay. I’ve got diapers to change. And guess what? They’re all great books, as I knew in each instance they would be. And guess what else? I never lie when I blurb. Maybe sometimes my blurbs don’t use phrases like “a harrowing achievement” or “a modern classic,” but there’s always something good to say. Blurbs are a great tool for a young author.. They’re not just for book jackets, they’re for catalog copy, press releases, and they’re great for–lordy, how I hate this word–“pinging” your agent, publisher, publicist, etc. ” Check out this blurb I just got from Gary Shteyngart,” is a way better than: “So, any news?” I must’ve collected a dozen blurbs for “All About Lulu” and every single one of them helped me gain steam at some stage of journey, though not all of them made the jacket. So, it chaps my ass when I hear an author proclaim that they simply “don’t blurb.” I’ve heard a number of stories recently about Author A blurbing Author B (or in one case writing a rave review of Author B for a major publication, which then goes on to be wildly successful), and later, when Author A asks Author B if he’d be willing to take a look at his novel with an eye toward blurbing, Author B says no– flat out, no. Really? Damn, that’s cold. That’s kind of like reaching the summit, and pulling the rope up behind you! It’s one thing to decline because of schedule (the boilerplate no), another thing not to blurb friends due to social and political blow-back (understandable, I suppose, but what kind of friend is that?), yet another thing to decline blurbing having read a work and not found anything good to say about it (that’s just integrity), but to just stand on your literary mountaintop and say to the literary universe: “Hey, fuck you, write your own damn blurbs” is cold-blooded. You gotta’ help a brother out! I’ve been declined for all number of reasons by the likes of John Irving and T.C. Boyle and Jonathan Lethem. Once, an author read Lulu and declined to blurb it because of what he perceived as a certain “hubris” on the part of the narrator. I didn’t agree with his assessment, but I gratefully thanked him anyway, and told him I understood. Two years later, when Lulu was getting a lot of face time in airports and the like, the same author asked me to read his novel . . . and guess what? I said ‘yes.’ Ha!
Bottom line: blurbs are important for young authors, but how much weight do they really carry with the consumer?
JC: I like to see blurbs on books. If I’m on the borderline in deciding whether or not to read it, it might push me over the edge one way or another. I’ll take a chance on an unknown author if they have the right blurb. JR sent me a few books the other day and I nearly passed over Nicola Keegan’s Swimming. The jacket and copy looked kind of interesting, but not really my cup of tea. But with quotes from Lauren Groff and Rivka Galchen on it, I thought – what the hell, I’ll give it an hour. And it’s good. I wouldn’t have bothered without the blurbs. I would have just gone on to something else. And it happens all the time with new authors. Sure, there are tons of blurbs that don’t really do anything for me, because they are targeted at different audiences, and some authors who overblurb a bit. I mean, I’m sure they feel like JE, that they are giving back, but a George Pelecanos blurb doesn’t do anything for me as a reader anymore (although I know that, as a writer, I’d be perfectly happy to have him laud my work), and Chuck Palahniuk and Pat Conroy were getting a bit diluted there for a while too. But I see a lot of books, so I see serial blurbers much more than the average consumer, who probably don’t notice. These are great writers, and if they like a book, especially *YOUR *book, it’s a good thing. If it helps some good books get a few more sales or see the light of day, I’m not going to complain. JE’s right about authors who won’t blurb. I can understand if someonerefuses simply because they can’t do the blurb on a timely enough basis tomeet a deadline, or if they just don’t like the book enough (a tough blow,no doubt), but the all-inclusive blurb kibosh is bad form. That’s like detonating the bridge once you’ve gotten across, as if another successful author is a threat of some sort.
DH: Who I’d call the “general reader” doesn’t pay much attention to blurbs. Most readers can’t name the publisher of the book they’ve just read. They certainly don’t know the name of any editor…just like most moviegoers can’t name a cinematographer.
I reviewed a Kafka translation once whose intro stated that the book was intended for the “general reader”. That really pissed me off. So I kept referring to myself as “just a general reader”. Then I kept trying to blow the notion apart by being as intellectually tough and idiosyncratic as I could be in order to implode the stereotype.
Reading literary novels is a pursuit of elites…of people who self-select themselves to be part of a more interesting cultural enterprise. I agree with what JE & JC have said about blurbs. I also think of blurbs as a specialized form of networking.
It’s an extraordinary performing art: JE sitting in his cabin with a pile of “blurbable” books. That pile of books represents the liveliest community of artists and their support staffs of publishers, agents and skilled readers.
I’d like a blurb map. That would be fascinating. A spidery tracing of who is blurbing who. It would be a snapshot of contemporary American literature. There would be JE in the lush Northwest with firm black lines extending outward to the writers he is supporting. Then there would be gestures of support heading back to him. You could see the massive nebula that is Stephen King. On this blurb map you could also see tiny dots with no connections. Those would be the writers who refuse to get involved.
As a reader I ignore blurbs that sound vacuous. Stupid blurbs equal stupid book….at least that’s my knee-jerk reaction. And I read blurbs “in reverse”. If I read a blurb from a writer I don’t know then I may research the blurber and try to decide if I would like **their** boo
ks. Sometimes I never get back to the original volume but am off on a book quest where you don’t turn back.
Have you ever read Ron Currie’s one-liners on Facebook or Twitter? They’re great. They draw you in. Whet your word-appetite for more of his intelligence. That’s what a great blurb should do! Don’t write: “This is a great book!” You’re not helping.
JR: I completely disagree with the statement: “Reading literary novels is a pursuit of elites” It seems to me that people who read literary novels are attracted to good writing, strong characters who are flawed in some way and remind the reader of themselves. I do think that the people who read those novels are literate, and have some form of education that would have exposed them to these books, writers, it certainly doesn’t make them “elite”, just magnetized to books and writers that are more challenging (people in general don’t read novels, literary or not). As far as blurbs go, I’m in the process of getting a few for my book, I’ve had great luck, and I feel incredibly fortunate to have them. I think it’s helped me a great deal. It’s part of the networking and platform building that JE talks about, and until this book I never really thought much about. Along the way I’ve run into several stern “no’s” when I ask, and the reasons range from, not wanting to hurt feelings, to, it’s a political process to blurb, to, I don’t have time. And my response to the last excuse, you don’t have time…you’re kidding me, you don’t even have to read the whole book, just an excerpt, and I even had an author tell me to write what I want the blurb to say and sign their name, which I won’t do, as it just doesn’t make sense. But to tell me you don’t have time, after I’ve enjoyed all of your books, and we’ve been friends for years…well…whatever makes you happy.
I myself look to blurbs all the time. I want to see what a writer whom I respect has to say about a book that I might read. Zadie Smith> and Jonathan Franzen both blurbed How To Sell, and I hated the book. But the blurbers, well, I worship them. But did FSG have sway with Franzen? Do editors and publishers get their stable of writers to read a debut to help it along? Sure, Mom and Pop superstore shopper in the fly over states doesn’t know who Zadie Smith is, but the 200k who read literary novels in this country do, and that’s what the editor is hoping will sell the book. Hardcovers are pricey, you need to load the deck to get them to move, especially if you’re a newcomer.
I picked up and read Lucky Girls because Richard Ford blurbed the book. The author was a nobody, and this book put her on the map. But then I find out that she worked at The New Yorker and one day she handed a story to the editor. It makes the fiction issue, and the rest is history. There is a network of blurbers out there, Colson Whitehead, Kate Christensen, Walter Kirn, Richard Ford, a lot of New York writers who know each other, and that’s totally fine, it actually doesn’t really make that much of a difference where the rubber meets the road.
22 Responses to “On Blurbs and Blurbing”
August 18, 2009
ChristinaOThanks so much for this wonderful post. I was having a discussion the other day with some friends about this topic and it was nice reading different opinions. I've sent those involved in the discussion a link to your post.Personally, I don't trust most blurbs because – they're over used and seem more a popularity status symbol. They can also destroy the aesthetic appeal of good design.I realize there are other uses of blurbs and can see the value in them, but this is where I see them. I choose not to research beyond what books they’re written because I want a book to be stand-alone, so I’m not going to see the blurbs elsewhere.
August 18, 2009
ChristinaOThanks so much for this wonderful post. I was having a discussion the other day with some friends about this topic and it was nice reading different opinions. I've sent those involved in the discussion a link to your post.
Personally, I don't trust most blurbs because – they're over used and seem more a popularity status symbol. They can also destroy the aesthetic appeal of good design.
I realize there are other uses of blurbs and can see the value in them, but this is where I see them. I choose not to research beyond what books they’re written because I want a book to be stand-alone, so I’m not going to see the blurbs elsewhere.
August 18, 2009
Jason RiceBlurbs seem to cut both ways, you cna trust them, or not…
August 18, 2009
Jason RiceBlurbs seem to cut both ways, you cna trust them, or not…
August 18, 2009
Patrick T. KilgallonI tend to read books that Stephen King blurbs. Even though mindless, I discovered many good writers out there.Except for books that Stephen King likes, I tend to be more interested in the subject matter. I did not bother to read all the blurbs that the respected writers were kind and compelled enough to write for J.E.'s 'All About Lulu' but was drawn to the plot of a wise guy kid who grew up in a family of weightlifters. Also I read the first paragraph and liked its friendly but take no crap tone.
August 18, 2009
Patrick T. KilgallonI tend to read books that Stephen King blurbs. Even though mindless, I discovered many good writers out there.
Except for books that Stephen King likes, I tend to be more interested in the subject matter. I did not bother to read all the blurbs that the respected writers were kind and compelled enough to write for J.E.'s 'All About Lulu' but was drawn to the plot of a wise guy kid who grew up in a family of weightlifters. Also I read the first paragraph and liked its friendly but take no crap tone.
August 18, 2009
jonathan evison. . . christina, i'd have to agree that it's hard to trust the veracity of blurbs . . .still, they inform . . . i don't put much stock in the adjectives, but i do pay attention to what they say about a book thematically, and if it sounds interesting, i am drawn in . . .
August 18, 2009
jonathan evison. . . christina, i'd have to agree that it's hard to trust the veracity of blurbs . . .still, they inform . . . i don't put much stock in the adjectives, but i do pay attention to what they say about a book thematically, and if it sounds interesting, i am drawn in . . .
August 18, 2009
DHWith respect to JE, I don't see how a blurb can say anything thematically…like…it's JUST a blurb. I notice the person who is blurbing more. Once I saw a blurb by Orhan Pamuk…I practically fell out of my chair. He hardly ever blurbs as far as I can tell and he is one of my writer-heroes. If I research a blurb writer and I see that they write very commercial stuff, that kills the book for me…because that's not what I read.
August 18, 2009
DHWith respect to JE, I don't see how a blurb can say anything thematically…like…it's JUST a blurb. I notice the person who is blurbing more. Once I saw a blurb by Orhan Pamuk…I practically fell out of my chair. He hardly ever blurbs as far as I can tell and he is one of my writer-heroes. If I research a blurb writer and I see that they write very commercial stuff, that kills the book for me…because that's not what I read.
August 18, 2009
jonathan evison. . . hey DH, so, for example, here's a blurb from jim othmer about west of here:"Evison bravely sets out to conquer big stories and big themes, and the result is a daring, gorgeously structured and deeply satisfying expedition of a novel. West of Here deftly connects lives and centuries, pipe dreams and fierce realities, the sensibilities of the modern with the storytelling punch of the classic. Every sentence, character and hard-won patch of Pacific Northwestern earth shimmers with kinetic truth." . . .now, at the very least, i think this blurb says quite a bit about the scope and ambition of the book, and speaks to its theme of connectivity . . .
August 18, 2009
jonathan evison. . . hey DH, so, for example, here's a blurb from jim othmer about west of here:
"Evison bravely sets out to conquer big stories and big themes, and the result is a daring, gorgeously structured and deeply satisfying expedition of a novel. West of Here deftly connects lives and centuries, pipe dreams and fierce realities, the sensibilities of the modern with the storytelling punch of the classic. Every sentence, character and hard-won patch of Pacific Northwestern earth shimmers with kinetic truth."
. . .now, at the very least, i think this blurb says quite a bit about the scope and ambition of the book, and speaks to its theme of connectivity . . .
August 18, 2009
DHJE, I hoped you would provide an example…that's one of the best (most effective) blurbs that I've ever read!I must be hanging out in the low-rent district, blurb-wise.
August 18, 2009
DHJE, I hoped you would provide an example…that's one of the best (most effective) blurbs that I've ever read!
I must be hanging out in the low-rent district, blurb-wise.
August 19, 2009
jonathan evison. . . at the very least, WHO'S blurbing a book says something about the book by way of association . . . if i see a dan brown blurb, i feel like i have certain expectations for the book . . . if i see that sam lipsyte and j.r. lennon and tim sandlin are blurbing a book, it at least gives me an idea where that book fits in the scope of things . . .
August 19, 2009
jonathan evison. . . at the very least, WHO'S blurbing a book says something about the book by way of association . . . if i see a dan brown blurb, i feel like i have certain expectations for the book . . . if i see that sam lipsyte and j.r. lennon and tim sandlin are blurbing a book, it at least gives me an idea where that book fits in the scope of things . . .
August 23, 2009
JoeWSorry to have been away while this conversation was live! Great post as always, guys.Since my new novel is also my first, the blurbs I've gotten have worked both to impress my agent and publisher (since they were all through my own limited connections)and given me a needed jolt of self-confidence. (The "they really like me!" syndrome.)In at least one case, the writer liked my book, but also specifically said she blurbs when she can because she remembers how important blurbs were to her own first novel, and she wants to "pay it forward." I'll do the same if anyone ever asks me.
August 23, 2009
JoeWSorry to have been away while this conversation was live! Great post as always, guys.
Since my new novel is also my first, the blurbs I've gotten have worked both to impress my agent and publisher (since they were all through my own limited connections)and given me a needed jolt of self-confidence. (The "they really like me!" syndrome.)
In at least one case, the writer liked my book, but also specifically said she blurbs when she can because she remembers how important blurbs were to her own first novel, and she wants to "pay it forward."
I'll do the same if anyone ever asks me.
August 23, 2009
RebeccaI think blurbs serve 2 main functions (and many ancillary ones because people are so wide and varied in what effects their decisions). 1-blurbs help position the book at the time it's being sold into stores, before it even lands in front of the consumer. ie-rep says to buyer 'we got a great quote from Jose Saramago on this author' it both positions the book as a certain kind of read, and also lends it a bit of gravitas in some buyer's eyes. 2-I do think some 'lay readers' are affected by blurbs. Not tons maybe, but enough that it is worthwhile. Lay reader is in store, overwhelmed by new release section but wants a new book. Spies a blurb by an author's name they recognize (ie- Sue Monk Kidd) and it immediately makes the decision process more approachable. It's as simple as 'if you like this, you may like that'.All that said, as a rep, I also recognize 'chronic blurbers' and if I know someone is such, or if I know that author x is tight with author y and the blurb is more likely to be a favor, it lends less weight in presenting an author as I think when it comes to blurbs, which are hard to quantify, authenticity is important.And DH: while yes some literary readers are elite readers, good writing should be approachable for masses. There are myriad readers out there who may only read 1-2 books a year (if that) but if they hit upon the right one, they are hooked and become more frequent readers. I have seen it happen time and again. We need to develop more readers (much like you develop a child's palette over time by introducing them to a variety of foods). — arrbecca.oh and ps — SO thrilled to learn Ron Currie is on twitter! J'adore. Colson Whitehead is also a master at the twitter one-liners.
August 23, 2009
RebeccaI think blurbs serve 2 main functions (and many ancillary ones because people are so wide and varied in what effects their decisions). 1-blurbs help position the book at the time it's being sold into stores, before it even lands in front of the consumer. ie-rep says to buyer 'we got a great quote from Jose Saramago on this author' it both positions the book as a certain kind of read, and also lends it a bit of gravitas in some buyer's eyes. 2-I do think some 'lay readers' are affected by blurbs. Not tons maybe, but enough that it is worthwhile. Lay reader is in store, overwhelmed by new release section but wants a new book. Spies a blurb by an author's name they recognize (ie- Sue Monk Kidd) and it immediately makes the decision process more approachable. It's as simple as 'if you like this, you may like that'.
All that said, as a rep, I also recognize 'chronic blurbers' and if I know someone is such, or if I know that author x is tight with author y and the blurb is more likely to be a favor, it lends less weight in presenting an author as I think when it comes to blurbs, which are hard to quantify, authenticity is important.
And DH: while yes some literary readers are elite readers, good writing should be approachable for masses. There are myriad readers out there who may only read 1-2 books a year (if that) but if they hit upon the right one, they are hooked and become more frequent readers. I have seen it happen time and again. We need to develop more readers (much like you develop a child's palette over time by introducing them to a variety of foods).
— arrbecca.
oh and ps — SO thrilled to learn Ron Currie is on twitter! J'adore. Colson Whitehead is also a master at the twitter one-liners.
August 23, 2009
JoeWThere's no question that my publisher was ecstatic that one enthusiastic blurb came in early enough to be included in the catalog and to trumpet at the big sales meeting. No question it will be used to try to impress booksellers, as well as (hopefully, eventually) some readers.
August 23, 2009
JoeWThere's no question that my publisher was ecstatic that one enthusiastic blurb came in early enough to be included in the catalog and to trumpet at the big sales meeting. No question it will be used to try to impress booksellers, as well as (hopefully, eventually) some readers.