A Day in the Life of a Book Editor: Caroline Bleeke of Flatiron Books | Poets & Writers
Jonathan Karp. President and Publisher · Richard Rhorer. VP and Associate Publisher. Emily Simonson. Publishing Assistant. Editorial. click photo for full bio. Aug 15, For an editor like Caroline Bleeke of Flatiron Books, there is a lot more to the Flatiron publicity manager Amelia Possanza (left) meets with editor schedules to accommodate a reporter in her office asking questions. Dawn Davis—vice president and publisher of 37 INK, an imprint of Simon & Schuster's. THE ARTFUL EDITOR is a book editing agency in Los Angeles, California. We' ve edited in-house or freelanced for New York publishing houses such as Simon & Schuster, Penguin Random House, Macmillan, and HarperCollins; Meet the Founder Weekly, Daily Mail, Glamour, SF Weekly, and Hollywood Reporter.
Flatiron publicity manager Amelia Possanza left meets with editor Caroline Bleeke to discuss submissions. After politely passing on a pair of nonfiction titles, Bleeke brightens when Saudejaud mentions two French novels, one of which, Au petit bonheur la chance!
This reaction, I will come to see, is vintage Bleeke.
10 Rules for Book Editors
Eight years out of Harvard, where she made Phi Beta Kappa, Bleeke exudes the faintly wonkish literary zeal of an eternal English major who has landed her dream job of talking about books all day.
A native of St. Louis, she retains a slight Midwestern reserve, but one senses that behind this outward modesty there burns an abiding ambition, a quiet relentlessness that she channels into her work on behalf of her authors. The brief meeting with Saudejaud illustrates a crucial point about the life of a New York book editor, which is how intensely social the job is. Bleeke, like most editors, does little editing or reading of manuscripts in the office. Nearly all that work—and there is a staggering amount of it—gets done at night and on weekends.
Even late in the afternoon, with her office door shut, Bleeke has to pause frequently to answer knocking and check the caller ID on her ringing phone. The following evening, she has two events, a cocktail party and then a dinner for an editor visiting from Britain. The next week, when the annual Book Expo America takes over the Jacob Javits Center on the far west side of Manhattan, Bleeke will attend work-related events every night of the week.
The and winners of the Pulitzer Prize for fiction, Anthony Doerr and Donna Tartt, each took about a decade to write their books. Editors should learn to recognize when a book will be worth the wait, contractual due date or not. If You Cry, Buy!
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I once asked publisher Jamie Raab why she had the confidence to spend a vast sum to acquire a first novel. The Notebook by Nicholas Sparks went on to become a phenomenon. Often the books readers most enthusiastically embrace are the ones they experience emotionally, not just intellectually.
For other books, the promise might be entertainment, artistry, or deep research. Book editors are paid to come to the office to acquire books, just as Pentagon officials are paid to defend the country.
We each have a bias to action. The result is bloat. On an elemental level, books serve the same purpose.Meet The Editors With Kaniha_Malayalam Latest News_Reporter Live
An agent once sent me a proposal for a book on procrastination. I decided readers would never get around to buying it.
Know the Audience One reason editors tend to specialize in certain categories is that they become familiar with the tastes of the most active buyers in those categories. An experienced editor of crime fiction may sense that a novel is too wild or too mild for the intended audience.
As the publisher of the Amistad imprint at HarperCollins, Dawn Davis pursued an opportunity to acquire the first book by radio personality Steve Harvey.
He was not yet a well-known name among New York City book editors, but Dawn knew how popular he was among African American listeners.
Have Your Own Ideas.