흔히 not A but B나 not just A but B 또는 not only A but B 정도는 익히 알고 있겠지만, not A just B라는 표현은 그리 자주 접하지 않았을 것이다.
이건 사실상 어려울 것 없이 그대로 직역하면 된다.
A가 아니라 B일 뿐이다.
A가 아니라 그저/단지/그냥 B이다.
Programming Flex 3 번역서가 드디어 출간됐습니다.
책의 상세 정보는 우측 사이드 바 상단의 번역서 그림을 클릭해서 볼 수 있습니다.
햄스터를 두 마리(한웅큼 군 & 닭도리 양: 애칭 – 웅미오 & 도리엣) 기르는데 좀 전에 뜻밖의 출산을 했네요. 멀리서 언뜻 보고 벌레인 줄 알았다가 매우 놀랐습니다.
웅큼군이 나이가 3-4개월 많은 데도 불구하고 체격이 더 마르고 약해 보여서 안타까움이 있었는데, 요 근래 도리양이 원래부터 민감하던 성격에 더욱 사나워지고 제 살도 많이 물어서 때리고 야단치고 겁 주고 했는데 매우 후회 됩니다. 임신인 줄 알지도 못 하면서 몸 뚱뚱해지고 단단해진 애를 손바닥으로 살짝이나마 때렸으니 눈물도 글썽하는 눈치였고, 그때 왜 그랬나 이유를 곰곰이 생각해보고 임신임을 조금이나마 눈치 챘더라면 절대 그와 같은 행동을 하지 않았겠죠. 웅큼군이 유난히 편식이 심하고 도리양은 잘 먹고 튼튼한데다 요 근래 웅큼군이 다가오기만 해도 심하게 질색을 하고 찍찍거리고 경계해서 미움받고 약해 보이는 웅큼군만 더 챙겨주고 이뻐했는데, 지금 생각하면 웅큼군은 자기 애를 임신한 도리양에 대해 그만큼 책임이 없고 그저 순간의 쾌락이나 따른 것이고(편식이 심한 점 하나만 봐도 알 수 있죠), 도리양은 아기들로 인해 필요한 영양 보충을 위해 욕심을 부렸던 것이고 힘들어서 스트레스도 심하고 더욱 민감해졌던 것이네요.
아기의 수는 약 7-8마리인 것 같지만 다가가서 세어보지는 않았습니다. 오죽하면 사진도 못 찍었습니다. 혹시라도 경계심에 아기들 죽일까 봐서요. 햄스터가 정이 없다느니 미물이라서 동족을 잡아먹는다느니 하는 소리들은 전부 생각 없는 이들의 두뇌에서 나오는 선입견 기반의 헛소리에 불과하고, 실상은 그와 전혀 다릅니다. 인간이 자신의 능력 부족으로 인해 이해를 못 한다고 해서 그것이 자연스럽지 않거나 잘못 된 것이거나 그 인간의 판단이나 상상이 옳은 것은 절대 아니며, 오히려 인간의 그 논리 자체가 처음부터 완전히 잘못된 것일 수 있다는 점을 인식해야지요.
다행히도 도리양은 아기들에 대한 애정이 큰 것으로 보이고 힘겹게 계속 엎드려서 모유를 주고 있네요. 도리양을 1월에 분양 받았으니 도리양 생일도 12월 말에서 1월 초 경으로 매우 어린 나이임에도 자기 애기들을 챙기는 모습은 정말 책임감 있습니다. 앞으로는 그 동안 오해하고 오히려 더 못 해줬던 점을 보상하기 위해서라도 더욱 챙겨줘야겠습니다.
그나저나 일단 애기 숫자가 많아 큰일이네요. 저는 두 마리 기르기도 힘겨운데, 아기 한 명 남기고 분양하자니 도리양 상처 받을까 봐서 걱정도 되고 일일이 분양할 시간 여유도 없고.. 애기들이 새 울음소리마냥 가냘프게 짹짹거리자 아예 도리양이 아기들을 품고 잠들었습니다.
[참고용으로 퍼온 글]
For the last five years, I’ve worked as an acquisitions editor at two publishing houses. Most full-time acquisitions editors acquire between 15-20 books in a year.
Many editors have acquisitions as a part of their job responsibilities but it’s the total responsibility for an acquisitions editor. It means that I’m often the first contact for an unpublished writer. Each of the two publishers, where I’ve worked, consider or accept unsolicited manuscripts. Because of the poor quality of these submissions, most major publishers do not accept unsolicited manuscripts. Their submissions come from a literary agent or an author with an established relationship with the publishing house. When a publisher considers unsolicited manuscripts, it is a virtual onslaught of material. The majority of this onslaught is presented in an unprofessional manner and not written well–truth be told.
An acquisitions editor not only finds the manuscripts but they champion the manuscript within the publishing house. I’ve often told writers that I characterize publishing as a consensus building process. I may be convinced your book project is perfect for our needs–but I have to convince a number of other people including my fellow editors, sales people, marketing personnel and the leaders of the publishing house your book is worthy to appear in print. For any publisher to take your book and print it, they will spend about $50,000 to $100,000–and this cost includes only a modest advance to the author ($5,000 or less). As an author who had written over 55 books with traditional publishers, I had no idea the publisher was investing this amount of money in my idea to put it into print–before several years ago when I started working inside a publishing house. The author never sees the actual financial numbers for the cost of the paper or the editorial or the marketing expenses for the book yet I know firsthand the investment. It’s a considerable investment–and numerous people seriously weigh the risks.
Not Waiting for the Bestseller
Most acquisitions editors are not waiting for the golden best-selling manuscript to simply drop into their mailboxes. We are proactively looking for new projects. I’ve been in publishing many years and have rolodex with personal phone numbers, addresses and email addresses for some high profile people. I’m actively using this information to contact my friends to see if they have some project that I could acquire. Why? There is much less risk for the publisher to take a well-known author (even who has never published with you) than an unknown author and make them known. Also it involves much less work for the publisher.
Before you think there is absolutely no opportunity for an unpublished and unknown author, don’t be discouraged. Publishers are looking for your work but it has to be excellent and a good fit for the needs of the particular publisher.
Five Ways to Help the Acquisitions Editor
1. For nonfiction books, write a proposal–not a manuscript. No matter how many times I say this information, I regularly meet writers who are writing their nonfiction manuscript. About 90% of nonfiction books are contracted from a book proposal.If you are writing a nonfiction manuscript then you are wasting your time. The proposal contains information about you, the market and the competition for your idea which would not be in a book manuscript. You need to work hard on your book proposal to show you’re keenly aware of the market. Visualize your book. How long will it be? Where will it appear in a bookstore? What books will be beside it? (your competition). Don’t tell me that you will not have any competition and your idea is unique. It is not true. Your book will compete with something else and is not totally unique. Publishers are quite jaded and roll their eyes at this common statement from new writers. What are you going to do to market and push your book into new areas for sales? This type of information has to be built into your proposal and will help it stand out from the others on the editor’s desk.
2. For unpublished or newly published fiction authors, write the entire manuscript.
In general publishers have been burned with first-time authors who only write a great summary and a couple of well-written chapters. The publishing house contracts the novel, then the author writes the plot into a corner and can’t finish the story. Suddenly everyone is stuck with a large problem. Publishers avoid such problems and require first-time authors to write their entire fiction manuscript. This book has to sing with excellent action, drama and characters. If it starts out slow, you will be repeatedly rejected.
3. Build a relationship with the editor. Conferences are great for these relationship building experiences. Don’t try to do it on the phone (you will waste the editor’s time–from their perspective). It’s a huge mistake for you to call the publishing house and ask the editor how to submit your materials. You are not building a relationship. Instead you are showing your lack of professional courtesy and building a negative memory with this particular editor–because from his or her perspective you are wasting their time that should be spent elsewhere.
4. Never push for an answer about your project–except after months without a response then only inquire gently. If you push for an answer, you will get it. “No.” I regularly tell authors if they want an answer about their work, I can give it immediately. “No.”
It’s not what they want to hear. Yes takes time. Some times lots of time. I’ve acquired several complex children’s books which took a year to convince a team of people they needed to publish this book and it would be financially viable to the publisher.
Yes, it took a year. From time to time I was in touch with the author to give them an update but it took patience to get these particular books published. Most writers don’t have enough patience–so they push and get the answer they don’t want to hear. “No.” And you can completely understand it from the editor’s perspective. It’s easier to get rid of the nuisance calls and pushing from an author with a quick “no” against the small chance this book could turn into a bestseller. Submit your proposal simultaneously to various publishers and have patience with the lack of response. When you don’t hear anything for three months or longer, then gently inquire for an “update.” And instead of treading a path to your mailbox looking for an answer, get busy and write another proposal.
5. Learn how to present your proposal with excellence. Your proposal has to be written well and in the expected format. No graduation certificates are needed with your submission (yes, I’ve seen them). Skip the colored paper or weird fonts (yes, I’ve seen these as well). Leave out the fancy notebooks or costly presentation folders. These things get attention but mostly negative attention. Always include a Self Addressed Stamped Envelope or instructions to discard the manuscript and respond with a single stamped envelope or include an email address if the materials are rejected. Without the SASE, you have no hope of receiving a response from the publisher. Imagine receiving 6,000 to 10,000 unsolicited submissions in a year without any return postage. Imagine yourself in the role of the publishing house and consider your choice–throw the manuscript or use money from your already-tight budgets to return them. It is not hard to determine that the publisher will toss your materials and never respond. You need to study the market (something you’ve heard), learn how to present marketing material and yourself to be unique with well-written material. It is not easy but possible. A typical excellent nonfiction book proposal is about 15 to 20 pages–just for the proposal materials.
Your challenge (and goal) as a writer is to send an absolutely irresistible proposal to the publisher. If you follow these five basic areas, then you will separate your materials from the many other manuscripts which arrive at the same time. It will help the acquisitions editor and also improve your possibilities to be one of the few proposals which become a book.
________________________________________
W. Terry Whalin understands both sides of the editorial desk–as an editor and a writer. He worked as an editor for Decision and In Other Words. His magazine articles have appeared in more than 50 publications including Writer’s Digest and Christianity Today. Terry has written more than 60 nonfiction books and one of his latest is Book Proposals That Sell, 21 Secrets To Speed Your Success (Write Now Publications). You can learn more about Terry’s background at:www.right-writing.com/whalin.html. For more than 12 years Terry has been an ECPA Gold Medallion judge in the fiction category. He has written extensively about Christian fiction and reviewed numerous fiction books in publications such as CBA Marketplace and BookPage. He is the former Fiction Acquisitions Editor for Howard Books and creator of www.right-writing.com.
Sign up for Terry’s free newsletter, Right Writing News.© 2007 W. Terry Whalin
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