The Story Behind the Book
by Jim Doty Jr
It all began with an e-mail asking me if I was interested in writing a book. At first glance I thought it was spam. I was within two seconds of deleting it unopened when
something said "You better read this one." So I opened it. I was still skeptical as I read the e-mail so I went to the nearest bookstore and looked up the name of the person who wrote the e-mail in the
Guide to Literary Agents, and learned she is a legitimate and highly respected literary agent.
I went home and did some online research and
found dozens of books for which she was the author's literary agent, and the authors were singing her praises. Not only that, she has written a number of books herself. So I wrote back, we set up a date for a
phone call, and she spent over two hours explaining how the book publishing business works and answering my questions.
She told me a major book publisher was looking for a photographer/writer to write a
book on photographic exposure. They were on a tight schedule and needed someone who could turn out a book in a very short period of time. I was interested, I signed a contract and we were off to the races. So who
is this agent? Barbara Doyen. You can learn more about her and a lot about writing and publishing books by going to
Barbara Doyen.com. Curious how she found me? She came across one of my Web sites (JimDoty.com) and liked my photography and my writing.
I spent two months writing and rewriting book outlines and sample chapters and sent them to the publisher. A sample chapter came back with a critique that was almost as long
as the chapter. Editors pull no punches. I said to myself "Who am I kidding? I can't do this." I tended to my wounds, talked to Barb (who was very encouraging), and rewrote the chapter.
After all of the sample chapter writing, the publisher offered me a contract to write the book. They assigned me an editor, and over the next 4 months I wrote the book. They told
me it was better to write too much and have to trim the book down to size, than not to write enough. So I wrote like crazy.
Most chapters took about
40-45 hours to put together, which included writing and rewriting plus getting all of the photos ready. I would write a chapter once or twice, send it to my
editor, and she would work on it while I started the next chapter. Then she would send the first chapter back to me and I would work on it again while she went to work on the next chapter. Sometimes we had several
chapters going at once.
We started off doing a chapter a week the first month, picked up the pace as we moved along, and ended up cranking out 3 chapters a week the last month. We both put in long hours.
When the last chapter was in, I breathed a sign of relief. I had a week off before the process of reviewing and rewriting began. I went through the entire
book 4 more times with a team of three editors. Lots more rewriting, plus we had to trim the book down to size since I exceeded the goal of 368 pages by about 100 pages. That process took three more months.
A couple of weeks after the reviewing process was over, the finished files were off to the printer, and two weeks after that the book was in stock at major online
Obviously, I am grateful for Barbara Doyen, my literary agent, and the editors I worked with: Jennifer Connolly, Tim Gallan, Jennifer Tebbe, and Caitlin Copple.
Part of the story
behind the book began long before the e-mail from Barbara Doyen. There are some people who had a big impact on my photographic journey. I will mention two of them.
In 1984, some low life person stole my camera. Insurance would replace the camera, but nothing could replace the photos that were still in the camera from a very special family
vacation. Insurance money in hand, I headed for a local camera store and found myself talking to Mike Baroli. He sold me a camera, lens, and camera bag (I told him the bag was too big but he prophetically said I would
need a big bag), and I walked out of the store. Fortunately for me, he was not only a salesperson, he was an avid and passionate photographer.
A few days later, I came in to pick up my first roll of
developed slides taken with my new camera. He spotted me, came up and took my yellow box of processed slides (before I had a chance to open it) and went back to his corner of the store. He went through the slides and
sorted them into two stacks. He pointed to the stack of 4 slides and said "Keep these." When I asked what I should do with the other 32 slides, he said "Throw them away." I didn't like that. I gathered up my slides and
The next time I came in to pick up another roll of slides, he did the same thing again. Although I found the process annoying, it became a challenge for me to make the keeper stack bigger. That
didn't happen for a while. So I finally said to him "Why should I keep these and not them?" That's when he started teaching me how to be a better photographer. He started sending me to the best books to read, he
converted me from Ektachrome 200 to Kodachrome 64 (a much better film). He challenged me to be a much better photographer, our visits became a source of inspiration, and his critiques led to my first published landscape
photos and my first magazine cover. I have Mike to thank for sending me well down the road to being a better photographer.
In 1995, Jim Riegel talked me into teaching photography at the Kalamazoo Institute
of Arts. Each semester involved 9 or 10 class sessions and 4 or 5 field trips. The combination of classes and field trips was invaluable for me. Jim and I talked
regularly about my class and I have no idea how many times we chatted about photography in general. I wrote a modest set of handouts for my very first class sessions, and every semester after that I would add more
handouts or rewrite old handouts. I soon learned what clicked and what didn't. The collection of handouts grew to over 200 pages. Jim Riegel encouraged me throughout the whole process.
My students urged me
to start a Web site so I began a small site with a few photos and articles adapted from my handouts. That slowly evolved into JimDoty.com with over 400 pages of photos and information. The teaching, field trip, writing
and Web site experiences paved the way for my book. In fact, a lot of the book came from material in my handouts and at my Web site. I have Jim to thank for the opportunity to teach photography, both in the classroom
and in the field, and the chance to write about photography and try the hanbdouts out on a wide variety of photographers at all kinds of experience levels.
I am grateful to both Mike and Jim for showing up in my life and making a difference in my photography, teaching, and writing. Without them, I might not have had the
chance to write a book
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November 9, 2010