If there is no info on a writer, I don’t mind. That said, a nice, well-organized website can’t hurt either! I like to know about who they are as writers–for example, what books have had a big influence on them, did they attend any kind of writing program, have they been published before and where?
I don’t necessarily like to find out too much personal information–blogs about people writing in their pj’s or talking about their pets can come off as unprofessional to me. I guess, like everything, it depends on the person, too. If they are quirky, funny writers, then a quirky, funny website makes sense. If they write literary novels, a quirky, funny website might be a mismatch.

And another editor chimes in:

The kind of thing that makes a good impression is when an author has a good understanding of the business and how publishing works. Also, I love it when writers blog about writing itself — whether discussing their own process and/or inspirations, or giving practical advice to other aspiring writers. Quick thumbnail synopses of any works-in-progress can be very helpful to editors as well — I know that when I bring in a MS by a debut author, I always like to be able to mention if they have other ideas that I think are clever or marketable. And as you know, I’m also a sucker for an engaging blog voice!
As for what makes a bad impression, I have to admit that I’ve occasionally been put off when someone shares TOO much about their own publication process, including names, etc. I always advise authors to have a degree of discretion there. Also, if a writer wants their blog to be considered as a marketing tool, they have to make sure that it’s appropriate for the audience that they’re trying to reach with their writing. I’ve definitely had one or two authors whose blogs were more adult in tone/language wonder why we couldn’t mention the blog in their bio or post a link on our website.

Note the similar comments about blog content matching book content.
And speaking of book content (how’s that for a segue?), exciting new kt literary client Ransom Riggs is looking for a research assistant on a book about Sherlock Holmes. If you’re interested, or know someone who might be, email me for more information.

Ales lend themselves well to vigorous literature–adventures, thrillers, spy novels, horror, serious science fiction, and hard-boiled mysteries. [...]
Red wines of any type are the quintessential lit geek drink; the kind of thing you can imagine black-turtleneck clad, beret wearing, sensitive types drinking by the bushel while sitting in a grotty little cafe in Paris and getting maudlin over Ralph Waldo Emerson or Proust.

What do you think? Does your book of choice determine your beverage of choice? Which do you pick first – -the drink or the book?
And while you’re leaving comments, don’t forget to jump back a few days and leave a question for an editor for my upcoming trip to NYC. Cheers!

What’s one piece of information you wish a debut author would know before you take his or her books on?

After some careful thought, Emma Lollipop replied that she wishes all authors recognized that their publisher wants their book to do well. This may seem common sense, but I’ll admit, I’ve heard any number of authors state the erroneous belief that publishers don’t really care about their book, and are just throwing it out there, and don’t care how it does. LIE!
Publishing costs money, people, and nobody wants to waste an advance and production costs on a book that tanks. Your editor and the whole house they work for want your book to be a huge success, and they will market it as best as they can. That being said, Emma reminded me that some things, like front-of-store placement, can’t be guaranteed even if a publisher WANTS to pay for it. Remember that you’re in this business WITH your publisher, and you’re both working to achieve the same ends.
Now, because I am an energetic duck (and I don’t have room in my suitcase for another pair of shoes, or I’d have totally been shopping), I also took coffee this afternoon with another editor. When I put EM’s question to her, Editor #2 said she wished authors understood the length of the publishing process from the get-go, and that moving a book from Fall to Spring, or otherwise rescheduling it, doesn’t necessarily mean ANYTHING about the quality of the book. Scheduling is one of those things that has so many different aspects, and a book could get moved because the editor has a really full list one season, and a light list the next; because she has too many debut novels and wants to move yours to better allow it to stand out; because she’s already got three epic fantasies and doesn’t want yours to get lost; or because the book would be best released in conjunction with a holiday. Lots of reasons, none of which has anything to do with the book’s quality.
So I hope that helps.