French is a gendered language, with rigid gender rules embedded in its grammatical structure. The book made waves in France upon its late-1980s publication, primarily because of the way it played with gender. The publisher learned about the French writer through a friend, and the Deep Vellum team, then just two years into their existence, was passionate about introducing Sphinx to an American audience. ![]() That is how Evans’ press connected with Garréta. Writers without an agent can submit directly to smaller presses, and even partner with them to publish their work and gain representation. Smaller houses like Deep Vellum have no problem working directly with writers. If I’m at Penguin Random House and I get a manuscript from a writer, it’s probably going in the recycling bin.” “The bigger the publishing house, the less likely they are to work directly with artists. An agent can help you pitch your work, and be your representative on the front lines as you seek an audience for your creation. Evans emphasizes that the role of an agent can be crucial to a writer’s success, particularly if they hope to land with a major publisher. “If you’re a writer, the artistic side of literature may come naturally to you, but you still have to be able to talk about your work as a product.” “If you’re a writer, the artistic side of literature may come naturally to you, but you still have to be able to talk about your work as a product.” - Will Evans tweet this “Just like anything else, literature is an art and a commercial activity,” he says. At the same time, he harbors no illusions about the realities of publishing. Writers have to be talented and have to have a clear definition of what their work is and where they want to take their craft. So before you go anywhere else, decide what you love to write, get your work in front of other writers.”Īs a publisher, Evans looks for creative vision. “Whether you want to write a kid’s book or a cookbook, you have people here ready to help you advance your craft. The publisher points to groups like Writing Workshop Dallas for examples of the local community of writers, and according to Evans, everything from nonfiction to sci-fi is prevalent in Dallas. “The first thing you have to do is figure out what story you’re telling,” he says. Evans is eager to share his wisdom about how to get published. “That’s one of the reasons I started a publishing house in Dallas, because there was no one doing literary work here, and I think it’s valuable to have that access in every community.”ĭeep Vellum Books frequently spotlights local writers, and Evans’ publishing house is passionate about connecting readers to talented writers in need of an audience. “There’s an art side to literature and there’s a business side, and not everyone has access to the business side,” he says. Yet while his literary collaborations extend across the globe, Evans is deeply invested in local literature. For the last six years, he and his publishing team have partnered with international authors to produce English translations and introduce them to American audiences. ![]() Sporting a mustache that looks effortless yet perfectly manicured and boasting a collection of tattoos that give him automatic artist cred, Evans has the allure of a man who is comfortable in a boardroom and a writer’s room.Īs the owner of Deep Vellum Books and executive director of Deep Vellum Publishing, Evans is immersed in Dallas literature. ![]() The first thing you notice about Evans is his calm, amicable demeanor - a trait that undoubtedly makes him popular among writers anxious about presenting their work to the masses. But the thing I’m most proud of is getting Anne in front of new readers.” “It was kind of a perfect storm,” Deep Vellum director Will Evans says. The catch: author Anne Garréta’s book Sphinx first hit shelves in 1986. In Dallas, the emergent press Deep Vellum Publishing partnered with a French author to publish a book all about that very topic. The year was 2015, and America was having a conversation about gender.
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