Theresa Stevens (quite possibly poolside at her estate in Montecito) exposes myths about editors and gives us a glimpse of what an editor’s job is really like.   

Ten Myths About Editors

1. Myth: An editor’s job is to edit manuscripts.

Truth: These days, editing manuscripts is only part of an editor’s job.

Editors are functional project managers with responsibilities extending through all areas of the book’s life cycle. A simplified sketch of a book’s life cycle includes the following steps:

- Query/Pitch

- Proposal/Partial

- Full Manuscript

- Contract Negotiations

- Revisions

- Line Edits

- Copy Edits

- Cover Art

- Jacket/PR Copy

- Proofs/Galleys

- Pre-Sales

- Advance Distribution

- Advance PR

- Distribution for Release

- Release PR

- Subrights Sales

- Returns

- Remainders

Even though this is a very rough and simplified outline, it still contains eighteen steps. Only six of the eighteen steps (Query/Pitch, Proposal/Partial, Manuscript, Revisions, Line Edits, Copy edits) can be said to be related to the editing side of the editor’s job. One of those, Proposal/Partial, is frequently combined with the query or pitch, especially with proven authors. And another, Copyedits, is generally delegated to another editor who specializes in this task.

Each item on this list can take weeks or months to complete. Multiple people touch the project, but the editor is the shepherd. The editor is usually the only one involved in every single step of this process, even though the level of involvement will vary from house to house and maybe from project to project. For example, in some houses, editors write jacket copy. At other houses, the marketing staff drafts the jacket copy based on a memo prepared by the editor or a tip sheet completed by the author.  

2. Myth: Pitching work at a conference makes an editor more interested in your manuscript.

Truth: Oh, boy. Dare I tell the truth here?

Formal pitch meetings are an essential part of the conference experience for editors because pitches are one way we connect with new writers. We also connect in hallways, elevators, banquet rooms, cocktail parties, public bathrooms, and any other place that writers can get close enough to read our name badges.

I found my success rate for finding new authors was roughly the same in elevators, bars and taxis as in formal pitch sessions. To be honest, I think pitches are about the worst way to connect with an editor. It’s a high-stress environment for the author and, well, let’s just say that it can feel a bit claustrophobic for the editor. Not exactly a good setting for a love connection.

I took pitches because it was a quick and dirty way to get through a lot of networking in a short time, and I usually remembered the pitchers when I saw their submissions. But pitches didn’t tell me whether the writer can deliver a publishable manuscript. Only pages can tell me that. Even the most memorable pitch won’t amount to anything if the manuscript doesn’t work, so I generally withheld judgments until I had actual pages to evaluate. 

3. Myth: Editors pass on good manuscripts because they can’t recognize works of genius.

Truth: Editors are the most educated, experienced and adept readers of raw work anywhere. Period. So then why do we hear all these stories of major bestsellers being rejected seventy-seven times before finally finding a publisher?

Publishers offer a certain number of a certain type of titles in a certain interval: four cozy mysteries per month, two literary anthologies every six months, eight short romance stories on alternating Wednesdays. Editors are allowed to buy ahead, but only so far.

Keep in mind that editors already have writers under contract for many of these slots. And we have a full roster of writers who get first crack at openings even if they’re not currently under contract. So even though we might need, say, forty-eight stories in a given calendar year, perhaps forty or more of those slots will be out of reach to new writers before they’ve penned a single word.

For the few slots available to newcomers, the competition will be fierce. The slightest shades of difference between equally good manuscripts can often determine which book gets published and which gets rejected. In such cases, the rejection really isn’t about the quality of a project. I have had to pass on great manuscripts because they didn’t fit our line-up, or because we didn’t have room for them, or because they duplicated something under contract, or for a thousand other reasons that didn’t have anything to do with the writer’s genius. Or with ours. 

4. Myth: Crushing the hopes of aspiring writers makes an editor feel powerful.

Truth: Most of the time, we’re too busy and too worried about our failing eyesight to think about things like power trips.

We don’t want to crush you. We want to help almost-there writers elevate their games. My biggest complaint about my acquisitions job, first, last, and always, was that I didn’t have enough time to groom new authors. Remember the rough task outline with eighteen items on it? Remember that each of these items can take weeks or months to complete? I didn’t have a lot of time left over to educate new writers, even though we all recognize that this lack of training can hurt the bottom line in the long run.

Another editor and I started the edittorrent blog (edittorrent.blogspot.com) as a way of trying to spread technical information about the craft of fiction. We knew we couldn’t spend a lot of time one on one with writers who weren’t under contract. But the blog lets us reach a lot of writers in relatively little time. 

5. Myth: Authors don’t need to worry about grammar because it’s the editor’s job to fix it.

Truth: A thousand times, no.

This is one of the most puzzling rumors out there. Yes, of course, editors and copyeditors fix grammar errors in manuscripts. Does that mean an author shares no responsibility for grammar and usage?

Here’s a sad truth. When I evaluated a submission, the first question in my mind was not, Is this story good enough to publish? My first question was, How many hours of my life will it take to get this manuscript ready? If every other paragraph contains a grammar or usage error, that translates into time that I could be spending on other tasks.

This is why it’s easy for an editor to equate bad grammar with other flaws: arrogance, lack of self-respect, lack of respect for us, disdain for the product you’re creating. If you don’t care enough to distinguish possessives from plurals, then we’re not going to care enough to give you anything more than a form rejection.

In other words, if you don’t worry about your grammar, neither will I. 

6. Myth: Editors play favorites with their authors.

Truth: We love you all the same, but some of you more than others.

It’s true that some authors receive more house support than others. There are many factors that come into play here: sales records, marketing decisions, Jupiter’s alignment, and whether we’ve run through the week’s chocolate ration before noon on Tuesday. 

That’s only partly in jest. Sales and marketing decisions factor strongly into how much “love” you’ll get from your publisher. Publishing is a business, but it’s a business driven by the unpredictable tastes and whims of the masses. Luck is that great intangible that controls the fate of many titles, despite the best efforts of fleets of salespeople and PR experts.

And, let’s face it, editors are people, too. If we’re having a bad week and you call to whinge about the facts that your jacket copy never mentions the hero’s peculiar aversion to ramen noodles and that the cover artist drew a castle with sixty-four windows when the castle in your book clearly has sixty-six–well, we might not have the energy to care quite as much as you’d like. Especially because we’ve already had to listen to a rant from the cover artist about the impossibility of compositing sixty-six windows onto a two-square-inch castle, and even we don’t remember the ramen noodle thing despite having read your manuscript a dozen times.

Now imagine that the ramen-ranter is on a two-book contract, and I had to go through all this on her first title. Human nature being what it is, do you think I’ll be excited to show her the cover for book two? No. I’ll be bracing myself for a bad experience. I’ll still show her the cover. I’ll still hope for huge sales. I’ll still do everything I’m supposed to do, because, remember, we “love” you all the same. But I’ll be thinking about damage control before picking up the phone or composing the e-mail. Wouldn’t you be?

If you’re not getting the attention and support you’d like from your house, the best solution is to stop playing the blame game. Go back to basics. Write the best darn manuscript you can write. Turn it in on time — better yet, turn it in early. Be polite and professional even during disagreements. Don’t quibble over details unless they’re important details, and by important we mean, “The woman on my cover has three arms.” Make yourself a deal: for every time you stet the proofs, you’ll do one extra thing to promote your book. Or for every phone call to your editor to challenge your revision letter, you’ll take an online writing course. Or for every day that you miss your deadline, you’ll take out an ad in a relevant journal.

In other words, pay attention to your bottom line. It’s about sales, yes, but it’s also about what it’s like to work with you. If you do something that creates a “love” deficit, restore the balance by doing something positive for yourself and your career.

We want you to succeed. We want every book we publish to be a smash success. Be a partner in that process instead of an obstacle, and you’ll feel plenty of love from everyone at your house. 

7. Myth: Contest wins really impress editors.

Truth: It depends.

I’m a big supporter of writing contests. Writers labor in isolation and deal with constant uncertainty. Contests can address both concerns by giving you clear, honest, sometimes even anonymous feedback from someone outside your normal circle. I love contests enough to act as final judge whenever asked (and whenever my schedule permits it).

That said, I’m rarely impressed by mentions of contest placements in query letters. I know that contest pools are like slush piles. On any given day, you can have a pile of good manuscripts or a pile of really bad ones. Placing in a contest doesn’t tell me much unless I know something about the level of competition in that pool.

Some contests have great reputations. A final in one of these is more likely to carry weight because we all recognize that the competition is strong. Other than that, they probably won’t count for much.

8. Myth: No news is good news.

Truth: No news is no news.

I remember fondly the days when I could respond to queries within a week. Requested fulls never lingered for more than thirty days in my in tray. I was an editing machine, churning through thousands of pages each month.

And then something happened.

First it was the cold queries. They started to mount until before I knew it, there were some several weeks old. Where had they all come from? I wasn’t ignoring them. I spent just as many hours on them each week as before, but the pile got bigger instead of smaller.

Then the requested manuscripts from new-to-us writers started to mount. I wanted to read them all right away. I intended to read each one the second it appeared in my inbox. But–but–there were page proofs due to the typesetter, and then someone turned in a manuscript late, and a piece of the website stopped functioning, and the art director wanted feedback on a new font, and–and–

It never ends. Editors talk a lot about being busy. That part is not a myth. If we could evaluate your work faster, we would. So usually, “no news” is just that, no news. We’ll get to your submission as soon as possible. Really. 

9. Myth: If an editor loves your book, you’ll sell well.

Truth: Nobody can predict sales.

But that doesn’t stop us from trying. We do P&Ls–profit and loss statements–and scrutinize sales data like neurosurgeons slicing into brains. Why does this futuristic sell better than that one? Why did that historical not sell at all? Was it the promo, the product, the dip in the stock market, the fact that everyone spent their book dollars on the new Harry Potter that week? Sometimes it’s impossible to tell.

Armed with conflicting data, we peer into our crystal balls and try to make sense of the future before it arrives. Sometimes we even guess right. These are educated guesses, after all.

With the advent of direct publishing, I’ve been fascinated with watching authors track their own sales records and try to make sense of it all. You get it now, don’t you? You can sort of guess where things will go, but that’s about it. The best advice I can give you is to look for general trends and try not to let the sales figures make you crazy. 

10. Myth: Editors lead glamorous, exciting, celebrity-filled lives.

Truth: True! Absolutely true! And now if you’ll excuse me, I have to climb aboard my private jet to zip down to a gazillionaire author’s private island for a fabulous weekend party. Everyone who is anyone will be there! Ta-ta, darlings! 

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Has Theresa banished your myths about editors or the editorial process? Any questions about an editor’s life or function?

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Author Avery Flynn joins us on Monday, February 20th.

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Bio: Theresa Stevens is the Publisher of STAR Guides Publishing, a nonfiction publishing company with the mission to help writers write better books. After earning degrees in creative writing and law, she worked as a literary attorney agent for a boutique firm in Indianapolis where she represented a range of fiction and nonfiction authors. After a nine-year hiatus from the publishing industry to practice law, Theresa worked as chief executive editor for a highly acclaimed small romance press, and her articles on writing and editing have appeared in numerous publications for writers. Visit her blog at http://edittorrent.blogspot.com/ where she and her co-blogger share their knowledge and hardly ever argue about punctuation.

To all the RU faithful out there, you know I’ve been fairly open about my struggle with my rankings addiction. Well, I’m pleased to say I’m making great strides in my efforts to battle back from this energy zapping, time consuming, emotionally draining problem.

After I outed myself about my rankings addiction, I knew I had to get control of my tendency to refresh my Amazon page every hour. Looking back on it, I shake my head because that behavior was incredibly destructive. If the ranking went up, so did my mood. If it went down, so did my mood.

That’s when I got lucky and ran across an article in my Twitter feed. I think every aspiring author should click here and read this post by Bob Mayer.

Go ahead, I’ll wait…

Now that you’ve all taken a moment to read the post, I will tell you the first time I read it I sat a little stunned, like someone had whapped me on the head. I read it again. Then again. Finally, I yelled “Yes! Thank you, Bob Mayer!”

My husband found this a bit odd, for reasons I’m sure you can imagine, but I quickly explained myself.

The title of the post may be “What Does It Take To Succeed in Self-Publishing?” but I think the overall message is important.  The message I heard was that success in the publishing world does not come overnight. No matter how hard we think we’ve worked.

Looking back on the first month after my release, I think my expectations got wildly out of whack. During my release week, I saw Man Law soar in the rankings.

That early success poisoned my thinking. I figured since I’d gotten some nice ranking results that the book would magically stay there.  Not so. I have since watched the rankings on my books go up and down like an escalator and have been forced to get comfortable with it. 

I’m slowly learning that a reader base is built over time and, low and behold, each time one of my books has launched, my rankings have gone up. It seems so simple now. With each book, I pick up more readers. If they like the book, they tell their friends and their friends buy a book. Pretty basic stuff.

This past weekend, I was lucky enough to see my second book, A Just Deception, land in the number 56 spot on the B&N top 100 Nook books list. I have no problem admitting it was a rush. It’s the thing every author dreams of, isn’t it? Seeing your book on a top 100 list somewhere? It’s like hitting the jackpot. For me, what comes with all that exhilaration though is preparing myself for the eventual slide down the list. I’m thrilled to say my recent rankings addiction recovery has taught me to accept that this is part of the process.

I’m trying to force myself to look at my publishing journey the same way I looked at graduating from college. When I graduated from college, I didn’t expect to get a job as a CEO of a Fortune 500 company.  Nope. My first job out of college was as an administrative assistant to a guy who threw staplers at me. I worked hard though and was rewarded with a better job. And then a better job after that.

With that in mind, I have Bob Mayer’s answer to what it takes to succeed in publishing taped to the board next to my desk. In case you missed it, here’s his answer: Good books. A lot of hard work. Focus. Consistency. Accepting that marketing is an integral part of being a writer.

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I’m hanging on to that. How about you? What do you think it takes to succeed in publishing? Tell me what you think and I’ll enter your name in a drawing for a copy of Risking Trust.

Author Loucinda McGary joins us on Wednesday, November 16th to discuss Five Things that Drive Contest Judges Bonkers.

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Bio: Adrienne Giordano writes romantic suspense and women’s fiction. She is a Jersey girl at heart, but now lives in the Midwest with her work-a-holic husband, sports obsessed son and Buddy the Wheaten Terrorist (Terrier). She is a co-founder of Romance University blog. For more information on Adrienne’s Private Protectors series please visit www.AdrienneGiordano.com. Adrienne can also be found on Facebook at http://www.facebook.com/AdrienneGiordanoAuthor and Twitter at http://twitter.com/AdriennGiordano.

 Adrienne’s books available at: 

Carina Press

Amazon

Barnes and Noble

It’s an exciting time to be an author. The brass ring thought to be unreachable, in the last few years, is within our grasp. Authors have options these days they never thought possible. Self-publishing a.k.a. Indy publishing, small presses, digital presses, traditional publishing, even Amazon has gotten into the publishing business. So many options.

But here’s one option you don’t have, at least if you want to build a career and be taken seriously. Are you taking notes? Every author out there needs a good editor.

No matter who you are; no matter how many books you’ve published.

Here’s what happens when you don’t, and, sadly, this is a story about a New York Times, multi-published, bestselling author.

I’m often called to substitute at my mother’s bridge game. Her friends are aware that I’m a writer, and newly published. They’re proud of me and act as though I have insider knowledge to the publishing world. Ha! As such, one of my mother’s friends, a woman named Pat, approached me, book in hand.

I recognized the publisher instantly. It was one that accepts only agented submissions, and authors covet selling to such a powerhouse. I also recognized the author’s name upon first glance. I’ve read her work; I’m a fan. But in this case, Pat was upset and after she showed me why, I have to admit, I saw her point.

She’d taken this book by this acclaimed publisher and author, read it, then finally became so frustrated, she went back and circled the numerous typos on the pages. She even pointed out that the hero’s name was XX, when in the later pages it switches to YY. Pat had paid good money for this book, and now she was asking me what she should do about it.

Now, Solomon, I’m not. But when a woman in her eighties asks such a question, you don’t argue that mistakes happen in every published book, because in this case, there were simply too many to claim that defense. I suggested that Pat write the publisher, perhaps even ship the book back, mistake-ridden and all, and let them know of her displeasure.

I don’t know if she did, but it was worth a shot. Thinking about what must have happened I suspect the author was on deadline. Her editor and copy editor were probably swamped as well. And because the author has a tremendous fan base, and no doubt turned in quality products before, I suspect the publisher cut corners, e.g. rushed this project through without the attention the book or the author deserves. Will this publisher and author survive? Probably. Like the banking industry and AIG, they’re too big to fail. So far.

I think we must acknowledge that bad editing happens at any level in this industry. In my opinion, authors are way too close to the work and no matter how conscientious, or detail oriented, they often sail over their mistakes.

Recently, I asked three debut authors what they had learned from their editors. If you’re interested you can read about here: http://tinyurl.com/3mjeepa

And finally, I consulted three traditionally published authors to test my theory.

Joelle Charbonneau

Well, I’m delighted that I have a fabulous editor at Minotaur. She is great at paying attention to the tone my characters use. Sometimes when a person writes humor (which they say I do) it’s possible to skirt over the line from funny to offensive or from light-hearted to mean-spirited. My editor has more than once caught something that straddles that line. I distinctly remember a moment in SKATING OVER THE LINE that my editor flagged that made me first say “What’s wrong with that?” and then say “Oh…yeah, I need to change that.” The minute I did the scene became much funnier. It’s amazing how often that little change can alter the entire scene. An editor doesn’t have to suggest huge, sweeping changes to make all the difference in the world and a great editor is worth his or her weight in gold. (My editor is on the shorter side so she might be worth at least double her weight!)

Kylie Brant

One thing I really rely on my editors for is to help me keep my timeline and names straight. Because a full-time job prevents me from writing every day, and because I change things along the way, I sometimes have a story that skips from Tuesday to Saturday Or I decide to change a minor character’s name along the way and forget to change the others. More often I start spelling it differently toward the end. I appreciate the editors keeping these sorts of things straight for me!

Cindy Gerard

I’ve been in this business over twenty years and have 46 books published. During that time I’ve worked with approximately 13 editors. I cannot think of one instance where I didn’t learn something from their input or benefit from their expertise. Every editor who has touched my work has made it better. A very few were a bit intrusive but even then, their comments and suggestions made me stop and rethink some of my decisions because in the end, their goal was my goal: to make the book as good as it could possibly be. On the rare occasions when I didn’t agree with editorial input, their suggestions still gave me new perspective and made me a better writer.
So the long and the short of it is, while an editor can’t take a bad book and make it a good book, in my humble opinion, a good editor can take a good book and make it sing, dance and wag its tail.

Darn it. Cindy took the words right off of my keyboard. Still she supports my theory. In my opinion, a good editor can take your work to a higher level. As for those overworked, deadline-filled, and inexperienced–as I talked about above, they just might hurt you more than they can help.

So how about you? Do you have faith in your ability to put out a quality product without an editor? Have a better system that works? Tell us what works for you.

And for those who comment, I’ll give away an ARC of The Past Came Hunting.

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RU Crew – don’t forget to comment/question – Donnell’s giving away an ARC of her newest book!

Join us tomorrow for a special post from Karen Tabke

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Excerpt: THE PAST CAME HUNTING

Shock made her numb.
It wasn’t possible. How had she missed the connection? She hadn’t thought of the man in years. The cop who’d arrested her, his name had been . . . Crandall.
Somehow Mel found the strength to look into his eyes. And when she did, she came face to face with what could only be a mutually shocked expression.
“You,” she whispered.
“You,” he replied.

Fifteen years ago a young Colorado Springs police officer arrested a teen runaway accused of aiding a convenience store robbery and attempted murder. She was innocent, but still served prison time briefly. Her testimony sent the real criminal to jail for much longer. Now she’s a young widow raising a son, and the man she put in prison is free and seeking revenge. She moves to a home in a new neighborhood—then learns that her next-door neighbor is the by-the-book officer who arrested her. Now he’s a Colorado Springs Police Lieutenant. Like it or not, he may be the only one who can protect her and her son from the past he helped create.

Bio: Donnell Ann Bell is the recipient of numerous awards for her fiction and a debut author for Bell Bridge Books. She co-owns Crimescenewriters, a Yahoo group for mystery/suspense writers, with retired veteran police officer, Wally Lind. A longtime volunteer for RWA’s Kiss of Death Chapter and the former Overall Coordinator for the Daphne du Maurier Award for Excellence in Mystery/Suspense, Donnell has been one of Romance University’s guests on the often-confusing topic of contests. She was raised in New Mexico’s Land of Enchantment and today calls Colorado home. www.donnellannbell.com

FOR IMMEDIATE RELEASE

Dorchester Publishing Launches New E-Commerce Web Site

NEW YORK, New York (March 4, 2011) – Dorchester Publishing Co., Inc., founded in 1971, and what was until this year the oldest independent mass-market publisher in the U.S., has launched a new e-commerce Webs site to showcase the new Trade books, Audio titles and the explosive growth of e-books.

In addition to print and audio books, the new site enables Dorchester to sell e-books direct from the publisher for the first time. Partnering with Ingram Digital for e-book fulfillment, the Dorchester Web site offers EPUB e-books to customers, a format compatible with all major e-reader devices on the market today with the exception of Kindle. Rather listen to the book? Dorchester will also offer value priced audio books of many of its titles on the site through its partner Audio Realms.

“The direct to consumer sale of audio and e-books is an opportunity for Dorchester to achieve real growth in the digital marketplace. At the same time it will put us in more direct contact with the fans of the genres and help us find new trends and new lines that the consumer wants.  We can do this while still showcasing the original genre fiction that Dorchester has discovered and published for over 40 years. We seek to become THE online site for romance, horror and the best that genre fiction has to offer.” stated Tim DeYoung, Senior VP Sales Marketing Distribution.

The new Web site is part of the growing Dorchester Community—an online environment aimed at providing readers an informational and entertaining experience while making their opinions known and helping influence Dorchester publishing plans for the future.

With the new Web site, equipped with multiple interactive features including message boards, blogs, Facebook, Twitter and others, the Community will always be up to date on new releases, author appearances, and industry news while fostering author/reader interactions and previewing content from upcoming releases. Contests, giveaways and a direct from the publisher discount of 10% on all purchases will help make Dorchester a destination for genre fiction.

About Dorchester Publishing

Founded in 1971, Dorchester became the oldest independent mass-market publisher in the U.S., and the only mass-market house with dedicated lines for Westerns and horror. Dorchester has always been a company that’s willing to take risks. Recently they’ve made the exciting transition from mass-market to trade paperback and e-book formats. Dorchester is proud to be at the forefront of the change in the industry to a more digital base readership while we continue to publish our signature genre fiction. For almost 40 years Dorchester’s dedicated staff has worked tirelessly to discover and promote new talent. The romance line has built such stars as Christine Feehan, Katie MacAlister, Connie Mason, Lynsay Sands, and numerous others. Dorchester books have won awards for every category in which they’re eligible and have been featured in The New York Times, Newsweek, USA Today, Redbook, Time, CNN, The Los Angeles Times and many more.

If you would have told me a year ago that I would become a self-published author, I would have thought you were insane. We’ve all heard the horror stories of self-published saps spending thousands of dollars to have their books printed, only to be left with a hole the size of Texas in their wallets and a basement full of unsold books. And so I did what all authors are told to do, I spent years getting rejected, until finally I got a deal with a New York publisher. Sure the money was, to put it bluntly, crap. But hey, it was New York! Soon enough, the idea of New York wore thin. I realized quite quickly that it wasn’t some magical place full of puppies and lollipops. In fact, for me it was little money and lots of waiting and waiting and waiting.

Then a friend and fellow author, Edie Ramer, told me about self-publishing. This was a new type of self-publishing that didn’t involve cashing in your life’s savings and selling your soul. This was Epublishing. When I heard about self-published authors like H.P. Mallory making more money than I’d made with my N.Y. book, I decided to give it a try. Now that my first self-published book, The Ghost Hunter, has been out for a few months, I have a better understanding of this self-published world. Just like with anything, there are pros and cons to self-publishing.

Editing

When I wrote Wild Heart, my New York published historical romance, the editor decided to delete the prologue. As a newbie author grateful to be published, I just nodded my agreement even though I preferred keeping it. When you self publish, you can write the book the way you want it and no one is going to tell you what you can and can’t keep. That’s the positive of editing your self-published book.

The negative? When you self-publish you’re responsible for the content of your book, your characters and any grammar. If it bombs and readers hate your characters or story, there’s no one to blame but you. I had one reviewer go through my book and point out that I had around forty-three typos. Of course I was embarrassed and horrified, but on a positive note because it was self-published I could fix those typos and reload the book.

Book Cover

Authors who publish with N.Y. have pretty much no say in what their book cover will look like. And let’s face it, we’ve all seen those N.Y. covers in which we thought, what the heck were they thinking? When you self-publish you get to decide on your book cover, which can be good or bad. If you can design well or have the money to have someone design for you, the results can be fabulous. But…if you don’t have the talent or money, your cover can definitely hurt your sales. One of the cheapest and most talented book cover designers I know is author Kimberly Killion with Hot Damn Designs. She charges a rather fair price of $100-150, depending on stock designs. I’m hoping she’ll design my covers in the future.

Release Date

One of the most frustrating things that can happen as a New York published author is waiting for your book to hit shelves. It was a good year from when I sold Wild Heart until it hit the shelves. Even worse, my second book, Wild Desire, will be out in March of 2011. That’s 16 very long months after Wild Heart was released. A long wait isn’t at all good for an author trying to make her/his name. The great thing about self-publishing is that you can release your book whenever you’re ready, and you can keep it out much longer than the few months your N.Y. book will be seen in bookstores. The downside… realizing you can release your book when you want can make sloppy editing. Try not to rush and have as many friends as you can read the book for typos!

Promoting

Many New York publishers fully expect their authors to promote on their own. I had four ads on websites and in romance type magazines. These were the minimum I could afford, yet I still used my entire advance just on promoting my first N.Y. book. So if you factor in money spent (my entire advance), I’ve really made no money on my first N.Y. book. Since self-published authors mostly use bloggers to promote their books, they do spend more time emailing reviewers than a N.Y. author would, and you have to deal with the fact that some reviewers will not even look at self-published books. But whereas I spent my entire advance on promoting my N.Y. book, I’ve spent no money promoting The Ghost Hunter and my newest release, The Mind Readers.

Show Me the Money

Let’s face it, people send their manuscripts to N.Y. because they want that big advance. They want that deal that is going to be worth their time and effort, the deal that will allow them to settle into a career of writing bliss. And sometimes, it actually happens! In reality most authors who write for N.Y. publishers don’t make enough to quit their day job.

In the three months that my self-published book has been released, I’ve made the same amount of money that I’ve made in the two years since I signed my N.Y. contract for my first book. Granted, my advance from N.Y. was low, but it’s a rather great feat. Amanda Hocking, Zoe Winters, and H.P. Mallory are self-published authors who were never published by a New York Publisher and are making much more than many N.Y authors.

But let’s be real, the majority of self-published authors won’t make much money. So, how do you get your self-published book into the hands of readers? To be honest, writing in a popular genre about a popular subject helps. Remember that the covers counts! Don’t spend a fortune, but make sure it’s decent. Edit as much as you can, including sending to critique partners. And contact as many bloggers and reviewers as possible.

The truth is whether you self-publish or sell to N.Y., you never really know what books will sell well. Still, gone are the days when authors have to wait around and pray that N.Y. will take notice. Self-publishing isn’t for everyone, but it is now a viable way to publish books.

Have a question about publishing, I’ll try to answer! Or just leave a comment. I’m giving away an Ecopy of The Ghost Hunter and The Mind Readers to two people who comment.

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RU Writers, have you ever thought of self-publishing?

Join us on Wednesday, when Carrie tracks down Janet Evanovich for an interview. Yes, THE Janet Evanovich. =)

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Lori has a degree in Anthropology and worked as a museum curator. Deciding the people in her imagination were slightly more exciting than the dead things in a museum basement, she set out to become an author. Her first book, a historical romance, was published in November 2009.

Take it away, Amy!

Changing Courses: Part III

Thanks to the faculty here at Romance University.  It’s always a joy to share my insights on writing romance as a business here.  Seeing as Fridays are for discussing Chaos Theory in Writing, kick back.  Oh boy, do I have some Chaos to share…

This is my third installment in this series.  As an unpublished author, I’ve had the luxury of being able to change courses with my writing.  In Part I of this series, I said this:

 But the truth is I’m not published yet because I haven’t presented the “right” (marketable, fresh and well-crafted) manuscript to the “right” (loves my concept, loves my voice) editor at the “right” (there’s available budget and room on the publishing schedule) moment.  Call it the holy trinity of publication.  Or, for the more cynical, think of it as a slot machine where all three wheels must match before you win the jackpot.  (Aug. 3, 2009)  Read the full post… 

 Cynicism aside, I’m here today to share that after ten years of writing, I did sell.  And not just any manuscript, but the one that started this whole series of posts.  Lying Eyes will be a November 15 digital release from Carina Press.   Yep, I hit the jackpot with, ironically, my Las Vegas-set romantic suspense/caper. 

 What made my book different from when we submitted it to publishers in October 2008?  Nothing.  I didn’t change my book, I broadened my scope.  After holding out for years, determined to sell to a print publisher and have my new shiny book in the bookstores, I had to change courses.  That, or leave this manuscript (and it’s a dang good book, thank you!) under the bed forever. 

 E-Publishing has been gaining significant ground for the past few years, while mass market print runs are shrinking, and more and more people are buying their books—digital or bound-paper—from online sources like Amazon.  Traditional publishers like Medallion and Dorchester have changed their models.  I changed courses because the industry is changing courses.  And Carina offered an appealing middle ground: the speed and agility of digital publishing with the marketing clout and editorial expertise one finds at a large, established publisher such as Harlequin.  

I entered 2010 determined to sell this year.  I felt ready to take that step.  I felt willing to rethink my options and I feel with Carina Press behind my book, I’ll be able to find an audience for my book.  Success, right?  Kick back and celebrate.  After all, I’ve sailed my little ship into port.  Oh, how I wish it were that easy…

I accepted the publishing offer in early June.  My book releases in mid-November.  Even I can count that out as barely over five months.  And suddenly, I realized my website was “old-school.”  It was geared for other writers, prospective editors and my friends.  I had two pages on my site devoted to my writing community, WritingGIAM.  I had accounts on MySpace, Facebook and Twitter, as well as GoodReads, Shelfari and LibraryThing, but honestly?  I avoided them all as too time-consuming.  Now, I’m busily checking the rigging, preparing to embark on my next voyage. 

And this time, my course is, if anything, less clear than before.  Um, the word CHAOTIC comes to mine.  Because now that I’ve sold a book—and wouldn’t you know it’s the first of a proposed series—so, of course, my editor is curious to see the next book.  And for anyone who read Part II of this series, you’ll know I’ve been working on (okay, getting my a** kicked by) a mainstream historical.  And no, it’s not finished, but my agent wants to see it as soon as it is.  And meanwhile, I’m trying to realign all of my social networking to reach beyond my lovely friends in the romance writing community and find those elusive readers. 

Is it any wonder I haven’t slept since July? 

What can we learn from Amy in today’s lesson? 

1.  Review your writing/publishing goals.  Are you taking advantage of the expanding markets out there?  Traditional, digital and independent/self publishing are all viable options now. 

2.  Consider blogging.  Write guest blogs (like this), join a group blog (or grog), or develop your own style, format and schedule. 

3.  Get familiar with the various social networks.  There’s a movie releasing today, in fact, called The Social Network (written, btw, by Aaron Sorkin, whom I revere). Get your name/pen name reserved on these sites. No, you don’t have time, I know.  Take it from me, make time.

4.  If you need a primer, try Kristen Lamb’s We Are Not Alone. I bought it, downloaded as PDF, highlighted like crazy, and it helped me make sense out of all the major social networks.

5. *****Five Star Importance:  If you have a goal of making your first sale, be sure to make a plan for what happens after that first sale.  Keep writing despite the rejections.  If you wind up with eight (or more) completed manuscripts, you’ve improved your craft and your inventory. 

Now, if I haven’t outstayed my welcome (as usual, this is longer than I intended), I’m happy to answer any questions you might have about Carina Press or about all this social media.  Bear with me.  I’m at the Moonlight & Magnolias Conference, so my internet connection may be limited to certain hours.  I will answer everyone!

Amy Atwell is still wrangling her manuscripts, but she has succeeded to prepare her public face for her book release.  Check out what she’s mastered at:

Facebook Profile Page

Facebook Fan Page (custom built splash page, this was a BEAR)

Twitter

MySpace (a holder to let people there know she doesn’t go there as often as other online spots)

Website  (if it’s red on the home page, it’s the old one.  If it’s blue, it’s new.  I’m right in the midst of the implosion/move it to another host process!)

Tumblr blog (not sure if I’ll really use this, but I love the background, and Tumblr offers some nice innovative backgrounds and easy, easy posting.

WritingGIAM website (I peeled two pages off my old personal website and used the material to start this site.  The site hasn’t officially launched yet.  Still some tweaking, but I learned enough WordPress in 2 weeks – with the help of the amazing and generous Michelle Diener – to get this site up and running. 

***

RU Crew, what do you think?  Is it time for you to change your course?

Join us on Monday when CJ Redwine critiques another reader submitted query letter.

Amy’s Bio:

Amy Atwell worked in professional theater for 15 years before turning from the stage to the page to write fiction. She now gives her imagination free rein in both contemporary and historical stories that combine adventure and romance. An Ohio native, Amy has lived all across the country and now resides on a barrier island in Florida with her husband and two Russian Blues. Her debut romantic suspense novel, Lying Eyes, will be available in November 2010 from Carina Press.

So let’s get to it!

Tracey: How would you define the young adult sub-genre?

Simone: Young Adult literature is such a broad category, which is what makes it so exciting to be a YA author.  I have infinite possibilities; every day more sub-genres are added to the genres you typically find adult literature (romance, mystery, science fiction).

Amy: From books of all lengths, graphic novels, enhanced e-books and video game book-tie ins, there is something to capture the attention of all young adults these days.  Mostly a YA book will have a main character who is a YA, or is non-fiction on a subject of interest to young adults presented in a teen friendly format.   The Young Adult Library Services Association (www.ala.org/yalsa) defines young adults as people ages 12 – 18, but it’s a little harder to define the genre, as it has as many formats and subjects as adult materials.

Tracey: What is your opinion of the state of this sub-genre today?

Simone: Young Adult literature is really on the rise.  It’s so great teens are reading more and being so passionate about books they love.  I think teens are finding that their opinions about books really matter, and authors are trying to write what they’ll like.  It’s also great that a lot of teachers and librarians really know what teens want to read, so definitely ask them their opinion because they are a great resource.   I’m so lucky to be writing teen romances and can’t imagine doing anything else.

Amy: We are in the golden age of young adult literature. The Michael Printz Award (www.ala.org/yalsa) for Excellence in Young Adult Literature has been around for over ten years, and YALSA also has awards for debut authors, nonfiction for teens and impact of a book or author. There are also lists of graphic novels, teen favorites and more. The Harry Potter series drove hardcover sales of books for young adults into a new tier for publishing, and was followed by the popular Eragon series, Twilight and now the Hunger Games. Subjects cover issues of interest to all teens – from GLBTQ and racially diverse teens to every literary genre and titles in settings all over the globe (and beyond). While SE Hinton began to bring teens powerful issue type books with gangs and lower income teens decades ago, many new authors are writing now about the realities of today’s teens.  (By the way – 5^th graders read SE Hinton now…)

Tracey: What sub-genres do you feel are hot right now?

Simone: Vampire Romance seems to be very popular right now.  The supernatural romance is also a big sub-genre right now.  Thanks to the wonderful book The Hunger Games, Dystopian literature is also a very hot genre for teens.

Amy: I see more and more nonfiction readers among teens, as more publishers are offering interesting things for them. I still see a lot of paranormal romances, but more with new creatures like werewolves, zombies and angels.  Maggie Stiefvater and Lauren Kate are frontrunners among those. There are a lot of dystopian futuristic titles that are pretty grim but still popular.  I’m writing a reference book on teen mysteries, and I’m happy to see that we are finally seeing more mystery and suspense titles even for older teens. The Pretty Little Liars TV show is helping there too.  And I’m also really thankful that more diverse characters and cultural storylines are heading into the forefront. My teens at the library are happy to see themselves in books.

Tracey: Do you see any areas of this sub-genre writers should avoid? Move toward?

Simone: In writing for teens, I try to keep my language as natural as possible – I write how I talk.  I remember that one of the reasons I hatedreading as a teen was because the language of the books I was required to read was so flowery and BORING.  I have a short attention span, so I write what I think I would have liked as a teen.  Writers should avoid writing for teens if they are not young at heart and don’t have a passion for it.  Don’t force it.

Amy:  There are definitely genres on their way out. But keep in mind that teens are usually only reading YA from about 7^th grade – 10^th grade, so new teen find trends all the time. I believe publishers are getting tired of vampires for now.  The designer chick-lit gossip girl type of books seem to be growing up into better plots and less superficial titles now, too.

A while ago I interviewed some editors from Simon and Schuster, Candlewick and Harlequin Teen on what is coming up for a YARWA newsletter. All three were interested in steampunk, horror but not vampire (read the excellent Monstrumologist by Rick Yancey), angels, realistic teen stories and more. Everyone is looking for something different. New writers should read recent award winners and best sellers and think how to approach subjects in a new way.

Tracey: What do you like best about this sub-genre? The least?

Simone: Teens are the best fans!   They are passionate and the emails I receive definitely inspire me to write more books.  When I get an email saying a teen hated to read but because of my books now loves to read it really is amazing and surreal.   What do I like least?  Nothing, really.  There are so many books out there for teens, there’s something for everyone!

Amy: Many adults are finding YA books great pleasure reading as YA authors have to capture readers’ interest quickly and sustain it. I have given The Hunger Games to many happy adult readers. I like that YA literature is always reinventing itself. I do wish there were more quality mystery series for teens now though, more books with intelligent teen boys that aren’t fantasy, science fiction for girls and definitely more diverse characters. I wish more publishers would develop bigger nonfiction lines for teens too that include intelligent, thought provoking subjects and not just Cosmo-type quizzes.

Tracey: How do you think this sub-genre has changed in the last five years?

Simone: I think book trailers are really revolutionizing the entire book industry, but especially in YA literature.  Teens are very visual.  They might not read a book critique to find out what books they might like.  But, if they find a book trailer on YouTube that catches their interest, they’re probably going to read the book and tell their friends about it.  I filmed a book trailer for Rules of Attraction (the 2nd book in my Perfect Chemistry series) that looks just like a movie trailer.  It’s been a big hit on youtube with over 70,000 hits!  http://www.youtube.com/watch?v=GhEx0kaUlrU

Amy:  Paranormal stories really grew, and graphic novels gained acceptance. Everyone is doing them these days – from Meyer to Evanovich to Patterson. Television and movies have really boosted mainstream interest in YA books also, both graphic novels and traditional print titles. Five years ago I got a lot of challenges from folks who wanted me to remove graphic novels from the library. Now we hear more about video games!

Tracey: Advice you have for writers who want to break into this sub-genre?
Simone: I will give the same advice I give any aspiring author.  Don’t give up!  It took me 5 years to get published, and believe me, I got plenty ofrejection letters in those five years!  Now I’m on the NY Times bestseller list.  It’s been an amazing journey and I hope it will last for a long, long time!

Amy: People who want to write for teens should strive to learn about the books they read and what interests them, and try to write in a realistic way about their life.

I see a lot of new YA writers who contact me at the library wanting to ‘teach teens writing.’ Most libraries have longstanding teen advisory boards as well as writing and/or drawing clubs already. Try and market in a new, creative way – not just a facebook, but facebook trivia and games. Or design a craft program based on something in the book. There are many reference books in creative teen programs for ideas (I’ve co-written two…). Offer libraries something special for Teen Read Week or Teen Tech Week. If you don’t know about those, go to www.ala.org/yalsa and learn more.

Get to know some teens and have them check your writing to see if dialogue is realistic or if terms are dated, and get their opinion.  Remember they don’t hold back! Respect very smart and savvy teen readers and do not try to teach something with your writing other than how to enjoy a book!

* * *

Thanks Amy and Simone!

RU Crew, what is your take on the YA sub-genre? Share with us your favorite book(s) and why.

Be sure to stop back on Wednesday when Tracey Devlyn shares a personal story about emphysema, courage, and love.

Amy’s Bio:

Amy Alessio is a Teen Librarian at the Schaumburg Township District Library, where she has enjoyed teen input for over 12 years.  Nationally known, Amy has given over 80 presentations, including programs at RWA, ALA, PLA and RT. She co-authored A Year of Programs for Teens (ALA Editions, 2006) , with another volume to be published in 2010 and a guide on teen mysteries for 2011. She reviews teen titles for Crimespree Magazine and Teenreads.com, and is currently on the 2011 YALSA Margaret A. Edwards Award Committee. She has edited other professional titles, including Excellence in Library Services for Young Adults (YALSA, 2008). Amy is the author of two adult romantic suspense short stories. Her first Young Adult mystery is being published in 2013. Her first young adult mystery is under contract for 2013.

For over four years, she has also blogged about Vintage Cookbooks, her passion. She now enjoys talking about the fun food and recipe trends she sees in her collection of over 350 titles.  She is training her two young sons to bake and cook with her (or instead of her…) .Find about more about her, the blog and the schedule of her programs at www.amyalessio.com.

Simone’s Bio:

Simone Elkeles is a New York Times and USA Today bestselling author. She was born and raised in the suburbs of Chicago. Her funny way of looking at life and the world around her has an effect on the people she hangs out with. If you hear people laughing, you’ll probably find Simone not far away.

Simone has also been voted the Illinois Author of the Year by the Illinois Association of Teachers of English.

Simone went to the University of Illinois in Urbana-Champaign and received her Bachelor’s of Science there in Psychology in 1992. She continued her education at Loyola University-Chicago where she received her Master’s of Science degree in Industrial Relations while working for a manufacturing company creating diversity programs for their employees.

She loves animals (she has two dogs – a labradoodle and a German Shepherd), kids (she also has two of those) and her family.  In her spare time she’s the Hockey Mom for her kids hockey teams and is an active Girl Scout leader specially trained in outdoor education.  She also spends time mentoring other teen and adult authors. (she also loves sushi, which you can probably tell by reading her books).

Simone writes about teens because she was a teen in the 80’s (when spiked hair and blue eye shadow were “rad”) and she loves writing about those exciting teen relationships and romances.

For more information, please visit her website www.simoneelkeles.net/

Kelsey: Christi, could you give us an overview of Eternal Press?

Christi:  They sell both print and ebooks through a variety of sites, such as Amazon and Fictionwise.  Based in Canada, they were recently purchased by Damnation Books.  They have a professional, great staff and a supportive group of authors.

Kelsey: As you know, “Sold! stories” keep unpubbed writers optimistic. Could you share how you sold to Eternal?

Christi:   I’d been corresponding with them – submitted the full, and they said they liked it, but wanted to see one major revision, cutting out both scenes in a certain character’s POV.  Painful?  You bet, especially since one was a sex scene I’d slaved over.  But I made the change (because at that point I was willing to do anything to get published!), and then sat on tenterhooks for a week.  And to be fair, in hindsight they were completely correct.  I had absolutely no business introducing a new POV ¾ of the way through the book.  I guess editors do know what they’re doing!

We went to DC for Easter, and our hotel had computers in the lobby available to guests w/free WiFi.  We came back from breakfast – I checked my email.  Came back from the Air & Space museum – checked my email.  My parents thought I was nuts, because I hadn’t told them what was going on (I didn’t want to jinx it).  But finally at 5:00 the email came through (and yes, I squealed loudly enough to startle several other hotel guests passing through the lobby), and at dinner that night I got to share the good news!  Followed promptly the next day with sheer panic when I opened the contract and discovered they wanted me to come up with a concept for the cover.  Yikes!

Kelsey: What are some of the advantages to writing for a small press?

Christi:  Oh, how I wish I had experience publishing in NY to be able to properly compare and contrast the two!  I do know from a great workshop in my local RWA chapter that apparently small presses are much more willing to listen to/actually produce the cover art you request.  Sure, I didn’t have an idea at first, but when I did, the heroine had the right color hair, the setting was right – they followed my idea to the letter.

The biggest advantage is that small presses are willing to take chances.  That doesn’t mean they publish any old story that rolls in the door.  There is still a high rejection rate.  But small presses can work outside the trends.  For example, in my upcoming release Act Like We’re In Love the hero is a movie star.  Not off living the high life with caviar and starlets, but working in a small town dinner theatre.  Nevertheless, at RWA Convention last year I had several agents and published authors tell me to stop writing it.  They’d heard that because of the bad economy, nobody would publish a book glamorizing the excesses of a movie star lifestyle.  Sure enough, once I started pitching it, I received quite a few rejections from agents who read the full and loved it, yet called it ‘unmarketable’.  But happily, Eternal Press is willing to publish it.

Kelsey: How do Eternal’s distribution and marketing functions operate?

Christi:  Ah, there’s the rub.  This is the major challenge of writing for a small press.  We do have a wonderful woman who works in promotion, but I’d say the majority of the marketing falls on the author.  Every review I received, I went out there and snagged.  I did the legwork to set up every blog interview.

Kelsey: What, if any, challenges have you encountered in writing for a small publisher?

Christi:  Well, RWA still doesn’t consider me published after two sales, so that is an ongoing frustration.  To me, the lack of a $1,000 advance doesn’t matter.  People – people I’ve never met all across the country – are purchasing my book.  Period.  I’ve now worked with two great editors and cover artists at EP, and I can’t imagine anyone at a bigger publishing house being any more responsive or professional.

Kelsey: Do you see writing for a small press as only one part of a comprehensive career plan or can a writer sustain her career with a publisher like Eternal?

Christi:  As with other smaller publishers such as Samhain and Ellora’s Cave, the erotica authors do very well on EP, and build up quite a following rather quickly.  I think (Going out on a limb here – trying to be politically correct!) that if you can churn out a good story quickly, it is quite possible to sustain a career with a small press.  I am grateful for the opportunities EP has given me. But don’t we all dream of the 25 city book tour with a limo and hordes of screaming fans?  In the long term, I do view it as an important stepping stone to a New York publisher.  .

Kelsey: Is there anything else you would like to share about writing for Eternal or your books?

Christi: My experience with them has been an invaluable tool, and helped me become a better author.  And bottom line, my books are out there, brightening people’s days, which is all I ever wanted.

***

Thanks so much, Christi! RU crew, how many of you are published with smaller presses? Do you agree with Christi’s take on this part of the publishing landscape? Everyone, feel free to ask Christi questions as she’ll be popping in on and off today!

Stop by Wednesday when radio host Bruce Sallan discusses the state of gender affairs in today’s culture.

Bio:  Christi Barth spent years performing in musicals, singing about love and giving people a happy ending in every performance.  Then as a wedding planner she spent every day immersed in romance.  Now she writes it!  After winning several writing contests, she debuted her novel Carolina Heat to rave reviews.  Her next single title romance Act Like We’re In Love comes out in October.  She lives in Maryland with the absolutely best husband in the world (sorry ladies, it’s true!).  Visit her at www.christibarth.com.

Welcome, Scott!

This issue of category romance authors having an agent came up when I first opened Greyhaus Literary Agency in 2003. I was actually sitting in a session, listening to a panel discussion from editors when someone asked if it was necessary to have an agent when pitching to a category house. What amazed me, at that time, was the answer. This editor began first with the answer I already knew – “We accept both agented and unagented submissions.” O.K. so far, so good, but then the editor continued, “However I have to say that we actually prefer unagented submissions.” Arrghhh, screeching tires, “what did this editor say?” They preferred unagented?

Fortunately the moment of panic didn’t last for that much longer. She went on to discuss the issue of contracts and the fact that they use a pretty standard contract with not much room for negotiating. What she was really saying is that there really wasn’t much need for it. Over the years though, I have come to the conclusion that, while for contract purposes, the agent might (please note I say might) not be necessary, there is indeed a strong argument for having an agent. In fact, I don’t see much of a separation between having an agent for a category house or for any other house.

I do think there is a misconception that all agents do for writers is negotiate contracts. While I am sure some do, there are also a lot of agents out there that do a lot more. An agent is really that one reader that has the ability to see both sides of the equation when it comes to publishing. They can see that creative side of the author, but they can also provide that “inside” look at what editors and book buyers are really wanting. That is a valuable resource.

I have seen a lot of great category writers out there that suddenly find their career coming to a standstill as they wonder why the editor just wasn’t happy with that last project they sent off. They scream, “what do you mean they didn’t want my next book?” The agent, in all likelihood, could have prevented that from happening. Not because they can argue for another book and negotiate the next deal (although they can do that), it is because they can prevent a writer from making a huge mistake with that next work in progress.   

Category writing is difficult in the fact that a writer has to maintain the single voice and theme of the house, without becoming too repetitive in terms of style and voice. Take the “baby” stories. How do you find different ways of telling the surprise baby theme? I am a firm believer it can be done and it just takes some team work and the agent can help with that. While the writer might think they have a new story, the agent, as that outside reader can look at it with truly an objective eye and make sure the writer doesn’t just copy what she has done before.      

I think there is also another element that we don’t often think about. When I first opened Greyhaus there were a lot of publishers out there that would accept unagented submissions. That number has dwindled significantly. Instead of dealing with the “slush piles” the editors have passed that stack down to the agents. So, now we are the ones that get to deal with the stories. To the editor, a writer that has an agent has already had the story approved one time. In other words, the editor is confident in knowing it has already passed muster.      

As an agent, I love working with category romance authors. These are writers that are truly dedicated to the craft and their genre. It takes a lot to keep those books coming and not lose focus. It isn’t easy to keep finding new and unique stories and still maintain that theme the editor is looking for.       

I want to reiterate a comment I made earlier. I really don’t see much of a difference between having an agent for a category house or any other house. Having an agent gets a writer a lot of benefits they might not normally get with simply their critique group.

Kelsey: Can you share with our readers how you work with your clients on the creative aspect of the writing process?

Scott: I am a firm believer in working with my writers through all stages of their writing. Of course, each writer is different and some of my clients have stronger support systems at home to assist that process. Still, the more interaction I have with the writers from the beginning is always a great help.

One of the biggest reasons I want to work with the writers is a time management issue. The Greyhaus Literary Agency writers have always been known for their fast turnaround times on times on projects. When an editor wants revisions, we always get the projects in under the deadline. When there is a need to create a new project due to a need with a publisher, the Greyhaus writers are always some of the first called. By working with writers early on in the process, we can eliminate the sometimes lengthy process of having to go back and seriously over-haul a project.

As many writers know, having to make global revisions on a manuscript, after it has been written is difficult. Changes that you make to the first part of a story, you often find there is a domino effect or a trickle-down effect to that change. If I can catch projects early on, before we get too far with the idea, we can generally get the project moving faster without that serious “back tracking.”

If you are a Greyhaus client, we often start with developing a list of potential projects that you think you might be interested in writing. When I see this list, I can often shape the direction you want to head. Sometimes the project you want to write might not be the one that an editor would want first. Sometimes there is simply a need for another project. Together, we discuss those ideas.

I also like to look at projects after the story gets going. I will frequently read projects at the first, third and fifth chapters just to make sure we are on track. Again, this is just to keep the writer heading in the right direction.

I do think the added bonus is that I can frequently call editors and discuss potential projects. Many times, I will have editors that request one story over another in the early drafting phase. Truly, another added bonus of that “hands-on” approach I take here at Greyhaus.

Kelsey: What trends are you seeing in the category romance market?’

Scott: Why does everyone ask this question? Trends are really a tough call considering what seems to be hot right now will not necessarily be hot later on. In the case of the category romance lines, I really don’t see much of a difference between what they are doing and what the single title romance lines are doing. Also, each of the things I am seeing varies from one subgenre to the next. Let me just bullet point this one.

• Paranormal – More and more angels and demons and less of the vamps and were’s. Of course, in my humble opinion, the writing is still the same with just a change in words. I am also seeing more of a shift to what was once called “urban fantasy” in this paranormal line.
• Contemporary – While we still see many of the same issues we have always seen in category, I do think more and more of the traits from the women’s fiction genre are creeping in. Writers are trying to bring in more and more of the controversial issues into the stories. We’re talking the things that make headlines in newspapers now.
• Romantic Suspense is really trying to do more than simply kidnapping issues. I think, due to the rise of the single title Thriller and Suspense writers (Steve Berry and the like) writers are trying to incorporate those ideas into their projects. Simply put, we are seeing more of an international feel to the stories.
• Historicals, as most of you know is one of my favorite. In the category lines, the writers are really adding a lot more depth to their stories. Instead of just placing the stories in a specific time period, the authors are tying the stories into major event in history. Reading authors such as Bronwyn Scott and Nicola Cornick will show you just that. These are big stories in a small package.

That should give you a feel for what is going on.

Kelsey: What category lines are aggressively looking to acquire new authors?

Scott: Be careful of this one. Just because someone is acquiring does not mean you should go out and write the stories. Still, there are some genres that really struggle finding great authors. One in particular is the Medical romance line. These are tough to write but if a writer is in the field, they have an added advantage.

I think the easier way to look at this is to focus on what is pretty swamped right now. The Teen line, Romantic suspense/mystery, historical and urban fantasy is really tough. Everyone seems to be writing these.  I would always recommend working on those powerful contemporary stories.

Kelsey: Could you give us a feel for a category author’s career arc? Is it still possible to make a career writing  category romance?

Scott: Writing category romance is always tough. The key is to be able to come up with constantly new ideas and yet, at the same time, maintain the central idea that is inherent to that line. Writing the same thing over and over again is really a sure sign to eventual failure in the line.

This is also a line that production is really key! Since the marketing for the category romances is different from many of the single title authors, keeping your name out there on the shelf and in the face of the public is even more important. This means fast and consistent writing. My category writers are currently producing 3-4 full length books a year, combined with numerous smaller stories for the category electronic lines (somewhere between 3 and 4 of those). These authors are also writing under other names with other houses. Right now though, the focus is keeping their name out there.

Staying in the single line is not a problem, but I always encourage writers to find a way to branch off, either into 1 other category line, or even into a single title line. Remember though, as soon as you branch off, this means the category production could potentially decrease. You don’t want that to happen.

I do believe it is important to establish yourself as a brand name within a category line. If you think about the category romance authors, you will find that you come back to the same names over and over again. This is due, not so much with the simple quality of a single book, but the consistency of their writing over time. In other words, to build your brand name in a category line is going to take a while. You can’t just do that in one year.

As far as making a career of writing category, this one is tough. Again, it is all a matter of production. You cannot make a career writing only 3 books a year. Finding authors making a career of their writing is really tough. Many are supplementing with single title books, or if they are fortunate, have either a job or spouse that is assisting with the income.

In the end, I would never encourage a writer to consider giving up their day job to write until there is some certainty, and even then, there is never a guarantee.

***

RU Crew, what questions do you have for Scott about the agent/category author relationship or other agent-related issues? Fire away!

Don’t forget to join us Wednesday when Laurie Schnebly talks about the Greek guy we all love: the Alpha Male!

Bio:

Scott Eagan is the agent at Greyhaus Literary Agency. Opened in 2003, Greyhaus has focused exclusively on the romance and women’s fiction genres. Scott draws on his two MA degrees in Creative Writing and Literary as well as his undergraduate work in literature and writing to provide hands on assistance to his writers. Scott is actively looking to acquire category romance authors. Please review the website for specific details but please remember, when submitting, be prepared to: A) know which category line you are submitting to; B) be able to explain either in writing or in a discussion how the story meets the criteria for that line; and C) be able to have either additional stories or works in progress that also fit that same line.

Let’s give it up for HARLOW!

I’d like to thank Tracey for asking me to hang out today!   I love to chat and I really enjoy sharing my experiences with fellow writers.  It’s a concrete jungle out there and hopefully after reading this blog today, you’ll feel a wee bit more confident wading through what are often, treacherous waters.

Treacherous not that it will kill you, well, it can, the stress of it all anyway, but treacherous in that if you allow it to, this business can and will suck the life out of you. If you don’t have one now, go buy yourself a nice thick skin. You will need it.  New York publishing is not for the faint of heart or thin-skinned. It’s a tough competitive business. Yes, a business, not a sorority or a girls or boys club or a let’s-all-just-play-to-have-fun softball game.  It’s not a game where everyone gets a chance to bat, it’s a roll-up-your-sleeves-and-get-to-work-to-survive business.  Keep that perspective and you may not get your feelings hurt–too much.

So, let’s take a few minutes and talk about facts vs fiction and what you can do, to better position yourself to successfully sell a romance to your dream New York publisher.

While digital publishing is finally being recognized by New York houses, and they get that the internet is a viable tool for promoting authors as well as selling books, a couple of things have not changed: The first one is, New York is still printing books, and lot’s of them.  Secondly, if you have the goods, New York will snatch them up.  It’s really that simple.

Give them something fresh, give them something good, and they will buy.   Seriously.  Here’s the thing about New York: they want to see something that sets you a part from the author standing next to you who also has something fresh and something good. This means writing, writing, and writing some more.  Writing until you have that perfect story! (a little luck never hurts either.  Yanno, being in the right place at the right time kind of luck) It’s a photo finish race out there.  Sometimes you win by a whisker, and will most likely lose by one as well.  Get back on the horse and ride again.

Just a few years ago as certain genres were trending, publishers were snatching up a lot of not so good stuff.  Now, they aren’t. Not even with trending markets. They can’t afford a miss. Let’s take paranormal romance for instance.  A few years ago if you told an editor you had a vampire story, she would roll her eyes. Now?  She wants to see it.  Vamps are in.  At the top of their game.  Paranormal is trending and has been for a while now, with no end in sight.  With the economy in the toilet, straight contemporary romance is picking up as well.  Those warm, feel-good stories are what readers are enjoying more and more to take their minds off the house payment they can’t make.  Romantic suspense is still the biggest part of the contemporary pie but to sell it right now, you have to knock an editor’s socks off.  Historicals are holding steady if you write regency.  Don’t write regency set historicals? Give them the next Wolf and the Dove set in Scotland and I bet you get snatched up.  My very reliable sources tell me (as of last fall) that category is slumping with the exception of Desires and Presents. YA is trending, and the kids are loving the dark paranormal stuff.  Erotic romance?  It’s still around but readers want more than insert Part A into Part B C or D.  Ménage?  On fire!

Ebooks?  Erotica and erotic romance are still the hottest sellers.  Some erotic romance authors are making 8 to 10 G’s a month!   Who says sex doesn’t sell?  They never read a hawt erotic ebook!

Speaking of money: The money editors are paying for good books is not even close to what is was even a year ago.  Two years ago?  Ah, laissez les bon temps rouler!  No more!  Not to mention, print runs are much, much lower.  Buyers are going with tried and true.  Why put a mid list author up on the shelf when they can put a list author who is proven in the same slot and get a higher return for that slot?  Distributors are not warehousing stock like they used to, it costs too much.  It’s cheaper to go back to print.

Several multi-published friends of mine have recently gone to auction, one with an RS series and another with a kick-ass paranormal series, both of them were very discouraged at the end of the bidding.  One said to me, “Gee, auctions aren’t what they used to be.”  She got less than half of what she would have gotten a year ago.  Money is tight all of the way around, but to stay in the game you have to keep your name out there. My advice? Take the pay cut and keep your job, so when the lean times pass, you are still standing.

All of that said, there will always be exceptions to the norm.

But one thing has not changed in New York:  Editors will buy a project they love.  And that is what we, the writer, have sole control of.  Remember that you have control of the story. And also remember to always put your best work forward.  Do not submit any work until it’s as good as you can make it. One thing that irritates agents and editors is reading work that is shoddy, grammatically flawed or just uninspiring.  My suggestion is to enter a few contests and see how the scores come back. Personally, I never cared for anything in the middle.  I liked them high, which we all love to see, I mean we love it when others love our work, but I got just as much from the lowest of low scores.  It meant I hit a nerve.  Middle of the road is meh.  Meh is not good.  Meh is forgettable and boring and well, meh is meh. Write from your heart and soul.  DO NOT think about rules or what you’ve heard or think an editor wants, write balls to the walls.  When we write from the inside out it shows in the work.  It shows the passion, the excitement, the palpable rawness of our characters and their struggles.  Don’t be afraid to expose your characters.  Stay true to them, and you will get noticed.

Here’s an example of creating a memorable character and the reaction of a reader who was gut punched by that character:  This was posted on Magical Musings last week regarding Jax Cassidy, the female protag in my debut paranormal suspense ENEMY LOVER, Pocket Star May 25.

Edie Ramer at Magical Musings wrote: “Harlow’s character is really messed up. I tend to have damaged and broken characters. Harlow’s heroine isn’t just damaged, she’s been ripped apart and put back together with a few of the pieces misplaced. She’s a strong woman who’s been horribly wronged. We can see that in her thoughts. Though she’s not a traditional heroine, I’m rooting for her from the first page. Harlow writes in third person, very deep POV. So deep she’s hitting the ocean floor. I write in the same POV, though I don’t think mine hits the ocean floor as much as Harlow’s. Harlow is raw!”

I love it!   When I wrote the proposal for this series, I spent months writing and rewriting it, but Jax never changed.  I saw her as she is described above, and would have done her a grave disservice had I toned her down even one notch to fit the norm.  I wrote true to the character, and it’s because of Jax that my editor bought the series.  It’s because of Jax that ENEMY LOVER is off the hook raw.

Now, if Tracey will have me back, I’d love to chat about agents. There are some great ones out there, but there are also some who can destroy your career before it’s even launched, and then, there are the meh ones.  And you know how I feel about meh!

PS, you can visit me at www.KarinHarlow.com or hit me up on Facebook.  I’d like to give away a fantabulous L.O.S.T. (Last Option Special Team) mug to one lucky commenter today!  (I don’t have the mugs yet, should have them by mid month so it will take a couple of weeks to get it to you!).

Thanks for hanging out with me today!

HARLOW

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Thanks, Karin!! Of course, we’ll have you back. RU Readers, check back on June 2 when Harlow stops by for a heart-to-heart on choosing the right agent for you.

So RU Readers, what insight can you share about New York publishing? What are you doing to make your writing fresh and raw? Be sure to leave a comment in order to win one of Karin’s L.O.S.T. mugs.

Join us on Wednesday when New York Times bestselling author Brenda Novak helps RU celebrate its one year anniversary with a look at how an author can separate her/his public and private life.

Karin’s Bio:

A full time writer, Karin spins dark tales of suspense, love and things that go bump in the night. Drawing from her life as a cop’s wife, her stories resonate with authority and reality. When Karin isn’t writing, she enjoys traveling the California coast line with her husband and one or more of her four children or getting together in far off places with her writing buddies.

You can find Karin at www.KarinHarlow.com, www.facebook.com/KarinHarlow, www.Twitter.com/KarinHarlow, or contact her her http://karinharlow.com/contact_karin.php .