I am a big fan of twitter – use it all the time (too much probably) and encourage my clients to use it. If you want to find me, my handle is @SaraMegibow and all of my clients are on my List called “SaraMegibow/authors”.
One of the neatest elements of twitter is the practice of holding #AskAgent sessions – a free-for-all, type your question and get it answered in live time chat session. (For you newbies, we label chat sessions on twitter with a hashmark like this – #AskAgent – and that’s how someone can watch or participate in the live time conversation). Of course, the writer has to be able to ask their question in 140 characters (twitter’s max letter count) and the agent has to be able to answer in the same.
So, for this months’ Romance University post, I thought we’d hold an #AskAgent session here instead of on twitter. Fun, huh?

Here are the rules – ask anything you want an agent (me) to answer BUT only ask if you are ok with the public (ie. The Romance U readers) seeing your question and my answer. Please do not pitch your novel – I am actively acquiring new clients, but accepting submissions only at query@nelsonagency.com (submission guidelines available at www.nelsonagency.com). Please keep questions short (no, you don’t have to stick to 140 characters, but try to keep it to 1-2 sentences). Do not post any weblinks, headshots, sample pages, youtube videos, icons, etc. Finally, I won’t be able to go back and address “follow ups” – do you best to be clear and concise in your question the first time around.
Post your question as a Comment here on today’s blog post and I will answer as a reply to your comment. I will respond periodically throughout the day and hope to finish up by about 5:00pm MST.

To save time, these are the three most common questions I get asked in any and all interviews. PLEASE do not ask these questions as…POOF…here are the answers.

1) What are you looking for in the slush pile?
Anything well-written with a unique concept. I know, I know – it’s a cop out answer, but it’s the truth. Superior writing always catches my attention – I am looking to fall in love with my clients’ books. In general, I would love more romance authors – both in the adult and young adult categories, contemporary and historical (yes, even Regency!), paranormals, Scottish highlanders – you name it, I’m on the hunt!

2) What are you seeing too much of in the slush pile?
In young adult fiction we are still seeing a lot of dystopian. Yes, I can still sell it, but it’s becoming generic. In romance, I see a ton of contemporaries – especially romantic suspense. That’s ok – my two debut authors for 2012 write contemporary romance (Roni Loren and Tiffany Reisz – check ‘em out at their websites www.RoniLoren.com and www.TiffanyReisz.com). So, I know contemporaries sell well. If it’s well-crafted, then don’t worry too much about trends – the writing is what counts.

3) What is the correct word count for…?
Middle grade = 35,000-55,000 words (fantasy can be a wee longer)
Young adult = 50,000-85,000 words (again, fantasy or dystopian can be a wee longer)
Adult romance of ALL subgenres = 100,000 words (unless you are writing category romance or novellas – both of which are awesome but neither of which I represent)
Science fiction or fantasy with a romantic element (for the adult market) = 90,000-120,000 words

And now…Welcome to the Romance University #AskAgent,
Sara

***

So, the question is obvious . . .  what do you want to ask Sara?

On Friday, Hank Edwards will be with us to discuss his decision to self-publish.

***

Sara has a great book for on lucky commenter . . . .

UNCLAIMED by NYTimes Bestselling author Courtney Milan

Her only hope for survival…

Handsome, wealthy and respected, Sir Mark Turner is the most sought-after bachelor in all of London—and he’s known far and wide for his irreproachable character. But behind his virtuous reputation lies a passionate nature he keeps carefully in check… until he meets the beautiful Jessica Farleigh, the woman he’s waited for all his life.
Is to ruin the man she loves…

But Jessica is a courtesan, not the genteel lady Sir Mark believes. Desperate to be free of a life she despises, she seizes her chance when Mark’s enemies make her an offer she can’t refuse:  Seduce Mark and tarnish his good name, and a princely sum will be hers. Yet as she comes to know the man she’s sworn to destroy, Jessica will be forced to choose between the future she needs…and the love she knows is impossible.

 ***

Bio: Sara Megibow, Associate Literary Agent
Nelson Literary Agency, LLC

Sara has worked at the Nelson Literary Agency since 2006. As the Associate Literary Agent, Sara is actively acquiring new clients! The Nelson Literary Agency specializes in representing all genres of romance (except inspirational or category), young adult fiction of all subgenres, science fiction/ fantasy and commercial fiction (including women’s fiction and chick lit). Sara is an avid romance reader and a rabid fan girl of super sexy and intelligent stories.

Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Please visit our website http://http://www.nelsonagency.com/for submission guidelines, FAQs, resources and sample query letters. Sara’s Publisher’s Marketplace site (www.publishersmarketplace.com/members/SaraMegibow) is a great place to find more about her personal tastes, clients and recent sales. You can also cyber stalk Sara on twitter @SaraMegibow

LIKE A GOOD MELON

How do you know when your novel is ready to submit? Do you dot the last I and cross the last T and just “know?” Do you ask your best friend or crit partner? Do you thump it like a ripe melon?

Here are some suggestions for sending out your best work. Really, really, really your best work. You’d be surprised how many times I pass on a good (but not quite great) manuscript and one day later receive a response saying, “you know, I think you’re right – this book isn’t quite ready yet. I’ll fix it up and query you again.” I am of course thrilled at the writer’s enthusiasm, but my gut reaction is “darn, wish I could have read the best possible version with fresh eyes.” If you want to increase your chances of having an agent (or an editor) ask for sample pages, ask for a full manuscript or offer representation or a book contract, make sure that novel is 100% ready before you start the process!

There are places to go for a critique if you know where to look. Agents are not crit partners! I need to spend my time shopping your book, shopping subsidiary rights, planning marketing campaigns, tracking royalties, following up on questions, etc. But, you CAN get a professional take on your novel before submitting and that’s always a good idea.

- The fabulous Janice Hardy (author of THE SHIFTER, BLUE FIRE and DARKFALL – the HEALING WARS middle grade fantasy trilogy) has used www.critique.org and blogs extensively about critiques and writing here:
http://blog.janicehardy.com/

- Roni Loren, debut author of CRASH INTO YOU (January 2012, Berkley Heat) posts extensively on her blog for writers. Whether you are new to publishing or an experienced author, this is one of the top writing blogs I recommend!
http://fictiongroupie.blogspot.com/

- My boss, Kristin Nelson, has hosted a blog for years. While she also talks a lot about the business side of publishing, her critique feedback (and especially the blog tag called “Beginning Author Mistakes”) is invaluable!
http://pubrants.blogspot.com/

- Romance Writers of America (RWA) is one of the most extensive and professional writing organizations in the country. RWA will help you find critique partners and will direct you to contests and competitions to get your material read. And YES – these RWA contests do matter to me when you mention them in a query letter. Since I have such a high opinion of RWA, I know their contests (and contest winners) have clout. If you are an RWA member (and I am gambling that you are, as you’re reading this post on Romance University), then use it!

- There are various online fundraisers to which agents and editors donate critiques. Yes, this would cost you money, but it’s a donation to a good cause in exchange for professional feedback. The Brenda Novak online auction for Diabetes is one of the largest annual fundraisers and our agency (among many others) always donates to it:
http://brendanovak.auctionanything.com/

- If you want a couple of free options, here they are: I recommend reading your novel out loud. Yes, it’s essentially your own feedback yet again, but you’ll be surprised how many mistakes you can catch using this technique. Also, if you are having trouble with a particular passage (especially if it’s the beginning), then try taking two blank pages and writing that segment in two totally different ways and comparing them.

- Go to a conference and attend a workshop geared toward editing and revising. (Again, especially if it’s an RWA sponsored conference – they are awesome!)

- Pay an English major to read your book and offer feedback. S/he won’t know the insides of publishing but s/he will be a fresh pair of eyes with (hopefully) the ability to read for story development, characterization, cohesiveness, world-building, etc.

- Read other books in your genre and sub-genre. You are all (or mostly all) romance authors here, right? Make sure you are reading romance novels, published within the past two years by major New York publishing houses. I love when someone says “I’m a huge Nora Roberts fan” (who isn’t?), but read recent debut authors too! Do you write paranormal romance? Try Allison Pang’s A BRUSH OF DARKNESS. Do you write historical romance? Try Ashley March’s SEDUCING THE DUCHESS. Do you write romantic suspense? Read Pamela Clare’s BREAKING POINT. Reading tends to be an excellent window into learning more about writing. I know some authors fear that looking at other books will taint their own work or intimidate them out of writing, but I still recommend it.

- Finally, the very best advice I can give. Finish the book and even if you think it’s your absolute best work, stop. Wait. Sleep on it for a week and then re-read it. Don’t be one of those people in the slush pile whose query reads, “I finished my first book last night and I want you to sell it.” Trust me, even a week away from the manuscript will give you great perspective.

Happy writing to you all! In the comments section here, please mention if you have other suggestions for where writers can go for GOOD feedback on their books.

Sincerely,
Sara

***

Do you have a method or process you follow to make sure you’re manuscript is ready? Any questions for Sara on the pitfalls to avoid sending a manuscript too soon?

On Friday, Author Beth Kery, discusses the submission process.

***

Sara is giving away a copy of  ROMANCING THE COUNTESS to one lucky commenter!

ROMANCING THE COUNTESS by Ashley March (www.ashleymarch.com)

An illicit affair…
An unlikely pair…
A second chance at love…

Sebastian Madinger, the Earl of Wriothesly, thought he’d married the perfect woman—until a fatal accident revealed her betrayal with his best friend. After their deaths, Sebastian is determined to avoid a scandal for the sake of his son. But his best friend’s widow is just as determined to cast her mourning veil aside by hosting a party that will surely destroy both their reputations and expose all of his carefully kept secrets…

Leah George has carried the painful knowledge of her husband’s affair for almost a year. All she wants now is to enjoy her independence and make a new life for herself – even if that means being ostracized by the Society whose rules she was raised to obey. Now that the rumors are flying, there’s only one thing left for Sebastian to do: silence the scandal by enticing the improper widow into becoming a proper wife. But when it comes to matters of the heart, neither Sebastian nor Leah is prepared for the passion they discover in each other’s arms…

***

Bio: Sara Megibow, Associate Literary Agent
Nelson Literary Agency, LLC

Sara has worked at the Nelson Literary Agency since 2006. As the Associate Literary Agent, Sara is actively acquiring new clients! The Nelson Literary Agency specializes in representing all genres of romance (except inspirational or category), young adult fiction of all subgenres, science fiction/ fantasy and commercial fiction (including women’s fiction and chick lit). Sara is an avid romance reader and a rabid fan girl of super sexy and intelligent stories.

Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Please visit our website http://http://www.nelsonagency.com/for submission guidelines, FAQs, resources and sample query letters. Sara’s Publisher’s Marketplace site (www.publishersmarketplace.com/members/SaraMegibow) is a great place to find more about her personal tastes, clients and recent sales. You can also cyber stalk Sara on twitter @SaraMegibow

As our fabulous RU readers know, this has been a big year for me. In September of 2010, I received “the call” from Carina Press that they wanted to acquire my romantic suspense Man Law. Shortly thereafter, they acquired the other two books in the series and have contracted a fourth.

It’s been an exciting year, but I’ve needed to learn a few painful lessons in time management.  In the last five months, I have been through nine rounds of edits on three books. Each book had a content edit, a line edit and a copy edit. At one point in May, I was in two different rounds of edits on two books.

That’s when I pondered the definition of insanity.

Add to this the marketing tasks (website upgrade, building author pages on all the social networking sites, etc.) that go into a book launch and it has been a rompin’ stompin’ beehive of activity.

I’m thrilled to say my Carina Press experience has been wonderful, but I’ll admit there were stressful moments of looming deadlines, blog posts to be written, responsibilities to my family and, of course, my RU pals.  With three books releasing, sleep became a luxury I couldn’t afford. And if you know me, that’s not a good thing. 

At the height of my insanity, when my body and brain brazenly laughed at my attempts to push through the exhaustion (yes, it was reminiscent of the first weeks of being a new mom), I did the only thing I could.

I gave in.

Yep. After all the grinding, making lists, trying to focus, ignoring my body’s plea for rest, I realized I was missing out on the opportunity of a lifetime.

I suddenly realized I would never again be a debut author and I was letting the experience slip by without allowing myself to soak it in.

From that moment, I began to take time every day, no matter how crazy the day became, to appreciate the gift I’d been given. I also discovered there were (and are) emotionally charged moments that would sneak up on me.   

One “sneaky” moment came at the RWA conference when I was in my hotel room gathering my marketing materials for the

Adrienne's Promo Items in the Goody Room

Goody Room. Tracey and Kelsey (my RU partners in crime and longtime critique partners) each picked up something and the three of us began the journey to the Goody Room. There we were, each of us holding some piece of promo material for Man Law and the moment became something more than my two pals helping me.  Kels and Tracey had been with me through all the rejections and dashed hopes and the fact that the book was about to be published filled me. Somehow it seemed fitting that, together, the three of us would arrange my marketing materials for my debut book.

Another big moment of the RWA conference was attending the legendary Harlequin author party. Now, if you know anything about the RWA conference, you’ve probably heard people talking about this party. For four years, Kelsey and I shared a running joke about crashing it.  This year, I was invited. That alone was a rush.

On one wall of the ballroom there was a jumbo screen that flashed hand-picked covers for all attendees to see.

Man Law Cover On Screen at Harlequin Party

So, yes, seeing my cover on that screen choked me up. I even cried a little as the emotions of the week consumed me. Years of hard work and I’d finally gotten to see my name on a cover.

This is a crazy business we writers choose to torture ourselves with. We need to find those nuggets of good fortune. No matter how big or small, we need to take those moments and store them away for the down times because, as we all know, those down times will come.

And when they do, I’ll be able to say I took the time during my debut author year to soak up the good stuff.

***

RU Crew have you had your a-ha moment during your debut year? If you are unpublished, what questions do you want ask Adrienne about the other things she discovered on her journey?

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 Adrienne’s 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. Adrienne’s debut romantic suspense, Man Law, is available from Carina Press. Her second book, A Just Deception, will be available from Carina Press on September 5, 2011. For more information please visit www.AdrienneGiordano.com.  Adrienne can be found on Twitter and Facebook

Man Law available at:

Carina Press

Amazon

Barnes & Noble

YOU’RE FIRED!

Just last month, a query came through the slush pile that ended like this, “I hope you love my pitch. However, if you don’t – no worries, I don’t need an agent to get published anyway.”

In other words, “Dear Agent – You’re FIRED!”

I didn’t take it personally because I tend to agree with this writer – no, you don’t really need an agent in order to get published. I like to think that I’m a great business partner for writers who DO want an agent – I certainly want to feel essential to them.  Still, here are a few of the things I do for my clients and how you could take them on (effectively) if you decide to go it alone.

1)     Editing. I read my clients’ books and offer editorial feedback. Sometimes it’s intense and I request several rounds of revisions. Sometimes my notes are just bits of polishing here and there. A savvy author can hire an editor instead – there are plenty of editors with excellent reputations and experience who work freelance (especially editors laid off from their jobs in NY).

2)     Submissions. One of the big reasons that fiction writers are on an agent-hunt is that many NY publishing houses do not accept un-agented submissions. There are ways around this too, though. Many editors attend national and regional RWA conferences and take pitches in person. You can circumvent the system by simply pitching at conferences instead of via an agent. The drawback, of course, is that this may cost more money. But, if you really feel that your manuscript is superior, you should have the same chance of signing a book deal in person as you would through representation. Of course, there are small presses that accept un-agented submissions, so you could go that route too. There are e-presses that accept un-agented submissions and they are wonderful. And, of course, one could always self-publish.

3)     Contract negotiation. My boss, Kristin Nelson, has posted an entire “Agenting 101” series on her blog about how to understand and negotiate a contract. It starts here and it’s fabulous reading! An un-agented author could negotiate their own contract (if they REALLY understand it first) or simply hire an entertainment lawyer with expertise in publishing contracts.

http://pubrants.blogspot.com/2006/06/agenting-101-part-two.html

4)     Auditing royalty statements. Our agency has recently hired a royalty statement auditor. She checks each royalty statement against each contract to make sure every payment is 100% correct. One could absolutely do this at home – it takes meticulous care (or knowing a friend who is a CPA). Here’s an example – if your contract says you should get paid 8% of the cover price of your novel for the first 10,000 copies sold and 10% of the cover price thereafter, then it’s important to watch each royalty statement to make sure that 10,001^st copy is accounted for correctly.

5)     Planning marketing campaigns. Our agency also has a marketing director on staff (*waves* to the fabulous Lindsay Mergens, a 20+ year veteran of the marketing side of NY publishing). I find it’s very useful to have a template for new authors that says “6 months before release you should be doing this…” “4 months before release you should be doing this..” “this is the date that your publicist will likely be assigned and this is the date by which buy-in should happen.” We also spend time scheduling guest blog posts and interviews, updating websites and blogs and trying out other forms of social media like twitter and Facebook. This is probably the easiest realm for savvy authors to negotiate alone. If one is very organized and motivated, one should be able to plan a competitive marketing campaign with nothing more than time and a computer.

6)     Problem solving when something goes wrong. Honestly, this is where I spend most of my time. I respond to emails, follow up on submissions, double check cover copy, nudge on deadlines, ask about payments, etc. I’m a great teammate or business partner for the author that wants to offload questions so s/he can simply keep writing. If you are super organized and love to be in control of your entire career, this is likely something you would do for yourself anyway.

My vision for my career is this – I intend to have a small list of clients and provide a ton of value-add to their publishing careers. That value add includes the services mentioned above as well as things like tracking sales, communicating about the market, capitalizing on networking and promotional opportunities, sharing best practices, planning careers, brainstorming book ideas, etc. I expect that as publishing continues to change there will be many successful authors who do not need an agent in order to succeed (and by “succeed” I mean they will create a book of superior quality and enjoy profitable sales on that book). I want to be the agent for authors who do want a business partner. I’m not for everyone and that’s 100% ok with me. If you don’t need an agent, like the author from the above query letter, be organized, professional, meticulous, educated and go for it!

 ***

So, what questions do you have for Sara about whether you need an agent or want to try it solo? Have you already thought this question and come to your own conclusion? Share with us the reasons behind your decision.

NOTE: Sara is moving today and she will be in and out of the site depending on the reality of making sure her kitchen utensils make it on the moving truck. She’s going to do her best to get to as many questions as she can.

RITA award winner for Best Historical Romance, 2011

Love is hottest in the darkness before dawn.

Elissande Edgerton is a desperate woman, a virtual prisoner in the home of her tyrannical uncle. Only through marriage can she claim the freedom she craves. But how to catch the perfect man?

Lord Vere is used to baiting irresistible traps. As a secret agent for the government, he’s tracked down some of the most devious criminals in London, all the while maintaining his cover as one of Society’s most harmless—and idiotic—bachelors. But nothing can prepare him for the scandal of being ensnared by Elissande.

Forced into a marriage of convenience, Elissande and Vere are each about to discover they’re not the only one with a hidden agenda. With seduction their only weapon against each other—and a dark secret from the past endangering both their lives—can they learn to trust each other even as they surrender to a passion that won’t be denied?

Stop by Friday when our very own Adrienne Giordano writes about her “a-ha” moment as a debut author.

***

Bio: Sara Megibow, Associate Literary Agent
Nelson Literary Agency, LLC

Sara has worked at the Nelson Literary Agency since 2006. As the Associate Literary Agent, Sara is actively acquiring new clients! The Nelson Literary Agency specializes in representing all genres of romance (except inspirational or category), young adult fiction of all subgenres, science fiction/ fantasy and commercial fiction (including women’s fiction and chick lit). Sara is an avid romance reader and a rabid fan girl of super sexy and intelligent stories.

Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Please visit our website http://http://www.nelsonagency.com/for submission guidelines, FAQs, resources and sample query letters. Sara’s Publisher’s Marketplace site (www.publishersmarketplace.com/members/SaraMegibow) is a great place to find more about her personal tastes, clients and recent sales. You can also cyber stalk Sara on twitter @SaraMegibow

Screams and Broken Trampolines

“Good morning. Your coffee is ready.” My dear husband bends down and kisses my forehead before he heads out for work. “Have a great writing day.”

I roll over and lazily look out the window over the lush Kentucky bluegrass meadow outside. The birds are signing, I see a few deer nipping at the berry trees, and the reality sets in….

“Hurry up. The kids’ lunches need to be made. I’m late.” My dear sweet husband screams waking me from my wonderful dream.

I shield my eyes from the sun blasting through the window, and look out to see my dog having a barking match with the neighbor’s dog, bikes thrown down, and balls all over the yard, not to mention a beat up trampoline.

Before I get my foot on the floor, one of my four teenage boys run into the room needing a shirt ironed before school, and another one dangling a squeezed up tube of toothpaste in the air because I forgot to get some at the grocery store.

Now my real day can begin….

I wish I could say I go to my office with a cup of coffee in hand and read and respond to my emails, blog, check Facebook, Twitter, and the other social networking sites.

I don’t. I send my teenage boys off to school and get ready for the day job that I have in order to pay the bills. I go to said day job, come home, take boys to various extra-curricular activities, and then my writing begins.

Sleep? What’s that? I drink over TWO pots of coffee a day!

When Jen asked me about my writing process, I thought I was going to choke on my coffee. What writing process? The more I thought about it, the more I realized I do have a writing process. It’s just not a traditional process.

Some writing days are better than other. But I do write everyday and usually 2k words, I just take it with me. I wrote my first book under a tree during my son’s football practice.

My writing process begins with an idea, characters and I let them live in my world, in my head. I keep a writing journal with me (even at ballgames, honor clubs!). The story comes to life and I write. I write in school car line while waiting for my kids, the veterinarian’s office, grocery store line, church (yes! God wants me to be successful and make people happy with my words.), I don’t plot, or create really cool color coated charts. I just write. Generally by the end of the day, there are over 2k words that I have to put in my laptop…sleep? What’s that?

Seriously though, if someone really wants to be a writer, you make time for it. And even though my writing process is different, it works for me. In six years, all my boys will be out the door, and then I’ll have that dream of waking up looking out at the Kentucky bluegrass.

Tonya’s debut novel, Carpe Bead ‘em, hit Amazon’s best sellers list in under three days of its release and made it on Amazon’s exclusive Movers and Shakers List.

***

Okay, RU crew, tell us about your writing process. Do you carry a notebook with you wherever you go? What about  a voice recorder on the nightstand just in case you wake up in the middle of the night with a brilliant idea? What works for you?

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Do you use a software writing program? Gwen Hernandez joins us on Monday to discuss the highlights of Scrivener and why it’s become an integral part of a writer’s toolkit. 

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Bio:  Tonya Kappes is the author of Carpe Bead ‘Em, which hit Amazon’s Best Seller’s list only six days after its debut. The Ladybug Jinx hit Amazon’s Best Seller’s list on the first day it was released.

Tonya has also authored two short stories which can be found in the Something Spooky This Way Comes and Believe Anthologies. Her co-authored, non-fiction book The Tricked-Out Toolbox, helps writers explore the best promotional and marketing strategies for their career, will debut January 2012.

Besides being the co-founder of the beyond quirky writer’s grog The Naked Hero (www.thenakedhero.com), www.thewritersguidetopublishing.com). 

When she’s not writing about quirky characters and even quirkier situations, she’s busy being the princess, queen and jester of her domain which includes her BFF husband, her four teenage boys and two dogs.

Why write a series set in a small town? Once upon a time, Tonya grew up in a small town and it helped shaped her into the woman she is today. To this day, she still loves going home.

So, mark your calendars for the date of her first blog: July 13, 2011!

In the meantime, let’s give Sara a big RU welcome!

BIOGRAPHY:

Sara Megibow, Associate Literary Agent
Nelson Literary Agency, LLC

Sara has worked at the Nelson Literary Agency since 2006. As the Associate Literary Agent, Sara is actively acquiring new clients! The Nelson Literary Agency specializes in representing all genres of romance (except inspirational or category), young adult fiction of all subgenres, science fiction/ fantasy and commercial fiction (including women’s fiction and chick lit). Sara is an avid romance reader and a rabid fan girl of super sexy and intelligent stories.

Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Please visit our website www.nelsonagency.com for submission guidelines, FAQs, resources and sample query letters. Sara’s Publisher’s Marketplace site (www.publishersmarketplace.com/members/SaraMegibow) is a great place to find more about her personal tastes, clients and recent sales. You can also cyber stalk Sara on twitter @SaraMegibow.

Top Five Things I Learned From My Editors

By Inara Scott

I have a confession to make, Romance University: I don’t have an MFA. I don’t have a degree in English, either. Oh hell, I’ve never even taken a class in creative writing. Truly, I have no idea how I sold a book. I can only assume it was a temporary act of insanity on the part of my editor.

However insane it was, she did buy my book, which meant that eventually the poor thing had to edit it. In fact, since I sold my young adult series Delcroix Academy, back in 2008, I’ve inflicted myself on three different editors. (They are slippery beasts, those editors. Hard to keep in one place.) And then there were the poor, long-suffering copy editors. They had to deal with me too.

Now that I’ve been through the editing process on the first two books of my series, I believe it’s safe to say that I’ve learned more about writing from my editors than I possibly could have by suffering through years of English classes and creative writing seminars. And now, I want to share what I learned with you. This is practical stuff, folks. No big picture conflict and theme stuff here. You probably learned that doing your MFA. This is the nitty gritty.

Ready? Here goes:

1) Vary your scenes: As Editor One gently pointed out, most of the action in my book took place in the same three or four locations. I had to break it up. Send my characters outside. Create a basement for my school. Add some weather. Make the setting COUNT.

2) Add relevant blocking: We all know that we’ve got to keep our characters moving. Talking heads are boring, and adverbs are a no-no. But Editor 2 told me to add movement that also serves to develop character. A shy character shifts her skirt to cover her knees. A nervous character fiddles with a pen. This may sound easy, but now try putting this stuff on every page. Try making every gesture count. Wow. Now that’s hard.

3) Make sure readers can “see” your characters. I’m not big on describing clothes. Never have been, never will be. And that’s okay – but readers still need to see the characters. Editor 2 lamented at the beginning of several scenes that she could not remember what the characters looked like. Do you do this? Do you have a grounding visual for each character in each scene? I sure didn’t. The challenge here is not to resort to adding a mention of blue eyes, blonde hair, and broad shoulders every few pages. You need to mix it up and make it count. Don’t overwhelm the reader, ground them. And do it creatively.

Scared yet? Yeah, this writing business is much harder than I thought. But there’s more…

4) Vary your sentence structure. I will never forget how embarrassed I was when a copy editor noted in the margins that all my attribution tags seemed to be following this pattern: “He said, shifting in his seat.” “She said, pulling back her hair.” “He said, standing up and…” You get the picture. Make sentence structure something you look for in final revisions and make sure you are mixing it up. Though we have all been beaten into submission about the passive voice, you also can’t structure every sentence to read PRONOUN, VERB, CLAUSE. Variety is key.

5) Word repetition and buzz words: This is the hardest thing to fix, but so important. You need to find those nasty repeating words that show up twice in the same sentence, the same paragraph, and the same page. (See? There’s one now.) It’s so hard to catch this yourself, because we tend to tune out our own writing. I have my computer read my book to me because I find I can hear repetition better than I can see it. Then there’s the closely-related problem of buzz words. These are the annoying little writerly tics that we all have. Some of my buzz words are: just, horrible, turning, looking, and the dreaded sighing and shrugging. Your buzz words will vary. Before you inflict your book on an editor or critique partner, do a search and destroy. Your readers will thank you. 

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Now that I’ve given you my top five pieces of advice, how about you share some with me? Please, make me a better writer! And if you have questions, I’m happy to answer them. Just remember, I’m making this up as I go along. 

For your viewing pleasure, here’s the fabulous book trailer for THE CANDIDATES – DELCROIX ACADEMY.

[youtube]http://www.youtube.com/watch?v=l_N5OqP-lPg[/youtube]

Join us tomorrow at 8 p.m. CST for a live author chat with Lori Foster.

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Inara Scott is the author of Delcroix Academy: The Candidates, and the forthcoming sequel, Delcroix Academy: The Watchers. She tries not to take it personally that editors keep quitting after working on her books. You can find her on the web at www.inarascott.com. She is also known to hang out on Twitter (@inarascott) and Facebook (www.facebook.com/inarawrites) far more than is healthy.

Most writers have heard they should have an agent, although some aren’t quite sure why, but fewer are familiar with literary attorneys and what services they offer. As someone who has worked in both capacities for many years, I was delighted when I was invited to lead this discussion about the differences.

Literary agents typically take on representation of an author to help secure publication for the author’s projects. In most cases this starts with the agent providing an editorial evaluation of the manuscript and its marketability. Then once the relationship is established, the agent typically will provide whatever editorial assistance is necessary to polish the manuscript or proposal so that it can be put forward to editors in its best form. The agent relies on his knowledge, experience and contacts in the industry to target those editors most likely to be interested in and, therefore, to offer a contract for the particular project. Once an editor makes an offer, the agent then negotiates with that editor (and/or any others who may also be interested in topping that offer) to secure a contract for the author on the best possible terms. Once a publishing contract is signed, the agent then becomes the conduit for all compensation due the author under that agreement. Typically the publisher sends the advance, royalties, and any other proceeds to the agent who then deducts his agreed upon commission and forwards the remainder to the author. If some rights have been retained from the book publisher ( e.g., film or foreign rights) the agent will also endeavor to secure other contracts for those rights as well, often with the assistance of sub-agents. Agents often remain the agent of record on publishing contracts for many, many years.

Relationships with attorneys are usually more short-lived. Attorneys typically focus only on the offer, the contract negotiations, and the publishing contract itself. Attorneys generally don’t get involved in any editorial issues or evaluations of a manuscript. They rarely have the expertise necessary to identify which publishers might be appropriate for specific projects. But if an author has made a submission on her own, then an attorney might well be able to step in and handle the deal from that point on, much in the same way an agent could. Typically an attorney is retained to handle a specific matter and once that matter is completed (i.e., the contract negotiated and signed), the attorney’s involvement ends. Of course, if an author requests an attorney’s services in handling contracts later for the licensing of other rights in a project, an attorney would gladly provide that assistance as well, but only if retained by the author for that additional purpose. Rarely, if ever, would any of the money paid by the publisher flow through an attorney.

In today’s competitive market, most of the larger book publishers and virtually all tv and film producers refuse to take submissions directly from new authors. Agents have de facto become first line reviewers for publishers. So, often if an author wants to be published by one of the larger houses an agent is a necessity. Literary attorneys are not, yet, required for any part of the process, but who knows what the future may bring. Already, they can be extremely useful, particularly in this era where things, like the definition of e-rights, seem to change almost daily. We’re almost to the point where we also need IT experts to help explain publishing agreements, such as what the difference is between an “app” or an enhanced e-book!

Compensation is one clear distinction between agents and literary attorneys. Agents typically are paid only if they sell an author’s project and then they receive a commission (typically 15% or 20%) based upon the gross revenues received by the author. Agents typically receive their share of these funds so long as that contract remains in place, and sometimes even long after for modifications, extensions or even replacements for that contract. Attorneys, on the other hand, usually are paid a flat fee for the specific work they do or at an hourly rate for the time they spend doing the work requested by the author. Once the attorney’s invoice is paid, there is no further financial obligation.

If both attorneys and agents handle contract negotiations and review, then what’s the difference? Agents are generally more attuned to the business aspects of the contract – the advance, royalty rates, rights granted or retained, and the like. Attorneys, on the other hand, are focused on the legal language of the agreement and making sure that the author’s legal rights are protected to the fullest extent possible. This includes a clear understanding of the rights granted, how the copyright is handled, any non-compete clauses, the option clause, the warranties, and all the other stuff that’s often lumped under the heading of “boilerplate.” That’s not to say that agents don’t care about these clauses, because most do. But literary attorneys have a wider legal background in which to evaluate these issues.

Over the years, I’ve met many agents whose knowledge of the legal issues in publishing contracts was quite impressive. They are usually very detail-oriented people and many of them have trained with contracts experts. But you can’t always count on every literary agent to have particular expertise in all the nuances of contracts, and generally, that’s where having a literary attorney on hand can also be useful. There’s nothing that suggests you can’t have both a literary agent and a literary attorney. I’ve worked with agents who seek consultation about unfamiliar contract provisions, and I’ve also worked with agents when authors retained me to review some or all of a contract that her agent was negotiation. Authors who want to make sure they have all bases fully covered should consider using both.

Literary attorneys can also advise authors on other publishing issues, such as when copyright permissions are needed if you use materials from other sources or how to minimize libel or other issues when basing characters on real people. Attorneys can also advise authors on how to secure reversion of rights when a work has gone out of print, or how to deal with a publisher who might be in breach of the contract for, as an example, failing to pay royalties. Attorneys can also assist authors in reviewing contracts other than publishing agreements, such as agent contracts, collaboration agreements, and for those who choose the self-publishing route, contracts with designers, printers, and distributors. Typically these are not the sort of issues where agents have special expertise.

Just as you wouldn’t submit your novel to an agent who handles only self-help projects, you want to make sure that the attorney you consult has experience with publishing contracts. The practice of law has become very specialized, and even general Intellectual Property attorneys who regularly deal with copyright, trademark or patent issues, may not have actually seen or negotiated a publishing contract. Just as with any other specialized type of contract, there are issues peculiar to publishing agreements which any advisor needs to know. Just as I wouldn’t begin to handle the settlement of a real estate transaction for a client (something that I’ve never done before) you wouldn’t want a real estate settlement attorney advising you on your publishing contract. So, just as you do your homework before you select an agent, do that also in your selection of an attorney.

There is one other issue I feel obligated to mention. Another difference between literary agents and attorneys is the amount of regulation imposed on the two professions. Few states regulate literary agencies, but by contrast, the legal profession is heavily regulated. All practicing attorneys have graduated from college and law school, have successfully passed a multi-day bar examination and are subject to both professional and ethical standards imposed by the state in which they practice. By contrast, virtually anyone can establish a literary agency. Most agents have some interest and/or background with books, but no specific educational background or training is required. Many agents learn the business by working at larger agencies, often starting in the mail room reading and reviewing manuscripts. It’s also not uncommon for an editor who leaves the daily grind of the book publishing business to become an agent. But in some cases, lack of state or other regulation has allowed scam artists to set up a publishing or editorial service or a literary agency only to prey on unsuspecting authors desperate for representation. The Association of Authors’ Representatives, a trade association that imposes a standard of ethics upon its members, currently serves as the only national credentialing organization for literary agents. As with attorneys, it pays to check out an agent before you submit your work.

So why bother with either? There are books for writers, some of which do a very good job of explaining the ins and outs of the business, including detailed analyses of publishing and other contracts. Why not just do all of this on your own? Some authors do and do it quite well. But be honest, do you really want to take this on as well as everything else you have to manage? First, there’s creating the story, then there’s mastering the craft of writing, then there’s those darn synopses and query letters, to say nothing of the publicity – the blogging, the tweeting, the “friending”? And what about computer repair or car repair? Do you do that all on your own as well? We have to make these kinds of choices every day. But just as I prefer to have a tax advisor help me with the intricacies of the tax laws, I would recommend either a literary agent or an attorney or both to help you on your path to success as an author.

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RU Readers – what are your feelings about using a literary attorney versus an agent. One or both?

Joins us on Friday when we chat with historical author Katharine Ashe about what happens after the sale.

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Bio: Elaine P. English is both an attorney and literary agent based in Washington, D.C. As an attorney, for more than twenty years she has focused her practice on literary, media and entertainment law, with a special emphasis on publishing. As an agent, she represents a limited range of commercial, genre fiction, including women’s fiction, romance and mysteries. For more information, see her website at www.elaineenglish.com.

Carrie Spencer – First of all Leah, congrats on your win! You must be on cloud nine!
Leah Ashton – Thank you! Winning the competition was an incredible experience, and I certainly spent a few days not quite believing it.

It seems surreal that out of so many entries – and some of them were incredible! – the judges and voting public chose mine as the best new voice. Crazy!

Carrie – Tell us what has happened to you and your story since you were announced.
Leah – After the competition ended I received a phone call from my editor mentor, Meg Lewis. We discussed my story, and also the Mills & Boon line she felt the book was best suited for (how exciting!). She talked to me about the strengths and weaknesses of my entry, and we set a deadline for the finished manuscript.

The thing was, when I entered New Voices all I had was an opening chapter. That was it – no plot, no internal conflict for my hero – nothing! Over the course of New Voices I worked with my mentors to come up with a plot and conflict, and that worked brilliantly for the competition. I carried on with this plot for the first few weeks, sending through chunks of my manuscript to Meg for review. That’s when I got my next phone call from Meg – the story that worked great for New Voices was just not working as a full manuscript. I completely agreed – it was a struggle to write and just didn’t feel “right”.

So I started revising, and I am really excited about the story now! Eagle eyed readers of my New Voices entry may have noticed that my hero, Dan, goes from a bit of a player in Chapter One to a family-focused man in the later chapters. Well, he’s back to my original player, which I love! The most important thing for me is that the story I really wanted to tell – which explores infertility and what makes a happy ever after – is still the core of my book.

Carrie – Tell us about your mentor.
Leah – As mentioned above, I’m still working with Meg. She has been amazing – her feedback and encouragement has made the book infinitely stronger. She is also just a lovely person, and very tolerant of all the mistakes I feel like I’m making She’s been with me every step of the way, both via email and through phone calls.

During the competition I also had Jessica Hart helping me, and she was wonderful – and a remarkable brainstormer!

The finished entries for Chapter Two and my Pivotal Moment were both significantly different to the original versions I subbed to Jessica and Meg. My mentors really made me question why my characters were behaving in a certain way, and challenged me to strengthen each scene. For example, in the Pivotal Moment originally my heroine was forced to reveal her infertility, but Meg said it would be stronger if she chose to do so. Of course, that meant I had to dig deep – because why would she do that? A total rewrite of the second half of the scene resulted, but it was certainly worth it!

Carrie – Thanks so much for posting with us today, Leah. We’re looking forward to seeing your book on the shelf!
Leah – Thanks Carrie! I don’t think it will feel truly real until my final revised manuscript is accepted, but assuming it is (crossing my fingers and toes!) my book will be out late this year.

I’ll also be in New York in June for the RWA National Conference, I’m hoping I might meet some of the other New Voices entrants while I’m there!

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Carrie Spencer – Heidi, tell us what’s been happening with you and your book since the competition?

Heidi Hormel Mills and Boon New Voices

Heidi Hormel – I have continued to work on the story of Jessie and Payson with the help and encouragement of my Mills & Boon mentors. I handed in additional material at the beginning of December — working away while I vacationed in sunny Florida for the Thanksgiving holiday — oh, the life of a writer! I received helpful feedback from Megan at M&B, and she said that she would look at the story again as I had more. I figured I’d write another four chapters, a doable task, except I broke my arm in a car accident (thank goodness that mine was the worst injury — other than the poor SUV). I have been working one-handed, which has really slowed down the process. Oh, and I celebrated Christmas and New Year, too.

Carrie – Tell us what you’ve learned from the competition and the mentoring process.
Heidi – I was reminded to stay true to my voice as a writer. My mentors, even as they gave me suggestions on reworking the story, told me that I had to maintain my voice. The challenge was taking the comments on character and plot and figuring out how to make it happen while writing my own story in my own voice. What I learned is that delete button is a writer’s friend, really.

Carrie – What’s next for Heidi Hormel?
Heidi - Next, for me? Getting off my cast and getting my typing back to normal! Then on to Web domination by getting a blog/Web site up and running. On the writing front, I hope to be working further with Mills & Boon on The Surgeon and the Cowgirl. I am also starting a new story in February. There won’t be horses, but there will be roller skates, body checks, and tattoos.

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RU Readers, do you have any questions for Leah and Heidi about their mentoring experience with the New Voices contest?

Join us on Wednesday when we talk with Laurie Schnebly Campbell about that all important Character Motivation!

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Bio: Leah Ashton is an IT Project Manager living in Perth, Western Australia with her fiancé, two dogs and a very clever Devon Rex cat. She has a life long love of romance novels that a few years ago morphed into a love of romance writing. She is a member of Romance Writers of Australia and Romance Writers of New Zealand and can be visited at her blog: http://leahashton.blogspot.com

Bio: In addition to being a 2010 Final Four in Mills & Boon’s New Voices contest, Heidi Hormel has had a short romance published in Woman’s World magazine and was a finalist in the 2009 Suzannah Contest. She is a full-time writer and has monthly reviews in Romantic Times Book Reviews. You can find her on Twitter as @SpamPrincess

Welcome to Crafting Your Career! Today, we continue our discussion on the state of historical romance with New York Times Bestselling author Laura Lee Guhrke. Laura’s graciously agreed to give us her take this ever-changing subgenre and what she likes best about the Edwardian (1901-1910) period.

The class is yours, Laura!

Tracey: How would you define the historical subgenre?

Laura: I think definitions of what’s “historical” are broadening again. It’s still basically the 19^th century Regency and Victorian periods, but we are seeing some ventures into the 18^th century Georgian (Eloisa James’ Duchess series comes to mind). And some authors, including myself are pushing into the Edwardian era of the early 20^th century. Location, however, is still staying pretty close to British Isles only. I hope that widens out again, too. We’ll see. Other elements of setting are broadening out a bit. Some paranormal has been appearing in historical settings, although that might be easing back again now. We’ve got some Steampunk elements popping up in the classic Victorian, a trend which might be helped by the new Sherlock Homes movie. We’ll have to see how it goes.

Tracey: What is your opinion of the state of this subgenre today?

Laura: Historicals, IMO, are always a staple of romance. In the 16 years I’ve been published, I’ve heard again and again that the historical is dead, and it’s always a serious miscalculation. Personally, I think we may have hit critical mass with Regency settings, but maybe not.

Tracey: What sub-genres or sub-genre crossovers are hot right now?  What’s not?

Laura: Heck, I’m not the person to ask about what’s hot and what’s not. I keep track of basic trends, but in the end, I write what excites me, I try to craft the best story I can, and I hope readers like the result. I don’t, I can’t, make my decisions about what to write based on what’s hot right this minute. First, by the time I write the book and it’s published, what was hot probably won’t be, and second, I can’t write based on what other people think. I just can’t. I have to write what inspires me, so I am not the best barometer of what’s hot and what’s yesterday’s news. Editors are much better at that than I am.

Tracey: Do you see any trends writers should avoid? Move toward?

Laura: Again, I don’t follow trends. I strive to write what excites and motivates me, and I advise anyone wanting to be a published author to do the same. Now, I’m not saying we shouldn’t pay attention to the market, because anyone who wants to sell anything should know their market. That’s just good business sense. So, what I advise is for every author to strike a personal balance between what’s the new trend and what’s uniquely you. If you are comfortable tweaking your style or your story to suit the current market trend, do so by all means. But don’t force your writing into established pigeonholes just because you think that’s what will guarantee a sale to a publisher. Agents steer authors in that direction all the time, saying write this or write that because it’s “hot.” They are trying to get the sale, obviously, but 9 times out of 10, it’s a mistake, because storytelling skill and voice trump commercial considerations every time. On the other hand, know that by writing the book of your heart, you may severely limit your chances to sell to a publishing house. It’s all about striking that fine balance. To know where you stand in terms of commercial appeal, read the books on the USA Today Bestseller’s List as often as you can. That way, you’ll be able to see what’s selling. That’s how you know if you’re in the mainstream, marketing-wise.

Tracey: What do you like best about this subgenre? The least?

Laura: What do I like about historicals? Love everything about them. I love the gowns, the moral dilemmas, the etiquette, the politics, the art, the music…The subgenre I am currently writing in (Edwardian) is very exciting to me because so much was going on. I love having motorcars and ragtime in my books. It’s fun. I’m glad I’m able to write it. I don’t like how narrow the historical settings have become (only Britain, only these decades), but the brutal truth is that’s what’s selling now. If you want to be published, you must acknowledge that. It’s like the old adage: know the rules first. Then, break them with full knowledge of what you’re doing. Speaking personally, as a reader, I wish there was more variety in time and setting.

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

Laura: As I said above, I think boundaries are stretching out a little bit. Erotica was very hot, but I think it might be cooling down a bit. It’s still a very rigid book market. Publishers are not taking very many chances in terms of setting or time. A great writer can overcome that, but a mediocre writer cannot.

Tracey: Do you have any other words of wisdom you’d like to share about the historical market?

Laura: Write, write, write. Read, read, read. Write some more. And don’t keep fiddling with the same story for five years. Finish your story, send it off to every agent or publisher that would be interested in it, and once it’s in the mail, FORGET ABOUT IT. Write something new, send that out, and keep going forward. That’s what you have to do once you sell, so you might as well learn to do it before you sell. Also, learn your strengths and play to them. Learn to innovate within the rigid framework of the market. Read widely of the period you are writing in, especially novels or plays contemporary to the time. And try to remember to have fun.

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RU Readers, what do you think? Any thoughts on the Edwardian period? What combination of historical crossover do you like?

Don’t miss the first installment tomorrow (Extra Credit Tuesdays!) of a Debut Author’s Journey with Laurie London. Laurie lets us ride shotgun while she travels the road to publication.

Laura’s Bio:

New York Times Bestselling author Laura Lee Guhrke spent seven years in advertising, had a successful catering business, and managed a construction company before she decided writing novels was more fun. The author of fifteen historical romances, Laura has received many literary awards, including romance fiction’s highest honor, the Rita Award. When she’s not writing, Laura spends her time skiing the slopes, wakeboarding across the lakes and fly fishing the streams of her beautiful home state of Idaho. She loves hearing from readers, and you may write to her by visiting her website: www.lauraleeguhrke.com.