Workshop from Tucson Book Fest: Book is Written, Now What?

I'm reproducing my handout from my talk in Tucson: The Book is Written, Now What? Enjoy!

Organization and Career Focus

What kinds of books do you see yourself writing day in, day out? How many books
a year can you write? (be realistic!)

What kind of publisher do you want
to target? (large press, small press, e-pub)

Market Research

Who are the editors and agents buying/selling what you write?

Writer’s Market (updated annualy)

Conference websites (editor’s bios--shows what editors are looking for)

Agents’ blogs

Check a publisher’s distribution and reputation, not just how much $$ you can get up front. Distribution can be more important than money (keeps you published)

Go to stores (Walmart, Target, grocery chains, bookstores) and see what publishers are on the shelves who publish what you are writing or close to what you are writing.

How to Get your Ms. Read

• Contests

Target wisely (publisher-sponsored; your genre; editors/agent judges)

• Conferences

Hone your pitch to the agent or editor to one-two sentences. Give them room to ask you questions. Ask them questions--what are they looking for? What was the last thing they bought that got them really excited? What is the most recent (new author) book they've sold to a publisher?

• Query Letters

What is a query letter? A one-page letter that contains information about your book plus your pitch:

Paragraph one: Tell the agent why you've written him: I'm looking for
representation for my mystery series set in the outback of Australia in the
1940s. The first book is 80,000 words and is finished.

Paragraph two-three: Blurb of your book. Very short setup of main
character, main problem, villain, what makes the book unique. (or in romance,
hero and heroine, main problem, etc.)

Paragraph four: Offer to send a partial or full manuscript at the agent's
request. Thank her for her time, and sign.

That's it!!!

Send out up to 10 query letters at a time. When one comes back, pop another in the mail.

• Submit constantly.


Agents: Why do I need one?

• Agents can be your number one biggest asset.

Agent does much more than get you sold (you can get yourself sold).

Shop for agents wisely. Ask questions, read their blog, research them.

Do not use agents who charge up-front fees.

For Inspiration

The amount of dedication you give to your writing career is what it will give back to you.

Don’t settle. Believe that you can attain the highest levels! What you shoot for, you will get, or get very close to.

When you make writing your job, it becomes your job (with pay!)

For Education

Lawrence Block, Telling Lies for Fun and Profit (Insightful articles on writing, discipline, technique, marketing).

Steven King, On Writing. Part 1 is an autobiography; part 2 offers gloves-off advice for starting and sticking to writing, the basics of good writing, how to finish the book and what to do with it.

Donald Maass, The Career Novelist: A Literary Agent Offers Strategies for Success. What everything means, and how to survive it.

Jeff Hermann, Jeff Herman’s Writer’s Guide to Editors, Publishers, and Agents (updated annually)

SWFA’s Predators and Editors website (lists agent addresses and websites, $=an agent with a track record of sales): http://pred-ed.com/pubagent.htm

The Editorial Process

Lately I've been hearing a number of misconceptions about what happens to a book when it gets bought by a publisher (small or large). I hear:

1. "Editors don't edit anymore."
2. "Why does it take so long for the next book to come out?"

I will answer both in a post about the whole editorial process.

1. Myth: Editors don't edit anymore.

Well, I can't speak for all authors everywhere, but it certainly isn't true for ME. In the past eight years, I've worked with seven different editors, and each one, trust me, edited my work. (This goes for both gigantic New York houses and small e-press.)

2. Why does it take so long for the next book to come out?

Because though an author might write a book in a few months (or a few years, depending on the author and the book), it takes print houses nine to 18 months to process the book into print form; e-houses a bit less (if the book is e-released alone first).

Let me start at the beginning:

• The manuscript is accepted by the publishing house.
  
  The editor chats with the agent or author about what the publisher is offering, author/agent accepts, champagne is broached.
  
  The contracts department then works up a contract according to what editor and agent/author have discussed and sends contract to agent/author.
  
  Agent and/or author go back and forth a few times with the publisher until the contract is hammered out.
  
  At a print house, once the contract has been signed by the author, the publisher sends out a check for *part* of the agreed-upon advance. (Most e-houses do not pay advances.) Advances are usually split into three or more parts: 1. Signing the contract; 2. delivery of first book; 3. (possible) delivery of synopsis for subsequent book; 4. delivery of subsequent books; 5. (possible) publication; and 6. (possible) when published hardback book goes into softback or mass market
  
  Standard time between contract signing and your first check: four to six weeks.
  
  
• Manuscript
  
  If the editor had the manuscript in hand when the contract went out, the book can be scheduled in the publisher's list of books coming out in the next year or so.
  
  If the editor purchased on a partial (synopsis/chapters), contract will indicate when the full book is due.
  
  
• Editing/Revisions
  
  Once the editor has the full ms. he/she reads it. She then contacts you via phone or email to discuss the book and possible changes. Sometimes these changes are minimal; sometimes deep.
  
  The editor then sends you back the ms. for revisions, usually with a letter asking questions, suggesting changes, asking for clarification. A due date is set for when revisions should be returned. (Some editors skip the chat and simply send the ms. back to you with the letter.)
  
  Note that at this point, the ms. is not considered "accepted." If the editor thinks the book is a mess even when you turn it back in, she can still reject it, and you won't get the rest of your advance (contracts vary as to how long you have to fix the book or write something else.)
  
  Standard time for aquiring editor to read book and send back revisions: a few weeks to a few months.
  
  
• Author revises the book.
  
  Depending on how extensive requested revisions are, this can take you an hour to two full weeks.
  
  Now--lest you think suddenly all control is wrested from you, and the book is being written by a "committee," and the world has gone all swirly and green; not at all.
  
  If you don't agree with changes your editor has proposed, you can certainly argue. I often do. This shouldn't be a heated, screaming match; it should be a reasoned discussion about what is best for the book. Editors are not always right; neither are authors.
  
  Keep in mind you are very close to the book at this point. An editor is reading it for the first time. Things are going to jump at her that you never saw (or your critique group never saw). This does not mean that the editor is perfect, and you should do whatever he says; nor does it mean it's time to go all diva and scream that no one understands your gift.
  
  Anyway, that's revisions.
  
  Standard time you are given for revisions: two to four weeks
  
  You turn in the book, the editor adores what you've done, and they send you the D&A (Delivery and Acceptance) advance.
  
  Standard time to get your D&A advance after acceptance: six weeks to 60 days.
  
  
• Copyedits
  
  Next, the book is sent to a copyeditor, usually a freelancer; sometimes someone in-house. That person does line edits; that is, she or he marks corrections to grammar, spelling, and punctuation, and asks questions about sentences or story points that are unclear.
  
  Standard time for freelance copyeditors: Two to four weeks
  
  Most houses let you look at the copyedits and answer the copyeditor's queries. Some houses take the CE manuscript and send it to production without you seeing it, but this makes me squirrelly, so I always ask to see the CEs.
  
  You go through the ms. one more time, curse at the copyeditor for changing your words, change them back, correct other errors, answer the queries, concede that the CE has caught things you missed.
  
  Standard time for you to look at the CEs: Two weeks.
  
  
• Proofs
  
  Once you have messed with the copyedited ms., your inhouse editor goes over it again then sends it back to Production to be put into page proofs. These proofs are close to what you're going to see in the final copy.
  
  Standard time from CEs to proofs: Two to four weeks.
  
  You get sent either a printout or a PDF file, which you then proofread.
  
  Most houses also send the proofs to a freelance proofreader at the same time. Between you and the proofreader, the typos should all get caught. (Note I say should.)
  
  Reading page proofs is my favorite part. The book is so finished that I can't change the story--I can now just read it as a story. I also like to make sure I've caught every problem I possibly can. That's my OCD talking.
  
  Standard time you get to look at proofs: Two to three weeks (Often less, because time is marching on)
  
  
• Book to printers
  
  By now, the book has a cover (usually before you've done the revisions, because it needs to be in the catalog a long time in advance) and a blurb. This plus the manuscript gets sent to the printers for the final book.
  
  Standard time at printers: Six to eight weeks.
  
  There you have it. The book comes of the press and is warehoused and sent out to booksellers nationwide (or pubbed on an ebook site). If you are owed a pub advance, you get it four to eight weeks later. For ebook houses, your royalties start rolling in six to eight weeks after the book is posted (depending on the pub's payment schedule).

Mileage can vary, of course!

While the pub house is doing this for your book, they're doing it for many, many other authors at the same time, which adds to the time. Smaller houses with fewer authors might have a shorter time frame.

E-book houses put out books anywhere from four to six months after author turns in the ms., because they don't have to schedule time at the printers and wait for that process.

The e-book house I write for uses a similar editing process except:
1. I don't get paid until the book is published and starts to earn royalties.
2. The line editing and proofs are done in one step.
3. I usually don't get a cover until the book is a few weeks away from publication.

More notes:

Everything I'm talking about here are the mechanics of getting a book to print. I have skipped the conversations with my editor about the back blurb and the cover, me seeing the cover and either gushing or weeping, the covers being printed and the marketing team going out to sell the books to the distributors with lovely covers in hand.

So...books are still put through the wringer, and you can see why it takes such a long time to process them.

Caveat: I speak only from my own experience writing for NY houses and e-houses, and as an editor at medium-sized nonfiction presses.

More on Finishing Plus Guest Blogger Bonnie Vanak

Adding to last week’s entry—

I hear people say they cannot get motivated to work on a project they’ve been working on for a while. If you dread your writing session or completely avoid it, it’s clear you don’t want to work on that particular project.

My advice in that case is to put it aside and start another story, one that’s been hammering away at you. If you’ve been beating a story to death and it’s just not right (you know when it’s right, it feels right), then you are probably better off abandoning it.

Other authors might smack me for giving such advice, but I say why punish yourself? Writing is a grueling job. You need to love your characters and love what you write or you’re not going to be able to do it. If you hate the story you’re working on, will you be willing to write twenty more just like it once you’re published?

Ask yourself: Are you writing the story because it sings to you and you can’t get it out of your head? Or because “everyone” says paranormal romance is the only thing selling?

I have news, publishers like to round out their lists with things other than the “hot” trend of the day. In fact, said trend might tank any moment; you never know.

Work on what you believe in, what you want, and what you need. I guarantee it’s much easier to sit down and write something you love than try to write what everyone says you are supposed to write.

Now, I want to turn to Bonnie Vanak, guest blogger, who has some great writing tips. Read on!!

Bonnie Vanak sprang onto the historical romance scene in 2002 with her first Egyptian-set historical, The Falcon and the Dove. Since then she's written five connected novels set in Victorian and Edwardian-era Egypt, will do a couple more in the series, plus has sold two contemporary paranormals to Harlequin Nocturne.

J: Bonnie, you work at a day job which also requires a lot of travel. How do you juggle writing with working and traveling?

B.V.: Good question. Right now I'm juggling very fast and frantically with my first Nocturne deadline and a trip to Guatemala. Are there any sexy Alpha werewolves in Guatemala? LOL!

Usually I take the laptop with me on my travels and try to write at night in the hotel after a day in the field. Writing romance gives me a much-needed break from writing about poverty. I love writing romance because it's an escape into my imagination, whereas the day job deals with the grinding reality of poverty.

J: Your historicals are rich with detail about Egypt in the nineteenth century. Can you offer readers advice on how to get started researching the historical (or any other) novel?

B.V. Thank you! I like to start with basic research first on the internet when I'm starting a book, then narrow down the research with books and periodicals. Pick out interesting facts and tidbits, and for more detailed information, you can get library books and periodicals.

If you can, choose a time period that works well with your characters. For example, The Sword & the Sheath is set in 1919 Egypt. I chose that time frame because it's the period of Egypt's first revolution against the British occupation and it was a perfect backdrop for my heroine, Fatima.

Just as everyday Egyptians rebelled against the British, Fatima rebels against Tarik's arrogant attitude that women cannot be warriors. I used the actual women's march against the British occupation. Organized by Hoda Sha'rawi, the historic march of upper class Egyptian women set the stage for Sha'rawi to pioneer the Egyptian feminist movement.

Just as Sha'rawi courageously challenges British authority, Fatima does the same within her own tribe.

J: You made your first sale unagented, and then acquired an agent. What did you like about being unagented and what do you like about being agented? What are the disadvantages of either route?

B.V. What I liked about being unagented was it forced me to learn more about the business. The disadvantage was I had so much I had to learn and I made mistakes a good agent would catch. I'm still learning.

Having a great agent, like I have now, can open doors you've never dreamed of before... but it takes a while to find the right one. The personalities have to mesh, and it has to be a right fit. I'd advise anyone looking for an agent to find an agent who is passionate about your writing, NOT just the story you submit. Because that story might get rejected in NY, but if the agent loves your writing style, the enthusiasm will be passed on when s/he pitches the book to editors.

I'd advise aspiring authors to go the agent route, but don't stay only on that particular path. Submit to agents and editors and enter contests to grab their attention. Finish the book and start another. The next book you write may be the one that seals the deal.

J: Thank you! and congratulations on your new release The Sword and the Sheath. Visit the very cool series MySpace page for information and the book trailer:

http://www.myspace.com/bonnievanak

and her blog at http://bonnievanakjournal.blogspot.com