A.C. Crispin, sci-fi fantasy writer, offers an interesting take on the kind of person who will likely "make it"; that is, become a published, working author. I thought it was a great post--these observations apply no matter what genre you write.
http://accrispin.blogspot.com/2007/09/how-do-you-tell-whos-going-to-make-it.html
This blog, which A.C. Crispin writes with Victoria Strauss, is called Author Beware, and regularly lists scams and cons out there that target authors. Sadly so many people want to make money off your dreams, leaving you high and dry. Well worth checking out.
Jennifer
www.jennifersromances.com
Sunday, September 30, 2007
Friday, September 14, 2007
How Hollywood Gets It Wrong
I’m always baffled (not to mention irritated) by portrayals of authors in movies and television. Authors are stereotyped in the most absurd ways—romance authors in particular--which explains why so many non-writers think we’re either too glamorous to be real or too stupid to live
Here are some myths I’ve seen in movies and on television:
All authors live in New York City and carry their finished mss. personally to their publishers.
Authors published in New York live all over the United States and in England, Canada, Germany, India, Australia, New Zealand, and all points in between. Authors mail mss to their publishers via USPS, Fedex, etc, or through email. Very rarely do they deliver it in person, unless they happen to be in Manhattan with said ms. under their arm and happen to be passing their publisher’s building that day.
Manuscripts are 4-inch thick tomes bound in brown or blue vinyl or whatever.
Manuscripts should not be bound. Mss. are sent to editors loose in a box (priority mail or fedex boxes are perfect with a little bubble wrap to fill in the gaps). Put a rubber band or two around the ms. to hold it steady--that's it. These days, full mss. can be emailed (with prior editor approval!). Maybe this bound ms. myth comes from the fact that movie and TV scripts get bound? Or it's easier for the actor to carry it around the set? This is nitpicky, but it bugs me to no end.
Romance editors loathe their work and would rather be nurturing the next Ernest Hemingway.
Most romance editors are voracious genre readers and love the best authors in romance, mystery, scifi/fantasy, horror. Go on, ask any romance editor what she likes to read for pleasure. I write for editors who love J.R. Ward, Karen Marie Monig, Janet Evanovich, Charlaine Harris, and many more.
The author’s agent or editor flies to author’s house to nurse him/her through their bout of writers block. Editor/agent may stay for the entire movie.
Most publishers have large lists of authors and never enough editors. Editors work from early morning to late at night, often carrying mss. from the slush pile to read on their commute and on vacation. Agents take care of a dozen to fifty clients, and they have the same slush pile issue. These people barely have time to chat on the phone let alone fly to an author’s house to live with him for a couple weeks. Author must get over writer’s block on his/her own.
Editor meets author at coffee house or restaurant and reads ms., usually weeping and raving, while author watches.
This could happen if you and your editor both live in Manhattan. And you’re very good friends. And the editor doesn’t have anything else to do. What mostly happens is you send your finished ms. to your agent, who then passes it to your editor. The editor might send author a brief email saying “got it, thanks!” Depending on the editor’s schedule, you might not hear anything about that manuscript again for another few weeks to months.
All authors live in penthouse apartments in Manhattan, or mansions on the west coast, or both. They attend lavish cocktail parties and rub elbows with celebrities.
Maybe the top, top, top authors do. The household name ones. Cocktail parties with celebrities? Most authors get excited about meeting friends at Starbucks. Many keep on living in the communities in which they were living before they got published. If they’re very successful, they might buy a bigger house, take nice vacations, or have a second home.
An author who doesn’t make the NY Times Top 10 is considered a failure.
I saw this on Veronica Mars once. Veronica’s poor dad only made the extended list. Means his print run was pretty damn good, and he’ll probably make a nice little amount on it, especially if it was a hardback. It’s very, very, very, very, very, very, very difficult to make the top 10. Many authors never will make it, because much of making the big lists depends on print run, genre, and what the publisher and booksellers do with the book.
Addendum: Making a list doesn’t mean the book is a success either. Only the sell-through (the percentage of the print run that sold) determines success. If you make NYT top 10 and sell 30% of your print run, you’re screwed. Sell 70% and never touch a list, you’re cool. I know a couple authors who rarely appear on the lists and make a nice six-figure income every year.
Real authors won’t consider writing genre fiction, and if they do, they invent a pseudonym and hire an actor/actress to personify them so no one will know.
I saw this recently on a British murder mystery (who seem to be the worst culprits in stereotyping genre writers). This scenerio could happen, of course, and I think I remember reading about it happening once. However, most genre writers consider themselves “real” writers and live without shame. If not for genre (horror, romance, mystery, thrillers, westerns, etc.), the book industry would have died long ago.
Authors don’t write their own books. They hire ghost writers and sit back and collect the bucks.
All right, so a couple authors have come forward to say they hire a ghost writer to write while they do the marketing. But by and large, most of us type our butts off, revise our own mss., and spend a lot of our own time and money on promo. Of the writers I’ve met, and I’ve met many, all write their own books.
Plus, the author does have to pay the ghost writer himself, which comes out of his advance and /or royalties. Ghost writers don’t work for free, and the publishers don't pay them. Even if a publisher hires another writer to "clean up" someone's ms., it comes out of the original author's royalties. So it’s not a matter of having someone else work while you collect. You pay your dues one way or another.
If an author isn’t a bestseller right off the bat he/she is a failure and should shuffle back to his/her day job in shame.
Sometimes it takes several books to build an audience. Remember, it’s sell-through that determines a book’s success or failure, not lists. And many authors who weren’t hits at first changed names or genres (or both), started again, and moved on to huge success. They didn't give up. You’re a failure only if you decide to fail.
A broke author who hasn’t turned in a book in years calls his publisher to beg them for money—calling it an early advance on his next work (which he/she hasn’t written).
An author does not get paid until he/she signs a contract (whereupon he/she gets a portion of the advance), and turns in the book (getting the second half of the advance). He’s not going to get a contract unless he has at least a synopsis to show the editor. If no royalties are coming in from his previous book (because it’s out of print or off the shelves), he doesn’t get more money for that, either.
A book is written, edited, proofed, printed, shipped, and on the lists in a couple of months.
Books can be rush-printed if they’re on a timely subject, but most books take nine to eighteen months at the publisher, and that doesn’t include the time for the writer to write it. So the book you’re starting today may not see print for two years. Even the larger e-book houses now have a long lag time between sale and print. I spit my iced tea when I saw this on one of my favorite television shows.
The romance author: She is a woman in her 50s or 60s, wears flowing pastel or flowered garments and heavy make-up, calls everyone dahling and chases every man in the room (to their consternation). Sometimes accessorizes with a long cigarette holder and (horrors) a feather boa. She tells everyone to “feel the passion,” is terminally stupid, and has no clue how she’s made so much money (except, of course, her readers “feel the passion,” too).
If you meet a romance author, chances are you’ll never realize she is one unless she tells you. At conferences most authors dress business or business casual. They look like businesswomen and also grandmothers, mothers, wives, sisters, aunts, and friends, because that’s what they are (and of course some grandfathers, fathers, husbands, brothers). And I’ve never met a romance author who called me “dahling” (for real).
The “has-been” romance author. (Oh, she’s so sad.) She is anywhere from 40 to 60 and rather faded. She used to be a (naïve) bestselling romance author, but then her husband cheated on her or left her (or both), which made her realize that romance wasn’t reality. She can no longer write, because she no longer believes in the romance. She obviously can’t do anything else either, because she sits around in her shabby house and sadly wonders if anyone remembers her.
Most romance authors are very savvy about the real world and the world of publishing. Many are happily married or in long-term relationships—and I guarantee you, marriage will put you in touch with reality (hello?). Some authors have gone through divorce or have had more than one marriage. They understand that not all matches are perfect. And you know what? Most of them still believe in their stories, most continue to write. Even if some are turned off by romance, they might turn to another genre and keep going. Writing is their job, and they continue to do their job—or if they truly can’t write any more, they go find other employment. Romance authors do understand the difference between their own lives and their books.
The cynical romance author: She is the businesswoman who hates writing romance and loathes her audience (coldly calling them nasty names). But her books sell like hotcakes and she’s trapped. She can’t stop. Of course, she longs to write “real” books.
If you don’t buy into what you’re writing, it’s damn hard to write it. You won’t sell like hotcakes for long if you despise your audience and your genre. The cynical romance author could be true, but most romance authors love romance novels. That’s why they wanted to write them in the first place.
The author who has had writer’s block for ten or more years. This one is usually a man who writes literary fiction. He had one brilliant book or two, but he’s run dry. His publisher “understands” and will be there for him when he’s ready. (And his family understands that he won’t be bringing in any income. For ten years.)
Of course the publisher understands. There are plenty of authors to step into this guy’s slot while he’s wrestling with his demons. Sure, he might have been a big seller, but I imagine that within a year or two, the publisher will find someone else who's just as good a seller for them.. There are a lot of authors out there.
Our blocked writer has a breakthrough, produces his brilliant work (in a montage of feverish productivity), and the publisher welcomes him back with open arms.
In ten years the publisher could have been sold, merged, or closed completely. The beloved editor could move, quit, die, be fired, retire. If you don’t write anything for ten years, unless you were mega-famous (a household name) before, you’ll likely start all over again at a new house. If you can sell the book at all.
That wraps up my pet peeves of author portrayls in movies and on TV (and even in novels themselves). If you have any more, feel free to list them in the comments.
Here are some myths I’ve seen in movies and on television:
All authors live in New York City and carry their finished mss. personally to their publishers.
Authors published in New York live all over the United States and in England, Canada, Germany, India, Australia, New Zealand, and all points in between. Authors mail mss to their publishers via USPS, Fedex, etc, or through email. Very rarely do they deliver it in person, unless they happen to be in Manhattan with said ms. under their arm and happen to be passing their publisher’s building that day.
Manuscripts are 4-inch thick tomes bound in brown or blue vinyl or whatever.
Manuscripts should not be bound. Mss. are sent to editors loose in a box (priority mail or fedex boxes are perfect with a little bubble wrap to fill in the gaps). Put a rubber band or two around the ms. to hold it steady--that's it. These days, full mss. can be emailed (with prior editor approval!). Maybe this bound ms. myth comes from the fact that movie and TV scripts get bound? Or it's easier for the actor to carry it around the set? This is nitpicky, but it bugs me to no end.
Romance editors loathe their work and would rather be nurturing the next Ernest Hemingway.
Most romance editors are voracious genre readers and love the best authors in romance, mystery, scifi/fantasy, horror. Go on, ask any romance editor what she likes to read for pleasure. I write for editors who love J.R. Ward, Karen Marie Monig, Janet Evanovich, Charlaine Harris, and many more.
The author’s agent or editor flies to author’s house to nurse him/her through their bout of writers block. Editor/agent may stay for the entire movie.
Most publishers have large lists of authors and never enough editors. Editors work from early morning to late at night, often carrying mss. from the slush pile to read on their commute and on vacation. Agents take care of a dozen to fifty clients, and they have the same slush pile issue. These people barely have time to chat on the phone let alone fly to an author’s house to live with him for a couple weeks. Author must get over writer’s block on his/her own.
Editor meets author at coffee house or restaurant and reads ms., usually weeping and raving, while author watches.
This could happen if you and your editor both live in Manhattan. And you’re very good friends. And the editor doesn’t have anything else to do. What mostly happens is you send your finished ms. to your agent, who then passes it to your editor. The editor might send author a brief email saying “got it, thanks!” Depending on the editor’s schedule, you might not hear anything about that manuscript again for another few weeks to months.
All authors live in penthouse apartments in Manhattan, or mansions on the west coast, or both. They attend lavish cocktail parties and rub elbows with celebrities.
Maybe the top, top, top authors do. The household name ones. Cocktail parties with celebrities? Most authors get excited about meeting friends at Starbucks. Many keep on living in the communities in which they were living before they got published. If they’re very successful, they might buy a bigger house, take nice vacations, or have a second home.
An author who doesn’t make the NY Times Top 10 is considered a failure.
I saw this on Veronica Mars once. Veronica’s poor dad only made the extended list. Means his print run was pretty damn good, and he’ll probably make a nice little amount on it, especially if it was a hardback. It’s very, very, very, very, very, very, very difficult to make the top 10. Many authors never will make it, because much of making the big lists depends on print run, genre, and what the publisher and booksellers do with the book.
Addendum: Making a list doesn’t mean the book is a success either. Only the sell-through (the percentage of the print run that sold) determines success. If you make NYT top 10 and sell 30% of your print run, you’re screwed. Sell 70% and never touch a list, you’re cool. I know a couple authors who rarely appear on the lists and make a nice six-figure income every year.
Real authors won’t consider writing genre fiction, and if they do, they invent a pseudonym and hire an actor/actress to personify them so no one will know.
I saw this recently on a British murder mystery (who seem to be the worst culprits in stereotyping genre writers). This scenerio could happen, of course, and I think I remember reading about it happening once. However, most genre writers consider themselves “real” writers and live without shame. If not for genre (horror, romance, mystery, thrillers, westerns, etc.), the book industry would have died long ago.
Authors don’t write their own books. They hire ghost writers and sit back and collect the bucks.
All right, so a couple authors have come forward to say they hire a ghost writer to write while they do the marketing. But by and large, most of us type our butts off, revise our own mss., and spend a lot of our own time and money on promo. Of the writers I’ve met, and I’ve met many, all write their own books.
Plus, the author does have to pay the ghost writer himself, which comes out of his advance and /or royalties. Ghost writers don’t work for free, and the publishers don't pay them. Even if a publisher hires another writer to "clean up" someone's ms., it comes out of the original author's royalties. So it’s not a matter of having someone else work while you collect. You pay your dues one way or another.
If an author isn’t a bestseller right off the bat he/she is a failure and should shuffle back to his/her day job in shame.
Sometimes it takes several books to build an audience. Remember, it’s sell-through that determines a book’s success or failure, not lists. And many authors who weren’t hits at first changed names or genres (or both), started again, and moved on to huge success. They didn't give up. You’re a failure only if you decide to fail.
A broke author who hasn’t turned in a book in years calls his publisher to beg them for money—calling it an early advance on his next work (which he/she hasn’t written).
An author does not get paid until he/she signs a contract (whereupon he/she gets a portion of the advance), and turns in the book (getting the second half of the advance). He’s not going to get a contract unless he has at least a synopsis to show the editor. If no royalties are coming in from his previous book (because it’s out of print or off the shelves), he doesn’t get more money for that, either.
A book is written, edited, proofed, printed, shipped, and on the lists in a couple of months.
Books can be rush-printed if they’re on a timely subject, but most books take nine to eighteen months at the publisher, and that doesn’t include the time for the writer to write it. So the book you’re starting today may not see print for two years. Even the larger e-book houses now have a long lag time between sale and print. I spit my iced tea when I saw this on one of my favorite television shows.
The romance author: She is a woman in her 50s or 60s, wears flowing pastel or flowered garments and heavy make-up, calls everyone dahling and chases every man in the room (to their consternation). Sometimes accessorizes with a long cigarette holder and (horrors) a feather boa. She tells everyone to “feel the passion,” is terminally stupid, and has no clue how she’s made so much money (except, of course, her readers “feel the passion,” too).
If you meet a romance author, chances are you’ll never realize she is one unless she tells you. At conferences most authors dress business or business casual. They look like businesswomen and also grandmothers, mothers, wives, sisters, aunts, and friends, because that’s what they are (and of course some grandfathers, fathers, husbands, brothers). And I’ve never met a romance author who called me “dahling” (for real).
The “has-been” romance author. (Oh, she’s so sad.) She is anywhere from 40 to 60 and rather faded. She used to be a (naïve) bestselling romance author, but then her husband cheated on her or left her (or both), which made her realize that romance wasn’t reality. She can no longer write, because she no longer believes in the romance. She obviously can’t do anything else either, because she sits around in her shabby house and sadly wonders if anyone remembers her.
Most romance authors are very savvy about the real world and the world of publishing. Many are happily married or in long-term relationships—and I guarantee you, marriage will put you in touch with reality (hello?). Some authors have gone through divorce or have had more than one marriage. They understand that not all matches are perfect. And you know what? Most of them still believe in their stories, most continue to write. Even if some are turned off by romance, they might turn to another genre and keep going. Writing is their job, and they continue to do their job—or if they truly can’t write any more, they go find other employment. Romance authors do understand the difference between their own lives and their books.
The cynical romance author: She is the businesswoman who hates writing romance and loathes her audience (coldly calling them nasty names). But her books sell like hotcakes and she’s trapped. She can’t stop. Of course, she longs to write “real” books.
If you don’t buy into what you’re writing, it’s damn hard to write it. You won’t sell like hotcakes for long if you despise your audience and your genre. The cynical romance author could be true, but most romance authors love romance novels. That’s why they wanted to write them in the first place.
The author who has had writer’s block for ten or more years. This one is usually a man who writes literary fiction. He had one brilliant book or two, but he’s run dry. His publisher “understands” and will be there for him when he’s ready. (And his family understands that he won’t be bringing in any income. For ten years.)
Of course the publisher understands. There are plenty of authors to step into this guy’s slot while he’s wrestling with his demons. Sure, he might have been a big seller, but I imagine that within a year or two, the publisher will find someone else who's just as good a seller for them.. There are a lot of authors out there.
Our blocked writer has a breakthrough, produces his brilliant work (in a montage of feverish productivity), and the publisher welcomes him back with open arms.
In ten years the publisher could have been sold, merged, or closed completely. The beloved editor could move, quit, die, be fired, retire. If you don’t write anything for ten years, unless you were mega-famous (a household name) before, you’ll likely start all over again at a new house. If you can sell the book at all.
That wraps up my pet peeves of author portrayls in movies and on TV (and even in novels themselves). If you have any more, feel free to list them in the comments.
Friday, September 7, 2007
An un-scientific study of "what sells"
I enjoy looking at the bestseller lists not only to see who's doing what, but also what types of books are doing well. I grabbed some info on the USA Today bestselling romances for the entire month of August 2007, and did a quick and dirty analysis:
In the top 50
Almost Dead, Lisa Jackson (Zebra) -- Suspense
Ricochet, Sandra Brown (Pocket) -- Suspense
Dakota Born, Debbie Macomber (MIRA) -- Contemporary
The MacGregor Brides, Nora Roberts (Silhouette) -- Contemporary
Dockside, Susan Wiggs (MIRA) -- Contemporary
Tangled Up In You, Rachel Gibson (Avon) -- Contemporary
High Noon, Nora Roberts (Putnam) -- Suspense
The Devilish Pleasures of a Duke, Jillian Hunter (Ballantine) -- Historical
Into the Storm, Suzanne Brockmann (Ballantine) -- Suspense
Devil May Cry, Sherrilyn Kenyon (St. Martin's) -- Paranormal
Touch of Darkness, Christina Dodd (Signet) -- Paranormal
Tanner's Scheme, Lora Leigh (Berkley) -- Paranormal
Play Dirty, Sandra Brown (Simon & Schuster) -- Suspense
Force of Nature, Suzanne Brockmann (Ballantine) -- Suspense
To Scotland, With Love, Karen Hawkins (Pocket) -- Historical
Numbers 51-150
Never Deceive a Duke, Liz Carlyle (Pocket) -- Historical
Country Brides, Debbie Macomber (MIRA) -- Contemporary
The Secret Diaries of Miss Miranda Cheever, Julia Quinn (Avon) -- Historical
The Perfect Bride, Brenda Joyce (HQN) -- Historical
Up Close and Dangerous, Linda Howard (Ballantine) -- Suspense
Twice the Temptation, Suzanne Enoch (Avon) -- Historical
Angels Fall, Nora Roberts (Jove) -- Suspense
Highlander Untamed, Monica McCarty (Ballantine) -- Historical
Mercy, Julie Garwood (Pocket) -- Suspense
The Pleasure Trap, Elizabeth Thornton (Bantam) -- Historical
Hidden Moon, Lori Handeland (St. Martin's) -- Paranormal
Immortals: The Awakening, Joy Nash (Leisure) -- Paranormal
Scent of Darkness, Christina Dodd (Signet) -- Paranormal
On the Prowl, Patricia Briggs, Eileen Wilks, Karen Chance, Sunny (Berkley) --
Paranormal/Urban Fantasy
(The subgenre labels are mine, so if I've erred, please correct me. Also, some of these books have been on USA Today for more than a month, so they might be 51-150 here, but were in the top 50 last month.)
Totals: 29 Titles
Contemporary: 5 (four in top 50)
Paranormal: 7 (three in top 50)
Historical: 8 (two in top 50)
Rom. Suspense (or Suspense): 10 (seven in top 50)
Based on the numbers alone, you might be tempted to say: "Rom. Sus. is rocking and rolling and paranormal is dying. I'm switching to rom. sus!"
But, look again--Most of the rom. sus. books on this list are by well-established authors: Linda Howard, Sandra Brown, Suzanne Brockman, Nora Roberts. Lisa Jackson is a relative newcomer, and she's been publishing since 1998.
Next look at paranormals: Seven overall and only three in the top fifty, but almost all these authors are relative newcomers. (Christina Dodd is the exception, but she's a newcomer in the field.) This is Joy Nash's first contemp. paranormal (she's done two historicals). Lori Hadeland is relatively new, as is Patricia Briggs and others in her anthlogy. Likewise, Lora Leigh is relatively new, though she had an established audience in e-published erotic romance. ("Relatively" means began their careers within the last five years.)
What that tells me is that in paranormal an author does not already have to have a long, well-established career to make the bestseller lists. Readers are buying these books for the subject matter, not just the author. More new and relatively new authors who leapt quickly to bestsellerdom in paranormal are Angela Knight, Cheyenne McCray, Katie Macalister, Jacqueline Frank, and many others.
In suspense? I'm not seeing any newbies hitting hard. (Although Cheyenne McCray's first suspense, Chosen Prey, hit USA Today when it came out, and she reports that it sold very, very well. And like Lora Leigh, Cheyenne was well-established in e-published erotic romance before she moved to St. Martin's Press.)
From talking with other suspense authors who haven't hit the lists yet, I'm sensing that readers are following authors who are well-established rather than picking up a book simply because it's a rom. sus.
Turning to historicals, I see a good mix of well-established, relatively new, and new authors in the mix. That tells me that historicals are still holding their own even if they're not the hottest subgenre in town.
(I never listened to those who said that historicals were dead--I started publishing historical romance in 2002 and my historical sales have climbed a fairly steady slope. Of course, as soon as I wrote paranormals--bang, USA Today bestseller. Hmm.)
But historicals hold their own. They've been around a long, long time, while paranormal and rom. sus. have both boomed, busted, and boomed again.
The only weak spot I see in this list is contemporary (non-suspsense). These authors: Nora Roberts, Debbie Macomber, Rachel Gibson, and Susan Wiggs have well-established careers, and it's no surprise their books hit. Rachel Gibson is the newest, publishing since about 1998. Now, these authors sell gobs of books, but I don't see contemporary single title as a place where newcomers can spring onto the scene as a bestseller. Like suspense, I suspect it's a subgenre where you need to bulid readers before you're a hit.
My conclusions?
Paranormal is where newcomers can make a splash. (Can they stay a splash? That remains to be seen.)
Historical is also a good inroad, and is a subgenre that's proved it can stay throughout market ups and downs. New authors can make a good start in historical.
Suspense and contemporary? I'd suggest authors start in category in these two subgenres and work their way up, or start in e-publishing and establish a strong following before breaking in with a NY publisher.
Again, these are just my thoughts while musing over lists, based on a snapshot of what hit in August 2007. Take with a grain of salt and form your own conclusions!
In the top 50
Almost Dead, Lisa Jackson (Zebra) -- Suspense
Ricochet, Sandra Brown (Pocket) -- Suspense
Dakota Born, Debbie Macomber (MIRA) -- Contemporary
The MacGregor Brides, Nora Roberts (Silhouette) -- Contemporary
Dockside, Susan Wiggs (MIRA) -- Contemporary
Tangled Up In You, Rachel Gibson (Avon) -- Contemporary
High Noon, Nora Roberts (Putnam) -- Suspense
The Devilish Pleasures of a Duke, Jillian Hunter (Ballantine) -- Historical
Into the Storm, Suzanne Brockmann (Ballantine) -- Suspense
Devil May Cry, Sherrilyn Kenyon (St. Martin's) -- Paranormal
Touch of Darkness, Christina Dodd (Signet) -- Paranormal
Tanner's Scheme, Lora Leigh (Berkley) -- Paranormal
Play Dirty, Sandra Brown (Simon & Schuster) -- Suspense
Force of Nature, Suzanne Brockmann (Ballantine) -- Suspense
To Scotland, With Love, Karen Hawkins (Pocket) -- Historical
Numbers 51-150
Never Deceive a Duke, Liz Carlyle (Pocket) -- Historical
Country Brides, Debbie Macomber (MIRA) -- Contemporary
The Secret Diaries of Miss Miranda Cheever, Julia Quinn (Avon) -- Historical
The Perfect Bride, Brenda Joyce (HQN) -- Historical
Up Close and Dangerous, Linda Howard (Ballantine) -- Suspense
Twice the Temptation, Suzanne Enoch (Avon) -- Historical
Angels Fall, Nora Roberts (Jove) -- Suspense
Highlander Untamed, Monica McCarty (Ballantine) -- Historical
Mercy, Julie Garwood (Pocket) -- Suspense
The Pleasure Trap, Elizabeth Thornton (Bantam) -- Historical
Hidden Moon, Lori Handeland (St. Martin's) -- Paranormal
Immortals: The Awakening, Joy Nash (Leisure) -- Paranormal
Scent of Darkness, Christina Dodd (Signet) -- Paranormal
On the Prowl, Patricia Briggs, Eileen Wilks, Karen Chance, Sunny (Berkley) --
Paranormal/Urban Fantasy
(The subgenre labels are mine, so if I've erred, please correct me. Also, some of these books have been on USA Today for more than a month, so they might be 51-150 here, but were in the top 50 last month.)
Totals: 29 Titles
Contemporary: 5 (four in top 50)
Paranormal: 7 (three in top 50)
Historical: 8 (two in top 50)
Rom. Suspense (or Suspense): 10 (seven in top 50)
Based on the numbers alone, you might be tempted to say: "Rom. Sus. is rocking and rolling and paranormal is dying. I'm switching to rom. sus!"
But, look again--Most of the rom. sus. books on this list are by well-established authors: Linda Howard, Sandra Brown, Suzanne Brockman, Nora Roberts. Lisa Jackson is a relative newcomer, and she's been publishing since 1998.
Next look at paranormals: Seven overall and only three in the top fifty, but almost all these authors are relative newcomers. (Christina Dodd is the exception, but she's a newcomer in the field.) This is Joy Nash's first contemp. paranormal (she's done two historicals). Lori Hadeland is relatively new, as is Patricia Briggs and others in her anthlogy. Likewise, Lora Leigh is relatively new, though she had an established audience in e-published erotic romance. ("Relatively" means began their careers within the last five years.)
What that tells me is that in paranormal an author does not already have to have a long, well-established career to make the bestseller lists. Readers are buying these books for the subject matter, not just the author. More new and relatively new authors who leapt quickly to bestsellerdom in paranormal are Angela Knight, Cheyenne McCray, Katie Macalister, Jacqueline Frank, and many others.
In suspense? I'm not seeing any newbies hitting hard. (Although Cheyenne McCray's first suspense, Chosen Prey, hit USA Today when it came out, and she reports that it sold very, very well. And like Lora Leigh, Cheyenne was well-established in e-published erotic romance before she moved to St. Martin's Press.)
From talking with other suspense authors who haven't hit the lists yet, I'm sensing that readers are following authors who are well-established rather than picking up a book simply because it's a rom. sus.
Turning to historicals, I see a good mix of well-established, relatively new, and new authors in the mix. That tells me that historicals are still holding their own even if they're not the hottest subgenre in town.
(I never listened to those who said that historicals were dead--I started publishing historical romance in 2002 and my historical sales have climbed a fairly steady slope. Of course, as soon as I wrote paranormals--bang, USA Today bestseller. Hmm.)
But historicals hold their own. They've been around a long, long time, while paranormal and rom. sus. have both boomed, busted, and boomed again.
The only weak spot I see in this list is contemporary (non-suspsense). These authors: Nora Roberts, Debbie Macomber, Rachel Gibson, and Susan Wiggs have well-established careers, and it's no surprise their books hit. Rachel Gibson is the newest, publishing since about 1998. Now, these authors sell gobs of books, but I don't see contemporary single title as a place where newcomers can spring onto the scene as a bestseller. Like suspense, I suspect it's a subgenre where you need to bulid readers before you're a hit.
My conclusions?
Paranormal is where newcomers can make a splash. (Can they stay a splash? That remains to be seen.)
Historical is also a good inroad, and is a subgenre that's proved it can stay throughout market ups and downs. New authors can make a good start in historical.
Suspense and contemporary? I'd suggest authors start in category in these two subgenres and work their way up, or start in e-publishing and establish a strong following before breaking in with a NY publisher.
Again, these are just my thoughts while musing over lists, based on a snapshot of what hit in August 2007. Take with a grain of salt and form your own conclusions!
Thursday, August 30, 2007
Top Five Signs of a Crumbling Publisher
I've been distressed lately by the number of small presses shutting their doors for various reasons, and even more distressed by the authors who are left hanging--bitter and unhappy and wondering what happened to their dreams.
The problem is compounded by the Internet and the juicy rumors that fly all over the place--some spot on, some wildly inaccurate.
The sad fact is, the demise of some publishers casts doubt on other publishers who might be doing just fine. I'm amazed at the number of rumors I hear about solid companies, while everyone seemed to be taken by surprise when the not-so-solid ones go out of business.
Writers need to not only BE CAREFUL who you sign a contract with, but also know the difference between rumors circulated by disgruntled authors and a company that's truly in trouble.
Here are some top warning signs that a publishing company is crumbling:
1. Sudden turnover in top staff.
2. Checks that are very late (like months to a year).
3. Checks that bounce (this is one of the best signs that it's time to leave--ignore excuses).
4. Staff quitting quickly and not being replaced (attrition).
5. Very rapid veering from what company is good at to strange new ventures.
Many of the rumors ("so and so ran off with the money;" "this company is in serious financial trouble;" etc.) are not always verifiable, but the five things I've listed are very good signs--gossip aside--that it's best you quietly look for another place to sell your work.
Please remember that I'm talking about extreme things--all the executives being replaced in a week, every author's check bouncing, the company going from publishing erotic e-books to print travel guides. If your check is a week late, that's not a sign of bankruptcy. If the company replaces a CFO, it might be just fine (people do move on).
So how do you avoid signing up with a shaky publisher in the first place? Research!
1. Buy the books--are they typo-free, well formatted, don't look cheap?
2. Talk to the authors (a wide cross-section, not just cheerleaders or disgruntled former authors)--ask for their good experiences and bad.
3. Ask about sales. Don't be embarrassed. It takes just as much energy and time to write a book that sells 25 e-copies as one that sells 2000. Some authors sell better than others of course, but it's good to know the potential sales you might reach.
4. Check out the publisher's website--is it professionally done and easy to use; is it easy to purchase the books?
5. Attend conferences where the publisher is presenting itself. Are the executives professional or a little flaky? Just because you and the CEO both call your cats Cuddle Poos doesn't mean she's a good person to run a publishing company.
6. Look at their boilerplate contract. Does it meet industry standard (there's a reason for industry standards). Is it negotiable? (Pray that it is.)
None of this guarantees your publisher will never have problems, but you can avoid the worst of them if you think it through beforehand. It is a new writer's instinct to leap at the first contract offered--'cause, duh, we're dying to be published--but you need to be happily published, not ripped off.
One aside about contracts---Never, EVER, sign a contract where the royalty clause says you get royalties on the "Net Proceeds" of a book. DON'T. You should get royalties on the retail cover price.
Why? Because the retail cover price is fixed. If you get a 37% royalty on an ebook that sells for $5.95, you get about $2.00 per book. Period.
"Net proceeds" might mean that the publisher says: "Oh, the reader paid 5.95, but it cost us this much for the cover, and this much to re-do the link page when it broke, and this much for the editor, and this much for my cat's manicure for the promo session . . ." whittling down your share of the pie to possibly nothing. I'm not saying all publishers who pay on net proceeds do this, but you've handed them the means to do it if they want to.
Rule of thumb: Do NOT sign a book contract (e- or print) where the royalties are paid on net proceeds. I don't care how many epublishers do this (EC does not--I have contracts with them). Authors cannot afford to let this become standard. Refuse--or get an agent to refuse for you.
People get very hung up on the "we keep the rights forever" clauses (which are negotiable--if not, don't sign), and completely miss the net proceeds garbage. The forest for the trees . . .
That is my rant about authors getting taken by shaky publishers. Research, READ your contract thoroughly, and keep an eye out for the warning signs. None of this guarantees a fantastic career, but you'll be much more comfortable on your way up.
The problem is compounded by the Internet and the juicy rumors that fly all over the place--some spot on, some wildly inaccurate.
The sad fact is, the demise of some publishers casts doubt on other publishers who might be doing just fine. I'm amazed at the number of rumors I hear about solid companies, while everyone seemed to be taken by surprise when the not-so-solid ones go out of business.
Writers need to not only BE CAREFUL who you sign a contract with, but also know the difference between rumors circulated by disgruntled authors and a company that's truly in trouble.
Here are some top warning signs that a publishing company is crumbling:
1. Sudden turnover in top staff.
2. Checks that are very late (like months to a year).
3. Checks that bounce (this is one of the best signs that it's time to leave--ignore excuses).
4. Staff quitting quickly and not being replaced (attrition).
5. Very rapid veering from what company is good at to strange new ventures.
Many of the rumors ("so and so ran off with the money;" "this company is in serious financial trouble;" etc.) are not always verifiable, but the five things I've listed are very good signs--gossip aside--that it's best you quietly look for another place to sell your work.
Please remember that I'm talking about extreme things--all the executives being replaced in a week, every author's check bouncing, the company going from publishing erotic e-books to print travel guides. If your check is a week late, that's not a sign of bankruptcy. If the company replaces a CFO, it might be just fine (people do move on).
So how do you avoid signing up with a shaky publisher in the first place? Research!
1. Buy the books--are they typo-free, well formatted, don't look cheap?
2. Talk to the authors (a wide cross-section, not just cheerleaders or disgruntled former authors)--ask for their good experiences and bad.
3. Ask about sales. Don't be embarrassed. It takes just as much energy and time to write a book that sells 25 e-copies as one that sells 2000. Some authors sell better than others of course, but it's good to know the potential sales you might reach.
4. Check out the publisher's website--is it professionally done and easy to use; is it easy to purchase the books?
5. Attend conferences where the publisher is presenting itself. Are the executives professional or a little flaky? Just because you and the CEO both call your cats Cuddle Poos doesn't mean she's a good person to run a publishing company.
6. Look at their boilerplate contract. Does it meet industry standard (there's a reason for industry standards). Is it negotiable? (Pray that it is.)
None of this guarantees your publisher will never have problems, but you can avoid the worst of them if you think it through beforehand. It is a new writer's instinct to leap at the first contract offered--'cause, duh, we're dying to be published--but you need to be happily published, not ripped off.
One aside about contracts---Never, EVER, sign a contract where the royalty clause says you get royalties on the "Net Proceeds" of a book. DON'T. You should get royalties on the retail cover price.
Why? Because the retail cover price is fixed. If you get a 37% royalty on an ebook that sells for $5.95, you get about $2.00 per book. Period.
"Net proceeds" might mean that the publisher says: "Oh, the reader paid 5.95, but it cost us this much for the cover, and this much to re-do the link page when it broke, and this much for the editor, and this much for my cat's manicure for the promo session . . ." whittling down your share of the pie to possibly nothing. I'm not saying all publishers who pay on net proceeds do this, but you've handed them the means to do it if they want to.
Rule of thumb: Do NOT sign a book contract (e- or print) where the royalties are paid on net proceeds. I don't care how many epublishers do this (EC does not--I have contracts with them). Authors cannot afford to let this become standard. Refuse--or get an agent to refuse for you.
People get very hung up on the "we keep the rights forever" clauses (which are negotiable--if not, don't sign), and completely miss the net proceeds garbage. The forest for the trees . . .
That is my rant about authors getting taken by shaky publishers. Research, READ your contract thoroughly, and keep an eye out for the warning signs. None of this guarantees a fantastic career, but you'll be much more comfortable on your way up.
Wednesday, August 8, 2007
What Makes a Bestseller?
Before I start, let me give one caveat: This is my take on things based on observation and asking pesky questions, not a scientific study!
I've gotten to a point in my career where I've been hitting bestseller lists and many of my writer friends (at about the same point as me) are too. It's kind of fun to sit back and watch which books hit, and I've come to realize what makes a bestseller.
Five things make a book hit the top lists (USA Today, Pub. Weekly, and NY Times) upon publication:
1. A large print run
2. Excellent distribution with reorders filled quickly
3. Placement in stores
4. Marketing
5. A great book on a subject readers care about.
Now, if you look at each of those, which do writers have most control over?
Number 5 of course.
(Number 4 a little bit, but when I say "marketing" I'm talking about to distributors and booksellers, which is done long before the book is due out.)
Looking at these in turn:
1. A large print run: A good sized print run (say 65K and up) will allow you to hit USA Today if all the other factors are in place. Bigger ones let you reach higher. Let's face it, the more books out there, the more available for purchase.
2. Excellent distribution with reorders quickly filled: If no one can find the book, no one can buy it. Simple as that. The largest chunk of books are sold in Walmart, Target, Costco, drug and grocery stores, and other retail giants. Surprisingly, bookstore chains order only a small percentage of the print run. Independent bookstores are also a small percent, but Indies are good at selling! (Because they're usually owned and operated by people who truly care about books. Go Indies!)
You want the sold books replaced quickly because, duh, if the book's not on the shelf, no one can buy it (online sales can't take up the slack at this point). Good distribution where the book stays on the shelf=good sales.
3. Placement: Getting your book on an end cap, a table, face-out on a shelf, or getting a shelf-talker (those labels of the author's name on the shelf itself) help readers find the books. Placement is not up to you the author, it's up to the bookseller, and what the publisher negotiates with the bookseller. Publishers can "buy" good visual space for a book they want to push.
4: Marketing: I mean the sales reps for the publisher enthusiastically selling the books to the distributors or bookstore buyers. The more belief a publisher has in an author or title, the more enthusiastic the reps are, and the more interest the buyers have.
Author marketing can help too. If the bookseller knows you're out there with a video, bookmarks, a website, a blog, a newsletter, etc., that's a good thing.
5. A darn good book that readers want to read: Ok, writers, this one's up to you! :-) A book with a strong voice and strong characters, well plotted and well constructed, on a topic readers care about is what you need to do. (Easy, right? [snicker]). Keep trying (I am).
When I say "what readers want to read" or "a topic readers care about" I don't mean the latest paranormal trend (though catching a rising trend helps). I mean a theme like healing, coming home, finding one's self through love of another--all those universal constants that appeal to us.
And, true, a popular time period and setting doesn't hurt. It's sad but true that certain times/places sell better than others. (This varies from genre to genre, so study your genre before you start!)
Ta da! A bestseller.
I know this is simplistic. I always need to break things down into simple terms to understand them myself.
If all of these factors are in place, there's still no guarantee the book will sell well. But it's a very good possibility that it will.
There are things that can weaken the above setup:
Books being sold early, so the first week's sales are not as strong (because of the dribbles before). There's a reason J.K Rowling's publishers were trying to sue people selling the last HP book early, and not just because they might give the plot away. They wanted that huge, frantic burst of sales on day one to guarantee that it was number 1 on every list.
The print run selling out quickly and not being replaced fast enough, or at all. (No books on shelves=no sales). Interestingly, some publishers just will not reprint a book. They decide--the print run's gone, we're done. I'm sure there's some accounting reason for this--don't ask me.
A stronger selling book than yours making booksellers adjust what's on the end caps, tables, etc.
Sometimes readers just don't connect with the book, even when you've done your job. If they don't like it, they stop buying.
But enough depressing stuff. Go out and write a strong, well-plotted, well-characterized appealing book :-) If the publisher likes it enough, they'll push it--and if they get factors 1 through 4 in place, you might be on your way to bestseller-dom.
Jennifer
http://www.jennifersromances.com/
I've gotten to a point in my career where I've been hitting bestseller lists and many of my writer friends (at about the same point as me) are too. It's kind of fun to sit back and watch which books hit, and I've come to realize what makes a bestseller.
Five things make a book hit the top lists (USA Today, Pub. Weekly, and NY Times) upon publication:
1. A large print run
2. Excellent distribution with reorders filled quickly
3. Placement in stores
4. Marketing
5. A great book on a subject readers care about.
Now, if you look at each of those, which do writers have most control over?
Number 5 of course.
(Number 4 a little bit, but when I say "marketing" I'm talking about to distributors and booksellers, which is done long before the book is due out.)
Looking at these in turn:
1. A large print run: A good sized print run (say 65K and up) will allow you to hit USA Today if all the other factors are in place. Bigger ones let you reach higher. Let's face it, the more books out there, the more available for purchase.
2. Excellent distribution with reorders quickly filled: If no one can find the book, no one can buy it. Simple as that. The largest chunk of books are sold in Walmart, Target, Costco, drug and grocery stores, and other retail giants. Surprisingly, bookstore chains order only a small percentage of the print run. Independent bookstores are also a small percent, but Indies are good at selling! (Because they're usually owned and operated by people who truly care about books. Go Indies!)
You want the sold books replaced quickly because, duh, if the book's not on the shelf, no one can buy it (online sales can't take up the slack at this point). Good distribution where the book stays on the shelf=good sales.
3. Placement: Getting your book on an end cap, a table, face-out on a shelf, or getting a shelf-talker (those labels of the author's name on the shelf itself) help readers find the books. Placement is not up to you the author, it's up to the bookseller, and what the publisher negotiates with the bookseller. Publishers can "buy" good visual space for a book they want to push.
4: Marketing: I mean the sales reps for the publisher enthusiastically selling the books to the distributors or bookstore buyers. The more belief a publisher has in an author or title, the more enthusiastic the reps are, and the more interest the buyers have.
Author marketing can help too. If the bookseller knows you're out there with a video, bookmarks, a website, a blog, a newsletter, etc., that's a good thing.
5. A darn good book that readers want to read: Ok, writers, this one's up to you! :-) A book with a strong voice and strong characters, well plotted and well constructed, on a topic readers care about is what you need to do. (Easy, right? [snicker]). Keep trying (I am).
When I say "what readers want to read" or "a topic readers care about" I don't mean the latest paranormal trend (though catching a rising trend helps). I mean a theme like healing, coming home, finding one's self through love of another--all those universal constants that appeal to us.
And, true, a popular time period and setting doesn't hurt. It's sad but true that certain times/places sell better than others. (This varies from genre to genre, so study your genre before you start!)
Ta da! A bestseller.
I know this is simplistic. I always need to break things down into simple terms to understand them myself.
If all of these factors are in place, there's still no guarantee the book will sell well. But it's a very good possibility that it will.
There are things that can weaken the above setup:
Books being sold early, so the first week's sales are not as strong (because of the dribbles before). There's a reason J.K Rowling's publishers were trying to sue people selling the last HP book early, and not just because they might give the plot away. They wanted that huge, frantic burst of sales on day one to guarantee that it was number 1 on every list.
The print run selling out quickly and not being replaced fast enough, or at all. (No books on shelves=no sales). Interestingly, some publishers just will not reprint a book. They decide--the print run's gone, we're done. I'm sure there's some accounting reason for this--don't ask me.
A stronger selling book than yours making booksellers adjust what's on the end caps, tables, etc.
Sometimes readers just don't connect with the book, even when you've done your job. If they don't like it, they stop buying.
But enough depressing stuff. Go out and write a strong, well-plotted, well-characterized appealing book :-) If the publisher likes it enough, they'll push it--and if they get factors 1 through 4 in place, you might be on your way to bestseller-dom.
Jennifer
http://www.jennifersromances.com/
Thursday, August 2, 2007
Sometimes No isn't always a bad answer
Rejection . . .
I hate it. I can't imagine anyone likes it. I got rejected plenty before I was published, had plenty of heartbreaks seeing that SASE come back in the mail with "Not for me" scrawled on the first page of the ms.
I got "good" rejections as well, where the editor took time to tell me what she felt was weak about the book. Those hurt less, because the editor was trying to help, and a busy editor doesn't have time to waste on a writer she doesn't take seriously. (It hurt less, but it still hurt!)
I got a lot of "almost"s before I finally got a "yes."
People often ask me if I have a drawer in which I keep my rejected mss, and if I have sent those to my editors for publication (implying "ha ha ha, see what you passed up" to the editors who initially rejected them.)
The answer is a decided NO.
I do have copies of my rejected mss (somewhere), but after I got published, it was like the fog lifting. I saw very clearly why Perils of the Heart got published and the first six or seven didn't. At least one of the following was wrong with each of them:
1. Weak or implausible plotting
2. Weak voice
3. Main characters were unbelievable or not very strong people
4. Stilted writing
5. Rushed pacing (I mean really rushed!)
The things I did ok or learned quickly were dialog, setting, and love scenes--I wonder what the last says about me. :-)
If any of those six books had been accepted, they would have needed massive revisions, and even then likely would not have sold very well. A book with weak sales can hurt your career, sometimes irreparably.
So in retrospect, those particular mss. should have been rejected, and I'm even glad they were. (There are two that possibly could be saved with work and a little plot rethinking; the rest--flush!)
I'm glad I was rejected because I want my very best work to go out in front of the world. Not my self-indulgent scribbles, but a polished, well-thought-out book with solid characters and plotting. This will be for sale! With my name on it!
Second point:
Even after I was published, I still got rejected. When I was talking to one of my editors several years ago about what I'd do for the last book of a contract, I mentioned four or five ideas, and--she didn't want any of them.
At the time I didn't want to write another pirate romance (I'd done two). I wanted to expand into something else, or at least have another book between pirates. I love writing pirate romance, but I didn't want to be the "Pirate Queen" for the rest of my life.
But my editor, my wise, wise editor, turned down my ideas and advised me to write another pirate book. I was a little disappointed, but in retrospect, she was right.
Why was she right?
1. The book I was keenest on hadn't been very well thought out. I've kept the idea in mind and it's grown into something much, much better and much, much stronger, and one day everyone may see it in print. But if she'd let me write and turn in that idea as it stood, it would have been a weak book. It might have ended my career, who knows?
2. A couple ideas I had really weren't marketable. "Marketable" means the reader in the bookstore "gets" what the book is about and connects with it quickly. You can't be standing next to every reader in every store in the world, explaining what the book is about. They have to know instantly. The ideas I had then didn't have this quality (I would have had to stand by every reader for fifteen minutes--and they'd have long since decided to buy something else.)
3. The book I ended up doing, The Care and Feeding of Pirates, was probably the best of my early books. It had a bigger print run, sold out that print run fairly quickly, had a strong sell-through, got several foreign rights sales, was reprinted, and I'm still getting good royalty checks on it. It was also pure joy to write, I think the hero, Christopher Raine, was one of my best ever heroes, and readers loved it. I still get enthusiastic fan mail for Care & Feeding.
So in this case, I'm glad my editor said No to my wild ideas and steered me back to what she knew I already knew how to do. Then when I pitched my fairy-tale historicals to her for the next contract, she welcomed them with open arms.
Third point:
Sometimes when someone is rejected, I hear them say: "The market isn't ready for my work."
Maybe that's true. The cynical me, on the other hand, remembering my own rejected mss., says, "Well, you can think that if it makes you feel better."
I'll grant that the market not being ready could be partly true. When I first started writing romance, I wrote very hot love scenes. They were raw, I named body parts, and I used naughty, four-letter words.
This was greeted by critiquers and contest judges with shock and horror. I couldn't use that word, I couldn't have them do that on page 36! I, the paranoid newbie, believed everyone, and tried to learn to say manhood. (I never could quite bring myself to write it, though... I mean who, in real life says manhood? With a straight face?)
That was in 1998. See how the market has changed since then? Readers at the moment prefer scenes in which nothing is left out to coy purple prose.
BUT, while I might have been "ahead of my time" writing romance scenes, that doesn't change the fact that the rest of the ms. was crap.
My point here is that rejection isn't necessarily Them not wanting the genius of You. (Those poor befuddled editors who don't understand what readers want.)
Writers need to learn to look at their own work objectively (or at least find someone they trust to analyze it for them), and be painfully honest!!
Is your ms. really too brilliant and scary for the publishing world to deal with? or could you do better with your dialog, revise your roundabout descriptions, get rid of your adverbs, cut some characters, tighten the plotting?
Sometimes, yes, ideas are outside of the box and editors don't want to gamble their careers on them.
But if you make sure your book is well-written, well-plotted, well-characterized, with good dialog, a strong voice, etc. etc. etc., your chance of getting that off-the-wall idea accepted is much, much, much higher.
My bottom line: Rejection hurts, but it should be a challenge for you to write better and stronger, not an excuse to rail that the world doesn't understand you. :-) (Well, ok, you can, but still get back in and write stronger stories.)
And soon all the nos and maybes will become an ecstatic yes!
I hate it. I can't imagine anyone likes it. I got rejected plenty before I was published, had plenty of heartbreaks seeing that SASE come back in the mail with "Not for me" scrawled on the first page of the ms.
I got "good" rejections as well, where the editor took time to tell me what she felt was weak about the book. Those hurt less, because the editor was trying to help, and a busy editor doesn't have time to waste on a writer she doesn't take seriously. (It hurt less, but it still hurt!)
I got a lot of "almost"s before I finally got a "yes."
People often ask me if I have a drawer in which I keep my rejected mss, and if I have sent those to my editors for publication (implying "ha ha ha, see what you passed up" to the editors who initially rejected them.)
The answer is a decided NO.
I do have copies of my rejected mss (somewhere), but after I got published, it was like the fog lifting. I saw very clearly why Perils of the Heart got published and the first six or seven didn't. At least one of the following was wrong with each of them:
1. Weak or implausible plotting
2. Weak voice
3. Main characters were unbelievable or not very strong people
4. Stilted writing
5. Rushed pacing (I mean really rushed!)
The things I did ok or learned quickly were dialog, setting, and love scenes--I wonder what the last says about me. :-)
If any of those six books had been accepted, they would have needed massive revisions, and even then likely would not have sold very well. A book with weak sales can hurt your career, sometimes irreparably.
So in retrospect, those particular mss. should have been rejected, and I'm even glad they were. (There are two that possibly could be saved with work and a little plot rethinking; the rest--flush!)
I'm glad I was rejected because I want my very best work to go out in front of the world. Not my self-indulgent scribbles, but a polished, well-thought-out book with solid characters and plotting. This will be for sale! With my name on it!
Second point:
Even after I was published, I still got rejected. When I was talking to one of my editors several years ago about what I'd do for the last book of a contract, I mentioned four or five ideas, and--she didn't want any of them.
At the time I didn't want to write another pirate romance (I'd done two). I wanted to expand into something else, or at least have another book between pirates. I love writing pirate romance, but I didn't want to be the "Pirate Queen" for the rest of my life.
But my editor, my wise, wise editor, turned down my ideas and advised me to write another pirate book. I was a little disappointed, but in retrospect, she was right.
Why was she right?
1. The book I was keenest on hadn't been very well thought out. I've kept the idea in mind and it's grown into something much, much better and much, much stronger, and one day everyone may see it in print. But if she'd let me write and turn in that idea as it stood, it would have been a weak book. It might have ended my career, who knows?
2. A couple ideas I had really weren't marketable. "Marketable" means the reader in the bookstore "gets" what the book is about and connects with it quickly. You can't be standing next to every reader in every store in the world, explaining what the book is about. They have to know instantly. The ideas I had then didn't have this quality (I would have had to stand by every reader for fifteen minutes--and they'd have long since decided to buy something else.)
3. The book I ended up doing, The Care and Feeding of Pirates, was probably the best of my early books. It had a bigger print run, sold out that print run fairly quickly, had a strong sell-through, got several foreign rights sales, was reprinted, and I'm still getting good royalty checks on it. It was also pure joy to write, I think the hero, Christopher Raine, was one of my best ever heroes, and readers loved it. I still get enthusiastic fan mail for Care & Feeding.
So in this case, I'm glad my editor said No to my wild ideas and steered me back to what she knew I already knew how to do. Then when I pitched my fairy-tale historicals to her for the next contract, she welcomed them with open arms.
Third point:
Sometimes when someone is rejected, I hear them say: "The market isn't ready for my work."
Maybe that's true. The cynical me, on the other hand, remembering my own rejected mss., says, "Well, you can think that if it makes you feel better."
I'll grant that the market not being ready could be partly true. When I first started writing romance, I wrote very hot love scenes. They were raw, I named body parts, and I used naughty, four-letter words.
This was greeted by critiquers and contest judges with shock and horror. I couldn't use that word, I couldn't have them do that on page 36! I, the paranoid newbie, believed everyone, and tried to learn to say manhood. (I never could quite bring myself to write it, though... I mean who, in real life says manhood? With a straight face?)
That was in 1998. See how the market has changed since then? Readers at the moment prefer scenes in which nothing is left out to coy purple prose.
BUT, while I might have been "ahead of my time" writing romance scenes, that doesn't change the fact that the rest of the ms. was crap.
My point here is that rejection isn't necessarily Them not wanting the genius of You. (Those poor befuddled editors who don't understand what readers want.)
Writers need to learn to look at their own work objectively (or at least find someone they trust to analyze it for them), and be painfully honest!!
Is your ms. really too brilliant and scary for the publishing world to deal with? or could you do better with your dialog, revise your roundabout descriptions, get rid of your adverbs, cut some characters, tighten the plotting?
Sometimes, yes, ideas are outside of the box and editors don't want to gamble their careers on them.
But if you make sure your book is well-written, well-plotted, well-characterized, with good dialog, a strong voice, etc. etc. etc., your chance of getting that off-the-wall idea accepted is much, much, much higher.
My bottom line: Rejection hurts, but it should be a challenge for you to write better and stronger, not an excuse to rail that the world doesn't understand you. :-) (Well, ok, you can, but still get back in and write stronger stories.)
And soon all the nos and maybes will become an ecstatic yes!
Saturday, July 28, 2007
More on Money--from Sabrina Jeffries
Sabrina Jeffries has a very good explanation of how print authors make money (and how much) on her site: http://www.sabrinajeffries.com/big-misunderstanding-about-money.php
Read this along with my own post about money, to learn "what authors really make." I get asked a lot why I write so many books under so many different names--this is why! (well, one of the reasons why). Enjoy!
Jennifer Ashley
http://www.jennifersromances.com/
Read this along with my own post about money, to learn "what authors really make." I get asked a lot why I write so many books under so many different names--this is why! (well, one of the reasons why). Enjoy!
Jennifer Ashley
http://www.jennifersromances.com/
Wednesday, July 25, 2007
RWA Nationals
I posted the saga of my journey through RWA Nationals on my other blog: www.jennifersromances.blogspot.com
Exciting stuff--my personal account of Nationals, plus winning the Rita and so forth. Scroll all the way down to start at Wednesday and work your way back up.
I hope once I get a little caught up to get this blog back to regular posts. I have lots to say about the industry and more interviews to post.
Jennifer
Exciting stuff--my personal account of Nationals, plus winning the Rita and so forth. Scroll all the way down to start at Wednesday and work your way back up.
I hope once I get a little caught up to get this blog back to regular posts. I have lots to say about the industry and more interviews to post.
Jennifer
Saturday, June 9, 2007
Love, Double-Shots, and Lois Winston
Today, I'm talking to Lois Winston, a fairly new author (her second book, Love, Lies, & a Double-Shot of Deception is a June release from Dorchester), about humor and her venture into publishing.
Lois's first book was Talk Gertie To Me (Dorchester, April 2006) a combination chick lit/hen lit/romantic comedy with a touch of the paranormal, and has won several awards and received nominations for plenty more.
JA: Your books have fun titles, great humor, and thoughtfulness. Why were you drawn to writing these particular kind of books? What about the subgenre do you like?
Lois: I don’t know who first coined the saying, “Laughter is the best medicine,” but I’ve found it to be very true. We’re bombarded each day by television, radio, and print news containing horrific stories -- murder, rape, war, famine, poverty, disease. When I pick up a book, I don’t want to read more of the same. I want an escape. That’s why I love romance and novels with romantic elements. I know I’ll always be guaranteed a happy ending, or at least a rich, satisfying ending. Same goes for the movies I watch. You’ll never catch me at a horror flick or an art film where everyone dies at the end. I want to be entertained at the movies, not scared to death or depressed.
Because my favorite books are the ones that make me laugh, I suppose it was only natural that my writing traveled down that path. I get a tremendous amount of pleasure each time someone tells me they laughed out loud while reading one of my books. So even when I write romantic suspense, I don’t write dark, gritty, violent romantic suspense. I don’t want to be responsible for someone’s nightmares. I’d rather be responsible for that embarrassing moment when they laughed out loud while reading one of my books on a train or bus.
I have to give chick lit credit for developing my comedic voice. Even though I don’t write straight chick lit, my voice is a direct result of the chick lit influence. My characters -- no matter their age -- are infused with that wry sensibility often found in chick lit. It’s either that or my New York attitude. Or maybe a combination of both. You can exile the city girl to the suburbs, but she’ll always be a city girl at heart.
JA: Do you have any advice for writers trying to get past the “gate” and into publication?
Lois: Write the best damn book you can. Then make it even better. Voice is key. The market is so tough that it’s not good enough to have a wonderful story. It has to be a wonderful story told in a unique, engaging voice. You need to hook an editor with your very first sentence and keep her hooked through 300 - 400 pages. With so many manuscripts vying for a limited number of slots, you don’t want to give an editor any excuse to put your manuscript down. You want to be responsible for keeping her up all night because she just had to finish that manuscript.
JA: What has been your best experience about getting published? Your worst?
Lois: The best experience? I don’t know that I can winnow it down to one. Knowing that I accomplished what I set out to do is certainly high up on the list. There’s no experience like the first time you walk into a bookstore and see your book on the shelf. Fan mail would be another. That a total stranger would take the time to write to me to say how much she enjoyed my book definitely ranks up there. Reviewers who tell the world to read my books? They deserve a special place in Heaven. Judges who have bestowed awards on my books? They’re up there right next to the reviewers. Each one of these things is a Sally Field moment for me. (They like me; they really like me!) I’m both thrilled and humbled by these events. So choosing one best experience is impossible.
As for the worst? I’d have to say that’s probably the wait between sales, the worry that I’ll be a one-book-wonder or now a two-book-wonder. Selling a book is no guarantee of a lifetime of sales. The worry never goes away. (Although a multi-book contract with a fat advance would go a long way to lessening the worry!)
JA: Thank you, Lois, taking time to answer my questions, and best of luck, on your current release! I understand it's already getting fabulous reviews.
Lois also works at the Ashley Grayson Literary Agency. Her website is http://www.loiswinston.com Since I forgot she worked at an agency, I'll have to ask her more questions about that aspect of her life!
Lois's first book was Talk Gertie To Me (Dorchester, April 2006) a combination chick lit/hen lit/romantic comedy with a touch of the paranormal, and has won several awards and received nominations for plenty more.
JA: Your books have fun titles, great humor, and thoughtfulness. Why were you drawn to writing these particular kind of books? What about the subgenre do you like?
Lois: I don’t know who first coined the saying, “Laughter is the best medicine,” but I’ve found it to be very true. We’re bombarded each day by television, radio, and print news containing horrific stories -- murder, rape, war, famine, poverty, disease. When I pick up a book, I don’t want to read more of the same. I want an escape. That’s why I love romance and novels with romantic elements. I know I’ll always be guaranteed a happy ending, or at least a rich, satisfying ending. Same goes for the movies I watch. You’ll never catch me at a horror flick or an art film where everyone dies at the end. I want to be entertained at the movies, not scared to death or depressed.
Because my favorite books are the ones that make me laugh, I suppose it was only natural that my writing traveled down that path. I get a tremendous amount of pleasure each time someone tells me they laughed out loud while reading one of my books. So even when I write romantic suspense, I don’t write dark, gritty, violent romantic suspense. I don’t want to be responsible for someone’s nightmares. I’d rather be responsible for that embarrassing moment when they laughed out loud while reading one of my books on a train or bus.
I have to give chick lit credit for developing my comedic voice. Even though I don’t write straight chick lit, my voice is a direct result of the chick lit influence. My characters -- no matter their age -- are infused with that wry sensibility often found in chick lit. It’s either that or my New York attitude. Or maybe a combination of both. You can exile the city girl to the suburbs, but she’ll always be a city girl at heart.
JA: Do you have any advice for writers trying to get past the “gate” and into publication?
Lois: Write the best damn book you can. Then make it even better. Voice is key. The market is so tough that it’s not good enough to have a wonderful story. It has to be a wonderful story told in a unique, engaging voice. You need to hook an editor with your very first sentence and keep her hooked through 300 - 400 pages. With so many manuscripts vying for a limited number of slots, you don’t want to give an editor any excuse to put your manuscript down. You want to be responsible for keeping her up all night because she just had to finish that manuscript.
JA: What has been your best experience about getting published? Your worst?
Lois: The best experience? I don’t know that I can winnow it down to one. Knowing that I accomplished what I set out to do is certainly high up on the list. There’s no experience like the first time you walk into a bookstore and see your book on the shelf. Fan mail would be another. That a total stranger would take the time to write to me to say how much she enjoyed my book definitely ranks up there. Reviewers who tell the world to read my books? They deserve a special place in Heaven. Judges who have bestowed awards on my books? They’re up there right next to the reviewers. Each one of these things is a Sally Field moment for me. (They like me; they really like me!) I’m both thrilled and humbled by these events. So choosing one best experience is impossible.
As for the worst? I’d have to say that’s probably the wait between sales, the worry that I’ll be a one-book-wonder or now a two-book-wonder. Selling a book is no guarantee of a lifetime of sales. The worry never goes away. (Although a multi-book contract with a fat advance would go a long way to lessening the worry!)
JA: Thank you, Lois, taking time to answer my questions, and best of luck, on your current release! I understand it's already getting fabulous reviews.
Lois also works at the Ashley Grayson Literary Agency. Her website is http://www.loiswinston.com Since I forgot she worked at an agency, I'll have to ask her more questions about that aspect of her life!
Wednesday, May 9, 2007
Research by Sandra Schwab
I am finally back and mostly recovered from RT (though I seem to be sick today). Apologies for the lapse in blogs--RT usually takes the stuffing out of me! Fun but draining.
Today, I have invited a fairly new author, Sandra Schwab, to talk about research. Her book, Castle of the Wolf, is a May release from Dorchester/Love Spell.
Sandra says: I’m one of the people who loves doing research: I love delving into the history of everyday life and digging up old gossip and scandal. However, research often proves to be a difficult hurdle for beginner-writers of historical romances.
What is the best way to research a specific era of history? How and where do I find relevant material? And how do I incorporate the research into my novel and keep the balance between historical detail and the story? So let’s have a look at this:
What is the best way to research a specific era of history?
Research should always move from the general to the specific. While most romances do not greatly touch upon political events, it is a good idea to read a general overview of the era you have chosen as a setting for your story. This enables you to gain a basic knowledge of that era, which will become the basis for all of your future research. Once you've got a general idea of the political history of the time, you'll need to find out what the everyday life of people was like. Things you should research include
How and where do I find relevant material?
Thanks to the internet, research has become very easy today: you can visit websites of various libraries and museums worldwide, you'll find collections of primary literature online (e.g. the Project Gutenberg), you can order books online (I absolutely adore abebooks -- it’s wonderful for finding old books!), and you'll also find an enormous amount of pictures and photographs online. So don't be afraid of the research! It's easier than it was ever before.
How do I incorporate the research into my novel?
In fiction writing you always have to find the balance between pure background description and the story / your characters. Historical background is just one facet of this. Some suggestions how to handle historical background:
Today, I have invited a fairly new author, Sandra Schwab, to talk about research. Her book, Castle of the Wolf, is a May release from Dorchester/Love Spell.
Sandra says: I’m one of the people who loves doing research: I love delving into the history of everyday life and digging up old gossip and scandal. However, research often proves to be a difficult hurdle for beginner-writers of historical romances.
What is the best way to research a specific era of history? How and where do I find relevant material? And how do I incorporate the research into my novel and keep the balance between historical detail and the story? So let’s have a look at this:
What is the best way to research a specific era of history?
Research should always move from the general to the specific. While most romances do not greatly touch upon political events, it is a good idea to read a general overview of the era you have chosen as a setting for your story. This enables you to gain a basic knowledge of that era, which will become the basis for all of your future research. Once you've got a general idea of the political history of the time, you'll need to find out what the everyday life of people was like. Things you should research include
- architecture and housing (what did the houses look like? what was the set-up of a castle / a Regency town house? how was an estate run?)
- fashion (things to wear for your heroine and hero!)
- food (what kind of food was available for normal people / for the nobility? how was it served? how was it eaten?)
- entertainments (what did people do in their leisure time? where there fairs or parks? what kind of games were played?), etc.
- The Writer's Guide series from Writer's Digest Books, ranging from Sherrilyn Kenyon's The Writer's Guide to Everyday Life in the Middle Ages: The British Isles from 500 to 1500 (1999) to Marc McCutcheon's The Writer's Guide to Everyday Life from Prohibition Through World War II (1995)
- Sharon H. Laudermilk and Teresa L. Hamlin. The Regency Companion. New York: Garland, 1989.
- on architecture and housing: Christina Hardyment. Behind the Scenes: Domestic Arrangements in Historic Houses. London: National Trust, 1997.
- on fashion: C. Willett Cunnington. English Women's Clothing in the Nineteenth Century. 1937. New York: Dover, 1990.
- on food: Jane Pettigrew. A Social History of Tea. London: National Trust, 2001.
- on entertainments: Catherine Perry Hargrave. A History of Playing Cards and a Bibliography of Cards and Gaming. 1930. Mineola, NY: Dover, 2000.
- books which are published by museums (e.g. the V&A in London) and which highlight specific parts of their collections. These books usually contain many photographs.
- children's books like the See Through History series or the Eyewitness Guides: they contain many, sometimes very detailed illustrations with easy explanations
- guidebooks on specific castles or stately houses (neat for creating your hero's manor house)
How and where do I find relevant material?
Thanks to the internet, research has become very easy today: you can visit websites of various libraries and museums worldwide, you'll find collections of primary literature online (e.g. the Project Gutenberg), you can order books online (I absolutely adore abebooks -- it’s wonderful for finding old books!), and you'll also find an enormous amount of pictures and photographs online. So don't be afraid of the research! It's easier than it was ever before.
How do I incorporate the research into my novel?
In fiction writing you always have to find the balance between pure background description and the story / your characters. Historical background is just one facet of this. Some suggestions how to handle historical background:
- When you build scenes, use illustrations and photographs to help you visualize the setting.
- Include historical background in an unobstrusive way, i.e. don't throw your readers out of the story by giving endless, most detailed descriptions. Instead, make it part of the story: in The Lily Brand, Chinese decorations add to the apprehensive atmosphere of the reunion scene and foreshadow the hero's animosity: "Lillian's gaze was caught by the black dragons that curled threateningly across the bright red wallpaper and chased each other on the Chinese lanterns on the lacquered side tables. The feet of these were formed like the paws of a lion, with sharp golden claws that might tear through a man's flesh and bone." => escalation when hero enters the room: "Black dragons curled on the walls on each side of him as he strode toward them, tall and broud-shouldered, as graceful as a big cat."
- Try to keep explanations short.
- Never let a character give an explanation that is obviously only included for the reader's sake.
- Credit your readers with some intelligence: some things don't need to be explicitly explained, sometimes the context is enough, e.g. the betting book at White's is a) pretty much self-explanatory, imo, and b) by now most readers of Regency romances would know that there was a betting book at White's
And now ... Happy history hunting!
****
Thank you Sandy! This is terrific information. I just finished writing a book revolving around Elizabeth I, and I was up to my ears in books, maps, pictures, charts, and a ton of material from the Internet--and I already knew quite a bit about Tudor history!
Never be afraid of research, though, as she says. You will be amazed at how many ideas for characters, plots, and incidents you can find while leafing through historical material.
Read more about Sandy's intriguing and different historical romances at: http://www.sandraschwab.com
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