Don't Let Anything Stop You

I'm behind on my posts, because of heavy deadlines, but I recalled something last night and thought I'd post it as a motivation here.

Don't Let Anything Stop You

Last night I attended a concert of one of my favorite guitarists. The man onstage was older than me, and started this part of his career (touring and recording CDs) in his late 40s.

I'm betting he ran up against a lot of attitude obsticals when he tried to do it: "You're too old; no one wants that kind of music any more; you won't be able to sell to a major label; no one knows your name."

But now he's quite popular, has a mess of CDs (on major labels that are played on top radios stations nationwide), does two-three tours a year, and seems to be enjoying himself. Why? Because he knew what he wanted to do and did it anyway.

I don't know if this actually happened the way I describe, but I see it all the time with writers.

As a writer you will run up against all kinds of people, often very well-meaning people, who will try to stop you achieving your goals.

These people usually aren't cruel or jealous; often they are acting from the purest motives--they don't want to see you get hurt.

Well, guess what, you're going to hurt. Writing is painful and getting published is painful. There can be a lot of joy in it, too, but it's also going to hurt. No pain, no gain? (And who says working a "real" job won't have its own share of pain?)

On the other hand, some people will be jealous or mean-spirited, and they'll have varied motivations for trying to stop you.

But whatever the reason or emotion behind it, at some point you have to block out the outside voices and say "I'm going to do this anyway."

People doing their best to stop you can include: your mother, your best friend, your husband, your critique partner(s), your readers. Even after you're published, people who try to stop you will include: your agent, your editor, reviewers, readers, booksellers, and other authors.

Most of these people are not trying to stop you on purpose--far from it. But negative signals will be:

That doesn't sell

You can't put that in a: (choose one) romance / mystery / thriller / fantasy / literary novel

It's not realistic to make a living as a writer

The market for that is dead

So and so author is doing fantastic writing X; why aren't you writing it?

Editors don't want that any more

I'm tired of seeing that

When are you going to write a real book?

The above statements could be right, or they could be DEAD WRONG!

(For example, the things people told me "didn't sell" or editors "didn't want" when I started seriously pursuing publication (circa 1999-2000) sell like hotcakes now. What "doesn't sell" is relative.)

And then of course, there are the voices in your own head:

You're not good enough

That author is so much better than you

No one will want to read that

You'll never get published

You'll never make NY Times or USA Today

OK, you made it once, but you'll never make NY Times or USA Today again.

This book is pure crap

We are bombarded with this negativity all the time; it doesn't stop, no matter how high you rise in the business. (I've talked to mega-bestselling authors who feel enormous pressure to keep their sales at a certain level.)

What we have to do is find that place of strength deep inside ourselves (we all have it--some of us bury it deeper than others :-))

We have to hold onto that strength, even in times of stress, exhaustion, rejections, career problems, anger, heartache, despair.

We have to again find the reason that novel or story spoke to us, why those characters cried out for us to write that particular book.

AND WRITE IT ANYWAY!!!!!

The fiery spark that starts the novel is far more powerful than our own negative self talk or the well-meaning negativity from family, friends and writing professionals.

And who the hell knows whether it will sell or not? What editors are tired of seeing and reviewers are tearing apart might be the very thing that readers will get excited about and glom.

You just never know.

So if you find yourself saying to a newbie writer when they excitedly tell you about their idea, "Oh, editors aren't buying that any more." STOP!

It isn't being kind; it isn't helping an author not get hurt or rejected. It's planting seeds of self-doubt and drying up creativity.

Let the writer enjoy the fantastic experience of writing that book. If it truly doesn't catch an editor's attention today, it might tomorrow. Or the writer will learn how to strengthen his writing so he can sell the next one.

And if someone tells you: "That won't sell; you're not very good; that market is dead; no one likes those kinds of books; editors don't want that..."

DON'T LISTEN!

Why You Need an Agent

While I continue to muse on what I learned in the last five years, I'm going to post something else new writers often ask me--"Do I need an agent?"

My loud, clear answer is YES.

Then I usually step back and say "It depends."

If you are small press published or e-published and want to happily stay where you are, then no.

If you want to publish at a NY house and move beyond the bottom rung at said house, then I say again, YES.

I also state clearly why:

The least part of an agent's job is selling your manuscript to a NY house. You actually can sell it yourself (e.g., through a conference contact with an editor, through a contest, through a direct query, through the few houses that still buy from the slush pile).

Why you so very definitely need an agent after that:

1. To keep from getting ripped off. Publishers do not like to give you any more money than they can possibly help. They will try to keep all the rights, give you tiny advances, and tiny royalty percentages. Your contract is a mine field of little tiny print. There are no exceptions out there--all publisher boilerplate contracts are set up to benefit the publisher, not the author (which makes sense--the publisher needs to keep the company afloat). An agent will make sure your contract is fair to you.

2. To get you the best deal, not just a deal. Publishers make standard offers to new authors, usually the lowest amount they can get away with. An agent can talk up that amount to make it more palatable to you while still keeping the publisher happy. He can also negotiate better royalties, bonuses, and other perks that most authors don't even know about.

3. To get you a deal at auction. If you've got an eager offer, your agent can let other editors who are looking at your ms. know, and possibly land you a very nice contract.

4. He talks you up to everyone he sees. Agents are constantly selling you, even when you're contracted and not shopping a specific ms. She waxes enthusiastic on your behalf to other editors, paving the way for when you have something new to sell.

5. She is the "bad cop" between you and the publisher. You want your relationship with your editor to be friendly and happy. The two of you should bubble over with creative energy and enthusiasm about your story and your writing. Getting into a contract or money dispute will ruin that very quickly. I love having an agent who will talk to the accounting and contract departments for me while I talk story with my editor. And when there's a very bad problem, I don't have to talk to the publisher at all. Saves me a fortune in Pepto Bismal.

6. She helps you keep your career on track and avoid mistakes. If your agent doesn't want you to take an offer, listen to him. You might not agree, but there will be a very good reason your agent suggests turning down money (because remember they don't get paid until you do). Don't be too proud to take advice! (Or too gullible to believe everything you're told--strike a balance.)

Now that I've said all that, I want to add a couple of cautions.

1. Don't expect your agent to run your career for you. I have my own ideas about how I want my career to go. I do a ton of market research on my own--I know what houses are publishing what kind of books, and I keep my ear open to what kind of deals the authors are getting. That way when I want to try something new or build on something I've already done, I have an idea where to suggest we go with it. Don't bury your head in the sand just because you have a good agent who takes care of you. Building your career should be something you do together.

2. NEVER, EVER, EVER, EVER, EVER sign with an agent who charges an up-front fee. They'll say, "It costs a lot to run an agency and photocopy and mail mansucripts. I need $500 from you right away." Tough! An agent makes money from selling you. If they take your $500 right away, why should they bother trying to sell you? They'll just take another $500 from another sucker, and another, and another... IT SHOULD NOT COST YOU MONEY TO SELL YOUR BOOK. The only expenses you should incur as an unpubbed author are your office supplies, postage, writer's groups dues/contests and whatever conferences you decide to attend.

3. Don't be afraid to break up with an agent. If they don't communicate with you for months and months, if they can only get you very poor offers and don't fine-tune the contracts, if they convey that they no longer like your writing and have very little interest in helping you move up--break it off. You will have to approach a new agent with a new project (read your agent contract thoroughly to see how to end it and what rights they/you retain). But if your career is not moving forward, you have to move it forward yourself. It's hard, but it has to be done. Staying with an agent who does nothing for you (or even worse, a fraudulent agent), will stagnate your career. (I will do an entire post on this subject.)

4. And I should add: Read your agent contract thoroughly and make sure you understand it before signing! (She shouldn't have you pay for her weekly hot-oil massage with Raoul to mitigate the stress of working with publishers.)

It is hard to get an agent. It's probably the hardest part (well, except writing a good book--that's pretty hard too). But in the long run, it's worth it.

Workshop Sat. Nov. 3

I will be doing a workshop at the Poisoned Pen in Scottsdale, AZ Sat. Nov. 3, discussing the romance, mystery, rom. sus. and suspense markets with bookseller Barbara Peters. From 9:30 to noon.

Address and directions are on their website. It's a wonderful store.
http://www.poisonedpen.com/

Five years and giving back

I am working on a post about what I've learned during my 5-year career, but it's taking me a while. I've learned a lot! I want to tighten up my thoughts before posting.

Meanwhile, I was reflecting on "giving back" on my other blog, so feel free to read that as a substitute for this week's OnWriting post.

Just Writing

I've been pondering writing posts on getting back to pure creativity, or not worrying about how you plot your books (heavy outlining vs. seat of the pants), but I realized that one of the hardest roadblocks authors face is this one:

Writing pages.

This is what separates the wheat from the chaff, the women from the girls. You can go to all the workshops on plotting you want; read all the books on conflict you can get your hands on; and chart, outline, and plot your book to the smallest minutiae, but eventually one thing has to happen:

You have to write scenes.

For many people, that's enough to send them running back into the world of workshop tapes, meditation exercises, or serious closet cleaning.

I think this is where writer's block (or as I call it "writer's attitude") sets in. The realization that OMG, I actually have to write sentences, and they have to be good AND fill 400 pages.

You're panting heavily just to make it to 15K, and you have 85K more to go.

I've been there on every single book I write.

There are some days I simply can't write sentences. I don't know why, but my brain refuses to put words together that make any sense. On those days, I go back and lightly revise what I have written, brainstorm future books, or clean out my closet, whichever I think will benefit me most.

But because I have deadlines, I don't always have a choice (i.e., I have messy closets). I've devised the folowing methods to get myself to write pages:

1. Get rid of the idea that the pages have to be good. Allow yourself to be bad. You'll have time later to fix the stilted dialog, wooden description, boring introspection.

2. Don't worry about writing the book linearly (page 1 to page 400 in order). If a scene from the climax of the book is burning up your brain, write it. You'll have to write it eventually anyway; it's not wasted effort.

3. No writing is wasted. Even if you trash half of what you write; you might be able to use some of it in another book. Copy and paste it into a "saved" file instead of just erasing it. Also, any writing flexes your writing muscles and keeps your brain in practice.

4. Trick yourself to get words on paper (or computer screen). What works for me is:

• Going to a coffee house or similar place to write for X amount of time. I am not allowed to do anything during that X amount of time but write. No games, no reading the newspaper, no chatting, no Internet. I can't leave until that time is over. (I am allowed to use the bathroom, but only if it's desperate.)
• Writing on a computer that isn't configured for Internet. When I got my last laptop, I deliberately never activated the Internet connections. I love cruising the Net, posting on blogs, chatting on email loops, and other HUGE time wasters! I stymie myself by having to use a different computer for Internet.
• Note: If you're on a budget and can't afford two computers, get an Alpha Smart--a text editor that's lightweight, has a battery that lasts forever, holds a ton of copy, and is easily uploaded to your computer so you can edit it.
• Taking the computer games off the computer. I love that darned Spider game. I rock at the hardest level. I finally had to disable it on my laptop. (It's still on my desktop; I'm not that strong.)
• Rewarding myself for X number of words. I tell myself that I have to sit down and write 1000 words (or to the end of the scene or end of the chapter), and then I can do something for myself. Indulge in my hobby, go out to lunch, write scenes for the story I'd much rather be working on, or play that darned Spider game.

I can get four thousand words a day out of myself using these techniques, and since I write so many books a year, I have to.

Now, happily, I don't always have to trick myself into writing. Often the story and characters take hold and just pour out of my head. I don't want to stop writing (not for dinner, a tv show, chatting on the Internet, calling my friends, spending time with my husband). I love it when the fire is hot!!

But realistically, the fire isn't always hot, and you can waste tons of time waiting for it to burn again. During that time, you aren't getting down the mechanics of the book, the pieces that hold it together when the fire finally returns.

Having to get words on paper, having to fill 400 pages with productive copy is truly what keeps many people with fantastic ideas and giant leaps of creativity from becoming recognized, published, paid authors.

Now that I've indulged myself in writing a blog, time to go do that next 1000 words!

Yes, you can write your own book and get it published

I was cruising the net a couple weeks ago, always alert for writer's tips to pass on. I ran across a site that had a list of tips that were at first pretty good (keep trying, shop for a good agent, etc.)

But then the list suddenly said that you should never send in a query letter that a professional writer hasn't written or edited for you. Huh?

Warming to the theme--the author of this list went on to say that the only authors who succeed are ones who have professional writers, editors, and book doctors help them! Double huh??

This list went so far as to suggest that an author who didn't hire a professional writer/editor was doomed to failure, and that's the way the business worked.

Triple huh???

That's when I realized, of course, that this "tips" list linked to the site of a book doctor. Ok, it was a sales pitch.

But jeeeeeezzzz. This site purported to "help" authors with good advice--I can imagine an aspiring author with a pile of rejections thinking--oh, maybe that's why I'm not published--I didn't spend thousands on a book doctor or ghost writer!

Ahem.

YOU DO NOT NEED A GHOST WRITER OR A BOOK DOCTOR TO GET PUBLISHED.

Hundreds of authors every day send in their query letters and partials and full manuscripts, and get picked. I write for several publishers and am on private email loops for their authors. Brand new and excited authors log in all the time, happy to be there, having sold their books via query letters (that they wrote themselves), or conference meetings, or through an agent.

It happens all the time.

This does not mean I have anything against ghost writers. I have a friend who ghosts and does well with it. Ghost writers are often used for auto-bios ("as told to") books by celebrities or government leaders who have a story to tell but know they can't put sentences together. Ghost writers can fix a manuscript that has come in to a publisher in shoddy condition but it's too late to cancel the book (the ghost writer's fee comes out of the author's royalties; and note, this is not a common occurrence). They can also work on screenplays that need to be rewritten and the original author wasn't contracted to work on the rewrites.

But for the most part, most authors, even the big, big name authors, write their own stuff (a few notable exceptions aside).

I got published by doing the following: Writing a book. Writing a query letter and polishing the heck out of it. Sending out query letters to agents and editors. Sending out partials and full mss when requested. Piling up rejections. Writing second book.

Repeating procedure until one of those mss. got bought. I did this for three years.

I got an agent via a query letter, then sending in a partial, then sending in a requested full. I made my first sale to a publisher who had requested my full manuscript via snail mail. That was in 2002.

I now have, or will have next month, twenty published books in the marketplace. I wrote every word of every dang one of them myself. My editors might have suggested changes on some of them, but I decided whether those changes helped or hurt the book, and made them myself.

I didn't hire anyone to help me (trust me, I got the tendonitis on my own).

Writing is just damn hard work. Many aspiring authors don't want to face that. They want instant success, instant riches, instant fame.

Well, guess what. I guarantee that every author out there you consider successful (bestselling or award winning or whatever), worked their little fannies off to get where they did.

I might seem easy on the outside because you weren't there for the months and months and years and years of stealing moments to finish a scene or polish a chapter, the anguish when it wasn't right, the heartbreak of rejections.

Getting published is the most delayed gratification you'll ever experience.

Your book is a gift you give the world, a piece of yourself. You want it to be the best piece of yourself you can give. Don't rush it.

You just have to keep on going, and believing. You'll get there!

www.jennifersromances.com

How to "Make It" to Authordom

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

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.

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!

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.