Vetting a Freelance Editor – Victoria Strauss writes an incredible article on how to pick the best independent editor for your project.

Icons that Make No Sense to the New Generation of Readers – A tremendous article about words that could “date” your writing if you aren’t careful.

25 Ways to use Twitter the Wrong Way – Very educational for those who are casual users

Bible App Exceeds 50 Million Downloads – YouVersion Bible App from LifeChurch.TV. Link includes a video interview with the co-founder.

Songwriter Wins Lawsuit – If you plan on still being in the publishing game 30 years from now or if your heirs will need advice on your literary estate, read this article and see what a loophole in the copyright law can mean for you.

Enjoy this pretty cool video called “The Bible in 50 Words”

Related posts:

1. News You Can Use – May 8, 2012
2. News You Can Use – Feb. 7, 2012
3. News You Can Use – Mar. 20, 2012

Recently Ann Voss Peterson wrote of her decision to never sign another contract with Harlequin. One major statistic from the article is that she sold 170,000 copies of a book but earned only $20,000.

Multiple clients sent me Peterson’s “Harlequin Fail” article and wanted my opinion. My first thought is that this was the typical “a publisher is ripping me off” fodder. But that would be a simplistic and knee-jerk reaction and unfair to both Peterson and Harlequin.

Yes, Harlequin pays a modest royalty that is less than some publishers. Since when is that news? That has always been their business model because it is the only way to create and maintain an aggressive Direct-to-Consumer and Trade publishing program. Their publishing machine is huge and they are a “for profit” company. For Profit. If they are unprofitable, they go away.

If an author is uncomfortable with the terms, then don’t sign the contract (which is Peterson’s decision going forward). I urge each of you to be careful not to sign a contract and then complain about it later. Unless you were completely hoodwinked you agreed to those terms and should abide by them.

Understand that I am not being critical of this lady’s decision. It is her choice to do so.

But my issue is not with the money (although it is important) it is a larger question. She says she has sold 170,000 books but not made that much money. For the record Peterson has signed with Thomas Mercer which is one of the publishing divisions of Amazon.com…a traditional publisher of sorts, so she may still reach a 100,000 plus audience. So is it all about the money and not about number of readers? If Peterson had chosen to go Indie (solo) and published using the e-book option (like the Kindle Direct Program) and sold 10,000 copies she would make the same amount of money. BUT she would have 160,000 fewer readers! One Hundred and Sixty Thousand.

Consider the stadium where the Arizona Cardinals (NFL) plays seats 63,000. So, in essence this author’s choice could mean walking away from three stadium sized audiences for her stories.

In Peterson’s case it does not appear to be a dollars vs. readers issue because she has signed with another publisher. But for many who are frustrated with their publishing experience it is a good question to ask.

Reaching 170,000 readers is a rare place in this busy industry. And don’t forget that the success of those numbers made her an attractive acquisition for Amazon.com . That is not the case for most writers whose midlist numbers can be depressing. (Read CBA fiction author Eric Wilson who laid out his income while publishing with traditional publishers over a ten year period and has chosen to go a different route with his new books.)

If you wish to wave goodbye to traditional publisher and go Indie (independent) I believe the first question to ask is whether or not you want to start a small business. Just like an entrepreneur.  Those authors who are entrepreneurs are ideally suited for the self-publishing route. The understand the energy it takes and pitfalls ahead.

The second question is whether they can sell enough copies to make it all worthwhile. And are also are willing to take responsibility if a book fails.

But not all artists are entrepreneurs. I know of many authors who have gone this route. One sold 1,000 copies of their e-book in a year. Another is averaging about $1,000 in revenue each month…but had to self-publish ten books to reach that threshold. Another has sold about 2,500 e-copies in a few months but the numbers are slowing considerably. Each of these writers can get much more guaranteed income from going the traditional route. Their indie effort is nice income (in this business any income is nice) but it is not a replacement.

P.S. In my opinion it is wrong to compare Amazon’s traditional publishing divisions (like Thomas Mercer) with other publishers. Amazon is so incredibly large and diversified that they could lose money on publishing for five years and still be profitable elsewhere. For a company like Harlequin they are solely vested in publishing (not Zappos shoes, or used books, or electronics). Thus their cost structure is different. Amazon has brilliantly used their economic model and created one that takes advantage of their infrastructure without having to build from scratch.

Is that a defense of traditional publishing? It could be seen that way. But it is more a reminder not to compare oranges with apples. They are not identical.

Your Turn

What is your take on this issue?

Is there a question on this topic you would like to have answered in a future blog?

Related posts:

1. A Defense of Traditional Publishing: Part Two
2. A Defense of Traditional Publishing: Part One
3. A Defense of Traditional Publishing: Part Three

Throughout my career I’ve seen various responses to the advice that declares “Write to market!” In other words “write what sells” because that is what is most important for a writer. Is this good advice or bad advice?

It is both.

Here is when it’s bad advice: When you’re made to feel you have to write a certain type of book just to break into the market, any market.

If you think, for instance, that any lame brain can write a romance novel, but hey, romance authors are millionaires, then the romance novel market is not where you need to be. You won’t respect your readers or give them your best.

So if writing to market means you’re slogging away writing a book you loathe in hopes of entertaining riches, then you’ve taken bad advice.

Then when is writing to market a good idea? It’s a good — even great — idea when you are:

1. writing your best work, giving your readers your all.
2. creating a timeless story.
3. staying within your targeted publisher’s word count, as shown in the publisher’s guidelines or advised by your agent.
4. choosing a setting to which your intended audience can relate.
5. selecting a time period you are passionate about and can make come alive for your readers.

I won’t say that any and all fabulous books written by passionate authors will be published to greatness. Whether we like it or not, a wonderful 300,000-word book set in Antarctica in the year 789 is likely to find the market inhospitable. (That statement guarantees someone will sell a book fitting this description tomorrow!) The general rule is that most successful writers study current market parameters and write books that make sense for the market. Editors will often say to me, “I see something there,” when they spot writers they want to work with, even if the project itself isn’t quite right. Those authors should try again. And again, if necessary.

In my view, it’s best to write a story that excites you. Show us the result. Then let’s see what happens.

Your turn:

How do you write to market?

What publisher are you targeting? What is your biggest challenge in writing for them?

Related posts:

1. Study the Market
2. Writing Contests: Panacea or Waste?
3. C.S. Lewis on Writing

Susan May Warren – My Foolish Heart (Tyndale) – Contemporary Romance

Ronie Kendig – Wolfsbane (Barbour) – Contemporary Romance

Ginny Yttrup – Words (B&H Publishing) – NOMINATED TWICE – Contemporary Standalone & First Novel

Ted Dekker & Tosca Lee – Forbidden (Center Street) – Visionary – (we represent Tosca)

Lisa Bergren – Waterfall (David C. Cook) – Young Adult

Related posts:

1. Christy Awards
2. Special Announcement
3. Fresh Formulas

As you have heard by now the Department of Justice (DOJ) has leveled a lawsuit against Apple and five major publishers accusing them of conspiring to fix prices. There has been a lot written on the topic with varying degrees of understanding and a wide disparity of conclusions.

Authors are asking what this all means to them. And many are confused about the math involved. A great, and lengthy summary has been brilliantly composed at Shelf-Awareness. Read that article if you do not understand the details of the situation. It is important that every writer grasp the implications because it could affect how books are sold moving forward.

Already, three of the five publisher have agreed to settle without admitting guilt (HarperCollins, Hachette, and Simon and Schuster). And that settlement will take at least 60 days to finalize. This leave MacMillan and Penguin who have vowed to fight the suit. Such a fight could last years.

By the way, Random House was not named in the suit because they did not change their pricing policies until much later and thus cannot be accused of colluding.

At is core, the issue revolves around who gets to set the prices of books, the publisher or the retailer? When the retailer controls the sales price a company like Amazon has, in the past, used their clout to cut prices severely, even to the point of losing money on the sale of the books they sell. Since Amazon is so large and diversified in their products a books-only company like Barnes & Noble or Books-a-Million is at a disadvantage. The DOJ doesn’t care if the retailer of the publisher controls the prices, but they did take offense that five publishers and a major vendor agreed to the same terms at the same time. It has the appearance of collusion.

Years ago when I was in the bookstore business we were constantly being challenged by bargain pricing done at the warehouse clubs on selected titles. They would buy a book that retailed for $20 and with their buying power purchase the book for $10 net from the publisher. Then they would retail the book to the public for $10.88. There were stores in our area that had little purchasing clout and the best price they could get for the same book was at $12.00 net. To match the warehouse club price they would lose money on each sale.  You see the problem?

However

However, many authors do not understand that this “Agency Model,” the lawsuit, and its implications have had little effect on the rest of the publishing industry. While the Big Six comprise a huge portion of the market, they are not the entire market.

Read my previous blog about “Who Owns Whom in Christian Publishing.” The Agency model of selling books to Amazon and iBooks has not applied to the majority of Christian publishers. See that post starting half way down where there is a long list of publishers not owned by any of the Big Six.

Each publisher has had to negotiate their own agreement with Amazon to sell their ebooks and paper books. Unfortunately we are not privy to what those terms are. And Amazon and the publisher work together to set prices in most cases. If they are unable to come to an agreement Amazon has used their weight to pull titles from their site. IPG (Independent Publisher’s Group) in late February refused to renegotiate terms with Amazon. Overnight thousands of IPG books disappeared from the Amazon site. And to this day they have not yet been reinstated. (Read this article for full information.)

But that is an unrelated incident, other than being instructive as to the clout of Amazon. As for what will happen? Kristine Kathryn Rusch quite ably said in her very informative blog, “No one knows.”

Any Questions?

After you have assimilated the information linked above, do you have any questions? I will try to answer as best I can in the comment section below. Or use the green “Ask Us a Question” button to the right to send a private question.

Related posts:

1. Perspective on the Sale of Thomas Nelson Publishers
2. HarperCollins buys Thomas Nelson Publishers
3. 2011 – The Year in Review

When our eldest daughter was learning about various religions in college, she told me that converts to the Greek Orthodox faith must make a lifetime confession. This would mean confessing all of your past sins. Don’t worry — joining our agency does not require a lifetime confession. However, we do need to know about your publishing past.

Poor Sales History

Poor sales of your books in the past can be a challenge. Major publishers always ask for these details because the accounts to whom they sell ask for those details. A poor track record can suggest more of the same with the next book. That is one advantage of a debut author…no sales history. However, when talking to us about your career, this is no time to be coy leave us uncertain about a less than stellar sales history. Instead, let us know so we can strategize how to overcome that obstacle. And if we can’t come up with a good strategy and you have to find a different agent? This is not the worst thing that can happen. Rather, it would be worse for both of us to waste everyone’s time if another agent can come up with the right strategy for your career.

Wish I Had not Written That

What if you have great sales history, but you’re embarrassed by one of your previous works? Perhaps you wrote steamy novels or published a strident political tome before your views changed. Fortunately the Christian community is generally a special place of second chances.

More than once, I have met authors who wrote steamy books in the past, but now want to embark on a career writing for the Christian market. Is this possible?

I believe it is. There are many examples of authors who have done so with great success. However, it is critical that you tell us everything so we can assess how to handle your past books with new editors. We will all have to work together to rebrand you, and that process may take several steps. Once we discuss your new goals, we can be at our most effective for you.

Secrets

What you do not want to happen is to cover up something you wrote and hope no one finds out. The Internet is a powerful tool and you would be amazed by how much we can discover about you. And be assured that a major publisher is also going to do their due diligence and research an author if they are unfamiliar with them.

Rest assured that we treat your information with with very high level of professional confidentiality. Once you place your trust in us, we will do everything we can to further your career. And besides, as the Scottish proverb says, confession is good for the soul.

Your turn:
Have you written a book or article you wish had never been published?
What have you done to overcome that experience?

Related posts:

1. True Words
2. Why Do I Have to Jump Through Your Hoops?

In honor of the upcoming baseball season I thought it would be fun to explore the art of pitching.

A couple years ago I was watching a Major League baseball game and the pitcher unleashed a horrific throw that sailed about eight feet behind the batter. It floated to the backstop without a bounce and everyone in the stadium wonder what had just happened. It looked like the pitcher lost his grip and could not stop his delivery. In baseball terms this is classified as a wild pitch.

Unfortunately many writers unleash a pitch on an agent or an editor before it is ready to deliver. Let me list a few actual letters I have received.

“Save for the Bible, the book you’re holding in your other hand is the most important work you’ll ever read! Let me know what you think.”

“I sincerely doubt you will engage in any business with me, just because that’s how sick and sordid the industry has become…I mean, I produced the piece of work, you didn’t. Now, I challenge you to do your job.”

Subject line of the email said: “DON’T READ THIS.” (So I didn’t.)

“I came across your listing on the internet. You would not have been my first choice…”

“All my literary efforts…are stirring works caught in the vortex of disintegrating modernity. Each work is a mixed genre, essentially fiction-fantasy-history, with an environmental twist, and many young folks.”

“This novel is…an enjoyable romp with outrageous characters and themes that just about anyone can identify with; including sinister ‘friends,’ insane parents, existential nausea, jealousy, and sexual frustration.”

A good pitch, on the other hand, is delivered with focus and precision. Think about it for a minute. A baseball pitcher starts by learning how to grip the ball. Then comes the best way to actually throw the ball. Some adjust their arm angle to achieve the best way to maintain the right speed for that particular pitch. Don Sutton, a great pitcher in his day, was not known for his overpowering arm but he learned that the genius of his delivery came from his legs and core body strength. Each pitcher finds his own comfort zone and type of pitch that works for them. Some are all about speed (Randy Johnson, Steve Carlton, Sandy Koufax), others are all about curveballs or change ups. And some are about placement in, or out, of the strike zone. Or like Mariano Rivera of the Yankees who has a wicked split fastball.

Much like a major league pitcher you must work on your delivery. Find the best way to pitch your idea in such a way that it is easy to catch. Focus. Precision. Intent. And a pitch that is really strong.

Let’s carry the concept one step further. Each pitcher is different, just like each writer is different. For every Nolan Ryan, strikeout artist, there is a Wilbur Wood, whose knuckleball pitch was almost impossible to hit squarely. But each pitcher uses the same fundamentals of grip, arm speed, leg strength, and follow through.

Play ball!

Related posts:

1. The Ultimate Sound Bite
2. Say it in a Sentence
3. That Conference Appointment

I’ve been in publishing for lo, these many years (over 30), so you’d think the work would be pretty much second nature for me. No so! In fact, just this last week I did something completely new!

I edited a book, in four days, using Skype and Dropbox.

The amazing thing about this isn’t that the author and I got the book done so quickly, but that it was SO MUCH FUN! We parked on Skype for hours, so that if I had questions as I edited a chapter, I could just ask him, and if he had questions about the editing, he could just ask me. It was like being in the same room together, but without the expense or stress of travel. And I discovered that doing the edit this way gave me a fresher understanding of what the author wanted to say. It also enabled us to do a bit of arm wrestling when we disagreed on something, but to do so with humor and kindness. When you deal with issues over the phone or in email, you always run the risk of misunderstanding because folks can’t see your expressions or body language, or hear the tone of your voice. With Skype, those risks were gone, so we handled a couple of sensitive issues without frustration or misunderstanding.

And that, my friends, is a miracle!

So how does this affect you? Well, as I was working with this author, I started to think about all the other ways we, as agents and authors, could use this technology:

When you know a conversation is going to take more than a few minutes, use Skype (or whatever video calling option you have). Seeing each other, being able to read expressions and body language, to hear tone of voice, goes a long way to heading off misunderstanding.

Use video calling when you’re communicating with someone you don’t know well. I didn’t know this author at all before I stared working with him. But now I feel as though I’ve had an editing retreat with him, and he’s become a friend.

Writers, use video calling if you need to hash things out with your editor. Face-to-face works so much better than email and phone calls.

Are you collaborating with another writer on a project? Use video calling to brainstorm, discuss, and edit your project.

Writers could also use video conferencing to:

• Mentor other writers
• Have a critique group with other writers from across the country (Skype has group conferencing)
• Brainstorm your books together
• If you’re stuck on your work and need some help, video call a writer friend and brainstorm together. Or just take a coffee break together. I have a good friend who lives in Illinois. When I lived in Illinois, she and I loved to do coffee runs together to Starbuck’s or Caribou Coffee. I’ve missed that time with her so much, so I proposed doing a coffee run on Skype. It’s working out great!

These are just a few of the ways we can jump into this technological world and use it not just for meetings, but to enrich our relationships and writing.

So hey, why not give it a try? You may find that you enjoy it even more than I do.

Related posts:

1. Saving the World, One Romance at a Time
2. Fresh Formulas
3. The Slush Pile: Enter at Your Own Risk

One of our readers asked this via the green “Ask us a question” button.

What happens if you get a book contract before you have an agent? What if, by some miracle, an editor sees your work and wants to publish it? (1) would having a publisher interested in my work make an agent much more likely to represent me, and (2) would it be appropriate to try to find an agent at that point (when a publisher says it wants to publish you)? My fear is that querying an agent and receiving a response could take several months, but I’d need to accept a potential contract with a book publisher right away (I would think). Is it appropriate to ask the editor to speak with an agent on your behalf to speed the process?

This is a great topic but there are a few questions within the question. Let me try to break it down.

Many times we have had authors approach us with contracts in hand and seeking representation (happened just last week). Of course this will get an agent’s attention immediately. But there are caveats:

a)      Who is the publisher? There is a big difference between a major company and your local independent publisher. Not all publishers are created equal (see the Preditors & Editors warnings). I remember a situation where the publisher who had made the offer to the author was not well known in the industry, they appeared to be a startup, and the terms in the contract were onerous. This was not a publisher we could recommend the author work with. We declined to represent the project. The author signed the contract anyway. A few years later the author came to me detailing their regrets.

There are also packagers, subsidy publishers, and vanity presses that can easily confuse a new writer into thinking that their contract offer is similar to getting a contract offer from Random House. This is not a criticism of those companies but merely to present their contract offers as a contrast to what is offered by Traditional Publishing. Do your due diligence and practice discernment.

b)      Is this a real contract offer or an editor who said they were interested? This is a big difference. I once had a writer literally beg for representation because an editor had said they were interested at a conference (and when I wrote “literally beg” I mean with all the fullness of what that phrase suggests). Found out later the editor had been stopped in a hallway and after hearing the author’s pitch said to the writer, “Sure I’ll give it a look if you have an agent send it to me.” [FYI: That is not a contract offer.]

c)      What is your content? To maintain our integrity we would still need to see your book. We never will represent someone’s work without seeing it first. Our company becomes associated with that material. But if your contract offer is from a major house, trust that we will not sit on the content for long. There is no need to ask the editor to get involved at this stage. It would put them in an awkward position, especially if they would prefer working with a different agent! Also do not ask the editor which agent they prefer. Again you would be putting them in an awkward position. Better to ask, “I’m thinking of working with Steve Laube as my agent, are there any red flags that you feel comfortable sharing with me?” [I anticipate a few jokes in the comments with that set up line.]

d)     Who are you? We may have never met or talked. We need to find out if you are who you say you are. If we have met in the past, remind me of the context.

I have a client right now who I met at a conference. The writer pitched their idea I thought the idea intriguing but challenged the writer to “blow me away” with their sample material and send it to me. At the same conference the writer connected with an editor at a major publisher. That editor became quite enthused and worked directly with the author for a few months refining the project. I did not know this was happening and was simply waiting for the proposal to arrive at our office. Good news is that the editor and publisher offered a contract. The author immediately contacted me with the deal in hand. I asked a few questions including:

a)     “Can you send me the material that got the editor so excited?”

b)      ”Have you agreed to contractual terms yet?” Fortunately the answer was no. NEVER agree to terms with a publisher if you want to have an agent become involved. If you do, the agent is handcuffed in their ability to adjust certain rights and terms to your benefit.

c)      ”Why do you want an agent? You already have a deal in hand!” The author said, “Steve, I know my limitations. If I were to represent myself I would have a fool for a client.” We signed and have been working together ever since.

I also want to make sure the writer knows what an agent does for a client beyond just the sale or the book deal. It is a myth that all an agent does is have exotic lunches and influence editors with their wiles and force of personality. In today’s publishing labyrinth an author needs a guide. I firmly believe that every author needs a good agent by their side. But that is a post for another day.

Related posts:

1. Ten Commandments for Working with Your Agent
2. Writers Learn the Waiting Game
3. Six Questions for an Agent

As Steve Laube pointed out the other day in his post “The Stages of Editorial Grief” receiving a tough edit can make a writer feel off-kilter, angry, unworthy, and summon other negative emotions. Of course it’s okay to experience negative emotions. You can’t control how you feel, though you can control how you manage your feelings. As he wisely points out, the key is to overcome emotions and get to work.

Detachment

I’ve edited and been edited, but I can’t say I have ever gotten such a tough edit that I wanted to throw a Waterford vase across the room. One advantage may have been majoring in Journalism in college which groomed me never to become attached to my words. News articles are no place for waxing eloquent, opining, or philosophizing. And with loads of information available today from so many sources, readers rarely indulge fluff from any but their most beloved authors. This is why it’s best not to become attached to your words. Any of them. Don’t become too fond of your title, which will most likely be changed in the Titling meeting. Don’t treat finding new names for your characters as though the courts are petitioning you to change your child’s name. And speaking of characters, don’t develop your own love affair with any secondary characters. They may get the boot in editing. Be willing to let go of your fondest habits and pet phrases. They may seem distinctive to you, but if they annoy an editor, it’s best to listen.

My husband I were watching the television show “Once Upon a Time” a few weeks ago, when the story focused on the tale of Hansel and Gretel. I observed, “The witch on this show is much prettier than the actual witch was.”

He’s used to me so he’s no longer surprised by my vivid imagination. Still, he responded, “It’s a story!”

So yes, stories are real to me and of course, yours are real to you and it’s painful to relinquish any aspect of your creation. But for the good of yourself, and your reader, be prepared.

Acceptance

Does preparation to have your baby redressed mean you are required to accept each and every editorial suggestion? No, it does not. Once again, as Steve Laube says, “Edits are a negotiation.” However, when you go through your edits, decide what won’t work and be ready to explain, politely, why. That your grandmother was named Lulubelle probably won’t impress an editor if there is a good, solid reason why Lulubelle won’t work as the name of your heroine. On the other hand, if an editor’s suggestions will compromise a critical detail of the plot or create an anachronism, for instance, discussion is appropriate. The editor really is on your side because the two of you are a team working to present your best possible work to the public and, as a result, sell many books.

Gratitude

There is one emotion you should feel toward your editor, and that is, gratitude! When you are working with a traditional publisher, a huge benefit you receive is the ability to work, free of charge to yourself, with one or more top notch editors. Traditional publishers are quite picky about the editors with whom they work. Editors such as our own Karen Ball will do everything in their power to make your work the best it can be. The publisher is showing confidence in you as a writer by paying an editor to work with you. Be grateful for such an opportunity.

No Regrets

And finally, I have spoken with many heavily-edited authors. They have said a variation of the same sentiment, “It was a lot of work, but I can see that the edits improved my book.”

Listen to your editor. Your readers will thank you.

Your turn:

Have you been heavily edited? Did you feel the edits improved your book?

What battles did you choose with your editor? What was the result?

Related posts:

1. The Editorial Process
2. The Stages of Editorial Grief
3. Loving to Laugh

This blog is from one twitch to another. Let me explain…

My husband loves that I’m a writer. He loves my creativity and passion. And he loves how happy I am when I’m writing. He knows when I’m writing because I get “twitchy.” Translation: Distracted. Otherwise occupied. Caught up in scenes and conversations no one but I—and that multitude in my mind–can see or hear. He knows that when the twitchies hit, he’s only wasting breath to ask me things like, “Did you pick up milk today?” or, more true-to-life, “Why is the milk in the oven?” He knows when I’m lost in twitchiness that I don’t realize what’s happening in the here and now. And so he just sighs, checks to see if the milk is still cold, then puts it away. Or goes to the store for a new gallon.

Happily, he doesn’t mind too much when I’m a twitch. He even likes to come to my world for visits—short visits, that is–and help where he can. Like the time he helped me write a scene where a cougar attacks my protags. My darlin’ Master Security Officer knew the kind of gun my hero would use (no, silly, I didn’t kill the cougar, just scared it off!), the distance said gun could shoot, how the bullets would react hitting the ground as opposed to hitting large boulders, and so much more. Oh yes, he loves all of that. But the one thing my grounded, “just-the-facts-ma’am” hubby can’t do is understand my world. The world in my head. The world peopled by characters who sometimes seem far more real than the person sitting next to me in church. Truth is, the only people who understand this world of words and publishing are those in it. Fellow Twitches.

That’s why I love writers’ conferences. There’s nothing like being surrounded by people who really get it. When you’re at a writer’s conference, no one looks at you cross-eyed when you say your characters kept you up all night arguing. And no one runs screaming from the room—or calls 9-1-1–when lunch conversation turns to the best poisons to use to kill someone and not leave a trace. When you attend a writers’ conference, people can spend hours debating the use of semicolons in fiction or whether e-books are a godsend or the devil’s spawn. There are few places I, and many of the writers I know, feel as at home as at a writers’ conference. Which is why, when someone asks me what advice I can give them as they’re developing their writing career, my response is almost always: attend a writers’ conference.

I know it’s an investment of time and money to attend a conference. I get that. But friends, we need to gather together in these places. We need time with our fellow twitches, to learn and grow. To talk and share, to worship and celebrate and pray together for God’s guidance on this journey. I attend conferences to speak and teach, but I always receive so much in return: fellowship, encouragement, enlightenment, and an ever deepening understanding of the publishing industry. As with any training for any job, the investment you make in a conference is well worth it. Where else can you receive focused, hands-on teaching? Critiques from professionals who don’t want anything from you, but seek only to help you. And where else can you have face-to-face time with industry insiders? There’s no substitute for an editor knowing who you are because s/he has met you.

I believe in these conferences so much that throughout the year, I’ll be asking folks associated with the best of the best to stop in here for a visit, to share with us what their conference is about and why it would benefit you as a writer to attend. The first conference spotlight will happen next week, when Rachel Williams, director of the Mount Hermon Christian Writers’ Conference joins us. So stay tuned!

Related posts:

1. Let Creativity Flow (Part Two)
2. Beautiful Words…100 of Them!
3. Let Creativity Flow (Part One)

Nearly every writer will tell you they have experienced the proverbial “red pen” treatment from their editor. The reactions to this experience can follow the well-known stages of grief popularized by Elizabeth Kubler-Ross.

Skip Denial, I’m Angry!

There is no denying that the edits have arrived. And for the author who was not expecting a hard-nosed edit, they can transition from “shocked-angry” to “furious-angry” to “rage.”

And then they call their agent.

“This is ridiculous!”
“I’ve written 35 books and have never had an editor like this!”
“Who do they think they are?”
“No one treats me like this!”

And for those without an agent…they call the editor and say the same thing. (see my post about burning bridges) I was the recipient of a number of these explosions while an editor at Bethany House Publishers.

It is okay to be angry. I give you permission.

Just be careful how you express it. In a misuse of the scripture let me quote “Be angry and sin not.” (Ephesians 4:26 KJV)

It doesn’t feel good to be told your writing needs help. And red pen on page or a blur of red onscreen is very unpleasant.

It is quite possible the editor held their breath before they clicked the send button. They might have even said a quick prayer asking that the author be receptive to the edits.

Depression: I’m a Terrible Writer

“I knew I wasn’t a very good writer. I knew it.”
“I worked so hard and look at this mess.”
“I loathe myself. I’m just a hack.”
“Why bother? I’ll just click ‘accept all changes’, I don’t care anymore.”
“My agent hates me too.”

Sound familiar?

That ol’ demon of self-doubt has wormed its way into your creative soul.

It is okay to feel depressed. I give you permission.

But only for an hour.

Then get back to work and tell that ol’ demon he has no place in your life.

One mark of the professional writer is to have thick skin and a teachable spirit.

Negotiation: What if We Did This?

This is the most critical stage in the editorial process. Talk to your editor using an “inside voice.” Calm and respectful.

All editing is a negotiation, not a dictation. Unless you are completely wrong with something, it is merely a matter of how your thoughts were understood by the editor. It is how they heard it. And if they heard it one way and you meant it another…then maybe it needs to be restated.

I once had an author who called and said, “We need to go in my backyard and wrestle two-out-of-three falls on this editing job. There are 17 places where I completely disagree with what you wrote in the margin.” So we had a long conversation. You know what? I, the editor, was wrong in 12 of the places where I had made a notation. I had misunderstood something or was speed reading and missed a nuance. But I had to ask that if I missed it, could a reader do the same? But in 5 of those 17 places, the author realized he had written the sentence or paragraph poorly. So we fixed all 17 spots to where we were both pleased. That is called “negotiation.”

You will find that most editors are on your side. They are trying to make your book the best it can be. That is their job. Granted, some editors have a heavy hand, but is that always a bad thing? I found I learned more from the hardest teachers in school because they pushed me toward excellence. But at the same time, a light hand doesn’t mean it is a weak edit. It could mean that your writing was exactly suited for this story or topic. There is no one-size-fits-all in the editing process.

Sometimes while editing I can read for dozens of pages without making a mark because I can become so engrossed by the story I forget to edit. That is instructive in and of itself.

Acceptance: Time to Write Another One

When you are finally over your angry snit and have stopped wallowing in your negative self-talk and you have communicated with your agent and your editor…it is time to accept that there is no more tinkering or fixing to be done on your manuscript.

And yes, there are times where you might still like your original more than the final edited version, but accept that it may actually be better because of the editing process.

That is the best place for a writer to be. To be done and the project on its way to your readers. One author loves to say “I hate to write but I love to have written.”

Your turn

Have you ever been mad about an edit you have received?

How often do you let critical comments about your writing make you depressed?

Related posts:

1. The Editorial Process
2. Never Burn a Bridge
3. The Slush Pile: Enter at Your Own Risk

It is important to understand the process through which a book takes under the umbrella called “The Edit.” I meet many first timers who think it is just a one-time pass over their words and that is all that will ever happen. And many who self-publish think that hiring a high school English teacher to check for grammar is enough of an edit.

There are four major stages to the Editorial Process. Unfortunately they are called by various names depending on which publisher you are working with, which can create confusion. I will try to list the various terms but keep them under the four categories.

Rewrites / Revisions/Substantive Edit

These can happen multiple times. You could get input from your agent or an editor who suggests you rewrite or revise those sample chapters of the full manuscript. Last year I suggested that one of my non-fiction clients cut the book in half and change its focus. We sold this first time author. But the writer had to do a lot of work to get it ready for the proposal stage.

There are some publishers that will do this stage after a book has already been contracted because they saw the potential in the proposal. And note that this stage isn’t always necessary. It all depends on the quality of that final draft you turned in to your publisher. Few get it perfect the first time.

Line Edit / Substantive Edit/Content Edit

Already you can see a descriptive term repeated. This stage is where the editor, usually a senior editor, or an editor is hired by the publisher to look at the book closely. This stage can morph into a rewrite (see above) if there are substantive changes. In some ways it is like a mechanic pulling apart an engine and inspecting the parts, and then putting it all back together again.

Sometimes this stage is very light sometimes it can feel heavy handed. Neither is wrong. Trust the editor to have the desire to make your book better.

Remember that this stage can be a form of negotiation. Ultimately it is your name on the finished book. An editor should not dictate but should facilitate. It is ultimately a partnership. And if you find that perfect partner…do what you can to work with them over and over. But also do not blind yourself into thinking that you are always right.

Copyedit

This can be done in-house or with a freelancer. One friend of mine calls this stage “The Grammar Police.” The copyeditor’s job is to check grammar, punctuation, spelling, and consistency. If your book has unusual spellings (like characters with Czechoslovakian names) consider creating a separate document called a style sheet which should be submitted with your manuscript so the copyeditor will know you meant to spell a word that way. Consistency is the key.

This edit takes a special skill. The editor is technically not reading for content. They are looking at each word for accuracy in communication.

It can be a stage fraught with humor. Like the time a copy editor changed the phrase “woulda, coulda, shoulda” to “would have, could have, should have” because the first was grammatically incorrect.

Unfortunately this stage can also be fraught with danger if the copyeditor suddenly takes the role of substantive editor, after that stage has already passed. I’ve heard stories of character names being changed, entire scenes rewritten, etc. If you have trouble at this stage, appeal to your senior (or acquisitions) editor and see if the changes had been approved before being sent to you.

Again, remember that this can be a place for negotiation. But if you are breaking the rules of grammar or spelling be prepared to defend yourself. But please, “Never Burn a Bridge.”

Proofreading

If the line editor is looking at the paragraph for content, and the copy editor is looking at every word for accuracy, the proofreader is looking at every letter and punctuation mark for perfection.

Again, this takes a special skill. I once sat on a plane next to an amazing freelance proofreader. I proudly showed her an article I was writing. She found ten mistakes per page. Every one of them was my fault for being sloppy. I ate humble pie with my bag of peanuts.

This proofreader is the last protection you have before the book is tossed into the market.

Error Free Publishing!

With all these eyes on your book you are guaranteed to have a product with no typos or errors of any kind….oops…that isn’t true.

Despite every effort and a lot of smart people working on your book, an error is bound to slip through. I remember one book where we had the author, three of his students, myself, a copy editor, and two proofreaders go through a book. Eight people. The book was published and the author’s critics found a dozen errors within the first week. Sigh.

Do your publishers a favor. If you find an error? Make a note of it (page number, line number, and error) and write a quick note to the editorial department of that publisher respectfully pointing it out. A file is usually kept of every book and when it is time to reprint the book they can go in and correct the error. And in the ebook world the digital file can be corrected fairly easy.

Your Turn

Does this explanation match your experience with a Traditional Publisher?

Does your editor use “track changes” on screen or a red pen on hardcopy (like shown in today’s picture above)?

Related posts:

1. The Bestseller Code
2. Writers Learn the Waiting Game
3. Brainstorming

Some have a hard time appreciating the talent involved in writing genre fiction. By genre fiction, I mean novels that fall into a defined category such as contemporary romance, historical romance, romantic suspense, or cozy mystery. Many of these novels are published by mass market publishers (like Harlequin) and fit in lines they have formed for the sole purpose of selling the genre.

These are distinguished from Trade fiction where there isn’t necessarily a specific line that has been formed to sell a genre, although there are exceptions to that “rule” like the “Love Finds You” series from Summerside Press. In publisher’s lingo “trade” means a 5 1/2″ by 8 1/2″ trim size and is probably between 80,000 and 100,000 words in length. “Genre” or “category” fiction can mean the 4″ by 6″ trim size (also known as mass market) and between 50,000 words and 70,000 words.

Critics think genre writers churn out story after story with little variation…following a proscribed formula. And while opportunities to be published in genre fiction are more plentiful than trade simply because genre lines publish a greater number of titles (see the statistics incorporated into this blog post), editors are nevertheless highly selective. They must be, because readers are right to be demanding, and genre authors must be dedicated to the craft.

Success

To be successful with a line, stay fresh and new while following the genre’s rules. When thinking of genre fiction, I like to visualize a box that needs to be filled with a story. The rules of the box include a strict word count. If you’re writing for a genre line, be sure to stay with the word count.

Guidelines for plot are concrete. For instance, with romance, the story of the hero and heroine must take precedence over anything else. The romance cannot be overshadowed, for example, by a murder mystery, a setting becoming a character in its own right, or a subplot involving secondary characters. Because of these guidelines, readers can rely on certain types of books to provide them with the stories they expect. In an uncertain world — and the world is always an uncertain place except for God’s enduring love — seeking genre books again and again offers readers comfort along with entertainment.

Twists and Turns

Once the writer learns the rules within the box, then what? Know that editors are looking for fresh ideas within the parameters of the genres they edit. To get an idea of what might work, read books from the line you are targeting. See what themes work. Concentrate on those that capture your imagination.

Interested in history? Consider researching real events that can launch a novel. For contemporary or historical, find a unique obstacle that will confront your characters so the reader has no idea how they can overcome it, and wrap a romance or mystery around it. Then plot and write. The author who stays within the rules of the line, yet comes up with a variation or twist on a beloved theme, is likely to find success and avid readers.

Your turn:

Do you read genre fiction? What are some fresh ideas you have enjoyed seeing in recent books?

Related posts:

1. Study the Market
2. Saving the World, One Romance at a Time
3. How Many Critiques Spoil the Broth?

New information has surfaced regarding the sale of Heartsong to Harlequin.

In my post on Friday I made the assumption that the sale included all the backlist and the currently contracted titles. This was reflected in point #5 in the post.

That is not the case. Harlequin did not buy the backlist or the currently contracted titles. Those will remain the property of Barbour Publishing. Thus future repackaging opportunities remain for those titles. That also includes the Heartsong e-books that Barbour is releasing under the “Truly Yours” banner (also mentioned in #5 in that previous post).

Harlequin bought the brand name and the club mailing list, not the books themselves.

This changes some of the implications for Heartsong authors.

1) Heartsong authors are not suddenly going to become Harlequin authors by virtue of the purchase.

2) Future acquisitions for Heartsong, if there are any, will be handled by Harlequin. New Heartsong acquisitions have been completed for all of 2012.

3) Existing Love Inspired authors will be marketed to the Heartsong direct-mail club members (and vice versa). My assumption is that Harlequin is betting they can increase their Love Inspired direct-mail club membership very quickly.

Check back to see if there are further developments as more details come available.

Related posts:

1. Barbour Sells Heartsong to Harlequin
2. Perspective on the Sale of Thomas Nelson Publishers
3. Never Burn a Bridge