Questions you always wanted to ask a published author

[Teresa Edgerton]

OK, so I'm not Stephen King or J. K. Rowling, but I have been through the publishing process and, such as I am, I'm here and willing to answer any questions you might have, to the best of my ability, whether it's a technical question about manuscript format, or something more esoteric like the care and feeding of editors.

So ask. If I don't know the answer, I may know someone who does.

 

[Winters_Sorrow]

Wow!
Thanks for taking the time to do this!

And don't belittle your accomplishments!
I have many questions, but I suppose a good one for me to start with would be a two-stage one.

Do you think it's more prudent to start off your career with attempting to get a short story published and hopefully learn from the process than to think about writing novels straight off the bat?

And is it wise to use a pseudonym or not?

Sorry if these seem mundane questions rather than the earth-shatteringly insightful ones I'll no doubt later wish I'd asked first!

 

[Teresa Edgerton]

To answer your first question: it doesn't appear to be any easier to get a short story published than it is to get a first novel published. There really aren't any more venues and there are at least as many (probably more) short story writers trying to break in as there are novelists. On the other hand, I do know writers who have been very successful with short fiction who can't seem to sell a novel to save their lives.

So I think it depends in part on where you think your real strengths lie. Some people just seem to have an affinity for writing either short or long. If you truly believe that your short fiction is as good or better than your book length fiction, then I would say go with the short stories, if only because you can write more of them and therefore have a better chance of piquing some editor's interest somewhere along the way. (People have been known to get published simply by wearing an editor down with repeated excellent submissions that said editor almost bought.)

But if your book-length fiction is truly your best work, if those are the stories you can really throw yourself into, then go with that. You want editors and agents to see your best efforts, and your best efforts tend to come when you follow your passion.

To answer your second question, there are only a few reasons that I know of for using a pseudonym: Because you think that being known as a fiction writer will somehow hurt your credibility within your other profession or within your community. Because you write in more than one genre and you don't want readers to be confused about what kind of book or story they are buying. Because your publisher is one that likes authors to use "house names" that belong to the publishing house, so that the author can't up and leave the line taking all their readers with them (this happens a lot with romance authors). Because letting readers know your true gender may put them off (again this usually applies to romance authors). Because you are a midlist writer looking to make a fresh start.

If none of these apply to you, I wouldn't bother with it, because from what I hear it can be a real inconvenience.

 

[Winters_Sorrow]

Thanks for that, Kelpie!

The reason I enquired about the short story vs novel approach was that I had the opportunity to meet one of my favourite childhood authors when I was younger and he said (at the time) that most publishers are a bit put off with a brand new author trying to hock a novel at them as their first published creation! But if the idea's good enough, it'll hold it's own I'm sure (just out if interest, did you go down the short story route yourself or straight in at the deep end! )

Another question would be, is it worthwhile working through an intermediate when dealing with publishers? To use JK Rowling as an example of this, she used an "agent" of sorts to act as liaison to the publishing houses to avoid getting ripped off or tied down to lengthy contracts. I haven't ever had the guts to try and put forward any stories I dotted down (believe me, I've spared you all!! ) but a concern would be that you never know/understand what you're signing up for.

Also, when pitching to the publishers do you try and target small or large publishers? Which do you find easier to break into?

 

[Teresa Edgerton]

I never even tried to write a short story until after I'd sold my first novel. And I have to say that I know at least as many writers who have broken into print writing novels as I know writers who started out writing short stories. (Keeping in mind that all of my experience and most of my knowledge of publishing comes from the SF/Fantasy genre, although I do know some writers who have ventured into Romance and Mysteries. When it comes to mainstream, I only know the most basic basics that apply to all kinds of fiction.)

One thing that limits the markets for new short story writers is that most of the theme anthologies being published are invitation only -- which means that you either have to have credits already, or to know someone who is putting one together. Magazines on the other hand, tend to be open to unsolicited submissions. For short stories you not only don't need an agent, most agents won't even handle them, deeming the ten percent commission on these not worth their efforts.

As to whether or not you need an agent to sell a novel, that's a very difficult question to answer these days: Until you've been published, you probably don't want any agent who would have you as a client. On the other hand, it's getting harder and harder to get editors to look at unagented submissions. For one thing they're afraid of being blown to bits by bombs disguised as manuscripts, and for another they're afraid of law suits, should they ever in the future publish anything vaguely resembling a manuscript they've already rejected. I'm afraid that this trend is going to make agents so vital that their percentages may start to go up. (So with that in mind, it might be a good idea to get one if you can while they're comparatively cheap.)

However, while you aren't supposed to submit to more than one publisher at the same time, there is nothing wrong with submitting to agents while you are submitting to publishers. (And if an editor shows an interest first, you have a better chance of getting a better agent to take you on.) I definitely recommend bringing in an agent if you haven't one already, as soon as you have a contract on the table. It's not so much that a reputable publisher will cheat you, as it is that an agent will know which items are negotiable and which aren't, and also, even though an agent probably can't get you much more money the first time out, the money you get on subsequent contracts tends to be predicated on how much they gave you last time (even if your book sold really, really well) and in the long run this can make a big difference. Also, books they pay more for, they tend to promote more.

Whether or not to begin by submitting to small or large publishers depends on what your goals are. As far as I know, each way of going has its own list of headaches. And while you do have more control and more interaction with a small press publisher (and it's certainly not a bad place to hone your craft), unless you have superior marketing skills like Mark and are able to bring in far greater sales than is usual with small press or self-published authors it's not usually a stepping stone to bigger things. However, there are some smaller publishers on the rise, like Meisha Merlin -- whose books you can buy everywhere here in the US, although they are still a small house known largely for reprints -- and it will be interesting to see how many successful careers they are able to launch as their distribution increases.

All publishers, large and small, receive many, many more manuscripts than they could ever publish, and all editors have to turn down a great many stories that they really do like. Whichever way you choose to go, persistence in the face of rejection may be the one big difference between ultimate success or failure.

 

[Winters_Sorrow]

However, while you aren't supposed to submit to more than one publisher at the same time, there is nothing wrong with submitting to agents while you are submitting to publishers. (And if an editor shows an interest first, you have a better chance of getting a better agent to take you on.) I definitely recommend bringing in an agent if you haven't one already, as soon as you have a contract on the table.

Hmm - I didn't know you couldn't submit to more than 1 publisher at a time - how long are you suppose to give a publisher to get back to you? If they're too busy to read manuscripts, I imagine they're also too busy to reject them formally half the time too!

All publishers, large and small, receive many, many more manuscripts than they could ever publish, and all editors have to turn down a great many stories that they really do like. Whichever way you choose to go, persistence in the face of rejection may be the one big difference between ultimate success or failure.

Yes, It seems wise advise to write out of enjoyment and pray for success in the face of adversity!

Another question I'm afraid to say - I just saw the cover design of your novel (fab, by the way ). Is this something you had to organise yourself or, when you got accepted, they got artists etc to send their work to you to view?

 

[Teresa Edgerton]

No, it takes very little time for an editor to send out a form rejection -- or to tell an editorial assistant to do it for him/her. Ultimately, they do get back to you eventually. It can take a very long time, and while it seems unfair, you ARE supposed to wait. After six months you can write and ask if they actually received the manuscript. After about a year you can withdraw the manuscript from consideration. In the meantime you just sit there and wait. It's horrible, but that is how the business works.

Editors really, really hate wasting their time reading something that another editor is about to buy. So most of them discourage multiple submissions by the author. (Agents, on the other hand, are allowed to do this. Don't ask me why, because I don't know.) And by discourage, I mean that if they say they won't look at them and they find out that you've sent them one anyway, they won't buy the book.

But how will they know, you may ask. Well, they probably won't know, unless two of them are interested (especially in SF/Fantasy editors tend to be well acquainted with each other, and yes, they talk to each other) -- which, of course, is just when it would be particularly disadvantageous to alienate them.

As for cover art, smaller publishers may or may not involve the author in the process. Some do, some don't. Larger publishers, like HarperCollins, never give the writer cover approval, and very rarely ask for their input. If your editor is very, very nice (mine is) she may ask for some of your ideas before she conferences the cover with her colleagues. How much attention she pays to those ideas probably depends on how much they agree with her own. Anyway, all actual decisions are made by the editor and the director of the art department. They choose a basic idea and they choose a cover artist and they work with him or her. The author may get to see a sketch (as a courtesy, not because anyone is asking for an opinion), but is more likely not to see anything until the cover art is done.

Fortunately for me, this time around I was thrilled with the result. I only hope I get the same artist for book two, but there is no guarantee even of that.

 

[Teresa Edgerton]

In a nearby thread, Rune has asked if, as a published author, I took any creative writing courses to learn to write novels, and I am answering here (after noting the fact over there, so that anyone who wants to know can find my reply here).

The short answer is no. The long answer is that creative writing courses are rarely of any use to those who wish to learn to write publishable fiction -- particularly genre fiction. Such courses are usually taught by people who have little or no respect for any fiction that isn't intensely literary and "mainstream," and to be brutally honest, they are usually taught by people who can't get their own fiction published anywhere but "pays in copies" venues.

I have, on the other hand, attended a few day-long workshops taught by authors in my chosen field of SF/Fantasy. One that I remember was by Chelsea Quinn Yarbro, and another (which was absolutely wonderful) by Tad Williams. If you ever get a chance to hear Tad Williams speak on any subject do it! He's knowledgable, informative, and entertaining at the same time.

Mainly, though, going by my own experience and that of most of the other writers I know, the best way to learn to write is to read, read, read, (then read some more), do a tremendous amount of writing on your own (some things, apparently, can only be truly learned and absorbed by a process of trial and error), and then, if at all possible, join a good critique group.

Books about writing can be very helpful, but only after you've produced a mountain of (generally pretty dismal) writing by way of the trial and error method, and learned enough to appreciate and apply good advice when you get it.

 

[rune]

I use to write for fun and was part of an on-line writing critique group. I've never felt I was at the level of being published, and also felt that a good creative writing cause might help me structure a bit better.

Even though I wrote most as a hobby, I would also say I would like to do it well . Personal pride coming through here

 

[Teresa Edgerton]

If you feel you could use help in the area of plot structure, rune, that's one thing that books on writing often explain very well.

Somewhere or the other, I have some interesting notes on plot structure and development, which I suppose I could unearth if anyone is interested.

 

[Gremlin]

When you got the first book published how was your publisher with creative changes, if any? On the same notion, did they provide a general direction, or a list of criteria they wanted to see in the sequels? How much of your creativity has been pushed aside for the publishers needs to sell books?

I've googled this next question, but no answer as of yet. What is the pay for a first time novelist? I am in no way asking of your compensation, but a generalized answer. Is it more akin to a down payment for a car or a home, or am I way off on both?

Thank you for this opportunity. It is wonderful to speak freely with a published author.

 

[Teresa Edgerton]

My first editor (she left the company fairly early in the publishing process) line-edited a couple of chapters and said, "This is how it's done. Now you do the rest yourself." It was a good way to learn. Then, when another editor came in on the project after the first one left, of course she had her own ideas, but wherever she saw a problem, with pacing or whatever, she just pointed it out and left it to me to come up with a creative solution. Most of the editing, though, was done by the copy-editor, who was mainly concerned with keeping punctuation, spelling, capitalization, etc. consistent with the house style.

As for sequels to The Hidden Stars, I've been given no suggestions to date, so I assume HarperCollins expects me to stick fairly close to the original outline I gave them.

To a certain extent, I think it depends on the editor and the house: some are more hands-on than others. At the big houses they usually don't have as much time to collaborate with you, so they won't buy if they think the manuscript needs a lot of work.

Compensation: think of the advance as more likely to come in four figures rather than five for a first-time author. That's just the advance against royalties, however. If the book makes more than expected, then the writer is rewarded accordingly. If the book makes less, the writer still gets to keep the whole advance. As I understand it, most of the time the advance is all the writer will ever see.

 

[Alia]

Kelpie,
Do you have an agent to start out with? If you did and do, how did you go about trying to find one?
Thanks

 

[Teresa Edgerton]

Alia, I had an offer on the table before I had an agent -- which naturally made finding an agent who was willing to take me on a whole lot easier.

From what I hear, it's getting more and more difficult to get publishers to look at an unagented submission -- and it's also getting harder to get an agent. Aside from sending out query letters and/or sample chapters, the only other way I know of to make contact with an agent is to meet one at a writers conference (generally rather expensive, but they do go to these things for the purpose of discovering authors) or (for SF and Fantasy) at a convention (a lot less likely, but cheaper and more fun).

Making professional contacts is becoming more and more important, and for that conventions, classes, and writers groups can be very useful for building up a network over a period of time.

 

[Alia]

I had an offer on the table before I had an agent -- which naturally made finding an agent who was willing to take me on a whole lot easier.

How did you go about with copyright laws concerning your work? Did you set copyrights in place before you submitted your book to the publishers or does a publisher do this for you after they offer you a contract?

 

[Teresa Edgerton]

Yes, publishers usually handle all that for you.

I know that lots of people worry that some publishing company will steal their book if they don't get copyright protection before submitting, but it's really not an issue. Any reputable publisher has hundreds of writers willing to sell them perfectly good manuscripts for very little money, so they hardly need to resort to theft to fill up their lists. And if a book looks to be extraordinarily promising ... well, it stands to reason they'd like to have the author under contract for several more.

 

[scalem X]

What's your opinion on translations?
When should a book be translated and in what language would you like your book to be translated (first)? (French, Japanese, Dutch, German, Chinese, esperanto lolz)
Would you keep a close eye on the translation or just sit back knowing that a perfect translation won't be possible? Or does a writer in general has no voice and are all decisions concerning translations just taken by the editor?

Sry to ask so many questions at once .

 

[Teresa Edgerton]

As a reader, I have mixed feelings about translations. So many of them that I've read have come across as so flat and boring I imagine that the originals must have been much better. On the other hand, without translations I would never have been able to read great stories like The Three Musketeers or The Count of Monte Cristo -- and I'm all for translations of non-fiction sources that I use for research.

As a writer, I have no say in the matter. Naturally I would like to see my stories made available to as many people in as many places as possible, but I do have some reservations about putting my beloved characters into the hands of a translator. A clumsy translation could make me look clumsy. (Although, I suppose, a great translation could make me look better than I am.) But even if I had any input what could I say or do? No matter how bad the translator was, how would I know? Languages have subtlties and nuances and idioms you can't pick up in foreign language dictionaries.

But assuming excellent and brilliant translations -- I would love to see my writing translated into every language!

So far no translations of The Hidden Stars are in the works. I've actually been approached by a few people from tiny companies in small countries, but nothing came of it -- my agent and my publisher can't even seem to agree on who has the rights, and the money involved is apparently so miniscule they can't be bothered to clear up the question and follow through. Depressing, because it's not so trivial a matter to me.

I guess I would say, for preference, German or French or some other language that would represent enough readers that either my agent or the sub-rights people at HarperCollins would pay more attention.

 

[genisis2]

Kelpie I have no questions that need answering. Ild rather say thank you for taking the time out posting this thread. Its been enlightening and a delightful read. Good luck with your book!

 

[Patrick Mahon]

Kelpie,

Over in the aspiring writers/workshop thread elsewhere on the site, you replied to a post of mine with a very interesting answer, that finished off with:

[Kelpie, 16/3/06:] "But if you are asking me, what does a person have to do, for the love of heaven, to go from amateur to professional (if your definition of professional means getting a contract from a major publishing house) -- well then, obviously, I do have some experiences to share. This thread may not be the best place to do that, however. Ask me again in my own sub-forum, and I'll be glad to hold forth at great length."

(Sorry - not sussed out how to quote from one thread to another, so I hope the above cuts and pastes OK.)

I'd be interested to extend this discussion here, as suggested, if that's OK. On reflection, I think what I was trying to ask, but didn't, last time round was "What do you see as the feature or features that tend to distinguish professional authors, such as yourself, from those who are not (yet?) professionals?"

The first and most obvious is, of course, the matter of the publishing contract! But what I'd really like your take on is what you feel are the key things about the way you've gone about your writing career that has led to it being a career, rather than just a hobby?

Many thanks in advance.