Jump to content

Disclaimer



Amy Trueblood's Blog



Photo

NAVIGATING PUBLISHING: BREAKING YOUR BRAND

  Posted by Amy Trueblood , 07 June 2019 · 55 views

 

 

 

 

I spent time recently with a good author friend, and as always, the conversation turned to the ups and downs of publishing. One of the topics that came up was the need to build an author “brand”. We talked about what makes your individual writing unique and how we hope when readers see our names on the cover of books they know what they’re getting.

But here’s the funny thing about this conversation, it wasn’t about being known as a “contemporary” writer or a “historical” writer – it was being known as someone who delivered on a simple theme or premise. The idea that when a reader picks up one of our books they’ll get an honest story about someone struggling with identity or pushing back against societal boundaries.

Our discussion soon turned to authors we admired. The names that came up were ones who weren’t tethered to a brand. They were successful at writing in many different genres: historical fantasy, contemporary, dystopian, dark fantasy.

Ever since that day, the conversation has stayed with me. It had me thinking long and hard about what kind of writer I want to be. Some might say that because I’ll soon have two books on the shelves that are YA Historical that will default to my “brand”. But honestly, that feels suffocating. Not all the ideas brewing in my head are historical. I just finished a first draft of a YA Contemporary. The manuscript currently outlined on my laptop is dark YA Fantasy. I worked in marketing for ten years and understand how important it is to build a brand, but who’s to say a brand can’t have wings?

When you look at the long game of publishing you have to think about what inspires you. What story keeps you up at night. What idea digs deep into your head and begs you to put it on paper. In the past I’d heard stories of people not selling their option books because the publisher felt like it didn’t fit their “brand”. Or if they wanted to sell the book, they had to come up with a pen name because the content would attract a different kind of reader. And while it’s true you can’t use the same name to write picture books and erotica, I think the doors are opening wider now for authors to use their own name to write in a variety of categories and genres.

In Middle Grade, I see authors writing contemporary and then moving on to fantasy. In YA, someone may have a contemporary debut but their next book is a thriller. As writers I think it’s on us to be open to “breaking our brand”. To explore new genres. To tackle ideas that may be outside what readers expect from us.

Writing historical will always be a part of my body of work, but I don’t believe it has to define me as an author. The truth is I’ve become better at my craft because I’ve tackled stories in different genres. On my laptop right now I have an adult book written in third-person past and another YA Contemporary written in alternating male and female POV. I don’t know if either one will ever be published, but I feel like a stronger writer because I pushed past my comfort zone.

I hope to still be publishing twenty years from now. In the coming years I want to be able to write anything that inspires me. Not toss away a story idea because it doesn’t fit within the mold of what readers expect from me. My hope is that if my writing is strong enough readers will follow me not because of my brand but because of the story I deliver.

What about you? Are you open to breaking your brand? What genres inspire you and make you want to move out of your comfort zone?

 

 



Source


Photo

Navigating Publishing: What About Swag?

  Posted by Amy Trueblood , 13 May 2019 · 66 views

 

 

 

There are many things to juggle when you are a debut author – final edits, copy edits, pass pages, social media presence, online promotion (blog tours, Instagram tours), pre-order campaign. The list can sometimes feel like it goes on and on. In addition to all this piling up, there’s also a decision to be made about promotional items.

When I started to think about promotional items aka “swag”, I looked at what previous debuts had created for their own pre-launch campaigns. It seemed like the typical swag items produced were: bookmarks, postcards, and bookplates. Some other debuts had gone further creating custom enamel pins and/or commissioning character art.

After doing some research, I decided I wanted to do the traditional items, as well as have an illustrator create images of my two main characters. These I would turn into stickers. One other thing I chose to do was create canvas tote bags (with my cover design) to use as a giveaway.

Looking back now over a year later, I’ve learned my lesson about swag. It’s really easy to think you’re going to use every item to promote your book, but I found that while certain pieces of swag were useful, others were a waste of money.

To be fully transparent, below I’ve shared what I spent on promotional items for my debut. In the paragraph following, I’ve shared what promo items I thought were worth the money, and others that were not.

Design Costs

Bookmarks, Bookplates, Postcards: $145

Illustration/Commission Fees: $100

(fee included all license and usage rights)

Total Design Costs: $245

Printing

Bookmarks: 4-color/double-sided (1,000): $58.50

Bookplates: 4-color/double-sided  (1,000): $66.25

Postcards: 4-color/double-sided (100): $39.88

Character stickers – 4 color (200): $117.50

Canvas Tote Bags – 4 color (3): $35.52

Total Print Costs: $317.65

 

Here is what my final printed swag looked like (minus the postcards and tote bag):

 

 

The two best things I spent my money on was bookmarks and postcards. Bookmarks went fast at conferences, festivals, and school visits. A lot of people think postcards are not worth the money, but I sent them to every middle school and high school librarian within a 25 mile radius of where I lived. I also sent to the youth/teen librarians at every public library in the metro Phoenix area. These postcards resulted in several school visits, as well as public library events. They were definitely worth the money if only for the connections they helped me make.

One item I regretted spending money on was bookplates. Besides my pre-order campaign, I never used them. There are about 750 still sitting in a box in my closet. As for my character stickers, they were expensive to print but were very popular at festivals and school visits, especially with teen readers. I would also not spend money again on the tote bags. While they were fun to hand out to raffle winners at events, and as online giveaways, that money could have been better spent in other areas.

One quick tip if you’re hiring a designer to create your swag. Ask that they make two templates for you. One with pre-release details (ISBN number, on sale date, etc.), and then another one for after your release. I didn’t do this and ended up paying an additional design fee to have my release date removed from my bookmark and postcard designs. Also, order fewer quantity than what you think you’ll need. It’s better to run out and have to reorder then to over order and never use.

Navigating your debut year can be stressful. Take your time to really think about what swag items will help best promote your book. Others around you may be going all out, but only create what you think is best for your own promotion and marketing plan.

Please feel free to leave questions in comments.

 



Source


Photo

Navigating Publishing: Anatomy of a Cover

  Posted by Amy Trueblood , 15 April 2019 · 97 views

 

 

The process of cover design is yet one more thing that seems hidden behind the publishing curtain. We see “subtweets” from writers about the process. Get hints on social media that a reveal will be coming soon. Then, maybe days or weeks later, the cover is shared on a publisher’s website, on an online entertainment site like Hypable or Bustle, or even an author’s blog. But what really happens before then? How much say does a writer have when it comes to their cover? What part do they have in the process?

In today’s Navigating Publishing post, I’m walking through the stages of my cover design experience with Across a Broken Shore with permission from my publisher, Flux. I hope that by sharing these details you’ll get better insight as to how the process works.

Now, let me say first that this is my own personal experience. Other authors, with deals with other publishers, most likely have a completely different experience. Each publisher has its own plan when it comes to covers. It’s important to keep that in mind as you continue to read.

Whenever I think about the cover design process I get a little queasy. It’s hard sometimes for a writer to verbalize what they see in their head. How they know one specific image will be the perfect fit for their cover. I also have one statement that drones in my head over and over, “In Young Adult, covers sell books”. I heard this a few years ago from a long-time bookseller, and I think it is true. Often times the wrong design can hurt book sales. I know for a fact this keeps many of us writers up at night.

I’ve been lucky. The amazing people at Flux have been very open to my input. In the first step of the process, the editors asked me to provide examples of book covers I admired and specific elements I wanted included. In the case of Nothing But Sky, I requested that a propeller be incorporated into the design. With Across a Broken Shore, I was pretty adamant that the Golden Gate Bridge be featured in some way.

In the case of AABS, I sent a half-dozen attachments to Flux which included covers I liked, period-specific clothing styles, and images that resembled my main character. Once my editor reviewed my email, she asked more specific details about tone and setting elements.

Once all the details were pinned down, I waited for several weeks until my editor sent me the following designs created by the talented Sarah Taplin:

 

CONCEPT 1

 

CONCEPT 2

 

Both of these concepts rendered me speechless. Each did an amazing job of capturing elements of the story I loved (the bridge & medicine). Numerous emails were swapped as those involved (editors & designer) chatted at length about the merits of each design. After much discussion it was decided that while we loved both designs, “Concept 1” captured the heart and setting of the story best.

With the design selected, the next focus needed to be on historical detail. I sent an email to my editor with more attachments this time. They included several examples of what 1930s dresses looked like (thanks to catalog and sewing pattern images from the time), the accurate length of the hem, and the importance of including a period-accurate doctor’s bag. Once all these elements were conveyed, another concept was sent to me a few days later.

 

Concept 1 (Revision #1)

 

At this point, even though the featured image is locked down, there are still small tweaks needed. While the doctor’s bag is now period-accurate, and the dress material is correct, the belt and hem length need adjustment. One other thing the designer has changed is my name at the top. The conversion to a bright red color now pops from the muted background.

Based on this minor feedback, I was sent the following design which ended up being the final approved image.

 

Final Approved Cover

 

While I am beyond thrilled with the final design for Across a Broken Shore, it did not come without some work. It takes thought and A LOT of patience to get through the cover design process. What you have to keep in mind is that a cover needs to jive with what the editor, publisher, and marketing department feels is right for your book. The truth is that often times this requires many emails and compromise on both sides.

Do you have questions about the cover design process? Feel free to ask them in the comments below.

 

 



Source


Photo

Witty, Wonderful Podcast Wednesday: April 10, 2019

  Posted by Amy Trueblood , 10 April 2019 · 91 views

 

 

Hello readers! When I first started this blog back in 2012 I had two main goals: share the ups and downs of my writing journey and shine a light on people who were doing great things in the book/publishing community.

Over the years this blog has evolved and morphed into many things. I’ve had varying features, series, and posts which aimed to help writers at every level. As things have changed, so have aspects of publishing. One of the fastest growing platforms I’ve seen over the past two years is the skyrocketing development of podcasts.

When I first discovered podcasts there were just a handful that were talking about writing and publishing. Now, there are dozens that tackle craft, as well as the business of publishing. I have to admit I’m sort of hooked now because each week I find myself intrigued and/or motivated by a topic that teaches me something new in regards to the reading, writing, or publishing worlds.

Because I find so many of these shows worthwhile, I decided I wanted to use this platform to boost my weekly discoveries and thus Witty, Wonderful Podcast Wednesday was born!

Today’s inaugural offering is from the AMAZING Literaticast hosted by literary agent, Jennifer Laughran of the Andrea Brown Literary Agency.

In the latest Literaticast episode, Laughran talks to Newbery Medal winner, Meg Medina about her writing career and how she creates a diverse and interesting cast of characters. Medina also discusses the way she builds an intriguing contemporary world in all her books. Her comments on coming to writing later in life and her bravery in tackling difficult subjects is truly awe-inspiring.

Here is the link to the podcast titled: Meg Medina Changes Gears.  Hope you enjoy!

 

Side note: Most of the individuals hosting podcasts provide content with little or no funding. If you enjoy what you hear, and have the means, please consider contributing to the host’s funding sites to help support the good work they’re doing. Thank you! 

 

 

 

 



Source


Photo

The Problem with Perfection and Publishing

  Posted by Amy Trueblood , 09 April 2019 · 74 views

 

 

I think I’ve deleted and rewritten this post at least five times now. This has been a difficult piece for me to write so I hope you’ll bear with me.

For the last two weeks I’ve been in a deep, dark place. I’m really not sure what brought it on but it could be a combination of things: two tragic and untimely deaths in my life, the worry of having a second book on the way, the pressure of being a “Type A” personality in a business that follows no rules. If I’m honest, I’m pretty sure it is a mixture of all these elements that’s kept me from sleeping these past two weeks.

Sleep deprivation causes havoc on all parts of the body including the creative mind. Lately, the thought of sitting down at the computer has filled me with terror just as much as the idea of putting my head on the pillow. What if I could never sleep again was scrambled right in with what if I never write another story.

Both these thoughts have kept me up late into the morning and pretty much ruined any real semblance of life. It’s been a tough road, but I’m slowly clawing my way back. How have I done it? First, I talked over my worries and fears with family and friends and then I asked for help. Second, I came to this truth: NOTHING IN PUBLISHING IS WITHIN MY CONTROL.

This is a very scary thought for a total control freak like me. What’s even harder for a perfectionist is the thought of constant rejection-which I’ve had a lot of recently.

Here’s where I get totally transparent because I think writers at every level come up against these kinds of walls, but many are too embarrassed or uncomfortable to admit it publicly.

The truth is I’ve been without representation for almost two years. In that time, I’ve queried about twenty agents with two new books. One is a YA Contemporary and the other is an Adult Contemporary Romance. In both cases, I’ve received full requests but unfortunately no offers. For someone once agented, this is a bitter pill to swallow.

Now here’s the kicker (and I’m keeping it real here) many of the agents I queried knew I already had an offer on the table for my next book. They could have agreed to rep me for that book and take on whatever I was writing next. One would think I’d get some automatic offers, right? Bird in the hand and all. Sadly, no offers came. I can’t explain it away except to allow my head to go to a dark place. Maybe my writing sucks. Maybe I’ll never get another agent. Maybe I’m only a “two-book” girl.

It’s really easy to fall down this rabbit hole. To think your past books were total flukes. That somehow you pulled a “fast one” on your publisher and they just “thought”you were a good writer.

With clarity and time I’ve come to realize NONE of this is true. What is wrong is my idea of perfection. For all my claims of not wanting to compare myself to other writers’ careers, I’ve done exactly that. I’ve been chasing an unrealistic picture of success, and that picture has turned into a monster with nasty, sharp teeth.

Publishing is a fickle friend. Sometimes it lays a golden path in front of you with beautiful offers and accolades. Other times, it’s an unforgiving beast that knocks you down at every turn. You see none of this when you start out. You write that first book with stars in your eyes and a dream in your heart. This is a wonderful place to be. Hope is eternal and the sky’s the limit. Unfortunately, as you dig deeper into the business things get a little rocky. But here’s the truth, and I know it’s corny, but you don’t get the damn rainbow without the rain.

Ask anyone in this business about their path and MANY will tell you their horror stories. If you get in deep enough, you learn about people who are on their third agent and have had four books on sub with no deals. People will share that they’ve queried five books and still don’t have an agent. Critics and pessimists may say this is because those writers don’t have talent or the right story. I call b.s. Those people grinding and hustling every day are the ones who will be successful. Right now they’re just at the mercy of the beast called publishing.

I’ve been writing for close to ten years now. You would’ve thought I’d  learned all these lessons sooner, but we all have our own timing in figuring things out. That’s okay. What I want to share is that publishing is a rough business. Some may not have the wherewithal to stand the dark days and the frequent rejection. But for those who do, I hope you’ll learn from my story.

Everything in publishing will not be sunshine and roses. Most days it will feel like an uphill battle. The key, at least for me, is to remember why I’m putting myself through this meat grinder. The answer is story.

Right now in the “Notes” file on my phone I have four concepts I’d like share with readers one day. As I learned of late, maybe those stories won’t make it that far. Does that mean I stop? Probably not. Every time I try to walk away the stories dig in deep and drag me back.

While it’s true publishing is a tough world, what I’ve learned in my struggle is that first and foremost I write stories for me. If I’m lucky enough to connect with an agent again and sell another book then that’s icing on the cake. Again, tough lesson to learn but it’s the truth.

Writing in its most base form is about spilling out your creative well. It’s not about perfection, advances, royalties, signings, or awards. It only took me ten years to figure this out. For you, writing friend, I hope you discover this truth sooner. Once you do, all the rejection in the world won’t matter because you’ll still have the most important thing: your story. Hold onto it tightly because in the end it’s really what matters most.

 

 

 

 



Source


Photo

It’s here!! Cover reveal for Across a Broken Shore

  Posted by Amy Trueblood , 03 April 2019 · 47 views

 

One of the hardest things in publishing is having to wait. Often times when you get good news you have to stay quiet until the announcement goes live before you can crow from the rooftops. The same thing holds true for when you get a final cover design for a book. You want to share it with the world as soon as possible, but often you have to wait until the perfect time to reveal.

Well today, I have to wait no more! I’m so excited to share that Hypable has released the cover for my next YA Historical, Across A Broken Shore along with a first chapter excerpt.

In an upcoming post in my Navigating Publishing series, I’m going to talk about the cover process and reveal what it takes to get to the final design. For now, I hope you’ll celebrate this happy day with me and head over to Hypable to see the cover and read the chapter excerpt! Sarah Taplin at Flux did an amazing job of capturing the look and feel of this book, and I couldn’t be more excited to share it with the world today!

Here’s a little sneak peek of the cover…

 

 

If you’re interested in reading, I hope you’ll add to your TBR on Goodreads! Pre-order links are now up on Amazon, Barnes & Noble, Indiebound and Book Depository!

 

 

 

 



Source


Photo

FIRST FIVE FRENZY with Amy Stapp of Wolfson Literary

  Posted by Amy Trueblood , 29 March 2019 · 47 views

 

 

 

Writing the opening chapter of a book can be a struggle, especially penning those critical first pages. There are always questions about where to start, what you should include to have the most impact, and more importantly, how to get the reader to turn the page.

The First Five Frenzy is all about getting an agent’s perspective on what works, and what fails, in those first few pages of a manuscript. It’s tricky to get the right balance, but I hope by reading each agent’s comments you’ll learn how to make your manuscript a shining gem that’s requested over and over.

Today I’m proud to share Amy Stapp’s perspective on what’s important in those first five pages.

 

Amy T.: Many writers have the impression that a great first line is imperative to drawing in the reader. How important is a first line to you as an agent?

Amy S.: It’s important, but maybe let’s say a great first paragraph is more important than just a punchy first sentence. You can tell pretty quickly whether a character is speaking, a character I’d love to get to know better, a character in the middle of some intriguing moment in her life, or whether the author is speaking, perhaps even trying just a bit too hard to make that first sentence a bomb-drop moment. Think about it this way: When you’re home on a lazy night in, flipping through shows on Netflix, you’re only given one sentence telling you what a show is about, and then if that hook is enough to catch your attention, you maybe have a thirty second trailer to decide if you want to spend the next hour or two of your life with these characters. Query letters and first pages are no different; this is our first impression of your work.

 

Amy T.: A lot of books open with common things like dreams, eating breakfast, riding in a car, starting at a new school, etc. What are some openings you recommend writers stay away from?

Amy S.: Oh yes, I see these a lot. Dreams and flashbacks are rarely the best way to tell the story, but the one that irks me personally is when the protagonist breaks the fourth wall and acts like we’re already besties or like they’re a 19thcentury grandpa about to tell me a tale. Ha! “I remember it well… It all started when…” Writers sometimes feel the need to give a big preamble about how they’re about to tell us what happened instead of just fully immersing us in the world without any big setup. Trust your reader to pick up on your subtle clues without the need for a flashback or overly voicey narrator.

 

Amy T.: When you’ve responded to a writer to request a partial or full manuscript, what was it about their first pages that piqued your interest?

Amy S.: Often, it’s the hook. If I see a hook that reminds me of something I loved, or on the flip side just feels totally fresh and unique, I’m dying to read more. And you can tell very, very quickly whether someone can write. Don’t let that discourage you though; it’s called craft because it’s something that can be learned, studied, improved; so if you’re not getting a lot of responses from agents, maybe put that manuscript aside for a few months and work on a new project, or find some critique partners who will help you see where you can sharpen your manuscript. The biggest mistake I see is people simply submitting their work before it’s ready. A lot of writers finish a manuscript and immediately submit it to agents. The real professionals who have multiple ideas in the back of their minds and long careers ahead of them, take the time to look at their work with a critical eye, to work with critique partners and writing groups on multiple rounds of revisions, to get to know what specific agents are really looking for. There is zero need to rush to get your manuscript out the door before it’s ready.

 

Amy T.: What resonates with you most in those first pages? Voice? Pacing? Unique concept?

Amy S.: Yes. 😊All of those things. Sometimes I can just tell immediately I’m going to like this character, the way you just know when a first date is really going well and you’re both going to want a second. Sometimes the writing isn’t necessarily blowing me away, but the hook is so unique, or just really hits a wishlist/catnip item for me (another reason to do your research before querying), that I can’t help but turn the pages. In the best queries, you’ve already finished the sample pages before you even realize it and can’t believe you sped through them so quickly, so you just have to ask to see more.

 

Amy T.: What is one piece of advice you’d like to give writers about their opening pages?

Amy S.: Unfortunately, if you haven’t hooked me, you’re not going to hook a reader either. Readers skimming the shelves at Barnes & Noble are much less forgiving. So if you know this is a genre I love or a trope I’ve said I’m looking for, and I don’t ask to read more pages, don’t take it personally. Take it as a cue that maybe you just need to workshop this a bit more to find out what’s not clicking with readers.

Read everything you possibly can in the genre you want to publish in, and think about these books critically—what worked well and what didn’t quite resonate with you. If you pick up a new book and already in the first chapter you keep getting distracted by your phone pinging messages, what would have kept you engrossed?

At the end of the day, we’re all just book nerds, so don’t stress too much. The same things that make you fall in love with a great book are going to make readers (and agents and editors) fall in love with your book.

 

Amy Stapp received her BA from Samford University and MA from Georgia State University before beginning her publishing career at Macmillan, where she was an editor for seven years and had the privilege of working with many New York Times bestselling authors. Amy joined Wolfson Literary in 2018 and is actively building her list, with interest in women’s fiction, mystery, suspense, historical fiction, young adult, and select nonfiction.  She is particularly drawn to well-paced prose, immersive settings, and smart, multidimensional characters.

If you are interested in querying Amy, please follow the Wolfson Literary submission guidelines.

 



Source


Photo

FIRST FIVE FRENZY with Elizabeth Bewley of Sterling Lord Literistic

  Posted by Amy Trueblood , 01 March 2019 · 40 views

 

 

Writing the opening chapter of a book can be a struggle, especially penning those critical first pages. There are always questions about where to start, what you should include to have the most impact, and more importantly, how to get the reader to turn the page.

The First Five Frenzy is all about getting an agent’s perspective on what works, and what fails, in those first few pages of a manuscript. It’s tricky to get the right balance, but I hope by reading each agent’s comments you’ll learn how to make your manuscript a shining gem that’s requested over and over.

Today, I’m proud to share Elizabeth Bewley’s perspective on what’s important in those first five pages.

 

Amy: Many writers have the impression that a great first line is imperative to drawing in the reader. How important is a first line to you as an agent?

Elizabeth: I do love a great first line! But, as an agent, I’m most interested in reading a really strong opening chapter. So, I guess I give writers a little more time to convince me to stick around.

 

Amy: A lot of books open with common things like dreams, eating breakfast, riding in a car, starting at a new school, etc. What are some openings you recommend writers stay away from?

Elizabeth: As a reader, an editor, and now as an agent, I’ve learned to never say never. A brilliant writer can open a book in whatever way he or she wishes. That said, I oftentimes feel slightly bored by opening scenes that depict a protagonist’s normal routine, especially if there’s nothing unusual happening or if the telling of the scene is very straightforward. For example, I don’t necessarily need to see a middle-grade character picking out clothes and eating breakfast before the first day at a new school. The minute the character walks into a classroom and meets his or her new peers—that’s probably when the real drama begins, so why not start the book there? I’m a fan of in media res.

 

Amy: When you’ve responded to a writer to request a partial or full manuscript, what was it about their first pages that piqued your interest?

Elizabeth: I either really connect to the narrative voice or see something unusual or interesting in the premise of the story. Ideally, it’s both!

 

Amy: What resonates with you most in those first pages? Voice? Pacing? Unique concept?

Elizabeth: All of the above. But, it’s usually a strong, specific voice that gets me most excited.

 

Amy: What is one piece of advice you’d like to give writers about their opening pages?

Elizabeth: Don’t bury your lead by saving a genius scene or excellent series of dialogue for a later chapter. Let those gems shine in the very beginning of your novel, so that readers will know that this book—your book—is one that they can get excited about.

 

Elizabeth Bewley of Sterling Lord Literistic in New York represents young adult and middle grade fiction and nonfiction, as well as a select number of adult fiction and nonfiction works. After graduating from Northwestern University in 2002, Elizabeth got her first job as an editorial assistant at St. Martin’s Press. She then went on to hold editorial jobs at HarperCollins, Intervisual Books, Little, Brown Books for Young Readers, and Houghton Mifflin Harcourt Books for Young Readers, where she was an Executive Editor. Elizabeth has worked with bestselling and award-winning authors including Jennifer E. Smith, Estelle Laure, Claire LaZebnik, Linda Williams Jackson, Ashley Herring Blake, Sophie Flack, Kass Morgan, Josh Sundquist, Alyson Noël, and Nic Sheff, amongst others. She joined Sterling Lord Literistic in 2017, and she has an affinity for upmarket commercial fiction and accessible nonfiction that illuminates real world issues.  She enjoys working closely with authors on each and every stage of the publication process. You can follow Elizabeth on twitter @elizbewley and visit the agency’s website at www.sll.com.

 



Source


Photo

NAVIGATING PUBLISHING: How to Tackle “The Call”

  Posted by Amy Trueblood , 25 February 2019 · 38 views

 

 

Up to this point in my Navigating Publishing series I’ve talked about all the important elements of querying. Now it’s time to chat about the next step. The exciting step. The step you’ve most likely been working on for a long time: “The Call”.

While this is an exciting time, I encourage you to take a breath. Give yourself a moment to collect your thoughts. First, unless specified, this call may not be an offer. There have been times when agents will contact an author to discuss the overall manuscript and offer a Revise and Resubmit (R&R). I’m sharing this information not to bum you out, but to encourage you to be ready for anything when it comes to that phone conversation.

Okay, so what if it is “The Call”?

Yes, *high five*.

This is the moment you’ve been working toward. You’re in the driver’s seat now. If the agent offers representation, it means they want to work with you. That they think they can sell your work. Once you agree to a partnership, you’ll be allowing them to navigate and negotiate your career going forward.

So, what comes next? Your job is to develop a lengthy list of questions. Each one should give you specific insight into how the agent approaches selling your work and how they will work with other entities within publishing. The questions presented here are culled from several places: my own experiences, agent blog posts, specific agent feedback, and comments from other authors. To make it easier to digest, I’ve broken the questions down into categories.

 

Agent Experience/Background

How long has the agent worked in publishing?

If they worked somewhere else, what was their previous job?

What is their sales record?

How many clients do they currently represent?

What does their agency agreement look like?

Is there a specific timeline for parting ways? 30 days? 90 days?

If they don’t sell your book, can you immediately walk away without any continuing binding agreement on future projects? Make sure you’re not agreeing to a deal where they have rights to every idea you have pitched and/or proposed.

NOTE: An agency’s commission is 15%. No money should ever come out of your pocket until the agent sells your book. 

 

Communication Style

How do they like to communicate? Phone only? Email only? A combo of both?

What is their normal turnaround time to respond to emails?

When you provide new materials, how long does it take them to read?

How open are they to having regular conversations? Do they only want to check-in when they have news, or do they want to keep in contact in regards to what you are currently writing?

Truth: When discussing the kind of issues they have with their agent, lack of communication is the biggest complaint I’ve heard from writing friends. Make it clear upfront what your expectation is regarding communication. Things get busy. Agents have a lot on their plate. This does not mean you should go weeks, even months, without hearing from an agent if you’ve reached out to them.

Maybe it was the newbie author in me, but when I had my first call, I specifically told the agent I needed a response to emails within 48 hours even if it was just a check-in from them saying they received my email and they’d get back to me.

 

Editorial Feedback

What was it about your book that they liked?

How much revising/editing do they expect before your manuscript goes on submission?

Are they very editorial? With current and upcoming manuscripts, will they provide editorial notes? Line edits?

If they are editorial, how much time will they make to discuss notes? Are they available for regular check-ins if you have questions on said notes?

How do they want to see new materials? Do they want the pitch only? The first 50 pages? The whole manuscript?

What if you want to write in a different category or genre? Will they be onboard? Clarity here is key. If you want to write a Picture Book, and the agent does not rep. PBs, you will most likely have to find another agent to rep you for that book.

 

Submission Process

Some writers only want to hear good news during this process. Other writers want to know about all editor feedback – including rejections. Be clear on your preference.

Ask the agent how they approach the sub process. Do they already have editors in mind? Who? Where?

How will they approach first round? Submit to 5 editors? 10?

Will they provide you with a spreadsheet as to who is on the sub list? How often will it be updated?

What is their regular process for nudging editors? Some agents are more “hands off”. Others are direct with editors and give them a specific deadline to read. Make sure you know the agent’s philosophy and approach.

If you’ve been on submission for a while with no offers, what is their next step? Will they want you to revise based on editor notes/rejections? Will you continue to sub with no changes?

When will the process end? How many editors will they contact before asking you to shelve that manuscript?

What if your book doesn’t sell? Do you write something new? Part ways?

While uncomfortable, this is a critical question in the process. You need to know if the agent is going to want to work with you on the next book. If they want to be a “career” agent or a “one-off”. Be very clear about your expectations here.

 

NOTE: If you part ways with the agent, you have a right to your sub list. Be sure you have this conversation prior to signing. I’ve known a few writers who’ve gone on to have their next agent submit (and sell) the book that was previously on sub. They were able to accomplish this because they provided the new agent with their past sub list.

 

Next Steps/Contingencies

If the book sells, how do they handle foreign rights? Movie/TV rights? What can you expect in regards to timing for contract negotiations?

What happens if they decide to move agencies or leave publishing?

What is their timeframe for a response to their offer of rep?

Can you speak to other clients? This should include clients who have had a sale and those who have not. The answer should always be “yes” here. If it’s not, this is a RED FLAG.

 

“The Call” can be a very exciting time. For most writers this is the moment they’ve been working toward for years. While it is thrilling, it’s also a very serious time in your career. What happens next can set the tone for your future. Be sure you’re clear with the agent about your expectations. It can be daunting, but you need to ask the hard questions. This is your work and you want to make sure you’re placing it in the best hands possible.

 

Are you querying? Waiting for your “call”? Do you have other questions about how this process works? Please feel free to leave your comments and questions below.

 



Source


Photo

Navigating Publishing: How To Handle A Request For Materials

  Posted by Amy Trueblood , 18 February 2019 · 112 views

 

 

Up to this time in the series we’ve talked about polishing your manuscript and following the guidelines for querying. Now we are up to that exciting point where we need to discuss requests. This can be a thrilling moment when you go from being in the slush pile to sending an agent either a partial or full manuscript. It is a time to celebrate, but to also keep your head on straight because there are still rules to follow.

First, always read the request thoroughly. Make sure you follow the agent’s directive as to what they want to see. If they tell you they want a synopsis and the first 50 pages all included in the body of an email, you follow that directive. If they want the full manuscript as an attachment, then you adhere to that request.

Most importantly, make sure you’re answering any call for a request within the same email chain as the query unless directed by the agent to do so otherwise. This helps to alert the agent to the original query, but it also reminds them as to what they’ve requested. Some agents get up to 100 query emails a day. You want to make sure yours stands out within their inbox. Some writers change the subject line in the email to REQUESTED MATERIALS. This is okay as long as the thread still contains the original query, as well as the agent’s follow-up request.

What if the request came from an online contest such as #PitMad or one of the other various pitch contests? Let me reiterate what I’ve said in previous posts: do your research. Anyone can request from these contests. You need to make sure you’re sending your materials to either agents or publishers who are legitimate.

NOTE: Anyone can hang out a shingle and call themselves a publisher or agent. Please, before you respond to any request, make sure you’re vetting the person and their agency and/or business. Here are two great articles by literary agent Jennifer Laughran about how to avoid problematic agents or publishers:

“Rock Star” Agents and more about Schmagents

Agent Ethics: Schmagents and Pre-Shopping

Once you have followed the agent’s request, your job is to wait. Some agents can read quickly and give you a response. Others may take a while longer. Again, be sure to read the agency guidelines as to response times on requested materials.

There is some discussion within the writing community as to when to send a nudge if you haven’t heard back within a certain timeframe. Answers vary on this one, but the common rule is only nudge after 90 days on a full request. If you feel like you need to follow-up after this time period has passed, be sure your email is professional and polite. Again, it should be within the same email chain as the original request and should be short and simple…

 

Dear Agent,

I’m following up on my manuscript (insert TITLE), which you requested on DATE. Can you please confirm that you’ve received it and when I should expect a response? Thank you for your time. 

 

Literary agent Janet Reid wrote a great blog post called, “Nudging Timeline” about this exact topic.

A request is just the next step in the querying process. It can feel daunting and overwhelming, but keep in mind that you are making PROGRESS. A request from an agent for a partial or full manuscript means your query and/or submission pages did their job. All you can do now is wait and see how the agent responds to the remainder of your work.

A request does not mean your job stops. You still need to have forward momentum. This means you continue to query and write your next book. It’s all about forging ahead in this business. If querying this book does not result in signing with an agent, the next book you write may just be the lucky one!

 

Up next: EXCITEMENT! How to handle “The Call” from a literary agent. 

 



Source






Search My Blog