Tag Archives: Romance Writers of Australia

Getting a manuscript ready for submission

In the not to distant future, my romance novel will be published. This is the first in a series of blog posts about my path to publication. I hope it is inspiring and helpful to other aspiring writers out there.

I’ve wanted to write a novel worthy of readers’ delight since I first went to university, saw creative writing on the course list, and realised that real people wrote books. Maybe, just maybe, I could be one of them.

I struggled on my own for years before I found my tribe at the Romance Writers of Australia. With the support and guidance of various members, I’ve made steady progress. I finalled in one competition, learnt from others, and eventually finished my first manuscript. It placed second in the Emerald Award for unpublished manuscripts. I was thrilled but still plagued by doubts. The praise received was consistent; readers liked the setting, my heroine and the dialogue. The criticism coming back was also consistent – my hero was hard to know. Although I spoke to a few publishers, I never submitted, choosing to rework it instead. I say ‘choosing to rework’ and that’s partly true. Part of me was also retreating. If I wasn’t good enough to win, was I really good enough to publish? Would I make a fool of myself submitting it to publishers? Fear of failure can be crippling. It can also be a strangely comforting bedfellow, one which makes sure you never move out of my comfort zone.

But … I really wanted to be a published novelist. I wanted it more than I feared failure and humiliation. So I set myself a goal. By the next year’s conference I would be ready to pitch my revised and improved romance to publishers. I added 30,000 words to the story and thought about the story a lot, what worked, what didn’t. I also thought about what I would do if no one wanted it. I could self-publish. However, I really wanted to take my first steps in publishing with someone more experienced holding my hand. I wanted the support and the learning curve an author gets when working with an experienced editor and publisher. I’ve worked in the industry for years, so I know how valuable that experience can be.

When the annual RWA conference came around again in 2017, I was ready and prepared to face the threat of rejection again. I’d changed my title from the sweet-sounding Alpine Kisses to the sassier The Millionaire Mountain Climber. I put in my pitch request for the speed dating sessions with editors and agents. As a backup, I also made myself a list of romance publishers who accepted submissions direct from authors. I composed the list from the names of publishers who have attended RWA over the years as well as those who publish the books I like to read. I went online to their submission pages and copied their requirements. If the pitches didn’t go well, I had a plan B.

The pitches went okay. One agent was, frankly, rude, but said I could submit anyway. I did so, but didn’t hold my breath. Just as well because neither I, nor anyone else who pitched, ever heard back from her. One publisher was delightful and enthusiastic, and I submitted with some confidence. Another publisher said I didn’t fit their criteria, so that was a no.

However, with only one genuine show of interest, I didn’t like my odds. A month after conference, I hauled out Plan B and submitted to another ten publishers and one agent. It took time. Each one had different submission criteria. Some requested only the first five pages. Some wanted the first three chapters. Some wanted the whole manuscript. Everybody wanted a synopsis and to know a little about me, but not a one of them matched another. Each submission was unique. Some of the publishers I targeted were Australian; others English and American. I changed spelling according to the submission. While I didn’t get it all right, I reckoned it was respectful to at least make the effort. Those submissions took me another month, to the end of October 2017. I meant to submit to more agents, but decided to first see what came of round one. I also decided that if I didn’t get interest from anyone by end February, I would self-publish. I felt my story had legs now.

Next time: The call … make that the email.

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Getting a foot in the door: agent or publisher?

In my most recent Tips from an Industry Insider blog post for RWAustralia, I review options for getting started in the industry. Once you have a book, should you chase an agent or a publisher … or self publish?

Traditionally, an author needed an agent to get a publisher. This has changed with the rise of digital-only or digital-first publishers and imprints. An imprint is a division of publishing house, for example, Escape is Harlequin Australia’s digital-only imprint whereas titles published under their Mira imprint appear in both paperback and ebook. Many publishers now accept submissions direct from authors.

 

It takes just as much time, research and preparation to approach either an agent or a publisher:

  • Start with shelf research in a bookshop or on your ebook reader.
  • Look on the imprint page to find out who the publisher is.
  • Visit their website and read their submission guidelines.
  • Read the acknowledgements page. Many authors thank their editors, publishers and agents in the acknowledgements.
  • Follow the submission process. Make every submission individual. You can approach more than one publisher or agent at a time, but don’t email them together. Nothing says ‘I don’t know what I’m doing, and I have not researched your needs’ like a group email. They all have different requirements, for example, some want the first three chapters; others only want to see the first five pages.
  • Some publishers have author-only newsletters. Sign up for these.
  • Keep a database of publisher information.

Agents

The trick when approaching an agent is to understand their business model. They only make money if you make money, charging you a percentage of the advance and royalties you earn. Royalties are the money you make when your book sells, usually a percentage of the retail price as agreed with the publisher. An advance against royalties is money you are given on signature of contract or finalisation of manuscript. Agents naturally favour publishers who pay an advance.

VERY IMPORTANT: If an agent wants money from you, they are not an agent in the true sense of the word. They may offer literary services along with agenting. That’s fine, so long as they are clear about the differences.

If you want to try the agent route, do it before approaching a publisher. Publishers have excellent memories. If your agent approaches them with a book you’ve already pitched and they’ve rejected, they’ll remember. This will embarrass your agent – not good for your relationship.

Publishers

It can take as long to get an agent as a publisher, and only once you have signed exclusivity will they start the process of approaching publishers on your behalf. Starting to see the appeal behind approaching a publisher direct?

Digital-only only imprints usually don’t pay advances. However, they often give authors a larger percentage royalty and pay faster than traditional imprints, who can make an author wait anywhere from three to nine months for payment. The fact that there is no upfront money means agents leave the easiest break-in point for a new author, digital-only, until last on their shopping list. Again, this can be good or bad. However, for an author, the advantages of getting that first book published can outweigh financial incentives. These include establishing an audience and a track record.

Additional strategies for finding a publisher include:

  • Enter writing competitions judged by editors or publishers. Even if you don’t win, you may make a valuable contact.
  • Attend conferences and take part in speed-dating pitch sessions where you get to meet editors.
  • Network. Go to the cocktail parties.
  • Expand your horizons – look locally and internationally.
  • Read books they publish. Will your book fit their profile? Do they appeal to you?

VERY IMPORTANT: A publisher who charges to publish is not a publisher. They may be a legitimate co-operative or they may be a fraud, but they are not a publisher. If you are asked for money to publish, hear the alarm bells and take a step back. Ask questions of them and your community. One of the clearest signals of fraud is that they are not interested in ebooks, only paperback, as they make their money printing for you. Another is very vague marketing and sales plans.

Stay tuned for more industry tips

Coming up in forthcoming posts: pros and cons of large vs small publishers vs self-publishing; publishers interested in romance; learning from a rejection; why you need a brand, and more.

 

Originally posted by Romance Writers of Australia, http://romanceaustralia.com/tips-from-an-industry-insider-getting-your-foot-in-the-door-agent-or-publisher/, on 14 March.

Getting the most from your publishing team

This week I started blogging monthly for RWA. My column is called Tips from an Industry Insider and you can read the full blog post here. I’ll be adding more reflections and insights every month on the 13th.

Amongst other things, I point out that as an author you most likely focus on one book at a time. No one in publishing works on one book at a time. Everyone is multi-tasking, from publishers and editors to cover designers, product and sales personnel, marketers and publicists. The production line never stops (as any indie authors reading this column know only too well). Even if the company only publishers one book a month, the relentless churn of the production schedule means that while they are editing book A, they are designing the cover for book B, typesetting book C and preparing book D for print. When sales reps sell in month 1, they are researching month 2 and reading ahead for month 3. While a publicist is on the road with you, she is contacting journalists to firm up interviews for Author F and preparing long lead pitches for Author G. … What does this mean for you? Understand the deadlines and timelines your team is working to, from editor to publicist. Stick to them. Be available. Plan. Communicate clearly.

Link

Five fabulous Australian romance novels with five winning cover designs as awarded by Romance Writers of Australia.

  • Contemporary romance: Operation White Christmas by Nicki Edwards
  • Erotic/ Sexy romance: The Veiled Heart by Elsa Holland
  • Historical romance: The King’s Man by Alison Stuart
  • Young Adult/ New Adult romance: The Finn Factor by Rachel Bailey
  • Paranormal romance (including sic-fi and fantasy): The Shattered Court by MJ Scott
  • Romantic Elements: Pretty Famous by Carla Caruso
  • Romantic Suspense: Storm Clouds by Bronwyn Parry
  • Rural Romance: Summer and the Groomsman by Cathryn Hein

Romance Writers of Australia

As writers, we pour our hearts into choosing just the right words to tell our stories – but to put a finished book into the reader’s hands, we need to rely on others’ skills.  Chief among these others is the cover designer.  A good cover can entice a reader and add to the pleasure of the story – and the best ones thrill authors!  Each year, to celebrate the blessings of the cover fairies, our published members submit their favourite recent covers for fellow members to choose the ones they like most.

The contest is over for another year, so without further ado, here are our favourite covers for this year, as judged by our members in the following categories:

Contemporary Romance:

  • Title: Operation White Christmas
  • Author: Nicki Edwards
  • Cover Design: Unknown Artist

Operation White Christmas-Nicki Edwards

Erotic/Sexy Romance

  • Title: The Veiled Heart
  • Author: Elsa Holland
  • Cover Design: Hang Le

The Veiled Heart-Elsa Holland

Historical Romance

  • Title: The…

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Protected by the Prince by Annie West

Protected by the PrinceUSA Today best selling author Annie West won the RuBY for best short, sexy contemporary romance for Damaso Claims His Heir at this past weekend’s 2015 Romance Writers of Australia awards evening – which seems to me an excellent reason to review another of her novels, the deliciously naughty and extremely nice Protected by the Prince.

Normally when I read a book involving royalty, I travel back in time at least 200 years so I was intrigued to find out how I would feel about a modern-day Prince Charming. Would the spell be as real in a world I know the ugly truth about? Of course, as I should have known, whether I love or hate a character has everything to do with the skill of the writer, and Annie did not let me down.

Prince Alaric is as remote as the tiny mountain kingdom he rules, bound by a strict sense of honour and a deep cynicism based on past experiences. He is not averse to the charms of women, but he no longer lets one anywhere close to his heart.

Tamsin Connors is not the least bit interested in Alaric’s position or his fortune; its his archives she wants to explore so that she can restore her tarnished name in her discipline. But when she uncovers a dangerous secret in those same archives, she is suddenly the subject of his full attention.

Alaric discovers to his surprise that looks can be deceiving. He can feel powerfully attracted to a bespectacled women in dowdish manly clothes (although he itches to dress her in more flattering clothes). In turn, Tamsin discovers that there is more to the Prince than meets – or bedazzles – the eye.

Annie West draws a wonderful portrait of two wounded but independent souls getting to know each other and discovering that passion – and love – can exist and flourish with the person you were least likely to pick as compatible.

Annie has an honours degree in Classics and lives near Lake Macquarie north of Sydney with her own tall, dark and handsome hero. She lives out her fantasies about exotic locations and brooding foreign lovers through her books.

4 hearts

 

 

Protected by the Prince is a sexy contemporary romance.