We all often forget in the glorious insanity of writing that if you wish to publish, your writing is a business. That means you have to treat it and your interactions with everyone as a business dealing. These are my “rules” that I’ve developed by watching and talking with other writers as well as feeling my way through my own career.
1) Writing “cache” is earned not bestowed.
It is like any other job. Really. You must pay your dues as the new kid on the block before you can start to break the rules. I’ve got seven novels and a slew of short stories out there now. The publishers I work with can bank on my name on a title to bring in a certain amount of sales. Because of that I’ve earned a certain amount of license in how I work.
My first novel, not so much. I got the dreaded: we like it, but can’t take it as is. Do some significant re-writes and we may consider publication. I also got the same on the second novel. Sometimes you have to bite the bullet and accept that.
The first one, I queried the editor and politely asked what re-writes. “Chop 2000 words of the front. Expand this relationship. And by the way, your female love interest (a male/male/female triangle) is an absolute raving bitch…tone her down.” Did that bug the hell out of me to have someone critique my baby so bluntly? Hell yes. Did I do the re-writes? Hell yes. And the second set of re-writes they asked for as well. They never did accept that book. But, in the end, I ended up with a much better novel.
The second book, the editor said, “Its great, but to fit our formula, I need the main characters to hate each other by the end of chapter three.” I didn’t do that re-write. It would have changed the entire plot. I politely sent a letter stating that it would require the re-write of the entire plot, but now that I knew what they were looking for, I’d try and write a book geared toward that.
You must sometimes sacrifice your baby to the Gods of Publication. If the second publisher had come back with similar requests to the first, I would have done them. Because, at that time, my name meant nothing to anyone.
2) You’re only as good as your promotion on your last book.
Really and for true folks. Your publisher watches. Even if you have a big named bank roll behind you, they watch. People who are active about getting their own name out there are money makers for them. I have a friend who writes for Bantam. That is BIG. Her editor told her, this is what we expect you to do to promote your own book. It’s not just the small presses who want you out there stumping. The authors I know who’ve sat on their “my book is wonderful” notions and done nothing, they get dumped. Your publisher wants to know that you are invested in you book as well. They don’t expect you to arrange nation wide book signing tours, but passing out flyers, maybe getting on a speakers panel or arranging a chat date on some reader loop: they watch for that.
3) If I’m reading your blog, so is your potential publisher.
I don’t know why so many people have a problem with that concept. They air their dirty laundry in public. My basic philosophy is: Tout your successes to everyone who will listen. Mourn your defeats in private.
I have been watching a certain new writer tank herself. She has written a short story for a collection and two longer stand alone works. The short story was contracted and the longer works under consideration. This is someone who has “broken in.” She then spent the next two months publicly agonizing over the re-writes in her blog. Blasting all the people who offered to help her with them as “red-liners” and “hack artists.” She turns in a re-write, noting something to the effect that she doesn’t know at all why they wanted her to do them. Gets a second request for more clean up and does a public freak out. Pulls the story from the antho (which she’s allowed to do under that contract), announces that she is doing so because she “just can’t work with editors like that,” and other people have told similar “horror” stories.
The best part: She was surprised when two days later she gets a rejection on the two longer works. I will bet that she gets rejects from a lot of publishers as well. She has not earned the right to act like a prima donna.
It is really demoralizing to have someone be brutally honest about your work that you’ve slaved over, agonized about sometimes for years. But go have your bitch fit in private. I railed for nearly a month with the requests I got. Privately, bending my poor guy’s ear off at length and to a couple of private friends. Not on a public blog post.
4) Everyone you meet has the potential to help or hinder your career.
You never know where the next reviewer, news media persona or publisher is. I’ve gotten invited into anthologies because I met someone (who I don’t remember) at some conference. I’ve gotten major reviews outside my genre because I impressed someone while speaking on a panel at some po-dunk convention, or the nice clerk at the book store…who isn’t the clerk but the manager in charge of setting up signings.
I have a friend, both personal and professional, who is a major freelance writer for some major GLBT publications. I met him at someone else’s reading where we just got to chatting. We went and had a drink afterward. Turned out he had a press pass to an event a few weeks later and didn’t want to go stag so I tagged along. Now, anytime one of his publications needs emergency filler I’m one of five people on the rolodex for the “hey what’s new with you?” interview.
Years of managing law offices has taught me that your best business deals are made in riding up the elevator or in the airport bar after the conference is over.
5) You will take crappier deals when you start out.
You don’t have to once you’re established. Obviously, you don’t want to sign away your complete rights in perpetuity to your work for royalties only. Jumping at the first deal, if it’s incredibly one sided, is not a good idea. But, it may be worth your while to take a contract that doesn’t pay much to get your foot in the door.
Keep an eye on what rights you’ve kept. If you’ve sold electronic rights to a work, but kept the print…you still have something to sell. Your publisher will make decisions based on who sells how much. Sometimes it’s fair for you to wait and sometimes its not. If they wish to take a wait and see before offering to buy more rights, and someone else will do it now…well there’s a lot of weighing of risk and such you should make, but sometimes it’s better to take the other deal.
As you get farther up the food chain you have more leverage to negotiate deals you don’t like. Don’t be afraid of a “take it or leave it” card thrown on the table. If you already know what your value is, sometimes the best negotiation strategy for you is to say, “I’ll leave it.” I, at my level, in my market, have options. Deals I would have taken when I started out (and I don’t have any qualms about having made them) well, sometimes they’re just not good enough any more. I have to look at this as a profit making business.
Now, if I take a shot at the next “tier” up of publishers…I may end up taking a deal that’s not quite as good to get my foot in that door.
The Writers' Block 
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