Last night I had another look at the rejection, and realised that there actually is something odd about this. The slip is dated, and the only way it could have got there by the date on it is if Royal Mail own a Tardis. Either that, or the agent saw me coming; right as I was putting it in the postbox someone was already writing the rejection slip out!
To be honest, the truth is probably that they got the date wrong as well as my name and the story title, but that's both boring and prosaic. The really hopeful thought is that it was someone else's rejection slip, but realistically that does mean my manuscript was still in the rejection pile.
Then when I checked my email this morning I had a contact from someone reminding me that I still own an imprint, that it is still a registered publisher ("on hiatus") and that it could start publishing again. Then another of our original distributors contacted us asking if we had any backstock of one of my earlier books and if we could ship some to them.
Now for reasons already covered - namely the whole new dimension of work that running a publisher adds which cuts into my writing time - I really don't want to go this route. But it's really beginning to feel like something is trying to push me into it.
Ten days to go. By then hopefully I'll have a request for a full from an agent - which will let me go back to work on #4. If not, plan B is send it to the US publisher, resurrect the publishing imprint I own over here and start phoning old contacts again, like the copyright lawyer we used to use.
Showing posts with label agents. Show all posts
Showing posts with label agents. Show all posts
Thursday, 11 February 2010
Tuesday, 9 February 2010
More words, and more waiting...
55,800 words on Number 4. A bit of extra research needed on a type of flying I am not familiar with, but then not many are, so hopefully there aren't very many people who would catch a mistake. I could write more, but real life (i.e. work) is getting in the way.
Still nothing from agents, but then today is work so I'm going to be busy anyway.
And of course, Endless Ocean II is out, so I know what I'm doing to relax this evening.
Still nothing from agents, but then today is work so I'm going to be busy anyway.
And of course, Endless Ocean II is out, so I know what I'm doing to relax this evening.
Saturday, 6 February 2010
Completely calm (honest)
Well, you can tell how unruffled and stress-free I am by the fact I'm posting at 6:00 on a Saturday morning.
Still heard nothing from the agents, which is slightly disappointing for at least one of them. However I have had an author acquantaince point me in the direction of her publishing house, which raises the question of whether I want to submit to a publisher and agents at the same time. The general conclusion from researching online seems to be that it's OK to submit to one publisher and multiple agents simultaneously (as long as none of the agents ask for exclusive submission). I'm just holding back for the moment, since it would be going with an overseas house and that presents copyright and royalty issues.
The other small dilemma is what to do when you suddenly wake up with an idea of how to improve a novel you've already sent out queries to agents about. Do you make the changes that will improve it, even though it won't be the same as the first three chapters they've already read, or go with the original since that's what they saw and presumably liked?
And my sleepless night paid dividends: No 4 just hit 54,000 words, mainly unedited. It's not particularly well-written, but then 1) it was written quickly for NaNoWriMo and 2) it's a fun pulp-style adventure, and the originals were not reknowned for their quality of writing, just pace and atmosphere.
Still heard nothing from the agents, which is slightly disappointing for at least one of them. However I have had an author acquantaince point me in the direction of her publishing house, which raises the question of whether I want to submit to a publisher and agents at the same time. The general conclusion from researching online seems to be that it's OK to submit to one publisher and multiple agents simultaneously (as long as none of the agents ask for exclusive submission). I'm just holding back for the moment, since it would be going with an overseas house and that presents copyright and royalty issues.
The other small dilemma is what to do when you suddenly wake up with an idea of how to improve a novel you've already sent out queries to agents about. Do you make the changes that will improve it, even though it won't be the same as the first three chapters they've already read, or go with the original since that's what they saw and presumably liked?
And my sleepless night paid dividends: No 4 just hit 54,000 words, mainly unedited. It's not particularly well-written, but then 1) it was written quickly for NaNoWriMo and 2) it's a fun pulp-style adventure, and the originals were not reknowned for their quality of writing, just pace and atmosphere.
Wednesday, 3 February 2010
Waiting is the hardest part
Still no responses. From most of the agents this is not a surprise, as they have four week turnarounds.
One however has a four-day turnaround, or so their website states. I sent my manuscript out to them on 21st January, first class with an SSAE for the same. So far I have heard nothing. You could drive yourself crazy trying to figure out what nothing means:
One however has a four-day turnaround, or so their website states. I sent my manuscript out to them on 21st January, first class with an SSAE for the same. So far I have heard nothing. You could drive yourself crazy trying to figure out what nothing means:
- Was it lost in the post?
- Was the return lost in the post?
- Is the agent ill/on holiday/ very busy? (OK, agents are always very busy, but hopefully you can see my point)
- Are they too busy laughing at my pitiful attempt at writing to manage a straight rejection? (I need more confidence)
- Did they love it so much they can't let go of it? (hope beats eternal...)
Tuesday, 2 February 2010
A bit of research and a conclusion
Well, I have spent a fair amount of time wading through everything I can find on agents, what they do, and how to get one, and reached a few conclusions:
1) I need a agent
2) My chances of getting one are slim
3) If I get an agent my chances of getting published are still slim
4) If I get published my chances of getting a best-seller are pretty much slim to none
So, with those cheery thoughts firmly in mind, a complete lack of confidence, and a manic grin on my face, off I go! After all, if you don't try, you definitely won't succeed.
Be vewwy vewwy quiet - we is hunting agents!
1) I need a agent
2) My chances of getting one are slim
3) If I get an agent my chances of getting published are still slim
4) If I get published my chances of getting a best-seller are pretty much slim to none
So, with those cheery thoughts firmly in mind, a complete lack of confidence, and a manic grin on my face, off I go! After all, if you don't try, you definitely won't succeed.
Be vewwy vewwy quiet - we is hunting agents!
Monday, 1 February 2010
The wrong type of agent
You may detect gritted teeth in this post.
I just got called by an employment agent a.k.a. recruiter. He has a job for me, and all I have to do is complete an application form. It's a plain text Word Doc, unencrypted, sent by open email, going into his recruiter's mailbox, containing not just name, address, D.O.B. but also:
I've withdrawn the application, but this one is worthy of the ID theft Hall of Shame.
For anyone who does not understand why this is bad, remember this. An unencrypted email can be read by anyone, and is easily intercepted. By British law ISPs keep emails for seven years. An unencrypted email will be kept in an unalterable copy for seven years at your ISP and on the receiving end. You had better hope that you can trust the agent's IT security, anyone who accesses their PCs, anyone along the route the email went through, and so on. If they don't wipe their PCs before they dispose of them, the email can be around even longer and exposed to a whole new audience. Heaven for ID thieves.
And as note, never disclose your bank details, or anything other than name, address, d.o.b to an employment agent. Reputable ones that need your passport or further details will invite you into the office and take them manually from the documents themselves, not on a pre-filled form. This is not just for your protection but also for theirs.
I just got called by an employment agent a.k.a. recruiter. He has a job for me, and all I have to do is complete an application form. It's a plain text Word Doc, unencrypted, sent by open email, going into his recruiter's mailbox, containing not just name, address, D.O.B. but also:
- Passport no
- Driver's Licence
- Addresses for the last 5 years
- Medical
- and a few more, but you get the idea.
I've withdrawn the application, but this one is worthy of the ID theft Hall of Shame.
For anyone who does not understand why this is bad, remember this. An unencrypted email can be read by anyone, and is easily intercepted. By British law ISPs keep emails for seven years. An unencrypted email will be kept in an unalterable copy for seven years at your ISP and on the receiving end. You had better hope that you can trust the agent's IT security, anyone who accesses their PCs, anyone along the route the email went through, and so on. If they don't wipe their PCs before they dispose of them, the email can be around even longer and exposed to a whole new audience. Heaven for ID thieves.
And as note, never disclose your bank details, or anything other than name, address, d.o.b to an employment agent. Reputable ones that need your passport or further details will invite you into the office and take them manually from the documents themselves, not on a pre-filled form. This is not just for your protection but also for theirs.
Saturday, 30 January 2010
Self Publishing - the easy way?
Thinking about it, there is another reason to get an agent which I have not mentioned.
For some background, my first set of books were small press/self-published. This was a deliberate choice and an agent or publishing house was never considered, since in that niche everyone is. Entry is set-up your imprint, set up your ISBN, get books printed and you're in. A few years back before I was involved, all it took was a stapler and photocopier. My first book sold out two runs - about 600 books total even though frankly on a re-read it needs work. Later ones did better: 200 in one convention was our record.
So why don't I do this again? Self-publishing is easier now. Create an account with lulu, upload your Word file and done. Anyone can do it.
Except that's not right.
Anyone can do it badly. To do it properly you need a team:
A proof-reader - and not you! Authors normally miss their own errors.
An editor - I had two, who also contributed to the writing, while I edited them.
An designer or typesetter - to make sure the book is actually readable.
An illustrator - If you are illustrating a book then get a pro.
A printer - obviously!
A distributor - we got lucky and signed up with two.
A marketer - this was just us and a set of forums.
So why, with some small publishing success, do I want to go for an agent and a publishing house? To be honest because small press publishing done properly is a lot of work. It took nearly a year for that first book to go from concept to book to market.
And on consideration I want to write books, not do the support and logistics to print, distribute and market them. Let that be someone else's job, not only because they can do it as well as me, but because they can do it a whole lot better! Meanwhile I'll get back to what I am good at: writing.
Of course, I still own the imprint, the remains of my sheet of ISBNs, the printing gear and have access to my distribution network, so if I don't find an agent it might not be the end of the world... Just more work!
For some background, my first set of books were small press/self-published. This was a deliberate choice and an agent or publishing house was never considered, since in that niche everyone is. Entry is set-up your imprint, set up your ISBN, get books printed and you're in. A few years back before I was involved, all it took was a stapler and photocopier. My first book sold out two runs - about 600 books total even though frankly on a re-read it needs work. Later ones did better: 200 in one convention was our record.
So why don't I do this again? Self-publishing is easier now. Create an account with lulu, upload your Word file and done. Anyone can do it.
Except that's not right.
Anyone can do it badly. To do it properly you need a team:
A proof-reader - and not you! Authors normally miss their own errors.
An editor - I had two, who also contributed to the writing, while I edited them.
An designer or typesetter - to make sure the book is actually readable.
An illustrator - If you are illustrating a book then get a pro.
A printer - obviously!
A distributor - we got lucky and signed up with two.
A marketer - this was just us and a set of forums.
So why, with some small publishing success, do I want to go for an agent and a publishing house? To be honest because small press publishing done properly is a lot of work. It took nearly a year for that first book to go from concept to book to market.
And on consideration I want to write books, not do the support and logistics to print, distribute and market them. Let that be someone else's job, not only because they can do it as well as me, but because they can do it a whole lot better! Meanwhile I'll get back to what I am good at: writing.
Of course, I still own the imprint, the remains of my sheet of ISBNs, the printing gear and have access to my distribution network, so if I don't find an agent it might not be the end of the world... Just more work!
Friday, 29 January 2010
Cost of writing
Something else they don't mention is the cost. Sending out Royal Mail first class is between £2-3 per packet. Good quality envelopes that take synopsis, samples, query letters and (sometimes) CVs are not cheap - although this time I used Viking and bought in bulk.
A few random thoughts on submissions, and speeding the process.
1) Don't bother with proof of posting - since the agent isn't expecting it, they can't tell you if it doesn't arrive.
2) If you really want to make sure it gets there used signed-for. However, this might cause problems if the agent is not around to sign for it. I can't imagine many of them have the time to rush down to the local Post Office to sign for (heaps of) unsolicited queries.
3) Second class post is cheaper, but it takes longer and may not get there in as good a condition. A few extra days on a four week wait may not seem like much, but I'm impatient, and as time passes you'd be surprised at how long it can seem.
Return of manuscript is a tricky one. Some blogs recommend you save money by not including an SSAE, and just let them shred the work if they don't like it.
I have included it, for a few reasons. First, if you've used good paper and spent time on a decent printer creating your samples then depending on length it might be cheaper to get the pack back and reuse it for the next agent (and boy, does that statement make me sound confident in my work!). Second, if they are polite enough to send a rejection, they can use your SSAE for it which saves the agent time and cost. After all, they have spent their time reading your manuscript so making it easy to reply is only polite.
Third, because even a form rejection is better than dead silence at the other end.
A few random thoughts on submissions, and speeding the process.
1) Don't bother with proof of posting - since the agent isn't expecting it, they can't tell you if it doesn't arrive.
2) If you really want to make sure it gets there used signed-for. However, this might cause problems if the agent is not around to sign for it. I can't imagine many of them have the time to rush down to the local Post Office to sign for (heaps of) unsolicited queries.
3) Second class post is cheaper, but it takes longer and may not get there in as good a condition. A few extra days on a four week wait may not seem like much, but I'm impatient, and as time passes you'd be surprised at how long it can seem.
Return of manuscript is a tricky one. Some blogs recommend you save money by not including an SSAE, and just let them shred the work if they don't like it.
I have included it, for a few reasons. First, if you've used good paper and spent time on a decent printer creating your samples then depending on length it might be cheaper to get the pack back and reuse it for the next agent (and boy, does that statement make me sound confident in my work!). Second, if they are polite enough to send a rejection, they can use your SSAE for it which saves the agent time and cost. After all, they have spent their time reading your manuscript so making it easy to reply is only polite.
Third, because even a form rejection is better than dead silence at the other end.
Wednesday, 27 January 2010
on Edge
The quest for an agent is underway. I've got seven query letters sent out to agents who handle stories in that area, and now I just have to hope that one of them requests a full submission.
It's surprising how long it takes to prepare the packets to go out. Step one was looking up all the relevant ones from the Writers' and Artists' Yearbook
, then checking them out on Preditors and Editors to make sure they aren't a scam, looking up their own sites for current submission guidelines and then finally making up a lot of different packs for varying requirements.
Also while many writing sites tell you to send a synopsis, they don't mention you'll need more than one: a one page, two page and for some even longer versions are requested. Of course the bit that really threw me was the CV request. What I do for a living has nothing to do with my fascination for heavy engineering, aircraft, railways, steam etc. so if they read the CV and expect a techno thriller, they're probably going to be disappointed. (I live this stuff, it's boring and I don't want to write about it!)
And I suspect I had better get on with finishing no#4 since my beta officially thinks I'm rotten - I left two would-be astronauts stranded halfway through a tricky re-entry for six weeks while I finished tweaking no #3.
It's surprising how long it takes to prepare the packets to go out. Step one was looking up all the relevant ones from the Writers' and Artists' Yearbook
, then checking them out on Preditors and Editors to make sure they aren't a scam, looking up their own sites for current submission guidelines and then finally making up a lot of different packs for varying requirements.Also while many writing sites tell you to send a synopsis, they don't mention you'll need more than one: a one page, two page and for some even longer versions are requested. Of course the bit that really threw me was the CV request. What I do for a living has nothing to do with my fascination for heavy engineering, aircraft, railways, steam etc. so if they read the CV and expect a techno thriller, they're probably going to be disappointed. (I live this stuff, it's boring and I don't want to write about it!)
And I suspect I had better get on with finishing no#4 since my beta officially thinks I'm rotten - I left two would-be astronauts stranded halfway through a tricky re-entry for six weeks while I finished tweaking no #3.
Tuesday, 26 January 2010
Why an agent?
With novel number #3 going out to agents, the question that comes up is why? Why use an agent? Why not publish small press as I have before?
I'm confident enough in the story to know I could publish it small press. I've published books before with small press (ignoring the freebies on lulu, there are also six formally published with ISBNs) which have sold successfully. Between connections, conventions and more, I could confidently say I would sell between 500 and 800 copies - not bad for a small press run in an area I don't usually write in.
So why try to go mainstream now? A mix of reasons:
The traditional reason, to get your name in print, really doesn't hold. I'd rather use a pen name; I'm better known under my pen names, and more importantly I've already got books in print (just not novels).
Fame, fortune? Again, not so much. After my rant about online privacy it should be obvious how I feel about fame, and as for fortune? I'm actually happy where I am right now.
On consideration I think it's mainly curiosity: I'd like to see how one of my books does with some actual backing. Rather than just me and my informal network, how they do on a book store shelves, whether it stacks up against commercial fiction, and whether I can in fact break into a new area.
With #3 there is a strong story with more mainstream interest than many of my other works, which makes it the one with the most potential for this test and the highest chance of success. (#1 has issues, #2 is too focused on one interest and #4 is incomplete and produced in haste for NaNoWriMo, so it gets a sanity check before it goes anywhere!).
So, I have a manuscript with potential, the London Book Fair is in April, and most agents have a long turn around on whether they are or are not interested. Sounds like a good time to send it out.
Fingers crossed.
I'm confident enough in the story to know I could publish it small press. I've published books before with small press (ignoring the freebies on lulu, there are also six formally published with ISBNs) which have sold successfully. Between connections, conventions and more, I could confidently say I would sell between 500 and 800 copies - not bad for a small press run in an area I don't usually write in.
So why try to go mainstream now? A mix of reasons:
The traditional reason, to get your name in print, really doesn't hold. I'd rather use a pen name; I'm better known under my pen names, and more importantly I've already got books in print (just not novels).
Fame, fortune? Again, not so much. After my rant about online privacy it should be obvious how I feel about fame, and as for fortune? I'm actually happy where I am right now.
On consideration I think it's mainly curiosity: I'd like to see how one of my books does with some actual backing. Rather than just me and my informal network, how they do on a book store shelves, whether it stacks up against commercial fiction, and whether I can in fact break into a new area.
With #3 there is a strong story with more mainstream interest than many of my other works, which makes it the one with the most potential for this test and the highest chance of success. (#1 has issues, #2 is too focused on one interest and #4 is incomplete and produced in haste for NaNoWriMo, so it gets a sanity check before it goes anywhere!).
So, I have a manuscript with potential, the London Book Fair is in April, and most agents have a long turn around on whether they are or are not interested. Sounds like a good time to send it out.
Fingers crossed.
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